While I had thought I would not go the the recent bead show, my folks insisted. This is largely because after having visited General Bead, I started looking again at the Garden of Beadin’s website, to see what I was missing. Unfortunately, that website was not entirely functional for me (which is the reason I’m not linking it), so we went to the bead show to pick up a paper catalog, in person.
That…was a good thing. The paper catalog is much easier to navigate than the website, and it’s possible to buy things without submitting any sensitive information. I also happened to find a table run by the daughter of the person who runs the store, Beads On Main — the latter of which, I recognized from the old Oakland bead shows.
So…because I hadn’t been through the entire show yet, I didn’t realize that she was one of the only vendors there who focused on multiple-hole beads. If I had a clearer idea of the entire convention, like if I had been there for more than a couple of hours, I probably would have bought more from her. As it was, I was trying to conserve my funds (in case there was something which I really wanted, and couldn’t otherwise obtain).
For better or worse, I did end up purchasing three little cabochons…for which, I will need to either make metal or bead settings. I spent some time going through these undrilled things that I’ve collected over the years…what stands out to me is the fact that the cabochons I’ve bought which were from beading suppliers are less regular in their shoulders (and backs) than the ones I’ve bought from jewelry (that is, metalsmithing) suppliers.
The “shoulder” of a cabochon is the transition zone between the edge of the cabochon and top of the cabochon. In an ideal piece, the shoulder would be present, and the same height all the way around, making it easy to roll a bezel wire over the edge. I didn’t know this when I picked up a couple of fused dichroic glass cabs (probably more than a decade ago); and obviously, neither did those who made the cabs I’m talking about.
In some areas, the shoulders in these pieces are much higher than in others, meaning that these cabs require special (looped) settings. I wouldn’t have been able to tell this, however, without using a caliper to go all the way around the edges. With a caliper, the difference between professional-grade stone cutting, and everything else, is obvious.
I do know now, however, which cabs to prioritize for bead settings: the ones with low or no shoulder, and the ones with irregular shoulders. These can be used in bead-embroidered settings. The thing that’s stopping me from using them right now is the fact that bead embroidery implies the use of adhesive to hold the cab in place while it’s being sewn in.
I do have adhesive that I believe will work; the thing is, I hate to glue anything if I don’t have to. (This is largely because I was cautioned away from it in Metalsmithing classes; it requires more work than glue to set a stone securely.) Also, my two strongest adhesives (E-6000, and G-S Hypo Cement) are both toxic before they cure, which is a deterrent to my using them.
I also know that there are some cabs (like jaspers and agates) which would probably look nicer in metal, to preserve as much of the front display area as possible. The only drawback to working with metal is the fact that I have to use fire with it (innately hazardous), unless I go for cold connections and wire wrapping or wire weaving, which I’m not planning on doing. It’s way too easy to chip a stone, or break a wire.
It’s not the end of the world to break a wire, it’s just frustrating. Keeping the wire supple and un-kinked throughout the weaving process requires a dowel (or pen) and awl, at least. I’ve just done enough of it to know how it ends up looking, and how tough it can be. Using fire might actually be easier.
I’m also a relative newcomer to designing metal components. I’ve done it before, it’s just that it’s an entirely different workflow than working with beads, so I’m not used to it. There is a lot more room for innovative design when you’re cutting all the pieces out of metal sheet and wire, rather than fitting together small pre-made components.
I’m thinking that my major challenge will be figuring out how to integrate beadwork and metalsmithing. I know it can work, I’ve done it before. I haven’t, however, seen too many other people doing it, likely because the skills are things you actually need classes or apprenticeships to learn. I do know of places where people can learn, and I’ve seen beadworkers using torches…but handheld butane torches are pretty much not comparable to acetylene (which is what I used in class). I haven’t yet tried propane.
Anyhow…since that time, a class I’m taking has kicked in, and I’ve been dealing with work stuff. A lot of the time since the weekend, I’ve just been studying about situations I’d need to deal with if I were a Librarian. This is compounded by the fact that I did take a Civil Service test for the latter position, and didn’t score too poorly on it…I really need to keep applying, though.
Right now…I have also gotten a book on basic beadweaving stitches, which includes St. Petersburg and Chenille stitches. I am not practiced on either of the latter, so I’ve been wanting to get into it. Why I haven’t, I’m not sure, except for the fact that I’m fatigued…I guess from work, the job search, the research for the job, and this class.
When I put it like that, it looks reasonable…