Recently, I invested some time in knotting macramé, with the idea of posting images of it this morning, when I can photograph what I did in sunlight. I created some square knot sinnets with C-Lon TEX 400 (heavy weight), C-Lon (standard weight), and C-Lon Micro. I’ve posted them here so you can see some of the difference in scale between the different cord/thread weights.
Pretty obviously, the TEX 400 is way more substantial than Standard C-Lon. If I work at it, I can fit two strands of this through a size 6° seed bead (dark brown, left). I can fit two strands of Standard C-Lon (blue, center) through a size 8° bead. (Remember, the higher the number, the smaller the bead.) With the Micro, I can fit two strands (possibly more) through a size 11° seed bead, while it is also thin enough to fit one strand through a size 15° seed bead (light brown, right). I don’t have any samples of the Fine weight, so I can’t comment on that; but it is apparently somewhere between Standard and Micro.
I’ve put these square knot sinnets — two cords tied in square knots over two “carrier” cords of the same material — next to an American dime (the Web says this is about 18mm wide) for size reference.
I do realize now that I left out Miyuki Delicas in addition to Toho Treasures or Aikos (these are all Japanese cylinder beads which have larger holes relative to their size than comparable Japanese seed beads. I’m not immediately aware of the difference between Treasures and Aikos; they’re both made by Toho). I believe, however, that I only have Delicas…and possibly one vial of Treasures.
I can see possibilities for using the cords and beads right now…but I don’t know yet exactly how to get to the place that will fulfill that (or have a solid idea of my endpoint…which will likely evolve). I’ll have to puzzle it out in different iterations. What I can see now as a goal is probably just something I’ll have to keep in mind as motivation, and be open to re-visioning. I might also have to take notes on what I’m doing. There is a system of charting I know (as demonstrated in Macramé Pattern Book by Märchen Art Studio (2011), for example…though I have my homegrown version), but I’ve never used it for anything complicated.
The biggest hurdle, I think, is dealing with standard parts. That’s not as much of an issue now with fancy multiple-hole Czech glass beads on the market, but in designing jewelry, there is a “form” component as well as a “structure” component. By “form,” I mean the physical shape of the piece made, as though everything were made with the same color bead in a neutral color (different sizes and shapes allowed). By “structure,” I roughly mean thread path, connecting points, wirework, knotwork, thread terminations, and other functional architecture.
When you’re dealing with form and structure, things get more complex as one gains more different sizes and shapes of bead, and number and position of drill holes. If you have a collection of glass seed beads which goes back over the last 25 years, though…you probably have a lot of beads of the same style which are mostly just different in color, finish, and lining; but similar in physical form. Note I said, “similar,” not “identical.” (I might go out on a limb here and say no beads are truly identical…though Delicas, at least, come close.)
That leads to…a somewhat limited number of outcomes for beadweaving or macramé, unless you get creative. Which is the point, right? It is possible to get really creative; but that means that patterns that teach you how to weave or knot are just where you begin. They teach you how the beads, thread, and knots work. Once you’ve got that, the rest is up to you.
Up until recently, though, form had been relatively…elusive for me, as a concept. I had focused much more on color and color interactions; probably because I started with loomwork and flat peyote stitch, as a child. It is the case that haphazard choice of color scheme can detract from a design…but attention to form and structure is also important. The thing is, it’s difficult to deal with the latter two without incorporating some color which alters perception of the piece: no bead is truly neutral.
In contrast, Silversmithing has been almost entirely about form and structure, for me. The main ways I can think of to incorporate color are through using 1) brass, copper or patina, the colors of all of which are naturally in flux; 2) heavy use of colored stones; or 3) enamel. It’s for this reason (among others) that I realized I had found a distinct strength in beadwork, which complemented my interest in color. (This may also be why I’m attracted to quilting.)
Last night, I also did an alternating square-knot sinnet sample with incorporated beads (right). It’s nothing complicated, but I wanted to record it. I’ve seen similar but different methods online…not that I’ve done them, but I can see different thread paths, and I know that means variation in construction.
Ah, I remember what I wanted to say! No one’s compensating me in any way, for writing this post.
Today, I came off of my second day in a row of working eight hours. Not joking, that’s hard. Especially when you skip breaks, and have to get up at 7:30 AM on both days. (At least I didn’t take any shifts that had me getting off after 8.) Then I came back home and had to do things related to work and career (and getting a higher-paying job) which cost a stupid amount of money. Professional Development.
On top of that, I’m going to have to deal with driving school (that is, getting a license). And I didn’t get paid last period because I was not working, I was out and then sick. Before then, I was trying to cram in my hours because I knew I’d have to be off, and that I’d have no income for that period. I also thought I had to fulfill a set number of hours, but they didn’t tell me that I had already far surpassed them.
It’s hard to deal with the beadwork stuff when I barely wear jewelry as it is. Sometimes I intend to. Then I forget to care, and I stop, and my piercings get sensitive again. Actually — now that I think about it — I hadn’t been wearing jewelry to work because of sanitation concerns. Water under the ring, water under the bracelet, earring against the phone, earnut on the floor, necklace with a lanyard over it.
There’s that, and the fact that I keep wearing flannel because it’s so cold. I’m not yet used to mixing-and-matching the genders of my clothes, though I can see the need for another insulating vest which isn’t a puffer. Or, you know…like maybe some pink or mauve button-front shirts. That fit.
Tomorrow, I need to go see someone about the driving stuff. That’s going to be another stressor for the near future. Not to mention that I’m having a mini aging crisis.
Maybe I should be thinking about stuff I can do to de-stress, instead of trying to get all my problems out of the way as quickly as possible. I mean, no one’s really watching me to makes sure I read up on Reader’s Advisory, or finish any particular book, or learn to make a Public Library program. I do have time that can be mine.
Embroidery, watercolor, or — actually — doing something with the beads I have, might help. I guess that when a person works part-time, there is that possibility of doing what one wants to do when off-work.
And I do have an urge to go out and get the tiny boxes I was after, before. My Czech seed beads, in particular…it’s hard to even think of using them, while they’re still strung. I do have some unused boxes. I’m just trying to figure out, now…how exactly I’m going to tell what’s what. Because I have a lot of odd-sized Czech seed beads, from 6/0, maybe up to size 16/0.* It’s harder to tell what is which size, when they aren’t all in a row. But I’ll have to cut them apart to use them, anyway.
It would be good if I could get back to my micro-macrame. The issue is that when designing from scratch, there is a period in there where things just aren’t working. The other issue is that working on one project generally leads to buying more beads to assist. Also…there’s the issue of the inevitable needle sticks and sore pinkies.
I am not sure how much longer I’m going to be beading. After all, the truth is that I don’t know what I’m doing when I’m prioritizing this. And I just bought something way outside of what I had outlined as my interests…but maybe embroidery will be soothing?
Something with needles. For some reason I like sharp precision instruments.
I’m not sure if that’s related to liking colors that I shouldn’t be touching.
IT’S “HAMILTON’S” FAULT, OKAY. Yeah, that one. The rap opera.
*actually, that’s pronounced “six-ought” and “sixteen-ought,” not “six-oh” and “sixteen-oh.” But I ought not think of it.
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.
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.
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.
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.
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.
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.
I actually have been able to get some design work done, recently. Essentially, I was able to visit a bead store — like a real-life, in-person bead store. I’ve said before that I have hesitated to work with natural stones because things can get very expensive, very fast. That’s still true.
There’s also the fact that as I’m working, I realize that it isn’t entirely worth it to make things to sell…unless, that is, I’m using some leftovers of other projects that I otherwise would not. Because of the time it takes to design things, and the time it takes to construct things, and then unmake and remake projects as I revise the design…it costs me so much in time that what I make becomes prohibitively expensive, if I’m charging by the hour. I’d rather not be designing against the clock, especially when I could regain the money lost in design more easily, simply by going to work more.
In any case…I have an Amazonite puffed square cabochon that I got at a recent convention. It’s a pastel green with blue overtones, white-streaked, glossy, with a hairline fracture. I’ve decided to pair it with some Aquamarine 8mm rounds (pale green-blue, displaying some silver internal reflections; mostly otherwise opaque), and some Pink Botswana Agate 6mm rounds (pale salmon-pink, mauve and white, opaque). These are now the center, anchoring elements of this piece.
So essentially…I’m designing around a cabochon; particularly where it comes to color and texture. I am echoing the color and gloss of the Amazonite cabochon with the Aquamarine (which is slightly paler than the Amazonite), and contrasting that with a secondary supporting point in the Botswana Agate. That’s why the Agates are smaller than the Aquamarines. When working with natural stones, it can be hard to find them in usable shapes (other than rounds)…
When I got these home, I did start looking through my project box to weed out some beads that were too warm. I know that “warm” when it comes to blues, means “violet” tending (as violet is closer to red — green is considered a “cooler” color, though that’s counterintuitive to me); in this case, I weeded violets which were closer to Cobalt Blue (a deep, intense blue-violet when in glass). I kept greens and blues which were substantially greener, ranging more towards yellow. I also added a good amount of pinks, warm white ranging to pale gold, violet which is closer to red, ambers, and browns (“Smokey [sic] Topaz”, “Crystal Celsian”).
This was a generative task, not a selection task. It is, however, much more stimulating and inspiring than what I had before. The next task is to try putting some of these together; most of the designs that I’ve made which really made leaps in innovative construction, have occurred when I’ve just tried to assemble things in any way I could (keeping in mind that threads need protection, and that bugle beads, unless something is done to stop them, will easily shear thread in two: these are practical constraints). There has been a basic idea of what I’ve been going for, but it has often been abandoned as I found better ways to do what I’m trying to do…or an alternate path to success.
I decided to go for stranding as a possibility, as I’ve realized that a more complicated design is not necessarily a better design.
And the seed beads…
Having said that, I still want to try St. Petersburg Chain. I’ve been looking for some excuse to try it; I’m just not sure if this is the right project for it. I’ve separated out some colors of Czech seed beads which echo the Botswana Agate…but to be honest, they’re a little dull against the Japanese ones. For instance, I have an old tube of “Ceylon Lt Peach” (unknown brand, likely Japanese) 11/0 seed beads, which are just…brighter, than my Cheyenne Pink 8/0 Czech seed beads. I could still use them together, but I should not overuse anything too dull.
No, I don’t know why the half-hanks of Czech seed beads I have, are duller than the Czech fire-polished crystals I have…and the Czech pressed-glass SuperDuos and MiniDuos. When I got them, I was looking for a solid color throughout the glass, which is normally more resistant to fading, while sacrificing some of the bright colors of surface-dyed or color-lined beads (which are known to be more often susceptible to fading or other color change).
Note that I don’t consider surface dyeing (like the use of Sol-Gel) to be the same thing as a surface treatment such as Aurora Borealis (AB), Luster, Iris, Vitrail, Capri (I have some opinions about Capri’s durability…but, later), or Ceylon. At least, that’s not what I mean by it. I also realize that my Light Peach Ceylon beads may indeed be surface-dyed. It was so long ago that I didn’t think to mark the vial as permanent or possibly prone to fading. I probably also didn’t think that I’d be trying to remember any cautions at the store, 10 or more years later.
But no, I did not expect to find a clean, bright pink or a clean mauve-grey in an affordable stone, either. These both match the Japanese beads better.
There is, still, a range of quality, here…it’s important when buying stranded beads, to look for size uniformity (at minimum), unless you aren’t doing anything (like a beading stitch/weave) that depends on things being even. That is: not all “Czech” seed beads are the same quality. I’ve even seen half-hanks of beads with other beads of the same color stuck to their outsides, which look like there was paint that dried with two beads touching. (I don’t particularly like glass beads which look like they have paint on them…it’s a reason I don’t use a lot of the newer multi-hole beads.)
The only way that I really can even tell that they’re Czech (or from someone trying to pass themselves off as Czech) is either through the catalog description (when purchased online), or through the method of sale. Czech seed beads are generally sold stranded and tied together in bundles of 6 or 12 strands. Japanese seed beads are generally sold loose, in vials or bags. They have different brands, sizing regulations and shape standards…and apparently, at least somewhat different methods of attaining their colors, or a different aesthetic which causes the companies to aim to produce different palettes.
In buying beads at conventions, however…you may not know who made what, unless you ask. Vendors may also not recall their sourcing, on top of it (especially if they’re a Mom-and-Pop operation). Right now, I only know one rocaille (round, uncut seed bead) manufacturer from the Czech Republic, which is Preciosa Ornela. (I’m not counting manufacturers of shaped seed beads.) However, I am very sure that they aren’t the only game in town.
I also wouldn’t put it past other manufacturers to try and pass their material off as though it has the quality that “Czech” beads are known for. Though I intend only to use Japanese and Czech seed beads in my work, that doesn’t mean that my suppliers are paying attention to how their customers think about quality.
I’m thinking that some people would rather get a low price than a quality product. The problem with that: low-priced products can also easily be low-quality products, and I don’t know that anyone on the receiving end is overtly asking for anything more. Raised prices for low-quality products would mean that the higher-quality products win out because they are higher-quality (and then there is no reason not to buy the higher quality instead). You can see how that works.
I did, once, buy a terrifyingly expensive half-hank of Dark Copper (I’ll just call them that) 8/0s: $17 for 6 strands. Very even in width; uniform, beautiful finish. They get higher than that — for instance, when there’s a special metallic coating which requires gold — but in the majority of cases, they don’t range higher than $15-$20 per half-hank. My low end of the 8/0s is currently $4.25 for six strands of something that looks like Sleeping Beauty Turquoise, just in glass. Keep in mind, though, I don’t have a sample of Sleeping Beauty Turquoise here to compare and see if it’s any more intense; the beads just bring it to mind.
I got the 8/0s to make knotted bracelets. More on that another time, hopefully.
So, the half-hank of Cheyenne Pink 8/0s ($7.50 for 6 strands) are beautiful on their own. The only thing is, the Pink Botswana Agate outshines them and makes them look dull in comparison. With too many of the glass beads, I could also unintentionally dull down the stones. The colors in the stones are just much cleaner. Why? I really don’t know. I might have to be a chemist to know. I have seen at least one text on the chemistry of glass colors…and I am not interested enough in how they’re made, to go back into a hard science.
That’s another reason to buy stones that you can see in-person, before purchase, though. It’s much easier to mix-and-match a dominant stone against a wall of other stones and find a perfect complement, than it is to flip back and forth between online windows, or bring up multiple windows showing multiple products (and then hope the photography is reasonably true-to-life).
I’ve delayed posting this because I have wanted to add images…it would be of use to me to remember what this particular project box looks like. There’s a lot of information, that is, in just seeing what I’m dealing with (and how it differs from what I was dealing with before — which I did not photograph, because it was that uninspiring). Adding the pink and violet, along with that pale green, it helps a lot. They’re all unified, in a design sense, because they’re all pastel tones.
However, because I’m still in training at my job, I’ve been working a lot of the time, and studying, eating, and sleeping for a lot of the rest of the time. That is: I haven’t had a lot of time to write, much less to take and optimize photos. I was lucky I had time enough to go out on the weekend…
This current writing, I began on Sunday. I’ll get beyond the point of relevance, if I delay for much longer. The obvious choice would be to hold off on posting until Friday or Saturday…but this is aging in my consciousness, and nagging me and causing me to waste time filling it out further. I should post.
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.
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.
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.
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.
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 afew ofus 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…
So I want to write, and the thing I want most to write about, is a beadwork design that came to me a few nights ago (I should have dated my design sketch). I am not entirely sure why I want to write about this…kind of like I’m not sure why I want to get off of the computer and stitch, instead of trying to think of essay topics. (It’s pretty clear why I don’t want to do homework: for one thing, I’m too bombed-out from work.)
The lack of understanding of my own urges is something I’ll need to work on. I feel like if I understood what was going on, I could adjust…I guess I’m still not great at giving myself space. For that matter, there’s a lot of psychology that I just don’t understand…
To get it out of the way and off my chest, I did work earlier, though nearly all of that time was spent shelving, cleaning up the library space, and retrieving the book drop. There were two people scheduled to help with the same job besides myself, both of whom were out sick (but I was out sick earlier in the week, too — maybe I should take my nausea more seriously).
Because I’ve been taking care of myself physically (relatively speaking), my healing overuse injury hasn’t been bothering me too much. Thus, I volunteered to spend all of my time chipping away at the backlog of un-shelved items. Yes, I know, stupid. But essentially…I was the only person there in my job title, thus the only person who was there expressly to shelve. I — basically — specialize in it. That, check-in, and sorting.
If I assume that I was shelving at least two carts an hour, and I subtract 45 minutes for the time spent getting the book drop, picking up abandoned items, and going on break, that means that I shelved at least 10-11 carts. I would expect this as a minimum, given that I can shelve a cart in as little as 12-20 minutes, depending on a number of factors.
I also gave up my one hour on Circulation (which would have been less work) to work further on the backlogged shelving. The situation at the end of the day wasn’t too bad, considering I was the only person doing the job, and that when I came in there were — if I’m remembering correctly — seven carts ready to go, with additional carts needing to be sorted. I let backroom staff handle the sorting, and most of check-in, today…which was likely a good decision. As it was, there is still work from today that will need to be handled tomorrow. It’s just nowhere near as bad as it might have been.
So now I’ve talked about that, and we can move on. :) I have been reading in the third edition of Conducting the Reference Interview, which I should probably get back to; though tomorrow, I’ll need to deal with my coursework. Homework…YAAA.
Okay. Maybe I can get to the beadwork stuff without guilt, now? ;) I’ve come up with a variation of Tri Stitch which is basically interlaced. It reminds me of what happens when one makes a fabric out of Right-Angle Weave, instead of a simple chain…though with Tri Stitch you basically get hexagons (or diamonds, now that I look at it: my trial had color accents on the tips of the weaving, so it looked more like a honeycomb).
I wanted to make a woven band (I’ll have to use K.O./Miyuki thread for this; C-Lon Micro is much too thick and stiff for multiple thread passes) with 3mm fire-polished beads (or 6/0 seed beads) going down the center, and embellishments on both edges, like the photo I showed earlier on this blog. Here, I’ve just retrieved it again so you don’t have to hop to the original entry:
I haven’t worked it out in reality yet, though; so I’m not even sure what size bead I’ll need to put in the middle of this in order to avoid scrunching up or distorting the work — I have a feeling I may need to use Japanese 6/0s. Everything I’ve got says that it’s going to be an irregular size, because of the angles in use and the dimensions of the 8/0 beads.
But there’s no real way to tell if I’m right, without actually constructing a model.
I’ve found that social media addiction creeping back up on me, again…which is the reason I stopped using it in the first place. (I can’t live my entire life on the Web!) If I can limit my use of it successfully, maybe I won’t have to worry about it keeping me up at night or away from productive uses of my time.
Then there is the issue of becoming known on social media, for instance around beadwork. ;) Do I want that? Am I happy being an anonymous blogger on WordPress? I’m not sure, but I’d say that I probably am happier on WordPress, for now…
Of course, then we start talking about Pinterest and everything and whether I have a need to join so I can help other people use it, blargh.
I don’t even know what Instagram does…though I just looked it up. Huh.
It’s easier than I had anticipated to make design drawings for this; however…it really (I mean seriously) helps to use bullet-tip markers to draw bead representations, rather than using fineliners. The thing about design drawings is that they don’t translate exactly to whatever you’re designing, due to the precision needed in the dimensions and shapes of the beads. They’re good as notations that will help you figure out where you’re going…but not something one should bet on being able to exactly reproduce IRL.
It also helps me to draw a bead as a straight line, perpendicular to its stringing direction, sometimes.
Anyhow. It’s now 45 minutes after midnight — I should sleep.
For several hours, I worked last night on a design prototype for someone close to me. I got to use the new C-Lon Micro Cord that I got, not so long ago…and I’m honestly pretty amazed.
I was going to make an embellished Tri Stitch chain that is longer on the outside than at the core — when this is done, a ruffle or spiral should occur (the latter, if the twist is guided, instead of just left to bunch up). However, dealing with making the prototype out of the C-Lon Micro Cord, I found that it is really sturdy! That is, it’s really structurally more solid than when I use thread. It also doesn’t warp as easily. That said, I also have to watch my tension so that everything locks in, but so it’s still not too tight; there is a bit of stretch in the cord (even after pre-stretching) which can shrink up and distort the work. It’s reminiscent of Silamide (which I don’t use for this precise reason), but not as extreme.
What I didn’t realize until starting was that if I wanted to make a knotted or beaded bail at the center, I should do this at the center of the cord, before beginning the weave. Also, when using 8/0 beads, especially when using more than one color, it isn’t really necessary to embellish the chain.
I’ve switched from opaque turquoise and silverlined light topaz (left vertical portion), to silverlined teal and multiple colors of drop beads, ranging from chartreuse through green, to teal (diagonal right portion). Accidentally, I tested them out in a size gradation which was also a color gradation; right now I’m thinking of making the chain with that gradation as part of the design. The big thing is making it match a pendant that the recipient wanted to include. I think that if I make a beaded bail, I’ll want to loop back around the top of it with a drop spacer, in order to fix it into a V-position as regards the rest of the chain.
I’m not sure how much cord I’ll need to reserve in order to create something 16″-18″ long. Usually, in micromacramé, I use three armspans of cord (1.5 armspans for each doubled cord), but that’s for a bracelet — like 7″ long — with knotting, and plenty to spare. It would also be using standard size C-Lon, which is about 0.5 mm wide (from my own measurements). C-Lon Micro Cord is about 0.2 mm wide. Tri Stitch loops back on itself continually like a backstitch; it isn’t knotted, but I’m not sure of the amount of overlap, geometrically. It should also vary based on the length of the bead piercings.
It’s been a very long time since I’ve been straight beadweaving!
Logically, I should be able to work the needed cord length out by weaving a measured amount (in Metric), then cutting the ends, undoing the work, and measuring the difference between the finished chain and the thread that went through it, then using the two measurements compared as a ratio. I would take the final desired length and compare that to the aforementioned ratio, leaving me free to solve for x, which would be the amount of cord I would need without additional handling length.
And yeah, I am kind of amazed at how I worked that out (I remember it from learning stoichiometry in Chemistry). It wouldn’t be as clean if I were using several different kinds of beads, though; I’d need to factor in extra room for play.
If I were doing this for money…it would have to be an addendum to my regular work. I couldn’t take this long to design in a micro-business environment where I were being timed, and I were trying to make a living off of it. (I could, however, do this if I were a commercial Designer and not an Artisan, though that’s a fine [negligible] distinction in my current setup.)
Right now, I’ve got to decide on overall length, color placement, and how I’m going to fit a wire bail onto the pendant I’ve got. Looking at it, it’s pretty evident that what’s on there now (a handmade open jump ring) can come off. Because of the pendant’s formation, I need to use an ice-pick bail style, which isn’t the most secure thing (but the pendant [which isn’t mine] isn’t the most sturdy thing, either). Because of this, I’ll want to make sure the pendant is not integrated into the chain, so that if the pendant breaks or is lost, my recipient will still be able to use the necklace portion.
I had thought of doing this an entirely different way, last night…but I realized today that to do what I had been planning on doing, I would need to weave half the chain, then put protective knotting at its base, and go back through the chain a second time to reinforce and hide the thread end. I am using 8/0s, but I have doubts about how many passes of this cord these beads can take. Given the heaviness of the cord, as well (which is still wider than most bead threads, including Power Pro), it’s sturdy enough as it is. Going through it twice would be overkill.
Alright, I’m posting this now. Time to get back to work!
It’s actually fairly amazing, the things that come from just playing around with beads. I was able to get back to my design work, today. In the process, I was able to test out some S-Lon beading thread that I got a while back from General Bead, and to cut into one of my half-hanks of size 8/0 Czech seed beads.
The thing about beadwork is that it’s not always feasible to start out with a drawing, and assume that the drawing will work out into a real-world prototype which will mirror the drawing exactly. The dimensions and shapes of beads are just too precise, or sometimes idiosyncratic. I’ve found that even with beads which I assume are from the same manufacturer (for example, 3mm Miyuki-brand magatama drop beads), the shapes and sizes are not exactly the same. The exception to this could be if my supplier has at least two different sources for beads which are sold under the same name. Until I visited General Bead, though, the only types of teardrop-style seed beads I knew of were Czech fringe beads, and Miyuki 3mm Magatamas.
The reason that the photo here doesn’t look like much is that this sample is tiny — about three inches long — and not only did I have to deal with troublesome light sources (it’s night) and difficulty focusing (the colors here are washed out, and none of my photos came out crisp, probably because I was too close), but the beads I used were mostly from a set of beads that I’ve set aside because they are either 1) the most inexpensive beads I had in a certain shape and size, 2) the beads have gotten dusty from sitting out too long and thus I’m disinclined to use them in jewelry someone will wear (without washing), or 3) the beads are likely to fade because of the method of their coloring.
The larger turquoise beads are my least-expensive and easiest-to-replace Czech 8/0s, while the drop beads at the top are color-lined, meaning they have, in this case, a bronzish paint on the inside of their hole which may change color or fade. The beads at the bottom? The amber ones are Czech 11/0s left over from some forgotten project, while the picots (loops) are size 15/0 Medium Topaz Toho beads which I used as a test to see whether the silver lining would come out.
I have another set of 15/0s (unknown brand, old) which are slightly lighter, but their silver linings shed on my fingertips– I was trying to see if it was due to age or the abrasion of the Big-Eye Needle I used. I think it was the needle. Big-Eyes have two spring-steel wires soldered together and sharpened; they’re easy to thread and use, but they aren’t as smooth to the inside of a bead’s piercing(s) as regular beading needles. They also tend to shred one’s thread into its constituent fibers, and jam up. This is magnified when using a bead as small as 15/0. It also isn’t (as much of) an issue with a regular beading needle.
I went through three swatches before I got the above (the trials were fairly…well, learning experiences). I found out relatively early that I would have to use Czech beads for some aspects of this pattern, because the Japanese 8/0 beads I first tried were far too cylindrical to nestle into each other properly. I keep saying that Czech beads are more donut-shaped…this causes them to be friendlier to stitches like Tri Stitch and Right-Angle Weave, because the edges of the beads have more rounded transitions between the walls and the tops and bottoms.
I also didn’t expect at all to have a place to use size 15/0 beads, but for little delicate embellishments like picots, they’re perfect. These are Tohos, which are a Japanese brand, which doesn’t matter all that much, in context. I do have some Czech size 13/0, but the Czech beads can get so tiny (down to the size where they look like sand) that it’s really either amazing or discouraging. :) Maybe both. I have Czech 13/0s that look just as small as Japanese 15/0s.
Yeah, I don’t know, either.
It was good to get back to this, today. I find it slightly strange that work done in design is unpredictable at the point of beginning. That is, I may have an idea of what I want in mind, but the plan has to evolve for anything to get done, especially when dealing with beads (which are pre-made, and thus have their dimensions already determined; the skill and fun comes in where one figures out how to fit them together in some way that looks nice, is durable, and isn’t a mess).
As for the S-Lon beading thread…I like it enough to consider buying C-Lon beading thread, which I’ve heard is basically the same thing. It still shreds if abused, but not as easily as Nymo (which used to be industry-standard). I know where to find both brands (different sources)…I’m just not sure which, or how many, colors to get. Having too many color choices can be as bad as having too few. In any case, I was using an olive tone of thread tonight, and it doesn’t look bad, really. I mean, it’s not black or white or red, which are the colors which would stand out most. I think that because the beads I used were greenish, and the thread was greenish and muted, it dropped back nicely.
I did just get a bunch of C-Lon Micro Cord, which I’ve wanted to use for micromacrame, but haven’t gotten the chance to play with it yet, what with job applications, and graduation, and reading, and my own continuing study. Maybe I should make it a priority to have days where I work with my beads, or paints, or on my writing…