Friday, November 8, 2013

German And Portuguese Contemporary Jewelry

I just returned from three weeks in Germany and a week in Lisbon, Portugal.  I met my husband when he was an exchange student from Germany to the United States, so all my in-laws are in Germany, in the general vicinity of Frankfurt. We spent about 3 weeks with family and then took a week for ourselves in Lisbon, Portugal.  The week in Lisbon was a 40th wedding anniversary gift that we gave ourselves!

Whenever we were out and about, I kept a sharp eye out for jewelry store windows, with artisan jewelry.  I'm going to share some of my discoveries and hope that they will be an inspiration for you.  In general, I found clean, contemporary lines, with nothing rustic or shabby chic to be seen.

Germany

Lampwork or Slumped Glass






More Handmade Glass

So Graceful!
Some Pretty Beaded Jewelry
Love this set of earrings and necklace!
Similar to the set above, but more rounded and in gold.
Some amber, beaded jewelry.

Lisbon

Love these!
I hope you've enjoyed this mini tour of German and Portuguese contemporary artisan jewelry!  Which pieces of jewelry did you like best?  Why?
Linda


Thursday, November 7, 2013

BOC Funny Face Bead Tutorial

As you may know, Beads of Courage is a country-wide organization that provides fun beads to children who have life-threatening medical conditions as a way to hallmark their successful foray through the multitude of procedures they have to face.  Here's a fun tutorial for a bead you could make to send to these brave children!


Tools needed:  Zoozii straight-sided lentil press, tweezers, marver or magic wand, 3/32" mandrel

Note:  Mandrel size does matter in this tutorial.  In order for the kids to be able to string the bead on their necklace, the hole needs to be large enough.  Since most necklaces are made using thicker cord, a 3/32" mandrel is needed.

Note:  Remember to flash your bead in the flame from time to time, to avoid cracking or the face additions from popping off!

This is what the Zoozii press looks like.  You do NOT have to have a press - you can make this bead free-form, too!  You can flatten it with a marver or magic wand on your graphite pad, too.

 Glass colors for this bead - white commercially pulled stringer (or your own pulled stringer), olive green rod, black rod, red pulled stringer, black pulled stringer.  To pull a stringer, simply melt the end of a rod in the flame, take out of the flame and pull with tweezers.

 First, wind a blob of black on your mandrel, checking against the size of the press to make sure you are getting the right amount of glass.  Since it's a solid color, you can add more glass without ruining the effect of the bead!
 This photo shows the black glass still very hot, which is why it looks red!

 This photo shows the bead pressed into the lentil shape - if you need to add more glass, don't worry, just heat the glass up enough to re-press!  Make sure you have very nice dimples with no sharp edges.
Fire polish your lentil bead so it is nice and shiny with no press marks!

I add the eyes first, because they become part of the bead and most likely will not pop off if you don't flash the bead in the flame enough. First, add two blobs of white stringer in the place where the eyes would be!  Use your marver or magic wand to flatten them.  Fire polish the dots.  Then add blobs of olive green over the white, either covering it entirely or leaving some white showing around the edges, it's up to you!  Again, flatten and fire polish.  Then take your black stringer, and add two dots.  Flatten in slightly or leave elevated!



 Next, I add the ears (or horns, or whatever appendages you want to add!).  This will take a couple of dabs of black glass.  Heat the end of the glass, dab on the bead, and pull up slightly.  If you want the ears bigger, do this a couple of times.  You can get a few different effects by doing this, but make sure there are no sharp edges.
 Finally, I add the mouth.  I use the red stringer.  Turn down your flame, slightly melt the end of the red stringer, place it on the bead, and using the heat from the flame, draw your mouth.  You can make it smily, or wiggly, or however you want!


Below you can see some other variations - use a murrini for an eye, or both!  Use different colors, make the mouth different, whatever you want!  I'd love to see what you come up with!



On November 15th, the benefit auction portion of the charm swap Jen Cameron hosted will begin. 100% of the amount bid will go to Beads of Courage. Save your pennies, bid high and bid often. These little art charms will make perfect gifts. 

-Sue Kennedy

Wednesday, November 6, 2013

Making my own style of Components

So you all know I love working with the amazing components out there.  There are so many.  Ceramic, polymer, metal clay, but there really aren't that many made with seeds.  I have been looking.  That got me to thinking.  I have friends that say they would love to add seedy elements to their stringing or wire work so what can I put out there for them to use?

Last week when I revealed the Component of the month it kind of hit me.  What if I made something similar.

So made these for a friend.


I love these twins and they come in such a variety of colors and I could make them made to order.

What is your opinion?

Would you like something like these out there to add to your work?

Thank you for your opinions
Kristen

Tuesday, November 5, 2013

Becoming a Salley Stalker

I owe you a post about dressing my Fretz hammers but if you've been over to my blog recently, you know that my studio is packed up waiting to be relocated and my to-do list is overflowing. Since I don't have access right now to the equipment I need to get the job done, today's post is going to give you an inside look at the Richard Salley and Jessica Jordan workshop we hosted at Wired Designs two weeks ago.


If you aren't familiar with Richard Salley, run - do not walk - over to his website to check out his amazing work. There is a reason his students call themselves Salley Stalkers - he is not only an incredibly talented artist and photographer, but he is also a genuinely nice guy and a superb and encouraging instructor. I've written before about the blessing of a good teacher - there's a special kind of alchemy that happens when we are challenged and stretched and pressed to work completely outside the boundaries we normally set for ourselves. It's a kind of "lift," when our progress and growth is amplified and we leap forward into a whole new kind of understanding and ability in our work. It's exciting and scary and hugely satisfying.


For the last year, Richard has co-taught with the amazing Jessica Jordan, aka Rosy Revolver, who joined him with us at Wired. I confess that I didn't know anything about Jess before this workshop, but I urge you not to make the same mistake. She is something special, and so is her writing, and so is her work.


Fourteen of us had the great pleasure of attending the Three Ring Circus with Richard and Jess, and it was a terrific experience. Day 1 was spinner rings, and we did three in one day. Spinner rings may not seem like a big deal, but these were thick, heavy stock (which I'd never worked with before) and introduced us to a new (to me) approach to soldering that completely changed the way I'll approach it forever more. It was a chance to work in a new way with all three of the metals I am most likely to use in my own work (sterling, copper and brass) and I was delighted with the outcome.


Day two was a southwestern-style ring, all in sterling. Both Richard and Jess work extensively in this style, and it was exciting and more than a little scary to give it a try. We did a lot of sawing and I was enormously grateful for the experience I had last year with Thomas Mann and the time since to practice and get better at it. If I'm being completely honest, this was the project I was fairly certain I would be unable to complete - or at least complete well. Bezels and sterling silver granulated balls and close-quarters sawing.... well, it just didn't seem like a promising combination.



However, Richard and Jess are phenomenal teachers.




I have worn this ring every day since I made it - mostly because I can't believe I made it.

Day 3 was the ring that was the reason I took the class in the first place: an enameled copper ring with a tube-set CZ. Richard is well-known for this particular style.


The combination of a raised bezel setting with a tube setting and an enameled "stone" was something I was chomping at the bit to try. Enameling is one of my all-time favorite things!



This was the ring I signed up to make - and I went big. Actually, I went HUGE.





I think the thing I loved most about this workshop - apart from Richard and Jess themselves, because they were wonderful - was the huge number of new tips and techniques that were folded in to the weekend. We weren't taught one thing - we were taught all the things. And while there's a moment when you feel like your head is going to explode, there's also that moment when you feel the "lift," when you see all the ways you can use all these things in the work you set your hand to every day, when your entire workflow changes because suddenly you have a better skill set, a sharper perspective.

I've said it before, and I'll say it again: if you ever get an opportunity to take an in-depth workshop with someone whose work you aspire to, grab it. Grab it even if you feel you aren't quite ready, that some of it might be over your head. You might be right - but the things you learn will be worth stretching that far.

And I'm looking forward to the next workshop with Richard and Jess.


Until next time!