Captured wishes

The potato season has begun so I'm not blogging much right now, but as I'm prepping some posts for my other blog I might as well show you some recent photos. I keep getting back to romantic/poetic jewellery using dried plant materials and this time it was the "make a wish pendants/necklaces" using dandelion seeds that captured my interest.

I thought it'd be cute to take a photo of the pendants in the grass or, as I ended up choosing, the moss to, but it turned out to be a less that ideal spot for taking photos of glass... Stupid glare...

Well, at least the moss is pretty as always. Had the pendants been filled with anthing more substantial or colourful than dandelion seeds it would also had been less of an issue. (And, yes, I'm going to pretend no one can see the Tack-It I used to keep the brass lid on the glass globe. Didn't want to glue it in place as I will take out the dandelion seeds and replace it with something else, but had to do something to keep the lid from popping of while taking the photos.)

Colours of darkness (Jewelry Making Mojo Challenge)

Wow, it get's late too fast when you're working on the computer! I should soon get ready for bed, but I have to blog about this first of I'll forget. You see, I've participated in the Jewelry Making Mojo Challenge this week again.

The challenge of the week was to be inspired poem, quote or song. I chose the latter and more specifically a song by Laleh called, simply, Colors. Now, you might ask why I chose it, but I don't have a good answer. I'm a fan of Laleh so it's not a random choice, not something picked just off the radio, but it isn't my favourite song by her. It's one heard on the radio almost as often as Stars Align right now and usually I like to be inspired by something I haven't heard that often and that recently. Anyway, regardless of why, I picked it.

As the focus felt like it was on words it's nothing like e.g. this challenge where I was inspired by the sound of the instruments and the melody. Here, focus was more on the lyrics -- and my very literal inspiration. First it was the age old idea of light-dark that I wanted to do something with, but in the end it was the chorus that stuck: "just because it's black in the darkdoesn't mean there's no color". And I made two, as I said very literal, creations based on that.

First literal interpretation focused on darkness and colours -- dark colours. In certain lights the beads look almost black even though they do have colour: dark bronze and montana burgundy luster respectively. For the bracelet, I was also inspired by the many delicate, simple bead bracelets I've been fond of for some time. This could be more delicate, but I still like it. The idea is to use it as part of a bunch of stackable bracelets, but it can also be used on its own.

Now, for the second piece I focused more on darkness AND colour. In a way, there's also light as you need light for the colours in the darkness of the stone to flash. Initially I wanted use just labradorite, but my light grey labradorite beads doesn't really convey darkness at all. So I picked up a larvikite bead -- it, too, has a schiller effect, but sadly it isn't very visible in my bead so it had to be paired with one of the labradorite beads. (First I added a second lab. bead over the larvikite bead, but it didn't look right so I took it off.) It's strung on three rows of medium braided silk cord hand-dyed in shades of grey and black.

The photo above gives a good idea of the colours of the stone, but not the lovely labradorescence. So I took the pendant out in the sun for this shot:

Colours very much hidden in the darkness (well, light grey can feel dark if it's, say, the grey of a sunless november day), but which needs just a little flash of light to reveal itself in all its glory.


These are two simple pieces, but I still hope you enjoyed seeing them.

Pébéo Fantasy test pieces

I thought I'd better blog about this before forgetting about it. As you can see, there's two more pieces than in the sneak peek posted here. As mentioned in that post, the paint comes with instructions just must follow to the letter in order to get the effects you want so therefore I thought this post would start with my first pieces, which all failed, and tell you what I did wrong.

The first fault I did was not paying attention to the instructions saying mix well. I just shook the bottle and stirred the knitting stick (for applying the paint) around the bottle once. That's usually enough with ordinary paint, but this isn't ordinary paint and you really, really need to stir well as the effects won't appear if the paint isn't mixed properly.

The second fault was taking the next set of instructions lightly. Flat, horizontal surface means that and not just something sort of horizontal and flat-ish. I wanted to paint the bottom of a cab. To keep it horizontal I fixed it onto the table using Tack-It (häftmassa) and moved the cab until it seemed to be horizontal. It wasn't 100 % so and therefore the paint slowly, slowly moved to one side, which ruined the possibility for the patterns to emerge.

The third fault I made was forgetting how slowly the paint dries and thus making the very first piece, the round bronze tag, on an impromptu worktable. When moving it, the charm got rolled over by a paint syringe, got knocked into the wall of the cardboard box and then, finally, was dropped on the floor. You need to work on a table or other space where you can leave the pieces untouched until they harden. And don't pick them up just because you want to look at them more closely, even if they've been drying for two hours. I did that with the piece below and accidentally put my thumb in the bezel, ruining the paint (which was one of my first successful pieces) and having to redo it....

same bezel with glass cab

So far you can see that I've tried adding paint both directly to a cab and to a bezel covered by a cab. You really should do the latter and I'll explain why. First look what happens when I flip the big glass cab from the photo at the beginning of this post:

Whatever pattern there is on the surface won't be on the bottom. When painting the back of transparent glass cabs, it's the bottom of the paint you will see once the cab is being used. It's at least a small comfort that the Fantasy paints have a mica shimmer that makes them nice to look at even when you fail to get the effects desired. These two cabs are still useful even if they're so far from what I wanted to make.

One last fail, which I don't really see as a fail is what Cookson Gold in their tutorial call an amalgamated effect: if you wait too long (like, a minute or two) to add a second or third colour, the new colour will be engulfed by the first one and the result will either be a marbled look (bracelet) or just one colour on top of the other (copper connector). If filling multiple bezels it's better to add all colours to one bezel before moving over to the next. Pébéo doesn't tell you that on the package so be sure to remember this!


But enough with failures -- I've had some very successful results too! And for every failed piece (almost) I've learned something.

These two glass pebbles -- that I made before realising cab painting was a dead end -- might not look very special, but I'm including them as they were my first two successful attempts at using Prisme. You can see the front of the eggshell white and purple cab above.

For most of my tests I've been using 2x2 cm glass mosaic. They're a good, handy size and will hopefully be very useful and versatile when it comes to actually doing something with them. In the samples above I've used two colours in each (except in the apricot tile in the middle of the top row), mixing Prisme with Prisme, Prisme with Moon or Moon with Moon. The only real flop was the red one in the upper right corner: the lighter red in the centre is Prisme, which should've turned bubbly as in the rest of the samples.

I've also filled both tags (need to be careful moving those) and bezels. Here are two examples of that, both using two colours of Prisme and as you can see they've fused together on the brass round in a way they didn't do in the bezel (part of a bangle).

My final samples are both made using Vintaj brass tags. In the first one I mixed three colours of Prisme. Nothing fancy, really. In the second piece I wanted to see what happened when you have a relief. As you need a horizontal, flat surface would the paint migrate from the relief (in this case decoupaged thin cardboard leaves)? Except for the edges, the paint did cover the embellishment well, though I'm not sure it was a good idea to paint on a sealed pendant considering the Fantasy paints are solvent based. Not sure if that explains the lack of pattern in the Moon paint or not.

Now, when I say that the paint is dynamic and moves, it doesn't just mean that it'll flow on a surface that isn't horizontal. It means that the paint changes, morphs during the time it takes for it to harden. The patterns develop up until the paint is dry, meaning the results are unpredicatable. A fun surprise. Below is a photo I took of the pendant above just two hours or so after applying the paint (never occurred to me to snap one right after dripping the paints on the charm). Notice the differences, both in pattern and the proportion between the colours. (The harsh shimmer, however, is due to the artificial light and camera flash as this photo is taken indoors at night.)

It's not a paint for control freaks -- but for everyone who loves unpredictable results and find morphing paints exciting, it's heaven!

Dendrites!

I love dendritic stones. If you don't know what that means, check out the photo above of my sandstone/limestone (I'm guessing) pendant. Those organic-looking branches are called dendrites. A stone with dendrites is called dendritic, e. g. dendritic agate. Dendrite is also used for other similar tree-like structures such as neurons, the patterns metal can make as it solidifies after being poured in an open mold and a certain mathematical shape (no, I didn't understand the Wikipedia description of that).

One of the main reasons I really like jasper and certain agates are that the colours and patterns can create beautiful images. It can look like like landscapes or scenic views, satellite or aerial photos or like abstract artworks. It's the same thing with dendritic stone. The dendrites look like seaweed, herbs, juniper branches, ferns or sometimes even whole trees. In agate, the translucence can create a fairytale mood, foliage veiled in milky mist and dreamy wisps of water. In sandstone and limestone, it can look like pencil drawings on aged and crumpled paper.

I found this particular piece in a charity shop. A very nice find in deed. It's not as big as in the photo, the close-up is for you to be able to see all the lovely details in the stone. I've also collected a few pics on this pinboard. A few pins ended up on other boards because they were sandstone, not jasper or agate so be sure to also check out pin 1, pin 2, pin 3 and pin 4 if you like dendritic stone or just want to get more ideas of what it can look like.

The seaside pendant -- an acrylic doodle

It's ages ago since I participated in a monthly challenge it feels like. This month I really wanted to get started on something and gathered info on challenges. One challenge that I instantly felt a connection to was the Art Bead Scene Blog challenge, featuring a painting by Franklin Carmichael called Jackknife Village. Living on a peninsula, always close to the sea, I really liked the landscape he conjured up on his canvas. While it doesn't really look like that around here, the image reminded me of the childhood vacations I spent in Bohuslän (google it and you'll get photos illustrating my point). It's pretty similar to the Bohus coastline. In other words, it was an image that wouldn't leave me.

Some weeks ago I felt compelled to paint a pendant with these images -- of the artwork and the childhood vacations -- in mind. I got out a 34 mm arte metal (i.e. blackened steel) pendant and started painting using white gesso that I tinted with acrylic paint. Now, the only small brushes I have are watercolour brushes as that's always been my favourite media when it comes to painting (ironically, Carmichaels painting is watercolour and I still didn't choose that myself for this project). No way I was going to ruin them with acrylic paint -- and besides, the brushes are made for heavy paints like oil and acrylics anyway. So I had to make due with some bigger craft quality brushes instead, which partially determined what style to paint in: it wasn't possible to paint any fine details so instead I opted for an impressionist style. The kind that just look like smudges of paint close up, but forms a dreamy landscape when you take a step or more back and admire it from some distance. I always did like impressionism as a teen.

It's really just a doodle, but a doodle I had a lot of fun working with. It might not be perfect, but I'm still pleased with it. While it might be hard to understand from seeing these photos, I must say it looks quite pretty in real life -- though of cause I see it through my own rose-tinted glasses right now.

So the challenge really inspired me, but unfortunately I also wanted to participate in it for real (and get a chance to win as they always have such lovely art bead prizes) and the pendant just didn't want to turn into a piece of finished jewellery (a bead strung on cord or chain doesn't qualify). So frustrating! The days went passed and I couldn't find anything useful in my stash. No blues or if I found any they were the wrong blues (pendant have a slightly lavender blue, most my blues are turquoise). Or the wrong finish: the pendant is so matte that any shiny bead detracts from the focal. The last day today and anything I did try failed. Everything conspired against me!

Wanting to at least do something with the pendant, I made this necklace which I doubt will be approved by the ABS team. But at least I did finish a project so I should feel good about myself anyway, even if I can't officially be part of the challenge this month.

The cord, by the way, is one that I've tea dyed myself. Tea dyeing might not be the best method of dyeing textiles as the tannins can weaken the fibres over the years, but it's easy and fun -- and you can experiment to get just the right hue. Like in this case: I let some cords steep longer than others which gave me range of hues to choose from when wanting to find a good match for the pendant. It looks a bit dark in the first two pics, but it really does match the cliffs in the pendant.

The necklace cord is simply made by doubling the cord, knotting a loop in one end and tying the loose ends to a metal button. Nice and simple. You just need a cord long enough, which was really just barely the case here.

Solder and tin paste experiments

So step one was to clear space at the worktable. Last night and today I got some time to play a little at that very table. Got to make use of the workspace now that I have it, right? Keeping it simple, I just picked up a few things to dabble with: little copper pendants, solder, flux and tin paste. Things that require that special workspace as it meant lighting that micro torch for the first time in ages.

Now, I should say that I've never soldered anything (if you don't count that copper spiral I added some solder to just to test if I'd be able to do some sort of solder joint). Have pretty much just melted solder from time to time, wondering when I'd make a project requiring this particular skill. And I don't have any good instructions for using tin paste so it was basically about playing around and see what happens. Of cause using due precautions as I'm using stuff that comes with warning labels.

These were my first two experiments. On the one of the left I used some plumber's silver solder I got from my dad. Don't really use it much since it didn't say what's in it and I do prefer to know that. It took time to melt, that much I know at least -- which is why I accidentally created the big dollops of unmelted solder. Drops that turned out to add a nice texture so it was a pretty good mishap.

The one on the right is tin solder (tin/copper/silver). The idea was to try this technique -- also see this link -- but I don't have the right stamps (clear stamps is a bad idea, don't ask me why I say that!). So instead I just melted solder and then hammered it a bit. All copper pendants are heated and hammered prior to solder application, by the way.

Both pendants were then oxidized using a tiny bottle of stink -- AKA liver of sulphur -- that I've had for ages, but actually use sometimes. Just a few drops are needed so the little bottle last a long time.

Then of cause I had to test my tinning paste (99,9 % tin). In theory I know how to use it, but I've never read any clear, detailed instructions. I didn't want to just tin the surface, but create a water drop effect described by Fleur Grenier in her book Pewter: Designs and Techniques. Unfortunately her instructions are really scarce, the only time she mentions tin paste and it's when describing how she made a project of hers, not one of the step-by-step projects in the book. It pretty much assumes you know your way around tin paste weirdly enough for a beginner's level book, which it is. Anyway, these were my first two tries at the water droplet tinning techniques. Far, far from perfect (I want the copper surface to show through between drops as in the book), but at least it's droplets. Not bull's-eye, but at least somewhere on the target.

The right one is oxidized.

Then just a few hours ago, I made these two samples. Same as above, just less paste and more dotted onto the surface than above. Both pieces where then oxidized soot black.

A fun time playing, even if not all samples are what I was striving for. But, hey, I am a newbie at solder and tin paste so what else is to be expected? I need to learn and practice -- and, besides, some of the pieces are cool and I do really like them. Below are my top 3.

Those results are really worth working more with, see where it will take me and what potentials there are in the techniques. Just need to polish my technique and read up on some basics while I'm at it.

What do you think?

~*~

Just a little footnote, which is pretty OT: Have you seen that I've added a new pinboard on my Pinterest page? It's called Colour it! and is all about painting, dyeing, drawing and in other ways adding colour to materials such as fabric, paper, metal, wood, glass etc. Not including patina, faux finishes and crackle as there's already a board for that. (It's amazing how fast you get up to over fifty boards -- Colour it! is board no. 63. I'm conservative when it comes to adding more boards and now there's over sixty anyway.)

My Nina Designs creations

I'm a fan of Nina Designs jewellery components so when I read about their new blog partner programme and the chance for jewellery makers to get some goodies from them, I just had to ask if I could participate. And earlier this month I got a late christmas present in the mail. Inside were lovely bronze charms and components, soft deer hide leather cord and sheer silk ribbon.

Today I thought I'd show you what I made with the stuff I got (or at least most of it). I won't complain too much about the quality of my photos as I do that too often, but the light turned out to be more finicky than usual today and I just hope the pics are too bad.

One of the first things I did was to figure out something fun to do with the leaves. Thinking about it back and forth, I settled for two things I like: weaving and embroidery floss. Just like you would use a metal frame to weave and twist wire around in wirework, the 24 mm long skeleton leaf charms acted as a frame for weaving the floss. If the charm hadn't been made in such a pretty metal, I would've wrapped the outer lines with floss too, but this time I decided to keep the metal bare, which also frames the colourful floss.

I'm pretty pleased with this experiment and hope at least some of the charm of these autumn leaves will show in the photo too, which really was a balance between showing detail (which make it look clumsy, but shows up the weaving) and showing the dainty leaves in their natural size.

Originally I wanted to show them on a golden jewellery chain, which is how I intend to wear them, but I couldn't find it. So just try to imagine the leaves dangling on i thin matching chain.

 
The package also contained two coral branch charms, which I immediately wanted to embellish a bit. It was like they were crying out for some blossoms and leaves. This was my first version with tiny acrylic flowers wire-wrapped onto the branch. Simple, but fun. Not sure what chain or cord I want for this one, but will probably opt for a chain that'll go nicely with the colour and texture of the branch.

I also made a second version today with the same flowers but with added seed bead picot leaves where I strung the pendant on the green deer hide cord and finished by adding the toggle clasp that were also in my package. No pic of that as I'm still not sure whether I like it or not.

UPDATE: I just realised that it would've been a nice touch if I'd oxidized the branch first for a more earthtone colour rather than a shiny bronze. 

The sheer silk ribbon (aka fairy ribbon) I got had such a gorgeous dark purple colour I knew this would probably be my favourite piece. But what to add to it when I'm a girl that can wrap a ribbon around my wrist and find that a perfect bracelet in itself? Actually, this piece started out as and idea. It all began with the infinity link and my questioning myself what could be a fun and less usual way of using it. Why not make it into a slider, threading it onto the ribbon and adding a focalpiece to it? Which is exactly what I did by wiring an acrylic violet flower and two dark green acrylic leaves to the middle of the link.

To finish the bracelet, I added two -- for their size rather heavy -- lotus petal charms (such a simple and lovely shape) to each end of the ribbon. The idea is that they will both keep the slider from falling off and add some weight that'll keep the knot  in place when wearing the bracelet. I say bracelet, but it could probably also double as a necklace.

The final piece were a couple of earrings. Unfortunately I ran out of roses, but I didn't want to give up my idea so I simply made just one earring. The base for this earring is a three teardrops link that I attached to a bronze hook. I then played around with different ideas, arranging roses in different ways before ending up with this design. To attach the tiny metal roses I used something I rarely use: glue. A cheat and shortcut sometimes, but here pretty m uch my only option due to an unforeseen lack of suitable wire in the right colour.

 
Of cause, just making a single earring I ended up with a leftover hook and teardrop link. Therefore I made a second design using a single, velvet matte aluminium rose wired onto the bottom link. Very simple and "clean" compared to the first earring. Not sure if it'd look better on an earring with just one teardrop instead of three? But it's definitely  something for those that prefer simple jewellery and a single rose to a whole bouquet.

And that's it, my take on Nina Designs bronze jewellery components. I hope you liked them and perhaps were inspired by them.

~*~

Disclaimer: The materials above were provided as part of the Nina Designs blogging program. The author of this blog has not received any payment from above-mentioned company. The post above represents only personal opinion of the blog author.

Ick -- first try at polymer clay

First, I should add that these aren't new. The pictures are new, though, and I don't think I've shown my polyclay beads and pendants to anyone before. Why that is, is pretty obvious: I do have a hate-love relationship with all sorts of clay, which I've written about before, and this was my first time working with polymer clay. The only clays I've worked with before have been saltdough and modelling clay as a kid and then dabbling with ceramic clay in art class in school as pre-teen and teenager a couple of times.


 I'm no natural clayer. More a painter than a sculptor when it comes to creating. I like to work on a canvas, be it painting on an actual canvas, embroidering on cloth or weaving beads on a thread. While it most certainly can be dimensional, not least my beadweaving, it's not about moulding a material or chiselling away bits and pieces of it. I draw with threads and beads or piece beads together like it was Lego, I shape but I don't mould and manipulate like you do with clay. But sometimes I'm inspired to work with it nonetheless. It has its uses and there are many interesting techniques to try.

The beads above are made after instructions by Irene Semanchuk-Dean in the book Making Beautiful Beads. She calls the Inside-out beads if I'm not mistaken, which explains pretty well how they're made. It's a rather fun and very simple technique, perfect for clay newbies and kids. Like children's inkblot paintings, but in 3D.

As you can see, I haven't mastered the technique for smoothing out the edges and seams where the different clay pieces meet. One thing I did learn, on the other hand, is not to use white clay unless you're 100 % sure the work surface is clean. If there is just one pin-size speck of darker clay or one tiny glitter particle it will end up on the white clay... D'oh!

 I also used ultrafine glitters, metallic powder, liquid Fimo and copper foil on some of the pieces. You can only see the foil and silver powder here as I wasn't pleased with the other pieces. Too fugly to show...

The cat pendant and silver charm have stamped images. There was probably a good reason for adding the pawprint to the kitty image, but I wish I hadn't. Other than that, I'm pleased with the colour I mixed for it (using chocolate brown, white and a smidge of yellow, I think) and the chocolate brown frame. I also like the finish I got using Fimo silver powder.

The copper crackle cabochon is one of the pieces I was pleased with. Sure, it's a bit uneven, but I really like crackle effects -- and this one was so easy to do. Normally, instructions call for a pasta machine, but I just used an acrylic roller.

I will add another, bigger pic of the cab later. That photo shows off the copper foil better, but I couldn't add it now as the photo is on another computer. *photo added*

So there you have it, my first venture into the world of polyclay. I haven't touched it since -- and that was perhaps two year ago I made those. Clay probably isn't my thing. And now other clays have become more interesting in my eyes. Clays that don't require oven baking and clays that also work as adhesives. So why even bring all this up then? Well, I guess it's because of this. Pehaps I should give pc another chance? (Though I confess that a resin clay challenge or hop would've been much more exciting and inspiring for me personally.)

Vaucresson rose necklace

In pretty much the last minute, I uploaded my entry in the Art Bead Scene monthly challenge for July. For a long time I couldn't think of what to do and figured I'd skip the challenge just as I've skipped or missed most challanges for months now. After playing with my stash or embroidery floss, yarn and ribbons this week, I finally got an idea last Friday: wouldn't it be a perfect opportunity to make a new ribbon flower pendant? I haven't made any for ages now and hopefully one will pass as an "art bead". The artwork that was the theme of the month, Morning in the Garden at Vaucresson by Edouard Vuillardit,  features some lovely white and pink roses that seemed perfect to translate into ribbon roses.

Bias cut silk ribbon is pretty flimsy so the flowers you make are very delicate. Just like the flowers in the paintings (though I admit in jewellery "delicate" and "flimsy" are not normally properties you strive after as it makes the piece difficult to use without damaging). I used hand-dyed pink and grey ribbon for the petals and then stitched the rose to a old rose ox dapped filigree. The metal adds some needed weight, makes it easy to attach bails or jump rings and protect the flower from some of the wear and tear.

The rose pendant is made from hand dyed bias cut silk ribbon, mounted on a piece of filigree. The necklace chain is made from space-dyed viscose gimp that I stitched into a three-strand necklace and added linen thead on which I knotted vesuvianite chips and yellow "jade" beads. It's a pretty simple necklace, which is of cause due to me getting the idea so late and finishing the flower even later (petals are easy to stitch, tricky to puzzle together to make flowers). That's the real reason, but it also makes the necklace look like the rose bush in the painting where the flowers sit on winding branches with few leaves.

From the palette I choose just to work with the pinks and greens with a hint of yellow, omitting the periwinkle/mauve/greyish blue tones eventhough I liked what they added to it. If I'd come up with my idea earlier perhaps I'd have time to think of a good way to use them, but of cause I had to come up with a last minute idea and had to think of a design on the top of my head.


Instead of the dull and simplistic collage I ended up uploading on Flickr, I initially wanted to make an inspiring and beautiful etc etc collage incorporating the painting that inspired the necklace, but I just couldn't make something nice today. This is what I ended up with and I'm adding it here more just to show the painting I'm speaking of than to show a good jewellery collage.

More etching: Butterfly meadow onyx pendant

I found this pic on my computer. It's an onyx pendant I etched at the same time I made the bird pendant for Joanna. To make it I composed a scene using several different peel-off stickers or parts of stickers. The stone covered by stickers stay shiny while the rest of the surfaces i frosted by the etch.

I'm still pretty much a beginner at etching motifs like this. When etching on stone it's not just a risk of etching too deep, but also that etching too much can bring out some unwanted surprises like bandning in the stone. That happened to another bird pendant I did in the same batch. And in the pendant above, you can see another problem: the pale lines where the cream (I presume) starts to get in under the edges of the stickers. I hope cutting the etching time will eliminate the problem because these really were etched a few minute more than necessary.

I like the touch of velvet matte stone, but the reason I've made several stone pendants is at least partially because I found it easier to get by black stone pendants than simple, unadorned glass pendants.

Bezelled crystals

For weeks and months now, I just haven't had much inspiration or energy to bead. Then a few days before Christmas I just had to participate in Noora's colour challenge at Inspira. I got the combo midnight blue, wine and bronze to work with. Nothing I use very often, but still not too far out, which meant less of a chance that I'd give up and yet again feel like a failure. After rummaging through my stash, I also found beads in the right colours that would work together: custom coated Swarovski rivoli in rose sphinx, 4 mm fp in garnet topaz luster (that was the closest I had to wine, and much darker than in my photo) plus some medium bronze Delicas and a few 15/0 bronze seeds.

I've never tried to bead a bezel using beads as large and cylinder-shaped as the 10/0 Delicas, which explains why it's a bit uneven. It was my first try and in retrospect I can see several things I'd do different. But seeing how this piece was responsible to giving me back the yearning to bead, I don't want to redo it. Unfortunatley, both garnet topaz luster and rose sphinx are hopeless colours to photograph in this combination so I'm a bit disappointed at how crummy the pendant looks here...

Anyway, bezelling is addictive so when I'd finished this one I just had to make one more, trying different beads and bead counts as well as embellishments. And then one more and one more and...

'I don't use bugle beads that often because I'm afraid they'll cut my thread, but sometimes I just have to use them as the shape alters the look of a piece considerable compared to using multiple seeds to acheive the same lenght. This is Alchemy mk III and I'm afraid I never got any pics of the first two incarnations. At first I used just 3 mm bugles for the RAW strip, but it got too wide. For the second version I used two 11/0s as "spokes", but that was not much shorter than using bugles so for the final version I just used one 11/0 and suddenly it fit perfectly. I was soo pleased.

Pity I used my 16 mm Alchemy rivoli (by Preciosa) as the black bugles (the only 3 mm bugles I have) blend with the crystal. But you can see the structure of the bezel better on the flipside. I never planned on keeping this so I didn't bother too much about choosing colours. After being pleased about the result I actually got a bit annoyed at not choosing different colours as the bezel turned out so good I didn't want to rip it...

This bronze bezel capturing a 14 mm Preciosa rivoli in crystal Marea shows the structure of my basic RAW bezel very well. I don't do peyote bezels as many other do as I don't get along with that stitch, but I love RAW/cross-weaving and netting. I really like RAW bezels for two reasons: a) they are so easy to make and alter to fit the stone in question and b) they form a base that's perfect to embellish in different ways.

This one isn't embellished as I'm planning on using it stitched to a pendant and don't want it too "frilly". At least not before I've worked more on the details of the design. I've used 13/0 charlottes for this bezel.

For this little charm or pendant, I didn't use a rivoli but a pointed-back foiled crystal, I was given in a secret santa swap just before Christmas. I wanted to use drops, inspired by Beadsmania, and due to the size of the crystal (perhaps 14 mm across) I choose Miyuki's new 2,8 mm drops and 13/0 (blueish) hematite charlottes. Another pic I'm not pleased with: the shape of the bezel looks wonky, but it really isn't IRL...

Back to rivolis. Once again, I just wanted to test a design and had to make due with what I had so I ended up using a 16 mm crystal volcano rivoli and metallic purple 11/0 seeds (japanese). This is the same typ of embellishment I used in my first bezel, but this time only using seeds. I also added bows of seeds around the bezel.

For this one I did just as before, using 15/0 japanese seeds, but here it's a vintage Swarovski stone that's a bit different. It's oval and it has a totally flat, not pointy, front while still being pointedback. #2102 if you want to look them up. Here, I embellished the front just as bove, using three beads on each bow. A bit of a pesky shape, not because it's oval, but because the girth is thicker on the two sides than at the narrow ends. But not so much of a problem that it shows on the front.

The latest version of my RAW bezels is this one I made today. I used Toho 11/0 seeds in copper-lined topaz. A shiny warm, golden tones that looks strange in this photo and more transparent than IRL. I also added 10/0 Czech seeds in copper-lined light olivine to match the pretty olivine stone. This is the same type of pointedback crystal I used in the grey pendant before, from the same secret santa.

The strip is slightly too short so the beads cover much of the crown, but I choose not to redo it, fearing that it'd be too loose if I added another section of RAW. The gaps between the beads, which you can see in the pic, aren't really visible IRL. Once again, I embellished the front with row of three beads (1 topaz, 1 olivine, 1 topaz) and then, as in the purple pendant, I added two-coloured rows around the bezel. This time I wanted to use picots in some way. I like working with picots. So I combined picots and rows, alternating between the two, after figuring only picots wouldn't look as nice as when combined with bows of beads between them.

I've already shown my tila bezel here, but as it was part of my rivoli bezelling obsession, it has a place here as well. I've tried to arrange the bezels in the order they were made, but this one was probably made first or at least after finish my challenge piece. This isn't made in RAW as the once above. The method here is more like stringing. And I keep repeating myself: I just have one colour of tilas and had to make due with a shrinking stash of rivolis so there wasn't much room to choose colours that'd look fab together. Besides, I wasn't even sure it'd work and thought I'd just rip it and return the stone to the stash afterwards. But I think I'm keeping it...

Like with my tila beads, I'm soon running out of rivolis and crystals to bezel. It's just so addicitive! I even had to stop myself from making more basic bezels before I ran out of stone to try different embellishment designs on.

So there we have it: I'm beading again. That is, beading for real and thinking about designs. But I soon have to buy more beads and stones if I keep this up. Having flow can be oh so expensive (and not being able to buy much needed/wanted supplies can be frustrating and throw me back into the bead block). But right now I focus on the important part: I'm beading again!