Eighty Seventh Birthday Necklace

My mother will be 87 on April 4th, Easter Sunday. She's in good shape. No serious illness, very few medications, lives in her own home, (although my sister lives in the basement) and is generally cheerful when I talk to her. I live over 1000 miles away from her, so don't see her more than once a year, and I never know what to get her on gift giving occasions. She claims there is nothing she needs, which I can understand. But she does seem to like the beadweavings I have done for her in the past. And my sister gave me a couple cabochons for Christmas, and mentioned that Mom was especially partial to one of them. So, I spent this week making her an eighty seventh birthday necklace.

I have no idea what this stone might be. It's not something I would have chosen, but I was happy to know she liked it, and bezeled it in cylinders, and then added a second layer of seed beads. Then I fringed it, modeling it after a piece in my Etsy shop called "Marigold Glade." She is not one to go out much anymore, except to church on Sunday morning, Church Circle and Bible Study groups, and to visit her 90 year old sister, but I hope she will find at least a few opportunities to wear it. She is not technologically savvy, so I am quite sure she will not see this post, but if you do, Mom, HAPPY BIRTHDAY. You are a wonderful parent, and beautiful of soul and spirit. I love you.  And a huge thank you to my brother Jeff, who provided this photo of my mom in her 87th Birthday Necklace!

Four Webbings and a Focal for Calypso

I was feeling pretty smug as I finished the focal for my Etsy Beadweavers February Challenge piece at the beginning of January. I was nearly done a month early! I would not be the last one to post my work. I would not be struggling to finish on the last day as I sometimes am. And in light of my day job schedule thus far for 2010, this is a wonderful thing, as I am ridiculously, wonderfully busy! But I digress.

My son and husband are fans of the Pirates of the Caribbean movies, and watched all three on consecutive nights over the holidays, while I was working on my challenge piece focal, made from a beautiful split ammonite. Although I don't watch movies while I bead, I do listen, and I became enamored of the Calypso legend woven through the trilogy. Calypso is the Goddess of the Sea, captured in human form as Tia Dalma by the pirates. She is an exotic and amazing character, and I found her very inspiring. I decided that my piece would be "Calypso's Valentine" to honor both the ocean challenge theme and Valentine's Day, which falls during the voting. I wanted my ammonites to represent Davy Jones' heart, which he "carves out" in sorrow because he cannot have his love, Calypso. Tia Dalma also touches a necklace in one scene, which has a face, which led me to wanting the focal to very subtly echo the bearded face of Davy Jones. So the pearl fringe I added to my ammonite pair creates both a heart shape, and subtle nose, mouth, and beard, with the swirls of the ammonites representing eyes and brows.
I also added a barnacle texture to the edges of the piece. I wanted it to look ancient, and as though it might have been in the ocean for hundreds or thousands of years. With the focal finished, it was time to think about the neckstrap.

And this is where my trouble began. I initially thought the strap should be netting, as though the heart were captured in a fisherman's net, another oceanic image. So I made a little net sample. But it was stripey, and I although I love the 24k matte gold cylinders I used in the bezel, they felt wrong to me in the strap. A little too light in color, and lacking in substance, but the net idea was still promising.

So, I tried again, with darker beads and made a big effort to get it to look more like fisherman's netting, while still belonging visually to the focal. And I liked this one better, but I thought maybe it ought to have pearls, to tie it more effectively to pearl fringe.
I made a third sample, using pearls at the junction points in the net, but I didn't like it at all, ripped it apart, and did it again with large beads on both sides of the pearls, to separate the netting after it left the pearls. But somehow, it got busy. Maybe the big beads next to the pearls were too much texture. By this time, netting was beginning to annoy me.

I still liked the pearls, but maybe not in netting, so I tried a quick sample of simple pearl spiral stitch, and that was pleasing, but I missed the darn netting. So here I am, nearly two weeks later, sweating the small stuff. It's what obsessive-compulsives like me do. We are passionate about details, but sometimes we can get a little crazy, and I think that's where I am just now. I didn't bead at all last night, which is pretty rare for me. It's usually my evening's entertainment. But I think after having taken pictures, and written all this down, I might just be able to get back to the bench and make some decisions about how to finish. If you have ideas, feel free to make me a sample or two!!!

Now, nearly 14 years later, I realize that I never created a post to illustrate how I finished this piece!  I ended up with a set of jewelry!  

I created a very simple strap, to let the focal be the important thing, and made a netted bracelet, since I still loved the idea of netting. Mother of Pearl buttins seemed like the perfect closure.   

And then I also did a pair of earrings.  Because, I had some time, lol!

I thought the tops looked a bit like a dock, lol.  And then, being me. I made the set a pretty satin lined box.

Which brings me to the clasp, which I was so pleased to find at the local bead shop!

The lock and key seems very "pirate treasure" !  

I WON!

Yippee! Not only did I really enjoy the process of creating this necklace, for the "Carpe Beadum" contest, I won $100 worth of semi-precious beads, a $25 gift certificate to the 1 Stop Bead Shop in Ohio, and a $50 gift certificate at Good River Gallery. I can't wait to play with my goodies!

I loved the focal bead (lampwork by Hannah Rosner) when I saw its photo, and even more in person when the kit arrived. The supporting beads were top quality (1 Stop Bead Shop) and a great color selection. I decided the shiny finish on the focal bead demanded other shiny beads, so set aside the Toho Copper Gold Iris Metallic Matte for future use. I think I used everything else in the kit as I worked.

I thought the shape of the focal bead and its depth would require weight and dimension in the necklace, so imagined a group of netted ropes. The color in the focal transitioned from a deep indigo, through lavender, gold and hints of green, to ivory, and reminded me on ink spilled on parchment. I decided to make three ropes to re-create the ombre color shift.

To organize the ropes, and create an accent place for the Swarovski crystal and the remaining lampwork spacers, I stitched peyote spacer bars with three thru-holes to organize the ropes, and then began the ropes themselves, making many samples before finding the perfect blends of color to emulate the focal bead ombre. I also realized I wanted a more delicate rope at the center of the piece and a more substantial one at the sides and back, so changed the sizes of beads from 11 and 8 to 15 and 11, hence MORE samples were needed.

When I finished the 24k rose gold spacer bars, I fringed them, and thought the result looked like squid in movement. This reinforced the name I had in mind for the piece, "INK."

The weaving of each rope was done from back to center front with a Russian spiral weave, and the fewest changes of thread possible. The accent section has seven thread passes, from the step down to three beads at the end of the rope, through the bar and accent beads to three loose beads that were the basis of the smaller central rope, and back. This required much sampling and planning to place the "squid" with the spacing and angles I had in mind.

The center tassel was created by fringing circular flat peyote, and the vermiel bead caps added a final elegance. Simple earrings finished the project.

And those matte metallic beads? They have found homes in two other pieces, this one in my etsy shop, Purple Majesty:

and also here on one of my work-in-progress trays, with these gorgeous Swarovski Arctic Ice rectangles, waiting for a bit more time and idea maturation to be completed:

Maybe those lovely beady winnings will work their way into the finished product!

Sewing Club Revisited

When I was a young child, my mother belonged to a Sewing Club. The group met one evening a month, in each others homes, to spend time sewing and talking and having dessert. Mom always brought home some edible tidbit for me for the morning after. I thought it must be SO wonderful to be a grownup and participate in such delights!

Now, I am a mother, and instead of a Sewing Club I find my self part of several delightful groups of beaders. I belong to the Upper Midwest Bead Society , Etsy Beadweavers , and am occasionally invited to bead with a group of friends who all worked (at various times) at my favorite bead store, The Bead Monkey in Minneapolis. And my impression as a child of the wonder of comraderie and friendship that grows around shared interest was correct. It is indeed wonderful to have people who share your joys and concerns to talk to, and from whom to seek advice.

Kerrie Slade wrote a lovely blog post about the joys of being part of a "big crafty circle" of online artisans. As a part of that post, she passed on to my humble blog the "Superior Scribbler" award. I am so pleased! :o) Membership does have its privileges, although I am not in the same class, scribbler skill wise! I had to learn a whole new link skill to create this post. Thank you for the gentle shove Kerrie. Part of the recipient's duty is to pass on the award to five worthy recipients, so these are my choices:

Inspirational Beading by Mortira

Good River Gallery by Hannah

All Things Bead and Beautiful by Linda

Dax Designs by Glenda

Mamma Foxan by Olga

If you want to play along, the rules are as follows;

* Each Superior Scribbler must in turn pass The Award on to 5 bloggy friends.

* Each Superior Scribbler must link to the author & name of the blog from whom he/she has received the award.

* Each Superior Scribbler must display the award on his/her blog and link to this post which explains the award.

*Each Blogger who wins The Superior Scribbler Award must visit and add his/her name to the Mr. Linky List - that way, we'll be able to keep up to date on everyone who receives the award.

* Each Superior Scribbler must post these rules on his/her blog.

OK. I have done my part. Now if you want to play along, it's your turn!

When Worlds Collide

This is a beadweaver's blog, but my day job requires the making of jewelry too. It's an entirely different process and product. Beadweaving for me is about detail and delicacy. About things that are deeply complex and require tremendous time, patience and intense observation to design, create, and even to fully appreciate as an observer.

But in my day job, I am a costume designer, creating competition clothing for ballroom dancers. Their jewelry must have an exceptionally "blingy" first impression, as the primary purpose of ballroom dance wear is to get the wearer seen, and to emphasize and and extend the dancer's movement. I have just finished a gown for a client that relies entirely on its jewelry for visual impact, which is unusual, and most often, the gown istself has a minimum of 30 - 50 gross of rhinestones on its surface. I thought it would be fun to share it with you, and compare the two worlds. This is my lovely client Randee, in her new Latin gown, with necklace, bracelet, earrings and a small brooch at the hip.

Here's a closeup of the necklace, taken on my dressform. I find that the crystals I use for ballroom purposes must be mirror backed in the interest of maximum dazzle for dollar. I've done a couple necklaces for my dancewear clients with huge Swarovski rounds and bicones, but even with AB finishes, they simply do not compare to the mirror backed pieces from even a short distance. You'd think rivolis would be a perfect solution, and I do use rivolis, but the flat backed, sew-on version. And yet I rarely actually sew them on. The sew holes provide great additional grab for my adhesive, which seeps into the hole and makes the application very secure.

Another reason not to sew is time and cost. When a dancer spends a few thousand dollars on a gown, the jewelry cannot also cost a few thousand dollars, so I am always working to keep time to a minimum and result at a maximum. The money needs to go into the materials, and labor needs to be efficient.

Part of the labor cost is in the design and fitting of the ultrasuede base to which the jewels are glued. It must fit perfectly, allow the dancer to move without moving much itself, maintain it's shape through intense exercise, and be immune to perspirtaion. It must be supple, and protect the dancer from the sharp edges of the crystals, but must not stretch out or change shape in use. Sometimes, the necklaces, armbands, and earrings are glued to the body with eyelash adhesive or toupee tape, so the back of the jewelry must provide for that option as well. I start the process in craft paper, cutting in ultrasuede after I am sure I have a perfect fit, and then I check it for movement, before permanently applying the crystals.

I love what I do, and especially the realtionships with my wonderful clients. A huge thank you to Randee, dancing here in another of the Latin gowns I have created for her, for letting me use her photos in my blog.

My Beautiful Friend Cathy

On my birthday, my friend Cathy called me in the morning to wish me a happy day. I told her I was going to a bead sale, and since she too is a beader, I asked if she'd like to come along. She agreed to meet me and have a bite to eat in celebration. It was the day I bought the beads for "Chapeau De Peche," so she was in on the project from the beginning.

When I finished the hat, a couple of my wonderful Etsy Beadweaver friends mentioned wanting to see the hat on a person, and I could think of no one better than Cathy. She has beautifully shiny, sleek ebony hair, which I thought would contrast nicely with the pale beads of the hat, and lovely balanced features, fantastic skin and teeth... the perfect model. So, here's Cathy, in the final product!

Then, yesterday, she brought her charming husband Bill to my costume studio to begin the process of creating a new ballroom suit for him. Cathy has wonderful taste and a great sense of style, and I really enjoy her input, both on the costumes I make for her and on Bill's behalf. While my tailor Michele was measuring Bill, I pointed out my newest finished necklace to Cathy. I always have my most recent piece on display in my studio, and as a fellow beader, Cathy is a great audience, and always has a useful comment. This time, she fell in love. I had not even priced the piece, but she knew she wanted it, and today, it is hers. I do have to make her a shorter neckstrap, as she's a slim girl, so while it's still in my posession, she agreed to let me show it off. Most Excellent Teenager had tentatively named the piece "Mold." My tailor Michele suggested "Lichen," but I'll let Cathy give it it's final name. I love knowing she'll own it. I am very fond of it, and am so glad it's going to a good home. Here it is!

I think it's gonna look even better on her than the hat did! Aren't friends wonderful?

It IS!

Chapeau de Peche??

Well, my mystery project has finally agreed to come into being and not one second too soon, as I need to take it to the Upper Midwest Bead Society twentieth anniversary tea this weekend, Sunday, September 20th. Diane Fitzgerald is our Founding Mother, and we have been encouraged to "wear our Sunday Best embellished bonnet" with a prize for "Best in Show."

Now, I am NOT a hat girl. I do not have a hat face, and I have Obama ears. No hat has ever looked nice on me. SO I decided right off not to participate in this portion of the event. Then I changed my mind. Why not make a beaded hat? One might not necessarily be required to wear such a thing, and it would still be a means to participate. At first I thought it would be a beaded straw boater, but once I finished what I thought would be the hat band, I decided the weight of the beads would make this idea structurally nearly impossible with out using a stiffening agent, and I didn't want to "cheat" in that way.

All those Costume History classes took me to medieval chapel cap images, and chain maille helmets, but I wanted a more recent reference, so turned to the 1920's when beading and bead embellishment were commonplace. A beaded cloche, a bell-shaped, closely fitting, flapper style hat seemed a great solution and had a wonderful shaping challenge. I wanted the hat to be soft and adaptable to varied head shapes, so netting seemed an appropriate technique. Cloche hats frequently have a button at their top most point and I referenced that with a bit of circular peyote and then charged into the mathematics of creating a bell shaped piece of work that would connect to a 314 bead row band on one end and a 48 bead row circle on the other.

And as I worked on the band, the phrase "peau de peche" popped into my head. Ridiculous for a dressmaker not to have taken French, but I have not, and so I THINK it means "skin of peach," which the hat band resembles. Once it was a cloche, (cloche being yet another French word) then "chapeau" floated into my brain as well. So I think the piece is "Chapeau de Peche."

I am really pleased with the structure and the final product, but less so with the surface embellishment I have done. I may or may not change it for the event, as time is short. But I think I may come back to it one day. My initial thought was passimentary style fabric embellishment, and I made two flowers in that style, but found I could not do the sort of freestyle scrollwork to go with them that is usually passimentary, due to the density of the band and limited choices about where my needle could enter and exit, so I made a couple fabric flowers, bead embellished them and stitched them on. Sadly, this too was not a process I was comfortable with. Usually I pin components on and re-arrange and adjust until I like the results, but pinning on beadwork is not so easy to do, so I finally just started and added, but the result for me is a bit lumpy and undefined... DRAT. I also meant to keep the project monochromatic, but now have stitched and laid on a quick sample leaf in pale green beads and maybe that will be a good solution to my less-than-perfect arrangement. Anybody have any thoughts? Shall I ditch the fabric and use all beads? Introduce more color?

Edited to add:  The result below was my final edit.  Thank you for all of your input!