is to serve primarily as a journal of my day-to-day activities as a jewelry designer and artist, business owner, and life-long student of the crafts of goldsmithing and metalsmithing. Occasional non-jewelry-related ramblings are also fair game.
My journal is meant primarily for me, as it is easiest to keep track of my tasks, thoughts and ideas, and my moods via this medium. However, guests to my blog are very much welcome and are invited to follow along, read, and enjoy.
Intellectual Property Statement
It is NOT ok to copy my photos, my writing (unless it is a direct quote from a public source), my designs, or anything else on my blog without my permission. If you feel the need to copy any of these things, I suggest that perhaps you see a therapist so you can address the issues that are preventing YOU from being creative?
Precious Metals Prices
Jewelry & Craft Industry Magazines and Periodicals
And believe it or not, not w/my Canon 30D!!! I really wasn't in the mood to deal with the whole complicated lighting/set-up she-bang. [Can you tell that I'm a moody artist?]
This is from purse-cam! With natural lighting! --My Fuji FinePix F31fd that I got for in-progress studio shots (and purse travel)... [I used to shoot using nothing but natural lighting back when I was still using film/shooting black and white, and following The Zone System. Now--not so much.]
I think I like the way the photo turned out. No-fuss photography is SO nice; however, it isn't always the best option--at least, for me--I need more control. Surprised?
Oh, and of course I'll be listing them in my Etsy shop fairly soon...
Ok, I'm just a little annoyed with myself. I went to set this stone and found out that one of the prongs wasn't as secure as I thought. --Even after twisting them and QC testing them myself before proceeding to set.
I almost kind of want to start over from scratch because of this (perfectionist that I am...), but I've got to figure out a better way resolve this than that--I can't keep doing that--I work slowly enough as it is (i.e., as I am inspired).
Since there is no bezel around the stone itself, I put a dab of epoxy in the center to help assure that it won't slide around any in the prongs. So, I'm not sure how sticking the stone in solvent will work out. And, I don't want to solder too close to the stone--and that's REALLY close (and sorry, I really don't like any of that crap like "Cool Jewel," etc.--I've not found that it works for me). Not to mention, I'm really not in the mood to re-patina this whole thing. Grrr.
So, gotta figure this out so I can finish it up, get it listed, and move on to the next item (you remember my new self-imposed rule--I can't start on anything else in a "collection" until I've finished up what I'm working on). I also plan to stick a little bouquet of tiny little dangling pearls on it in one particular place--just have to figure out how best to do it so they dangle properly.
This imperial jasper is reaaaally pretty--the photo does it absolutely no justice. That dark area is a really pretty translucent olive green. If push comes to shove, since olive is my new favorite color, I may just keep it for myself...
Actually, I now have three additional pair. [As I said before...get your mind outta the gutter. ::snicker::]
Seriously, these are really beautiful. They're hand-painted and they have chimes inside. I was expecting more of a cloisonne-type of surface, but I guess that can't quite be the case if they're painted by hand. They almost have a surface feel of being plastic--which annoyed me at first because I didn't realize that's what they would be, but again, they're really pretty despite that. The two painted pair are 40mm, and the jade pair (along with the stainless steel pair I already had) are 50mm.
I'll use this pair, and the red pair I have with phoenixes on them, for practice and to carry around, and then I'll just have Hubster get me a super nice pair (clear quartz crystal, perhaps) for my birthday or something. I really like the jade pair I bought, but the green is a wee-bit...different than I expected. It's hard to tell in the photo above, but they're a wee bit more yellow than I expected. They're still pretty. [Tamra's need to learn to temper their (usually high) expectations.]
Well, actually I have four. And given the technical definition of a rock, they're really not rocks at all --but that issue is neither here nor there at the moment (again, "rock post" coming).
I consider myself fortunate enough to say that I have a habit of stumbling upon the coolest stuff. A while back, it might actually even have been a year or so ago, I bought a box of Cheerios that contained a little paperback childrens book as a "prize." I figured that the "prize" had to be an "el cheapo" somethingoranother, so I ALMOST recycled the book with the box, until the title caught my eye.
Ok, I'll bite...
Upon taking a peek through the book, my jaw almost hit the floor because I was SO shocked, and SO pleasantly surprised. The book was actually about the beauty of rocks!!!
The title of the book as you can see here is, Everybody Needs A Rock, by Byrd Baylor, with illustrations by Peter Parnall. You can take a peek through it yourself or purchase it here on Amazon, if you'd like. I highly recommend it, and it's only $7.99 (if you'd gotten that special book of Cheerios, it would have been free ;-).
It is THE SWEETEST little book. In it, Ms. Baylor takes the reader through a 10-step process of selecting a rock for oneself. In summary here are her rules--I've paraphrased most of them because I don't want to copy her words verbatim.
Rule 1: Go somewhere grand and special to hunt--if you can't, wherever you are is fine.
Rule 2: Don't let others interfere in the process of you selecting your rock.
Rule 3: Look closely (literally) and carefully.
Rule 4: Pick the perfectly-sized rock that you can carry around with you. Part I
Rule 5: Pick the perfectly-sized rock that you can carry around with you. Part II
Rule 6: The rock must feel good in your hand.
Rule 7: It must be the perfect color for you.
Rule 8: It must be the perfect shape for you.
Rule 9: It must smell right.
Rule 10: Don't ask anybody to help you choose.
Have I mentioned that the illustrations in the book are stunning?!
Byrd Baylor and Parnall also have other books they've done together: Desert Voices, The Table Where Rich People Sit, The Desert is Theirs, and more. You can learn more about them at www.SimonSaysKids.com.
Of course, I've added this to my collection of kewl jewelry-related schtuff.
I used to have a stainless steel pair, but for the life of me I can't remember what I did with them.
Among the other claims of health benefits as the result of the involvement of various reflex zones and stimulation points in the hand, they're just a good, simple exercise for the hand/forearm. And if you're performing the exercise correctly, according to my book, The Complete Book of Chinese Health Balls, the balls should not touch as you rotate them in your hand. It's a little difficult at first, but once you get the hang of it, it' actually quite simple to do.
I guess while I'm talking about exercising the hand/arm (so as to help avoid RSIs--Repetitive Strain Injuries, which are easy to acquire given the type of work we do), I'll also point you to the Powerball Gyroscope.
I have one of these as well, and I love it. I've always had very well developed forearm muscles/wrist tendons & ligaments from my days of classical piano (I used to think I had Popeye arms, seriously)--this little device helps me maintain that strength and development, and I'm hoping it will help me avoid RSIs. So far, so good.
THIS is why, every now and then, I wish that I'd gone to art school instead of majoring in stinking physics, man. [Don't get me wrong, I have nothing but respect for physics, though--it's very much changed who I am and how I think about things for better or worse, for analytical and even more analytical. I mean, my gosh--I am a better driver because of my heightened awareness of the laws of physics (which is why, among other things, I do NOT tailgate); I am probably one of a few who is fascinated by and acutely aware of many of the variables involved in travel by plane when I fly (no seriously, no matter how much I fly, I get totally geeked out every time when I think about the fact that humanity was able to accomplish this); and I know how to aim a particular way and take into account a plethora of variables so as to hit the target the first time (um, my aim with firearms and most everything else is uncannily awesome--which is why I dream of competing in Olympic archery one day before I'm 100 years old), etc. --You know, these are all of the important reasons one should major in something like physics--forget String Theory, high energy/particle physics, astronomy, and all of that stuff.]
Also as a result, I have a mad-appreciation for most-things-science that I don't think would have had otherwise--e.g., the eyes-wide-open way in which I both view and savor the world and all of its wonders, from an atomic level to a much broader perspective. And odd thing is, much of this didn't happen until long after I received my degree... But that's a long story and I've digressed enough already.
Bringing it back around here, I had the pleasure of teaching my first metals class at Lill Street Art Center on the same night that an amazing artist, Stacy Lee Weber taught her class on hinge-making. [I'm not going to "borrow" any of her images for here--I'll just re-direct you to her site.] Oh. My. Gawd.
I mean, that's all I can say! Stacy's work is phenomenal!!! Everything shown--all of her penny pieces, as well as all of her filigree pieces are LIFE-SIZED models. --The hammer, the screw drivers, the jeweler's saw, etc.
WOW.
Be sure to check out her studio link too--she has studio space at Lill Street where she's working on a life-sized working replica of a ladder, all made from pennies!!! She shows several in-progress photos. And again, Oh. My. Gawd.
I'm not one to cry over spilled milk (or the direction one's path ultimately ends up winding away to), but sometimes I reeeeaaalllly wish that I had gone to art school... I wonder how different my work--and my overall approach to design--would be if I had. I mean, I think I have a natural "eye for design," but, there's a lot to be said for developing/honing a special thing like that. Maybe I'm romanticizing all of this, but I love the focus and design perspective that seems to come out of art school as the result of "senior projects," theses, or whatever. I dunno--I wonder if I'm right or wrong about that. I'd actually thought about going back to school for art and design (and I think I've mentioned that here before...), but, I'm SO not in the mood for anymore formal schooling--and this, I consider to be different from "continuing ed." There used to be a time where academia was all I knew, and staying in/going back would never have been an issue; however, at this point in my life? Um, no. Well, at least for now--never say never. We'll see if I ever warm up to the idea again...
Ok, and I'm going to add another restriction to myself per my new system:
I will NOT buy any more stones until I finish three in any given grouping of items.
Ouch.
No matter HOW stunning they are, and no matter who's selling them.
Double ouch.
I seriously need to get control over this whole stone addiction thing...and luckily for me, I've always been a non-doctor who could heal herself. So, again, this whole thing reeks of efficiency, ::snicker::, and I'm hoping that I can really bank on this (in more ways than one).
::cheese::
Oh, and one more thing--upon completion of each piece, I will not take up any other task until I've shot photos, prepped a listing, and posted the new item.
I have to pick my projects, randomly, from a fish bowl. Well, actually, it's a little vase...
I have entirely too many stones--um, not that anything's wrong with that. And what you see here is just a drop in the bucket (pardon the funky angle)...
On an average day, I'm trying to come up with designs for too many different pieces all at the same time. This tends to become pretty darned overwhelming, and can often result in "paralysis by analysis," or rather, paralysis and creative overload.
So, in an attempt to manage this part of what I do a little bit better, I've developed what I think might be a nice little system. Of course I'll have to test it out for a month or two to see whether or not it really works for me; however, right off the bat I have to say that I'm feeling pretty good about it.
I started working on this Imperial Jasper piece a day or so ago, and I'm almost done with it--soldering and shaping the chain too! --Under normal circumstances, just because I'm bouncing back and forth between so many pieces AND dealing with creative mood swings, it might have taken me at least a few weeks to get to this point, and then perhaps another two to be in the mood to sit down and set the stone.
My system is this: I start by putting the stones in individual zip lock baggies with a 3 x 5 note card I use to make design notes, quick idea sketches and such (like in the photos above). This baggie also holds any additional supplies (e.g., components, additional stones, etc.) I might need to put the design together. I then number the outside of the bag, create a corresponding slip of paper that I fold up and throw into my little glass glove vase, then when it comes time to work on my next piece I shake the vase, pick a number, and then get to work! The rule is though, I have to take the piece I select from start to finish before beginning work on another item in that grouping of items.I can work across multiple "collections" of items, but I just can't work on more than one at a time in a collection.
Not. Allowed.
We'll see how this ends up working. Again, I have a really good feeling about it--but then it could just be my tendency towards OCD and the resulting self-tomfoolery in thinking that I've gained control over a system... Whatever the deal is, I'm much closer to having the piece I selected COMPLETELY DONE than I probably would have been otherwise. I mean, I've been sitting on soldering and forming this chain for WEEKS. Why? Because I didn't feel like doing it (from the perspective of it being time consuming), and, I had other designs to jump back and forth between. I might actually get to finish it ALL today!!!
Oh, and I guess I have to come clean and admit that in trying to find three additional mini fish bowls for my little slips of paper, I physically displaced three poor Betta fish (aka Siamese Fighting fish). The bowls had to be FISH BOWLS, OK?! --OC here, cut me some slack.The guy at the pet shop assured me that it was no problem and that they had other containers they could find for the little guys--they just didn't have any more of the bowls I wanted. I almost bought one of the fish, but I'd have to find a place to put it first, and, I like to know what I'm getting into before I do these things. Glad I didn't--at least not at the moment... I found this little bit interesting.
This is a question that's been on my mind lately, and it seems as if I'm not the only one. I know bits and pieces about bronze used for sculpture, as well as a brass referred to in the industry as "commercial bronze." I have some of this in my studio. When it comes down to it though, I really don't know a whole lot about it aside from if you pickle it wrong, it turns pink and ends up looking exactly like copper--and that trying to get it back to a "bronze-y" color from that is a huge PITA.
An Orchid member recently asked "what is bronze," along with several other related questions, of the forum, and many of the responses have been excellent and very informative--my favorite so far being that of the wonderful Mokume King and metalsmith extraordinaire, Jim Binnion. [Jim SO totally rocks...]
This is one of my all-time favorite poems. I really wanted to share it for the heck of it, and because I love it so much. Oddly enough, as I frequently tend toward introversion, introspection, and self-evaluation, I believe that this poem has relevance to my chosen path as a jewelry artist. ;-) Generally speaking, it has relevance to so many different things.
The poem is really deep, but at the same time it is HEEELARIOUS! The first time I read it, I was on the floor laughing my abs off. (Seriously, I do mean abs...a good, sustained, engaging laugh can really work one's core muscles big time.)
So, hope you enjoy it as much as I do! The Calf-Path
One day, through the primeval wood, A calf walked home, as good calves should; But made a trail all bent askew, A crooked trail as all calves do.
Since then two hundred years have fled, And, I infer, the calf is dead. But still he left behind his trail, And thereby hangs my moral tale.
The trail was taken up next day By a lone dog that passed that way; And then a wise bell-wether sheep Pursued the trail o'er vale and steep, And drew the flock behind him, too, As good bell-wethers always do.
And from that day, o'er woods and glade, Through those old woods a path was made; And many men wound in and out, And dodged, and turned, and bent about And uttered words of righteous wrath Because 'twas such a crooked path.
But still they followed -do not laugh- The first migrations of that calf, And through this winding wood-way stalked, Because he wobbled when he walked.
This forest path became a lane, That bent, and turned, and turned again; This crooked lane became a road, Where many a poor horse with his load Toiled on beneath the burning sun, And traveled some three miles in one. And thus a century and a half They trod the footsteps of that calf.
The years passed on in swiftness fleet, The road became a village street; And this, before men were aware, A city's crowded thoroughfare; And soon the central street was this Of a renowned metropolis; And men two centuries and a half Trod in the footsteps of that calf.
Each day a hundred thousand rout Followed the zigzag calf about; And o'er his crooked journey went The traffic of a continent.
A hundred thousand men were lead By one calf near three centuries dead. They followed still his crooked way, And lost one hundred years a day; For thus such reverence is lent To well-established precedent.
A moral lesson this might teach, Were I ordained and called to preach; For men are prone to go it blind Along the calf-paths of the mind, And work away from sun to sun To do what other men have done.
They follow in the beaten track, And out and in, and forth and back, And still their devious course pursue, To keep the path that others do.
But how the wise old wood-gods laugh, Who saw the first primeval calf! Ah! Many things this tale might teach, --But I am not ordained to preach.
Quick! --Off the top of your head, and without using any other resource to find the answer...
Define the term "rock."
Oh really--is THAT what it is???
Hmmmmm...gotcha, didn't I?
Well, I'll be back a little later with a follow-up post. I know this is a really basic and almost juvenile question, but I think the term "rock" is another one of those things that we both take for granted and sling around without really knowing what we're talking about. Hence, the upcoming clarification post. I even had to adjust my use of the term.
So, back in a few days with the follow-up post.
["Experts" are not allowed to post answers yet...and yes, I will delete them (er, rather, delay posting them).]
I have to say that I am SO happy that many of you like and are following my blog, and I want you all to know that I really, really appreciate it.
Many readers have left comments and/or sent me emails, and I want you to know that if I don't reply or get back to you right away, please don't hold it against me. ;-] I really want to and plan to respond, but I've just been so swamped lately that I've not had the chance to sit down and do it as much as I'd like. I will do it though.
So again, THANK YOU so much for all of your wonderful comments and the amazing feedback, and bear with me as I try to carve out time to respond.
Oh, and yeah--keep it coming!!! ::big cheesey grin::
Actually, there were two choices for this month's post--Most Influential Historical Metalsmith or Most Influential Metalsmithing Tradition
As much as I would LOVE to, I don't have time to address both topics, so I chose the second one--Most Influential Metalsmithing Tradition. The only issue I had with this was defining the word "tradition," so I'm going to interpret that to mean something more akin to period/style, etc. (at least this is what comes to mind when I consider the note that accompanied the topic list). And, of course, it's hard to select just one "tradition," especially given my fondness for ancient Etruscan jewelry and Japanese mokume gane--both of which have amazing histories and are still quite popular today.
That having been clarified, I think that one of the most influential metalsmithing traditions is the American Modernist Period, which spans about 1930 through about 1970--before, during and long after World War II. Now, before I go any further, I will say that I've been planning a post on this for MONTHS after having purchased two fabulous books on the subject by author Marbeth Schon, but I just haven't had a chance to outline and write it. Gawd, I have SO many outstanding posts... (I know, whine, whine, and cry me a river, Tamra...) This month's blog carnival kind of snuck up on me, despite all of my notes and reminders to myself, and I can't adequately dig into it right now the way I'd originally planned.
So, as I mentioned above, last year I bought two fabulous books by Marbeth Schon, Form and Function: American Modernist Jewelry, 1940-1970, and Modernist Jewelry 1930-1960: The Wearable Art Movement. I read both and FELL *TOTALLY* IN LOVE with the period. I came to understand a lotabout what influenced both the styles of art jewelry that came out of this period, as well as what was behind the surge in jewelry artisans and craftsmen both here and abroad (particularly Europe) in the early to mid 20th century--talk about major light bulb moments all over the place. --Many of these amazing jewelry artists are still alive and are producing today.
Earl Pardon, the father of one of our Blog Carnival participants, Tod Pardon, is one of the amazing artists from this period (hehe, in fact, Tod, himself, was highlighted in one of the books). I'm sure you might also recognize the names Art Smith (who's actually a black jewelry artist--and back then you didn't see too many of them, aherm--but that's another post I've been planning to do too), Alexander Calder (and who hasn't heard of him?), Claire Falkenstein (I have a really cool book about her too), the amazing Arline Fisch, Evangeline Montgomery (another black jewelry artist), and SO many more.
Again, I won't give away too much right now, as I plan to do a more thorough post on the American Modernist Movement in upcoming weeks (ok, maybe a month or two). In the meantime though, I highly recommend either of the two books by Marbeth (and yes, I bought the autographed copies ;-). If you can't buy both, I recommend Form and Function--it seems to contain a broader, more comprehensive history of the period--the other book more thoroughly highlights individual artisans.
To read the thoughts of the other Blog Carnival participants, including Tod Pardon, check out their links below:
Lip Balm Sure, you can use any lip balm, but I love Burt's Bees Replenishing Lip Balm with Pomegranate Oil. For me, if my lips are dry while I'm working, I find that I tend to lose focus a bit. I can't stand dry lips. And, for some reason, dry lips tend to bring on the munchies, which is not good. So, balm up! This is good stuff.
Old Rags and Towels I'm almost at a point where I no longer use paper towels at all in my studio (in an attempt to "go green"). I hijacked all of our old towels (kitchen and bath) in a variety of sizes, and all I have to do is throw them in the laundry and re-use. No paper waste! And, they're much more absorbent and better for cleaning messes and spills.
Shea Butter for Hands As jewelers, our hands take a lot of abuse. I've searched and searched for THE product that helps with my eczematic hands, and the cracks I get from frequent washing. If you have dry, cracked hands--or just hard-working hands in general, this stuff works wonders! And this is from someone who has tried EVERYTHING.
Covered Coffee/Tea Mug A must-have for anyone who fabricates and generates any type of metal or other studio dust. I drink a LOT of coffee and tea while I'm working, and this mug keeps all the bad stuff out. And, it's only ten bucks (plus shipping...)!
Canned Air Duster I've found this stuff invaluable both at the bench and at the computer. I can't stand a crappy keyboard, so it's good for that; but, it's also good for blowing dust and/or filings off of a piece while you're working on it. Go for the environmentally-friendly cans...
Glass Jars I haven't met a glass jar I don't like yet. You can do ANYTHING with all those jars! Store chemicals, mix chemicals, store brushes and dowels. Not to mention, you can look at it as actively recycling too!
Shoe/Handbag Storage Bags You know--the drawstring cloth storage bags that come along with some purses and pairs of shoes? I always keep the shoe boxes for the shoes anyway, so I use the bags for things like wrapping tools, putting over my camera when not in use (nice satin Betsey Johnson bag for this...), storing jewelry when working at the bench instead of leaving it out to get tarnished, etc.
Toilet Paper This is VERY useful for dabbing away too much flux when prepping to solder. You can just rip off ONE sheet, tear it at an angle, and then dab! Also good for blowing one's nose when out of studio kleenex...
![[Most Recent Quotes from www.kitco.com]](http://www.kitconet.com/images/quotes_special.gif)
