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Minutes For Meeting July 27, 2011

Viking Knit Bracelet

Beady Bunch July 27, 2011 Meeting Minutes

The meeting was called to order with 15 members and 2 guests present.

We welcomed the guests and hope to have them join us again.

The minutes from last month were approved.

Lisa gave the treasure’s report.

Old Business:

Our president, Chris, gave us a review of details on the upcoming national teacher workshops. The information for both workshops has been posted to our web site if you have any questions. Also, Diane Fitzgerald has the Omaha projects posted on her web site.

New Business:

The Lincoln Bead Bazaar will be held on Oct 15th.

The meeting was adjourned followed by Show and Tell and the first half of a project on Viking knit taught by Julie, Lisa and Linette.

We will complete it in August, so consult our web site or your email from Julie for the remaining materials needed to finish it up.

Thanks gals you did a great job!

Submitted by: Denise Stahl, Secretary

June, 2011 Monthly Meeting Minutes

 
 
 
 
 

Gail May Teaching Faux Dichroic Glass

Beady Bunch Minutes June 28th, 2011

The meeting was called to order with 16 members present.

Lisa gave the Treasurer’s report.

Old Business:

Discussion of the upcoming National teacher’s workshops. Both workshop events will be held at the Settle Inn at 108th off of Dodge.

Gail May will create and distribute a map and directions on how to get to the Settle Inn. The Judy Walker workshops will be as follows; Saturday Aug 20th is the Triple Tassel. Sunday Aug 21st is the Bargello hearts necklace.

The Diane Fitzgerald workshops will be as follows: Saturday Nov 12th will be the Moorish Tile beaded beads. Sunday Nov 13th will be the Gingko Leaf necklace.

Supply lists have been previously posted on our website.

Lisa Dryden has emailed the members with a current count of open spots for each workshop. If you would like to reserve a spot for any of these please give Lisa a $25 check per class. The check will be returned to you when you show up for the class.

New Business:

Linette has wire for the Viking weave July project. You can use artistic wire or Para wire. A bracelet will take one spool of 24 gauge wire or dead soft silver wire. You will need 2 spools if you plan to make a necklace.

Julie will be sending us a more complete supply list prior to the July meeting.

The meeting was adjourned.

We had show and tell and Gail May lead the project on faux dichroic glass technique that was very fun. Thanks Gail!

June Project Samples Made By Gail May

Submitted by: Denise Stahl, Secretary

Show and Tell. 

Lisa Dryden
Mary Hunter

 

Margie Schulte
Margie Schulte
Close Up Of Margie's Focal
Gail May
Close Up Of Gail's Earrings
Virginia Wood
Eileen Wilson
Marilyn Peterson
Marilyn Peterson
Charlene WeyandEileen Wilson
Mary Hunter
Denise Stahl

 

Mary Hunter
Eileen Wilson

 

Minutes of May 24, 2011 Meeting

 

Minutes of May 24, 2011 Meeting
 
The meeting was called to order by President Chris Johnson.
 
The minutes from the last meeting were approved. 
 
Treasurers Report:  Lisa had no current balance because the bank statement hadn’t been sent yet.  She had added $30-50 in the account from new memberships.  From the Bead Bazaar we got $970.54.  If you have need of the account balance.  Please contact Lisa.
 
Discussion regarding the national teachers.  August 20 & 21, 2011 will be Judy Walker – Triple Tassel and Bargello Hearts Necklace.  On November 12 & 13, 2011 the national teacher is Diane Fitzgerald.  The projects will be Moorish tiles on Saturday and Ginko on Sunday.
 
Joni advised us that the finish donated Edna Perkins project was delivered and distributed to VA hospital.  The people were thrilled.
 
The monthly projects were switched between the May and June projects.  Christy will be doing the watch project in June.
 
Joan will bring our fused glass next month.
 
For the July and August, Viking Weave bracelets kits will be available for $7 plus tax.  In June let them know if you want a kit.  For the bracelet you will need to use 24 gauge artistic wire.  Julie will make a list of what we need.
 
The meeting was adjourned followed by Show and Tell and a safety pin project taught by Lisa.

Supply List For July, August, 2011 Meetings

Here is the supply list for July and August.   
Viking Knit Bracelet
 
For both months:
Nylon jay pliers (for straightening wire)
Wire cutters
 
 
Viking Knit Bracelet
For July: 
 
Approximately 10 yards of 18 or 20 gage dead soft wire (Artistic Wire is recommended) or sterling silver wire
1/2″ wooden dowel
Awl
Nylon jaw pliers
 
For August:
2 -End Cones (sterling or plated, your choice)
1 – large focal bead of your choice
1 -Clasp of your choice
1′ – 24 gage craft or sterling wire (used to finish bracelet)
 
 
Additional supplies that Julie, Lisa, and Linnette will supply
Draw plate
Credit card or 3″ wide piece of sturdy cardboard
3′ 24 gage craft wire
masking tape

May 24, 2011 Project

Safety Pin Bracelet Samples
Our project for May 24, 2011 will be the Safety Pin bracelet or Safety Necklace.

Julie Overby and Lisa Dryden will be our instructors. Julie says, ” I went thru the ones I made and heres’ what I used:

Choker Necklace – I made 2 different ones – I used 1 ½” safety pins. On one I counted 127 safety pins, the other one I used 150 pins. Obviously the number of safety pins used will depend on whether you put beads between Sample Safety Pin Necklaceeach safety pin (I didn’t that’s why I used so many safety pins) and the sized of your neck and how loose/tight you want it to fit.

Bracelets – I have different ones and they all vary

One I used 15 ¾” safety pins this one I had larger beads between each pin and ON the pins I used size 8 seed beads

One I used 22 1 ½” safety pins

The other two bracelets I used 1” safety pins – one had 26 safety pins, the other I used 22 safety pins

SO you can see there is a wide variety in what I did and used.

I spoke with Lynette (hope I spelled your name correctly) from Beads Etc. and here is what she has:

1000 1 ½” safety pins

400 approx. 1” (or 1 1/8”) safety pins

She will bring these to our meeting and would ask for $1.00 for your purchase (I apologize we didn’t discuss if this would be for bracelet or necklace SO maybe a little more if you need LOTS for a necklace). Please email ME not Lynette with what you need so I can keep track of if she has enough or if people will have to go out and get their own.

SO you will need beads to put ON the safety pins (not every pin needs to have beads on it) and then IF you want beads between the pins. SO bring your bead stash! The would be a GREAT project to use up the odd beads you have.

The bracelets I used stretchy cord (I know that’s not the actual name for it) to string – you COULD put it on wire but you would need crimps and clasp. For the necklace (I made mine MANY years ago before I would have considered myself a beader) I just strung mine with colored elastic cord and tied a clasp on!

I will bring all my samples for you to see on Tuesday. Looking forward to seeing everyone Tuesday!

The Quest for the Perfect Lampwork Bead

The current economy seems to have driven many jewelry makers to go for mass produced, imported beads. While they have their place, quality jewelry must start with quality beads.
 
I have become a “cyber friend” of a magnificient lampwork bead artist, Joan Prichard.
 
I asked if she would do a “Guest Artist” article for our organization. I am delighted that she accepted the opportunity to share her knowledge of beads with us.
 
Let me introduce Joan to you. Several of you may be acquainted with her if you subscribe to either Art Jewelry or The Flow magazines. She was featured as one of Flow Magazine’s Women of Glass for 2010 and her work was published in Art Jewelry’s January, 2011 edition.
 

 

Joan Prichard

 

The Quest for the Perfect Lampwork Bead

by Joan Prichard

 
First it’s important to understand the artistic process behind making a quality bead. While there is an abundance of inexpensive beads on the market, be aware that you do tend to get what you pay for.

Some of the more complex beads that have intricate designs, use foils, special reactive glasses or murrini may command a higher price due to the cost of materials as well as the skill level and time involved.

Bracelet by Joan

If you are buying a bead set, check to ensure the beads fit nicely against each other and that they are all basically a uniform size and shape. Often when a lamp worker uses a mold or press to shape the bead, the molten glass meeting the cold surface of the mold can create a pattern of ripples on the surface of the bead called chill marks. An experienced lampwork artist will “heat polish” these marks away with the heat of the flame.

Look for cracks especially around the bead hole, and also make sure the bead is free of nicks and burrs. Jagged edges around the bead hole can fray or even break beading materials. Also check the bead hole to ensure that all bead release has been removed.

Check For Details!

Lampworkers use a coating of bead release on the mandrel. The release keeps the bead from sticking to the mandrel so that it can easily be removed. After the bead is cooled, the lamp worker should remove all traces of bead release. Otherwise, this substance can coat your stringing materials and flake onto clothing.

Evaluate The Comformation

Evaluate the bead’s overall appearance. If it is round is it balanced? Granted, lampwork beads are handcrafted. However, the bead should be pleasing from all sides and the design should be symmetrical.

More experienced lampworkers tend to concentrate more on the finished elements of the bead such as a pleasing shape. Beginning lampworkers are more focused on the overall mechanics of operating the torch and are less focused on the finer details.

Ask if the bead has been annealed. Why is annealing important? The annealing process involves heating a bead in a kiln to a specific temperature and allowing the bead to slowly cool and relieve internal stresses. You are basically changing the internal structure of the glass to improve its durability. Glass beads that have not been annealed are more likely to crack or shatter when subjected to small temperature changes. Therefore, annealing is critical to their durability. It is an important sign of a quality bead that it has been annealed. And if you think about it, a reputable artist who has spent hours making a beautiful bead should want to improve the lifespan and durability of their miniature work of art.

Hopefully these few tips will make your venture into finding the perfect bead less stressful and more productive. No matter if you’re spending a small amount of money or large, you still should pursue quality beads. After all, you not only have money invested, but also your time in creating beautiful jewelry.

About the Artist

Joan Prichard’s love for glass started close to 20 years ago when she took a stained glass class in Columbia, SC. She later became intrigued with glass beads while attending the Glass Craft and Bead Expo in Las Vegas.

A demonstration by a glass artist at the show was her introduction to these delicate works of art and she began her own venture into crafting her own art glass beads. In 2008 she expanded her love for glass to enamels and began creating cloisonné as well as lampwork beads and jewelry. In 2010 she launched her online website for Sand and Surf Beads. Joan lives in Navarre, Florida with her precious kitty Havana.

Her work is published in Art Jewelry Magazines January 2011 Gallery and in The 2010 Flow’s Women in Glass.

Joan, thank you for sharing this information and your lovely work with us. If you would like to see more of Joan’s work, visit her here:

www.sandandsurfbeads.com

A New Year’s Treasure

A Treasure For A New Year!

Yesterday I received an e-mail from one of my Beading Heros, Margie Deeb. I thought it was a perfect article to start the New Year.

I enjoyed her message so much that I wrote to her and asked if she objected to my sharing it on my blog and beading club web site.

As always, she responded promptly and consented! So here it is:

Discovering the Treasure in Failure

“Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” -Scott Adams

As a creator, I’ve learned a lot about destroying. In order to create, we must destroy. It is a part of the creation process. Destroying makes the space for new creation.

We destroy a hank of beads so that we may order its pieces into a necklace. We destroy old ideas to make way for new. We destroy empty space to fill it with a new painting. We destroy a design that doesn’t work in order to create a new one that, hopefully, works.

I was faced with this last dilemma recently. Off and on, for the past 8 months I’ve been working on an intricate piece. I’d made prototypes out of rope that indicated that my idea would work and I was so excited. However, to see if it actually worked, I had to weave it together. After 60+ hours I realized that what I had created would not work like the vision I had in my mind’s eye. So I had to rip it apart. Did I mention it was 60+ hours of work over 8 months time?

I’ve come to realize that destroying is as much a part of creating as the act of creation. I used to resent having to destroy my failed beadwork, regarding those precious hours spent making it as squandered and meaningless because they lead to failure. I saw it as a waste of time. As I’ve matured, I realize that time is only wasted if I refuse to learn from the errors I filled it with.

When possible I save my beaded failures to refer back to what made them fail. In this case, I’d woven together a costly amount of beads that I needed to un-weave so I could use them. I spent hours pulling apart lovingly crafted rows of weaving.

For the first time in my 20+ years of beading, the destruction process fascinated rather than frustrated me. I felt I was watching portions of my life in rewind. As I unravelled, I relived the hours spent weaving while watching a Frank Zappa concert DVD with my husband. Then came memories of my trip to San Diego as I tore out loops made during the summer. Backwards I wove through the section of rows completed in July when we lost our Greyhound. Then the part I’d made during the last weeks of our Dalmatian’s life in March. I deconstructed the parts that I’d shared over lunch with two bead artist friends at a French restaurant. And finally, the very first rows I’d made (while my head spun with excitement) became shreds of thread and loose homeless beads.

As I ripped, cut, and pulled, I experienced-in the most tactile way-my methods of ensuring my work for posterity. I also cursed them. Overkill here and there, as I sawed apart six and seven passes of thread through one bead.

From this destruction emerged not only the space for my revised design, but also (and this came as a surprise) a more compassionate view of myself. Unwinding months of my life captured in thread and glass offered me a broader perspective of myself. As if watching a film, I saw a woman – in between the mundane and sublime moments of her life, the peaks and valleys, the joys and losses – quietly, methodically building something of beauty. Small and striking. Maybe not a masterpiece, but a creation that would mean something to her, and hopefully to others. I saw someone wanting, from the depth of her heart, to create beauty: beauty that will last and adorn and inspire others to create more beauty. Each fragment of thread and released bead illuminated that part of me that thrives on inspiring beauty, creativity, and excellence in the world.

It was an enlightening time of destruction. And at the end of it I felt wiser, more confident, and more excited about rebuilding my vision in a new way. Not a moment has been wasted!

I do hope that you enjoyed this as much as I did. Should you like to see Margie’s work, sign up for her newsletter, buy her kits or books, take an on-like course, read her blog, please visit her website. Here is the link:

http://www.margiedeeb.com/

Margie, thanks for your continuing support, generosity, and inspiration!  You are one of Beading’s True Treasures!

Beads In Poetry!

 

Beads
Beads are miraculous. Simply divine!
They mellow with age…like women and wine.
You can wear them, compare them, and simply declare them to be admonishously yours.
You can glue them, and sew them, string them, and hang them — anyway you can make them secure.
You can trade them, wrap them, physically trap them, snap them up quickly at sales.
They make wonderful gifts for the folks on your lists; whether bought or creatively yours.
It is best not to lose them, crush or abuse them, for beads have a soul and a heart.
And, as all beaders know, wherever they go, themselves and their beads seldom part.
 
Copyright 1985 by Pamela Pillsbury-Coca

 

 


“My Wife the Beadweaver”

My wife has found an art, she truly does enjoy,
It’s called Beadweaving and it really can annoy.
With all these beads and threads all over the place,
I know she is “addicted,” I can see it on her face.
She’s really dedicated to it, even making beads of clay,
Wow! Now she wants to go on a bead buying holiday.

Oh! for all her artistic effort, she’s certainly underpaid,
She even hoards her money, for beads that are custom-made.

All her other crafts, are carefully packed away elsewhere,
Now there’s a sign on the studio door, “Beadweaver at Work, BEWARE”.

She “beadweaves” with migraines and PMS, I know that she’s not able,
She keeps “beadweaving” with her head upon the table!

This month she’s designing a new pattern, much to her delight,
Now she planing another creation, until she gets it right.

The addiction to this art can be a distraction.
Since my wife can beadweave, I don’t get much action!

Here’s to her tedious undertaking and this art called “Beadweaving,”
I’d be happy if we could be alone, just once again this evening.

NanC Meinhardt, Artist and Educator: Gallery of Work

The Omaha Beady Bunch was priviledged to have a two day workshop on September 25, 26, 2010 instructed by one of the world’s truly great bead artists and an equally great human being….

NanC Meinhardt.

NanC Meinhardt

NanC says, “My days are spent exploring creativity, making art, teaching off-loom bead weaving techniques, selling beads, eating and sleeping: a full life indeed. Traveling and teaching beadwork across the country as well as overseas has extended my association with other bead artists. I am endlessly fascinated with how each person expresses his or her own creativity and expands the tradition of beadwork.

Beading is a meditative activity for me, allowing my mind to wander through the work of my hands so that each piece represents the sound of my soul. As I reflect on my life, I would definitely say, “I am most fortunate as this is as good as life gets.”

In addition to the projects presented in the workshop, NanC brought along some examples of her work.  I photographed them with her permission and am putting them here for reference and for the benefit of those members who were unable to attend the workshop.

Stick Art: View 1
View From A Different Angle
View From A Different Angle

NanC described her Right Angle Weave Stick Art piece to the group in attendance.

Close Up And Personal
Close Up And Personal

3 Bead Peyote, Stitch In The Ditch

A Tigher Shot.  The Silver appearing beads are stitched in the ditch.  Sequins and small beads encrust the center.

The Back Side of The Bracelet
"Froth" BraceletNanC described the fringe on this bracelet as "Froth". She demonstrated froth, more froth, and frothiest froth. If my memory serves me well the base of the bracelet is done in diagonal ndebele stitch.Back Side of Froth Bracelet
Close Up of Back Side of Froth Bracelet
Embellished Right Angle Weave Bracelet

This bracelet is far more gorgeous than my mediocre photographic skills portray. 

Back Side of Embellished Right Angle Weave Bracelet
Assorted Bracelets Using Various Techniques
Another Beauty!
Free Form Work

Linked Bracelet

It was such a pleasure for us to view her work and have her describe each piece.  I only wish I had recorded it all as well as photographed.

If you ever have the opportunity to take a class from NanC, don’t hesitate for one second. 

She is an excellent teacher and you will love being with her! 
NanC…thank you so much for coming to Omaha!  We thoroughly enjoyed viewing your work, learning more about beading, improving our skills and visions. Thank you for sharing a part of yourself with us!  
I am sure that “What If?” will be heard around our group for many years to come!