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.