I Was A Poet and Didn't Know It

Well, maybe I'm a poet - maybe not... the jury is still out, but I try on my poetic hat on occassion. There is a new magazine called Life Images by Somerset that is part of the family of artsy publications by Stampington and Company. It features 99% reader submitted content. They are looking for emotive photos with accompanying poetry, short stories or journalling. I decided to give it a try.

Now I know that not all poetry has to rhyme and that there are certain patterns (meter) or stanzaic rules I probably did not follow, but I had fun. Here's what I have submitted so far:

Sweet lonely child of stone and moss;
Anyone can sense your loss.
Your broken wing, your broken heart;
The sense of mourning you impart.
You guard a grave so small & deep;
As the shepherd guards His sheep.
Now safely in His loving care;
The soul you guard’s no longer there.
~Lisa Whipkey

Lines connecting - intersecting.
Yet divided - still two sided.
Parallel and paradigm,
As evening is to morn in time.
~Lisa Whipkey

So just what are the various forms of proper poetry anyway? Good new for me... there are LOTS, so my style is sure to be covered in there somewhere. AND more good news... puctuation rules are out the window when it comes to poetry. It's true. It is up to the writers discression whether to use a period, comma, semi-colon, dash or no punctuation at all. The one consideration is that poetry should be written with recitation in mind, so if you want the reader to pause, you better punctuate accordingly. This site illustrates how "Every poem you write has the possibility of being a new poem with the addition (or deletion) of just a few punctuation marks." which is kinda fun to play with.

While doing a quick research on writing poetry, I found this fun exercise that got my poetic juices flowing. In the end you end up with a poem written in the "Constructivist " form.

1. On the first line write a noun of your choice


2. On the second line write two adjectives joined by "and" to describe this noun


3. On the third line write a verb and an adverb to describe this noun in action


4. Start the fourth line with "like" or as followed by a comparison


5. Start the final line with "if only" followed by a wish

Rose
Gentle and Soft
Smelling Sweetly
like a baby's breath
If only your thorns were as endearing

Give it a try! It's pretty fun and kind of addiciting.

How to Make Your Own French Hook Earwire Findings

I make fine silver jewelry. Fine silver is .999% pure silver. Sterling is .925. In the stores, pretty much all you can find is Sterling Silver findings. Since I want the metal content of my jewelry to remain pure as much as possible, I taught myself how to make my own findings including S hook clasps, toggle clasps, bails, jumprings, headpins, and earring wires. Eventually I started making larger quantities and wholesaling them to a local bead store. I also sell fine silver findings via my online bead store when I have enough.

I think making findings is pretty fun so I would like to share one way to make french hook earring wires so you can have fun too. Now some of you might be thinking, "If you want to sell these, why would you tell people how to make them?" Well, I am banking on my theory that creative "do-ers" will always find a way to make something vs. buy it whether I tell 'em or not. And people who find this kind of thing tedious will continue to exercise the convenience of just buying what they need, and hopefully they will buy it from me sometimes. =o)

How to make "Q-end" French Hook Earring Wires


Materials and Supplies
20 Gauge Wire (copper, fine silver, sterling silver-dead soft or half hard)
Flush Cutters
Large & Small Round Nose Pliers (Looping pliers)
2 smooth surface pliers
Cup Bur (for rounding the end of the wire)
Steel Bench Block
Chasing Hammer
Hearing Protection
3/4" Wooden dowel or Foam Brush Handle (used as a mandrel to shape the hooks)
Candy that's yummy

Steps
1. Cut pair(s) of 2 1/4" pieces of wire with flush cutters.
2. Secure each end of a piece of wire in smooth surface pliers and pull to stretch until strait.
3. Hammer the one end (1/4" or so) of each wire flat on the steel block.
4. Use the smallest end of the small round nose pliers to curl the flattened end into a loop.


5. Now switch to large round nose pliers. Grip the wire with the small loop on top of the pliers, facing you. Curl the strait end of the wire back, and up until it touches the little curl.


6. Pound the hook you just formed flat at the point that is farthest from the little curl. Eat some candy to celebrate your progress! You are 1/2 way done.


7. Hold two wires together with the loops facing you, right next to each other. Use your thumb to press the wire to the dowel or wooden handle of the foam brush, holding them just above the curls.
Push the straight wires around the dowel/handle until they almost come around and touch the curls.


8. Use the flush cutters to even out the strait tails of the hooks. Ideally the back should be longer than the front curls. (I do 4 at a time)


9. Use the cup bur to round and smooth the end of the wires so they won't injure the wearer. Eat some candy to reward yourself for being a considerate jeweler!


10. Use the large round nose pliers to grasp the straight part of the wire about even with where the curl is on the other side. Curl the end to put in a gentle curve that will help the wearer put the earring on easily.


11. To give the wire more strength to hold it's shape, you will need to flatten the curve of the hook just before and after the part that will rest in the ear. Do NOT flatten the part that will be in the ear or it will become sharp which is dangerous and uncomfortable to wear.


You are done! Eat some candy! For extra shine you can tumble the ear wires, or for a vintage look, antique them with patina. There are many shapes, sizes and varieties of earring wires you can make. This is just a really fun and easy one that looks great!

Torch Soldering vs. Soldering Iron

There are several posts on my blog regarding making soldered glass slide and pebble jewelry. That application calls for using a soldering iron, like those used for connecting pieces of stained glass. The basic elements of that method of soldering apply to torch soldering as well.... metal-to-metal contact, the use of flux to flow the solder, the use of solder & a heating tool that reaches the temperature that is necessary to melt the solder. But the methods are not necessarily interchangeable. For example, you cannot use torch soldering to make the glass slide pendants. The heated area is too broad and too hot. The copper tape & paper artwork would melt and the glass would shatter. But the torch method is the best choice for heat connecting precious metals like silver. A soldering iron tip must be touching the solder to melt it and therefore, it would get in the way when trying to make the small unnoticeable connections that are desired for finer jewelry, whereas the torch only needs to be in proximity to the area of connection to form a heat source that will melt the solder and draw the molten liquid to it. The torch is hot enough to melt solder with a higher precious metal content than the soldering iron generally, so for that reason it is preferred for fine jewelry as well.

There are a few pre and post solder steps that are required when torch soldering silver. When silver (other than pure fine silver or argentium silver) is exposed to high heat, it gets something that is called "Fire Scale" which totally discolors the silver and it is very difficult to remove because it goes deep into the metal. This happens because of the copper content that is alloyed in sterling silver. For this reason, I work with fine silver only, but sometimes the strength of sterling is necessary.

To avoid fire scale, you can prepare the pieces of silver by soaking them in a prep solution designed specifically to address fire scale. Also, some people lay the silver on a chunk of natural charcoal (not BBQ charcoal!) when soldering to help absorb oxygen which is in part to blame for fire scale.

I found this information in the Art Jewelry Mag forum by "bleugurl" but I have not personally verified it:
"To prevent fire scale, stop oxygen from getting in contact with the metal. Fire scale is formed whenever silver and sterling is heated above about 1000 degrees F. Oxygen combines with copper to form cuprous oxide which exhibits as firescale.

Prips Flux, denatured alcohol/borax solution, Cupronil…any of these products will work. You might try coating the whole piece in flux before soldering. Be generous with the flux. To properly apply anti-firescale-fluxes, the metal must be heated slightly. Paint, dip the piece or spray on the anti-fs-flux. A mist atomizer bottle works well here. If the metal temperature is correct a white grainy coating will form. Quickly play a flame across the wet fluxed metal to dry it. This will evaporate the alcohol, leaving a white coating of tiny borax crystals."

After soldering, the piece must be pickled to clean all of the residue and flux from it.

This video created by http://www.cooltools.us/ demonstrates how to coat your pieces with prep solution and some handy tricks for soldering small parts like jump rings with a torch. Check it out. I hope it helps you as much as it helped me.

Here is another video demonstrating another method for coating with flux & torch soldering on a piece of charcoal:

Happy soldering!

Precious Metal Clay Beads

Nope. This is not a picture of some alien form of plant life, or a scientific model of a Universe of oddly shaped planets. It's one of the things I have been working on lately... fine silver precious metal clay over porcelain beads.

There are 3 kinds of beads that I make using the fine silver of Art Clay Silver or PMC ~

*Hollow Silver Beads

*Solid Silver Beads

*Silver Overlay Beads

Hollow Fine Silver Beads

Hollow beads are made by putting silver over a core material that will burn out during firing in the kiln. (You should not try this with a torch.). There are many possible materials you can use. The most common are paper clay, cork clay, cereal. Yep, that's right.... breakfast cereal like Cheerios & Kix make great cores for beads, though it is pretty fragile to work with. Paper clay is a bit of a pain in my opinion because it does not completely burn away. You must chip it out of the center of the bead after firing. For me, cork clay is the perfect core medium. It is easy to form and it completely turns to fine ash when fired. This is how I do it...

Form the desired shape in the cork clay and let it dry for at least a day. Insert a wood toothpick into the cork where one of the bead holes will be. Don't put it all the way through, just insert deep enough to secure it in the cork. Break another toothpick in 1/2 and coat it with a non stick medium like "Slik". Stick this on the other side where the hole will be. This one will be removed before the bead is fired to allow a place for the ash to fall out of. Prepare a 'mandrel stand' by sticking a chunk of polymer clay to a plastic lid. Use the long toothpick as a mandrel to hold the bead while you work on it. Coat the cork in melted wax or a thick layer of water soluble glue, stick the toothpick end into the polymer mandrel stand and let the coating dry completely. The wax or glue will burn out faster than the cork, allowing a little wiggle room to accommodate the shrinkage of the silver clay & it keeps silver from flowing into the porus core surface. After the coating is dry, cover the bead in a thin rolled sheet of silver clay, syringe clay or use a paintbrush to paint the bead with silver clay paste. If using the paste method, you must use at least 5 layers of paste, letting each layer dry before adding the next. Once you have your silver base, decorate using syringe clay, paper clay, etc. Let it dry. Remove the short toothpick. Place the bead open hole side down, on a bed of fire blanket or vermiculite. Fire per manufacturers instructions. I fire my low fire ACS at 1270 for 30 minutes. The cork burns out around 700'. Until that point, you must leave the top vent of the kiln open. You will smell the cork burning and see a puff of smoke. (Be sure not to breath it. Work with plenty of ventilation.) Plug the vent hole after this occurs. After the beads are cooled, finish as you would any metal clay pieces.... burnish, tumble, antique, polish, etc.

Solid Silver Beads

This type of bead is pretty self-explanatory. Form metal clay into the desired shape, put a hole in it, fire and voila! You have a solid silver bead! Some ideas... After forming the desired shape, stick a wood toothpick all the way through to form the holes & keep them open during firing. In the kiln, they will simply burn away. Or you can use professional bead mandrels made especially for this purpose. You can form large hole beads or tube beads by wrapping a sheet of clay around a drinking straw. Remove the straw from the dried clay before firing.

Silver Overlay Beads

This type of bead involved putting a layer of silver over a core that does NOT burn out during firing. The core remains he center support for the outer silver surface. I have heard that brass and steel can be used for a core, but I have no personal experience with that. My favorite core material to overlay is porcelain. I prefer this method to the two bead styles mentioned above because the overlay beads use less silver, weigh less than solid beads and cannot be crushed like hollow beads. How I do it...

Form a mandrel from a drinking straw by cutting a slit about 3/4" long on one end of the straw, then cut a small slit perpendicular to that at the end of the first slit.

Roll the cut end of the straw into a tighter tube and insert into the bead. The tension from the straw should be strong enough to hold the bead on it securely so that you can work on the bead while holding on to the straw. Coat the bead in at least 5 layers of paste clay, letting each layer dry thoroughly. Decorate with syringe clay, sheet clay or stamped clay, etc... When it is dry, fire per manufacturers instructions. Burnish, tumble, antique, etc...

Visit my shop www.treebysea3.etsy.com . Many new beads & fine silver findings to be added to the store soon!

An "Oops" Turned Around - Rescuing Precious Metal Clay from Boo Boos at Any Stage

Funny story... the brown stone you see here is actually blue tanzanite. I made this pure silver pendant with a blue stone and the words "blue moon" stamped at the bottom. However, the stone is more heat sensitive than I realized...when I fired it in the kiln, it turned brown. Luckily it is a gorgeous brown stone with red & gold fire (the picture does not do it justice), but it was obviously out of place with the words "blue moon", so I thought hard about how I could salvage this pendant that I really liked and came up with the idea to cover "blue moon" with "eclipse' because the moon looks brown during an eclipse, right? So the pendant ended up being something completely different than I planned, and the "oops" turned into something that is kinda cool and different I think.

So far there is nothing that I have done with metal clay that has not been salvagable no matter how hard I try to screw it up!

Before the clay is fired...

• In the wet stage, you can always ball it up and start over or augment with more clay.
• If the clay starts to get dry before you are done forming, spritz with water.
• In the dry greenware state it can be turned right back into clay by spritzing generously with water and sealing in plastic or an airtight container for a day or so.
• If at any time you make it too wet, expose to the air until it is the right consistancy.
• If you break a piece in the leatherhard or greenware state, you can use the metal clay paste to glue things back together.
• You can refine edges and smooth flaws with a wet paintbrush or with sand paper. (If you sand the greenware, be sure to salvage the 'dust' from you sanding and add it to your paste jar. The moisture will turn the dust into more paste or slip so there is no waste.)
• If cracks form while drying, you can 'spackle' them with silver paste.

After the clay is fired...

• You can repair breaks using silver OIL paste and re-fire (Kiln only), then sand and polish until the seam is not visible.
• You can add another element made from metal clay and use paste to adhere it to the original piece then refire.
• You can enamel, paint, or collage over mistakes (as I did in the eclipse pendant) to turn the item into a mixed media piece.
• You can file off small mistakes using metal files and different grits of sand paper or if you have metalsmithing tools, you can saw off boo boos or drill, etc.
• If all else fails, the item is .999 silver and can be melted and poured into a mold or can be sold to a precious metal buyer for the going rate for pure silver.

I just love a hobby with built in safety net!!

How to Create Soldered Glass Slide Jewelry, Part 4 - Tips & Troubleshooting

Over the last few months I have blogged about creating soldered glass slide jewelry using the techniques learned in the Simply Swank soldering class that I took and some things that I had learned elsewhere. A few months down the road, and I still cannot claim to be an expert on the subject, but I have learned a thing or two and improved my technique I think, so I want to share in case it might help someone.

Most of the things I am about to say will cause you to say, "Duh!" because they seem obvious, but it's easy to get so in to the art part that you forget the common sense part. At least it is for me. =o)
This assumes you have already read my previous soldering blogs parts 1, 2 & 3... If not, ya might want to check 'em out.


Tips
1. Don't solder naked! A. Because it's just not pretty and B. Because solder & flux can splatter and drip. Make sure you solder over a heat resistant surface. Make sure your hands are higher than the molten solder at all times so you cannot get burned if it runs and drips. Wear shoes. Wear safety glasses. Wear a mask. Wear a smile.

2. Gravity applies to molten solder. Pay attention to the angle of the piece when you are soldering. It's natural to want to tilt the piece back to get a better view of the solder you are trying to add to the front, but don't be surprised when the solder runs to the back. You can use gravity to your advantage to manipulate where the solder goes. You can also use it to remove excess solder. Melt extra solder and push it off the end that is pointed towards your heat resistant work surface.

3. Always keep your soldering tip silvered and keep a spare soldering iron tip on hand. Wipe the solder tip on a wet sponge often while in use to keep it clean and from overheating. Don't leave the iron idol just cooking away. Unplug it if you are not going to use it right away. They do wear out because of the extreme heat. Tips can become pitted and can quit working right in the middle of a project. If the tip no longer appears silver, it will not work properly. See the troubleshooting section below for more information.

4. Don't mix ammonia with blackening agent. If you will be using a patina, it most likely contains an acid that is very toxic and corrosive. Most become extra nasty if combined with ammonia. Guess what is in your average glass cleaner that you probably use to clean your slides? That's right... ammonia. Do NOT mix. Use gloves, eye protection and major ventilation and follow all of the manufacturers cautions to a T when using patina. Dispose of leftovers appropriately. I recommend not pouring this stuff into a cup to use it, but sit the bottle in a big non-tipsy bowl, open it, and use a long wood handle Qtip (like the doctors use to swap a throat) to dip into the bottle. Pull the swab out, then immediately seal the bottle and apply the patina to the solder. This way there is minimum exposure and little waste to dispose of. Wear gloves. The stuff can burn skin.

5. Smoke goes up. Duh, right? But solder smoke in particular likes to rise strait up quickly in little bursts. If you are leaning over the item you are working on, it will go straight in your face & up your nose. This smoke is unhealthly at the very least even when it says "non-toxic solder". Certain solder fumes can cause lung disease over a long exposure. Do NOT breath the smoke. Wear a mask with the proper filtration rating, use fans and good ventilation. Don't hover over the item you are working on.

6. Gravity applies to hot soldering irons. Most soldering irons have heavy duty stiff cords that may actually weigh more than the iron itself. If the cord dangles off the side of your work surface, it may actually pull your soldering iron over the edge too which would be really bad if it is hot. Use a soldering iron stand with a heavy base, and/or use a piece of duct tape to tape the stand base and the base of the cord to the work surface.

7. Remove all flux from glass and solder immediately after it cools. Flux is an acid and it will continue working and could etch the glass and discolor the solder. You can then patina the solder or polish it to a shiny silver using a solder polishing compount. To maintain the color of the solder, seal with wax. You can get the patinas, compounds and wax at any stained glass supplier.

Troubleshooting
Here are a few common problems and some likely causes why they might occur.

The copper tape lifted off the glass during soldering or after - The tape had a spot of poor adhesive, or it was not burnished to the glass thoroughly before applying flux and the flux got under it. This can be even more of an issue if you use multiple strips of tape vs. one continuous piece.

The copper tape got a hole in it while soldering or stuck to the iron - The soldering iron was held in one place for too long or you went over and over the same area trying to smooth the solder. If you can, try pealing it off or covering with new tape, flux and solder again.

There are tiny pinholes or bubbles in the solder - Your copper tape is not good quality or it was not adhered well and the glue melted up through the solder when it was heated. Or you used too much flux and it boiled and made bubbles.

The soldered edge is skinny on one side and fat on the other - This is most likely because the copper tape was not centered on the glass edge. Or it could be that the glass was tilted during soldering so more solder flowed to one side than the other.

The soldered frame is crooked - Most likely caused by not putting the tape on straight. If the tape is crooked, you can use an exacto knife to trim before you solder or remove and put a new piece on.

The glass broke - A single area of the glass got too hot during the soldering process because the iron was held in one place too long. Or, the items sandwiched between the glass were too lumpy. Lumpy items must be balanced with other lumpy items of equal height between the glass so the glass cannot teeter-totter and get stressed enough to break.

There is fog or moisture under the glass - The items between the glass were moist, probably from glue that was not yet dry. The heat of the soldering iron created steam. Or, after soldering, cleaning solution or other liquid ran under the solder. Solder does not make a watertight seal. Items should not be worn in the shower or even in heavy rain.

My soldering iron will no longer melt the solder - Or the solder gets stuck to the tip. Verify that the melting point of the solder you are using is low enough to be melted by your iron and that your iron is fully heated. Check the iron tip. If the tip of the iron no longer appears silver even after wiping on a damp sponge, try sanding it with sanding paper (while it is cool) to re-expose the silvered tip. Heat and resilver the tip. If that does not work, you can try a Sal Ammoniac* block. This stuff is nasty and toxic. Do NOT breath the fumes. Here are some great instructions from Volcano Arts on cleaning your soldering iron tip. If cleaning does not work, replace the tip when the iron is cool. It is easy... There are usually one or two tension screws to loosen and the tip should come right out. If it is stuck, try tapping it lightly or twisting with plyers. If all the above does not work, it may be the iron itself or the electrical outlet.

*Note, this is ammonia... as mentioned above do not EVER mix patina solution and ammonia. Store these items faw away from each other.

My solder is lumpy - Practice makes perfect. Use one fluid motion like a long painting stroke to float the solder along the tape with the iron barely touching to make the smoothest bead. Be sure to hold the tip so you are using the wide, flat edge. Also, it helps to have a good iron that keeps a constant temperature. Most importantly, flux well and often. Solder cannot flow without flux. Make sure you coat the whole section to be worked with flux but don't try to do too big of an area at once. If you flux and don't immediately solder, reapply flux.

Don't let the above intimidate you from trying soldering yourself. Yes, there are a few issues and some safety things to think about, but anyone can do it and you can produce really pretty piece that you and others will love very quickly and economically. Happy creating!

How to Create Soldered Glass Slide Jewelry, Part 3

OK. Well, I FINALLY am going to wrap up my blogging 3-parter on soldering glass for jewelry, and with some good news! I thought I was solder challenged but it turns out I just had bum supplies. I am the proud new owner of a functioning soldering system now and armed with some real live class instruction from Lisa Blum of Simply Swank. "SS" offers a full line of soldering products and a book. I purchased the kit and several packets of glass shapes to have some fun creating beyond the 1x3 slide. Check out their website http://www.simplyswank.net/. They teach classes all over the country so look for them in a location near you in the U.S.. I recommend the class. It was very fun and had a nice relaxed "you can do this" atmosphere.

Turns out soldering is really pretty doggone easy with their kit that functions well together. In addition to the kit, I recommend the "third hand" clamp tool they sell on their site and the heat resistant surface sheet. I also got some of the wavy foil. I really like the way it looks. Something to note about foiling... use one continuous piece if possible & burnish it to the glass well or it may lift from the heat during soldering.

After wraping your glass edges in copper foil tape & burnishing it, plug in your iron. On the iron stand in the kit, there is a sponge that you should wet too. The iron gets hot pretty fast. Don't leave it sitting idol and cooking away for a long time. When it's hot and sizzles on the wet sponge, go for it. The first time you use it the blue protective coating will burn of the tip. Wipe it off on the sponge. Then roll out a few inches of solder and touch the end to the tip of the iron on both sides until a tiny bit melts to cover the tip, then wipe a few times on the sponge, leaving just a thin silver layer on the tip. This is like "seasoning" the iron. Do it every time you start it up and again before you put it away.

Put your glass in a clamp so it can sit hands free on your heat resist surface with a foiled edge up. (I recommend starting with a square piece of glass the first time as it is a bit easier.) Brush flux just on the foiled edge pointing up. Now place your iron just slightly above the far left corner of the foiled edge and press the tip of the solder on to the top side of the flat tip until a bead forms and rolls off the tip and on to the foil. Now use the tip of the iron top smoothly "paint" the solder blob from left to right with the tip just barely touching. Don't press hard or you can burn through the foil. The solder should flow like melting butter over the fluxed area. Use tweezers to reposition the glass in the clamp, flux the next side, and do the same process with the solder. Continue until all sides are soldered. You may choose to go over it again to build up a thicker bead of solder.

When you are done, you will probably want to add a bail at the top center to put a necklace through. You can use a jump ring or a metal bead with a large hole. (Note, pewter and aluminum will not work.) Don't flux this time. Just make a mound or blob of solder on the top center and let it cool. Grab the bail with plyers and position just over the top of the mound. Now touch the tip of the iron to the top of the mound. As soon as you feel it give way/melt, move the iron and push the bail into the molten solder and hold it there until the solder sets (a few seconds). If it's crooked, melt it off with the iron and start over.

You can now use a fingernail file & sand paper to smooth the solder. Then use solder polish to bring it to a shine or patina to change it to black or copper. Polish is available through "SS". Patina is available from stained glass suppliers. (Note, the patinas are pretty harsh chemicals so not for the faint of heart. Use caution.)

Pretty simple & fun stuff! Granted, to get a really nice plump and smooth bead takes practice, but you can make a perfectly wearable piece of art jewelry on your first try with the right tools and instructions! Go for it!

How to Make Jewelry from Glass Microscope Slides & Solder

Japanese Cherry Blossom Pendant
Originally uploaded by ashe-villain

If you are into handcrafted jewelry, then you may have already seen or heard of jewelry made by using 2 glass microscope slides to sandwich flat items, which are then soldered around the edge to make a solid piece. Loops are soldered to the top and/or bottom to act as connection points. These are mini framed pieces of art that are as much fun (with practice) to make as they are to look at and wear.

Sample pic is from flickr user "Ashe-villain" who allowed the blogging option (thanks). Visit her store.

What do you need to create this fun art you can wear?
Microscope Slides or other polished edge small uniformly shaped glass piece
Glass cutting tools (optional - only if you want to do a size other than your pre-cut glass)
Stuff for inside the "glass sandwich"
1/8" Copper tape - the type used for stained glass
Burnishing tool
Shiny silver jewelry grade Lead-free solder and compatible flux that matches temp of soldering iron
Small disposable non-plastic paint brush to apply flux
Wire or jump rings
Pliers
Damp Sponge
Glass cleaner and lint free towel
Soldering Iron & sturdy stand
High heat resistant work surface
Well ventilated space
Clamps or "third hand" tool to hold the slide in place while soldering
Safety goggles
Instructions

What can you put inside the slide sandwich?
The possibilities for what you can put inside is limited only by the fact that it must be pretty thin flat, and able to stand the heat of the soldering iron near it. I have seen paper collage, feathers, lace, photos, pressed flowers, glitter, confetti, snips of hair, poems, postage stamps, fabric & fiber, food labels, sheet music, on and on... One thing to note, make sure objects do not contain any moisture, as in wet glue, when you solder. The heat may cause steam to get trapped in side and will ruin your project. Don't get anything that melts or burns easy close to the edge of the project so the heat will not harm it.

End of Part 1.

Go start collecting stuff to put in your slide sandwich and check back here soon for part 2!! Part two will feature more instructions, samples and resources for where you can get the supplies mentioned above.