beading, craft, creativity, design, jewelry design, psychology, self care

Process over product?

Or, “process,” over, “hoarding,” maybe?

I began this post way too late to really be coherent, but after I had a jewelry design + construction session. I worked out a set of earrings in Onyx, Copper, and Hematite; and in trying to work out another set, formed the focal point of a necklace in Smoky Quartz, Citrine, and gold-plate.

Some other things have happened since then. I was contacted by HR, and now have some time set up to go back into work for training. I also was able to purchase some shoes which, hopefully, will help combat the tendency of my feet to hurt, these days. I’ll be wearing them around the house to see how my feet tolerate them.

I also have been notified that it seems I’m having a hard time coping with anxiety. So…it was possible that I would need to reschedule an appointment because of a surprise training session, but my appointment has been delayed at least twice already, making it now about four weeks past the time I initially agreed to return. I think it’s important that I not allow that to be pushed back any more.

It’s possible that making the jewelry helps take my mind off of other things that are going on in my life. I wasn’t in a great place, emotionally, when I made the earrings last night. There’s a certain energy that goes with them, which I didn’t find to be best for me today, when I was putting myself together this morning.

In particular, yesterday I had a lot of anger over a situation which occurred and — although I didn’t see it in quite these terms — others say it sounds like I was triggered, and continued to “seethe” afterward. So, what I made yesterday, looks “hard” to me, today.

Getting out of the “hard woman” role is one of the reasons I decided to stop comparing myself to women and aligning myself with feminine gender terms. Because if you’re a woman, it’s possible to be a hard woman…and if you’re a man, it’s possible to be a soft man. But if you’re female, and you look female, and want to be a soft man…it’s next to impossible to be seen that way. And when you’re not recognized that way, it’s very hard to maintain that identity.

And then I get angry, and I’m back into reinforcing “hard woman” territory, again. I don’t like being angry, or feeling forced into a role.

So then you get into identity erasure, and on top of that, not being given a chance to speak because of gender dynamics combined with racial dynamics. The bad thing about this is that at this point, I’m dealing with anger, regardless of whether I’m a man or a woman or other. And as I’ve learned, being seen as angry and black at the same time is not a combination that makes my life easier.

My issue…as it stands, is that I tend to get angry and stay angry over things that I see to be injustices, or systemic social patterns that I see to be wrong…which I may be more informed on, than most. I’m informed enough on it to know that focusing on it will likely lead to an early death from heart concerns or cancer. Sometimes it’s hard to let go of the problem when you want to fix it, and think that if you think about it enough, you could understand and fix it. Often, though, the stress just ends up killing people.

I mean, I come from a background where people allow each other space to speak. I come from a background where “Step Forward/Step Back” is a basic ground rule of discussion. “Step Forward” invites people who are otherwise silent to contribute to the conversation. “Step Back” asks people who are dominating the conversation to quiet down and allow other people to speak — even if there are silences.

It’s a way to address the effects of power inequalities in spaces where group members experience differing power levels or cultural norms of conversation. Otherwise, it’s known that those who are accustomed to higher levels of power may take over and direct the conversation, often even talking over other people to maintain control. This silences others, perpetuates the current power dynamic, and deprives the group of the generativity it could experience if everyone were contributing.

The obvious argument is, “contribute if you want to contribute,” but that assumes that I’m comfortable with my contribution conflicting with or destroying the current dynamic, in which I’m a lower-powered member.

Anyhow. Aside from witnessing another episode of, “let’s watch the status quo in action,” I was able to put together the beginning of a necklace. It features a couple of Citrine beads I got in high school and never used, because the drill holes were so uneven that they wouldn’t even take a 24-gauge wire. I do have a bead reamer, though, so I held the beads under cool running tap water and twirled the reamer with gentle pressure (backing it out when it jammed, so I wouldn’t snap it off) until I could actually see that the hole widened enough to take a wire.

No, I didn’t intend to be gross about that. (I edited before posting.) Quiet, you. :P

Anyhow…it was easier than I anticipated, and left a cleaner drill hole than I anticipated. Another reason to ream a drill hole under running water is that it captures free particles of silicon dioxide, which I would expect to be hazardous to the lungs unless contained in something like water.

I’m thinking of using a wire-wrapping technique to wrap a teardrop-shaped cabochon of Smoky Quartz with Rutile inclusions. I’m not entirely sure right now, how I would do it; I just know that it’s possible. Maybe I should get some square wire to practice on, and, you know, see if I am better off making the earrings. :)

I also don’t quite know where I’ll find more Citrine…at least, in non-spherical shapes. The two specimens I have now, I bought loose — because, if I’m recalling correctly, they cost around $4 or $5 each. The entire strand was just an exorbitant price, for a teen (remember, I bought these in high school).

What’s weird is that both Smoky Quartz and Citrine are commonly colored by heating and/or irradiation, which…it’s just weird to me. Don’t mind me. They’re supposed to not be radioactive at point of sale, which I can just hope is true.

Anyhow, right now it’s mid-October, so the Bead Show will be here in about a month — if I can save up enough money to wait to buy a gorgeous Citrine strand, then. That, in turn, depends on how much I work, or am allowed to work (or how much I sell! I’m not overly attached to either of my last pieces, but I do need to document them — including cost of production).

What I’ve found is that I do really love making things, but I’m not too attached to the little pieces of jewelry I have after I’m done making them. One of my friends was telling me that she was addicted to the process of making, but then has all these things that pile up after she’s done, that she has to get rid of. I’m kind of feeling like that. Certainly, at the time I began this post, that’s how I was feeling. I mean, what I made is nice — but I can do better, and I will. And I want to see that. And…income from selling what I’ve made will help me see that.

I also got a gaiwan today (a little teacup-brewer). It isn’t as pretty as I would like, but it is a porcelain gaiwan, I can upend it comfortably, and it didn’t come with a Prop 65 Warning on carcinogens. At this point, I don’t know how much more I can ask for…

beading, beadwork, color, craft, creativity, glass beads, jewelry design, seed beads, tatting

Still got it?

Here I finished two strands of the necklace by threading them through a wire coil, then back where they came from. I knotted them off and cemented them.
Tying off the two lines to end the work.

I recently completed a necklace, an 18″ design made of fire-polished glass, MiniDuos, 11/0 seed beads, and 11/0 Delica seed beads (which are slightly smaller). To create the structure of the piece, it was important to have a variety of bead sizes. I strung it on C-Lon Micro, using a tatting (shuttle lace) technique to make a button loop (which was actually…exciting; this is part of the reason why I learned tatting), and then running both lines through a coil of gimp and a shank button, before threading it back into the work, tying it off, and cementing the lines.

This is a detail image of the buttonhole I formed with a lace-making technique.
clasp detail

I was happy to get back into this — and to see how far I’ve come, since the time I started (25 years ago!). Especially as I had experienced doubts about my ability to see a project through to completion.

The design took about two days to work out (and a number of different tries before I got the loop right), but I’ve realized that since I was using standard-sized materials, I can echo the design in different colorways…and not necessarily charge an exorbitant rate for the time it took for me to work out the pattern, the first time. I guess that’s what happens when you know it’s okay to re-use past work, as versus aiming to make everything unique. (Uniqueness will still come; it’s just that it isn’t necessary to kill the seed you’ve planted, after its first fruiting.)

I also now have a project box which began with the thought of the Aquamarine and Pink Botswana Agate beads. It expanded far beyond what I had expected, and uses no stone in this final form (as versus another final form).

Reasons to go on

I have also remembered some more reasons to sell jewelry. For one thing, I like to make jewelry so much that were I to keep it all, it would be in excess of what I would use. I’ve also realized that having made the pattern — or structural form — for this piece, it gives me the ability to expand on that initial trial and work a number of different projects in different colorways, extremely easily.

Over my palm, you can see alternating single and double Czech fire-polished beads, in teal, violet, and orange.
Basic pattern. I extended this over 18″ to make a Princess-length necklace.

There might not be justification for that if I were just making things for myself, but if I’m doing it because I want to do it, not just to decorate myself (that is, if I’m enjoying the process more than the product), it probably doesn’t hurt to sell some of the extras (or, “experiments;” or, “trials;” I don’t know if anyone would really want to hear they’re buying an “experiment,” although that’s basically what a lot of — maybe most of — art is), and recoup some costs.

I can also then try making different decisions at specific points in the pattern, and by doing that, develop derivative works, or families of pieces which work along different creative pathways. This lets me expand the initial idea into a family in which each member is a record of a different, iterative thought (or design) process.

Also: I’ve been working on the design of another piece; using Smoky Quartz, the Pink Botswana Agate, and Hematite. (The Aquamarine is too pale to work in this scenario.) I did purchase some sterling bead caps…which, now that I see them, I realize are fairly expensive, for what I got. I suppose it could be worse: I could have gotten the sterling version of what I already had in pewter, and paid around $5 per cap for 6-8 repeats (each containing two caps), making the cost at least $70 (with tax and shipping). For 12-16 caps. That are tiny. Which I think I would have had to buy in multiples of 6. The silver isn’t even the focal point.

No, that…that wasn’t happening.

The bead caps I had which were pewter…I honestly don’t know where the rest of these guys are, but they’re likely locked up in projects which I won’t wear and have not worn. (When you’re a beginner, it isn’t unusual to make things you won’t wear…or to buy things you think look great, which look gaudy at a later point in time.) Originally, they weren’t expensive — they were from a fabric or craft store. It’s just that the exact same design — the exact same design — is in sterling silver, and I can’t find the pewter version, anymore.

The ones I did get were close to $22 for eight…meaning they’re $2.75 each. That’s fine if you’re buying a couple for earrings, but if you need 7 repeats at a minimum for an 18″ necklace, each 2.5″ repeat using two, and you have to buy in multiples of 8: 16 caps are $44. Before tax and shipping. That still kind of makes me clench my teeth, especially when they’re so tiny, but…well, hopefully, they won’t tarnish — which is the only reason, aside from safety and allergy concerns, to get Sterling. Granted, those safety and allergy concerns are likely well-placed.

(Maybe I should have taken advantage of that recent Trunk Show…)

In any case, the fifth reason to sell things is the process of buying strands of beads to make into things, and then as you’re assembling, you realize that you’re only using like 1/5th of the strand…meaning you have 4/5ths unused. If you aren’t just making for yourself, you can make for someone else, and have fun at the same time.

Part of my newer bead collection.
All Toho 11/0s, except the two vials in the lower right: the grey label is a 15/0 vial. The one below it, I purchased from a supplier who doesn’t label by brand, but which I think may be Miyuki (as its name is, “Teal Duracoat,” which so far as I know is proprietary).

So anyway, to detract from the frustration of having spent so much on so little, I also did purchase a bunch of little 11/0 Toho beads in order to gain a bulk discount (which…unfortunately, did not include free shipping). Buying seed beads online is often…more difficult than doing it in person. It’s because you’re depending on photography to give you an accurate idea of color…and as I learned in Intro to Graphic Design, neither computer screens nor print can replicate all of the colors we can see (“color gamut” is the name for the range each technology can produce).

So…when buying a complicated color that you know is probably complicated, because it has a name like Cosmos or Polaris…online…you just pretty much know the color is a best guess.

Three tubes of bead colors that are very hard to use: yellow, yellow-orange, and red-orange.
The frosted orange in the center, may make it into some work. The others…???

I have a set of four vials which are likely not to make it into any work, though. Three look like they’re colored with Cadmium salts (opaque yellow, orange, and red-orange [see right]). I got them because I realized that my own color gamut did not include these colors, and hence I was limiting my own creative options by not including an entire spectrum. I can somewhat see why I don’t use these colors now, though: they’re just too basic.

Also, I should let you know that the above photo of those opaque beads between yellow and red, didn’t turn out with true color…I am not entirely sure why (if it was because they were too bright, or the background fooled my camera), but I don’t feel like tinkering with the settings right now.

The fourth vial, I suspect I have used before, and that it faded (Aqua, Gold-Lined). I do have photos of it, but none turned out too well, as I didn’t unwrap them (I could use store credit, but then again, it costs money to ship them back. There’s always the Center for Creative Re-Use).

While looking for someone else’s repair projects, I did find a number of stashes of beaded jewelry I made while a child and teen…which had some seed beads included which are a pale, translucent bluish grey, now. I do see that it appears they were matte; also silver-lined. I don’t know if I should settle for glass jewelry being pretty in the moment and not lasting, or if I should really avoid things I know might fade.

However, the set of beads I was using at the time (from the fabric/craft store or the bead store), I no longer recall. For years, into high school, even, I played around with Darice seed beads (which I wouldn’t recommend for professional work…but as I was a teen just experimenting, that was something else).

I doubt that I was thoroughly using the more quality stuff from the bead store, at that time, given that I recall being in 9th grade and having a necklace made of Darice beads, dental floss, and a lampwork pendant from the bead store, explode from around my neck one day in the locker room. (This was after it had hit me in my teeth, which is where I think a mysteriously missing chip from a front tooth may have gone.)

I knew fabric-store seed beads to have color that rubbed off on my fingertips; which is probably why I have a (likely unfortunate) bias against dyed glass, at this point. Yes, I know the lilac (a.k.a. Silver-Lined Milky Amethyst) in the fourth image above is likely dyed. I also suspect those beautiful Gold Luster Raspberry beads above them to be dyed. I just like them too much to care.

I should say that Darice isn’t all bad. They have some storage solutions which I do appreciate. And certainly, they are an inexpensive entryway into the craft, which in my case was invaluable — at least because I’ve continued to do this for 25 years. It’s just one of those things where once you get your sea legs as a beadworker, you find other options, and learn ways to gauge benefits and drawbacks.

This is a greyish necklace I made when I was young, with highlights of violet and blue from Amethyst, Labradorite, dyed pearls, and Swarovski Crystal.
I made this as a child. Apologies for the poor lighting and color inaccuracies.

Right now, I’m trying to figure out what to do with this little necklace (see above) — keep it as a keepsake? Give it to someone little but over 14 years of age? ;) (All of this stuff says not to deal with it if you’re under 14 years old, likely because it could interfere with a child’s development…though I have been using these since I was 11 or 12. Not to say that anyone should.) This thing is basically Amethyst, Labradorite (a flecked grey stone with blue internal flashes), Hematite (gunmetal grey), dyed freshwater pearl, and Swarovski Crystal, in a Y-necklace form. It’s only 14″ long. I don’t remember if I used Sterling wire or craft wire, but it’s still shiny (the clasp is not).

I’m still not sure about whether it would mean more to me to keep it, or to someone else, should I gift it. The deal with the latter is that if I give it up, it could easily be destroyed (or pawned), and I’ve got to grapple with whether I’d be okay with that. I’m thinking the answer is, “no,” which tells me what to do, there.

Anyhow, creating this entry has been a nice thing for me, if a bit of an obsessive project: I haven’t used my camera or image-editing software, in a while. It’s nice to know the computer is of more use than as a notepad. :)

Speaking of which, I did find my old project journal. I needed to make more drawings than I did. When the earliest entry is in 2010, maybe — back in 2010 — I could have remembered what the project looked like. But. In 2019, almost a full decade later? It doesn’t do me a great deal of good to note which beads I used, without images to show the way in which I used them.

That…could be a good use of this blog. Photographs are easier to work than design sketches; I’d just have to remember that this is public, and that I am showing my process.

Yeah. That could be nice!

color, craft, design, glass beads, macrame, occupational hazards, seed beads, spirituality

Beaded micromacrame yearnings

It’s early Sunday morning for me, now, and I’m coming off of a day of food shopping and eating, mostly. I feel like I should get back to the binder of training materials, but I haven’t wanted to spoil the day by filling an extended session of free time with work concerns which have taken up the majority of the week.

So…I just haven’t. I’ve actually been forcing myself away from dealing with it. I don’t know if that’s the right thing to do.

I’ve wanted to get back to my beadwork/macramé, but there are a couple of things I know I need to address: 1) the fact that I might need to set up my easel to work (my macramé ergonomics are not great: I’ve been propping the board on my thigh), and 2) I feel like it would be time wasted. Though I guess I’ve earned the privilege of wasting some time.

I think there’s also a third level of something here, which is either trepidation or fear, and I can’t immediately tell why it’s there (except for the fact that I used to spiritualize the majority of my creativity, and just worked through it while freaking myself out).

I did spend some time, though, looking up what the colorants are in glass. Apparently, if I try looking for such online in regard to beads, I can’t immediately find much that’s useful, but once I start looking up stained glass, I start to get hits. It actually mirrors what I’ve been seeing in regard to crystal colorations.

It’s interesting. It also makes me wonder whether I actually have been working with serious “art supplies” all this time: metal salts, oxides, and sulfides are apparently widely used. I found some stuff on transition elements and rare earth metals. But I couldn’t get a good hit on this as it refers to beads. Seed beads are what I’m particularly after: most of these materials are intended for people 14 years of age and older…which obviously begs the question, “why?” (I think it may be linked to developmental concerns, which is why I didn’t make a bracelet for a small relative when she asked.)

However, apparently this information is hard to find because the glass formulations and treatments and coatings are trade secrets. So…yes. I can use the materials, it’s just maybe I’ll want to not eat while using the materials, and to wash my hands before eating, afterward. Even though the risk seems minimal. After all, the compounds are likely mostly locked in the glass, and I am usually not grinding the glass or inhaling it or swallowing it. If I did, I’d have more immediate concerns than poisoning.

I had been hoping that working with colored glass beads was in some way better for the environment than mining for stones, but at this point in time, I’m not sure that’s the case. Not least, because the components of glass have to be gathered and refined. It’s basically chemistry.

And I really, really so bad want to use the little Toho beads I got a really long time ago. I’m just having trouble in breaking out of the safety of an analogous color scheme.

It’s easy enough just to try. Why I’m afraid to, I’m not sure; especially when I can cut the work apart and recover the beads. The only thing I lose, then, is time and cord. And organization, I guess.

But, one step at a time. I need to get back to my handwork first, before I start criticizing myself about not taking enough risks. Over time, I’ve gradually taken more risks with color. My color sense should develop further as I work, though. When I first started out, I was really into hematite — grey and silver — which is not at all where I’m at, now. I do feel a little stuck, but I also need to start where I am.

art, craft, design, libraries, LIS, seed beads, self care, work

The importance of weekends

Today marks the last day of my first experience of working a 40-hour week. As long as I take care of food, water, hygiene, breaks, and sleep, I can make it. I really just need to care for myself, physically. It also helps to have family to help with food preparation.

Now that I have two days to myself, I’m also wondering how to spend it. Not to reference “Phineas & Ferb” or anything, but it’s a legitimate question. I have a binder full of stuff I can read, I need to figure out if I have any potential benefits, and I can review my notes.

I can also get back to my macramé; my seed beads and cord have been sitting out here for over a week (though they aren’t dusty yet), and I have a better handle on my design process, now: try different things. You won’t know what it looks like, unless you try different things. In this way, an idea develops from a rudimentary stab at embodying a concept, into multiple versions and pathways that you won’t be able to experience without seeing and feeling (and making) them in hard form.

Just thinking about possibilities isn’t going to work as well (if at all). Those thoughts are the seeds. The trials are the work; the trials are how things develop into reality. Without that, it’s all dreaming; no production, no creating.

And it is okay to work in Decorative Art. I realize that, now; and I also wonder whether the idea that it isn’t okay, is due to my Literature training (Fiction writing, I’ve found to be conflict- and message-driven), and my training in Fine Art (where we were always looking for underlying meaning behind our images).

It’s also okay to make things with my hands that aren’t pictures. Seriously. Craft is not below Art. It’s just a concept and practice that overlaps Art, though as to whether it is truly a different or separable thing (to me), is something I haven’t yet resolved. I did, however, read that most ancient art qualifies as, “Decorative,” now…I don’t know if you can know how good that makes me feel; that I’m not alone or isolated in wanting to make beautiful things.

Best-Maugard’s book, A Method for Creative Design, has helped with my design process — and I find design applies in both Art (for me right now, drawing) and Craft (for me, beadwork). I recently was able to obtain a used copy for about $25. The only drawback is that it came along with a previously unmentioned scent of tobacco smoke, and light though loving wear.

Journaling has also helped me keep track of (and account for) my own thoughts, though I highly doubt it would be as calming or helpful, if I made it to publish. I’ve noticed that I love my fine Pilot Metropolitan with green-blue ink and my calligraphy-nib Pilot Prera with red-orange ink. They kind of automatically help me apply graphic design principles to my writing, along with encouraging me to write by hand. If fountain pens aren’t used regularly, that is — and especially with those two, which I may only think because I’ve had them longer — the ink inside the converter (I’m not using cartridges) evaporates and concentrates. That’s not my goal, especially as my green-blue ink can turn almost black, when that happens.

At this time, I’m just wondering about the possibility of working 40 hours normally. Would I be able to do it? I’m hoping that I get the chance to find out. First, I have to get through this training, which will last for approximately the rest of the month. After that, I have six months of Probation…though I’m thinking everyone expects that to be a learning period.

I am glad to get out of being an Aide, though, primarily because Aide work is so physical, and I’m no longer a young adult. My body can’t handle what it used to. I also have a lot more to offer than my physical strength, and eye for detail and pattern recognition.

It will also be awesome to be able to read things that aren’t textbooks, again. And it will relate to my employment.

What I’ve noticed is that it is an almost completely different experience to serve in the Children’s Area, than it is to serve in the Adult Area…though I should be able to reflect further on that, later this weekend (I intend for it to be here, but it may not end up that way). I’ve only spent two hours so far in hands-on training in the Children’s Area…I just, well, have become in a way acclimated to being around kids from working as an Aide in a Public Library for as long as I have.

The major thing I’m thinking of is that I’ve known my share of Aides who do not like to shelve, or when they do shelve, they only like to shelve the Adult and Young Adult areas. Due to the local climate of my old library, the Shelvers were faced with a dilemma every time they worked in the Kids’ Section, which I don’t find to be of personal benefit to go into; but let it be known that I’ve found that library to be a bit unusual, now that I’m no longer there.

I’m just really happy that I get to help the kids in a way I couldn’t, before.

Maybe I should have picked up more jobs at different libraries before even applying for a position as a Library Assistant, but I’m here now. Multiple people have told me that I can’t live in the past, and just to do my best, moving forward. It applies with ergonomics; it applies with regretting not having become a Library Assistant sooner; and it applies with certain mistakes I’ve made in my history. I just can’t linger over those errors for the rest of my life; I’ve seen that happen in other people, and I realize that it keeps them from developing beyond it. Reliving those experiences over and over again for years or decades doesn’t, actually, help solve the problems they present.

My present consideration — as regards work — is whether to opt for more time on the Kids’ Service Desk, just because it’s more difficult, or whether to take the easy way out and stay mostly in the Adult section. I don’t know, that is, whether my Manager rewards risk-taking and growth (doing the hard stuff so that I can learn), or comfort and success with what’s already known (stepping a little out of my comfort zone, but minorly so; easing into the work). I might want to consult with her, on that; though I never have intended to be a Children’s Librarian.

It’s just a very, very different experience between the two Service Desks. I also know that most of the entry-level Public Librarian openings I’ve seen, have to do with Youth, Teen, or Children’s Librarian positions. I can’t do that without having experience working with kids; but, having experience in that area may qualify me for further work, there. Now do I want that?

I’ll have the opportunity to find out, won’t I? :)

As a final note, my Career person has told me that it’s hard to get a job just because you’ve taken classes in the subject. So I shouldn’t say that my MLIS was the end-all and be-all of being a Librarian; in fact, it was only the beginning, in a way that my current training is only the beginning. I’ve been told that it can take 6 months to become truly comfortable with Reference.

I…just think I am lucky to be working with such nice people. I’ve also found that there are many people around me who are in similar situations to my own.

It’s helping me.

art, craft, seed beads, self care, technology

Taking account: Humanities/Social Sciences/Arts/Crafts…yeah,

I’m not a Hard Sciences person, and I shouldn’t try to be one for the sake of being like my dad. I’m not him.

Today, instead of JavaScript training, it’s back to tiny tiny beads for me, and macramé. Micromacramé. Nanomacramé? ;) I have been using size 11° seed beads, 3mm Czech fire-polished beads, and C-Lon Micro, which are all very tiny, and kind of made for each other.

I didn’t even realize before breaking back into my 11°s that they’re basically about 2mm across. Using a pattern that looks like a macramé version of Daisy Chain (without the roundabouts), I’ve been able to tinker my way to a smaller version of what I was working on last with standard C-Lon and 8° beads. I don’t know if I’ve posted images of it here, yet — or if that was on an alternate blog (which is down, for now).

Right now I’m not even sure as to whether I should go back to Photoshop. I think I would post a lot more images if it were easier to modify them…though what I’m using now has a lot of options (and likely more technical options than at least PS Elements), it isn’t the most intuitive program. Its UX isn’t great.

I’ve been reading Adolfo Best-Maugard’s A Method for Creative Design (first published in 1926). It’s been interesting, though at this point (30 pages from the end of the book), I don’t think I’ll purchase it. There is some interesting content, but the book is based on a pretty idiosyncratic viewpoint which I’m not sure I buy into. I mean, it’s interesting to read, but whether I accept the author’s argument is something else.

There’s also this thing about the context of the late 1800’s and early 1900’s that seems to resonate with me. I wouldn’t be surprised if the author was influenced by Spiritualism, which was active around the same time period. Both reflect a desire to seek out what is common between all the world’s peoples, at an early stage of globalization.

Best-Maugard essentially analyzed world or “primitive” art and broke down many of the designs he found into simple constituent elements which could be rearranged into various two-dimensional representations. What’s disappointing for me about this book is that it seems he is only teaching a method based on one form — the spiral — meaning that there is a lot more that he holds back. I would have preferred a longer edition with fewer drawings, explaining or demonstrating further these other primitive forms. As it is, I haven’t so far seen him speak about the latter; only that they exist, and that he isn’t going into them.

Anyhow: as much as I appreciate the fine arts, and love the color mutability possible in painting…painting isn’t easy for me at this point. I’ve been attempting to get back into it…but for some reason…flowers aside, I’m not drawn to common subjects, like portraits or landscapes or figures. I just don’t see the point. I can appreciate art made with these subjects, but it’s not my art.

That could be me coming from a writer’s background, too. In writing, conflict and tension are the main drive behind the narrative: in fine arts, it seems people reproduce (or create) the placid and agreeable a lot of the time, and I haven’t been able to reconcile these two modes or methods.

One of the things that has struck me is that it’s possible my native method is more lexical; as stringing different colors of beads on colored thread and tying those threads together, echoes the form of language or parallel processing. It’s just a thought: I’m not even totally sure about it yet.

But one thing I realized today is that I really did not want to get back to my JavaScript training. I got to my course, looked at it, and decided to do something else. I know I focused on Digital Services in school, but I think the experience of training under that method has made it clear how little I like to interface with computers in computer-language. It’s not quite arcane; it’s more binary.

And the beads were staring me in the face (I bought maybe 14 little 7.5 gram vials recently: no point in getting a whole lot of any one color when I hadn’t seen them), and I had bought a lot of tiny C-Lon, so I just went and got the stuff out. No reason to get the stuff if I’m never going to use it.

For some reason…dealing with beads and cords and color…it’s relaxing. Whereas work on the computer is more often than not, tension- and anxiety-inducing. Not to mention that it’s likely in the process of destroying my eyesight.

Before going to an online Master’s program, I thought it would be OK to be on the computer more. But being intensively on the computer for 6+ hours a day is something I don’t think I could tolerate.

But really, the Digital Services path only really determined seven to eight classes out of the twenty I took.

Yeah, I guess that’s a lot. Like, a third.

Maybe what I need is really to decompress and stop taking classes for a bit. It would be ironic if taking these classes taught me that I didn’t like the subjects the classes were about.

It really wasn’t too bad, until I took Database Management and Fundamentals of Programming. Then…I was like, “what did I get into?” I also don’t have a Computer Science or IT background (or even a Hard Sciences one after high school, although I still love Geology and Astronomy), so I’m at something of a disadvantage in the digital field. I know that if I want to stay current in Web Development, it will take constant acquisition of new skills to keep up with the pace of technological change. I’m not sure that I care enough to actively choose to do that for the rest of my life.

Maybe that’s why the people in those positions get paid so well.

At this point, I’m clearer that I am a Humanities and Social Sciences person, although I don’t think Sociology is where I want to be. I attempted that for a couple of years in my undergraduate training. It was depressing.

Psychology was easier and more engaging, but I never really went deeply into it. History was amazing — particularly World History. I loved that: being able to fit pieces of thoughts together into a coherent image. I also loved Ethnic Studies, even though I took classes just different enough from my own position to be able to expand my view. Though I somewhat regret not having taken Japanese-American Literature, I also know that I’m immersed enough that nothing in an undergraduate class on it would have been new to me.

I also regret not having bitten the bullet and taken Japanese Language & Literature as my undergraduate major. I don’t regret having honed my English writing skills, but I am irritated that people devalue good writing so much. There is also the issue of being able to ever find work or a way of being in Japan in which I wouldn’t be exploited, being a dark-skinned female (kokujin, or “black person,” is still an accepted term in lieu of amerikajin, even if the “black person” is also “American”) with no plans on marriage or children…but yeah, insider stuff.

It was likely my experience with my birth family — and trying to be included in an Asian clique — which caused me to lean against learning Japanese language, though.

I could get further into that, but I won’t.

In any case…I’ve been finding people just kind of randomly on the Reader who do things that no one else does. Like the person who paints silk scarves, or the person encouraging me in tatting. There are a few of us who do regularly post on beadwork, but not many. I get many more “Likes” on my painting posts than on my beadwork posts…but that doesn’t mean I should work on my painting, instead.

Seriously. I think more people can just connect with painting, whereas bead weaving or beaded micromacramé is relatively niche (which is a good thing so far as niche markets are concerned, but)…

It’s just kind of tough to be disconnected. I should probably go out of my way to join a beadwork forum or two, though as my specialization is beaded micromacramé at this point…yeah, that’s…that’s kind of special. (I was inspired with the macramé bug by someone working with cords and gemstones, though what I do is much different from their work.)

I wonder if giving resources would help others get involved in the hobby? I’ve been reluctant to do so, for my own reasons…

craft, fiber arts, tatting

Progress re: shuttle lace technique

Earlier today I had to spend significant time in a waiting room, and…during that time, I learned how to manage over-tatting thread tails. Particularly when beginning a piece of tatting (a.k.a. shuttle lace), this means that I can start without having to tie a knot between two pieces of thread. Knowing this also is the first step to knowing how to join a new piece of thread when I run out. (I still haven’t tried that, yet. One step at a time.)

As mentioned before, I’m using the book Learn to Tat by Janette Baker, though I haven’t looked at the DVD it comes with, yet. (Who has a DVD player?) Because of this — and because of the fact that the relevant illustrations number exactly two (and are not helped by the thread shown being dark green), I’ve been working a bit by trial-and-error when following the instructions.

From working with beads and self-needles (thread hardened with glue), after my first couple of rough attempts at this (one or two weeks ago, I think), I took it upon myself to find and use a needle for the end of the thread I needed to bury. (This is not a step covered in the book.) Earlier I was using a needle with a sharp tip, but today I was able to get one with a rounded end, which shouldn’t split the cotton (I’m using DMC #5 perle cotton) as easily. It also, for some reason, fits into (and comes out of) a pincushion fine, which is unexpected.

So the secret of successfully over-tatting a thread tail is apparently to run the thread tail through the loop one is closing, in the exact same orientation as the shuttle thread. I don’t know if anyone will know what I’m saying by that, but basically you just run the thread tail exactly in parallel to the thread that’s already going through the flipped half-hitch. Although it seems like it might be more secure to run it through that loop so that the threads scissor closed around both sides of the loop, this is going to make a bumpy tight knot that doesn’t look, or feel, all that great.

When I first started, I was putting the thread through any which way, which meant that some of my knots were bumpy, and some were smooth. It took me a little while to reason out what was going on, which I theorized while trying to sleep one night. Today I tested it in full. I was right.

I did get a pincushion which ties to the wrist a few days ago, but with this method, it’s easy to just lay the thread with the needle on it to the side, over the back of the non-dominant hand. When the half-hitch has been tied and flipped, then just pull the needle forward over the hand, align it through the knot exactly in parallel with the shuttle thread, pull it gently through, and close the loop over both threads. Then replace the needle over the back of the non-dominant hand. Easy.

It should still allow the ring (if one is making a ring) to slide properly. It should also show that characteristic Lark’s Head Knot look…though I think a Lark’s Head Knot is actually a different thing than a Double Stitch, in tatting.

I had skipped over most of this lesson (Number 5, I think), in favor of getting to the Josephine Knot edging. Impatient. But today I was okay with going back and re-trying the join. And it worked!

I’m still having some issues with remembering all the steps — like snugging up the Chain stitches before starting a new Ring; or which shuttle to use when, when using a two-shuttle technique; or the difference between holding the thread for a Ring (all the way around the hand) as versus for a Chain (only over the top of the fingers), but I’m getting there!

And yes, this is something not taught in New Tatting. In New Tatting, they tell you to tie a knot to join a new thread, and then glue down the thread tails.

(no glue, please) It’s probably the reason why my local lace supply store does not sell that book.

Anyhow, I should get going. I just felt the urge to record this before I forgot it. It seems relatively advanced, but then, everything new in tatting seems relatively advanced. :)

beading, color, craft, creativity, fiber arts, jewelry design, macrame, tatting

That’s it.

I’m doing a macramé bezel for those two cabochons I mentioned last post. Do you know how freakin’ easy a macramé bezel would be, in comparison with either bead embroidery or wire wrapping? And WHY was it that I got the C-Lon Micro, if not for stuff like this?

I actually have two colors which are perfect for this: Turquoise, and White (so I didn’t waste money getting minorly different shades of green!). I’ll use the Turquoise on the Moonstone, and the White on the Amazonite. (I never thought I’d end up using that white C-Lon, either…)

The best part is that this fits my current skill set. I won’t have to deal with anxiety over wasting expensive wire. I am not yet too skilled at wire wrapping (beyond wrapped loops and drops), but I won’t have to worry about that, here. There is no danger of eventual oxidation. Neither will I have to use adhesive, or worry about sourcing leather or Ultrasuede. I can rework things easily, if they don’t turn out. Plus, I think that this will show off the cabochons better (the edges of which, are beautiful).

I thought of doing a macramé bezel last night while I was in bed, and then realized that I could also make a wire-wrapped setting. Earlier tonight I was thinking about a tabbed Fine Silver bezel, though that requires at least two seams, unless I’m doing cold connections: one to a backing, and one to close the bezel itself.

I’ve just been searching for macramé bezel instructions, however, and have been sitting here for over an hour watching videos on how to do it. I’ve found two pretty simple versions.

On top of this…I now have the ability to incorporate lacework into a necklace, on top of macramé techniques. The C-Lon allows for that (as does my recent study of tatting).

If I know I’m going for something organic, that infers that I could drop the idea of using bugle beads. Unless…I want contrast. I was just looking at these and envisioning using them in a chevron pattern (where they are set off by patterned seed beads), or in a peyote stitch (though the latter sounds as though it will cut the thread).

But yeah…instead of…instead of making multiple strands coming off of the pendant, I could just work lace, there. (I had the idea to do it before, attaching the strands by picots, and just didn’t entertain actually doing it.) I might need to vacate a couple of shuttles, but I can do that — especially as I now have larger bobbins.

Do I still put beads around the back side??? Do I, that is, transition from lace to bead stringing? (For some reason, I don’t like bead stringing as much as I used to.)

I’m starting to move out of the generative phase of creativity into the selective one. I have most of the stuff I need in a little project box, now, after having eliminated most of my greens and golds, and the blues which were too violet. The palette is various shades of blue-green with pale amber and white.

Right now, I’ve got to think of whether I want to use buttons to transition (and close) the necklace: this means going out to match my materials. It may not happen until the middle of the week. That gives me time to practice making bezels for cabochons (which I can do in any color, as I’ll be using the throwaway googly-eye ovals).

That also means that it isn’t a waste of time to practice the tatting: particularly, thread joins. I know more than I used to, but I’m still on a steep learning curve.

I should also start drawing out what I want the lace to look like. A little intimidating, though I hate to say it. This is also going to be fun, though! :) It’s one of those things where you don’t know exactly what’s going to turn out at the end; though you know you’re off to a good start (and that even failure isn’t terrible: just cut it apart and try a different route).