How to Make Fork Bracelets

How To Make Fork Bracelets and Necklaces

You'll learn everything you need to know! What Forks To Use. Knowing what forks to use is very important. Some forks bend much easier than others and are ideal for fork bracelets. Learn which types are the best. Tools. Having the right tools is crucial if you want to turn out stunning products. Learn what the pros use for getting that perfect bracelet every time! Preparation. Preparing the fork the proper way will make sure that your bracelet has that glimmering, polished look in the end. Maryann goes over her technique for preparing the fork the right way. Bending The Fork. You can fumble around for months trying to figure this part out, or you can let Maryann show you how it's done. Years of experience speak to you to give you the training you need to bend like a pro! Finding The Perfect Stone. Finding the perfect stone or jewel to put into your bracelet is an art in itself. Learn how to get the perfect match between fork and jewel to make them combine into a complete, stunning piece of jewelry! Continue reading...

How To Make Fork Bracelets and Necklaces Summary


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The Bohemian Plastic Style

Biskupice Bronzov Plastika Celts

The importance of the Plastic Style in Bohemia and Moravia has largely been established through the analytical research of Kruta (1975), whose sub-divisions have been widely adopted by other scholars. He demonstrated that the first phase of the Bohemian Plastic Style developed from types associated with the Duchcov horizon of the later fourth century. Two principal artefactual types were represented. Numerically most significant are a series of bronze penannular bracelets with buffer terminals, the decoration on which is divided into three sectors, two flanking the terminals and the third diametrically opposite the opening (Figure 6.1, 2). A few of these display vegetal-derived designs, though executed in a relief technique that is accentuated beyond the low relief of the preceding style. The majority, however, employ S-motifs in simple or compound form, for which the ultimate antecedents lie within the Early Style. The more complex examples include linked S-motifs and comma-leaves,...

The related styles of Western Europe

Waldalgesheim Burial

Essentially a development and intensification of three-dimensional styles that had already made their appearance in the preceding Waldalgesheim or Free Vegetal Style. The types on which the ornament is displayed, notably torcs, bracelets and brooches, were also types fashionable in the preceding period, as we have seen, and the cemetery contexts from which they are derived frequently show continuity from the closing stages of the early La Tene through into the middle La Tene phase with no obvious break in funerary tradition. As regards the wealthier graves, after a relative decline in fashion for chariot burial in the fourth century, and despite a re-appearance in the third, the standard mode of burial at the end of the fourth century and into the third is in flat graves, sometimes within a square ditched enclosure. Progressively cremation is adopted as the principal funerary rite from middle La Tene, becoming dominant in the late La Tene phase. The classification of the later Iron...

Twisted torque bangle

Celtic Golden Torque

The most beautiful torque bracelets and neck rings have been recovered from Celtic burial sites. The torque was a badge of rank and power, and classical writers have reported that Queen Boadicea wore a golden neck ring and bangles when she went into battle against the Romans. This technique can be used to make a variety of choker collars, as well as bangles, and beads can be introduced to plug the ends of the wire.

Pebble and shell charm bracelet

Celltics Shells And Romans

Although no charm bracelets dating back to the Celtic era survive. I am sure that shells and natural objects would have been made into necklaces and bracelets, as the Celts were very fond of decorating and adorning themselves for ceremonial rituals. This bracelet demonstrates how you can attach un-drilled. semiprecious stones or small pebbles to a chain to create a highly individual bracelet.

The La Tene Later Relief Styles

In fact, from Jacobsthal's analysis, it is difficult to gain any sense of a coherent style, in terms either of its distribution or of the range of artefactual types represented. The distributional deficiency was in part owing to the constraints of access to museums and collections at the time. As Kruta pointed out (Duval and Hawkes, 1976, 181), a substantial concentration of Plastic Style ornaments in Bohemia and Moravia, numerically greater than those of Hungary or south Germany, had not been examined by Jacobsthal, who perhaps therefore placed undue emphasis upon particularly outstanding examples from the Marne or southern France. As regards the types that were represented, these were principally bracelets, arm- or ankle-rings in Jacobsthal's analysis, to which a wide range of brooches should certainly be added. In its wider sense, however, 'Plastic Style' might include the Torrs pony-cap and insular parade shields, as well as the Irish pin series. It is worth remarking nevertheless...

The late Bronze Age and the Dowris metalwork industry

South West Divide

The question arises, therefore, what preceded the Irish La Tene Metal-work in the Hallstatt Iron Age tradition is even more sparsely represented in Ireland than it is in Britain, and what there is in any significant numbers, namely, bronze swords of Gundlingen type (Cowen, 1967), is generally regarded as being of local manufacture, like their British counterparts, rather than evidence of close direct contact with Continental Europe. Hallstatt-type bracelets or Italic-type brooches, often without reliable provenance as with examples in Britain, cannot even be regarded certainly as ancient rather than more recent imports. So a substantial hiatus opens up between the retarded appearance of La Tene types and whatever latest date can be plausibly sustained for the survival of the Dowris late Bronze Age (Eogan, 1964).

The Swiss Scabbard Style

Scabbard Plans

Apart from the bridges, there were indications that the north bank had been reinforced, perhaps to create a wharf against which boats or barges could be moored. The inventory of finds from the site includes more than 150 swords, together with spears and the remains of shields. Personal ornaments that elsewhere are typical of La Tene assemblages, such as brooches and bracelets are present, but not in abundance, but the presence of tools and implements such as sickles indicates that the site's associations were not exclusively martial or aristocratic. The material dates from the early La Tene through middle La Tene, with hardly any finds thereafter, by contrast with the sites near Port, at the north-eastern end of Lake Biel, which mainly belong to the late La Tene phase. As to function, the site is plainly unlike normal domestic or fortified settlements, not simply in terms of its structural evidence but more especially for its concentration of preserved artefacts. Its location, at the...

The archaeological and historical context

In the middle La Tene period in north-alpine Europe, the principal source of ornamented metal-work continues to be burials, but in place of the high-status Furstengraber of the early La Tene phase are cemeteries, comprising both flat-graves and tumuli according to regional preference, but seldom displaying the extravagance in grave-goods of the princely burials of the middle Rhine or Champagne. In place of the wine-service and precious personal ornaments, the best-equipped burials are those of a martial elite, whose 'triple panoply' of sword, spear and shield becomes the hallmark of the Celtic warrior. The distribution and range of ancillary types, such as brooches and bracelets, suggest a developed network of local craftsmen and markets rather than long-distance connections, which are attested only by a limited number of luxury goods.

Funerary practice and ritual

Bronze Age Greaves

Associations may include accessory vessels and accompanying grave-goods to a greater or lesser degree. Some have few, if any, diagnostic metal types, but cumulatively it has been possible to build up a reasonably reliable sequence, based upon the changing technical details of bronze typology. The classic demonstration of this approach was Muller-Karpe's (1959), based upon some eight hundred closed groups, even if the detail of the sequence with its sub-divisions was subsequently subject to modification. Among pottery types, the cylinder-neck urn, sometimes embellished with bosses or fluting, is widespread. The predominant bronze types, apart from weapons and edge-tools - swords, spear-heads, axes and knives - are personal ornaments, including bracelets and a great diversity of pins.

The Developed Styles in Eastern Europe

Waldalgesheim Burial

As a result of the work of Kruta, Szabo and others, much more is now known than at the time of Jacobsthal's pioneering research about the impact of the Waldalgesheim style in eastern Central Europe, and its formative role in creating there the three-dimensional Plastic Style and the distinctive Hungarian Sword Style of the ensuing period. Some examples of the Developed Style from Bohemia bear striking similarities to the Waldalgesheim group, and could even have been the product of a Celtic workshop in northern Italy (Kruta, 1975). The ornamental fitting from Cizkovice shows under-and-over figure-of-eight tendrils in a triangular field, terminating in a palmettederivative with axillar infillings, in a manner that could have been the product of the same workshop as some of the Waldalgesheim pieces. The bronze bracelet from Klobuky is ornamented with leaf-tendrils leading into peltate 'fans' in a manner seen on several western pieces, and the designs on bracelets from Jenisuv Ujezd and...

The Warrior In Celtic Society

Chasing Scabbard Process

Gold tore and bracelets from Belgium. Note the serpent motif on the terminals. (Copyright The British Museum) 'They amass a great quantity of gold which is used for ornament not only by the women but also by the men. They wear bracelets on their wrists and arms, and heavy necklaces of solid gold, rings of great value and even gold corselets.'

Personal ornament and dress

Some of the key types change with the transition to the first, Hallstatt Iron Age, which may reflect changes in dress and costume rather than simply decorative fashion, since the latter is commonly a factor of the former. Common to both periods in Central Europe are bracelets, generally of penannular form. Heavily-ribbed bracelets are especially characteristic of Bronze D and Hallstatt A1, but from the early Urnfield period bracelets are also decorated with fine, engraved linear ornament. Ribbed bracelets of a different variety, with more rounded, nut-like ribs, come into fashion in the final Urnfield phase, and continue in various changing forms through the Hallstatt Iron Age into La Tene.

Imsh CeLfic Nletalujorzk

Gaelic Culture

The technical skills needed to produce these masterpieces in metalwork had existed for centuries. Casting, engraving, raising, and tinning procedures had already been developed by the time the Romans left Britain early in the fifth century. The curvilinear low-relief patterns of the La Tine period were translated into a new form with increased complexity, and applied to a wider range of objects. These included brooches, pins, bowls, and bracelets.

Artefacts associations and context

Personal ornaments show less obvious continuity. Pins occur in a profusion of types in the Urnfield period, and are the predominant dress-fastening in much of north-alpine Europe. Various ornamental brooch types are known, however, from the later Bronze Age north and south of the Alps. Some of the later Italic types were adopted in the late Hallstatt Iron Age north of the Alps, and the safety-pin type of brooch became the standard dress-fastening of the La Tene Iron Age. Other fashionable ornaments are neck-rings or torcs, arm-rings or bracelets (located variously between shoulder and wrist), finger-rings and leg-rings. Whether these were simply dress-accessories or had additional social significance, as indicators of age or marital status, for example, is arguable on the basis of studies of Iron Age inhumation cemeteries in Central Europe. Gold ornaments are relatively rare in the European late Bronze Age. Regional groups like the Irish 'dress-fasteners' and 'sleeve-fasteners'...


Celtic Plastic Style

The Garonne-Aude corridor affords a natural route of access between the Mediterranean and the Atlantic west, as an alternative to the longer sea passage through the Pillars of Hercules. In consequence, we may expect that south-western France might reflect archaeologically a variety of external contacts, of which those with Central Europe to the north-east were not always dominant. These multi-directional contacts of an essentially regional industry are amply demonstrated from the late Bronze Age Venat hoard from Saint-Yrieix, Charente, on the northern fringes of the region. The hoard is unusual in the high proportion of personal ornaments, notably bracelets, and low percentage of weapons, but otherwise the bulk of the assemblage not surprisingly was characteristic of the Atlantic late Bronze Age at the point of transition to the first Iron Age. It included Carp's Tongue and Ewart Park type swords, together with various socketed axes of British type. Continental Urnfield origins can be...

Duo spiral bracelet

Culture Celtique

These fun. colorful bracelets, made from two tones of wire, can also be made in gold and silver for a more reserved, classic effect. You could also make matching earrings by suspending one or two spiral units from ready-made earwires. Both of these Duo Spiral Bracelets are made from two tones of colored wire purple with dark blue, and pink with pale green. Experiment with your favorite color combinations.

Work of angels

Irish Silver Hoards Map

The principal qualities of Irish art of the late Celtic period are reflected in the metal objects that have survived. Stone monuments and manuscript illuminations produced in the same era are far less numerous. Celtic metalwork such as brooches, sword scabbards, and bracelets were portable, and valuable enough to hide if their security was at risk. This was particularly prevalent during the period of the Viking raids, and many caches, or hoards, were buried by their owners, and sometimes by the raiders themselves. As a result, numerous examples survive.

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