Lots of playing going on! I love the sparkle of Swarovskis, so I added a thin row of crystals to this next pendant in the series. I love the classic “sweetheart” look that resulted!
I’m still working along the lines of “quick and simple” for this series, but this time, I wanted to add a tiny splash of colour.
Still trying to keep the cost of the pendant down, I didn’t want to spend too much time on the coiling, so I added only one little Swarovski, strategically placed.
I bought a bunch of these 2 mm Swarovskis back in the late spring when I was preparing for my class at Haliburton. I hadn’t intended to buy them, but when the supplier I was visiting only had half the tools in stock that I needed, I had to choose some other things to bump up my purchase to their minimum order requirement. (It’s incredibly irritating when the stuff is shown in stock on the website, only to discover empty bins when you get there. Unfortunately, this is not an unusual occurrence with this particular supplier, which is why I always go in person, and I don’t shop there unless absolutely necessary.) They are one of the few officially sanctioned wholesale suppliers of Swarovski and Preciosa, so I picked up a few packages.
After several different attempts, I also finally came up with a nice bail that compliments the marquise shape of the pendant.
Marquise Series: Pendant 1
Sterling silver, fine silver, cord
Constructed, cold-joined
L 6.1 cm x W 1.0 cm
One of the jewelry groups on Facebook is currently running a design contest to “overcome the economic crisis”. The idea is to use cheaper materials to reduce the price point of the finished piece. The problem I see with the contest is that the value of the physical effort involved is completely discounted. The cost of the labour stays the same regardless of the materials used.
The only way reduce the cost of the labour is to simplify the designs so that they take less time to make.
There are two challenges to making simple designs: one is to make them well, because the simpler the design, the more important the finishing becomes; the other is coming up with an original concept, something that will appeal to the customer without looking like the same old same old that someone else has produced.
I think the latter is the harder of the two to overcome.
This was the background I was thinking about while making this pendant. The goal was to produce a nice, quick-to-make design, that could become part of my bread-and-butter line for next year. As much as I like making the complex one-of-a-kind pieces, most of my sales fall in the in $20-$150 price range.
Without the neck rope, the pendant on its own would fall easily in the lower end of that range.
It’s been my experience that chains are uneconomic for me to make from scratch, and that was proven true again with this piece. The labour involved in making the neck rope bumps the price up substantially, and the change to the cheaper material (polymer cord) has a huge impact on the perceived value. I end up with a piece that is not sellable at the price I need to sell it at to recoup my costs and actually pay myself.
It’s perverse. It’s also why I don’t generally use “cheap” materials. I want you to feel good about what you’re buying from me, so I make high quality jewellery, with high quality materials. It’s worth every cent.
Marquise Series: Bracelet 2
Sterling silver, fine silver
Constructed, cold-joined
L 19.5 cm x W 1.4 cm
The next step in developing the Marquise Series was to add some form of embellishment, like a spiral. To give this bracelet a bit of visual interest, I decided to alternate the links in mirror image. They remind me of fish, and a bit like the stylized birds from the Partridge Family tv show.
I debated about using solder to join the spiral to the frame, and then decided that I wouldn’t save enough time doing that to make any difference in price of the finished piece.
Recently members of the Starving Artists Etsy Team did a critique of my Etsy shop. One of the comments that came up a couple of times was that my descriptions tend to be a bit on the sparse side. I generally give information about the piece, what it’s made of, basic sizing, etc., but only rarely is there a “story”.
My reply to one of the ladies who asked me about this was “Well, sometimes the design is the result of nothing more than “I had this idea and decided to play around with it.” ”
The truth is that I just have no talent for writing bullshit. What I write has to feel authentic, otherwise it doesn’t work for me. Hmmm…. maybe I need to look into a creative writing course…
Anyways… I was playing around with some scraps of wire left over from working on my Clip-on Earrings tutorial. I tied the wire up in a small knot – not quite as tight as I would have liked, but it worked. I have a “thing” about dangles, so I added these little tourmalines. I love the vibrant pink – they’re just juicy! The result is a cute pair of earrings that works for everyday wear.
The SATeam critique did confirm one thing: my photography is pretty good. It never stops surprising me how much time it takes to get the photography done. Nowadays, I’m not only doing photos for my regular record keeping; I’m also doing set up for Etsy. “Product” photography is different from jury photography – attention must be paid to angles, and multiple positions. A lot of people on Etsy photograph on elaborate backgrounds. I have yet to find one that works for me, so I’m still working with the “jurying grey”.
Photographing studs is difficult at the best of times, but these earrings were particularly challenging. There was just no good way of laying them nicely to get a straight-on shot. Finally, I decided to cut a upright display card out of an old layout board and poke holes in it. Voilà! It worked!
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I have lots of supplies left over from my classes at Haliburton, which I’ve decided I will not be using next year. The cabs I ordered were a huge disappointment, with widely variant thicknesses. In particular, the green paua shell cabs were paper thin, making them virtually useless for wrapping. Basically, they can be pressed into something else, like maybe polymer clay, glued into a pre-manufactured setting or as part of some other craft item. Unfortunately, by the time I got them, it was too late to send them back to the supplier and order something different: the supplier wouldn’t have been able to give me anything else in any case, because I had already cleaned out the stock she had. The students who had to work with these cabs did admirably, but we had to change the project to make it work. Oh well, lesson learned. I’ll use a different supplier next year and put the remainder up for sale as a destash on Etsy to see if I can recoup any money that way.
The blue pauas were meant to be used for rings, but again, the thickness (while much better than the green) was an issue. They are actually quite pretty, so I may try to make something out of some them.
The first go is this variation on my Art Nouveau Bangle, which uses four wires instead of eight. It ends up being a very dainty looking piece.
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On my annual trek to Bancroft this year, I decided to focus on buying cabachons. I have a huge stash of beads, but I’ve been moving away from working with them. The last time I was in Bancroft, I bought some really nice cabs from one particular vendor, and was really happy to see them again. This year, I scored a bunch of beautiful tourmaline, prehnite, kyanite, garnet and rainbow moonstone.
As a member of the Etsy Wire Artisans Guild, I’m supposed to make a monthly “theme” piece. Well… I’ve been a bit lax about it because of my other commitments. So I’m playing a bit of catch up.
It’s been a couple of years since my last attempt at a multi-stone pendant. That attempt was… adequate… but really not up to the standard I like to set for myself. So, for the EWAG’s “Blue Moon” theme, I decided I’d take another stab at it.
Back when I was single, I lived within walking distance of Woodbine Beach in Toronto, and would regularly stroll along the water’s edge. I always loved watching moonrise over the water. The reflected light from Luna rippling over the waves was so peaceful. The Moon is the ruler of my astrological sign, Cancer, so I feel a special connection with it. With my feet in the water, I would say prayers of thanks to the Creator for all of the blessings in my life, and listen for the messages in my heart of what direction I needed to go.
For quite a long time now, I’ve been getting messages telling me I need to reconnect my spiritual side with my jewellery. I feel really strongly that doing that is going to resonate with others. So, in the past few months, I’ve been making and posting work that draws from my inner life.
I gave conscious thought to the stones I chose for this piece. The calming, balancing energy of the 11.7 ct moonstone helps connect with intuitive promptings, and the loving, powerful energy of the 24.42 ct blue tourmaline helps bring awareness and communication of those messages.
The wavy line coming down from the moon was always part of the design, but I also wanted to incorporate the shimmering and rippling of the water by incorporating weaving into the bezel of the lower stone. I’m very happy with the way it turned out, and the energy that comes off the piece is wonderful.
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A little over a year ago, Perri Jackson sent me Strange Attractor, a stunning wire bead she’d made as a thank you gift for helping her with a tutorial. Looking at it, I wondered how the structural coiling technique she used could be adapted to something other than a bead. Something like a locket maybe… It got me puzzling…
An opportunity to experiment came in the form of a call for entry from Rails End Gallery. Every year the gallery hosts a show featuring work by the faculty of the Haliburton School of the Arts. This year, the theme is “Vessel”.
Originally, I had wanted to make the vessel to house this heart, but screwed up – err… made a Design Choice that ended up creating a much larger container than intended. The original design would have hung horizontally, with the chain running through the centre. With this one, the design lends itself better to a vertical orientation.
This week when I was talking to Perri, I mentioned that I was working on a locket-type piece for the show. She asked what it looked like. “Sort of like a Shivalingam,” I said.
So… the piece is heading out the door today to get sent up to Haliburton. There is, of course, the obligatory Artist Statement that goes with it:
In Hinduism, the lingam is a symbol of Shiva. Worn in a similar fashion as a Christian cross, the intent is to draw the blessings of the Higher Power to the wearer. Using structural coiling and weaving techniques developed by Perri Jackson, I decided to interpret this symbol as a pomander worn over the solar plexus. It allows the wearer to carry a prayer or fresh flowers within: a reminder to always recognize the Source of all life’s gifts.
VESSEL: HSTA Faculty Exhibition
Rails End Gallery & Arts Centre
23 York Street
Haliburton, Ontario, K0M 1S0
June 30 – July 30, 2009
www. railsendgallery.com
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I’m hard at work on the tutorials for my class, so this week’s project is the product of that work. I’ve been doing a lot of photography, and editing and layout. I’ve been pretty much eating, sleeping and breathing the project. The first tutorial is finished, and the second is well in hand. Four to go… and six weeks until the classes start.
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I went to the Toronto Gem Show today – and I was by myself!! Woo hoo! That meant I had the freedom to be able to browse, and chat with friends, and to shop. I was looking for some things for my upcoming classes at Haliburton, but in the end decided that what I’ve found online is still a better bargain. But… I couldn’t resist a strand of chalcedony brios I came across. In a table full of stuff that looked like it was dyed, I found one package that had a beautiful opalescent glow. So, despite being on a buying moratorium for the past three years, I decided those beads had to come home with me. Even the sales lady commented about the package, saying that if I hadn’t bought it when I did, it wouldn’t have been around later – someone would have snapped it up.
Tonight I picked out one of the beads, and made this little pendant. It looks somewhat similar to the pendant I made in Week 8, so I’ve giving it a similar name.
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For the first time this session, my entry is one day late. It proved to be much more challenging to construct, as I kept changing my mind about what I wanted it to look like.
This piece also doubles as my entry for the Etsy Wire Artisan Guild‘s April theme “Kaleidoscope”. The technique is drawn from a tutorial written by Perri Jackson, a friend and very talented wire artist who makes very intricate pieces from very thin gauge wire. Ever since Perri asked me to test the tutorial for her, I’ve been mulling over an idea in my head for a piece that adapts the technique. I’m not ready for that project yet, but “Kaleidoscope” is an intermediate step.
Perri’s blog features more of her spectacular work, and is well worth the visit.
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Several years ago, my husband and I collaborated on making a Thor’s Hammer. Malcolm is fascinated by all things Norse, to the point where I’ve joked many times about him being a born-again Viking. He carved the cross for this pendant, but struggled to model the head properly. I came up with the idea of forming the head out of stick tack (aka white tack, blue tack etc etc), and then we cold molded the whole piece for casting. That original was finished, and then remolded and four more pieces were cast.
Malcolm made himself a lovely chain to go with the original. Unfortunately, our studio gremlins made off with it some time during our move, so all he has now are the copies. Wanting to wear his Thor’s Hammer, he recently asked me to make a chain for him.
So this week, on the heels of finishing my competition entry, I decided to whip it off. My hands are not quite recovered from the massive project, so by the time I was half way through working on this chain, I was having to put a bandaid on my pinky. I was developing a blister from all the pulling.
My beloved husband is very happy with his new chain, and thrilled to be wearing his pendant.
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Also, as promised, I’m posting the photo of my competition entry to “Connection”, the National Juried Exhibition being held by Zilberschmuck Art Jewellery and hosted at Shao Design. The call for entry asked: “What is your interpretation of the word “CONNECTION”? Is there a connection part, link or bond? Is there an association or relationship between two or more things? Do associates, relations, acquaintances or friends influence the outcome of the piece? Is it a single connection or one of many types and kinds of connections that make up the piece? How can these ideas be formalized into a three-dimensional piece?” My entry focused on the connection we make with each other, through a handshake. Clasping hands in greeting, in parting, in confirming business arrangements, in offering congratulations, is often the only physical connection we make with each other.
Merry Meet (2009)
Fine silver, sterling silver, glass
L 102 cm x W 7.0 cm
Nalbinding, constructed, cold-joined, liver of sulphur patination
My husband’s comment about this piece: “It’s odd.”
Yes, but that’s “art” jewellery for you… LOL
The hands clasp together just over the solar plexus. If I thought anyone would wear it that way, I would have liked to turn it into a stomacher – I think it would be well suited for that – but it works as a necklace as well.
From start to finish, it took two months of solid work to construct, and is (pardon the pun) hands down, one of the most ambitious pieces I’ve ever attempted. It’s not exactly what I envisioned – that would have taken another three months of work to complete.
As I mentioned last week, it didn’t make the final cut for the exhibition, but I’m not disappointed about that. I am satisfied that I got it done in time for judging.
Here are more detail photos, along with shots taken during construction:
