My Bracelet Gallery

Frustrated Creativity

Thursday, May 28, 2009

After getting my creative energies going I have had almost three weeks with no opportunity to create. I made two trips to my parents for doctor visits with another scheduled later in June. I don't seem to sleep while there so I returned with the need to catch up on rest and get over a minor bug. I did work out a couple of designs in all the driving.

We have been waiting almost three weeks for the appraiser to come so that we can get on with building Matthew's studio. He is scheduled tomorrow. His studio will also give me my own small studio in a 64 sq ft of Ell in the garage (with a window) plus a shared hot work area in his studio for welding, soldering, hot pots for Precious Metal Clay, toaster oven for polymer clay, and possibly a torch and kiln for glass work. His studio will also allow me to reclaim portions of the garage for recycling, the CARS, some storage, and odds and ends. He also agreed to move his gym and his books to his studio allowing me to reclaim the little sun room for my easel and some sitting space after I move my art related books to my studio. That will leave me a real guest bedroom and a less cluttered house plus some additional closet space in our huge half bath.

So, I am now trying to carve out some time in the next couple of days to make a ring and the focal piece for a necklace. Send out that energy, I need it.


Onedia

Back in the Swing

Monday, May 11, 2009

I guess I am back in the swing of things. I was both creative and organized this weekend. I purchased some new organizers and spent hours on Saturday and Sunday sorting and putting everything into the new containers. I also got plenty of creative time. I worked on the concept for a piece that will be using a new product that I will write about later. Saturday I spent the morning making two new bracelets for the shop. One is classic and of a style similar to others that I design. The other seems very different at first, much more urban and heavy on the metal. After some thought back to some of my necklace designs I think it is reflective of my sense of style.


I used some copper wire coated in black to make wire tubes and then combined the tubes with white beads of different types and sizes.I have a number of variations of white stone and glass beads from previous designs. I included a black and white lampwork bead I purchased at an artist's stall in Ashland, Oregon in 2006. Matthew raised his eyebrows at this design but Julia liked it.

The classic bracelet combines those shades of amber I tend to favor along with some glass and metal beads and lampwork beads including the last of the Ashland beads. A twist on the design is the placement of the charm. I included a copper tube with a ring on it in the middle of the bracelet and left the ends in a simple loop. I hung a three quarter inch glass drop of pale amber glass from the tube bead.

The bracelets were a bit easier to work with as were the silly earrings I made for myself because I finally started using a tool I have long needed.The tool arrived on Friday along with some other items I had ordered.

My hands shake from a familial tremor. It has developed as I have matured. It is hardly noticeable at times and at other times (especially when I need to have a steady hand) it is quite a nuisance. My wire work has suffered as a result and small beads can be a nightmare. I had ordered a forceps hoping the two dollar tool would help. Oh my! Why did I wait so long. I can clip those things onto a piece of wire, hold the forceps with my left hand (steadied a bit more by propping it against something) and actually work with the wire. So stupid that I waited. So relieved that I will be able to do more for longer.


Onedia

The Story of My Bracelets

Wednesday, May 6, 2009

My staple always-sell pieces are bracelets using memory wire, a stiff wire that retains its circular shape,and beads.  For some reason women really love them and are willing to pay $35 to $50 for one. They are comfortable and easy to wear. The technique for making the bracelets is very easy and usually takes about two hours.  Simply cut the wire, make a loop with pliers at one end, slide the beads onto the wire, finish with another loop. The real work is in creating a one of a kind unique piece each time.

I usually decide on a base color palette and select a primary bead. These tend to be six or eight millimeter and either round or rondelle, a slightly flattened bead, usually a gemstone such as agate or jasper. I typically use a mixture of metals including sterling silver, pewter, copper, and gold. I select accent beads that are larger, longer or otherwise different.  These beads can be tubes, ovals, rounds, or other shapes.  I usually include glass beads of one kind or another and like to have at least one lampwork bead.  I also use wood, seed, shell, and other types of beads. I typically finish the ends of the bracelets with a charm or a drop bead.

I try to think through the design before I execute but I have been known to change the entire design and slide every bead off the wire.  I never make more than one of a particular design. My bracelets are asymmetrical since I do not repeat a specific pattern only a general theme of color and shape. I also consider where the accents fall on the bracelet so they are distributed for balance of design and comfort in wearing along with ensuring the bracelet will drape on the arm nicely.  The bracelets are usually from four to eight circles. An important consideration in making these bracelets is the weight of the bracelet on the arm.

When creating a bracelet with a specific person in mind I will include items that have meaning to the person.  I made one for my daughter that included a small maple leaf in acrylic that she had given me as a memory of a family trip to Canada.  I made one for myself that included a large special bead that my mother-by-marriage gave me.

This morning I delivered the seven-strand bracelet in these photos to White Mist of Cotter, the artisan shop where my jewelry is sold. It was the first piece I have done this year.  I took a week to think about this design and selected the primary beads when I visited my sister and dragged her along to a bead store in her area. I selected an agate that has been stained turquoise.

The staining of agate is a centuries old practice of enhancing the patterns of the stone.  Idar-Oberstein, Germany is famous for the agates from the region and for the local skill in staining these stones.

The second color is based on the four millimeter yellow jade rondelles. I included a lampwork bead that I purchased in Oregon three years ago and some recycled glass beads from Ghana. I also included a Thai Hill Tribe silver bead and seven copper tube beads, four long plain and three short designer. I finished this bracelet with drops made from the agate.

I always see flaws in the execution after I deliver the piece.  In this photo I see that the lampwork bead should have been a few beads further along so that it would have been opposite the long copper tube and would not have created such a wide separation between the two strands of the bracelet. Perhaps I am the only one who would notice this. Julia, the owner of White Mist, sent an email telling me the bracelet, priced at $45.50, sold before the day ended. A woman from South Carolina walked into the store wearing the exact same colors that are in the bracelet.

I always say that there seems to be just the right person for my pieces.  Sometimes they come together quickly and other times they take a while to find each other.  I take great pleasure when the jewelry and the right woman come together so Julia always finds out where my jewelry is going to live.


Onedia

Working With Silver Clay - Part II

Saturday, April 25, 2009

I continued to explore working with precious metal clay (PMC). totally untutored relying on reading and trying, my preferred learning method. There are plenty of detailed instructions both online and in magazines and books. I got some good results with this piece which included setting a cubic zirconia in the silver leaf. Zirconia works beautifully in metal clay.  I misjudged the size of the piece and it is probably a bit smaller than it should be in this necklace.

This piece was actually unsuccessful. It was designed as a leaf with a bit of it broken off. I then wrapped lemon Swarovski crystals on the leaf as moisture drops. It was intended to be a pin. However, shortly after I photo graphed it I broke it.  It turns out that I had made it too thin.  So, lessons learned was that I made one too thick and one too thin and one on unsuitable armiture. Okay, got it, this learn by doing method actually works, but with the price of the medium rising I decided I needed to be more careful and to work with mockups using polymer clay for my silver clay pieces. The clay drys quickly and can be re-hydrated but it is difficult.

These earrings are favorites of mine. It took a while for me to decide to put them at the shop. I seldom make earrings and I really like these. They are called Twisted Ribbon.  

So, this is my early trials with metal clay.  I have a butterfly in process now which I am making in pieces and will fuse them at the end and embellish with gold aura.

I will continue to learn and now there is bronze clay to try.  I really like making the sculptures in miniature.




Onedia

Working With Silver Clay

Sunday, April 19, 2009

In the previous post I mentioned metal clay as one of the jewelry media that I like working with.  One comment asked about it.  This post chronicles my first attempts with precious metal clay (PMC). Metal clay seems to be a mistake when one first hears of it.  Briefly, it is actual powdered metals, most often silver because of the cost but also gold and most recently bronze, mixed with clay and water. The clay can be molded, shaped, and carved then dried. It is then fired in a kiln or with a handheld torch or small gas fired stove depending on the type of clay. The clay burns away leaving sterling silver or 14k gold. The clay can be combined with wire and with some very hard gemstones.  The ring at left, Twisted Twig Ring,  is made from sterling silver wire and precious metal clay.  The wire formed the basis for the ring and the clay, in the form of a paste, was used to fuse the wire.  I polished and shaped and sized the ring with filing.

However, the ring was not my first effort with the PMC (which is also a specific brand and type of the clay) My first efforts were a bit more humbling not to mention some wasted sterling silver.  My first effort was to create a free form silver heart. My first effort used art wire as an armature for the heart which was then covered with the clay.  

The wire did not tolerate the temperatures of the firing and the clay was not consistently thick in all parts of the heart. The result was that my artistic vision was achieved but it fell into several pieces which remain in my scrap silver container.


The next effort, I simply sculpted the heart free form with no armature. That worked well, but I did not take into consideration that the shrinkage with metal clay is really very low.  So, I used triple the a mount of clay that I actually needed.  The result was a heart about one inch by three quarters of an inch in dimension.  I embellished the top of the heart with clay extruded from a syringe so it did not take a high polish (done frequently by tumbling the silver with steel pellets.  The final result is a bit heavy but I threaded a multicolor silk ribbon through the chain and I enjoy wearing my  Pi of Hearts.

More tomorrow.


Onedia

 
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