beadwork, color, craft, creativity, macrame, self care

Beads and cords: returning

I guess that leaving my beads in my line of sight, finally paid off. They’ve been there for months; for some reason, I was intimidated to go back to them…which may possibly have been the “too many choices” dilemma.

I may be misremembering the paper, but in Library School, I read something about how people were less satisfied with a choice overall, if they were given a chance to second-guess it (in a study). I really can’t remember even which class I read that in, and I don’t have access to school databases anymore; so I can’t give you a citation.

Although it’s a different situation, I’ve realized that this happens when I invest in too many different colors (in beads, fabrics, threads, cords), which drastically magnify my creative options. For some reason, it’s easier when there is some scarcity that pushes me to make creative decisions I normally wouldn’t make…or when I’m using something just because it’s plentiful, and I don’t mind losing it to a swatch. I’m pushed to find (or just do find) unusual color combinations, that way.

I know that I have a tendency towards analogous color schemes, in sewing and in beadwork, because they feel “safer” than branching out and experimenting. I guess it’s like when I was a kid and I preferred to use majority black or grey color schemes. (I did grow out of it.) What I did today was mix up the color placements in a sample bracelet strap, to break up relatively monochromatic schemes. The good news was, I liked it better…and I suppose every time that happens, there’s a little victory, and encouragement to try it again next time.

Right now, I have my seed beads separated out by size and color in transparent vials. It’s possible to pick a set of them out and switch them around so that I can see colors and finishes next to each other, but even that doesn’t really compare to placing them together in swatches. The way masses of these beads look next to each other, isn’t the same as the effect when you’re using one or two at a time (next to other colors, which impact how we see them, says my Color Dynamics training)…and especially not when you’re dealing with more than two colors, in which the color of the thread or cord (or hardware/findings) you’re using also impacts the design.

I’m not even getting into color ratios and placement, bead linings or surface finishes…but those also affect design dynamics. Maybe eventually I’ll make a series of Pages about stuff like this…

Today I found both of my macramé boards, having put them away, likely, months ago; so that they wouldn’t gather dust. (They’re basically some kind of foam, so they aren’t the easiest things to clean.) One of them was hidden under some pads of paper I never use, on top of my art archives. I knew the approximate area it should have been in; I’m just glad I was tenacious enough to continue to dig when I couldn’t immediately find it.

Speaking of lost things: as for where the giant cutting mat went (which could be useful)…we still don’t know. I mean, no one knows. The most I can think of right now is that maybe it’s in storage with my portfolios, in the garage, or in a closet somewhere — possibly in the room no one uses, except to store things.

Anyhow: I mentioned C-Lon TEX in my last post. I should have said, C-Lon TEX 400. A lot of things are called TEX, apparently! This is a cord which is just under 1mm wide. I only have one spool of it, in a color I wouldn’t normally use (brown). I don’t even remember why I got it, except that it may have been a mistake.

Today I was just experimenting with the TEX 400, making a basic square-knot sinnet (two cords knotted over two cords), and an alternating-square-knot sinnet (two cords knotted over one cord on the left, then the same on the right, etc). I haven’t yet gotten to the point of being comfortable with solid panels of macramé (using vertical and horizontal double half-hitches). I think I may be describing Cavandoli knotting, but the technique exists even in fairly basic micromacramé jewelry patterns (which I don’t yet know how to do). It will be exciting to develop my skills in that area. I would recommend the instructional books and materials by Joan R. Babcock, if you’re interested.

In any case…this C-Lon is about the width of the hemp I started out with when I first began knotting. It is, however, much stronger and cleaner, being a type of industrial upholstery thread. I’m attracted to the “strength” part of that, because I’ve repeatedly had issues with breaking cords due to pulling on them too hard. This has happened with waxed cotton, hemp, leather… I think this is related to the quality of the cord; the ones I’ve gotten from chain craft stores are the most likely to do this.

In contrast, I have some Fluturi hemp “yarn” I purchased from a local yarn store…which is a comparable width. As compared with basic craft store hemp twine, the staple is longer, it frays less, is softer, and it’s a bit stronger. The Fluturi is being discontinued, and replaced with linen. Yes, it’s probably notable that I had to go and find my stash to see whether the Fluturi was actually hemp or linen, in the first place…

In any case, the C-Lon 400 has no issues with stray threads, or breakage. On top of that, it has enough body to hold its shape well, and it’s glossy. There is a comparable product on the market known as S-Lon; in my limited experience, however…the S-Lon (I have one spool, I liked the color) has frayed a bit more, right off of the spool. Also, word is that one of these is an off-brand of the other (though I am not sure enough about it to claim a position, myself).

Up until recently, I have only used Standard C-Lon (TEX 210) and C-Lon Micro (TEX 70); in comparison, TEX 400 is very hefty. I’ve found that I can fit 4mm Fire-Polished glass beads onto it, but not 3mm — at least, not easily. Also, not all size 8° seed beads will fit, but I’m not sure if that is because I have some unlabeled Czech size 8°s in my vials (which tend to have smaller holes).

I haven’t tried making a self-needle with the strands yet (stiffening the cord with Fray Check or nail polish, waiting until this cures, then cutting the tip off at an angle and using that to help thread beads onto the cord). Actually, I was looking for the Fray Check today, and I also don’t recall where I put it (though I’d check with the sewing materials, next).

Well, at least I know where I put my thread burner…hopefully. I think I know where I put my thread burner, is more accurate. ;)

Just, doing little things with my hands…it takes up my attention, which means I don’t have the free mental space to worry. The biggest things I have to watch out for, here, are carelessness: dropped beads (which can lead to broken glass); and working so hard and long that I get blisters on the sides of my fingers before I can develop callouses. At least, those are the hazards of which I know.

I’m hoping to take another look at a book I have, tomorrow, called Macramé Pattern Book, by Märchen Art Studio (2011). It’s not a micromacrame book, or one on beadwork, but it is…really interesting, if you’re just looking at the structure of panels and sennits.

I’ll leave speaking about the ethics, limits, extent, and classes of intellectual property law for another day (if ever)…but I’ve found that it is okay (in my own case) to learn from books. Especially as there’s a transformation involved, where the primary value is not the technique. The latter can’t be copyrighted (at least, within the U.S.). They can only be patented — and that’s if they’re novel, unique, and unlikely to be stumbled across by anyone else.

I can’t really give legal advice (not as a blogger and not as an Information Professional), so don’t take that to heart; I’ve just been around a lot.

I also am not being compensated in any way for what I’ve written, here.

beading, beadwork, glass beads, jewelry design, seed beads

Hyperfocus.

I wanted to write this last night, but by the time I was willing to call it quits, it was 2:30 AM. Also, as I have an unofficial policy of not taking photos of my work after sundown…sleep was preferable to staying up further into the early morning. I’ve had severe problems with sleep dysregulation before, and I have responsibilities, so taking care of myself has to come in sometime (even if I’m hyper-focused!).

Last night, I learned a number of things…the largest of which, relates to my preferred color schemes…the second largest of which, encompassed two rules:

  1. Don’t tie off a macramé pattern directly to a clasp, or you get the disadvantage of built-in stiffness on the connection. Tying off to a metal ring, then attaching the ring to another ring, alleviates the stress on that join.
  2. Don’t cut the excess cord off of knots before sealing those knots, first. Otherwise, your knots will unravel and your work will start to fall apart (at the very end!).

Today, I’ve basically been working all day at making jewelry. My folks call it a, “hobby,” moreso than a, “side hustle.” Is a hobby this serious? I don’t know.

About the color combinations…I’ve found that I want to stay away from monochromatic color schemes. This was surprising. In the past — as a youth, I had been much more hesitant about using color, so it would be more likely for me to stick with blues and greys. Hematite (an iron ore) was a particular favorite material, as it easily integrates with silver, has a nice weight and heft, plus a gunmetal metallic luster, and has been relatively inexpensive (for a natural stone).

It was relatively amazing that I was able to figure out the optimal pattern for this bracelet and write it down and then follow it. When I look at the knotting pattern on the sample I was working out initially, I can see it was trial-and-error; all over the place. I had to unravel a good amount of the work I did when I first started yesterday. This is because reversing the three-knot pattern (which reverses between every bead) essentially messes up the spacing of the beads.

Although I’ve made it to the point where I use some colors more enthusiastically than others, I also have certain hues that I am more attracted to, than others. Looking at my little bead palette things, which I’ve posted about before on this blog (scroll down), I see a lot of warm blues, greens, and violets, ranging into violet-pink…not so many yellows or oranges — or the browns that I intensely want to use. I already know that I’m not even trying to use reds, because reds are generally so intense that they overpower everything else. Pinks are also difficult to use, because of the fact that they are often either dyed (thus possibly not lightfast), or because they tend to be extremely pale.

The first trial version of this bracelet style, I made in a color palette extremely similar to the one above, but I used Capri Blue and Capri Blue Silverlined (S/L) for two of the three 6/0 bead colors that I used. The second trial bracelet (above) used Transparent Emerald (a blue-leaning green) in place of the Capri Blue S/L, and because of the lack of silver lining in the bead hole, the green falls back much more and becomes very subtle.

I’m planning to remake the first trial. I basically ruined it by cutting the threads before sealing the knots, which caused the piece to begin to unravel. I also tied it directly to the clasp, which I shouldn’t have done. I have three options:

  1. Wear the bracelet until it randomly falls apart and then remake it
  2. Cut the bracelet apart and re-knot it properly
  3. Buy another string of 4mm green iris fire-polished Czech rounds, give up the extra gold-luster 8/0s, and make a duplicate.

Although S/L beads are eye-catching in the store, they can overpower a piece if used indiscriminately. When I was a youth, I would use a lot of these, and so maybe it’s this that causes me to look at some bead combinations and think that they look like something I would have made at 16 years old.

I’ve also found that I have a tendency to like luster beads, especially Gold Luster; that opaque beads are much more useful than I would expect, advancing in compositions; that matte beads are welcome contrasts to metallic and glossy beads; that iris beads can be the foundation of a piece; and that transparent beads often fall back in a piece, while S/Ls advance.

Cobalt Blue is also extremely difficult for me to use, on par with red, because of its intensity and nearness to violet.

On top of all this, I find myself hesitant to use dyed and color-lined beads, because I’m pretty sure they’re categorically susceptible to fading (even though many colors cannot be made without these options).

I need to keep a journal on this information, including information about knotting patterns. Right now, my design notes are on temporary papers. I need to do something better.

There’s more I have to say — in regard to using SuperDuos and MiniDuos — but it will have to wait for another night. I’ve worked out two more swatches of a pattern than my initial two so far, using a double-needle technique which is much easier than I predicted (with the main issues being accidental loops, and going through the right piercings in the right directions). The third and fourth iterations (using Magatamas, Fringe beads, and Demi Round and O-beads) are very interesting, but I don’t have photos, right now.

What I can say is that for some reason, beadweaving is less stressful for me than micro-macramé, likely because I’m abrading my hands less (even though I did give myself a pretty nasty scratch by storing a needle in the fabric of my pants)…