I was a fan of lampwork long before I was a lampworker

And before I was a fan of lampwork, I was a fan of glass in general. But let me back up a bit.

In the summer of 2000,  as part of the continuation of my husband's training, we had just moved from a 3 bedroom house in North Carolina that I loved, and a job that was my favorite I had ever had, to a 2 bedroom townhouse in Cincinnati with a 2 year old and a job that was my least favorite ever (I'm still on "maternity leave" from that job...ok just kidding. I went back PRN temporarily after my daughter was born in 2001. Then I outright quit because it sucked so bad.) Anyway, I ended up taking a class in making a stained glass panel a few months after we moved there so I could get out of the house, create something, and maybe meet new people.

I didn't really make friends there because they weren't serious enough about glass(!), but I did become completely obsessed with everything glass. I began taking every class available in the area, including fusing classes. I read books and everything I could find online. Eventually I discovered lampworking and desperately wanted to try that. However, I had a couple hurdles to overcome in order to have a set-up in my house. In the meantime we moved again and I began collecting other people's lampwork beads. Once I finally had my own set up, I stopped doing all other forms of glass and concentrated on beadmaking because I loved the process so much. I have a TON of other artists' beads and continue to collect them. I keep them on a shelf in my studio to admire and aspire to.

I thought it might be fun to share a few of my favorite glass art beads. Trust me when I tell you this is just a small representation of what I have. In addition, I took short videos (the longest is about 15 seconds) of some of the beads so you can get a better idea of WHY they are so amazing. It's the closest thing to seeing them in person, although still not completely accurate.

First up is a goddess bead by Kate Fowle Meleney.  Kate's class "Is this glass?" was one of the first classes I ever took, and is where I purchased this bead from her. I learned so much from her, especially about experimentation and being relaxed about the process. This goddess reminds me a bit of the Venus of Willendorf, which I only just learned about a year ago in Art History class. Kate's goddess has an electroformed necklace and a surface texture as a result of enamels.

Here's a still photo of the goddess bead:

Next up is one of my favorites because it is part alien, part elephant (alienphant), who is covered in flames, and making a bead. What's not to love? The name the artist goes by is Plum Loco, and unfortunately I cannot find a website link for you. A Facebook friend mentioned Loco is no longer working in soft glass and is currently doing functional borosilicate glass pieces. 

Another artist I took a class from is Kerri Fuhr. Her work is unbelievable! I bought this bead and also a dragonfly bead during the class. I learned some interesting tips from Kerri, even if her style isn't really my style of working. I appreciate learning from others because it only enhances my own work. 

And here's a photo of of it sitting in my hand.

This next bead is actually my most recent acquisition. Translation: Lydia is still making beads similar to this. The depth is amazing and this is a bead I might actually consider wearing because it's so stunning. While she does have a website, I recommend visiting her Facebook page and liking it. 

A still photo of this bead:

I adore the meanie beads by Patty Lakinsmith. So much personality that I had to have one for myself. 

The next artist is very special. She will tell you she is "not a bead maker," but she could've fooled me... I own several beads and small fused pieces by Melodie, and she is crazy awesome and perfectionist. 

Lisa Atchison was one of my very first bead buddies. She is probably the nicest person I've ever known, but she's also pretty darn amazing at making beads. Her electroforming is perfection, so delicate and artistic.

I own several Michael Barley beads. I'm not quite sure how I acquired so many. I know I bought a couple and maybe won a couple during classes....anyway, here's one of them. Michael's class is awesome. He is super laid back and down to earth and very generous with his techniques and recipes and how to get glass to do some super cool things. He also reminds me of  my Uncle Pete. 

Apparently I mostly collect beads from people I've taken classes with....I purchased this bead during a two day class with Andrea Guarino-Slemmons several years ago. Another amazing class with another amazing teacher. Someday I hope to take a class with her at her home studio in Port Townsend....someday. Her beads have so many layers with things to see below the surface. 

About ten years ago, a small group of women did a miniature retreat down in Orlando, Florida. One of the women (Melodie Triche), donated the use of her points to rent a Disney condo that fit all of us. Kim Vredenberg made each of us one of these electroformed dichroic Mickey beads to commemorate the retreat. The dichro is like the fireworks that are set off in the parks each night.

The next bead is one I won by guessing who it's supposed to represent (the one-eyed, one-horned, flying purple people eater) created early in the bead making career of Rebecca McGlynn, which sadly seems to have ended at some point. She was also part of the small group of women who did the retreat in Orlando, Florida. I own several beads by her, this one just happens to be my favorite because it's so silly.

Next up is this vignette by Jennifer Geldard. I own a few of her beads, but this is my absolute favorite. The birds do come off the driftwood, and feathers come out if I ever wanted to break it up and make something with the birds. But that will never happen. 

I always gave my daughter a hard time because she would make such a fuss over Lauren's beads. She probably owns more of Lauren's beads than mine. And mine she keeps giving back to me because she doesn't like them any more (DUH! I made those things in my first couple weeks of lampworking!) Anyway, I bought this one for myself because I just love pirates and this little guy's peg leg. 

And the last bead from my collection that I'm going to share is by the super talented and super cute JC Herrell. When I took a class with her, she looked like Pippi Longstocking. I just love her use of enamels, especially in rainbow colors. Because RAINBOW!!!! Her techniques are the ones I think about trying in various methods when I dream about making beads. 

So that's it...a few of my favorites from my private glass bead collection. This is maybe half of the glass bead collection? Maybe less than half...However, when it comes to art beads in general, I am a definite hoarder. I've even gone as far as to ask my friends to stop sending me new beads until I use up some that I have. Maybe next time I'll share some of the collection. 

Bird on the Wing Pendant with Embellished Chain - Free Tutorial

Birds are a perennial favourite with bead makers and buyers alike and this easy tutorial can be adapted to work with your own favourite examples.

Supplies

1 bird bead and wing(or similar) pendant.

1 flat/curved/disc bead

2 x 15" lengths of chain with link large enough to thread a double strand of waxed linen through.

8" 20 gauge wire

2 x 30" lengths of waxed linen

Seed beads (larger than chain links)

Charms and/or Czech glass flower beads
Headpins and jump rings
Round nose pliers and cutters

Step 1

Using the wire and round nosed pliers create a wrapped loop to attach the wing pendant.

Step 2

Pass the tail of the wire through the flat/curved/disc bead and the bird bead and make another wrapped loop to create a bail (add a seed bead to stabilise if required).

Step 3
Attach a length of chain to the bail either by opening a link in the chain or by adding a jump ring.

Step 4
Double up one length of waxed linen and attach it to the bail using a larks head knot.

Step 5
Thread a seed bead onto the double strand of linen and pass it through the second link of the chain. Add a second bead and pass the linen back through the chain skipping one link as you go.

Step 6
Continue adding seed beads and threading through alternate link of the chain until you get to the end. Check the tension of the linen and that the beads are evenly spaced.

Step 7
Add a final bead and tie of the linen to secure and then trim.

Step 8
Repeat steps 3 - 7 on the other side of the bail to complete the necklace.

Step 9
Add a clasp and jump ring.

Step 10

Use the headpins and seed beads to create charms with the Czech glass flowers if required.

Step 11
Using a jump ring attache the charms to the wrapped loop of the feather pendant.

And that's it - your necklace is fnished!

By changing up your beads and charms you can vary the effect you get with this design... Here's another example of the design that was published in Jewelry Affaire in 2015.

Hope you enjoyed the tutorial - happy creating.

Bird and leaf set from THEA elements

Mixed Media Bumblebee

Firstly, I'd like to wish all of our US Readers a Happy 4th July. Hope you have a wonderful day!

For today's post, I'd like to share how I made my bumblebee connectors for last months AJE Theme Challenge. The theme was summer and I decided I wanted my design to portray a summer's garden, so I came up with these mixed media connectors to design around.

My version is made in ceramic clay, but it would work equally well in polymer or air drying clays.

To begin, you will need clay, and decorating colours (either glaze or paints), wire, and metal sheet, plus tools.

Take a small lump of clay and roll in to a long egg shape.

Divide the shape in half by pressing a line around the centre.

Using a flat tool, smooth each side of the line to remove the sharp edge.

Choose which end you want to be the head and divide that section in half as before, by carving a line around the centre.

Smooth the edges again.

Draw an eye shape on either side of the head, pressing around the edge of the line to make the eye stand out.

Clean up the carved areas with a damp paintbrush.

Using a knife or other thin sharp tool, start at the rear of the bee and scratch lines in a circle to start adding the texture of the fur.

Continue adding the fur texture in rings around the body of the bee stopping at the head.

On either side add a slot through the middle section of the body. This needs to be wide enough to add the wings so check the thickness of your metal. If working in ceramic clay, make sure you allow for shrinkage.

And finally, add high temperature or other wire to turn the bee in to a link.

Originally I was going to glaze these in black, but decided that wasn't very summery, so I went for a rusty matt brown.

To make the wings, I drew the shape on to a sticker and put this on to copper sheet for cutting. I used temporary stickers so I could peel the original off and use it again for the others to make sure that each wing would be the same shape. Each wing has a tab where it can be inserted and glued in to the body.

To add texture on to the wings, I decided to etch them. Stop out fluid was painted on and they were etched for about an hour and a half.

I don't always like the wobbliness that is created with the etching fluid, but it gives the wings a brilliant texture.

After treating with Liver of Sulphur and tumbling, the bees were ready for assembly.

Using a toothpick, I put two part epoxy resin in to the slots on the bodies and added the wings, holding them in place with a rubber band while the glue set.

And here's one of them in the finished necklace.

I think copper and clay work really well together and my brain is buzzing with ideas for other ways to incorporate metal into new work.

The Jackalope: Creative collaboration.

Creative Collaboration
Or an idea shared: different artists, different mediums

The plan was hatched after a festival, to create and collaborate all new work for an upcoming show. The players? Jane Star Weils - fantasy and mythic painter and Jenny Davies-Reazor - fantasy and mythic sculptor/jeweler. Two friends, two artists, two redheads. What could go wrong?

I suggested a jackalope. While most commonly associated with folklore of the Wild West, there are horned hares that appear in illuminated manuscripts as far back as Ancient Persia and Medieval Europe. (Further reading on the jackalope here)

Jane sent me this - and it is awesome:

original drawing by Jane Star Weils 

So I headed to the studio and started to sculpt... Originally I planned to do 2 one-of-a-kind tiles... but the Facebook response was so popular that I cast the tile. I can now press jackalope tiles to my heart's content.

Sculpting from my reference photo

SO many glaze possibilities!

Jane and I decided to do this collaboration because we were sharing a space and vending together at the uniquely magical New York Faerie Festival in Ouaquagua, NY. We had special approval from the organizers as sharing usually is discouraged. Our themes of mythic inspiration, gods and goddesses, totem animals and symbolic icons are shared from paint to clay, from colored pencil to polymer. Here we are set up overlooking a babbling brook - I kid you not! 

Our home away from home - Jane on the left and yours truly on the right. 

Our side "yard" and natural installation/altar

 While we did not sell out of jackalope items - it was great fun! I adore Jane's work and was thrilled to have permission to do this - use her images, etc. I think she also enjoyed seeing her creation come to life in beads, and 3d.  I have to state here that I used her image with her express permission - and thats the only way I could have done this. Sure, there are other jackalope images I could have referenced... but that wasn't the point here. It was a motivating, inspiring challenge, shared marketing and the like. (Other artists friends had their jackalopes represented as well - in leather masks... sorry no pictures though...)

Jackalope in situ

The photocopied images transferred to the polymer with a greenish cast that I thought was perfect. I did 2 pieces but tried to kept the colors a bit more neutral to appeal to a wider audience.

Image transfer on polymer with beaded bezel

I would love to hear what you think! What is your favorite mythical animal? Have you ever collaborated with another artist? 

For me - home from FaerieLand- its back to the glaze cave... 

Until next time!