Metalsmith’s Book of Boxes and Lockets

Tim McCreight

Copyright 2015

Brynmorgen Press

Brunswick, Maine

ISBN for this digital edition: 9871929565764

First published by Hand Books Press in 1999

All rights reserved. Artwork in this publication is protected by copyright and may not be reproduced in any form without permission of the artist. No part of this publication may be reproduced or transmitted in any form without prior permission from Brynmorgen Press.

Introduction

What is it about boxes that draws us to them so irresistibly? We admire jewelry or candlesticks by looking, but we’re compelled to pick up a box or locket and open it. Perhaps it’s the toy-like action of a catch and hinge, or the mystery of wondering what might be inside. Perhaps our fascination comes in part from other experiences of boxes, a universal memory of childhood treasures in shoe boxes and tobacco tins.

Lockets and boxes offer a wonderful format for metalsmiths. Technically, they call upon a set of skills that can challenge anyone—hinges that slide fluidly, seams that disappear, catches that click with confident assurance. Mastery of these construction techniques is not only a reward in itself, but a valuable aid in other metalworking activities. The ability to make a neat hinge requires skills in measuring, soldering and fitting—all useful for stonesetting, surface decoration and other techniques.

The Metalsmith’s Book of Boxes and Lockets divides the topic into its constituent parts: the box, the hinge, and the catch. This allows for a creative Mix-and-Match—think of children’s books that are slit to allow each page to be a reconfigured creature. Select a box technique you want to try, match it with a hinge that you think will complement the box, then select a catch to complete the piece. Of course this book cannot cover all the thousands of options in each of these categories, but in this way I’ve tried to create a structure that is clear without being narrow. The chapters on Boxes, Hinges, and Catches are followed by a short chapter on Basics & Practices that provides instruction in soldering, tube making, and other general topics that apply to making boxes and lockets.

So, take a hinge from here and a catch from there, and while you’re at it, make up your own variations. Season this information with the exciting work shown here and synthesize these ingredients into objects that are as satisfying to use as they are to make.

Note for the Digital Edition

This book features more than a hundred examples of boxes and wearable containers from talented metalsmiths around the world. In the original volume these images were merged with the text but in this digital format the presentation is made clearer by placing them all together after the text. In all cases the designs belong to the original artists and should not be copied.

Metalworking Safety

Safety in metalworking depends on adhering to the following principles:

- Common sense

- Knowledge and respect for the machines

- Common sense

- Avoiding dangerous materials and processes

- Common sense

- Protecting yourself from invasion by particles, fumes and sharp objects

Because everyone’s body is unique, even officially tolerable levels of a chemical may be intolerable fo you. Pay attention to the early signs your body sends: If you have a dry mouth, an odd taste, a rash, nausea or dizziness, stop what you’re doing and take a break. Systematically eliminate procedures in order to identify the source of the problem. As a creative person, you will then be able to come up with an alternate approach.

Any time you work near a motor-driven tool there is a danger of getting snagged. Always keep hair and clothing tied back out of the way when drilling, buffing and grinding. Always wear goggles. When grinding or buffing with a machine, be certain the dust is directeed away from you, and use a respirator if working for more than a few minutes. Be especially careful to avoid breathing toxic materials like bone, antler, metallic gem material (e.g., malachite) and exotic woods.

Minimize the use of strong solvents when possible. Label all chemicals and store them in a safe place in an appropriate container. Wear rubber gloves, spash-proof goggles and an apron.

Fire is an integral part of metalworking and a good metalsmith is comfortable with flame. But comfortable doesn’t mean careless. Always use the “soapy water test” after attaching a regulator and replace the tank if there is a problem. Sniff the air when you enter the studio and exit immediately if you smell gas.

Never set combustibles like paper towels or drawings on a soldering table and always quench charcoal blocks after use.

Repeated actions such as hammering can trigger Repetitive Strain Injuries (RSIs) such as carpal tunnel syndrome and similar disorders. Get in the habit of shaking out your hands every ten minutes or so and stop work if your fingers are numb or tingly. It is often possible to adjust position and angles to correct these problems.

1 Relevant Techniques

This chapter is a kind of information warehouse — advice and options that relate to many of the techniques described throughout the rest of the book. For example, almost every process described in the preceding pages involves soldering, so here you’ll find information about soldering tools and tricks. Because tubing is so important, this section will tell you how to make it, cut it, and size it. And then there’s… well you get the idea.

Soldering Methods

The most common and obvious way to solder is to set the fluxed components together, lay a small piece of solder across the joint and heat it up. As a rule of thumb, simpler is better, so this method is my first choice. But sometimes more is needed.

When pieces will not stay together by themselves it might be necessary to tie them together with wire. The best material for this is annealed blackened steel called binding wire, available from jewelry supply companies. Galvanized steel wire from a hardware store can be used, as can nickel silver wire, but these are harder to bend around the pieces.

Joining irregular shapes may require a little more forethought. Generally, figure out clearly the lines of tension that are needed—where exactly do you need to press, and at what angle—then provide a handle for that line. In some cases this means adding a piece of wire with loops, or notches cut into an edge that will be cut away later.

Wrap the binding wire loosely into place and twist its ends together, then grip it in flat-nose pliers and give a twist, creating a “Z-bend.” Repeat as needed to cinch the binding wire, pulling the pieces into position for soldering. The bends allow the wire to stretch as the work swells with heat.

When using ferrous binding wire, remember to quench in water and remove the wire before pickling or the piece is likely to become acquire a thin plating of copper. If you use stainless steel binding wire it is safe to put the wrapped piece in pickle.

Clamps

Clamps can be made from various steel wires, includeing paper clips and coat hangers. These are used during soldering and gluing.

These are reusable devices made of steel wire that work like binding wire to hold pieces in position for soldering. As with wire, they should be used sparingly because they rob heat from the joint, but there are times when they are handy. It is better to spend a little time creating the right clamp for the job than to overload a piece with several ill-fitting braces.

I make spring clamps from recycled bits of steel wire that start their life as coat hangers, paper clips and hair pins. These are usually tough tool steel that will stand up to repeated heatings. The simplest version of a clamp is a simple bent wire. These can be made stiffer by hammering on the bend, changing its cross section to flat. The tips are usually flattened slightly, but they can be given other shapes, like a spiral.

A variation is to make a self-locking (or cross-lock) clamp. These can be easily tailored to meet specific needs. Start by wrapping the wire around a rod several times to create a coil spring. Shape one leg to the desired form and bend the other leg so it leaves the coil about one-third of the way around. That is, if the coil were a clock and the first leg is at 12, let the other leg point to 4.

Bend a sharp angle in this wire no closer than a half inch to the coil. Put in a second bend to bring the legs parallel, then push the second leg past the first. This will create a pinching action at rest. Some minor adjustments will be necessary to bring the legs into contact. In use, squeezing the legs near the coil will open the clamp. It is set into place and released, where it will grip the pieces. With a little practice these become very simple to make and can be made or modified as dictated by each situation.

Soldering Investment

Soldering investment is dripped and molded around small parts to hold them for soldering. The investment is allowed to dry, then soldering continues as usual. The investment will fall away when the piece is quenched.

Binding wire can be awkward, especially when working with multiple small pieces such as the knuckles of a hinge. For these cases you might appreciate this method. Assemble the pieces and secure them with a tiny drop of adhesive such as epoxy or cyanoacrylate (“"”). Alternatively, the pieces can be pressed into clay or wax.

Soldering investment is a plaster-like white powder with special ingredients that allow it to cure quickly and to withstand high temperatures. Mix up a small quantity of powder and water according to the directions on the package. Spoon the yogurty mix over the assembled pieces. Be careful to leave sections of each joint exposed so they can be soldered; if necessary scrape the drying investment away to expose a joint. Allow the investment to dry as described on the package—typically around 15 minutes. Set the work under a light or on a radiator, or use a hairdryer to hasten the drying.

Warm the piece with a gentle flame to burn off the glue (don’t inhale the fumes) then add flux and pieces of solder. Heat in the usual way until the solder flows, check to insure that each joint is complete, then quench the piece in water. The investment will crumble into powder—use a toothbrush to remove any tiny grains that remain.

Soldering

There are as many ways to solder as there are metalsmiths. In the end, of course, there are only two results—success or the opportunity to try again. Many aspects of soldering are constant, driven as they are by metallurgy and physics. Brazing (the correct term for what is also called silver soldering or hard soldering) can only take place at temperatures that approach the melting point of the metals being joined. No matter how you do it, that’s a given.

Another given is the need to minimize oxidation on the surface. This is not a problem with pure metals such as fine silver or fine gold, which form no significant oxides. As the preciousness goes down—i.e. when using alloys like sterling or base metals like copper or brass—the need to prevent oxidation becomes more critical.

One way to achieve this is to solder in an oxygen-free environment. Besides doing your work in high earth orbit, this can be done in sealed chambers or with special torches that flow inert gas into the soldering area where it pushes oxygen away. These torches usually use an electric arc instead of a flame and are most commonly used for aluminum, steel and exotic ferrous alloys. They are called tungsten inert gas (TIG) or magnesium inert gas (MIG) welders.

Torches

Most metalsmiths working in gold, silver and copper alloys use torches for soldering. There are many kinds of torches, relatively cheap to buy and operate when you consider that they are a primary tool for a metals shop. The choice of which torch is right for you depends on your price range, the type of work you do and personal taste. All the torches described here can be used to do the tasks that come into a metalsmith’s studio, but a person whose most frequent task is attaching wires to gold earrings would choose a smaller torch than someone who principally makes large brass belt buckles.

The three most common fuel gases used in metalsmithing studios are acetylene, propane and butane, the first being the most common. A fourth fuel, natural gas (or city gas) is often used in schools and commercial shops, but rarely worth the cost and permanence of the required professionally installed plumbing for home studios. Torches made to run on natural gas will work as well with propane.

These gases can be purchased locally through welding supply companies. Ask them for all relevant safety information and turn to them first if you have a question or suspect a problem. Small tanks are usually bought outright while larger tanks may be purchased or leased. Propane tanks are sometimes filled while you wait—acetylene tanks are always swapped. You don’t own a particular tank but the tank in your possession at any given time.

Tanks are pumped full of gas under high pressure like a balloon blown up to maximum capacity. Especially when full, the gas will come hissing out with extreme force — too fast to stay lit. For this reason each tank is fitted with a regulator, a pressure control valve that will harness or regulate the flow of the gas as it comes out.

Regulators are particular to each gas: each type has unique threads so they cannot accidentally be screwed onto the wrong tank. Rules for regulators are as simple as they are important.

- never force the threads

- never use grease, wax, tape or oil on the threads

- always check for leaks around the threads after changing tanks.

- never try to fix or adapt a regulator yourself

To check for leaks, screw the regulator onto its tank and tighten it firmly with a wrench. Open the knob on the tank and brush soapy water over the threaded coupling. A leak will be indicated by a cluster of small bubbles. Tighten the nut further; if the bubbling doesn’t stop, close the tank, remove the regulator and take both back to the closest welding shop. The problem could be the result of damaged threads on the tank or the regulator or a piece of grit in the coupling. It is common and relatively inexpensive to repair regulators; any welding supply company can have it done by a qualified technician.

The most significant difference between torches is not their fuel but their source of oxygen, an element needed to support combustion. Some torches draw the oxygen they need from the atmosphere—you can recognize these because they have one knob on the handpiece. Other torches use pure oxygen that comes in a tank, usually green or orange. Torches that use oxygen have two knobs, one for fuel and one for oxygen.

The atmosphere around us contains roughly 20% oxygen, most of the rest being nitrogen (80%) and traces of carbon dioxide, neither of which have much to do with burning. This explains why torches that burn pure oxygen are so much hotter than fuel/atmosphere torches. A given volume of atmosphere contains only one fifth the oxygen as the same volume coming directly from a tank. Note that size and heat are not related: oxygen-fed flames may be very small and still be much hotter than a large atmosphere flame.

Flame Types

Three common flame types. The top has too much fuel, the bottom has too much oxygen and the center is just right.

Knowing that every torch flame is a combination of fuel and oxygen it makes sense that the proportions of the two can be adjusted. When every molecule of fuel gas combines with as many molecules of oxygen as it needs with nothing left over, we call that a neutral flame. If there is more than enough fuel the flame is called reducing; excess oxygen makes an oxidizing flame.

In atmosphere-fuel torches the mix is pre-set by the manufacturer, determined by air intake holes somewhere in the torch. These let in just enough air to balance the stream of fuel. If more fuel is released more air is drawn in automatically to maintain the balance.

In oxygen-fed torches the mix is manual. Start by lighting the fuel gas—oxygen by itself won’t burn so if you try to light the wrong one nothing will happen. When the flame is lit, slowly add oxygen—the yellow fuel-only flame will turn blue and narrow. Continue adding oxygen slowly until the flame divides itself into a pale blue inner cone and a dark blue outer cone. This is a neutral flame and the one you’ll use most of the time.

Add more fuel and the flame will get larger, less well defined (i.e. “bushy”) and perhaps have intermittent flashes of yellow. This is a reducing flame—it reduces the risk of oxidation and is sometimes called a clean flame. Use it to anneal, when depletion gilding and when melting sterling or karat gold.

Return to a neutral flame by turning down the fuel, then add more oxygen. The torch will make a high pitched hissing noise and the flame will become paler and more pointy. This is an oxidizing flame. I’m not aware of any use for this flame in metalworking.

Tubing

Anyone who makes boxes will sooner or later need to use tubes, so let’s take a minute to discuss them. Information in this section will be referred to many times in the example projects through the book. In addition to length, tubing size is described by its inside diameter (i.d.) outside diameter (o.d.) and wall thickness.

Tubing can be made in the studio or purchased, usually in foot-long sections. Commercial tubing is made through a continuous casting process and has no seams. It is usually sold in a hard or half-hard condition. Some suppliers offer a range of tube diameters and several wall thicknesses, but most have a relatively limited selection.

If you have a drawplate you can reduce the diameter of tubing—a process that will automatically increase the wall thickness at the same time. To do this, take a piece of brass or sterling wire about an inch long that fits snugly into the tube. Slide the wire about 1/4” into the tube and solder it there, taking a moment to anneal the tube while you’re at it.

Quench, rinse and dry the piece then file the wire to a gradual taper that blends smoothly into the tube. Pull this through a drawplate exactly as you would draw wire, moving sequentially through increasingly smaller holes. It is important that the pulling motion is exactly perpendicular to the drawplate. If you pull at an angle the tube will become curved. To correct this pull the tube through the same hole while angling the motion opposite the curve. As with wire drawing, it might be necessary to anneal the metal or re-file the tip during the process.

Making Tubing

Some people prefer to make their own tubing, either for the pleasure of the process or because they need a size or material not readily available. Start with a strip of thin metal that is slightly wider than 3 times the intended diameter. To make a 4 mm tube lid start with a strip 14 mm wide (3 x 4 + some more, in this case 2). It’s easy enough to draw a tube down if your guess was a little generous but impractical to make it larger.

As a general rule use sheet metal no thicker than 24 gauge. Access to a drawbench makes it possible to draw thicker metal but even then it requires a lot of effort. Start by creating a perfectly straight edge with a large file. Set a pair of dividers to the intended width and pull these along the sheet so one leg runs along the straight edge. The other point will trace a crisp line that is reliably parallel. Saw this out neatly and smooth it with a flat file. I suggest working with strips roughly 3-6” long. Much shorter and it’s not worth the bother; much longer and the process can become awkward.

Use scissors to cut a point on one end of the strip. Most of the forming of the tube will be accomplished by the drawplate but it’s necessary first to get the curve started. Set the strip on a piece of rubber, a sandbag or across a trough cut into a block of wood and lay a solid rod (such as a large nail) along its length. Strike the rod with a mallet then tap the strip so it warps around the mandrel. The goal is not to form the complete tube but to make a trough that is in cross section slightly more than a half circle. It is especially important that the pointed end is well shaped because this is the part that will be fed through the drawplate.

As described above, pull the strip through the drawplate with a smooth perpendicular motion. If the point was symmetrical the seam will probably be straight. If the tube appears to rotate slightly this will not cause a problem. After soldering the seam will be invisible. Pull the strip through successively smaller holes until the edges just touch. If the gap is not perfectly parallel, insert a strip of sandpaper folded over so it has grit facing out on both sides. Pull this along the seam until it travels smoothly. Anneal the blank and pull it through one or two holes—just until the edges touch. Clean the tube with Scotch-Brite (drawplates are often oily or waxy), apply flux and close the seam with hard solder. After pickling, rinsing and drying, file off any lumps of solder and pull the tube through one or two holes in the drawplate to “erase” the seam. This tube can be used like another other, including additional drawing as needed.

Reamers are used to enlarge holes or to scrape away metal from inside a tube. When making hinges, reamers are used to provide increased friction between the hinge pin and the interior of the knuckles.

2 Building a Box

This chapter describes several techniques used to make boxes and lockets, including in some cases an introduction to the tools being used. The selection of processes shown is a sampler from the many techniqes that can be used to enclose a space.

Making a Rectangular Box

A simple rectangular box is both basic and elegant. Its crisp corners, straightforward form and versatile shape make it a box format you’ll use often. Simple variations on the proportions will yield everything from a treasure chest to a locket.

Layout

The selection of metal and thickness will depend on the use of the piece and the value you want to attach to it. The techniques described below apply equally to gold, sterling, brass, nickel silver and copper. Any may be used, though gold and sterling will of course result in a more valuable piece. Base metals will tarnish more quickly, but they can be finished with patinas that have a special beauty all their own. Because the process is almost identical regardless of the metal being used, it’s possible—in fact encouraged—to make a test piece in an inexpensive metal as a test, even when your intentions are to create a final piece in silver or gold. This is not a matter of being cheap, but a recognition that when the materials are inexpensive you might be more willing to take risks, both with design and technique. And how does anyone learn except by taking risks?

The example is 2” wide by 1” deep and 3/4” tall. (5 cm x 2.5 cm x 2 cm ). I’m using 22 gauge sterling, though the slightly thicker 20 gauge would also be a good choice. A heavier gauge adds cost, makes the process more difficult, and will yield a box I’d consider bulky. I’d advise against using thinner material like 24 gauge because it is likely to warp during soldering. Also remember that after all construction is completed you will need to file, sand and polish the box. Each of these processes removes material, so it’s smart to start with stock that is a little thicker than the intended result.

Make one edge of the sheet perfectly straight by filing with a flat file. Check the edge by holding it up to the light against a ruler or other reliable straight-edge. The metal might have come from the supplier with a good edge, but always check to be sure. This will be the baseline for all other measurements, so don’t move on until it is exactly correct.

Use a square to establish the corner, checking it from both sides to be certain the angle is correct.

Use a machinist’s square (also called a try square) to scribe a line that is exactly perpendicular to the first edge. Note that the $5 carpenter’s square used for cutting lumber is not exact enough for work on this scale. Invest in a precise square and treat it with respect. Once you have established a perfect right corner, use it as the baseline for all subsequent measurements.

To layout a strip with parallel sides, drag one leg of a dividers along on prepared edge. Scrub the metal with Scotch-Brite in a circular motion to allow the scratch line to show up clearly.

The most reliable way to scribe a line parallel to the edge is also the easiest. Open a pair of dividers to the total height of the box, set one leg just over the edge and pull the tool along the metal. This will leave a delicate scratched line. Determine the height of the box without the lid and scribe this line in the same way.

With a ruler, measure off a panel slightly larger than two adjacent sides; the front and one side, for instance. These measurements can be rough and will be made more exact later. Cut off two identical pieces so you’ll have a front-and-side and a back-and-side.

Bending Corners

In its simplest form, a box has five panels—front, side, back, side, and bottom. Metalsmiths don’t usually assemble a box from five separate pieces because of the difficulty in keeping them properly aligned. It is much more common to measure and cut a sheet of metal large enough for two or three of the pieces, then bend this into shape.

The bending process you use has a huge effect on the nature of the box or locket. Corners can be crisp or rounded, precise or approximate, square or irregular. As much as any other element in boxmaking, this sets the tone of the box. There are many ways to bend a sheet of metal, each option having its appropriate uses. Let’s lay them out in a sequence that runs from “less crisp” to “more crisp” corners.

Bending Brake

A bending brake can be used to make corners without scoring. They come in all sizes, from a simple model like this to huge, motor-driven units.

An easy way to bend metal sheet is to press it over a sharp edge like the edge of a table top. Depending on the thickness and malleability of the metal, this will give a relatively sharp corner. A slightly better version of this is to grasp the piece between two pieces of hardwood or similar supports in a sturdy vise.

A tool called a brake ranges in size from two-foot tabletop models to something as large as a truck. They all have a horizontal metal table or bed and a gripping plate that holds the metal in place. A hinged arm can then be moved, either by hand or with hydraulics, to bend the sheet into position.

To see the result of corners made this way, just look around you. Toasters and refrigerators are metal boxes made in brakes, as are filing cabinets and desks. Small brakes are useful tools for people making boxes, but even with great care they will always create a rounded corner.

Five Techniques for Making a Groove

To bend a crisp corner in sheet or wire, it is necessary to create a groove along the fold line. The idea is to create a V-groove that will translate to a mitered corner when the adjacent panels are bent in such a way that the groove is closed. The angle of the V determines the angle of the corner (or vice-versa). To create a square corner, the angle of each side must be 45-degrees, which is to say, the V must have a 90-degree angle. Figure x-x shows the angles for other corners.

Corners are made by filing a V-groove; the angles of the V are determined by the corner you want to create. For a aquare corner, remove 45-degrees from each side of a center line so the resulting groove as a 90-degree angle. A triangular box calls for wide angles of 120-degrees.

Grooves for scoring can be made in several ways, from quick-and-rough to painstaking-and-accurate. Typically the choice of method depends on the length of the bend, the tools at hand, and personal preference.

1. Hammering against a corner

The fastest way to create a groove is to strike the annealed sheet over a sharp edge. The metal must be annealed again before trying to make the bend.

This is a quick method often used by blacksmiths to create a V-groove. Select a sharp corner, typically on an anvil or, as here, on a bench block. Hold the sheet at a 45 angle and strike a confident blow onto the sheet at the same angle. The hammer face should hit the metal flat on. It’s best if this is done in a single blow, because with each strike the metal risks shifting.

The corner is then annealed—the blow has severely work hardened the metal at exactly the point where we need it to bend. It is then cleaned up with a file, bent and soldered to strengthen the corner.

2. Using a wire

A hardened steel wire is struck with a hammer to press a crease into the metal for folding. Here again it is important to anneal the sheet before bending.

This is a variation on the method just described, but in this case a strong wire is substituted for the anvil corner. Lay a piece of steel wire (piano wire, paper clip, etc.) across the sheet where you want to bend to occur. It can be taped into place, or bent in such a way that it grips the sheet. Strike the wire with a hammer, again trying to accomplish the entire groove in a single blow. As before, the sheet is annealed before attempting the bend.

A variation on this is to use a rolling mill to press the wire into the sheet. This method is a little difficult to control because the wire is out of sight between the rollers at the moment it is doing its job. The advantage of using the mill—the tremendous pressure it creates—is offset by the tendency of this pressure to exaggerate minor irregularities. If a wire is even slightly curved, the groove it creates will probably be very curved. This tendency makes this technique very effective for organically shaped boxes, but means this method is not recommended for making precise angles.

3. Grinding

A separating disk, here used with a flexible shaft machine, is used to cut away material for a folding groove. Goggles must be worn when grinding like this.

Use a separating disk—a wafer-thin wheel of silicon carbide abrasive—in a flexible shaft machine to cut a groove. The trench that results has vertical walls and this technique is not nearly as precise as filing. To improve it a little, follow the separating disk with the corner of a miniature grinding wheel. During both these operations, it’s important that you protect your eyes with goggles.

4. Scraping

To make a scraper from an old file, heat the tang and bend it to roughly a 90o angle. The tip should be filed to shape before making the bend.

Drag the sharpened scraper along the groove, pressing down with enough force to tear up small shavings. Continue until a slight bulge appears on the underside.

In this process, a hardened steel tool is dragged across a surface to scrape off flakes of metal. This technique is often preferred when large sheets are being bent. If possible, clamp the sheet to a table as shown, using cardboard pads at the clamps to avoid scarring the metal. Note that the area at the end of the scored groove is liable to be damaged, so you might put a piece of scrap wood or matte board under the metal sheet. Use a scribe and straight-edge to start the line, making a dozen or so passes, then continue with a scraper, increasing the pressure as the groove gets deeper.

Use the tang of a discarded file to make a scraper.

To make a scraper from a file, grind or file a point on the tip of the tang. It will look like the roof of a very tiny house and should slope toward one end. If the groove is to be 90-degree (as in this example), that is the angle you should make on the tang. Find a way to clamp your torch so you can heat the tool and have both hands free. Holding a stout pair of pliers in one hand and the file in the other, heat the last 1/2” of the tang to a bright red color. Moving quickly, grasp the tip and bend to about 90-degree. If you didn’t get it in the first try, return the tool to the flame and repeat the process. When it looks right, heat the tip to bright red again and quench it immediately in water. (This is an overly simple method of hardening but it is sufficient for this tool.) Use sandpaper or a whetstone to hone the tip if necessary—it should feel sharp to the touch.

To use the scraper, set the tip into the scribed line at the far side of the plate and pull the tool toward you, applying pressure with your thumb. It’s very easy for the tool to jump out of the groove, so don’t press down too hard at first. If you’re pressing hard when it skitters off sideways you’ll make a nasty scratch. As the groove gets deeper you can increase the pressure. This method is slow but will always yield success if you take your time.

5. Filing

Raise the angle of the file with each successive stroke.

Use as large a file as possible and start by holding it at a steep angle against the edge of the metal, (Figure x-x). Cut a series of strokes, raising the handle end slightly with each stroke until the file lays flat across the workpiece. The effect is to create a V-shaped groove that grows from the edge toward the center. When it reaches about halfway across the sheet, turn the metal around and repeat the process from the other side. This simple method prevents the file from skating sideways across the sheet, something that is almost guaranteed to happen if you start by laying the file flat onto the sheet. For a right-angle bend on a narrow strip I use a square file or the corner of a flat file.

To file the groove, start by holding the file at a steep angle. This will allow it to “bite” the edge and prevent sliding sideways.

After filing a groove from one end, turn the strip around and start from the other side

.

To modify a needle file to reach the inner part of a groove, heat it to red and press it against a soldering block to curve it slightly. Be sure a corner of the file is facing out, away from the curve.

This shows the curved needle file being used to complete a filed groove. This tool is also handy for opening out a groove cut with a separating disk.

When working on a wider strip, say over an inch, it can be a little awkward to reach the midsection. Here’s an easy trick: Select a square or triangular needle file that you can dedicate to this purpose. Light a torch and clamp it upright (or have a friend hold it) so you can have both hands free for the next step. Heat the file to bright red at a point about a half inch from the tip, then grasp the tip with pliers and bend the file in a gentle curve, something like the shape of a ski. Quench the file in water to harden it. This curve will reach nicely into a groove to widen and refine it.

Creating L-Shaped Pieces

Use one of the methods described above to score the line just marked — in this example I will use a file (method 5 above).The front of the box will be 2” wide; attached to it is a 1” side panel. Measure in 2 inches from the end and add a little more, then make a perpendicular scribe line at this point. The goal is to make an “L” that will be slightly oversized.

To test a groove, press the sides lightly—they should reveal a sharp edge when bent even a small distance. Do not try this too often or the scored groove will break.

Fill the groove by flowing in a piece of hard solder as soon as possible. Avoid doing other work on the panel until strengthing the corner or the piece may break.

Cut one leg to the intended length, then set it nose-to-nose with its partner to transfer the dimension. File both edges until they are clean, square and even.

Continue until the groove is cut almost all the way through. Time spent here will create a crisp corner; stop too soon and you’ll get a rounded corner that will not match the others.

Turn the piece over periodically during scoring to check your progress. When the groove is deep enough, a slightly raised line will appear on the reverse. Resist the temptation to test your work by bending the piece. It is fragile and will break if it is bent and opened out too many times.

When the groove is almost all the way through, you will be able to bend the panel using only your fingers. With light pressure the corner will crease, creating a sharply defined edge that is visible on the back, figure x-x. There is never any reason to use a hammer or mallet to bend a scored corner. To do so risks marring the metal and distorting its shape. If the piece doesn’t bend in your fingers, the scoring is not deep enough.

Bend the panel at the scored groove into a right angle and check it against a try square—that’s where the name comes from, to “try” or test the angle. Adjust it until the angle is exactly 90-degrees, then paint the inside of the joint with flux and set the piece aside on a soldering block. Repeat the process with the other panel. To reinforce the corners, lay one or two pieces of hard solder into the corner and heat evenly until the solder flows along the groove.

Measure the shorter leg of one of the pieces to the desired length, in this case 2.5 cm, (about 1”). Note that you can measure either the inside or outside dimension, depending on the requirements of your box. Mark the correct length and use a square to scribe a line that is perpendicular to the edge. Cut and file to make this edge straight and clean, then set this piece toe-to-toe with its partner as shown. Transfer the measurement to the second unit and cut it to match.

Construction Sequence

When both “L”s are soldered, measured and cleaned I lay out the divison between lid and box and saw the pieces apart.

If the pieces have right angles and the opposing ends are the same length, the frame will be a symmetrical rectangle, guaranteed.

A familiar question in box construction concerns the sequence of making the box and lid. One school of thought is to build a single unit to the size of the finished box, then cut the lid portion off after construction is complete. The advantage of this method is that any irregularity in the box segment is automatically created in the lid portion at the same time. If one out of square the other does too, so they’ll still match. A disadvantage is that cuttting two pieces apart is not easy. Because the blade is cutting in two places at once (at the top and bottom of the form, on two facing sides) the saw can easily wander off the line.

The other solution is to lay out and construct the lid and box in identical but separate operations. This has the advantage of allowing clean edges and easier forming, but requires careful work to ensuer that the piece fit.

I prefer a middle course: I lay out the box and lid together but cut them apart before forming. In other words, I cut each “L” into a tall and a sort section for the box and lid, respectively. In the case of a locket it is typical that the two sections are the same depth. If this cut wavers badly it will be difficult to keep the box symmetrical so make every effort to cut precisely.

Lay the lid (shallow) pieces aside and position the two taller L-shaped pieces so they make a rectangle—the beauty of this system becomes clear. Because the two shorter panels are exactly the same length, the two longer pieces, the front and back, have no choice but to be parallel. It’s foolproof! The only decision left to be made is the length of the box, which in this example is going to be 4 cm, or about 1 5/8”. Make a tiny scratch on the top edge just past that point and position the pieces on a flat soldering block. Flux both corners and apply a few chips of hard solder on the outside of the two joints. This excess metal will be cut away after soldering.

Use a generous flame and move it back and forth over the box to develop an even heat. The goal is to bring both units to the soldering temperature simultaneously. Remove the flame as soon as the solder flows then quench the piece in water. After soldering use a chemical solution to dissolve oxides and flux residue. This chemical, called pickle, is used either at room temperature or kept warm in a crock pot. In former times white vinegar mixed with salt was used for this purpose (hence the name) but now most metalsmiths use a commercial preparation. Allow the work to soak in pickle for a few minutes, then rinse the piece in water and inspect the joints to be certain the solder flowed completely.

Inserting the Panels

Saw out the bottom, a rectangle that make a tight fit in the frame. File as necessary to make the bottom snap into place.

Use a coin or scrap of sheet metal to insure that the depth of the bottom is uniform. The box could be inverted with the coin out of sight beneath, then the wooden dowel would be used to press the bottom panel down onto the coin.

Now that we have a frame it would be possible to simply set it onto a sheet of metal, solder it down and trim off the excess to complete the box. I prefer to fit the panel inside the walls, a process that takes a little longer but is worth the effort for three reasons:

1. When a wall frame is simply sitting on top of a panel during soldering, warping is almost inevitable and though subtle, it can push the box out of square (or round, or oval, etc.). This looks bad and will cause the box and lid to make a poor fit.

2. It’s also very common for the bottom to warp when heated and prevent the box from sitting flat. This problem is so common that almost every container that sits on a table, from paper cups to fine china, has a rim or “foot” to reduce the contact surface. By insetting the bottom, only the frame touches.

3. In the case of geometrically regular boxes—squares, rectangles, ovals and so on, it is relatively easy to achieve a perfect silhouette in sheet metal by careful cutting and filing. Regular shapes like these can be made with layout tools such as a try-square, ruler and dividers, or with commercially made plastic templates. Craftspeople familiar with computer drawing programs might also find it efficient to draw the panel on screen then glue the printout onto metal sheet. The method is not as important as the result—shapes that are exactly symmetrical.

An advantage to this technique is that work on the panel is independent of the frame. If the shape gets wrecked in the sawing process, it is easy enough to start over with a new piece without having damaged the wall frame. It’s also a simple matter to lay the top and bottom panels together to be certain they match. By squeezing the “perfect” rectangle into this frame, I know with certainty that the box will be correct.

All these benefits depend on a tight fit between the wall frame and panel. It should take a firm pressure with both hands to force the panel into place—fingers, but no tools. If you need to use a hammer to tap the panel into position it is too tight. Don’t force it so much the panel buckles. Instead, pull it out, file the edges a stroke or two, and try again. Proceed slowly so you don’t make the frustrating mistake of taking away too much. As you approach a good fit, file a bevel on the edges sloping toward the outside of the box. This will provide a space for the solder to run .

To ensure that the recess is uniform, set a small flat object like a coin or piece of popsicle stick under the box and press down until the panel is touching the support. I usually place the solder on the shallow side of the recess, i.e. the underside of the box and the top of the lid, but unless the box is very deep (which hampers flame control), either side will work. Use as little solder as possible because any excess is difficult to grind away.

Apply flux to both sides of the panel and set chips of solder around the edge. It is better to use several small pieces than only a few larger pieces of solder because smaller piece will melt sooner. As before, heat the entire box and floor panel evenly and remove the torch as soon as the solder flows. Repeat the process for the lid exactly as it was done for the box. You will end up with two units that are identical except for their differing heights.

Completing the Box

Rub the box onto sandpaper of increasing fineness to make the edges true and smooth.

An interior bezel is cut into a strip that fits all the way into the lid and extends just enough to grip the inside lip of the box.

The finished bezel can be adjusted by rubbing it with any blunt tool to press it in or out as needed to make the correct fit.

At this point you could turn to Chapter Two of this book to select an appropriate hinge, then choose one of the catches from Chapter Three to complete the project. But as anyone who has opened a shoe box knows, hinges and catches are not essential to every box.

To complete this box in a simple but elegant manner, start by refining the interface edges, the place where the top edge of the box touches the bottom edge of the lid. Lay a piece of sandpaper onto a flat surface and slide the box across it. This process is made both easier and more effective by taping or gluing sheets of paper onto pieces of Masonite or Plexiglas. If you have three pieces of Masonite, each 10” x 12” you can glue a sheet of sandpaper onto each side, providing a sequence of 6 grits. Move systematically from the coarsest to the finest (typically 80,120, 220, 320, 400, 600) to create edges that are uniform, flat and free of marks. Rub both the box and lid until all edges are smooth.

To locate the lid onto the box, make an interior lip called a bezel. In this case I’ll add it to the lid, though it is often attached to the box instead. Both arrangements work well. Use a thin gauge of sheet metal (in this example I’m using 26 gauge sterling) that is about 2 mm wider than the interior height of the lid. This is marked, scored and bent to make a thin frame that will fit into the lid. It is soldered into place. The solder should catch the bezel at several points around the lid but it is not necessary that it flow in a continuous join.

The reason for using a thin sheet to make the bezel is that it allows for easy adjustment to make a snug fit. After soldering and clean up, press the lid onto the box. If it is too loose or too tight, use a burnisher to press the bezel inward or outward as needed to correct the problem. As the bezel wears over years of use, adjusting the tension will be just this easy.

Making Cylinders

Making a straight-walled cylinder is more challenging than it might at first appear. First, it is the nature of a metal sheet, when bent into a cylinder to deform more at the edges than in the center. An extreme example of this is illustrated here. This phenomenon is somewhat evident in a finger ring and becomes increasingly obvious as the height of the cylinder grows.

When metal sheet is bent into a cylinder, it tends to stretch at the ends.

A second problem stems from the fact that many of the tools we use to make forms round are tapered. To make a ring round, for instance, we slide it along a tapered mandrel until it snugs up against the taper. In the case of a tall cylinder, this means that only the top and bottom edges can be made round. For this reason, a collection of untapered mandrels, like steel rods and pipes, is useful when making cylinders.

Lap Joints

A lap seam provides much greater contact between the parts being joined.

A cylinder is made by bending a sheet of metal until the ends meet. Bringing the two edges together makes a butt joint, a seam that is both difficult to achieve and fragile when completed. It is much better to close a cylinder by overlapping the edges, a process that dramatically increases the surface area brought into the seam. Though the difference appears small, a lapped joint has at least five times the surface contact of a butt joint.

If the ends are overlaped, the joint area will be twice as thick as the rest of the cylinder. To compensate for this, planish a strip about 1/4” wide on each edge of the panel, tapering it to paper thin at the edge. This is called scarfing. Smooth out the hammer marks by filing and trim the outer edges where hammering has spread the form.

Closing a cylinder in which the edges overlap brings a special problem: the edges want to slide past one another when the form is cinched with wire to pull it tight. To get around this, use a ruler or dividers to mark short lines equidistant from the top and bottom edges. Saw along these lines to just more than half the width of the scarfed (tapered) section. Either use a large saw blade or cut away a very slim “V” at each of the four locations.

Bend the cylinder into a forming block or sandbag. There are many ways to do this, all of them variations on the method shown here. I’m using a wooden dowel similar in size to the intended cylinder. Set the dowel onto the edge of the panel and strike it with a hammer or mallet. Repeat the process along the opposite edge, then strike one more time in the center of the panel. This should be enough to bring the edges near to each other.

As a first step in making a lap joint, the panel is hammered at both ends to thin it, a process called scarfing.

Bend the sheet up by striking a steel rod onto a sandbag.

Continue until the cylinder pulls up into shape.

Lift and lower opposing tabs so they can engage. This will prevent the cylinder from simply rolling itself smaller as the joint is cinched with binding wire.

Use a stout winding wire to pull the edges tightly together. I brush flux into the joint then use a mallet to pound the seam flat for soldering.

Disks have been soldered into place for the bottom and top and the surface is cleaned up with a file.

This is the finished box, here using a standoff hinge made by soldering a piece of sheet onto the rim of both the lid and the box.

Use pliers to bend the fingers on one side upward so they will engage with the fingers of the other side as shown. Slide a dowel, pipe or similar form into the cylinder, and strike the joint with a mallet to set the fingers firmly down on each other. It will now be possible to wrap the form with stout binding wire, twisting it tight enough to secure the cylinder for soldering.

A circle cutter is a cutting die in which a hammer blow is used to force a punch through a sheet with the help of matching plates, one above and one below the metal being cut.

Use a wooden rod to tap the punch safely out of the disk cutting die.

Flux the seam inside and out, apply solder and heat evenly. After pickling and rinsing, slide the cylinder onto a steel mandrel and planish the seam with a steel hammer to smooth it out. After filing and sanding, the seam will almost disappear. If the fingers are unwanted, make the cylinder overly long and cut off those sections after soldering.

Crimped Joints

Bend the edge of the panel over a sharp corner with a mallet.

Continue bending the strip, this time with a piece of metal (here, brass) in position to prevent the fold from closing up entirely.

After making a single bend on the other end, roll the panel into a cylinder and slide the two folds together.

Mallet the crimped joint onto a stake to make it flat. It can be soldered or left as a cold connection.

Hardly a day goes by that we don’t see a remarkable example of a seamed cylinder. We call them tin cans and we take them for granted, but they are the result of years of research and engineering evolution. Though there are several variations, lets look at the most familiar method used to form a can; from there you can devise your own variations.

Start by bending one end over on itself, inserting a strip of metal to prevent the fold from closing completely. To do this, scribe a line parallel to the edge—in this example we’ll make it 1/4” in—and go over the line repeatedly to make a groove. With the metal on a yielding surface like a folded newspaper, strike a table knife onto the line to start the bend. Fold the metal and insert a metal spacer equal to the width (1/4”) and long enough that it sticks out each end slightly.

Grasp the folded area in a vise and bend it 90-degrees to create the situation shown in figure x-x. Bend a single 1/4” fin on the opposite end.

Bend the metal around to make a cylinder and insert the shorter flange into the bent-over, longer flange. Crimp the joint closed against an anvil or in a vise. Set the cylinder on a steel mandrel and pound the crimped joint flat onto the form. In some cases it might be necessary to add a bit of solder, but when properly made this is a very tight joint, even without solder.

Dies

The previous section described a rectangular box made of planes. This section describes a few simple techniques used to make curved boxes and lockets. These can be made freehand with mallets and a sandbag, but for consistent results—and parts that match—it is more common to use dies.

Dies are tools that impress their form on a softer material. We use dies all the time, often without knowing it. A cookie cutter is an example of a cutting die; a gelatin mold is an example of a forming die.

Cutting Dies

Most cutting tools (scissors, knives, etc.), are freehand devices. They are as accurate as the person using them. This is distinct from a cutting die, a tool that carries a specific silhouette and will reproduce it exactly every time. Anyone who has cut out gingerbread men cookies understands how cutting dies work.

A circle cutter is a cutting die in which a hammer blow is used to force a punch through a sheet with the help of matching plates, one above and one below the metal being cut.

Use a wooden rod to tap the punch safely out of the disk cutting die.

In the case of metalworking the process is slightly more complicated because the tools need to be made of hardened steel and held in perfect alignment. The photo here shows perhaps the most common cutting die among metalsmiths, a disk cutter. The tool consists of two identical plates of thick steel that are pierced with a sequence of round holes. These two plates are held parallel and slightly apart by a steel spacer. For each hole there is a hardened steel rod (called a punch) of exactly the same diameter. It must be a very snug fit in order to make a clean cut.

To use a disk cutter, start by setting it onto a solid surface, preferably not a anvil because this will damage both the tool and the anvil. A length of tree trunk or wooden beam is an excellent working surface. Slide the metal to be cut into the die, sighting through the hole to locate it properly. Slide the correct punch into place so it rests on the metal. Strike the top of the punch with a large hammer, the goal being to force it through the sheet in a single blow. Avoid tapping the punch as if you are driving a nail because each tap moves the sheet metal slightly, almost guaranteeing a ragged edge and scarred surface.

It is not unusual for the punch to become stuck in the die. Do not try to pound it through! The top of the punch becomes wider as it mushrooms out in use. This means your efforts to force it through will only press the punch tighter into the hole, damaging both parts of the tool. Instead, turn the die over and pound the punch out with a wooden dowel. It’s tempting to use a smaller punch for this job (because it’s right there) but don’t do it. Again the result will be to severely damage both the punch that is stuck and the one you were using to drive it back. I like to set the die over the opened jaws of a vise, which allows the punch to drop safely out as soon as it is loosened.

Conforming Dies

A dapping die and punches belong to the family of conforming dies, tools that press a relatively malleable material between a positive and negative of the same form, in this case a dome.

Conforming dies consists of two parts that fit neatly into one another. These are used industrially to stamp out thousands of items, from spoons to truck bodies. Generally, the high cost of having a conforming die made from steel is prohibitive unless many pieces are being made. Fortunately for us, the most generic conforming die—one that makes a flat circle into a dome—is sold at a relatively low cost. It is called a dapping die.

This die can be found in brass and wood, but the best version is a steel cube, usually 2” or 2 1/2” on each side into which various size hemispherical depressions have been cut. The block is only half the die—it needs a matching element called a dapping punch to complete the tool.

To use this die, select a cavity that is larger than the disk being formed and choose a punch that makes a loose fit. There should be enough difference between the parts of the die to allow for the thickness of the metal. Set the die on a solid table, drop the metal disk in the hole, and strike the punch down on it with a medium weight hammer. Strike a couple of blows, listening for the solid thump that tells you the punch has hit the die or “bottomed out.” To increase the curve, move the dome to a smaller die cavity and use the appropriate punch to repeat the process. Continue moving down the sequence of die holes until the desired curve is achieved, annealing between steps if necessary.

Non-conforming Dies

These dies, also called silhouette dies, consist of a cut-out area in a rigid form. Unlike the dapping block, this open area has no floor. The metal is temporarily held against the die and a variety of tools are used to press the metal downward.

The outer dimension—the silhouette—will always be the same, but the volume can be different with each pressing depending on how the tools are used. It’s possible to get consistent results with non-conforming dies, but for me part of their value is the ability to get different effects. The edge will always be the same, which means a box and a lid will automatically match, but the forms you generate within the silhouette can vary widely. On a continuum between working freehand and using conforming dies, these tools fall about midpoint. The following two examples demonstrate these dies.

Making a Locket Using a Conforming die

Create two identical domes by using a dapping die as described above. These two domes will be soldered into a wall to make the front and back of the locket. In order to make a neat appearance after soldering, rub the bottom edge of each dome on sandpaper to make it flat. File around the circumference of both domes to create a vertical edge that will be make a solid connection to the wall.

File the edges of a dome to create flat surfaces that will make a cleaner and stronger solder joint.

Cut two identical strips from sheet metal; I’m using 20 gauge (.8 mm). The correct length can be calculated mathematically by multiplying the diameter times π (pi, 3.14). Add two thicknesses of metal and you’ll be very close to the mark. Alternately, wrap the strip around the dome as if measuring a bezel for a stone. Cut these two strips with shears or a saw, taking care that the edges are parallel. Make two rings from these strips and solder each one closed with hard solder. True up the ring on a mandrel to make it perfectly round and test the fit against the domes. At this point the dome should not quite fit inside the ring. If the rings are too small they can be stretched by forcing them along the mandrel with a mallet. If they are too large, cut out a piece and resolder the joint.

Make the outer rims of this locket by bending around two identical strips of sheet metal.

A rim for the inside of the locket is made by planishing a ring of round wire. Not the high polish on the planishing hammer—this is the finish that will be transferred to the ring.

If the rim is too large it can be marked with a saw while in place inside the wall of the locket. The rim wire is cut, resoldered and fitted into the wall.

The rim is then soldered into position with hard solder.

As with the rectangular box, the dome is carefully trimmed to make a pressure fit into the ring. Patience and care in this stage will make a much nicer locket.

Use very small bits of solder to connect the dome to the walls. Because the fitting was precise, only a small amount is needed. Using too much will make a messy joint that will be difficult to clean.

You may choose to make a delicate interior rim inside the locket. Here’s how: Set the domes aside and use a small gauge square wire to make rings that will just fit inside the wall frame. If you don’t have a square drawplate or square wire, make the ring from round wire and leave it a tiny bit too large. Lightly planish the soldered loop to flatten it. File the outer circumference to create a flat outer edge and at the same time reduce the size of the loop so it fits into the wall. Press the ring all the way in and solder each rim wire with hard solder .

Press the domes into place, making sure they have a uniform recess. If a dome is loose, planish the edge of the dome lightly to stretch it. As the pieces approach the correct size—and there is typically some stretching and filing going on to achieve this—clean the inside of the ring with a Scotch-Brite pad so once the pieces snap together you will be ready to solder.

Press the pieces together, flux inside and out, and place six or seven small pieces of hard solder along the joint. Heat as broadly as possible to ensure that the solder will flow uniformly around the entire circumference. In the case of a locket, these two pieces should be exactly identical. To make a box, follow the same plan but make one wall taller than the other and use a flat disk as the floor in that unit.

To complete the locket, select a hinge and a clasp from the later sections of this book. The cradle hinge is the traditional choice for a round locket or box but you may find that other styles of hinges suit your design better.

Making a Box with a Non-Conforming Die

The beauty of a conforming die like the dapping die is that it gives identical units every time. The disadvantage is the same; that every time the die will create identical units. This is great for efficiency but can put a strain on creativity.

Dies can be made of nothing more complicated than Masonite glue¿ to plywood or particle board. Sawing is done with a spiral sawblade.

Attach the annealed sheet to the die with short flat-head screws. Note the paper that was used to help determine the location of the holes.

Start by tapping a large dapping punch over the sheet to locate the opening of the die. Work concentrically to press the metal down into the die hole.

The form can be modeled to many contours by changing tools and altering the direction and force of the blows. Remove the metal and anneal it as necessary.

When the form is complete the flange is sawn off, except for sections that might be used for hinges, catches or decoration.

The finished box. The catch swings open on a pivot to release the lid.

As described above, a non-conforming die creates for a consistent, repeatable outer edge while allowing wide variation in the contour of the form. I’ll illustrate this by making an asymmetrical box using a non-conforming die.

Draw a silhouette of the top view of the box, in this case an asymmetrical rectangle with rounded corners. In this example I’m going to use the die to create both the top and bottom of a pillbox, but it would be possible to construct the box by scoring and folding sheet metal, then to use a die to make a matching lid. If that were the case I’d make the box first then trace it onto the die block.

The first part is pressed into the die like this.

The die is then flipped over and the second piece (gree) is formed. The yellow outline shows how the first piece relates.

Short-use dies can be made from sheets of plastic or wood or by layering both together, creating a material that is economical, easy to saw, and capable of holding a crisp edge. In this case, I’ll use a piece of 1/4” tempered Masonite glued onto 1/2” plywood. If the form will be used many times, and particularly if the edge of the form must be sharp, substitute plastic (e.g. Plexiglas) for the Masonite.

One of the advantages of a silhouette die is that components can assume different contours while still having the same perimeter, which means they will match where the meet.

Draw the form on the block and drill a hole inside the line. Use a jewelers sawframe or coping saw to cut along the line, then refine the edges by filing. When making a symmetrical form it is possible to use only one side of the die, so the underside can be left irregular. When making asymmetrical forms like this one, both sides of the die will be used. It is very important in that case that the walls be exactly vertical. If they tilt, the opening on one side will be larger than the opening on the other—the two forms will not be identical. To check this, trace the hole onto a piece of paper with a pencil, then flip the die over and trace it again. The two outlines should be a perfect match.

This process requires a piece of metal that is at least 1/2” larger all around than the opening in the die. The part of the sheet that sits on top of the die is called the flange, a skirt that is a necessary byproduct of die forming. The flange can be cut away entirely after the forming is finished, but as you’ll see in this example it can be used to good advantage. In this box I’ll use it to add interest to the design and to provide a straight edge for the hinge.

For this box I will use 20 gauge. It’s worth noting that die forming usually allows a slightly thinner metal to be used than would be recommended for other forming methods. This is because in die forming the stress of deformation is distributed throughout the sheet.

The metal will be temporarily secured to the die with screws. Locate these around the form and drill a small pilot hole . A shallow form like the one being made here will need only one screw for each side, but deep forms will require attachment at each corner as well. Lay a piece of paper on the die and rub it with the side of a pencil point to locate the die opening and holes. Use this as a guide to cut out a piece of metal and locate the screw holes in it. Drill and saw out a hole here equal or a little larger than the shaft of the screw. Note: It’s dangerous to drill a large hole in sheet metal—the bit is very likely to snag on the metal and pull it from your hands. It is much safer to drill a small hole (no more than 1/16”), then saw to create a hole large enough for the screw.

Screw the metal firmly onto the die and tap it with a mallet to locate the edges of the die hole. Use a large dapping punch (or a similarly shaped piece of wooden dowel) to outline the form. In this box I want a shape that is contoured at the edges but flat for most of the floor, so I’ll limit my blows to the perimeter. If a deeper form is desired, direct the blows in concentric circles, always using punches that are as large as possible. If annealing is necessary—it won’t be in this example—unscrew the plate, anneal the sheet, and reattach it to the die.

The beauty of a non-conforming die is that it allows for a different depths in the lid and base. In this box I’m making the two pieces of a similar depth, but alternating the deepest section in each piece. The “shallow end” of the lid will be over the “deep end” of the box. When I have the first unit formed to a depth that looks good, I’ll lay a straight-edge across the form and measure the depth with a ruler. I’ll jot this down for comparison with the other half. Of course it’s also possible to work more spontaneously, working the metal into the die until it intuitively seems right.

When both pieces have been formed, remove them from the die and set them onto a flat surface. If they are warped, it’s easy to press the flange flat with a mallet. Select a location for the hinge and scribe a straight line with a ruler, then use a saw to cut off the rest of the flange. Set the pieces together, trace the outline of the first piece onto the second and cut away the unneeded flange on the second piece.

Using a Hydraulic Press

An alternate way to use silhouette dies is with the aid of a car jack and a sturdy steel frame. The concept is the same as using dies manually, but in this case the force is applied when the pressure of the jack is used to bring two steel plates together.

Advantages of Using a Press

- More pressure can be created

- Less physical effort is required

- More consistent results are possible

- Less stress on the metal allows use of thinner gauges

- The sheet does not need to be attached to the die

- Because the force is broadly distributed the process is less likely to damage patterned metal

The Press

A hydraulic press, this one manufactured by Boon Doon.

A hydraulic press is relatively simple: two vertical posts are welded to a base plate with a bar permanently attached across at the top. A horizontal plate is mounted inside the frame in a such a way that it can travel up and down. A hydraulic car jack is set inside the frame beneath the plate—when the ram of the jack extends, it lifts the plate and presses whatever is on it against the top bar.

Though the parts are simple, a press frame must be very strong and perfectly square. The force being used is tremendous so the possibility of injury is severe. Use only frames purchased from a reputable dealer—I’ve seen budget frames bend under the normal pressure of the process.

The dies for use in a press can be identical to those used with hand methods, but many other variations are also possible.

Urethane

In making the box described above, the metal was pressed into the die with a steel punch. It’s possible to duplicate that process with the hydraulic press, but more often the rigid tool is replaced with a pad of a tough rubber called urethane. As shown here, the urethane conforms to the die and presses the metal through the silhouette die. In this example the die has determined the outer shape of the form while the rubber pad (in this case, the ram) assumes the shape of the die.

A schematic shows how urethane (yellow) presses a sheet of metal into a silhouette die.

An alternate method reverses the parts. In this case, the punch is the rigid component of the die while the flexible urethane pad becomes the die. The punch can be made of any resilient material such as plastic, wood or metal. Many metalworkers use acrylic or Delrin for their punches because it is inexpensive and easy to carve.

To develop the best detail, the urethane should be “contained” by trapping it in a stout container of some sort. Here a section of 4” steel pipe has been welded to a steel base and fitted with a cylindrical pad of urethane. Trapping the pad in this way directs the force of the press back toward the ram, a process that ensures maximum detail.

These three forms will all created in the same die, all from the same thickness of metal. The only difference was the choice of urethane.

Urethane pad is made in several grades of flexibility called durometers. The two most common versions are 80 durometer (yellow) and 95 (red). Both are available in several thicknesses, generally from 1/4” to 1”. As you might guess, the deeper the form you want to create, the thicker the pad you should use. The harder pad (95) will yield a form with a flatter center and steeper angle at the perimeter than the same die with a softer urethane. Figure x-x shows three forms created in the same die, first by hand then with two grades of urethane.

In this case, the desired shape is formed on the ram (red) which is pressed into urethane. Having the urethane contained like this yields more control and a better form.

Advanced Uses of Dies

It’s easy to see how dies can be used to make identical locket parts, but this is hardly the end of the story. Ingenious designers can find ways to use die-formed panels as segments of boxes. Die formed units can also be sawn apart and recombined to make unusual forms. Though die forming is an ancient art, this modern steel-and-urethane method is encouraging a new generation of creative exploration.

Finishing Touches

Thickening the Rim

A flat strip of brass was soldered into the completed box to create a thicker rim. In addition to making the box stronger, the visual weight of the rim gives the container increased drama.

There is a split second of drama in almost every box or locket: the moment when the lid is lifted for the first time to reveal the interior. OK, no trumpets or drum roll, but for all its subtlety, the view that presents itself at that moment has a serious impact on our response to a box. One immediate observation concerns the edge, usually our first chance to determine the thickness of the material. Generally boxes are monolithic forms, objects characterized by their mass. When we lift the lid and peer inside the illusion is dispelled. This can be good (in fact having an interior is usually pretty important to a box), but the transition from massive object to thin sheet can be disappointing. Thickened edges on boxes and lockets can suggest a more substantial object, make them stronger, and prolong the life of life of these treasured objects.

These illustrations show some of the ways to thicken an edge.

The drawing shows some of the ways the edge of a box can be thickened. The first example shows how rectangular bar is used to make a frame that is soldered into a box. Most metal suppliers sell barstock in a range of sizes (in the case of gold it might be called sizing wire). This material comes from the refinery smooth, straight and uniform so it’s great to use, but it’s not too difficult to make similar bar by planishing or rolling a round wire into a rectangular cross section. Flat bar can also be cut from sheet when only a small amount is needed.

When planishing, use a hammer with a highly polished, slightly domed face. Stand close to an anvil or similar steel plate, reach around to its far side and point the wire directly back at yourself. This position insures that the hammer blows land flat, and it also reveals most clearly what happens when they don’t. If the hammer is angled as it makes contact, the wire will curve away from the point of impact. This situation should be corrected immediately because it will quickly get out of control if you don’t catch it right away.

When using a rolling mill, start by planishing the tip to the desired size. This makes it easy to determine the desired proportions and set the gap in the mill. Before rolling, take a moment to make certain the wire is straight because kinks and curves will be exaggerated by the rolling process. Keep tension on the wire both going into and coming out of the mill. In the case of a hand crank rolling mill this will require the assistance of a second person.

As previously illustrated in the round locket, an edge can be thickened by soldering in a metal ring. Make a hoop from round wire, true it up on a mandrel and flatten it with a hammer, then file the edges so the ring fits snugly inside the walls of the locket. The cross-section of the thickening rim is rectangular, but I don’t recommend starting with a rectangular bar. While it’s possible to bend a rectangle into a hoop the process is difficult and requires repeated annealing. Starting with a round wire is faster and easier.

In some cases, particularly in smaller boxes, sheet metal is used to create an interior rim. In the example shown here, a domed disk is set onto a sheet in which a circular hole has been cut with a saw. This is an example of a simple process that lends itself to a specific sequence. You could toss it together in a few ways, but logical progression through the following steps will guarantee a better result.

Make two identical domes and refine the edges by filing. Measure the diameter across the dome and set a dividers to exactly half this, the radius of the circular shape of the dome. Strike a tiny dimple with a centerpunch in the middle of a sheet, locate one leg of the dividers there and scribe an arc. This shows exactly where the dome will sit. Narrow the dividers slightly and use them to mark a concentric circle on the sheet. Drill a hole inside this line and use a saw to carefully cut out the inner circle, then smooth the cut edge with a half-round file.

The next step is to solder the dome onto the sheet, using the divider mark as a guide to the dome will be centered over the hole. But anyone with soldering experience knows that it is possible—no, probable—that the pieces will shift during soldering. It is therefore useful to learn a simple effective way to hold parts together for soldering.

Using Stitches

Stitches are sharp fingers of metal raised up out of sheet with small steel chisels called gravers. Stitches are used to locate parts, to prevent elements from shifting during soldering, and to hold small units like hinge knuckles. In this case the dome needs to be precisely centered over the hole when it is soldered onto the sheet.

A dome is formed in a dapping block and filed to make a true edge. The sheet is drilled and sawn to make an interior hole.

Stitches are cut wit a graver to hold the dome into place for soldering. These small fingers of metal will be cut away later.

The final lid after sawing off the excess sheet.

Sharpen a round or square (not flat) graver with a fine-grit whetstone or on fine sandpaper glued to a flat surface. Set the tip of the graver about 3 mm behind the scribed line and press it straight down into the metal. Slide the tool forward until it almost touches the line, making an effort to avoid scooping with the tip. Lift the handle of the graver to lever up the curl of metal just cut. If it is cut is too shallow, the curl (or stitch) is fragile; if the cut or lift is too forceful the stitch may break off. It’s a good idea to practice on a piece of scrap to get the feel of the cut.

In these examples the rims have been thickened by adding material on the inside, but of course it is possible to work on the outside as well. There will be cases where the thickening unit can double as a surface decoration and molding. It is also worth noting that the addition of a thicker rim provides more than just visual weight. Boxes with rims are stronger. A thick rim will add significantly to the life of the box. In many cases the area around a hinge is made thicker even if the rest of the rim is not. These supports are called bearers and will be mentioned again in the next chapter.

3 Hinges & Lids

This chapter describes a variety of hinges, from simple to complex, though no hinge needs to be difficult to make. Each construction has its own reasons for being—each has a look or a special feel, and many lend themselves to certain applications. You might think of this as a menu from which you can select the perfect hinge for the box or locket you are making. What was true in the previous section on box construction is true here as well: Each of the examples given can be modified to yield a wide array of choices.

As varied as hinges are, a few observations will relate to all hinges used in small scale metalwork. This is the “Because that’s the way it is …” section, the annoying rules that we’d like to ignore but can’t. You might want to come back and reread it every once in a while.

1. Hinges must be straight.

2. Build it right rather than fix it later.

3. Close enough doesn’t count.

4. Sequence important is.

1. Hinges must be straight.

More specifically, hinge pins, or the interior chamber of a hinge, must be straight as opposed to curved. The outside of a hinge can be sculpted to match the curved contours of a form; this is familiar from compacts and watchcases. But the pin itself must be straight. If it isn’t, the hinge will be tight and the pin will eventually break.

2. Build it right rather than fix it later.

Though this advice probably makes sense in all fabrication, it has a specific meaning in the case of hinges. I think every metalsmith at one time or another has made a hinge that was almost perfect—almost, except for that lump of solder where it shouldn’t be or the tiny gap between components. In other aspects of fabrication, it’s standard practice to correct a small problem like this with a file or a bur, but in hinges this just doesn’t work.

The scale is so small and the tolerances so precise that it is extremely rare that even a small problem can be fixed in this way. Instead, you waste time trying a half dozen tools, generally mangle the hinge and get frustrated. Get used to the idea of making it right, period. If the knuckles are too widely spaced, heat up the joint and push them closer. If there is a lump of solder, heat up the area, dismantle the joint so you can clean it up, then put it back together.

3. Close enough doesn’t count.

Tolerances in a hinged construction are very tight because the arc of the swing magnifies any problem. Picture it this way: If you loosen the hinge on your front door and slide a folded paper under the hinge, it will affect the swing so much that the door will bump against the jamb on the side opposite the hinge. The thickness of a piece of paper will throw the fit off by as much as a quarter inch!

In small metal boxes this will show up in several ways. If a hinge is not mounted perpendicularly to the axis of the box, the lid will lift and tilt to one side. If the hinge is not properly seated against the bearers there will be a gap between box and lid. If there is a space between the knuckles of a hinge—even a fraction of a millimeter—the hinge will feel loose and sloppy.

These close tolerances can seem like a huge frustration or a worthy challenge. These close tolerances force you to pay attention, but reward your effort with the satisfaction of a demanding task done well.

4. Sequence is important.

Again, this is true in metal fabrication generally, but particularly in the case of hinges. How many of us have soldered a box together with easy solder, forgetting (in the anxiety of getting this job done) that we still had a hinge and clasp to construct. One of the pleasures of working in small scale metal construction is the fusion of art and engineering. Nowhere is this more evident than in boxmaking.

A Basic Hinge

The hinge area is strengthened through the addition of a flat bar called a bearer. In this example it is held for soldering with a clamp made from coat hanger.

Start the fitting process by filing a 45o angle on each edge of the hinge area. Make these planes flat, uniform and even.

Convert the V made by filing into a U that will perfectly match the contour of the tubing. Here a sawn off nail is used to scrape away bits of silver to shape the groove.

A tube cutting jig and knuckles. Note the way the fence is used to create multiple pieces of exactly the same length.

In a properly prepared groove, the knuckles have little choice except to lay smoothly into place.

After quenching in water, remove the binding wire and carefully separate the pieces. Check to be certain the joints are strong and the placement correct.

Here it is, the white bread of hinges, the most common, most frequently used and simplest hinge. It has all the ingredients of every other hinge—tubular elements called knuckles, a well-prepared seat on which those knuckles rest, and a snug interior wire called a hinge pin. It is traditional for hinges to have an odd number of knuckles with the greater number attached to the lower or larger piece.

Bearing Plates

It is probably obvious that a hinge is often placed under stress. Especially in the case of round or oval containers (where the hinge is tangent to the curve) it is often necessary to add additional support. When the material of the box is thin, as is often the case when precious metals are used, the need becomes more apparent.

An extra piece of metal soldered onto the area of a hinge to reinforce it is called a bearing plate or bearer. These will carry the strain of the moving parts and extend the life of the box, especially when it will see heavy use. For this reason they are commonly seen in snuff boxes, cigarette cases and matchsafes. Bearers are optional, but I’ll use them in this example to show how they are included in the assembly process.

Bearers can be cut from sheet stock or hammered from wire. In this case I’ll saw out a piece of 18 gauge sheet equal to the length of the box and 3/16” wide. I’ll need two pieces; one for the lid and another for the box. They are laid into place and held there with clips made of thick steel wire (like coat hangers). Attach them to the box and lid with hard solder. After pickling and rinsing, file the edges flush.

Fitting the Knuckles

Before starting on the hinge, take a minute to sand smooth the interface where the lid meets the box. This process is made easier if you have sheets of silicon carbide sandpaper glued to a flat table top or to sheets of Masonite or Plexiglas. True the edges with a file then move through progressively finer papers until both edges are taken to their final finish. During later stages of construction these areas will be much less accessible.

For a hinge to work properly, the knuckles (or tube sections) must be in a straight line. The best way to achieve this is through careful preparation of the area that will hold the hinge, which is called the bearing or seat. The idea is to create a straight trough that has the same contour as the tubing and sits exactly astride the box and lid. If this is correct, the rest of the process will go smoothly.

Start by filing a 45-degree slope on the edge of the box and again on the edge of the lid. Be sure they are straight, symmetrical and equal. When the lid and box are held together the result is a 90-degree groove. At this point it is helpful to have the two parts firmly held together. Some people rely on their fingers, while others use tape, wire, or glue. It’s also possible to fill both box and lid with plaster or papier maché then press the still-wet pieces together so they harden into a solid mass. This traditional method is very secure but a nuisance to remove. I usually use a narrow strip of strong tape.

Use a round file to convert the “V” groove to a rounded “U” groove. Because tapered files (the most common variety) have varying diameters along their length, they cannot make a perfect bearing. A specialty tool called a joint file has a flat smooth blade with rounded toothed edges. These are watchmakers tools, which means they’re very small. Another alternative is a parallel round file (a cylinder shape) but again these are not commonly available. A single exception is a file made to resharpen the teeth of a chain saw, a 3/16” cylinder file sold in hardware stores.

It will be easier to find a nail with the same diameter as the hinge tubing. If what you have is a little large, chuck it into a drill and run it against sandpaper to bring it down to size. Grip the nail in a pin vise or pound it into a piece of dowel so it has a handle, then cut and file the end of the nail so it has a flat 90-degree end. Slide this along the groove to scrape away tiny slivers of metal, changing direction periodically until the tube lays snugly into place. Care taken at this step will make a better looking, better functioning hinge.

Preparing the Knuckles

What’s the right size for a hinge? This is primarily a matter of the look you want to create. Except for very tiny hinges, the strength of a hinge has more to do with the material of which it’s made and the skill in construction than it does with size. Or to say it another way, a hinge that is a quarter inch in diameter is not automatically stronger than one that is half that size.

In choosing tubing for a hinge I ask myself about the effect I’m trying to create. Do I want the hinge to be obvious or hidden? Will an obvious hinge provide an interesting detail or will it break the flow of the form? Do I want the mystery of a hidden hinge or something more obvious? By answering these questions I am better able to select a tubing size for my hinge.

The process of making a hinge will leave the metal fully annealed. And by definition these small bits of metal are going to take a lot of strain. It is important therefore to select a metal that will live up to its responsibility. For instance, 14 karat gold has all the properties needed for a strong hinge. In the case of silver objects, use sterling. Nickel silver and bronze are preferred over brass, but again a thicker-walled tubing can compensate for their malleability. Copper is almost always a last choice because in its annealed state it is very soft. A preferred solution is to use brass tubing to make the hinge then plate it with copper to achieve a color match. This thin plating will wear away, so this solution is not appropriate for a box that will be handled a lot.

Measure the length of the hinge and divide this number into 3 or 5 or 7 equal pieces to determine the length of each knuckle. Cut sections of tubing slightly longer than this. In the example shown, the width of the box is 50 mm, so I’ll make each of the 5 knuckles 10 1/2 millimeters long. This has the effect of allowing the outer knuckles to project slightly past the box, guaranteeing that the hinge is long enough. The excess will be trimmed off after soldering.

In order for the hinge to operate smoothly and appear as a single unbroken line, it is important that the end of each tube be precisely square, i.e. perpendicular to the axis of the tube. This is harder than it might appear because when cutting a tube freehand, a sawblade is pulled to a slanting cut. To correct for this, use a tube cutting jig like the one shown. The tube is held into a V-groove while the sawblade slides between two hardened steel plates. The tool has the added advantage of an adjustable fence, a stopping plate that will hold a dimension from one cut to the next. These tools are expensive but worth the investment if you make a lot of hinges.

The knuckles will be difficult to clean fter they are cut, so get into the habit of rubbing a tube with Scotch-Brite or pumice before sawing off the pieces. Use the smallest sawblade you have, which will give the tidiest cut. Even with that, however, there is often a small bur that must be removed. Use a fine-toothed file and a light touch so you don’t accidentally file a slope onto the squared end.

Attaching the Knuckles

Tie the box and lid together with steel binding wire, taking care that the fit between the parts is exactly what you want. Cinch the binding wire in a “Z-bend” that will allow the wire to relax as the box expands during heating. Prop the box on a soldering block or in a bed of sand so the prepared groove is horizontal. Apply a small film of flux (too much will scatter the knuckles) and lay the short tubing pieces into position. Some sources suggest using a bit of steel wire as a pin to hold the knuckles into alignment but I don’t recommend that step. The extra wire is a heat-sink, an additional quantity of material that draws heat from the torch. If the groove is properly prepared, there is no other place for the knuckles to sit but in perfect alignment.

Set a small piece of hard or medium solder onto each knuckle, bridging it to the box or lid respectively. Warm the piece slowly with a large bushy flame until the flux has completely dried, then concentrate on one side, either the box or the lid. Heat until the box approaches the flow point of the solder, that is until a dull red color shows, then focus the torch flame briefly on each section of tubing. As soon as the solder starts to flow, pull the torch away. Pause a few seconds, then go on to the adjacent knuckle.

When one side is done, move to the other side, a process made easier if you are working on a soldering pan that spins. Repeat the process as before, focusing your attention on each knuckle, one at a time. Heat only until the solder flows. The biggest danger is to linger on the joint, “just to make sure.” In my experience, this is where I cause the hinge to seize up.

When you think the solder has flowed, even if you are a little uncertain about one or two places, remove the torch and quench the box in water. Hold it over the basin while you remove the binding wire and open it. Check each knuckle by prying at it with your fingernail. Yes, this takes raw courage, but it’s better to discover a weak joint now than later. If all the knuckles are solid, drop the work in a pickle bath to clean it up.

If a knuckle is loose, clean up the tube and use a file to selectively scrape the oxide off the area where the tubing will attach. Leave the rest of the hinge oxidized—this will inhibit the flow of solder. Re-tie the piece together, re-flux and place the tubing into position. The original solder is still in place, but solder is very loyal: once it fuses to a surface it prefers to stay there. For this reason, add a very small piece of solder at the joint. It will fuse with the earlier solder and draw it into the joint. Repeat the heating as described above, breathe normally, and remain confident that the solder will do what you require of it.

After pickling and rinsing, slide a temporary pin through the hinge to test it. Use a round wire of any convenient metal, pulled to make it straight. Filing a point on the end is helpful in feeding the hinge pin into position.

Problems with Hinges

1. The knuckles are in alignment but there are spaces between them.

Reassemble the box and lid, reflux the knuckle(s) that need to be moved and heat the whole unit up to the flow point of the solder. Use a needle tool or sharp tweezers to tap the knuckles into position. In the case of a small box, I secure the box with locking tweezers or a weight so I can slide the knuckles without having the box move across the soldering pad.

If some of the knuckles are in the right place, insert a piece of binding wire into that section of the hinge. Here is a case where the heat sink phenomena can work in your favor, inhibiting these sections from reaching asolder heat.

2. The hinge pin won’t go through the knuckles.

In a perfect hinge the pin comes through perfectly straight. If it doesn’t go through on the first try, separate the box from the lid and slide the pin through only this set of knuckles, i.e. #1, 3, and 5. If you see the pin, for instance, angling to the side as it leaves #3 knuckle, you have located the alignment problem. It is often possible to bend the knuckle back into place. With a metal hinge pin in the tube, grip the knuckle with flat-nose pliers and twist it slightly. Repeat the test until the hinge pin slides unassisted through all the sections.

If the pin won’t go through at all, it’s possible that a piece of solder has flowed into and blocked the tube. This is unlikely (and one of the reasons you should use as little solder as possible). More often it is flux residue that is blocking the hinge. Phew! Set the work back into fresh hot pickle and give it time to dissolve the block, perhaps a half hour.

If the tube is blocked with solder, it is usually possible to drill it out, assuming you have a drill bit equal to the inside diameter of the tube. Sometimes it is more efficient to lift off the blocked tube and replace it with a new one.

3. The hinge works well, but there is a gap between the box and the lid, close to the hinge.

First, be certain the temporary hinge pin you are using is the correct size. It’s not necessary for the test piece to be a snug fit, but don’t try to correct this problem with anything less than a hinge pin that fills the interior of the hinge completely.

If the lid doesn’t fit perfectly, insert a strip of paper near the hinge and press the lid down. Sometimes this simple trick is enough to solve the problem.

Cut a piece of matchbook cardboard (or fold a piece of paper) to make a strip a little longer than the box and about 1/4” wide. Slide this into the box very close to the hinge, making certain that it is in contact with each side. Press the box closed, hard. This will put stress on the hinge, slightly pulling the knuckles apart. Remove the paper and test the box. If the gap remains, try again, perhaps with another layer of cardboard to increase leverage.

Flush Hinge

This hinge has a significantly different appearance than the basic hinge but its construction is almost identical. The construction sequence is the same as just described, but the tubing used for the knuckles is much thicker than normal. Thick-walled tube is available from some suppliers, but because it’s not a common item you should be prepared to make your own.

Making Thick-Walled Tubing

A cutaway view of adding a rod to the end of a tube for drawing.

A length of base metal wire is soldered into a tube to provide a grip for the drawing process. Tubing is drawn exactly like wire, either freehand or with a drawbench.

This will require a large drawplate and either a strong arm or a drawbench. The latter is a piece of equipment designed to increase leverage when pulling wire or tubing through a drawplate. Traditionally it consists of a flat bed with a vise at one end to hold the drawplate and a large wheel at the other end attached to a belt or chain. The sample is inserted so its tapered tip extends through a hole in the plate where it can be grasped in draw tongs (strong pliers) that can be attached to the belt.

Start with purchased tubing or tubing you’ve made yourself. If you’ve made the tubing yourself be certain the seam is completely soldered along its length. The drawing process will make the tube smaller as it thickens the wall so you’ll need to start with an oversized tube.

To provide a grip for the drawtongs, solder a piece of wire to the tube so it projects out about an inch. Any sort of wire will do; brass or nickel silver are typically used because of their low cost. File a taper on this wire and blend its contour into the tube as shown. This is the leading edge that will extend through the drawplate. When drawing is complete the end section will be cut off and discarded.

When it is important to bring the inside diameter to a specific size (and this is not always the case) you will need to have on hand a steel, nickel or brass wire of that dimension. Cut a piece several inches longer than the tube, coat it with oil or Vaseline, and slide it into the tube for the drawing process. When the tube comes down to the point where it lays against this core, the metal will stop thickening the wall and extend itself in length instead. To remove the wire, hold the tube against the front of the drawplate so that only the interior core wire projects out. Pull it to withdraw the core.

The Hinge Seat

File and drill a bearing the same size as the tubing to be used for the hinge. In this case the groove is “buried” lower in the box or locket.

The thick-walled tubes are soldered into place exactly as in the earlier hinge. After filing and sanding the knuckle will almost disappear.

The bearing for this hinge needs to be more than halfway recessed into the box.

Make a seat for the hinge as described in the directions for the basic hinge, using files and scrapers. It will almost always be necessary to use bearing plates when making a flush hinge because it is critical to have a large mass of metal adjacent to the hinge. Create a seat that allows the knuckles to be recessed to two-thirds of their depth. The ideal arrangement is to have a cradle that perfectly matches the contour of the tubing as shown. To make this “wrap-around” seat, start with a small V-groove, then bind the lid and box together and drill it from the side with a bit that perfectly matches the tubing.

Position and solder the hinge components exactly as in the basic hinge. To make the flush hinge “disappear,” it is important that the solder fill all gaps, but don’t be fooled into thinking the way to achieve this is by using more solder. Instead, take special care that the knuckles fit tightly into their seat. If this is difficult, solder the knuckles in place, pickle the work and burnish the area around the knuckles to bring the seat to the hinge. Reflux and heat the piece again—this time the lid and the box can be kept separated—until the solder reflows and fills all the spaces.

Spacing the Knuckles

To hold the outer knuckles in alignment and properly spaced, saw away the center knuckle leaving a bridge of metal like this. After soldering, carefully cut away the bridge.

I will use this hinge to show a neat trick intended to guarantee spacing between knuckles. It’s a clever idea that can be used in a variety of situations. Start with a tube equal to the entire length of the hinge. Mark the locations of the knuckles — in this example that means dividing the tube into equal thirds. With a small sawblade, cut three-fourths of the way through the tube on each line, then turn the saw 90-degrees and cut away most of the center knuckle. This will leave a bridge of metal that holds the first and third knuckle in alignment and perfectly spaced. When soldering the tube into the box, be certain the bridge is rotated as far from the box as possible so it can be easily cut away later.

When the box and lid are in final assembly, file away the third of the hinge that stands up above the box. Notice at this stage why it is important that the tube was inset deeper than halfway. If you stopped there, this filing would expose the hinge pin. Complete the job with a sequence of sandpaper and finish by buffing with a leather-coated buffing stick.

Cradle Hinge

The cradle hinge is named for the applied bearing that holds or “cradles” the knuckles. It is especially useful on round objects such as the locket shown here because it provides support at a place where the curve of the object provides little contact for a conventional hinge.

Telescoping tubes.

Side view of recesses cut to hold hinge knuckles. The deeper the recess, the stronger and less obvious the hinge will be.

Make or purchase tubing and cut a piece a little longer than the length of the intended hinge. This will be the cradle. This dimension will vary with each container, but the idea is to make a hinge long enough to carry the load of a lifted lid. In the case of a 1/2” capsule on a “poison ring” the cradle could be as short as 1/4,” but on a stout cigarette case the cradle might be several inches long. The initial length of the cradle is not critical because any excess can be trimmed off later in the process. What is important is that the tubing be well soldered and straight.

Cut a piece of the same tubing and draw it down until it slides smoothly (or telescopes) into the first tube. If the holes in your drawplate do not provide exactly the right size, it might be necessary to sand the outside of the tube. This is the tubing from which the knuckles will be cut.

As in the case of the basic hinge, filing a bearing is a very important part of the process. If the seat is straight, well-fitted and in the right location, all subsequent steps will be easy and look good. This is as true of the cradle hinge as any other. File a 45-degree facet on both the lid and the box, then bind the pieces together with tape, glue or wire. File the groove until it perfectly matches the cradle. At this step you’ll be converting a V-groove into a U-groove. This is quicker in the telling than the doing, but take your time and do it right. Continue until the cradle tubing (the larger diameter tube) fits into the groove to at least half its depth. If you want the hinge to be less obvious in the final design (as in a watchcase, for instance) allow the tube to recess to almost its full depth.

To prepare the locket for soldering, remove any tape or glue that was used to hold the pieces together and tie the pieces with binding wire. Wrap the wire loosely and twist the ends to close it, then make a “Z-bend” with flat nose pliers to cinch it tight.

Creating the Cradle

With a large or medium sawblade, cut a slot along the long axis of the cradle tubing. Go all the way through but only on one side—don’t cut the tube into two pieces! Clean the tube with Scotch-Brite, coat it with flux, and lay it into the bearing groove so the cut is pointing directly down. In other words, line the open slot up with the interface of the locket halves. Seen from the end and imagining a clock, the groove is at the 6. Place pieces of hard solder on the outside of the cradle on both sides and solder the cradle. Quench in water.

Examine the cradle area closely to be sure the joint is sound. Pull the locket open very slightly—just enough to insure that the box and lid have not soldered together. Do this over the water dish because the box will be full from the quench. As you’ll see in a moment, the beauty of this system is that the cradle you’ve just attached is a perfect fit with the knuckles that come next. If you force the locket open at this stage you will bend the cradle tube and destroy the fit. Proceed gently!

Position the slot in the tube directly over the place where the two parts touch. Solder this tube onto both sides of the locket.

Prepare the locket to receive the cradle (the outer tube of the pair) As before, care at this stage will make the process both neater and easier.

Saw a slot in the cradle tube and position it onto the locket with the slot facing down. Lay a piece of solder on each side.

When the cradle tube is attached, cut the pieces apart, leaving 1/3 of the tube on one side and 2/3s on the other.

Place a knuckle into the center of one of the cradles and solder it with a tiny chip of solder.

Mark the location of the outer knuckles with small notches filed into the top of the cradle. Unlike pencil or ink markings, these will show up throughout the firing.

The finished cradle hinge is both elegant and practical. The cradle increases the strength of the hinge and creates a stop that controls the arc of opening.

If the pieces don’t move, it might be just flux glass that is locking them together. Drop the piece in pickle and cross your fingers. If that doesn’t do it—i.e. if you’ve accidentally soldered the halves together—heat the pieces and gingerly pull them apart, then go back a few steps and try again.

Assuming that all is well, use a saw to cut along the length of the cradle, making the cut about a third of the way around the tube from the first slot. Looking at the end of the cradle tube, and imagining a clock face again, if the first cut was at 6, make this one around 2. This will allow the box to come apart from the lid. One unit will have a large section of cradle and the other will have a smaller piece. Cut off and discard a tiny section (1/3) of the cradle tube so the two units are identical.

Look at what you’ve done! On both the box and the lid you have established bearings that are

- perfectly parallel to each other

- a perfect fit with the knuckles

- in exactly the right place

Attaching the Knuckles

Cut three pieces of the inner tubing, each equal to a third the total length of the hinge. Examine the ends of each knuckle to be certain there are no burs left from the cutting as described in the basic hinge section.

Set a cleaned and fluxed knuckle into the center of the lid cradle and lay a tiny piece of medium solder so it touches the tube and cradle. Because the cradle extends out from the piece, it is usually pretty easy to bring the hinge area to soldering temperature. Don’t make the piece so hot the cradle itself comes loose. After soldering, clean the piece in pickle.

Hold the box and lid together and scribe marks on the cradle on the box so you’ll know where to solder the outer knuckles. Use a small triangular file to make these marks more visible—you’ll need to see them while soldering. Flux the cradle and set the two knuckles in place so the space between them just matches the length of the center tube. You can hold the lid in position to check this. Put solder chips in place as before and heat the piece slowly (to prevent the pieces from moving). When the solder flows (but before quenching) test the two pieces against each other. Because one unit is still hot the test is approximate, but it will show if the gap is too large or too small. In either case the only solution is to reheat the locket and slide one of the knuckles to correct the problem. Grip the work in cross-lock tweezers to anchor it as you do this. The maneuver is delicate but not as difficult as you might think. Recheck the spacing, heave a sigh of relief and pickle the pieces.

After rinsing, test the hinge by inserting a temporary pin. Notice that the cradle, in addition to adding strength to the box, provides a stop as the lid is opened. This is the result of the 1/3 section of cradle that was removed—the less taken, the shallower the arc of opening. To allow the box to open further, slide a flat file along the edges of the cradle. Test frequently as you fine tune this dimension.

Side Walls as Hinge

A traditional hinge has an odd number of tube segments (knuckles) but there are many alternate arrangements. This hinge is an example of an alternate way to think about hinges, a way that might suggest other innovative solutions.

Prepare the tube by filing a flat facet along its length. This will make a stronger joint.

This is a simple tool made from a dowel to refine the curve. Drill a hole in a dowel, then saw it off through its center. Strike the tool onto the curve with a hammer.

Use a vise to roll a piece of sheet onto a rod to make a knuckle. This is a coars solution, but has the advantage of using no heat. In some cases, such as working with painted tin, it works especially well.

Drill holes in the side walls of the box and slide a pin through the lid knuckle.

Basic Method

In the example pictured, the walls of the box serve as what might be considered the outer knuckles of the hinge. A panel of metal that fits neatly inside the box is cut and filed with a bevel on the end that will take the hinge. Cut a piece of tubing a little longer than the width of the panel; the extra length is useful in case the tubing shifts slightly during soldering. File an angled facet along the axis of the tube to insure a solid joint. After soldering and pickling, the excess tubing is filed away, and the joint is sanded into a seamless construction.

Solderless Method

In situations where soldering is not possible or desired, this construction can be made by rolling the lid material around a rod. If the lid is thick, hammer or roll the end to make it thinner. This portion used to make the knuckle will need to be three times the diameter of the hinge pin. Use pliers to curl the end of the panel, as shown in figure.

Set the panel upside-down on a soft surface like a sandbag, a rubber mat or a pile of newspapers. Set a steel rod (e.g. a nail) that is about the same size as the desired hinge pin onto the panel and strike it with a hammer. Complete the curling with a forming tool you can easily make yourself from a finger-length section of wooden dowel. Drill a hole through the dowel using a bit slightly larger than the diameter of the hinge pin. Cut off enough of the dowel to leave exactly half of the drilled hole in the dowel, as shown in figure. Tap this over the curl to complete the bend.

Vise Method

Start with a panel that is longer than the box, perhaps by as much as half its length. Fold the sheet over and insert a steel hinge pin. Clamp the assembly tightly in a large vise, using cardboard to protect the surface. Close the vise while pressing down on the unit to keep the bend close to the rod. Strike the bend area sideways as shown with a mallet to push the bend so it is not centered on the panel. The flap can be riveted if desired or cut away entirely with a saw or separating disk.

Drilling the Box

Regardless of the method used to make the long central knuckle, the lid should be set into position and sighted to determine the location of the holes in the walls of the box. Mark with a pen, centerpunch and drill, using a bit that is a little smaller than the pin: this allows for small adjustments in case the holes are not perfectly located. Use a round needle file or a tapered steel bur to enlarge the hole. It might be necessary to file the end of the box to allow the hinge to rotate smoothly.

Finger Hinge

Like the preceding example, this hinge uses sheet metal rather than tubing to make the knuckles. It is a little more difficult to make than a tubing hinge, but its rarity makes it special. Simply stated, the idea is to construct a hinge of panels of thick sheet that are standing on edge. The trick is to insure a correct spacing between the panels and a hole that runs directly through the entire assembly. There are many ways to achieve this: the following example will, I hope, provide some food for thought.

Sequence

It often happens that the workings of a hinge are located inside a box where they are difficult to see, much less construct. It’s not always the case with this particular hinge, but I’ll use this one to demonstrate how to tackle that challenge. Here I’ll make the lid and complete the hinge before attaching it to the box.

In this example (and for the sake of simplicity) I’ll make a long rectangular box by following the method described in the first example of Section One. After making the walls I’ll cut out the floor panel and temporarily insert it to hold the box square but I will not solder it in place. Next I’ll cut out a panel that is exactly the correct width to fit into the box but at least a half-inch longer. Mark the place where the lid should hinge, scribe a perpendicular line here with a square and cut the panel into two pieces. The larger piece is the lid, and the part that will be fixed to the box, we’ll call the top.

The Hinge Segments

In this box the knuckles will be made from 14 gauge sheet. The size is proportionate to the box, which in this case will be about 1/4” square. With a dividers, lay out five identical squares, taking pains to make them exactly the same. I resharpen my scribe and divider points before starting a job like this and use magnification to be certain I’m making marks exactly where I want them. Connect the corners to determine the center of each square and center-punch a small dot there.

The box walls are made as described earlier and a bottom is cut and fitted so it snaps into place. It is set aside until after the lid is soldered into place.

Drill a small hole (approximately one millimeter) in the center of each panel, then saw the squares out. String the pieces on a wire, clamp them into a vise, and file the edges uniform and smooth.

Stack the five panels together then slide #2 and #4 part way out of alignment as shown. Lay two short lengths of wire on top so one touches only #1,3,5 and the other only #2 and 4. These will be soldered in place to temporarily hold the units in proper spacing. Note that a wire has been fed through the holes to ensure that the pieces remain aligned. Solder this wire with tiny pieces of hard solder, taking pains that nothing drips between the segments where it would solder them together.

After quenching in water, clean the top surface with a fine-toothed file to prepare it for soldering onto the lid. Note that I keep the unit assembled for this step so the force of the filing won’t distort the shape. Gingerly separate the two hinge components.

The first set of knuckles is soldered onto the lid, typically centered. After confirming the joint, the space between knuckles and the holding rod is sawn off.

Careful sawing is necessary to create a hinge that moves smoothly.

Use files to trim the pieces, checking often so you don’t take away too much.

Assemble the hinge components and drill a hole through the five panels.

The hinge is assembled with a pin, then the entire unit is set into the upside-down box. The top section is soldered into the box, then the bottom is inserted and soldered.

In this box, the lid has been left long to fit into a notch cut into the box. This makes a subtle and elegant closure.

When you are sure the lid is working correctly, solder the bottom into the box.

The finished box.

Attaching the Knuckles

Working on what will be the underside of the lid, mark the centerline. This is most easily done by setting the dividers to a spacing that is, by eye, a little larger than half the width. With one leg overhanging the panel on the left, scribe a short line. Lay the leg of the divider overhanging the right side and repeat the process—the result is two lines that indicate the center of the sheet.

Apply a film of flux and center the three-knuckle unit so its edge is even with the edge of the panel. Lay a piece of solder at each end of each piece and heat until the solder flows. Rinse, pickle and dry the piece.

Use a saw to cut away the sheet metal between each of the three knuckles, leaving the larger panel on the outside of the outer knuckles untouched. As part of this process, cut away the wire that was holding the pieces in position; their job is done. Use a flat needle file to smooth the area around the knuckles, taking pains to keep all edges truly vertical. Pay special attention to the bottom line of the two rectangles just cut away to be certain they are in a straight line.

Set the lid, still upside-down, onto the shorter panel, the top. With a needle or similar sharp tool, scribe the area just sawn out, leaving its outline on the top. This will indicate the placement of the other set of knuckles. Solder them down as just described. After pickling and rinsing, saw out the area between the knuckles.

Lay a straight-edge across the bottom of the slots just cut and scribe a faint line. Saw along this to remove the sections on either side of the hinge. I prefer to cut a little outside the line so I can fine tune the fit by filing.

Slide the hinge halves together and trial fit a wire through the holes. I anticipate that they will almost line up but not perfectly. For this reason the original hole was slightly undersize; use a slightly larger drill bit now to go through the entire hinge, taking pains to keep the bit parallel with the plane of the lid.

If all has gone well the two parts, lid and top, will fit together so snugly that the line between them will almost disappear—and the hinge won’t open at all! To allow clearance for the rotation, it is necessary to file away a small amount of metal from the underside of the top where the tip of the knuckles is binding up. Go slowly, taking away as little as possible to allow the mechanism to work.

Assembling the Box

Cut a tab into the other end of the box to provide a handle by which the lid can be lifted. This can be as wide or narrow as your design sense indicates. Once it is made, transfer the size to the rim of the box and cut away an identical amount. This can serve as the catch for the box simply by making the fit so tight it clicks when engaged.

It will now be possible to set the lid/top upside-down on the bench and set the walls of the box onto it. The point is to determine exactly where to cut the top so it fits snugly into the walls. Scribe a line, cut with a saw and file until this unit fits neatly into place. At this point the hinge can be completed with a final pin which is riveted to hold it into the box. Solder the top to the walls of the box. Insert the floor, solder it in place and the box is complete.

Stand-Away Hinges

All of the hinges described so far operate close to the point where the lid meets the box. When the container is open the lid seems to touch the box at the hinge. This section describes an alternative in which the lid lifts up and away from the box. Though not widely used in traditional metalwork, this category of hinge offers a wide range of opportunity. For examples, look at the hinges in kitchen cupboards and automobile trunks and hoods.

Concept

The idea is really very simple—the hinge itself is nothing more than a conventional arrangement of knuckles. They can be made from tubing or sheet, odd-numbered or even, large or small. The knuckles on at least one element (the lid or the box) are not connected directly but are attached instead with an extension. Depending on its location, this has the effect of lifting the lid up and away or to the side as it opens.

The difference between a conventional and a stand-away hinge.

The uses of a stand-away hinge are both practical and esthetic. The practical side is perhaps best shown by looking at the gas-fill door on a car. In almost every case the door sits flush with the lines of the car, held by an invisible hinge. The effect is sophisticated and unobtrusive. The practical advantage of this system is that the door moves out of the way to allow better access to the filling tube of the gas tank.

Construction

In many ways stand-away hinges are about the easiest to make. The “extender”—that is, the curved metal piece that bridges between the knuckle and the lid, can usually be bent after the hinge is made to fine tune the fitting. This is a luxury not available with a conventional hinge, where the parts must be carefully located before soldering. The example shown here is one example of the sequence for a stand-away hinge, but each situation will determine its own needs.

In this case I’ll make a stand-away hinge that will be hidden inside the box. I’ll work here with a hexagonal box, but any shape could be used. The first step was to make a box and lid by bending a sheet and inserting floors as described in the first section. The box was cleaned, excess solder removed and edges refined.

Drill holes in the side of the box, slide a tube through them and solder it in place. Use a separating disk to cut away the center knuckle. In this photo you can see the curved strip that will be attached to the lid.

The center knuckle is set in place and the hinge is temporarily assembled to determine the length and form of the bridge.

Put a drop of paint onto the top of the bridge then lower the lid into position. This stripe of paint indicates where the bridge needs to be soldered to the lid. Use a scribe to scratch lines that will remain after the paint burns away.

The bridge held in place for soldering. In this case steel binding wire is pressed into the fire brick to hold the parts in position for soldering.

The finished box. Notice how the lid lifts up and away from the box.

Drill a hole through the box as shown to locate the two outer knuckles. The location is not critical but bear in mind that this hinge will take up space inside the box. To limit the volume of space given over to the hinge, keep it close to the tangent rather than in the center of the box. I prefer to drill a hole a bit smaller than I need, then enlarge it with careful use of a needle file. A piece of tubing must slide easily through the holes without being bent. With the tube sticking out slightly on each side, solder it in place. If the box will be subject to heavy use, it is possible to solder in additional support, either pieces of sheet or wire, though this is usually unnecessary.

Cut away the middle section of the tube to make a space for the center knuckle. This can be done with a file, a saw or a separating disk—or perhaps a combination of several tools. If the hinge is going to be too difficult to reach, use this alternative method: Cut the tube sections before soldering them in place. To hold them in alignment, slide them onto a temporary hinge pin of carbon (pencil lead) or steel binding wire. I recommend these materials because they will not be accidentally soldered into the tube, but a careful metalsmith can use any wire with care. What is most important is that the fit be so snug that the tube sections are held in perfect alignment.

Cut a piece of the same tubing at a length equal to the space just made and file its ends square and neat. Solder it onto a strip of sheet or pieces of wire or bar. The action will be the same, so the choice here has to do with design and the materials available. After pickling and rinsing, bend the connecting bridge slightly and assemble the hinge temporarily to visualize what will happen as the box opens and closes. Cut the connector to what seems like the correct size and attach it temporarily to the inside of the lid with soft wax or hot glue. The variables here are the location of this joint, the length of the connector and the curve of the connector. With the piece in your hands you will be able to experiment to determine what changes are necessary to make the hinge operate smoothly.

A One-Use Jig

A simple jig can be used to hold the center knuckle at the correct angle for soldering. Jigs like this are invented and made as needed for special soldering requirements.

Once you’ve made final adjustments, all that remains is to replace the temporary wax joint with a soldered one. Ah, but how to hold the proper angle while dismantling and reassembling the piece? Here’s a suggestion: Make a one-use jig from a piece of scrap metal as shown. This can be as simple as a measuring device that records the angle (in which case you solder freehand and bend the piece to the precise angle later) or it can include tabs that will hold the pieces for soldering. When the joint is complete the tabs are bent back, the jig is pulled off and the piece is in place. A similar result can be had by cutting a wedge from firebrick and using it, perhaps aided by pins, to secure the pieces for soldering

The pieces should be cleaned in preparation for final assembly. Trial fit the lid and bend the connector as needed to allow the lid to close neatly. When everything is done, insert a hinge pin of the same metal of which the box is made, snip and rivet the ends and burnish them flush with the surface to make them almost disappear.

External Springs

Though this section deals with hinges, the spring-loaded hinges in this and the following section might just as easily fall under the heading of catches because they can be used to hold a box or locket closed. Beyond that, spring-loaded hinges give a sense of life and excitement to a box, familiar to all of us in the classic Jack-in-the-box.

The hinges in this section include a spring that is external to the hinge itself, generally though not always visible. In most cases the hinge is constructed slightly differently to accommodate the spring, but there are some external springs that can be added to a conventional hinge arrangement. The internal springs in the following section are more hidden and always involve construction unique to the hinge.

Materials

1. Some metals are springier than others.

2. All springy metals can be made “more springy” or “less springy” depending on their treatment.

Making a spring, then, is a simple matter of selecting the correct material and handling it in the ideal way. The most springy metal available is properly hardened and tempered steel, followed in progression by platinum, titanium, 14k white gold, 14k yellow gold, nickel silver, brass, silver solder and sterling. In every case, work hardened metal has more bounce than annealed metal. The essence of working with springs is in understanding these properties and devising ways to make use of them.

In some cases it is difficult to contrive a way to attach a hardened piece of steel without annealing (removing the springiness). In those cases it might be better to substitute one of the other metals. There are also cases where the cost of one metal is prohibitive so a method is devised that allows the use of a cheaper alternative. This is the confluence of engineering, materials science and innovation. Rise to the occasion!

Sources of Spring Steel

One source for spring steel is in household objects that are made of, well, spring steel. Perhaps the best is safety pins, followed closely by paper clips (not quite as nice a steel) and hair pins. These can be used with their temper (springiness) intact or they can be annealed, shaped and retempered. This will be explained below.

Spring steel is also available as piano wire, sold through some tool catalogs and often available from piano repair shops. Most hardware stores sell replacement springs. If they don’t have the size you need, it’s often possible to rework an existing spring. Watch and clock mainsprings are an excellent source of spring steel but do not remove these yourself! The springs are razor-like ribbons of metal under extreme tension. Watch and clock repairmen have special tools designed to ease tension on a spring so it can be safely removed. Without this tool it is very dangerous to remove a spring from its casing.

In this and all the following examples it will be helpful to understand the general concept more than the specific action. When I’m designing a spring-loaded device, the conversation that goes on in my head is embarrassingly simple. I start by reminding myself that the spring has a position it wants to be in. Set a spring on the table and look at it—that’s it, the “rest position.” Loading a spring is nothing more than bending it out of this position and giving it the chance to return. The idea is to make this return action do what you want—like open the lid.

Keep this in mind in the following examples and you will soon be able to go beyond the spring hinges shown here to invent your own.

Coil Spring

A simple coil spring; the tension is captured by the ends of the wire.

This illustration shows how the same spring can be used to hold a box closed or to make it spring open depending on where the legs are positioned.

A coil spring is made by wrapping a wire around a rod, a process that resembles the first step in making jump rings. Anyone who has done this has noticed that after winding, the wire springs back (or unwinds) a little bit. The tougher, springier that wire, the greater the amount of spring back.

This springiness is captured in the legs of the spring, the ends that are left projecting out from the coil. Again, it is useful to recall the position of the spring at rest—what does it want to do? In the examples, the shaded version illustrates the spring at rest while the arrows show how the force of the spring will work on a box.

Construction

The knuckles for this box were made from coils of brass wire. This makes an interesting detail and also helps camoflaugue the coil spring that is located between the knuckles.

Use a small piece of tubing as a temporary handle to help load the spring. This is a tricky job at best, made easier with the help of an extra pair of hands.

The spring in this box holds the lid closed, so we could almost call it the catch.

This familiar spring hinge can be used in many situations. Make a hinge in any of the usual ways but allow a space for the spring to be located between two knuckles. The knuckles soldered on can be made of tubing or sheet, or of wire wound onto a rod and soldered. This has the advantage of disguising the spring.

When the lid is being assembled onto the box, insert the spring so the hinge pin passes through it. If the arms of the spring are left “at rest” the spring has no effect. To load the spring the arms must be engaged, or hooked around the lid and box in a way that either pulls the lid open or makes it want to snap shut. The spring for these opposite configurations is the same; what differs is where the arms are held in tension.

Loading a spring is a clumsy affair at best and usually goes easier with an extra pair of hands. Leaving the arms of the spring long can be helpful, but they sometimes get in the way or are difficult to trim down later. To compensate I use two small pieces of tubing that can be slipped over the ends of the spring to facilitate bending them into place.

With the spring in place, rotate the arms as desired so the lid will snap closed or be thrown open. In the latter case a catch will be needed. Slide a hinge pin through the tubing and spring and check the action. If everything works as it should, tap the ends of the hinge pin to form a rivet head.

Leaf Spring

This cutaway illustration shows how a wire that is “too tall” for the box can be used to make it spring open.

To make a spring for a round box, make a loop with a 90-degree bend that creates the vertical element. To secure this piece into the box, open the loop so that when you squeeze it into the box it snaps into place.

This is an example of a leaf spring used, in this case, to pop a lid open when a catch has been released. The spring is held into place with rivets.

A leaf spring is a curved bar of tempered metal. In this example it is used to pop a box open slightly, a stereotypical gesture we associate with a railroad conductor looking at his pocket watch. This action keeps the catch under slight tension, an effect that makes the catch more secure.

The size of the spring (as in every case) is determined by the weight of the load it must lift. In this example the lid is small and the desired action is a gentle opening, so the spring can be delicate. The drawing shows the action of the spring, a simple vertical post that is pressed down (like a tall man under a low ceiling) when the box is closed. Given the chance—i.e. when the catch is released—the spring will stand up straight, pushing the lid as it does so.

In order to preserve the temper of the spring, it must be held into the box by a cold connection. These could be rivets, tabs, staples, screws or any of several other devices. In this example I’ll use the easiest solution I know, simple friction.

I’ll use a hard-drawn wire, in this case hard solder. This alloy has high tensile strength and I’ve noticed that it comes from the refiner as a very springy coil. A round wire has equal tendency to bend in every direction so I’ll start by planishing the end flat. This will allow me to “steer” the direction of the bend, making the force of the spring go where I want it to go. Flatten a piece roughly equal to the height of the box.

Bend a right angle at the base of the planishing and bend a form that, when collapsed, will fit snugly around the bottom interior of the box. This is not complicated but requires some patient fitting. The idea is to snap the wire into the box so that it blends in and is secure. The vertical post is curved slightly inward and the top is curled so it will not jam against the lid as the box is closed. A few trials will demonstrate what bending and trimming are needed to make the spring do its job.

Side-mounted Leaf Spring

In this variation on the device shown above, a hardened spring is mounted on the inside wall of a box. Again in this example it is shown popping the lid open, but it could be used to lift a panel, to eject a figure, or to release a hidden catch. For more about these devices, see the information on trick catches at the end of the next chapter.

In this case the spring is made of sheet metal (to illustrate the point) though it could as easily have been made wire. Here it allows a piece to be fitted into the interior corner of the box. The spring is planished to flatten and work harden it, bent so it will be under tension when the box is closed, then riveted into the box. It would be possible to solder a pad into the lid to make a surface for the spring to ride against. This might be needed, for instance, in the case of a lid with uneven contours.

Internal Springs

In this variation, an unconventional hinge pin is used to build tension into the hinge. It can be used to make the box snap open or snap shut.

Small wedges are made by filing the end of a wire to the shape shown. They should be left with the file marks, which provide a little “tooth” to hold the wedges into place.

Push the wedges into place while holding the flat hinge wire in a rotated position. If the spring is tough, it only needs to be twisted a half rotation.

Construction

This hinge is appropriate for many kinds of boxes, but it will work best if the hinge is at least an inch long and can be made of tubing with no less than a one millimeter inside diameter. Though the hinge can be made of any metal, the knuckles in this hinge are under slightly more pressure than in usual hinges, so if a weak metal is used (copper, for instance), it should be made thick enough to compensate.

The hinge is conventional except that it contains an even number of knuckles. This will guarantee that the end knuckles are not attached to the same unit. In other words, if the knuckle on one end is attached to the lid, the knuckle at the other end will be attached to the box. As usual, complete the entire fabrication, finishing, and patina of the box before assembling the hinge.

In this case the hinge pin will be made of two or three thin springy strips of metal. For best results use spring steel; alternatives include hard-drawn brass, nickel silver, platinum, or silver solder. Cut strips about an inch longer than the length of the hinge and make certain that they fit easily through the knuckles. If the strips are slightly too wide they can be made narrower by filing, grinding or sanding. If you are using spring steel, as shown in the photos, use sandpaper to trim the strips.

The springiness of this hinge depends on keeping the hinge pin rigidly attached to the end knuckles. This must be done without heat, which would anneal the spring and defeat the purpose. We’ll do it here by pinching the strip in place with wedges filed from wire of the same metal as the hinge; in this case sterling. The wedges are tapered and filed flat on one surface, like a doorstop wedge. You will need four of them.

Finishing the Hinge

To load the hinge, set the box and lid together and slide the springy strips through the tubing. Allow it to project out slightly. Slide two wedges into place, one above and one below the strip, and cut off the wedges (if necessary) so they are the same length. Tap them snugly into the tube with a small hammer. To ensure longevity you might even add a tiny drop of epoxy on the wedges, though this spring was used effectively long before modern adhesives were invented.

The springy strips will be sticking our the other end of the hinge. Grasp them at their tip with pliers and give a half turn to the wire. Slide a wedge temporarily into position to lock the spring into the lid or box at this point. This will make it possible to determine whether you twisted the wire in the correct direction. If you test the lid gently you’ll find that it either wants to spring open or spring closed. If it doesn’t do what you want, remove the wedge, release the wires, then rotate them in the other direction and test again.

When you have determined the correct rotation, slide the wedges into place, pressing each one firmly. Again, a small amount of adhesive can be used on the wedge to anchor it into the tube. The wedges are then tapped into place with a small hammer or a hammer and punch. Trim away excess metal on both the wedges and the spring and complete the hinge by filing and sanding both ends. As simple as it is, this spring will stand up to generations of use.

Lids Without Hinges

Not every box needs to open like a clamshell. One option, a lid that lifts off entirely, has already been described. Here are a couple other styles.

Making Tracks for a Sliding Lid

Fabricating tracks is an exciting challenge for a boxmaker. To operate smoothly the tracks need to be straight, uniform and precisely measured. These factors are easy to control when milling a slot with a cutting machine but challenging to construct from parts. The following section shows a general method but each project will dictate its own needs. Use the following example as a guide but feel free to tailor the process to your own requirements. The specific sizes given here are for the benefit of description only—alter the dimensions to be in proportion with your box.

Make a drame of square wire as the first step for a sliding lid. The frames are made just the right size to fit snugly into the box.

Use scraps of copper or brass to hold the frames in position for soldering. If the strips are cut to the correct height, the frames cannot accidentally fall during soldering.

A similar trick is used to ensure spacing between the lower and upper frames. Pieces of pencil lead are laid into the first frame then the second one is pressed uniformly against it.

Cut an opening at the end for the lid to enter.

Frame Method

For this example, I’ll make two identical, tightly fitted frames and solder them as completed units into a previously made box. The track will be made of square wire. In this case I’ve chosen to start with 14 gauge (1.6 mm) square wire. It is critical that the wire is perfectly straight. Sight along the wire to locate any irregularities, then use your fingers to straighten the bends. Follow the procedure that was used to make the walls of the box: File a V-groove into a length of wire to create an “L” that is equivalent to a long and short side of the box. Repeat this four times (i.e. make four “L”s) so you will be prepared to make the two rectangular frames that will become the top and bottom of the track. Solder the scored and bent corners to strengthen them.

Take careful measurements from the box. I’m assuming here that the box itself is symmetrical and that all its corners are exactly 90-degrees. If this is not the case, you’ll have to custom make the frame so it fits. Cut one of the shorter legs so it measures exactly the inside length of the box, less the dimension of the square wire you are using. To determine this, set a piece of the wire into the box, lay one of the “L” pieces against it and scribe a mark where the frame meets the corner. Cut, file and double check this. When you are certain it is accurate, cut the other three short legs to the same length.

Repeat the process with the longer legs of the frame pieces, this time taking a measure across the front of the box. The goal is to create frame components that will fit snugly into the inside of the box. With the pieces carefully measured and cut as described, the frames can be soldered into their complete form with confidence that they will be the correct size. Minor filing and a slight rounding of the corners might be necessary to make the frames fit snugly into the box.

The next step is to solder the first frame into position to become the bottom track. It might be sufficient to slide it into place and rely on the tension to hold it while it is being soldered. Well, maybe. This is a little risky because the box will expand slightly when heated and, at a critical moment, it might allow the frame to tilt. Here’s a simple way to avoid the problem. Determine the correct height from the floor of the box to the bottom edge of the frame and cut thin sheets of copper or brass to exactly this height. Bend these strips into zig-zags and set them loosely into the box. Press the frame down against these supports as far as it will go and proceed with the soldering. When finished, bend the forms as necessary to remove them.

The illustration on the left shows how scrap metal (gray) is used to hold the bottom track in place. On the right, a piece of pencil lead is used to hold the upper track a specific height above the bottom track.

Cut away a section at the end to allow the lid to enter.

A variation on this trick will be used to hold the second frame into place. Use graphite rod—pencil lead—to maintain an even spacing between the frames. This is where the lid will travel, so the gap between the frames needs to be a specific size. Purchase pencil leads from an office store, or cut away the wood from a standard pencil to acquire some pieces of graphite. These can be rubbed on sandpaper as needed to achieve the correct size.

Set the graphite pieces into position (they can be held temporarily with a dot of glue if needed), then slide the second frame into place. Apply flux, lay solder chips along the frame and heat until the solder flows. Quench in water and pickle as usual; the graphite will probably fall out by itself. If it gets stuck, pick at it with a scribe to break it out.

The opening where the lid is to be inserted is sawn out. The sliding action will be smoother if the edges of the lid are slightly rounded and burnished smooth.

Screw Closures

To better understand the mechanics of lids that tighten by rotation, step into the Container Lab, also known as the kitchen. Look at the jars on your shelf and you’ll see several variations on the closures shown here. For general use, let’s start with the idea that the lid and container are round, or more correctly, segments of cylinders. It’s possible to attach a cylindrical mechanism into a square box, but for clarity of illustration we’ll work on a cylindrical form.

Bayonet Catch

A bayonet catch can be used on all sorts of boxes and lockets, from large to small and simple to complex. The example here shows a basic version; innovative designers will quickly see ways to expand on the idea.

The cylinder attached to the lid needs to have a smaller diameter than the inside of the box. The gray squares illustrate the rim that is soldered into the box and it is this that determines the size of the cylinder.

This clasp works with any number of “fingers” but note that the more there are, the more precise the location will be.

In order to make a snug fit, the gap between the underside of the lid and the fingers (gray here) should be the same as the thickness of the rim around the top of the box.

In this example the lid and box are segments of the same cylinder. They match, except that the lid section is shorter. A rim is made for the inside lip of the box, in this case a piece of 14 gauge square wire. It is fitted snugly into place, but not soldered yet. A bezel, or interior wall that fits inside the rim is soldered onto the lid so that it projects several millimeters into the box.

Small projecting tabs are soldered onto the rim to engage with the box. These are typically small pieces of square wire soldered onto the bezel. The catch works with one, but two, three, or four are also possible. If two or more are used they should be spaced evenly around the lid. In order for the catch to close tightly, the space between the lid and the top of the tab should be slightly less than the thickness of the rim, in this example, 14 gauge. Read on and this should make sense.

For a round box make a loop that fits snugly into the box. Cut the notches but do not cut all the way through or the loop will fall into pieces that are more difficult to solder. Instead, solder the loop then cut way the small bridging pieces to open the notches.

File a “ramp” or gentle angle on the underside of the rim. This will lock the lid into place as it is turned. To limit the turning to one direction, file this angle on only one side of the notch. If filed on both sides, the lid will lock whether it is turned clockwise or counterclockwise.

The drawing shows how the finger locks into place as it moves up the incline.

Set the completed lid onto the box and mark the location of the tabs on the rim. Pull the rim out of the box and make saw cuts at the marks, stopping short of cutting the rim into pieces. With a file, taper the lower edge of the rim slightly from each cut. If you work on one side only, the lid will be tightened by rotating in that direction. If you file a slope on each side, the lid with tighten by twisting it in either direction.

The rim is now soldered into the box, which can be pickled, rinsed and dried. Cut away the rest of the notches, filing as necessary to allow the tabs to fit. Rotating the lid slides the tabs up the slope of the rim until friction locks the catch.

Making a Full A Thread

In the previous example the interior bezel on the lid made a snug fit into the rim. In this case there needs to be a space between the two elements. This is the space where the threads will be, in this example a gap of about 2 millimeters, subject to the overall dimensions of the container. The threads can be attached to the lid, the box, or both. In this example We’ll attach them to the container, but bear in mind that they could also be on the smaller unit.

A thread requires a gap between the inner and outer sleeves of two times the diameter of the wire being used.

Think of a thread as a spiral ramp that climbs up the inside of the box. It can be made of round, half-round, or square wire—the round is easiest to bend but the others are easier to solder. Whatever you choose, wrap the annealed wire around the sleeve tightly, laying each rotation tight against the preceding one. This will look as if you are wrapping a coil to make jump rings. The goal is to make a tight fit into the box or locket.

Slots are cut in the inner sleeve to hold the wire that will provide the tabs of this bayonnet catch. The space between the lid and the tab (gray in the drawing) must be slightly smaller than the thickness of the rim that was soldered into the box.

File a slope (or ramp) onto the rim, extending outward from the slot. This will create a friction that will lock the lid closed when it is rotated.

File the outside of the coil slightly to create a flat facet on the outside edge. This will make a strong joint when soldered into the box. To create a space between the threads, pull the coil apart. If you do this by holding onto the two ends it will probably expand evenly. To check the consistency of the gap between threads, slide a piece of sheet—in this case I’ll use 16 gauge—along the coil. “Screw” the coil over the sheet, which will have the effect of making the space between the threads uniform.

Clean the container with Scotch-Brite and screw the coil into position. Check the uniformity of the gap, then apply small pieces of solder about every half inch along the track. Warm the piece uniformly, bringing the torch closer as needed to allow the solder to flow. Quench the piece in water, pickle, and rinse.

A Simple Tab

Slide the lid into the threaded unit. If it doesn’t fit (and this is expected, so don’t panic), file the thread to reduce its overall diameter. You’ll see that this converts the round wire used in the thread into a flat thread that makes a tighter screw mechanism. Things are working out.

This cutaway drawing shows how the single finger (black) can travel along a threaded track until the lid is tight.

When you’ve filed enough for the lid to slide smoothly into the container, all that remains is to solder a tab onto the inside of the lid. This is nothing more than a short finger of metal that will slide along the threaded ramp until the cap is locked onto the base. To make a clean and secure joint, drill a hole in the wall of the lid then fit a short length of wire into the hole for soldering. The size of this should match the gap between threads; in this example it is 16 gauge. The wire is left at a comfortable length for soldering, then trimmed flush on the outside of the lid and cut very short inside. It is rounded slightly with sandpaper.

Test fit the pieces together, paying close attention to any areas of friction. File as needed to allow the top to screw smoothly onto the box.

Making a Double-Threaded Closure

In this slightly more complex threaded closure, both units have a spiraling thread. Instead of a single metal post that travels along the thread, this construction has a full contact thread in both the container and the lid.

Screw the coil along a piece of metal to make the opening uniform.

File the interior of the coil slightly to create a clean flat surface, then solder it onto the sleeve. To locate a tab accurately, drill a hole and force a bit of wire firmly into it. Trim to size after soldering.

Use two wires held side-by-side to make a double coil. For the purpose of illustration I’m using sterling and brass here, but usually the same wire would be used for both parts.

As in the first example, the container and lid need to have cylinders with that allow space between them for the thread. To create the threads, lay two identical round wires side by side and wrap them in tandem around the sleeve. When you are done, unwind one from the other. Solder one onto the container and the other on the inside of the lid. This is a little easier said than done—expect some filing and fitting to make a proper fit. When soldering, take pains to heat evenly so the coils do not warp.

After the two sections have been quenched, pickled and rinsed, screw them together. If you’re lucky, they’ll fit at the first attempt. More likely the threads will need some filing to make them slide against one another. Be patient and work with the pieces, making minor adjustments as needed until the pieces screw together smoothly.

Variations

Examine bottles and jars in the kitchen to see variations on screw closures.

Go back to the kitchen and look at the jars on your shelves. In some cases you’ll see that the threads are three unconnected “ramps” along the sleeve. In others you’ll find that the catch on the lid is nothing more than a bend in the lip. Think of it this way—the Industial Epoch has spent milllions of dollars refining variations in which containers can be closed by a threaded device. We are the beneficiaries of that research.

4 Catches

Catches can be as simple as a snug fit or as complicated as a hidden mechanical device. In this section we’ll look at both. Not all boxes and lockets require catches, but they always add sophistication and frequently improve the function of a piece.

Most catches are made toward the end of the construction process, when the location and function of the hinge has been established. Of course if the catch will involve soldering, it is assembled before finishing. As a rule catches are positioned directly opposite the hinge, but there are times when an unexpected off-center catch provides an interesting detail.

General Suggestions

Regardless of the complexity of a catch, it should always be

- Easy to understand and operate

- Simple to construct

- Simple to adjust

- Capable of removal and repair

Friction Bezel

Most jewelers think of a bezel as the strip of metal that surrounds and secures a gemstone. Another use of the same word is to describe a rim of relatively thin metal that presses against the inside wall of a box to hold it closed. We see this all the time, from breath mint boxes to food storage containers, though we might not use the proper term to describe it.

Bezels can go completely around the box or they can be partial. Obviously longer pieces increase the surface area and therefore create greater friction, but partial bezels are usually sufficient for small containers. Bezels can be in the lid or the bottom unit and are almost always made of the same metal as the box.

It is a common misconception that strength in this situation will be achieved by using a thicker bezel. This is not the case. The friction is achieved as the bezel “leans” against the inside wall of the box (or lid). Thin metal will spring back when opened, retaining its “lean.” Thick metal rubs against the other part and wears down with each use. In addition, thin bezels are easy to readjust as they wear. If a box loses its grip after a decade or two, it should be a simple matter to pull the bezel outward with a burnisher to renew the closure.

Interior Wall as Bezel

This is a variation that solves two issues at once. Any boxmaker will understand the difficulty of getting an attractive finish on the inside of a metal container. There is no tool that reaches perfectly into the corners. This technique shows a way to solve the problem in the process of creating a bezel closure. In the first case polished metal is used; the other example, relevant for some applications, uses cardboard, thick paper, or cloth-covered cardboard.

The trick is in careful measurement. Cut out the chosen material carefully, scoring each bend with a sharp knife to insure a crisp corner. The height of the walls is equal to the height of the box plus a millimeter or two. The walls are pressed into the box where they should almost snap into place. The interior floor is then pressed in to press the walls against the box.

Dimple Catch

To improve the friction of a bezel, add a small dimple in one unit and a matching depression in the other.

This is one version of a simple arrangement that appears in boxes and lockets from all around the world. The idea is simple: Create two surfaces that slide across one another under tension, then provide some arrangement that makes it want to stay together rather than pull apart. In this example the bezel has a small raised dot and the interior of the box has a corresponding recess, or dimple. Once the dot slips into the dimple it prefers to stay there—in other words, some pressure is needed to separate the two parts.

In this example the tension is accomplished by making a tight fit between the bezel and the box, and the raised dot is in the bezel. The location of these elements is arbitrary—the raised piece could be on the bezel, or in a catch on the outside of a locket. The important thing to understand here is the concept.

The raised dot is made by striking the thin bezel with a bluntly pointed tool like a nail set. Avoid using anything too sharp so you don’t poke right through the metal. This is done after the bezel is soldered into the lid but before the two units are set together with a hinge pin. The recess is cut with a graver, a drill bit or a rotary bur. The raised dot and the recess can be very small.

Friction Hasp

Variations on this hasp system are endless…from simple to complex. It is also possible to combine this system with a padlock or peg.

In this case the friction is not located in the box or locket itself but is created by a tightness between two pieces that are attached to the outside. Again, there are dozens of configurations for this system—here’s an example to start your thinking:

A bracket is attached to the outside of a box, either by soldering or with a cold connection like a rivet or miniature bolt. This is bent as shown so that the two opposing tips come almost together. A flat bar of metal is attached to the opposing part of the box or locket, hinged in some way. It can be ornamented or plain, straight or curved, large or delicate.

Purse Snaps

Create a spherical bead on the ends of two pieces of wire and solder these into position so that they rub past each other to create friction and a simple clasp.

Here’s an easy way to make a sphere uniform and smooth—chuck the wire into a flex shaft and run it against sandpapers in decreasing grits until you have the finish you need.

Here’s a useful closure that might be familiar from coin purses. Several variations are possible, mostly having to do with scale. Try this simple generic version first, then you’ll be able to modify the catch to suit your specific needs. When the catch closes, two spheres rub past each other. Because they are attached by a stem that has a little give, the balls push past one another and spring back, making the snap.

Draw a bead on two pieces of wire, or make shot (small metal spheres) by heating pieces of metal as they sit on a soldering block. This can be done in any of the jewelry metals, but silver and gold yield a better result than copper or brass. If the shot cools rapidly the surface wrinkles like a raisin. This texture is usually unattractive and will detract from the smooth operation of the catch. To minimize the wrinkling, heat the metal until it draws naturally into the sphere, then slowly withdraw the heat, lifting the torch away as if in slow motion. This allows the sphere to cool uniformly and makes it more likely to harden into a smooth ball. If it doesn’t work the first time, reflux the metal and try again.

Even at its best this process will create an oval lump. The shape can be refined with files—a process made simpler by gripping the wire in a pin vise (Figure x-x). It is also possible to secure the wire in a flex shaft machine and refine its shape by rotating it against sandpaper.

Solder the two “lollipops” onto the edges of the box lid—it will be obvious that the joints need to be strong, so remember to clean and contour both sides so the pieces to make a precise fit. The location of the attachments are somewhat arbitrary; the working of the catch will be created by bending the stems after they are attached.

When the pieces have been pickled, rinsed, and dried, temporarily assemble the hinge and close the box. Polish the spheres to allow them to slip smoothly against each other. Bend the two stems so the balls slide against each other enough to have tension but not so much they are difficult to pull apart. Though difficult to describe in words, the adjustment will be obvious when you have the catch in your hands.

A Pinching Hasp

This hasps rotates outward from the single rivet. In its open position the lid is free to open. If the catch loosens with use, it is easy to squeeze the legs closer together to renew the friction.

This drawing illustrates the clasp above. The gray U-shaped piece swings out to release the top.

In this catch, a U-shaped hasp will hold the box closed by wrapping around a flange that has been made on both pieces (e.g., top and bottom). A rivet through the hasp will keeep it attached to the lower half of the box while allowing it to pivot outward for opening. To make the hasp, bend a rectangle of sheet over two pieces of sheet the same gauge as the flanges. The goal is to creat a U with parallel sides (shaded area).

Drill a small hole through the hasp, taking care to keep the drill bit vertical. Slide the hasp onto the double layers of flange with the box closed and drill through the flange using the holes in the hasp as a guide. Remove the hasp and use a saw to cut a small triangular piece from the lid flange — the section where the hole is located.

Melt a small bit of solder on the underside of this triangle and solder it to the flange of the lower unit. Use a piece of steel wire or graphite through the holes to keep them in alignment during soldering. Clean the pieces after soldering and test the assembly with temporary pins through the hinge and catch. It might be necessary to trim awaya little of the curved part of the U to allow the hasp to open fully. When you’re sure the mechanism works, dismantle the pieces so they can be patinated, polished and in every other way taken to their final finish. Reassemble and lock the pin in the hinge and clasp with light riveting.

Spring Catches

Push-Release Catch

This is a familiar catch with many possible variations. Pressing the trigger pushes the spring-loaded catch backward, releasing its grip on a small horizontal shelf attached to the inside of the lid.

An example of a trigger catch on a small cylindrical box.

In this very large topic, this is probably the most broadly used catch—variations on this arrangement account for scores of catches used on boxes, compacts, watchcases, lockets, and pillboxes. The sense of the mechanism is illustrated in the drawing: the catch includes a trigger, a hook, and a snag. The hook grabs onto the snag to keep the box closed. When the trigger is pressed the hook slides back, releases the snag and allows the box to open. The hook is springy enough to return to its original location so the box will snap closed when the lid falls.

In the end the catch requires that all the parts work together so it really doesn’t matter which comes first. I generally start by making the hook. For a small box like the example shown here I’ll use a flattened piece of 16 gauge wire. Score a V-groove near one end, bend it to a right angle and reinforce the score with solder. The top is then filed to make a crisp angle and to have a rounded top as shown. This is the surface the snag will rub against as the box is closed so it must be curved to allow it to fall back under pressure. For an example, look at the latch of a door in your house and compare that shape to a deadbolt. The latch is curved to it will retract as the door is closed.

Adding a Trigger

This detail of a trigger shows that the top should be angled but the underside of that piece should be a sharp bend with crisp edges.

Next, attach a trigger. This can be as simple as another piece of round wire, or as fancy as a bezel-set stone or a cast ornament. If this is small enough to fit through a hole in the wall of the box (as in this example), the trigger can be finished at this stage. If it is larger you will need to devise a way to attach the larger “cover” piece after the stem is passed through the wall. The drawing illustrates how this could be done with a friction-fit tube.

The snag is typically a small horizontal shelf soldered into the lid, but it can be as simple as a line cut with a graver or a separating disk. The scale of the box will suggest the best solution. When all the parts are made and have been test fitted into position, (and after the box is complete and taken to its final finish), the hook unit is slid into place and attached with a cold connection that will not remove its temper. This can be a pair of rivets, a bracket attached inside the box, or tabs during the construction. Once assembled, the catch is fine tuned by filing and sanding the components to allow a small pressure on the trigger to release the hook.

Internal Tension Spring

This appealing closure has many applications but is perhaps best recognized from its use in cigarette lighters and its ancestor, a pocket-sized container called a matchsafe (Figure x-x). The catch is hidden, rugged, and allows the box to be snapped open with a flick of a thumb.

A sterling matchsafe, the precursor to the modern cigarette lighter. This one was made in England around 1910.

A cutaway view of the position of the cam (black) when the box is closed.

The secret of the catch is a cam or lug—a built up section—on the middle knuckle of the hinge. This is under tension from a bar of springy metal as shown in the diagram. I think of it this way: where does the spring want to be? In this diagram, the answer is vertical; the bar of springy nickel silver used here wants to stand vertical and will push against anything that gets in its way as it tries to do so. Because of the location of the cam on the center knuckle of the hinge, this pressure presses the lid open or holds it closed. Let’s take a closer look at how this works.

These views show how the cam functions as the lit opens. The dotted lines indicate the angle of the cam, which in turn determines whether the lid is being forced open or closed.

A simple solution to secure a spring inside a box. By making a foot that fits snugly against the opposing wall, this spring can be snapped into position. Fitting is critical.

The thick cam on the center knuckle rubs against the leaf spring, keeping the lid closed or open, depending on the angle of the lid.

Picture the rotation of the lid through its full arc from closed to open. First you’ll notice that it is always in contact with the hinge. This tension makes the action feel solid and sturdy. As the cam presses against the spring the tension increases, reaching its maximum at the point where the cam is at right angles to the spring. In order to make this hinge work smoothly, the location of this spot is critical. You’ll note that in this example the maximum tension falls when the lid is halfway between open and closed; let’s call this the mid-position.

In a properly built tension spring, the lid will stay “poised” in the mid-position. A small movement toward closing will alter the angles enough that the lid will snap shut. A small movement toward opening will cause the spring to press against the other side of the cam and throw the lid open.

The degree of tension will depend on the thickness, material, and condition of the spring. This can be made of steel or work-hardened brass, nickel silver or sterling. To preserve the hardness this strip must be attached into the box without the use of heat. One solution is to solder a length of tubing into the bottom of the box. The spring is then forced into this where friction holds it in place.

In the example shown here the tubing has been flattened to form an oval cross section. The spring, in this case a piece of thick nickel silver wire pounded flat, has been tapered and sharpened so it will drive into the sleeve like a nail going into a wall. Keep in mind that the nickel is much harder than the sterling tubing, so it cuts its own path as it is tapped into place. Like a nail, if this is driven and pulled out several times the tight fit will be lost, but if driven in only once it will hold very well.

One way to secure a spring into a box is to solder a section of tubing like this. The spring is filed to a point and driven into place like a nail. Barbs can even be added (like a fishhook) to increase the grip.

Other solutions would be to rivet the spring down low in the box, either through the bottom or the lower side. It is also possible to bend the spring so it makes a snug fit simply by being pressed into place. This requires careful fitting but is an elegant solution worth trying.

Making the Hinge

Knuckles for a hinge like the one just described should be made of thick tubing. This will allow the hinge to stand up to years of wear. Note that other applications of this spring hinge might be less stressful and therefore could be made of conventional tube knuckles.

Make a three-knuckle hinge in the usual way—prepare the bearing and seat, solder a single knuckle into the center of one cradle, mark its location on the other cradle and solder the other two tubes into position. Check the hinge to be certain it has no gaps and works properly. Pat yourself on the back.

If this is your first time making this hinge it might be prudent to go through a dry run. Placement of the lug is very important! Set a piece of brass or copper into place to mimic the spring. Remember, it should stand straight up, vertical. When you assemble the hinge (put the top on and slide a temporary pin through the hinge), the copper should be rubbing against the center tube.

Open the box slowly to the mid-position and make a scribe mark on the tube exactly where it is in contact with the mock spring. This is the proper location for the cam. Dissemble the hinge and file a flat facet on the center knuckle at the marked point. This facet will show the location clearly, confirm that any surface contaminate has been scraped away, and ensures that the pieces will make a good fit.

Cut a piece of stout square wire (e.g. 10 gauge) or a similar block from thick sheet. Premelt solder onto the base of this, then set it onto the fluxed facet on the tube. Solder into place, pickle and rinse. The cam should be rounded and smooth so it rolls easily along the spring. Use a combination of files, sandpaper and polishing wheels to accomplish this.

Assembling a conventional hinge is usually the easiest part of the process—you set the lid into place and slide a hinge pin through the aligned knuckles. Not so in the case of spring hinges. All spring hinges, including this one, are under tension all the time. When you try to set the lid into place the spring will be in the way. That’s its job. Press the tubing against the spring as you lower the lid into place.

Depending on the amount of tension you’ve created, this can be an awkward chore. It’s often handy to have a friend standing by to slide the hinge pin into place. That process will go a lot easier if the pin is tapered. When working alone, try this: taper a length of wire that will be the hinge pin and clamp it in a vise so most of the wire sticks out. You can then force the lid into place and press the box along the wire to set the pin. Test the action, make adjustments if necessary, and lightly rivet the ends of the pin to secure it into place.

Hidden Trick Catches

Larger books than this one could be written just about trick catches, so let’s make it clear that this is only a brief sampling of the field. For the cagey craftsman, though, this might be enough to whet your appetite. These examples can be used exactly as shown, but more likely you’ll invent variations that make each catch uniquely diabolical.

Gravity Trigger

This trick catch is operated by rotating a device on the outside. When the cam pushes the spring sideways, the catch is released.

This catch is illustrated in a box with a sliding lid, but variations can be developed for other styles of closures. In this case when the lid is closed it appears to lock without any apparent action. No buttons are pushed, but the catch is released just as simply when you know the secret.

The holding device is simply a piece of sheet metal that is attached to the inside of the box with a single rivet. This must be loose enough to allow the piece to rotate freely. When the box is right-side up, the weight on the lower end of the catch pivots the bar upright where the tip slides into a slot in the lid.

To open the box, turn the box on its side. The bar rotates 90-degrees, releasing the catch and allowing the lid to be slid open. As simple as gravity!

Cam-driven Locks

This is typically a variation on the Push-Release catch described earlier in this section. The difference is that instead of having a trigger plainly visible on the outside of the box, this catch uses a cam inside the box to push the hook free of the snag. Again the permutations are endless, but here’s one way it could be used.

The photo shows the inside of the front panel of a box. The spring has been cut from sheet metal, forged to make it springy, and riveted into place at the bottom. When the lid comes down, a snag platform catches on the hook and the box is sealed shut. The medallion is free to rotate on an axle and when it does it moves a cam against the hook, pressing it sideways to release the lid. From the outside there appears to be no way to release the catch. Instead what we see on the outside is an ornamental medallion. In a conventional combination lock this wheel would have numerals, but any kind of ornament or symbol that would allow someone who knows the secret to get their bearings can be used.

Leaf Style

This is a variation on the catch just described, here illustrated on a box with a sliding lid. A thin piece of springy metal is attached to the underside of the lid in such a way that when the box is closed the spring drops down to snag on the inside of the box. Anyone who has gotten a box of plastic wrap stuck in a kitchen drawer know how effective this can be.

This is the outside of the same box. The mechanism can be anornamental disk like this, or it could have letters or icons. By using several of these catches it’s possible to make a sort of combination lock.

Note that a square rivet is used to lock the two disks for proper rotation.

This is the outside of the same box. The mechanism is built into an ornamental pattern that will disguise the proper orientation from someone who doesn’t know the trick.

To release the spring, a disk is mounted inside the box in a way that will allow it to be rotated from outside. This can be an obvious handle or a detail hidden in the ornamentation. The disk is either cut with a cam or mounted eccentrically (its rotating hole off center) so that when turned it presses upward against the spring.

Integrated Spring

This ingenious catch was devised by Mary Schimpff Webb for the Armadillo Box shown here. The body of the animal is an oval box that opens by means of a hinge located just above his tail. The box snaps closed when a platform on the inside of the lid is engaged by a springy hook. To open the box, we press on the armadillo’s nose. A wire here runs through the head and pushes the hook away from the platform.

Various views of the clever mechanisms of the Armadillo Box by Mary Schimpff Webb.

To allow the nose-trigger to spring back into position, the rod running through the head is encased in a coil spring, this one scavenged from a pen. A ring was soldered onto the rod so that it would not fall out through the front of the head. It was then fed through the spring and the interior arrangement was assembled. The location of the push rod against the hook keeps it from falling inward; a ring lead soldered onto the front keeps the rod from falling out the front.

Lori Talcott, Baby Virginia Turns 80. Sterling, pebble. Photo: Richard Nicol.

Nicole Des Champs, My Family Reliquary. Sterling, brass, aluminum, found objects, photos.

Marjorie Simon, Triangular Dancing Boxes. Brass, wood, paint. Photo: Bobby Hansson.

Patty Bolz, Container Pendant. 22K gold, boulder opal, diamond. Photo: Robert Diamante.

Kathleen Browne, A Gambler’s Fate. Sterling, resin, plastics. Photo courtesy of the artist.

Talya Baharal, Tool Box. Sterling with copper and brass details. Photo: Gene Gnida.

Mark Stanitz, Box. Sterling, 5”H x 3”L x 3”D, Photo courtesy of the artist.

Talya Baharal, Ball House. Sterling and copper. Photo: Gene Grida.

Kiff Slemmons, Overruled. Sterling, ebony, ruler. Photo: Rod Slemmons.

Detail, Slemmons.

Tim McCreight, Box. Sterling.

John J. Grant, Pin Hole Bolo. Steel, photographs, found objects. Photo courtesy of the artist.

Mikki Lippe, Spirit Box. Sterling, 22k gold, nickel silver. Photo: Richard Nicol.

Jennifer Schellenbach, Box. Copper, steel screen, timing ring. Photo courtesy of the artist.

Deborah Krupenia, Tagasode II (Whose Sleeves?). Colored golds, Sterling, Japanese copper alloys. Photo: Dean Powell.

Detail, Krupenia.

Jon Michael Route, Lidded Box. Pewter, brass, copper. Photo courtesy of the artist.

Kristina Kada, Safety Zone, Container. Sterling. Photo: Ralph Gabriner.

Detail, Kada.

Chuck Evans, Hollow Form #1. Sterling. Photo courtesy of the artist. 

Tim McCreight, Container. Stainless steel, wood, pebble. Photo: Jay York.

Mariko Kusumoto, Homeland, (interior). Sterling, copper, brass, found objects. Photo: M. Lee Fatherree.

Jane Martin, Curve Box. Sterling, copper, brass, nickel. Photo: Douglas Yaple.

Ken Weston, Cigarette Box with Holder. Sterling. Photo courtesy of the artist.

Marcia A. Macdonald, You Don’t Keep Secrets… They Keep You, Box #1. Wood, copper, brass. Photo: Richard Gehrke.

Merideth Malony, Locket. Sterling, copper, brass. Photo courtesy of the artist.

Micki  Lippe, Spirit House, Pendant /container. Sterling. Photo: Richard Nicol.

Kristina Kada, Pill Box. Sterling. Photo: Ralph Gabriner.

Steve A. Musselman, Snuff Box. Sterling, copper, woven fine silver, enamel. Photo courtesy of the artist.

Tara Stephenson, Sight #3 (ring/compact). Sterling, mirror. Photo courtesy of the artist.

Detail, Stephenson.

Albion Smith, Pocketwatch. Sterling, fine silver, amethyst, sapphire. Photo: Carol Holaday.

Detail, Smith.

Abrasha, Locket. Stainles steel, 18K, diamonds. Photo courtesy of the artist.

Detail, Abrasha.

Adam “Monkey Shines” Clark, Lovers Luck Lost, Liberty Lie, Container. Fine silver, garnets, quartz, glass eye, carved bone. Photo courtesy of the artist.

Detail, Clark.

Jan Baum, Guide #4 Celastrus Scandens, locket pendant. Sterling, celastrus scandens fruit, cultured pearls, nickel silver, glass. Photo: Phil Harris.

Detail, Baum.

Carol Webb, Willie’s Box. Photo-etched copper over fine silver. Photo courtesy of the artist.

David Jones, Keyed Seam Hut, Box. Sterling, 18K, fine silver, antique mother of pearl buttonscopper. Photo: Walker Montgomery.

Richard Finney, Prairie Roots. Copper, walrus ivory. Photo courtesy of the artist.

Detail, Finney.

Lorraine Lenskold, God Box (To Put Your Troubles Into). Reticulated Sterling, 14K gold, carved and died bone. Photo: Ralph Gabriner.

Frances J. Pickens, Canister. Copper. Photo: Paul Kodama.

 Tina Chisena, Container. African wonderstone, copper, mokume. Photo: Bill Branson.

Alan Perry, Pebble Reliquary, Bronze, 14K, jasper, lapis. Photo: Andrew Edgar.

Suzanne Pugh, Boiler #2, Box. Sterling, fine silver, pearl. Photo courtesy of the artist.

Elise Landry, Reliquary. Sterling. Photo courtesy of the artist.

Joana Kao, Really, Everything’s Under Control. Sterling, 22K, steel, brass, copper, glass, magnets. Photo: Doug Yaple.

Tara Etheridge, Box. Brass. Photo courtesy of the artist.

Detail, Etheridge.

Susan Bickford, We Dreamt. Sterling, copper, brass. Photo courtesy of the artist.

Mariko Kusumoto, Living Room (interior), Sterling, nickel silver, wax, copper, found objects. Photo: M. Lee Fatherree.

Detail, Kusumoto.

Jiro J. Masuda, Can You See Your Future With Her?. Sterling, 14K, mokume-gane, found object. Photo courtesy of the artist.

Tara Stephenson, Narrow Focus #1. Sterling, lens, mirror. Photo courtesy of the artist.

J. Cummings, Triptych Egg. Sterling, wax candle. Photo: M. Cavanaugh & K. Montague.

Detail, Cummings.

Chris Irick, Teetering on the Edge. Sterling, copper. Photo courtesy of the artist.

Debbie LaFara, Container. Sterling, reticulation silver. Photo courtesy of the artist.

Steve A. Musselman, Grid Box. Sterling,  woven fine silver, enamel. Photo: Dennis Nahabetian.

Brent A. Williams, Love, Dad, Reliquary. Copper, bronze, brass, found objects. Photo: Robert Diamante.

Detail, Stephenson.

 Tara Stephenson, Confidence, Security and Control. Sterling, Plexiglas mirror, powder puff. Photo courtesy of the artist.

Mariko Kusumoto, City, Living Rom, Niwa (covers), Sterling, copper, brass, nickel silver, found objects. Photo:M. Lee Fatherree.

Kat Winters, Sagemono Ensemble #2 Spider and Fly. Sterling, copper, bronze. Photo courtesy of the artist.

Jan Baum, Varying Direction #2, Pendant locket. Sterling, steel, nickel silver. Photo: Phil Harris.

Lee Graham, Compass, Sterling. Photo courtesy of the artist.

Chris Irick, A Means of Escape. Sterling, copper, brass. Photo courtesy of the artist.

Rachel Alverez, Locket. Sterling, brass screen. Photo: Robert Diamante.

Detail, Alvarez.

Ned Foulkrod, Post Mortem Box. Sterling, bronze, 14K, amethyst. Photo courtesy of the artist. 

Detail, Foulkrod.

Lori Talcott, Bird. Sterling, brass. Photo: Richard Nicol.

Thomas P. Muir, Tea Infuser. Sterling. Photo:Tim Thayer.

Detail, Muir.

David Jones, Fritz and His Horse, Box. Sterling, 24K, fine silver, copper, brass, 1945 PEP pin, antique mother of pearl buttons.Photo: Tom Mills.

David Jones, My Teeth Are OK, Box. Sterling, copper, 18K, fine silver, antigue badge, dental tooth samples, 22K tooth cap. Photo: Tom Mills.

Chris Irick, Egress. Copper, brass, Sterling, Herculoy. Photo courtesy of the artist.

Jan Harrell, River Oaks Baptist Box. Sterling, enamel.Photo courtesy of the artist.

Cappy Counard Wolf, Mississippi Pearl Box. Sterling, brass, pearls. Photo courtesy of the artist.

Details, Counard.

Lilyana Bekic, TV Snax, candy jar. Anodized aluminum, Sterling, found objects. Photo courtesy of the artist.

Rachel Alvarez, Locket. Sterling. Photo: Robert Diamante.

Alan Perry,  Browsing Through Time, Bronze, found objects. Photo: Robert Diamante.

Detail, Perry.

 Jeff Wise, Contained Kiva. Locket broach. 18K, coral, opal. Photo: Paul Ambrose.

Dominique Giordano Pin/pendant. Photo courtesy of the artist.

Rachel Alvarez, Locket. Copper. Photo: Robert Diamante.

Tracy Johnson, Toothpick Holder, Sterling, 18K, chrysocolla. Photo: Robert Diamante.

Detail, Johnson.

Elizabeth Bone, Boxes. Sterling, 18K. gold plate detail. Photo : Joel Degen.

Ken Cory, Cupcake Box. Copper, Sterling. Photo: Lynn Thompson.

j. e. Paterak, exist, rub, accept, Locket. Sterling, 18K, pearl, printed paper. Photo: Robert Diamante.

Detail, Paterak.

 Dan Natkiel, Pendant. Sterling, glass, plastic. Photo courtesy of the artist.

Detail, Natkiel.

Jane Campbell, Box #897, Oval Bracelet Box. Sterling, 22K, 18K, 14K gold, opals, chinese writing stones, apatite, mabe pearls, Peru opal, onyx, tourmaline. Photo courtesy of the artist.

Detail, Campbell.

Chris Irick, Labyrinth. Necklace with pendant. Sterling, copper, watch crystal, steel cable. Photo courtesy of the artist.

Kiff Slemmons, Coordinates. Sterling, typewriter keys. Photo: Rod Slemmons.

Bobby Hansson, Trainman’s Lunchbox. Painted tinware, Photo courtesy of the artist.

Brent A. Williams, Lip Baum Box. Sterling, moss agate. Photo courtesy of the artist.

Paula Wolfe, Pomander. Sterling. Photo courtesy of the artist.

Detail, Wolfe.

 Joe Muench, Beggar’s Box. Brass, steel. Photo: David Kingsbury.

Detail, Muench.

Jason Morrisey, Pocket Locket. Sterling, citrine. Photo: Robert Diamante.

Details, Morrisey.

Mariko Kusumoto, Father’s Room (interior), Music Box with movement. Brass, nickel silver, stones, wax, found objects. Photo: Hap Sakwa.

 Kristina Kada, A Core of Gold, Locket. Fine silver, 18K gold. Photo: Ralph Gabriner.

Detail, Kada.

Kee Ho Yuen, Box. Sterling, Corian®, gold plating. Photo courtesy of the artist.

Glenda Rowley, Potpourri Container. Sterling, nickel silver, brass, copper, rubber. Photo courtesy of the artist.

Patty Bolz, Neckpiece/Enhancer. 22K yellow gold, 18K white gold back, aquamarine, diamonds. Photo: Robert Diamante.

Detail, Bolz.

Caryn L. Hetherston, The Duality Between Action and Prayer, Box. Sterling, 22K, 14K, rutilated amethyst, fine silver chain. Photo: Peter Groesbeck.

Detail, Hetherston.

Nancy Deal, Locket. Bronze, Sterling, nickel, steel, glass lens. Photo courtesy of the artist.

Detail, Deal.

Chris Irick, Contained. Locket, Sterling, copper, brass, hydrostone. Photo courtesy of the artist.

Teri Blond, Cowboy Box. Painted tinware. photo: Bobby Hansson.

Brent A. Williams, Box. Brass. Photo courtesy of the artist

Kathy Hart, Tzedakah (Charity) Box. Sterling, fine silver, basse-taille enamel, garnet cabochon knob. Photo: L. Stein.

Addison Saunders, Maine Tourmaline Box. 18K, 22K, tourmaline. The top of the elegant box is a natural-shaped cross section of a bicolor tourmaline gem that weighs 152.5 carats. Photo courtesy of the artist.

Lorraine Lenskold, Icon Pillbox. Sterling, 14K, carved and died bone. Photo: Ralph Gabriner.

Stephen Yusko, Nail Box. Steel. Photo: Robert O’neil.

Detail, Yusko.

David Jones, I’m Curly, Box. Sterling, 18K, copper, 19th century glass button, 1950s Three Stooges Flicker. Photo: Walker Montgomery.

Jon Michael Route, Box. Pewter, brass. Photo courtesy of the artist.

Micki Lippe, Birthday Box, Sterling, 22K. Photo: Richard Nicol.

 Ken Cory, Tape Measure. Sterling, garnet, bone, steel. Photo: Lynn Thompson.

Albion Smith, Container. Sterling, reticulation silver, tourmaline, citrine, quartz. Photo: Carol Holaday.

Frances J. Pickens, Box. Sterling, copper, scarabs. Photo courtesy of the artist.

Micki Lippe, Spirit House Neckpiece, sterling, 22K, red jasper. Photo: Richard Nicol.

Mariko Kusumoto, Altar #1. Music box with movement. Sterling, copper, brass, nickel silver, found objects. Photo: M. Lee Fatherree.

grace del valle, His and Her Jewelboxes. Copper, brass, glass. Photo: G. Post.

Peggy Johnson, Wok Container With Fish Necklace. Sterling, 14K. Photo: Michelle Frentrop.

Rebecca Reimers Cristol, Ammonite Box, Sterling, fossil ammonite. Photo: Dixon Withers-Julian.

Myra Mimlitsch Gray, Candleholder II, Sterling, brass, bird’s eye maple veneer. Photo courtesy of the artist.

Tara Peck, Box. Brass. Photo: Mark Johnston.

Detail, Peck.

Ken Cory, Window Box. Copper, Sterling, enamel, glass, spectrolitePhoto: Lynn Thompson. 1971.

Gabrielle Gould, Locket pendant. Sterling, 14K, feather. Photo courtesy of the artist.