Inspiring Fibers

Carol Dekle-Foss

Written by Carol Dekle-Foss for Love My Art Jewelry Blog

Hello everyone! I've been playing with fibers a bit and wanted to share some of my latest creations, as well as display some fiber artists who inspire me. First, Sherri Stokey did a great post here on her beautiful macrame jewelry. I will be honest, I am terrible at small detailed work, I just don't have that kind of patience. I truly admire those who can knit and sew in intricate detail. One of my favorite bracelets from Sherri is below. I love the woven work and accent of tiny beads. So beautiful!!! 

You can visit Sherri's Etsy shop here for more to die for designs. 

I'll admit, working with fiber in jewelry has been a challenge for me. I don't dare show some of my earlier work! Seriously, I think there was a crazy lady was in my studio!!! So now, when I use fiber in my designs, I try to add different textures to balance the softness and also play with different color combinations to try and create interest. With lots of practice, I've gotten better!

 I just finished this bracelet. I used some of Marsha's gorgeous silks that you can find in her Etsy shop. The bracelet bar and tiny leaf are my latest ceramic pieces. I love how the glaze colors turned out.

A simple copper etched leaf bracelet with braided waxed linen cord and ceramic beads from Gaea.

I love this simple design. It can be either a bracelet or a necklace. Ceramic beads are made by me, and the silks are from Marsha Neal Studio.

 This is one of my older creations.  I used one of my sandblasted pendants, lampwork beads from All Fired Up Studio, some enameled charms from yours truly (my brief enameling phase), and some sari silk.

Another older necklace. The Tree of Life design was etched and then enameled. I love how the enameling created a crackling affect. I then braided some sari silk and formed a wire loop for the bail.

Now, for some more eye candy. Here are some of my favorite fiber artists, in no particular order.

 Oh my...I fell in love with Debra Dorgan's work when I first laid my eyes on the above cuff. It brings out my inner la bohème. Wow, look at all the intricate detail!

Her little butterfly is too cute!

 These earrings and the cuff below are from Mary of Queen of cuffs. Holy moly look at those gorgeous textures! Swoon!

 And of course, the intricate and meaningful work of Mary Jane Dodd. She inspires me to be more mindful, not only in my jewelry, but everyday life.

I will leave you with this simple design.

A dainty and delicate pendant from Manya at Humming Needles. I love how she combines silk ribbons with embroidery to create beautiful detailed flowers. Visit her Etsy shop to see more beautiful creations!

Thank you for reading!

Written by Carol Dekle-Foss for Love My Art Jewelry Blog

... in the details

offering bowl - mjd 2014

-----

the air of winter 

may be biting, but in its

sting i feel alive. 

-----

my work over time has evolved into simpler things. my focus is upon solid craftsmanship and defining details. even my writing this year (because i felt like i was losing focus somehow) is being combined with some haiku writing - where the choices all matter - you only have 17 total syllables to work with. 

but in our work, this too is true. there are things you will always need - findings, texture, metal, beads or other materials. they are defining. 

bracelet bar - mjd 2015

-----

as i am me and

you are thee, there must be peace

for the sake of we. 

-----

there are days where components are my focus. they provide opportunities for practicing what i find to be important - creating texture, attention to details, attainment of satisfying patina, even what i choose to clean the pieces up with (sandpaper, steel wool, brass brush, nail shaping block, etc.). and figuring out if the addition of something really does add, or if it detracts and was just fun as an exercise in trying something new. 

this has taken me years - 

it's important - as you work, you find out what makes your work yours. there is no way to really know at the beginning, it takes time and mistakes and victories to find out. it takes listening to your heart and being attentive to what makes it sing. you can successfully execute a design, but is it something you want to do again or reflects your aesthetic? 

what are details that matter to you? what ones do you feel are key to your work? 

wishing you all a year filled with what you need - i think i speak for many when i say that 2014 was a bit of a brutal one. let's hope for something a bit gentler. 

Textures, Color and Fibers

As a nature lover and ceramic artist, it is easy to say that I am inspired in my work to create textures often repeated by what I see in nature.

With Ceramics, it is usually in my hand carved texture plates (which I later use when bisque fired - hard and porous) that show the textures. I use those plates to press porcelain or stoneware clay into to create a reverse printed texture.

When it comes to using my ceramic pieces in finished jewelry, I tend to stall a bit.

This I believe is because there are so many possibilities, I have a hard time getting my brain to settle and focus on one technique (talk about ADHD!)

And I'm all about the quality, so I tend to work things through a few times before I come up with something I'm happy with (this bracelet below is still a work in progress).

 When it comes to colors, these Hand Painted Silks (painted by Ute of Silk Painting is Fun) that I have been carrying now for over 10 years, are an endless supply of inspiration.

Marsha Neal Studio presents Silky and Fairy Ribbons

Marsha Neal Studio presents 2mm Hand Painted Silks

 I love to pick through and make specific color palettes from the 80+ colors I carry (in three styles: Silky Ribbon, Fairy Ribbon, and 2mm round).

 And I am seriously delighted with every order that comes through because I get to see a bit into what you are picking out and are working with for your jewelry (or other) designing.

If you are interested in using these in your work to add color and texture, you can shop for these ribbons through my Etsy shop or my Marsha Neal Studio website.

Recently I have been fiddling more and more with Needle Felting Wool Roving and Locks (see SarafinaFiberArt for beautiful supplies). And luckily Sarafina Art House is about 25 minutes from my house/studio and I have picked up working there part-time, helping with orders, stock, and whatever they need me to jump in and do. Which is a whole other chapter opening up in my creative life - working outside of the home around other creative positive people helping run that business is SO what I need right now.

What kind of fibers are you into using?

And what techniques make you giddy?

Look for some posts on fibers (all kinds of fibers) coming up in the next couple of months as we get through the holidays and back to our creative time.

texture boot camp -

mary jane dodd

piece of railroad track purchased at a flea market

this edition of texture boot camp is brought to you by a lipstick chicken, you know, a person who doesn't like to wear lipstick that looks like you are wearing lipstick (and so why struggle to find that perfect color at all, right?)... this aesthetic carries over into my work... as an admirer of the subtle i would like to show you how i add texture to my metal...

i find texture on things - like this old railroad tie... i was told how i could clean up the face - but why would i do that?

small bench top anvil

this anvil's finish did not hold up over time - but if you put metal on it and hammer, when you turn it over, you will find a lovely texture that is picked up by liver of sulphur or other patina...

with a pitted surface

did you ever mar the surface of a hammer? unknowingly, like before you learned that a brass head is better suited for striking metal design stamps? i did - and now i have a head that creates texture similar to the raw silk texture hammer...

'marred' hammer face

and finally i wanted to show you how i used patterned brass sheet - no rolling mill required!

tape the metal you are working with to the patterned sheet , hammer all over the surface evenly and...

viola!

my apologies on not having pieces finished with the patina to show the contrast - this was my first time down to the bench in almost 3 months and i don't have everything set up... 

Textured Earrings Tutorial

I wanted to put together a little tutorial using some metal chain that I had purchased from a garage sale last year.While looking around the house for something to use for texture, I came across it and wondered if the hoops would be hard enough to create texture with. It was. I probably should have annealed the 3/4" disc first, but didn't. As you can see, you can still texture without annealing; it just takes more work.

I hope you like them.....

Materials: 3/4" discs, 18 gauge wire (for jump rings), 24 gauge wire, ear wires, metal hoop (could be done without this), center punch, marker, hammer, bowl for water, torch, mandrel (disc could be held with pliers), hammering block, 1/4" tube, tube cutter (optional), 2 small beads.

1. Set your disc on the hammering block. Center the metal hoop.

2. Watching out for your fingers, gently hammer an indentation into the metal disc.

3. Punch one hole on the indentation.

4. Using the hole as your guide, make marks at 6 o'clock, 3 o'clock and 9 o'clock.

5. Continue to fill in the additional placements that you would see on an analog clock. Using your punch, lightly tap on each mark 4-5 times.

6. This is how it will look.

 

7. Turning punched side away, heat the disc with your torch.

8. Set orange hot disc in cold water. This step is personal preference. You can play around with how to get different colors. I'm not a pink kinda gal, so I kept experimenting until I got a color that I liked. As you can see, if you get it hot enough, adding the discs to cold water adds additional texture.

9. Having already cut your tube to 1/4" pieces (jump rings can be used instead), hammer them lightly until flattened.

10. Using premade 18 ga. jump rings, slide through disc and hammered tube.

11. Using 18 ga wire, make small hoop, slide through hammered tube and slide small bead on. Create hoop on top of bead.

12. Using 24 ga, wire, wrap hoops made on top and bottom of bead.

13. For the last step, I chose to experiment with Stacie's tutorial on adding texture to ear wire. I discovered that I still need a little practice with this. Also, darkening is optional. I used liver of sulfur for my final step to patina.

There you have it.... light weight and fun to wear.

As always, thank-you for supporting artists who create handmade with handmade.

MaryAnn

Texturing Metal......NOW WHAT???

Sooooooo, is everyone getting out those hammers and metal and pounding away?!

Since our Art Jewelry Boot Camp is currently focused on texturing metal by hand, perhaps you've been hammering away and have a nice little sampler of metal pieces that you're not quite sure what to do with......

So today, I wanted to share a little tidbit for a simple way to turn that textured metal into a simple slide bail for another pendant. Slide bails/pendants!

Slide bails/pendants are a popular trend in higher end jewelry and you could add some of these to a table at your show as they can easily slide onto a heavy omega style necklace (so ladies can buy a pendant and simply swap them on their own omega for a new look) or be added to ready made leather necklaces. OR....you can incorporate them by adding punches of color by adding them to beautiful silks and fibers or a more involved pieces.

I started with a copper stamping that was very large (about 3+" across)  and probably wouldn't serve well as a pendant. But you could use squares, circles, ovals or any other symmetrical pieces you've been texturing to make a slightly different shape.  The original shape is above.

I snipped off the side rounded bits with a pair of french shears and filed the sides nice and straight and then annealed the piece to make it nice and soft so it would be ready to receive that nice texture we've been talking about..... Next, I textured the piece by using my grungy pitted hammer followed by a piece of bent steel wire that I mentioned at the intro to our challenge.

My piece was quite work hardened by this point so I annealed it again with my torch, cleaned it very well, then folded it around a 1/4" dowel rod to form the bail portion....(this was the point where I wish I owned a pair of bail pliers or wrap and tap pliers).....but a wooden dowel worked fine too! I then used a pair of chain nose pliers to bend the bottom rounded bits out a bit so it met in a friendlier manner.

At this point, I drilled my hole by using a center punch and drilling through both pieces at the same time so the holes would meet. I did all my finish work with my emery papers, cleaned, oxidized, distressed, and waxed and you have this:

A fun bail to add on a bit of silk or a slide pendant! Add your favorite Art Bead or pendant and you are set to go!


One word of caution: Don't forget to seal the INSIDE of the bail (I do this by  passing a Qtip coated in wax or a cuticle stick wrapped with some muslin or cotton ball and wax through the opening so it is finished inside and out) You don't want any oxidation to rub off on leathers or fibers....

What kind of Metal can I texture?

by Staci Smith

This was the first question I asked when buying my metal supplies.  I remember how shocking it was that you could use 24 gauge metal and it wasn't paper thin.  I was thinking in wire terms, and thought it would be frail and thin.  Now, the number gauges run in the same way wire does, smaller number, thicker gauge, but they certainly feel very different.

 

So I thought I'd give you a little information on metal sheet.

 

The most popular metals are sterling silver, copper and brass.  I highly recommend starting with copper.

 

Copper is softer then brass, and cheaper then sterling silver.  So it works easy, and if you make a mistake, it's not a devastating financial loss like it would be with sterling silver.

http://www.thunderbirdsupply.com/proddetail.aspx?StockNum=170104

 

 

When you go to buy sheet metal, some places sell set cuts- like 3x6" or 6x12".  Others (like www.thunderbirdsupply.com) let you choose your own cut size.  This is handy to know depending on what you plan to do.

 

For example, at Thunderbird, you can order 10 pieces cut at 2x7.5" if you are planning to make cuffs (not sure what cuff standards is, I just picked that measurement at random)- they are pre-cut to the size you want.  They also have the option of set sizes.

 

Another thing to consider when ordering or buying sheet, is how you plan to cut it, and what you want to use it for.  26 gauge is very thin, very lightweight and easy to manipulate.  This is great for fold forming items that may be used in earrings.  I also use 24 gauge often for earring designs so they aren't too heavy. 

 

If you need something to be sturdy and unbendable under stress, you want to use a thicker gauge, 22-18 gauge.  Keep in mind how you plan to cut these sheets.  You can only use metal shears up to 22 gauge (usually).  So if you need thicker metal sheet, you will need to saw it.

 

I have ordered the standard large sheets of metal 6x12" and I found them too bulky to work with.  I don't have a quick way to cut them down, so it's been awkward to work with them, which I why I like to customize my sheet size.

 

I hope that helps with some questions you may have on buying sheet metal.  For a beginner, especially for our Metal texture Boot Camp, I highly recommend copper.  It cuts and stamps like butter!

 

We can't wait to see what you guys are working on.  Remember- the blog hop is April 8th.  On that day, you will be able to link up to our site.  Happy hammering.