Bead Arts

Mary of Burgundy, created for Beading for a Cure

Artist: Dulcey Heller
Location: Minneapolis, MN

Websites:
Dulcey Heller’s Beadwork
Buy the Kit

Rubber Gaskets Bracelet
Published in the June/July 2006 Beadwork

Dulcey, would you tell us how you describe your work?
My work is mostly driven by shapes, and to a lesser extent, colors, of things I observe. I am most interested in creating interesting shapes, and finding the seed bead technique that will give me the result I want. For example, I wanted to modify herringbone to get a different profile of the stitch, so I experimented to get the points of the seedpod set and the cuff bracelet that I sell on Buy The Kit. I recently made a mushroom, and it was a combination of peyote, herringbone, and brick stitch that resulted in the shape that I want. I’m still trying to figure out how to get a smooth, controlled, increasing, self-supporting, three-dimensional curve that I really like….

What is your creative process like?
My creative process mostly begins with an idea of a shape. Sitting on my work table right now are some rose montees and a drawing of a Celtic knot-inspired border. I’d like to get the two to meet in a necklace; keeping the diagonal slant of the knot will require modification since I
work with thread and not wire.

A recent piece reveals the extent to which I will go: for a swap of small beaded hearts for Valentine’s Day, I started with a picture I found of Pakistani embroidery that I used for both motif inspiration and colors. Then I learned that the national language of Pakistan is Urdu, and how to draw “mohabbat” (love) in script. I made the arches of heart pointed, to reflect the arches often seen in architecture of the area. I am a web-surfing librarian in my day job — it helps. I usually don’t go quite this far!

For a fun piece I entered in the 2005 Minnesota State Fair, I brought home the stick from a giant pickle-on-a-stick that I had eaten at the 2004 Fair, and then recreated a beaded pickle with right angle weave over a form on that stick. It greatly amused the judge, even though he thought it was a corndog totally covered in mustard.

My beaded figure that I made for Interweave’s Beaded Figure was first inspired by a beautiful French bead that is a milky white, reminiscent of marble. Then I went to the Minneapolis Institute of the Arts to figure out stances for Ancient Roman statues. I decided one arm should be partial to reflect the damage often seen in these statues.

If Ancient Romans used beads
Displayed in The Beaded Figure show

Mostly, I work in small chunks of time towards any project, small or large. I keep lists and rough sketches, take pictures of all sorts of things for inspiration, and then try to assign myself working time. I have more things to do than can possibly be done, so I make lists for each month of 3 or so items related to my beadwork, whether it’s writing an article, planning a larger project, or actually doing the project. I try to give myself at least a few minutes of “bead appreciation” time daily, so that I can at least play with combinations of color even if I’m not picking up a needle.

What kind of training did you have which helped you achieve your current level of artistry?
I have learned technique mostly from reading instructions in books and magazines. I have been fortunate to take two week-long Split Rock Arts programs through the University of Minnesota. The first was with Joyce Scott, and the second was with David Chatt. I learned so much from both of them, both are excellent and enjoyable teachers. Beyond learning about their techniques, sculptural peyote and right angle weave, respectively, I learned about the working life of an artist. How to present a piece for judging, for example. Or valuing a piece. Setting aside studio time to work. Things like that.

Pearl Beaded Bottle

Is there a tool or material that you can’t imagine living without?
I have a lot of thread. A LOT of thread. An embarrassing amount of thread! Seed beads are the mainstay of my work, so I have those too, of course.

What inspires you to keep going when the work gets frustrating or tough?
I’ve tried a variety of methods. That smooth, increasing, three-dimensional curve? I’ve given that one at least a dozen attempts, it’s now set aside until new method inspiration strikes. I tend to like to bead my own designs. Sometimes it’s relaxing and rejuvenating to bead someone else’s design, then I can just enjoy the process, and appreciate someone else’s hard work. Also, I’m an advocate for finding inspiration in other mediums — going to a museum, reading coffee table books, enjoying the local nature center.

What is your best piece of advice for those who would like to rise in their level of artistry?
The best idea can’t be fully realized until your technique is immaculate. Good craftsmanship and finishing is essential. Ask for and accept constructive criticism.

Beaded Cockroach

What takes up the majority of your time besides your art?
I am married with school-age children, so family is where I happily spend an important amount of my time. I also am a public librarian, with my hours averaging about half-time. I also read voraciously.

What’s your favorite comfort food?
Beyond family, beading, and reading, I like to cook a fairly wide variety of foods; I bake our bread. Family, food, beads, and books. Good stuff!

beads, beading, bead-weaving, creativity, designing, artist-profile

Artist: Margaux Lange
Location: Brooklyn, NY

Website & Blog:
Margaux Lange
Midge’s Mind

Margaux, would you describe your work for us?
My Plastic Body Series is art jewelry made with sterling silver, Barbie dolls and epoxy resin. It is an examination and celebration of my own, as well as our culture’s, relationship with Barbie.

What kind of training did you have which helped you achieve your current level of artistry?
I was first introduced to jewelry making in my high school (Lake George, NY) which was and still is, very fortunate to offer jewelry courses to its students. I’ve been a studio jeweler for the past six years since graduating college (The Maryland Institute College of Art, Baltimore, MD May 2001) I was a General Fine Arts major and took a variety of courses in various mediums until I decided to concentrate on jewelry. For me jewelry was a way of getting art off the wall and on to the body so it could be shared, experienced and quite literally felt.

After college I took an epoxy resin workshop with art jeweler Susan Kasson Sloan at Haystack Mountain School of Crafts that forever changed the techniques I utilize in my metalwork and has enabled all sorts of exploration with color.

While it is my fine art background that has given me the foundation necessary for conceptual exploration in my jewelry work, it is personal experience (i.e.: my childhood spent obsessed with Barbie and her miniature world) that I credit for the success of this series. Barbie was immensely important in fueling my creative life as a child, not to mention developing my nimble hands and dexterity, skills imperative to the art of jewelry making. I love that what I adored as a child has become the focus of my career as an adult.

How did you first get the idea to make jewelry out of Barbie dolls?
Barbie made her debut in my artwork in high school. I once did a project where I took a bunch of Barbie dolls and delicately painted on their plastic bodies, transforming each of them to look like something else. One was made into a carrot, another a zebra, etc. I even painted one with a suit and tie, a beard and a moustache to look like a man. Later in college I did a series of drawings: self-portraits of myself holding Barbie dolls, balancing her on my head, sitting her on my shoulder, in a sense wearing her. I was interested in combining alternative materials and/or found objects into my metalwork so it was really only a matter of time before she became a part of my jewelry.

Jewelry seemed the best form for my art in exploring the subjects I was interested in. It made sense to address issues involving women and the body through jewelry, (a form of adornment predominantly associated with females) using Barbie, the ultimate female icon. The queen of accessorizing became the accessory!

What is your creative process like? How do you go about designing a piece?
Sometimes there’s a storyline to my pieces and I’ll have a particular idea I wish to explore (depending on the doll parts being used) and that will serve as the concept that shapes the piece. Other times it’s purely about design and arranging shapes and patterns within multiple elements. And sometimes it’s both, where I start out with a pattern or design in mind and by the end a concept has evolved. My design process varies a lot from piece to piece.

Do you work for twelve hours straight or in smaller chunks of time over the course of several days? What takes up the majority of your time besides your art?
I usually tend to work in smaller time segments throughout the week but aim for at least 15-20 studio hours total per week. The business end of my jewelry ends up requiring a lot more time away from my studio than I ever imagined it would: spending time on the computer with emails, my website, blog, etc.

I also currently have part-time outside employment as well to help make ends meet. Unfortunately at this point in my career it’s a necessity but I’m confident that it won’t always be. That’s what I’m working towards: successfully making a living off my art!

Do you like music or silence while you work?
I love listening to music while I work as well as This American Life and other podcasts and public radio programs.

Is there a tool or material that you can’t imagine living without?
Barbie and Ken!

What inspires you to create?
Humans are especially what inspire me to create. Bodies. Faces. Popular culture. Barbie. And other artists and art jewelers who make fabulous work. I’m drawn to art that employs multiples of something, patterns, work that plays with our sense of scale and art made out of found, unexpected or unusual materials.

What inspires you to keep going when the work gets frustrating or tough?
The people who appreciate and support my work are what keep me going through the tough times. It’s important to have a support system. I’m very fortunate to have a few amazingly supportive artist friends. Also, when I get emails from people saying how much they love my jewelry or share stories of their Barbie experiences, I feel such a sense of accomplishment and it reminds me of what I love about art: it’s ability to connect on a personal level.

One of the biggest joys for me has been the way others receive my jewelry. It continues to amaze me the range of responses I get regarding what I do with Barbie. Some people respond to its humor and wit and think it’s pure fun, or it feeds a sense of nostalgia for them. Others weigh in on the feminist edge and relate to its statement. Some are creeped out and think it’s dark and disturbing to see “body parts” cut up. Others think it’s just simply bizarre. I love that everyone brings his or her own baggage and reaction to the work, indicative of their own relationship with, or feelings about, the iconic plastic princess as well as what defines “wearable jewelry.” One of my biggest goals has been to create art that people can relate to. I believe I’ve been successful with this.

What is your best piece of advice for those who would like to rise in their level of artistry?
Pay attention to your “voice.” Everyone has one that is uniquely their own and it’s hard to uncover at times. (Especially with the influence of teachers, mentors, fellow artists, friends, or family who sometimes offer resistance or persuade you away from your own true voice or vision.) Strive to unearth not only your personal strengths and talents but also that which gives you a deep sense of satisfaction and you will find yourself excelling naturally.

Also, and this is hugely important, surround yourself with positive people: those who support and encourage you to do what you love. It can be painful and difficult to weed out those who bring you down, but sometimes it’s crucial to your personal and professional growth.

What’s your favorite comfort food?
Ice cream, hands down. The obsession runs in my family. I come from a long line of females who depend on its frozen goodness for our sanity!

Do you have any other favorite hobby?
Writing: journal writing, and most recently blogging. Writing helps me to understand myself better.

I’m sure that all of our readers join with me in believing that Margaux will certainly be able to fulfill her dream of doing her art full-time very soon! Thank you so much for sharing your thoughts with us!

handmade-beaded-jewelry, wearable-art, beads, beading, jewelry, mixed-media

I came across a set of nice color cards put out by several large and influential forecasters:

Pantone, Spring 2007
CBI, Spring-Summer 2007
Le Cuir a Paris, Spring-Summer 2007
Dorlastan, Spring-Summer 2007
Promostyl, Spring-Summer 2007
Fire Mountain Gems, Spring-Summer 2007

handmade-beaded-jewelry, wearable-art, beads, beading, jewelry, mixed-media, color-forecast

Artist: Wendy Van Camp
Location: Yorba Linda, CA
Website & Blog: Indigoskye Bead Fashions

Wendy, how do you describe your work?
I am a jewelry artist. I wire wrap semi-precious stones and handmade
art glass into women’s jewelry. My designs are unique but simple,
jewelry that everyone can wear.

When I was searching for a business name, I knew that I wanted to
include the word “bead” in it since back then the search engines put
much weight in the name of a webpage or a business. I also wanted a
word that would be unique to me so that if people were googling me, it
would be easy to find me. So I took two email handles that I was using
at the time, indigo and skye, and put them together. The blue skies
connotation seems to put a smile on my customer’s faces and the name
stuck. I even answer to indigo or indigoskye on occasion!

What is your creative process like?
I start by going through my stash of stones and picking out combinations
that appeal to me. Then I just put them together. Sometimes I start
with a wire technique that I want to use and then put it with my stones
until a design emerges that I find pleasing. I never write anything down
or plan…whatever flows from my pliers is what I make.

I sometimes play music, but usually I put cooking and gardening shows on the TV and let it play in the background. If a good recipe pops up, I
stop and watch for a few minutes and then get back to work! I tend to
work in small chunks of time and alternate my tasks. An hour or two on
the computer for marketing or minding online sales, an hour or two with
the pliers, an hour or two at tending to the house or running household
errands. The only time that I am focused on jewelry for a long period
of time is when I’m in my booth at a venue, and then it is jewelry for a
good 6 to 8 hours at a time since I tend to make things in my booth in
between sales or make custom orders in the night.

What kind of training did you have which helped you achieve your current level of artistry?
The only design training I had was as a florist wannabe. I was the
co-host of a television program on flower arranging. The program was
the florist teaching the viewers how to be a flower arranger and it was
my job to ask questions to prompt him into the next step in a natural
manner and to assist with the flower arranging as the cameras rolled.
Over the course of a year or two of production, I learned many design
concepts from this man and later discovered that many of the principals
of flower arranging also hold true in jewelry making. At the time, I
didn’t do crafts at all. I was too busy teaching high school English
during the day and doing television production at night and on weekends.

I took up jewelry for the first time during my wedding preparations. I
made my own bridal veil and the jewelry for my bridesmaids in order to
save money on our wedding. I enjoyed the jewelry making and decided to sell it part-time after the wedding. I found that jewelry got busy
during TV production’s slow time so the two professions merged together
well time wise. However, as the years went on and I started to do
bigger jewelry venues, I discovered that jewelry was more profitable to
me than freelance TV production and I started to concentrate more of my
time there. I still like production and writing, but now production is
more my hobby and jewelry my profession, the exact opposite of what it
was a decade ago.

Currently, after eleven years of selling my jewelry on the festival
circuit, I am starting to take formal lessons in jewelry making. My
favorite instructor is Connie Fox and I am simply in love with Eni
Oken’s wire wrapping tutorials. I am also taking fabrication lessons
via CD produced by an instructor named Don Norris. I’m not sure what my jewelry is going to morph into, but it has been an exciting time for me. I am grateful to these instructors for sharing their time and expertise
with me.

Is there a tool or material that you can’t imagine living without?
My hands, eyes and my heart. Everything else is replaceable.

What inspires you to create?
Either you are an artist and MUST create, or you are not. Inspiration
comes from everything around me in the world and from within.

What inspires you to keep going when the work gets frustrating or tough?
There are times when I feel blue about jewelry making. When I have a
bad show and barely break even, when I apply to venues I would dearly
love to enter and am told “no jewelry need apply” or have people come
into my booth and try to tell me how to run my business. Sometimes
being alone with only my dog for company in the studio can press in on
me too. I wonder what the heck am I doing with my life. It is then that
I ask myself, is there a single profession on the planet when you don’t
have days like this? I don’t think that anyone has it easy out there. I
just remind myself that overall I love being my own boss, making my own destiny and creating things that bring a smile to people’s faces. If that is not enough, what is?

What is your best piece of advice for those who would like to rise in their level of artistry?
Be willing to take risks. Find a mentor to help you figure out what
reasonable goals to set for yourself. Ask questions and be willing to
listen. Take lessons and improve your technical skills.

So that we’ll know a little more about you personally, what takes up the majority of your time besides your art?
Gardening and cooking. I grow exotic hot chile peppers and use them to
make powders for my cooking and I spend time tending my roses. I love
to provide homemade meals from scratch to my husband. Most of my meals take an hour or two to cook so I spend a lot of afternoon time in the kitchen.

And Wendy, what’s your favorite comfort food?!
My favorite comfort food is just about anything that can come out of a
crockpot. Crockpot cooking is one of my favorite methods since it is
one of the healthiest and easiest ways to cook.

handmade-beaded-jewelry, wearable-art, beads, beading, jewelry, mixed-media, artist-profile

WhimBeads

My favorite on-line sources…

WhimBeads
Delicas and other Japanese seed beads in all sizes, fancy shapes

Empyrean Beads
Many antique and vintage seed beads

Kawahara
Seed beads with dichroic coating ~ fantastic!

Artbeads.com - Your online bead store
Free shipping and no minimum orders

FusionBeads
Great selection of Japanese seed beads with quantity discounts.

…and my favorite catalogs

Fire Mountain Gems
Huge assortment, aimed at uniting the world, one bead at a time!

Rings and Things
A huge selection of larger seed beads and mixtures

handmade-beaded-jewelry, wearable-art, beads, beading, jewelry, mixed-media

Welcome to Technique Tuesday!

I will be bringing you tips, techniques, and tutorials each Tuesday on the Bead Art blog. Some of these posts will be what I call “The Basics”, which we will refer back to from time to time in the intermediate and more advanced tutorials. Some of the posts will be techniques that I’ve developed and written myself…my own opinion, in other words!…and others will be links to online tutorials that others have shared.

So today is going to be one of those “my own opinion” posts! Please feel free to leave comments that share your favorite materials and methods for today’s topic.

Peace

I am frequently asked for the specifics of how I make my bead-embroidered pieces. You can see examples of my neckpieces here, and I also posted a picture of the bead-embroidered hat that I just finished yesterday.

I’m totally sold on using Unicorn Buckramfor my beading layer, rather than some of the more expensive products marketed specifically for beading. Unless, of course, I’m actually doing the beading directly on something like the felt hat. Even then I sometimes use buckram or another lighter weight interfacing behind the felt. Buckram is a heavily starched woven cotton interfacing, used in millinery and belts. It’s very thin, but holds its shape well and practically never unravels. It can be painted or dyed and heat-set before beading, which is what I do in some of my work. The piece shown above uses a painted background with some rows of clear beads…it’s hard to see in the scan, but I beaded a bit more loosely than usual so that the color could show through.

Here’s another example, a non-wearable piece, where the painting on the fabric is more obvious.

Each according to their kinds

I buy buckram at Joann’s, in the interfacing section, and is very inexpensive! Once it is thorougly beaded, it becomes softer under the weight of the beads so that it will drape around a neckline, but it still doesn’t tend to lose shape.

Nymo thread is my choice for almost all bead embroidery. Occasionally with very heavy beads, a heavier carpet thread may be called for, but I’ve found Nymo comes in enough sizes to suit my projects. I buy large spools of black and of white Nymo in size 0, which is one of the thinner sizes. I don’t bother with colors…if I want a colored thread, I use a permanent marker and run the white nymo over it. My needles of choice are English beading needles, and I usually buy those packets that have 6 or so needles ranging from #10 through #12 or #13. The number of the needle needs to be smaller than the size of the bead, so #12s are great for beading with 11/0 seed beads. You’ll need finer needles (with higher numbers) to work with smaller beads.

For the backing, I use an ultra-suede type material. I am very fussy about the looks of the entire piece, so the backing is glued lightly to the buckram, and all the raw edges are beaded together to cover them completely.

So, that’s my run-down! What do you like to use the best?

bead-embroidery, wearable-art, beads, beading, jewelry, mixed-media, tutorials