Thinking about jewelry displays?

by Patty Lakinsmith

Happy Spring! It's showtime again, and many of you have already jumped into your 2011 show season. Every year (every show?!) I always start thinking about ways to spiff up my displays for the new show season. It's an ongoing thing for me, and I have to say I like it. And everyone knows that it's easier to sell beautifully displayed jewelry.

There are lots of great places to find inspiration. You can go to shows and see how other clever artists display their work (but ask first before taking pictures), and you can find great ideas on Rena Klingenberg's site. A while back Rena republished this article I wrote on my art show booth, and it's one of my most read pages.

Here's some great ideas I found on the Flickr site. Wondering how to display all of your floral brooches? This one knocked my socks off:

Naughty Secretary's Club's jewelry garden is in full bloom.


Eco Retro Bling knows how to serve up some tasty jewelry, vintage style.


Weggart shows how to be green, efficient and stylish all at once with this innovative repurposing of a shipping box.

And if you're looking for ideas for the perfect jewelry show booth, this group and this group both have endless supplies of inspiration. Better clear your calendar because you're going to be browsing for hours.

Do you have some favorite jewelry display ideas that you'd like to share?

On my to do list...

are a million things, and I'm feeling overwhelmed. I'm not even going to mention the To Do's associated with the Feathered Ones, who will be moving out of the house and into their own place in another day or so. I'll share my list with you if you'll share yours with me. Maybe then they won't feel so ominous?

Here's mine, in no particular order, reflecting the state of my poor brain right now.

1. Finish something, anything with seed beads!
2. Get back on the torch and complete my custom orders.
3. Finish taxes.
4. Figure out an inventory system that is more tax friendly (* I think I have an idea, to be shared soon).
5. Fix my friend's broken earring without melting it to pieces.
6. Finish a meanie ring for another friend's Christmas present (yeah, this is pretty bad, huh?).
7. Finish my Riverbed cuff from Kate's book (need to wire wrap lots of components).
8. Plant my potato tower.
9. Address the green moss invading the surfaces in our outdoor living areas, and the wood that has succumbed to dry rot.
10. Finalize summer travel plans.
11. Get cucumber and bean seeds in the ground.
12. Rework several pieces I'm not happy with.
13. Get more work photographed and listed in my Etsy shop.
14. Make ear wires.
15. More torch time to complete several experiments I have in mind.
16. Finalize show plans for later this year.
17. Think of something wonderful to do for my grandmother's 100th birthday celebration this summer.
18. Make more clasps (PMC).
19. My next tutorial.
20. I'm sure I'm forgetting one or twelve things, but you get the picture.

So, what's keeping you awake at night?

Student seeking...a learning experience

by Patty Lakinsmith

I've been thinking a lot about classes lately, and what makes or breaks the experience from the student perspective. Bead and jewelry classes, that is. Classes can be very expensive, and sometimes require that you travel to some far away destination, and you want to feel like you've gotten enough from the experience to justify the time and expense.

I've had some really fantastic classes with amazing teachers, and I've had a few where I left feeling somewhat less than satisfied. What makes a learning experience valuable for a student, I'm wondering? I'll offer some of my own thoughts, and then it's your turn.

I like to feel that I've landed in the right class for my skill level, so I'm interested in a little reminder up front about the basic skills required for the class. If it becomes evident that I lack some particular type of experience for the class, I like to feel that the instructor will help guide me through the parts that might be challenging.

I like to feel that the instructor is paying attention to me, what I'm doing, how well I'm following what he or she has explained that I do. In short, I like to feel that there is a creative conversation going on, back and forth, and not just one way communication.

I like to feel that I'm learning some special techniques, like no other I could find on the internet by just googling around. I just love when an instructor shares a breadth of tips with us that transcend the particular bead we happen to be making.

I would like the instructor to ensure that help is given out to each who requests it, and not just to the most vocal students. Once I had a bad experience where I was explaining my specific need for help to the instructor and another (louder?) student completely derailed the instructor to help her, leaving me out in the cold with the problem I had asked for help with. I would like my instructor to be sensitive to that and politely prevent the derailment from occurring, and to deal with one student at a time.

I like leaving class feeling like I have a brand new set of tools that can be applied as I want them, in my own unique work. It's especially cool when an instructor teaches techniques that are so multipurpose that each student could use them and nobody would end up with the same end product. Making that transition from learning how one instructor creates to how you can apply those techniques in your own special way to your work is the very difficult homework that we all take away from our classes.

What about the less tangible side? Do students want to take classes in a vacation-like setting, to just relax? Or do they want to learn as much as possible, foregoing many comforts in their quest to pack in the information? I've definitely leaned toward the latter, although the older I get the more I entertain thoughts of the former. Yeah, a cruise with beads, sounds great!

Now it's your turn. What classes have you taken that live on in your memory as outstanding learning experiences? What made them so special for you? What teacher characteristics are important? What is your biggest class peeve?

Marcia DeCoster at Bead Society Meeting - DeeeLightful!

Marcia DeCoster

Sinced I waxed so poetic about it last week before it even happened, I thought I'd pass on the summary of the Northern California Bead Society meeting that I wrote for my own blog.

The evening of Marcia's talk was just...wonderful. I attended my first Northern California Bead Society meeting where Marcia DeCoster was the featured speaker, and she gave a wonderful talk. She had just wrapped up the new and enormously popular Beading by the Bay retreat in San Francisco, and BSNC was able to book her for the talk.

In addition to providing an entertaining timeline of her beading career, she spoke very comfortably and casually about developing core skills in beadweaving, how to structure your environment to foster creativity, the importance of reusable components, where to find inspiration and influences for your work, the notion of exploration, and capturing ideas as they are born.

Marcia finds that her best inspiration for new designs comes when she is away from home, surrounded by other creative people, and able to focus on new ideas.

A collaboration between Marcia DeCoster and Heather Trimlett

Some of the beaded eye candy Marcia brought.

As a newbie to the seed beading world it was fascinating to me to see her work in person (it is both richly complex and beautiful), and I can hardly imagine how some of her weaving patterns come to be. Having at least dipped my toes a little into the sead beady sea I was able to understand some of the terms she used, but many are still Greek to me. I was grateful to have done the little bit I have done, or I'm sure I would have been completely lost, yet still awed.

Amazing!

Keep your eyes on her website this fall, when registration for 48 lucky beaders opens for next year's Beading by the Bay retreat, featuring instructors Sherry Serafini, Rachel Nelson-Smith, and Marcia.

Marcia, Little Hoot, and Rachel.
Visit Marcia's blog to read the story about Little Hoot.

Mary Ann, I did ask her about her hands, and she said that yes, like many other beaders, she has suffered with some pain. She treats it by doing the standard recommended exercises, taking advil, and taking a rest from beading. She said she doesn't bead as much as people would think, which is no surprise given her involvement in all of the other aspects of her beading business.

There you have it! A DeeeeLightful evening.

Bead Society Meeting tonight...with Marcia DeCoster!

I'm so excited about tonight's Bead Society of Northern California gathering! I've been a member for over a year, but have never managed to make it to a meeting, held over 50 miles away. But tonight, superstar Marcia DeCoster is the guest and she will give a presentation on "The Road to Opulence: My Journey With Beads". I know it's going to be hugely inspiring.

I've just taken the plunge into the seed bead world myself, and suspect this is going to be a fascinating evening. Marcia just finished teaching the annual Beading by the Bay weekend workshop, a popular event I could only hope to join one day. I may have to very soon, however, since next year the 3 instructors will be Marcia, Rachel Nelson-Smith, and Sherry Serafini. Rachel is an extremely prolific and talented local bead weaver with a great book and another "in the oven", and I'm proud to call her my friend as well. We're driving to the meeting together and I'm taking my copies of Marcia's and Rachel's books to be autographed.

Anyway, I'd love to share this experience with you! I will definitely have my camera and will take lots of sparkly pictures, but let me ask you this. If there was one question you could ask of either Marcia or Rachel about beading, what would it be?

On Creativity and Flow

Indoor rock climbing. Photo by www.cliffhanger.com.au

by Patty Lakinsmith

I've been reading lately on the topic of creativity and Flow. You may have heard of the term "flow". Mihaly Csikszentmihalyi, the author of "Finding Flow: The Psychology of Engagement with Everyday Life" describes flow as, "the sense of effortless action they feel in moments that stand out as the best in their lives". To an athlete this is often described as being in "the zone", and others describe it as ecstasy, joy, aesthetic rapture, being in the moment, and such. Simply, it is completely focused motivation.

Activities or situations that can induce a flow experience have a number of things in common:

1. There is a set of clear goals.
2. Immediate feedback is received.
3. A person's skills are required to overcome a challenge (e.g. a technical problem in your medium or design) that is just shy of his or her ability to meet.

Presumably, flow occurs when someone has a clear set of goals that require appropriate responses. So, in a game these would be the "rules" of the game, and in art they may be more self-imposed, such as those faced in some kind of challenge. Feedback is available to tell you whether you are succeeding or not in the activity, and lastly, the activity provides a challenge that is difficult enough to sustain motivation and interest but just within reach of your skill level.

I have personally experienced flow in a wide variety of settings: in graduate school projects, in work projects, some athletic activities, and in lampworking, but most notably and memorably in the latter. It's classic - I'm completely focused and don't hear the phone ring, I lose track of time and fail to hear messages my body is sending me ("your shoulder hurts!", "you really should go to the bathroom, don't you think?", and "when was the last time you ate?"). This is flow, and I must say, it is highly addictive and divine.

I usually can't achieve flow when I'm doing something from someone else's playbook. That is, a highly prescribed custom order (which I rarely do), or things that I know I have to do. But give me a challenge, e.g. a bead that can double as a mechanical element in a piece of jewelry , and a stretch of time where I know I have no other obligations and won't be interrupted, and I'll lose myself in blissful concentration.

Have you experienced flow in your creative adventures? What does it feel like to you? Have you noticed any trends about when it may or may not occur? Do you have a time tested method that is sure to get you in a flow state?

It took me 30 years to make that one

by Patty Lakinsmith

Have you shown and sold your work at art fairs? If so, you might have a chuckle at this 3.5 minute little animated YouTube video, "Potter at an Art Fair". While the artist in the video is a potter, he could easily represent any kind of artist, even a jewelry maker.

It's easy to laugh at this if you've been through it as an artist. I've personally encountered a few customers like this myself, but fortunately only a few. If it were more it would be very frustrating.

The poor potter in the video tries to do everything right. He emphasizes that the work in his booth is handmade, and tries to convey the value through describing the amount of work that is involved in creating it. He doesn't give in to the shopper's desire to barter, and she moves on. Unfortunately, this customer is only looking for cheap finds, and would be better off at a flea market.

Depending on the venue, I usually assume that the shoppers entering my booth think that I went to the bead store and bought the beads used in my jewelry. Some have even asked me that and I'm quick to tell them that no, I make each and every bead by hand using a propane and oxygen torch, and glass rods imported from Italy. That usually slows their browsing speed immediately, as they take a closer look at my work with new eyes. I watch to see which pieces capture their attention, and then try to engage them a little by explaining the techniques I used to create the piece. Yes, I get questions about whether it comes in another color (blue?), and once I even had someone try to barter with me on the price (it was a very expensive piece), but by then they know that the piece was created by hand, and would not be found in any store.

I also have a digital photo frame I use that shows pictures of myself in the studio making beads, and it helps them to understand the process. I've even shown videos on my laptop before and that can really draw a crowd. Demonstrations are a great way to educate.

By and large nearly all of the shoppers I've encountered have been friendly and polite, and interested in the process I use to create my work, and I love getting out of the solitary confines of the studio and interacting with them. If they leave my booth with a better understanding of the value of handmade jewelry I'm happy.

Have you encountered shoppers like the one in the video? Do you have any special techniques you'd like to share for helping them understand that your work is not comparable to things they might find at a yard sale or flea market?

If you'd like some more laughs, check out this one on art fair neighbors, and this one on translating an artist statement.

Beading on the Go

Greetings! I've just returned from a week visiting my mom on Maui, and wanted to first thank everyone who kindly commented on my hollow bead post. You've given me lots of great ideas to think about!

My main objective on vacation was to just have some time to relax and be with mom, and I feel blessed to have achieved that. The things we do when we're alone there together include watching for whales from her condo lanai, playing Rummikub, going for long brisk walks, visiting with her friends, and cooking using local ingredients. I did have some quiet time on my own while on the 5 hour plane trip over there, and a few times while sitting in the sun, and wanted to make the most of it, so I took some beady projects.

Ever since meeting Kate McKinnon and seeing her incredible woven seed bead work I've wanted to try it. Mostly it was just to see if I could do it, and to think about how I might use techniques like that to enhance my own jewelry designs. I took Kate's latest book The Jewelry Architect, and a few practice beads, needle, and beading thread and conditioner. I took an old hand towel and some triangular metal bead tins too. Everything I needed for this (except the book and the towel) fit neatly into a one quart ziplock baggie.

Another project I took was some freshwater pearls and headpins to wire for later use. This required my flat and round nose pliers, which were fine to take on the plane since they were less than seven inches long. I printed out the TSA restricted items page to show any agents who might challenge me on taking these tools on the plane. I have donated a number of items to the TSA bin in the past, and was not keen on giving up my jewelry tools.

Last, I took some brass wire, an 8" long dowel rod, and some small wire cutters to make some Viking Knit tubes for use in bracelets and necklaces. I've tried this on airplanes before and it can be awkward (I tend to use rather long pieces of wire), but I had many a fine hour making tubes on mom's lanai and on the condo's patio. Next step is to draw them down into the desired length and width for my projects. I have to say, this was a real conversation starter by the pool at the condo - friends of my moms (even the men) would see me doing it and come over to ask what it was all about. I had anticipated this from the last time, so I wore a bracelet made from Viking Knit so I could show them the finished piece, and it made sense to them.

Now that I'm back I've got a number of new components to work with in my jewelry, and feel jubilant about the seed bead work in particular. I learned how to understand the instructions that had intimidated me before with their foreign references, and gained confidence that I could indeed make some very different components for my own work. It was empowering!

The only souvenir I'm not so wild about is the nasty head cold I picked up on vacation. Hopefully it will pass soon.

What to do?

by Patty Lakinsmith

Greetings from terra firma! I'm sorry I was unable to post any pictures last week on my way back from the Best Bead Show in Tucson, but if you amble on over to my blog I have an illustrated summary of our time there. In all, it was a fabulous time and even more fun than the year before.

But now I have a dilemma and I'm hoping you can help. I've got a bunch of leftover hollow beads and I'm not sure how to offer them to my customers. Sure, some of them naturally hang together as sets, but these days it seems that folks are more interested in the less expensive onesy-twosey beads and not so much in larger groups of beads. So, what do you think I should do with these? More than likely some will find their way into some new jewelry, but there's way more than I need and I do love seeing how others use my little glass babies.

They're lightweight enough to be used as earrings, probably a little large for bracelets, and just great as necklace components. All suggestions are welcome!

Make an impression

As you read this I'm waking up in the Tucson desert, preparing to set up my booth at the Best Bead Show. Thanks to the wonders of modern technology and scheduled posting, I'm able to post today. If you live or work with a software developer, give them a hug and tell them thanks for me!

On to the topic at hand, which is, how to add unique textures to your clay elements. You probably know about texture sheets, those commercially available plastic or metal tools that allow you to transfer some kind of textural design onto your material. You probably realize you can use rubber stamps to do this as well. But did you know you can easily make your own molds?

I've used two part silicone molding compound to capture some priceless textures to use in my metal clay work. I found some very cool fan coral on the beach in Mexico and used it to create the texture used in this piece of jewelry. You could also easily use it to capture texture from a wall, concrete, or any other object you like.

Here's the texture I really wanted to capture for my metal clay.

It's simple to use - the compound consists of two separate (and distinctly colored) puttys that when combined harden into a pliable rubber sheet, similar to that on a rubber stamp. You just take the same amount of each putty, and knead them until the two colors meld into one. Then you press the item you want to capture into it, let it sit for about 15 minutes, and them remove your object to find the lovely texture mold.

Several different pieces of coral yielded similar, yet different variations on the texture.

I've used this with natural objects, buttons, and even some fabulous drawer pulls in my home. What better way to ensure that no one will have the same element as you?

You can get this at Fire Mountain Gems, Rio Grande, Artsparx, Art Clay World, Cool Tools, and many other places.

Entering the Discomfort Zone

I had a chance to study with a masterful, experienced silversmith of 30 years over the weekend, and once again entered my discomfort zone. Husband and wife Jerry and Fran Harr do a lot of the same local shows that I do, and we've struck up a friendship over the years. Their jewelry is exquisite - fine craftsmanship and materials combine to make unforgettable and unique pieces. I was thrilled when Jerry said he'd be willing to teach me what he knows about silversmithing, and jumped at the chance to grab an introductory one day session with he and Fran in their Northern California studio.

Jerry solders prongs on "his" half of the pendant.

Humbled, excited, afraid, and energized, are a few of the emotions I'm feeling after our day together. I went from feeling very accomplished about a new bead design I've just created to feeling like a fish out of water, gasping for air. But I know that there's some wonderful things I can create if I spend the time to perfect my new skills.

Jerry demonstrates how to make a hinge.

In the same day I was told I was too tentative, too shy with the tools, but on some things I was too aggressive. With swift moves he firmly formed metal around a mandrel, and with a few well placed blasts of the flame he fused pieces together with solder. He made everything look so easy, and when I took my turn in the chair to try it, I was humbled. I figured I'd have an advantage with my few metalsmithing skills, my knowledge of the flame and all, but it didn't get me very far. Sure, I could light the little propane/O2 super hot micro torch, and I did avoid burning things up, but soldering and using the Foredom tool seemed clumsy to me and I think I almost soldered my pick to my piece of silver.

But Jerry and Fran were generous with their knowledge and time and I learned a lot. There are a few key things I need to add to my modest metalsmithing bench, but they'll take me far. So, with much flourish, I present the finished project that we completed:

It's just a simple half round wire frame onto which we soldered some prongs, and inside floats one of my straight sided lentil beads. A generously sized simple bale lets this pendant slide on any chain, and the bead spins freely inside the cage. You can't even see the bead hole.

It was one long day, but we blasted through soldering, bezels, sawing, hinges, earring posts, polishing and buffing. Jerry and Fran were wonderful teachers, and I hope to schedule another class sometime after I can practice all of these things first. But first, I have to unwrap my new Rio Grande catalog...

Creating with your senses

by Patty Lakinsmith

I thought it would be fun to explore how each of us immerses our sensory selves in our work as we create. By "sensory selves" I mean our five senses - sight, hearing, touch, taste, and smell. I assume that all of us use our visual sense as we work, for obvious reasons, but what about the other senses?

Creating with hot glass is a bit different than many other art forms because we can't touch our medium (1700 degree molten glass) directly as we are working with it. We can "touch" it indirectly with tools, but not with our fingers until after it's fully created and annealed (cooled slowly). I'm sure I'm not alone in saying that there have been a number of times that I see something in my bead, for example a small ripple) that I want to reach out and touch, so I can feel it. It doesn't take too much restraint to remind myself that it would not be a wise move, but the temptation occasionally arises.

(image from my Playa Tortuga tutorial)

I do use what I'll call a modified form of touch as I work to ensure that a bead I'm making is and stays centered on the mandrel. I'm working against gravity, so there is a constant interplay between my sight and the feel of the bead in my hands as I rotate the mandrel. Can I feel that one side of the bead is pulling down more as I rotate the mandrel? If so, that's the side with too much glass and I have to get it to the opposite side of the mandrel either by marvering it (touching it to a tool surface such as graphite or brass) or by heat application and turning. I can also gauge this by holding the hot bead level with my eyes while turning, to observe the profile of the bead as I turn it. Is there the same volume of glass above the mandrel at all points around the bead as I turn it?

(image from my Playa Tortuga tutorial)

I also use touch when applying very small gauge fine silver wire to beads (for examples see this bead set). I briefly put the end of the wire into the flame, and touch it to a very hot spot on the bead, and then start to rotate the bead out of the flame. I'm waiting for a gentle tug on the wire that tells me that the wire is stuck to the bead. I need to feel this tug because the wire is so small that it's sometimes hard to see.

What other senses do I use? Well, obviously I use sight, but sometimes I inadvertently use taste, or at least my mouth. I make hollow beads and large holed beads using hollow mandrels, and after I dip them in bead release I stick them in a bucket of sand upright to dry. Sometimes I forget to tap the sand out of the end of the mandrel and end up with grit in my mouth as I'm starting to blow a bead.

My sense of smell comes into play when I'm inattentive, and a molten glob of glass drops from the rod onto my work surface, which is cement board that I spray painted black. There's not much appeal to the smell of burning paint, I can assure you, but it reminds me to pay closer attention.

Some days my sense of smell is also engaged when my exhaust fan sucks in wood smoke filled air from outside my studio, from our wood stove. That assures me that my ventilation is working, which is good.

Let's see - hearing. Normally when I make beads I hear the rhythmic "inhale" and "exhale" of my oxygen concentrator - it's a sound that's common in hospitals or nursing homes, but not typical in a normal household. It's rather loud, and normally I drown it out a bit with my iPod. When I had a problem with my concentrator the O2 output was low and I got an occasional kerplunk-SHUDDER from the concentrator and periodic bursts of hissing air that blew my flame out.

What about you? What senses do you use when you create?

Color! How to Wear Colorful Handmade Jewelry

by Patty Lakinsmith, via the time machine.

Since I'm already up to my eyeballs in alligators this year (that didn't take long, huh?), I thought I'd share a post from my files on how to wear colorful lampwork beads. The same advice works for colorful handmade beads in any medium. Hope you find it useful and interesting, and see you next week!

"Outback Series" bracelet (SOLD).

Many women seem to be unsure how to incorporate colorful lampwork beads into their wardrobe. "This blue isn't the same shade as my blouse!" "But there's green in this bracelet and I'm not wearing any green". I used to feel the same restrictive pressure when trying to coordinate jewelry with my clothing, but I don't any more.

One book I found very useful is Leatrice Eiseman's Pantone Guide to Communicating With Color (North Light Books, Cincinnati, OH, 2000). Whether you're creating a glass bead, a website, or designing a new guest room, this book helps you choose colors that convey specific emotions and messages to your viewer.

Once I started melting glass and experimenting, I became much more relaxed about mixing color. One approach that works well for me when making and wearing glass beads is to choose a uniform, harmonious color scheme, and just make sure that most of the colors are in the same family. A bracelet could incorporate light blue, dark blue, and teal, and look pulled together. Pinks are fine with lavenders and purples, olive greens are fine with grass greens. This is known as an analogous color scheme, or when viewed more exclusively, a monochromatic scheme (varying shades of one color).

The other approach that works well for me is neutrals. The Outback bracelet above was done with various complementary neutral tones. I find that I can wear this bracelet with almost any of my clothes and it looks great.

"Happy Spring" necklace. (SOLD)

And then there's the more colorful choices. Pantone would put these in the "Playful", "Energetic", or "Fanciful" group. Beads like this make it very easy to decide what to wear. Just pick one of these great colors to go with, lean toward a solid color top near the jewelry, and any kind of print below that plays up some of the themes in the jewelry. Let your playful side out! Have fun!

One final note, since I started watching TLC's "What Not To Wear", I learned that rules were made to be broken. A red purse can look spectacular with a grey suit, and your new blue bracelet can be just the pop that your fuschia dress was waiting for.

Book Review: The Jewelry Architect, by Kate McKinnon

by Patty Lakinsmith

I buy very few jewelry making books, and was delighted to receive Kate McKinnon's new book, The Jewelry Architect: techniques + projects for mixed-media jewelry, for Christmas. While I haven't yet viewed the DVD she included, I have been through all 143 pages and found it very inspiring. Possibly inspiring enough that I might actually attempt some of the sewn beadwork projects.

I first met Kate about 5 years ago, when she lived and worked in nearby Pacific Grove. I had stumbled across her excellent blog and saw that she was having an open studio (a rare event, I gathered, given the stern warnings on her website about drop-in visits), so a friend and I made the hour long drive. From the moment I met her she was free with her knowledge, and even helped me to solve a crimping problem I was having that very visit. It was enough to encourage me to sign up for her PMC class, which taught me how to make my own handmade fine silver clasps and more. Her previous books on Structural Metal Clay are valued residents of my bookshelf.

Kate's Ouroboros bracelet features a handmade fine silver (PMC) clasp, lampwork glass
beads (or felt, as you choose), and delightful sewn beadwork.

This book is a delectable smorgasbord of color, material, and technique, which not only enticed me to try some of the projects but to dream up new ones on my own. She offers basic skills in beadwork, metal clay, and stringing that you can incorporate into your own work no matter what style you embrace, and she teaches you how to build it so it will last a lifetime. I value books that can give me a foundation in some area that I may build upon later with my own experimentation.

If you're keen to learn ways to create your own handmade components that will enable you to build lasting, functional, beautiful pieces of jewelry, I highly recommend this book. I follow Kate's blog regularly and own most of her books, and found plenty of fresh inspiration and information in this one.

Kate's book is available at your local bead or book store, or you can get it from Amazon.com.

A Lampwork Bead Maker's Dalliance

OK, now that I've got your attention, what I meant was pertaining to my playtime with metal. Since I'm a glass bead maker who also makes jewelry, from time to time I have to drag myself away from the torch to make components to go in my finished pieces. I am by no means a 100% DIY gal, but I much prefer to make my own parts when I have the time and the skill. In the past this has been limited somewhat to PMC and wire work, including fusing fine silver (which I dearly love), but lately I've been drawn to other metals like brass and copper. I love the look of a nice, aged patina, and (shhh! don't tell) I've been coveting Missficklemedia's patina tutorial for a while now.

Part of it might be because of the company I keep - Cyndie Smith does wonderful, organic work with all kinds of great metals, and Mary Jane's creativity and affinity for many materials inspires me. The other cool thing is that metals like brass and copper are a lot less expensive than silver is these days (but if you're reading this blog you probably already knew that).

So, I've spent some time on a new playground, and thought I'd share my results. On the left is how the brass blanks look when you get them. Kind of boring and useless, huh? The rest are finished components - some embellished with fine silver bead caps and rings, and some just textured and dapped. I got the great color by heating the elements to red hot with my butane torch, then dropping them into liver of sulphur (I mix mine from dried chunks). Once I wiped off the patina on the raised parts with my polishing pads the texture was more pronounced and the finish was great. These have been tumbled as well. Some have been brushed with a brass wire brush as well.

Bead caps are a girl's best friend, and these made using brass discs, a metal punch, a texturing hammer, a dapping block, and liver of sulphur are just what I need. They'll look great when paired with a contrasting metal (e.g. silver) smaller cap and then cored for a finished look.

UFO component made by soldering two dapped and punched discs together.
A couple of large jump rings through the two discs and you're off on another jewelry adventure.

So there you have it. A quick summary of my day at the playground. Next time maybe I'll go down the slide too!