Showing posts with label peyote. Show all posts
Showing posts with label peyote. Show all posts

4/13/15

A Weekend for Earrings

One of my favorite memories of my week in Tucson was arriving early for a day of metalworking with Diane Cook and having a few quiet minutes to study the class samples. It was a class in texturing and layering metal to create earring designs. I’d long admired Diane’s ability to take simple forms and turn them into designs that have both an elegant and industrial vibe, and to view first hand the meticulous execution of her pieces was a real treat!

This was my first time using a jeweler’s saw and my first attempt at fold forming, so despite choosing the easiest earring sample, I had only a few pieces of salvageable metal (and a lot of notes!) to pack up at the end of class. But the creative juices were flowing, and the small pile of false starts had been sitting on the edge of my worktable until this weekend when I decided to try my hand at those earrings again.
 
Copper and nickel silver, etched, hand textured, patinaed and fold formed. Sterling ear wires.
Class samples from Diane Cook's Fold, Form, Layer & Lace class

As I was cleaning up my workspace, a collection of peyote triangles from another project caught my eye. I decided to heat-patina some of my left over copper, shined up some pieces of etched nickel scraps, and sawed them into triangles.


And then tried some more layering.


I can see these in lots of summer colors. I have some square-stitched circles in my scrap drawer – later this week I’m going to explore layering with circles. Creative juices flowing…

3/26/15

March Art Bead Scene Challenge


Totem poles standing in a forested setting. Pencil and watercolor by Canadian artist, Emily Carr.
Color palette by Brandi Hussey
The colors in this month’s Art Bead Scene Challenge painting remind me of summer days – the earthy ochres and siennas, energized by that bolt of ultramarine.  Those were the colors I pulled out of Brandi’s palette to create my focal.


This collection of Hot Stix beads by Two Sisters Designs beautifully captures the organic shape of the totems and the background colors in Carr’s landscape. 


The heat patina on the copper leaf shape by Tanya McGuire adds the range of ochres from orange-red to yellow to brown.


The layered focal hangs from a chain of peyote- and brick-stitched silver and bronze links and twisting strands of delicate copper, bronze, and silver charlottes.

I had a day full of meetings yesterday, the perfect chance to take the necklace on a test drive to make sure the focal was well balanced and the necklace was easy to wear. I was early to my first event and spent a few minutes chatting with one of the leaders. She asked about my necklace, saying she was sure there must be an interesting story attached to it.  As I explained that it was designed around Emily Carr’s painting of the totems, she was surprised to learn that I had made it, but not as surprised as I was to hear that she not only was familiar with the totems, but had actually seen them! What are the chances…that I would be early…that she would ask…that a new friendship would be made! I would have gifted the necklace to her after our meeting, but hadn’t taken photos for this post yet. It’s packaged up for her now. After all, I have two more Hot Stix beads – I’m thinking I’ll use the lovely coppery one at the top of the photo, with a secondary focal in blue.

Take a moment to click over to the Art Bead Scene Pinterest board to see all the designs posted for this month’s challenge.

1/10/15

A Time to Stitch 6 Reveal

The challenge Christine Altmiller and Therese Frank gave us for A Time To Stitch 6 was to follow a chart and use one of four stitches (peyote, square, RAW or brick) to create a three-dimensional design. As someone who is severely chart-challenged (this may rise to the level of a disability), I took the plunge nevertheless, because I’m always up for a beading adventure with Christine and Therese. And this challenge was just what I needed to finally try my hand at the techniques in Kate McKinnon’s Contemporary Geometric Beadwork.

Since I was already way out of my comfort zone, I settled on a Layered Rick Rack cuff and decided to stretch my color palette as well, choosing three hues from Pantone’s Spring 2015 color report that I would never put together myself: Glacier Gray, Custard and Aquamarine.



Next, I needed a graph. Despite the fact that Cath Thomas has generously done the work of estimating sizing and providing free peyote graphs, it took me an embarrassingly long time to transfer my simple color-blocking design from my brain to Cath’s coloring chart.



A trio of easy peyote triangles served as color swatches, and delicas decided upon, the real fun began. 

Peyote was the first stitch I learned and it’s still my favorite, but I can’t remember the last time I used it in a design. My Rick Rack bangle begins with a row of Modified RAW, and also makes use of a bit of square stitch, but it's mostly hours upon hours of peyote.



 So much fun, and it’s reversible! 


The model's sweater provided the perfect pop of color for my second layer. I think I will wear the bangle this way more often, with just a hint of raspberry along the bottom because the fit is perfectly snug with the second layer worn inside the wrist.

Thank you so much, Christine and Therese for always challenging us to take our beading to new levels. And now, on to the rest of today’s challenge participants:

5-Karin Slaton (you are here)
8-Lola
13-Alenka
19-Kim
20-Amy





11/25/13

Two Spools, a Dozen Needles and One Rolling Hop

When challenged by Christine Altmiller of One Kiss Creations to create something using vintage wooden spools she found while antiquing, my first thought was: "How can I use needles in my design?" Not just in the execution, but in the design itself. My mom always had a needle in her hand when we were growing up, whether she was sewing our clothes, reupholstering the furniture, making drapes, darning socks or sitting down after dinner with her needlepoint. We loved to watch her take out the trussing needle, cut a length of colorful cotton thread and sew up the Thanksgiving turkey to secure the stuffing! It's a tradition I continue with my own family.

While talking about Christine's challenge with my husband, Dan, over dinner, he suggested cutting the spools in half (which would definitely increase my design options) and offered to do the job himself.

Holes were drilled in the center of each spool, which were then screwed into a block of wood to prevent them from flying across the deck.


The spools arrived with this lovely card from Christine, and a selection of seed beads in the same colors as the card. How could Christine know that I've never been able to resist the lure of a closed door and love to imagine the lives that are being lived out behind them? You'll find photographs of ancient doors, rustic doors, and ornate gateways in every room of my house. Second design consideration solved: Christine's card gave my project its color palette.

I selected the largest and smallest spools for my design and began researching the best way to paint them. Deciding that metallic spray paint was the way to go, I built a paint booth and began testing colors on some unfinished wooden wheels. I decided that two coats of primer followed by five coats of paint would yield the depth of color and coverage I needed. I chose Valspar's Brushed Nickel and Oil Rubbed Bronze, and left them to dry on the counter, resting on the openings in those plastic sleeves that hold beading wire on the spool. When Dan came home, he thought I had decided to make bracelets. (They look pretty cool as bangles, and I do have more spools…)


But I had chosen something a little more ornate for Christine's challenge, a necklace with a softly colored, more Elizabethan design.

A friend recently managed an estate sale and held back a few special pieces for me, including three exquisite rhinestone buttons. The top component, with its gentle slope, was easy to bezel, but the middle component, with its steep sides, proved quite a challenge. After several failed attempts, I remembered a technique Laura McCabe teaches to embellish hardware washers, and once I secured the button to peyote-stitched tabs, and linked them around the spool's rim, I was on my way!


The bottom component is an earwire form (recently learned in a Deryn Mentock class), inverted and embellished in ruby rondelles. The dangles are a collection of vintage needles, some of which I spray painted to match the spools.

I had so much fun with this project! Thank you Christine, for inviting me to join you in this challenge. If you haven't already, you'll want to make time to check out the unique and inspiring creations of those who have already revealed their designs: Janet, Cynthia (here and here), Tanya, Bobbie, Maryanne, Hope, Lisa, Liz and Kim.
 


 

9/10/13

Crystal Play

I'm longing for Fall, aren't you? Our afternoons are still peaking in the hot and humid nineties, so while lightweight and airy dictate the fabrics of the day, I CAN start the transition to fall with my jewelry.

This Snake-Belly Bangle combines autumnal earth tones with a summery hit of turquoise - the perfect transitional piece. It's from Anna Elizabeth Draeger's, Crystal Play, a book that makes me wonder why I don't reach for crystals more often when planning my designs!

 

A combination of two of my favorite stitches, peyote and RAW, this one can easily be finished in an afternoon. It sparkles with over 200 crystal bicones and gave me a chance to finally use my SuperDuo's. These two-hole seed beads give the bangle great structure, but I have one caveat - check the holes in these beads carefully before using - nearly a third of my tube had undrilled holes, requiring drilling the second hole mid-stitch.

My sister was visiting last month, and one afternoon I handed her a stack of my beading books to look through while I got dinner in the oven. Crystal Play was the one book she set aside, commenting that she would love one of every design! (Anna includes more than a dozen bracelet/bangle designs in her book, ranging from fun to fabulous to killer exquisite!)

 

So after I finished my bangle, I stitched up a Snake-Belly for Janet in season-spanning black and silver. She has two sons in high school and often finds herself drafted to chaperone at their school dances. She'll be one cool Mom rocking this on her arm!

11/28/12

Three Worlds

This month’s Art Bead Scene challenge featured one of my favorite artists, M.C. Escher, and his 1955 lithograph, Three Worlds.


From the Art Bead Scene: Three Worlds depicts a large pool or lake during the autumn or winter months, the title referring to the three visible perspectives in the picture: the surface of the water on which leaves float, the world above the surface, observable by the water's reflection of the forest, and the world below the surface, observable in the large fish swimming just below the water's surface.
My design began to take shape when I spotted a large (2 ½”) sterling silver fish pendant from Luanne Keen’s Eton Street shop on Etsy. Perfect to portray the world below the surface!


I created a large teardrop shape in matte black and steel delicas to frame Luanne’s focal. A second teardrop, inset with a peyote pattern of fish scales in the lithograph’s many shades of gray, nests inside the first and shimmers through the cutouts in the fish.
A single silver leaf floats in a peyote and herringbone frame, depicting the surface, and a Taina Hartman white bronze woodland pendant represents the forest. Adding luster and contrast to the matte elements, a handmade pearl chain brings in the picture's pure black and white.

I had so much fun with this challenge! Take a minute to click over to the Art Bead Scene Flickr group to see the amazing range of designs based on Escher’s work.

6/12/12

A Time to (Herringbone) Stitch

When Therese of Therese's Treasures was looking for a way to celebrate her one-year blogoversary, she teamed up with Christine of One Kiss Creations, and their A Time to Stitch Challenge was born. The requirement was simple: both new and experienced beaders were encouraged to create a piece using herringbone stitch, peyote stitch, or both.

I'm quite sure I'm not the first beader to be captured by the seduction of peyote stitch. It was the first stitch I learned, and it was love at first sight. Herringbone and I had a more platonic relationship, until I began experimenting with different sized beads and realized how versatile and surprising this stitch can be.

One of my favorite herringbone patterns is Virginia Jensen's Spinner Rims from the October 2009 issue of Bead and Button. Spinner Rims got me thinking about herringbone in a new way, and although I'd created several earrings from the pattern, had never considered using it for a pendant. I had the perfect focal for it, a turquoise, orange, and deep chocolate brown flower disc by Susan Barnes of the Fire Goddess. I love the feeling of momentum this pattern gives to the pendant.

The second component in my necklace uses a smaller disc in the same colorway, accented by Mexican opal teardrops.


I used peyote stitch to create a cradle to stabilize an uneven bottom surface on the second disc, and to fill in around the bezel. Staying with my complementary color palette of oranges and blues, I finished the necklace with a leaf charm and chain in artisan coppers.

Thanks to Christine and Therese for inspiring us with this challenge. Click on the links below to explore the rich possibilities of these stitches through the work of the other challenge participants.

3/20/11

Adventure in Freeform

All manner of shapes, sizes and shades of green went into this freeform peyote bracelet. Along with a dose of courage. I’m not a spur-of-the-moment, off-the-cuff person. I use a recipe to make egg salad! I’ve long been attracted to freeform peyote, twice signing up for a class, only to find both cancelled at the last minute. So I set off to investigate this technique on my own. No recipe.

The finished bracelet looks nothing like the version I had in my mind, but it was fun to spend a day learning my way around curves, ruffles, and bridges. As I tied the final knot, I realized the afternoon had flown by and Dan’s plane was landing at Hartsfield. Deciding to take the bracelet apart, I nevertheless clamped it on my wrist, testing out the closure, which was a design element I liked and would keep if it proved reliable, and headed to the fish market to pick out dinner.

As I was pointing out the salmon fillet I wanted, the oldest of a trio of sisters also standing at the counter noticed my bracelet and asked if I made it. She then yelled to her mother, halfway across the store, “Mom, come look at this lady’s bracelet!” Several bystanders leaned in to take a peek (it was, after all, the busy dinner hour), and I was mortified. All this attention was being paid to a piece that was not my typical style and certainly not a standout in my portfolio! The Mom, who owns a boutique, quickly extracted my beading history, handed me her card and extended an invitation to bring some of my summer pieces by for a look.


Once home, I set the cuff back on my bead table, still determined to cut, pull and rip it apart, when Dan, who rarely visits my workspace, pronounced it “artistic.” So, in the space of a few hours, my freeform creation has gone from a design that didn’t work to beads with a backstory!

11/8/10

Sparkling Waves

Yearning for a little peyote, I chose this Shelley Nybakke design from the current edition of Beadwork. Last year was all about peyote, but this year I’ve gravitated toward herringbone and netting. Also, I’d never worked with memory wire and was curious.

The base row is made with size 6 silver metal seed beads, followed by three-cut size 8’s in a warm bronze and topped with a 3mm fire-polished bead in luminous blue/honey. Silver, bronze and gold in one bracelet? On your arm, its five turns are shiny, highly reflective, just dazzling. Shelley’s designs are always brilliant!