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.

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).

beading, beadwork, fiber arts, glass beads, jewelry design, macrame, seed beads, tatting

Adventures in neckpiece design

I was kick-started back into beading recently by someone asking me to make them a blue necklace of a certain length.  :)  This got me thinking on design — my tentative instinct is to go with Oglala (Butterfly) Stitch, a basic form of which I can see between the two versions I’ve seen in books.  Butterfly Stitch is just basically working one or more ruffles off of a center chain.  I’ll have to add at least 3/4″-1″ in length to account for the girth of the thing, but I’m still working on pattern ideas (particularly color placement).

I do have a more interesting project (to me, right now, anyway) where I’m basically using two needles to make a netted collar — I’m not sure if it is even possible to make it with one needle.  Because I’m not working off of a pattern, other than a concept drawing of my own (which didn’t work out the way I’d planned), I’m thinking this is the way I’d design something to sell.  (And then make over and over and over?  ;P)  I mean, I didn’t even start out knowing that the piece would be netted, as versus using chevron stitch, for example.  It just kind of evolved that way.

In fact, I didn’t have much at all in the way of expectations when I started this project.  To me, it was play and a chance to get back into my seed beads.  What’s come of it is a pink/peach/red-violet netted thing with tiny daggers I got somewhere between two and five years ago (a specialty buy — they’re made of a mix of peach and cream glass) and never used.  I also ended up with peanut beads in the “base” row (if you can call it that — it’s woven widthwise, not lengthwise) for texture.  Amazingly, they all tend to orient in one direction.  Plus, the curve caused by the shortness of the “base” row is about right for a collar.  I think I’ve finally got the color scheme down now, unless I want to switch out cranberry for baby pink in the “base” row.

The reason for using the peach beads?  I thought it was a color I’d never use.  And then I started to use them, and realized that what I was making looked a lot like lace.  (See recent blog entries on wanting to make lace.)  At almost the same time I recognized one of my practice pieces from an online pattern (“Picot Delight”) to look like tatted lace (I think this is the time when I’d checked out nearly all of my library’s tatting books, so I had plenty of photos to get an idea of how these things typically looked).

And I mean, originally I started out with a lot of colors which just vaguely and probably coincidentally worked together — the focal point used to be a row of ruby AB teardrop beads (“ruby”-colored glass, not actual ruby).  Then I went through a number of reds, only to come out on the other side with a relatively desaturated red/violet as the focus (4mm Czech “fuchsia” fire-polished rounds), as versus ruby.

Well, let me say that they’re desaturated for this season’s color profile.  In others they would simply be a bit muted — but we have a lot of super-saturated and neon tones out this year.

Anyhow, I basically now have a few swatches — those that haven’t been recycled — which show different points in the design process.  I haven’t been sure how to record the different stages in the design process — through notes?  Photographs?  Drawings? Memory?  I have cut apart and reused the beads in at least 3 samples.  I’ve needed to — I have finite amounts of these beads, a lot of which I can’t depend on finding replacements for, should I run out.  Plus, it takes a lot of pressure off of me when I’m experimenting, to know that if I don’t like it I can just cut it apart, and the only loss will be a short length of thread (and some time — but it’s not time wasted if I learned something).

It’s very clear that my initial concept design isn’t identical to the piece as it will be made.  I could probably go on experimenting with color combinations forever, but the way it looked in the second-to-last trial appears good enough to make.

Speaking of thread, though…I got the idea last night of attaching the clasp with fiber instead of with a beaded loop.  Usually, there’s a loop at the end to catch a toggle or button, and it most often is covered in seed beads to protect a number of different lines of thread.

I was thinking about how to do this better.  I’ve never really liked putting clasps on things, because they take a while to figure out, not to mention that most toggles are beaded beads made of peyote or herringbone stitch.  (Yes! I did find a herringbone beaded-bead pattern, not that I can remember it now, though.)  This is almost always a headache for me, because I don’t like weaving in ends — or odd-count peyote.  And if I use something like one of the very common, very fine, super-strong polythylene threads — it’s known for not holding knots well.  So I have felt obligated to weave in over and over to hold the bead together through friction on the line.

I hate this.

Not only have I broken seed beads within larger beaded beads doing this (causing the entire beaded bead to be a wash), but also a beaded bead’s weave can be distorted depending on the path one takes with one’s needle while one is weaving in.  This is why I recently have taken to collecting buttons with which to finish off necklaces and bracelets.  The plastic ones are probably the ones to get — they’re inexpensive and they aren’t going to scratch the beadwork.  Not to say that I haven’t collected some nice shell and metal buttons.  But sometimes you don’t want metal; and shell can abrade glass.  Or glass can abrade shell.  I know something’s going on; I can hear it scraping.  ;)

But!  Guess what I realized last night?

I can use my skills with knotting to slide a C-Lon cord through a larger bead hole or set of bead holes, then use macrame to secure the ends of the cord.  This way, the beadwoven piece can stand on its own.  There will be two loops of macrame holding on the button and the buttonhole, but if they stretch or break, just cut them off and make new loops; don’t worry about remaking the entire bracelet or necklace.

I actually got the idea from having used wire connections through seed bead holes to finish the ends of ropes before.  If you can put thread through it, you might be able to put cord or wire through it.  The hole just has to be big enough and the bead wall strong and smooth enough to take the pressure.  Also, the thread connecting that bead to the rest of the beads has to be strong enough, so it will probably need reinforcing.

I haven’t tried it yet, but it seems very promising.  Just don’t do it poorly and make the rest of us look bad!  ;D  *laughs*  (Oh my, I’m not going to go there, am I?  [I’m being cynical.  If you knew me and my posture on elitism, you’d know why.])

I did get a digital camera a while ago, so I might be eventually able to post a tutorial on here or something.  I figure the more of us who do it and do it well, maybe the better buttons will be made.  :D  And that would be totally awesome!

macrame, storage, yarns

The spiders say it’s Spring.

Nothing much happened today except buying a trio of boxes to store my macrame-applicable yarns in.  I should probably toss the crochet hooks in there, too.

Well, plus I went to an appointment, took a nap, and studied for Economics tomorrow, in addition to trying to read for my other class.  I’m seriously not knowing how well I’m going to do on the take-home final, given that I haven’t read a lot of the material, and much of it wasn’t part of any lecture.  Wish me luck.

Besides this, it is oppressively hot, I just vacuumed up two spiders who looked like they were siblings (one in the bathroom and then another one in the computer room), and I am very, very ready for this semester to be over.

beading, Business training, embroidery, macrame, planning, sewing

So maybe I will open this blog to search engines…

Apologies for the delay.

I’ve been editing Categories as I intended to do some years ago.  Really?  Did I mark that many posts as “fiber arts”?  I can’t seem to alter the size of the “fiber arts” category in the right column, and I’m thinking maybe I shouldn’t worry about it too much, given that only Tags are shown at the bottom of each of my entries.  But maybe I can alter that, as well.  It’s been a while since I’ve toyed around with WordPress.

I’m almost done with classes for now, though I am thinking of taking a class which in the past, at least, has been a prerequisite for other classes that I’m pretty clear on wanting to take.  I’m also pretty clear that I’ll likely need the structure.  What I really want to do is spend the summer being creative with beads, macrame and sewing/embroidery, but the big threat there is that I’ll just end up with my sleep schedule way out of whack.  I suppose I could also apply for — or volunteer for — a different job which would give me additional work experience.  Think outside the box, yeah?  Though naming rote confinement as “the box” would seem to be a bit rote (…I’ll try and get off of this train of thought).

Plus; I can’t really make a good living off of beads, macrame and sewing/embroidery…at least not unless I put a lot of effort into it.  Considering that three out of those four categories are newish to me, as well…it’s looking like I’m just trying to keep my mind stimulated.  But I’ve read that people with my type of mind tend to do that, which makes me a good candidate for IT work, because I won’t mind learning new things routinely for the rest of the foreseeable future.  Plus, IT actually does pay a living wage.  I’m thinking of keeping my crafts as a self-sustaining/somewhat-profitable avocation (probably as a hobbyist, not a business — there are a lot of regulations for businesses that I didn’t realize were there until this last round of research papers) while going into Web Design as a way to stay alive.

The reason I’ve kept search engines out of this blog is that…well, privacy, anyone?  It’s not like there’s much privacy online anyway, or that the world is actually trending toward being less connected, but being suddenly linked to the entire worldwide web — or anyone searching key terms, at least — is basically not having privacy.  Right now it’s like being out in the open but having a burrow well-hidden amongst the leaves.  Hiding in plain sight.  (Maybe that’s just my totem talking to me, though.)

I already know that dealing with the general public is not one of the great joys of my life.  In the past, this blog was linked to Ravelry, which is how I gained web traffic.  At this point, the material here is a bit personal to link directly to my identity.  It’s like the people I talk with online don’t know who I am, and the people who know me from real-world interaction, aren’t interested in my personal life.  And I haven’t been back to Ravelry in a very, very long time.

But I am interested in starting up some dialogue with other crafters.  My posts tend to be so long and intimidating to some, though, that they aren’t conducive to responses.  I think people get to the beginning of the third paragraph and go into absorption mode instead of conversation mode.  I know people read these things, they just don’t respond.  And pushing for responses just gets bad responses.

Anyhow, I’ve probably written long enough.  I have a couple of days to get my take-home Final done, and read the last chapter for my other class.  I hate feeling like I’m behind, but I actually do think that the vast majority of people are doing worse than I am, so maybe I shouldn’t grate on myself too much.

All right.  I think I’ll go and do something productive now, even if that is only something creative rather than career-related…

beading, beadwork, embroidery, fiber arts, glass beads, macrame, seed beads, sewing

Surveying the field…or a part of it.

When I started the Business certificate program, I had the idea of going into business as someone who made jewelry out of seed beads and fiber.  Then I transitioned into “maybe it would be better to do silversmithing,” and after this last bead show, I’ve found that I really do like working with glass, for its versatility and economy.  There’s also the unnecessary drama in and around metals, for me.

So I’m coming back around to “seed beads and fiber,” whether that is knotted, woven, braided, or embroidered.  I just don’t think I realized until Easter (when I was knotting) that a lot of the beaded projects I’ve seen in — well, to be honest, particularly the one knotting book I have which teaches Cavandoli — the designs are actually primarily fiber projects, with beads to accentuate them.  They aren’t primarily beadwork; they’re primarily fiber art, with beads.

For beadwork itself, there’s nothing better (to me, and at this point, anyway) than beadweaving.  I’ve read that techniques in and of themselves cannot be copyrighted, only specific designs can be.  I really hope that’s true.  The most significant difference to me between beaded macrame and beadwoven work is the role of the fiber.  In beadweaving, the fiber itself is generally supposed to be unobtrusive and fall back or nigh-disappear while the beads take center stage; while in macrame, the fibers which the beads are threaded onto are design elements of their own.

Then there is beaded embroidery/bead embroidery, which I really hope to try soon.  I don’t think I’ve ever done it before.  This is a bit more specialized than embroidering on fabric with beads as a design element for a garment (which is what comes to my mind when I write “beaded embroidery”).  This is using beads, thread, and nonwoven fabric to mount stones and create jewelry (which is what comes to my mind when I think of “bead embroidery”).

I’ve also thought of branching out into just plain embroidery, given that the wonderful color mixes of threads are there, tempting me just like a wall of multicolored seed beads does.  If I do this well — and/or if I can get past my gender-related block to sew, this could turn out some really nice stuff.

By the gender thing, I mean in particular that it hasn’t always been the easiest thing for me to deal with being female, and many of the clothing patterns I’ve seen have been strongly gendered in a way that…shows me that I’m not in the designer’s target market.  There are some cooler things, like Folkwear patterns (I still haven’t finished that Nepali blouse mockup), but what I really would like to do would be to alter patterns to suit my own tastes (and body).  I’m just not that good yet.

It would be great for me, if I could disassociate prepackaged, commercialized and marketed femininity — not my version of femininity, but someone else’s — from what I create on the sewing machine.  Unfortunately, though, that kind of mindset gets a lot of external bolstering.  But this doesn’t have to be the way it is.  As, what about men who want to sew for themselves, for starters?  Where are the patterns for them, and/or when we do find those patterns, why is it assumed that a woman will make it for him?

Why does sewing have to be a gendered activity?

Or maybe I just haven’t spent enough time browsing pattern catalogs to find designers fully targeting myself, yet.  Wherever they are, they certainly aren’t easy to find.  Maybe I’d have better luck in a big city sewing store.

Anyhow, I’ll get off the soapbox, now.

But yes.  Little embroidered purses would be an excellent trial, given that I can assemble something coherent out of the multitude of embroidery stitches I’ve found!  I collect cool little purses, so I bet this is why I think it’s a great idea.  ;)

So I’ve said this much about beads and fiber.  I haven’t included kumihimo (Japanese loom braiding) or Chinese or Korean knotting, here, because they’re really on the periphery of my focus, at the moment.  Maybe not forever, but for now, at least.  I mean, I still can’t tie a Garakji, and I did try for a while (it helped to use a tapestry needle).  These things are just a lot harder without a teacher there to help.  I’m seriously lucky I finally figured out the Dorae knot…which took two books together, and hours (and hours) of troubleshooting.

…and, I just realized, I totally forgot about knitting and crochet.  Knitting is probably definitely out, except for spool knitting; crochet, not totally.  There are methods for adding beads to textile works like shawls, and there is bead crochet which, while somewhat predictable, does look nice.  The difficulties come with finishing the ends of the work, in jewelry-making processes.  I don’t like to be overly dependent on commercial findings or adhesives; and that applies to trying to finish kumihimo as well as crochet.

Anyhow.  The third element to this, which I thought of when I realized that I’m dealing with pierced items and things which in a modular or sequential fashion, thread through pierced items, is wire.  Wire can be used in weaving and in other textile processes like knitting, braiding, and crochet.  What is nice about it is that it holds its shape (at least, when hardened), it can be formed and forged, and because of these things, it can add visual and textural interest.

The drawback to any form of metalworking is that it requires specialized tools.  I’m lucky in that I’ve been messing around with jewelry since I was a kid, so I have a bunch of tools already.  Still, though; the setup costs can be relatively expensive.  This goes triple or quadruple when you’re intending to embark on a full-fledged metalwork run, let alone when you’re working in precious metals.

I do have some ideas as to where to pursue private classes in silversmithing, which look pretty good about now.  I’m so new to the field, though, that I can’t really tell what lies ahead, here.  I know that I don’t want to go to an ultra-expensive elite school at this time — not until I’m sure that it’s what I want to do.  And I’m not that sure.  I already made that mistake once, with the Master’s program I bailed on because I thought I wanted to be in the industry, before discovering that it wasn’t as good a match as I’d hoped.  I am not about to pretend that I can practice for a short amount of time and come out the other end of the curriculum as a silversmith or goldsmith.  It just doesn’t work that way.

I’ve found a smaller, competing school, which is about half as expensive as the professional one, and does not require the purchase of any outside tools or materials except for consumable supplies (like lubricant and solder).  One of the classes they give that I know I want to take, is filigree.  But I’m going to have to wait a while, for that one — it has a prerequisite.  At the very least, though, it’s something to keep my eye on.  And then there are the Art Center courses, which are much less expensive than the above, being not-for-profit…also something to keep my eye on!

beading, glass beads, macrame, seed beads

Easter beading

In other arenas:

I need to buy a new roll of Alligator Tape; I was knotting today for the first time in weeks, and my skin was showing it.  The roll of Alligator Tape that is already here has somehow fused together into a solid mass.  It would have worked if someone had left part of the tape hanging loose, but as it was, it was…unusable.

The thing is, I’m so used to blisters on my pinky fingers in the same exact spot that by now, it doesn’t even really hurt anymore.  My only concern, really, is causing a break in the skin and getting an infection.  From my experiences in ice skating, and guitar, I know the only real annoyance or concern would be if I continued to irritate the area, or ruptured the skin.  I generally get my hands dirty when I go to work (the work I get paid for, that is), so the latter would be a cause for concern — but the only cause for concern.  And more likely it would just be the irritation of having to change a wet Band-Aid.

I did stop knotting tonight because my hands really couldn’t take it very well, and the Alligator Tape was useless.  I would like to be doing this more often, though — experimenting with beads, that is; not getting blisters.  I’m still inspired from the bead show from yesterday, and want to ride the high while I can.  So many people gathered around a love of beads!  This is why I was knotting tonight instead of reading for Marketing.  Because Marketing isn’t going to help a whole lot if I don’t build my skills and experience — unless I want to work full-time as a Marketer, and the thought is kind of…not my cup of tea.  To build skills and experience takes drive and work; and I felt moved to work today.  Because what I want to be doing is creating.  Not, particularly, convincing people that what I’ve made will fulfill their needs.  If I could have someone competent and ethical with integrity, who would be willing to do that for the salary I might eventually be able to pay, I’d gladly hand that part of the job off.

Today I was trying to learn how to tie basic horizontal half-hitches (from left and right) in a Cavandoli style, taking a cue from my wireweaving books.  Horizontal half-hitches, I am feeling confident enough on; though it still helps to look at the diagrams every once in a while to ensure I’m doing them correctly.  I started out trying to make a basic strap with scrap C-Lon and one new cord in a different color, totaling 8 strands.  Eventually, this turned into a “wonder if I can make a zigzag with beaded arcs” thing, and I broke out the 8/0 and 6/0 seed beads and fire-polished rounds and druks.

The good thing is that my druks and fire-polished beads do fit on the C-Lon (standard width) — the 8/0s and 6/0s, I already knew would.  Another good thing is that I finally figured out one good sizing formula for what beads to use where in order to make the arcs symmetrical and looking like they fit together.  It did take me a while (and two messed-up repeats) to be able to see how things should look if they’re correct, however.  When the center beads line up with each other, you’re basically golden.  It took a couple of hours, and the revelation that I could move repeats from side to side in order to place them at an appropriate “width” point, to be able to get there, though.  That is, it may not work to put a 6/0 at the minimum section of the sinnet’s arc, but it may work to put it one cord further in.

I do have a workable plan, with that now; and I’m thinking that, just to practice, I may make this pattern with the beads and cords I have.  The colors are kind of mishmash between bronze and green and seafoam and turquoise — the latter, because they were the only 3mm firepolished beads I had.  It works out, though.  I suppose that the colors may actually be linked via the presence of copper — I’m just not sure about the apple greens.  But then, I’m not sure of the colorants for most of the glasses I work with, with the exception of gold for pinks and reds, a high probability of copper for the aquas, plus cobalt for cobalt blue.  …The latter of which, I just remembered, I have stashed for a specific project.  I tend to forget these things until I see them again.

Last night, at about 3 AM, I was still running off of tea, and building a design for a stone donut that I’ve had unused for years.  I can still work on that design, but I don’t think that the pattern I made tonight with the knotting, is really one that would show off the pendant I made to best effect.  It distracts the eye too much from the donut itself.  I’m thinking of making a multistrand necklace for the latter, but I can only do this to best effect by attaching a backing, and then embroidering on an edging of beads through which to attach the necklace and fringe.  As I contemplated doing that, I realized that I didn’t have to sew on the central component so strongly or obviously.  If there would be backing, a central component can be sewn down through the backing and back out the top of the component without the need for tight and secure lacing.  As it is, there’s a weak spot in the donut where one of the drill holes is; there’s a fracture which runs parallel to it, which I didn’t see or feel until tonight.  I’m not sure if that’s my doing, or not.

What I want to do with that pendant is make a choker.  Maybe I will just resort to strands coming off the sides, plus fringe.  It would definitely be easier than trying to work macrame into the strap.  I also should have a good number of green firepolished beads around here…somewhere.  If I use glass, I could make it economical; if I matched the stone, I might be able to make it more elegant.  Or then, as I just recalled, I could make a beadwoven band out of something like …those bronzy-pink 11/0s and green iris 11/0s I have…Dutch Spiral stitch?  Regular spiral?  I could attach the cords, then, directly to the lacings on the stone.  And because it isn’t just a straight patterned stitch with no imagination, and the above stitches may be Public Domain (considering I’ve seen them everywhere), I might be able to sell the finished product.  But more likely, it will go into a portfolio.

I should not really assume “Public Domain.”  I should look it up, especially given that only a few publishers dominate the beading-pattern business (Kalmbach, Lark, and Interweave).  I may run across something proprietary without knowing it.

Things to think about…