Many of us work hard to keep from becoming agitated. With me, agitation usually leads to anger and you know what that can lead to . . . don’t you? Therefore, I usually think of agitation as negative. Yet, the other day I read on a label for a new patina that agitation helps the process. Since I’m the type person who deliberately makes huge analogical leaps and repeats phrases out of context, I naturally had to continue thinking about how “agitation helps.”

If I go back to the original context of “agitation helps”, I can say that moving the solution around a bit while patinating the metal was supposed to help. What gets “moved around” when I become agitated? I think it’s usually my routine or the way I believe things should be that gets moved and this makes me agitated. Unfortunately, this context really does make agitation a negative; but is it really?

It seems to me that agitation often brings action and change. I remember years of working with volunteer forces in Louisiana trying to muster services for academically gifted youth. Our group often hunted for members when educational services were at their peak, yet when the legislature threatened to cut our funding or the schools committed some sin, our ranks swelled with eager voices. In other words, folks needed to be agitated about something in order to act. In this case isn’t the state of being complacent the opposite of being agitated? You can feel the silence when things are going well and be bowled over when people become agitated.

At this point, I might certainly break in to some political speech, but I’m not a politician, I’m a jewelry designer so how in the world can I make this big stretch? Actually, that big stretch happens almost every day when I want to be creative. I feel like I need to become agitated enough to change that with which I’m complacent and develop something new. What are the design problems that agitate me enough that I have to create something different? (I know that they say if it isn’t broken don’t mess with it. Yet, not everything unique and new comes because something was broken.) Following is an example.

Several entries ago I posted photos of a new wire weaving that I used for both necklaces and bracelet. Here’s a small photo reminder:

I liked the weaving and those designs, but was a bit agitated because I more or less copied the bracelet from a magazine and then made a necklace. Shouldn’t I be doing my own thing? What would be my own thing based upon this foundational design? How about . . .

The photo with the stone obviously shows abbreviated weaving on the sides. I thought I was being real smart by lessening the number of weaves, but found it very difficult to widen the distance between the main wires and keep a consistent weave. I actually did a better job on the first attempt as opposed to the smaller second try shown below.

My fourth attempt is progressing more easily than the others (no, you can’t see my third attempt!) if you don’t consider the fact that I got two of the main wires crossed in the middle. That’s why they are wrapped together and will soon be hidden behind a stone (psst, don’t tell anyone).

  I’m a little agitated about getting those wires crossed in the middle of this armature, but am now wondering about the possibility of intentionally crossing some wires . . . that bears consideration.

So, whether this entry leaves you agitated or complacent, I hope it at least provides food for thought the next time you get agitated. In fact, the next time you get agitated, I hope you do something creative! That’s my plan and I’m sticking to it.

One definition of squared is to set things straight. You can readily see from the new jewelry pieces below that even if I use square beads, I just can’t allow a design to be totally straight. After all, do any of us really want to be called “square?” I don’t want my jewelry to be called square either!

I’ve often thought that square gemstones were difficult to work with, but lately many of them have a nice little extra flair that’s too good to let go. These interesting stones have a slight curve in the middle that eliminates the flat surface usually found on square and rectangular beads. The stones below are jasper on the left and tigereye on the right. The stones in all the photos herein come from www.magpiegemstones.com.

The bracelets shown below may look familiar since they are made just like the dimensional bracelets that I’ve made for several years. I have previously done oval faces on them, but the square fits nicely on the wrist. If you have purchased the Dimensional Bracelet tutorial (,http://www.etsy.com/listing/77795508/dimensional-wire-cuff-bracelet-tutorial?utm_source=custometsywidgetword&utm_medium=api&utm_campaign=api) why not try it with a square stone?

I didn’t get good color in the photo below, but this necklace matches the bracelet above right.

You may have realized that the stones in the first photo are smaller than those in the jewelry shown. I have used the smaller jasper in a bracelet as well, but customers seem to prefer a big square if they’re going to get squared at all. I guess you may as well go all out! Originally, I tried making square wire embellishments atop the square stones, but found the curvilinear specimens more pleasing. They are also easier to create since the sides don’t have to be uniform as in a square. I wonder if this ease affects what I like . . . that bears consideration.

When I looked up the term squared, I thought some of the other definitions might ignite a design idea or two. For example, think about squaring a number and how that might create a design. (2 squared becomes 4 squared and that squared is 16 – you already knew that didn’t you?) I wonder how those numbers could create a design.

Another definition suggested the terms meant putting things at right angles. That too might provide the basis for a design (or have I gone to far). I’ll bet those of you with math anxiety already tuned out!

Whether you want to go mathematical or not, I think you, too, might enjoy designing with these newer square beads: but don’t go too square! People might talk behind your back.

I’m trying to get braver about the wire and metals I’m using. While copper is my mainstay, a few of my artist friends seem to be pulling me more into silver. I’m not easy to pull! In fact, if you asked them, I feel certain the word “stubborn” would be used to describe my lack of action. Lately, however, a few of the boutiques I serve have asked “can you do that in silver?” My quick response to the owners is usually, “I can try.” The silver has turned out to be a reasonably easy alternative for the designs and the pain of what I paid for the wire and sheet metal is eased when the silver jewelry sells relatively quickly.

I’ve tried to approach the use of silver as I learned to do in my Creative Problem Solving workshops by first stating a question. In what ways might I use sterling silver wire and sheet metal to create pleasing designs that are still affordable? There are a number of criteria inherent in that question including using as little material as possible while still producing a good design. The criteria create nice parameters within which to work. If I develop an idea that doesn’t fit the criteria, then I stop and revise it or throw it out. So far things are working reasonably well within this plan.

The pieces in the photos below show several new silver pieces that all required a little soldering. All of these were small enough that the cost was low and they stayed within the parameters for my problem solving. The earrings might have stayed in place without solder, but I wanted the waves in each direction to remain touching. They were bit tricky to solder.

Rings seemed an appropriate project since they don’t require much wire. The original ring with the heart was designed by my friend at Sherry’s Jewels http://Sherrys-Jewels.com. I made a variation that is adjustable and added a little solder to connect the loose end of the heart to the band.

The next ring design, shown with two variations is composed of four wires, each of which I soldered into a circle before placing them together. Each wire is about 1/2 inch shorter in length than the wire outside it. I then fitted each circle of wire inside the other and soldered in appropriate places. This one is adjustable as well. The one on the right is an overlapping version while both ends of the rings are meant to show on the left one.

I used some left over wire to make the wire ring for the leaf necklace. The ring was soldered and then shaped and textured. The leaf is made from the foldforming technique mentioned in a previous post.

I consider this type necklace a collage since the dangles are an eclectic collection or things. This one also features a copper wire dragonfly and hangs from leather.

I have found that silver wire handles a little differently than copper and due to its lower melting point I have to be more careful with the torch. Yet, I think practice will work these things out and soon I’ll be braver about the size and cost of what I’m making.

Speaking of silver . . . I regret to inform you that I found a tiny bit in my hair the other day. I’m fortunate to not yet have to color away any gray and found that little silver on the side snipped right away with the scissors. If you see me out and about one day and note a small bald spot on my head, you’ll understand what happened.

I knew it was over when the pickup pulled up in front of the house with shovels in the back. The driver got out and started digging a hole beside the fence, but I couldn’t watch.

Soon thereafter, I heard the car arrive. I watched out the front window as the men gently took a box from the back of the car, carried it to the hole and put it in. As they began to shovel dirt back into the hole, I couldn’t think what to do. I turned away, not wanting to look any more, and almost ran into the big grand piano. Sitting on the bench, I softly played Amazing Grace. This was not planned and it seems a bit corny, but it was the only thing I could think to do. My dog, Cheyenne was gone.

I believe when its time, we must let our pets go and not allow them to suffer. This ten year old dog had multiple problems and it was her time. I also believe that the best way to get past an event like this is to tell stories and Cheyenne gave fodder for many a tale. These have continued to pop into my mind for the last few days.

I can’t possibly tell them all here, but suffice it to say that she was a spirited dog. She gave us beautiful puppies and she showed me that a dog can feed eight of them while standing up.

A dog can also survive being sprayed by a skunk, bitten by a rattler and giving birth through a C-section (among many other calamities).

She also showed me that even when your legs hurt, you can still run flat out at least one time. Then, you can take your ball into your dog house and rest for a while.

Cheyenne didn’t like veterinarians and even tried to bite our vet during her very last moments. As I said, she was a spirited dog.

She left the lucky few with beautiful progeny, many of whom went on to be good cow dogs at other ranches.  I’m privileged to have kept her daughter Frosty who then produced our alpha male, Bruno.

Cheyenne was the kind of dog that would lick your face and then turn around and bite your hand if she didn’t think you were doing right. She had her bluff in on all the other dogs until age and Bruno took over this past year.

We will miss Cheyenne, but if you’re going to have a pet, you have to be prepared to let it go when it’s time. For Cheyenne – it was time.

I would like to believe that the verb “weave” implies compatibility. Woven garments and rugs come together with complimentary colors and fibers whose blend creates something of beauty. Tapestries and other wall hangings do the same as the threads weave together in harmony.

Families, communities and cultures are also woven and consist of unique individual “threads” that come together to produce the whole. I’d like to believe that the majority of these result in compatibility, but know this isn’t always the case. I do, however, appreciate the idea of being woven into a family where I can retain my individuality yet mesh with my loved ones to create the personality of the group. (We do have personality!)

I think it is interesting how our personalities and mannerisms may vary slightly when we are woven with different groups of people. Just as the other threads of a woven art piece can affect the look of the individual fiber, people influence one another. Some human tapestries bring out my better side while others do the opposite.

Many years ago we lived in Alexandria, Louisiana. There was a weaver in my housing edition and I could see her loom in a big window when I went on walks by her residence. I often thought it might be relaxing to learn this skill. It seemed the ultimate art form resulting from knowing just what fibers and colors should be brought together; yet I never felt this was my artistic calling.

I also admire those jewelry artists who do a beautiful uniform job of wire weaving. I find it to be a difficult technique to master, but refuse to give up. This week I noticed a bracelet design in one of the bead magazines at the bookstore. (Yes, we are lucky enough to still have a bookstore!) The bracelet featured a weave I hadn’t yet tried; so I read the directions and went home to make it. It’s true that I’m often refuse to buy the entire magazine for just one thing I like. Shame on me!

The picture immediately below shows the first piece I tried. It was going to be a bracelet, but I couldn’t ever quite get the clasp right, so it ended as a necklace. I used 6 copper wires as the basis for the weave. They wanted to curve and I let them.

I wanted to see if I might include beads in between the weaves and tried adding small blue seed beads on the second necklace. I would have liked using larger beads, but found they created too much distortion in the shape. You may note some of this even with the tiny seed beads.

After practicing on two necklaces I decided to try another bracelet and used nine base wires in this. Again I worried with the clasp for several evenings and eventually found that with nine wires, the bracelet really didn’t require a clasp. You can see from the photo that I simply swirled the wire ends.

There are many other methods for finishing these, but this seemed appropriate at the time.

There is a certain rhythm to weaving. I thought the repetition would be tiresome, but find it somewhat relaxing in its tedium. Wire weaving, however, lacks some of the personality of weaving with fiber. I’ve yet to discover any surprise regarding how the wire will come together; perhaps I’m too new to the adventure. I think, however, that my next weaving will include some colored hemp along with the wire in order to play with a broader spectrum of possibilities.

While I continue to practice this wire weaving, I likely continue considering what I bring to the tapestries in my life and will hope to add something positive to each. By doing so, perhaps I can influence another “fiber” to do the same.

What have you woven today?

Long time readers may recall a blog entry some time ago wherein I wrote about “pickle pants”. I was referring to the holes that I found in my shorts after dripping pickle across them after I soldered something. If you aren’t familiar with pickle, it is used after soldering to help remove fire scale. I heat my pickle in a small crock pot so it works faster than cold pickle.

Yesterday, rather than dripping the pickle across something, I managed to splash it. My copper tongs weren’t working well as I attempted to grab a small piece of wire from the crock pot and I bent over the pickle to look at it closely. Just as I peered in, the tongs snapped sending splashes of pickle onto my face. Although it only felt wet, I knew I should wash it right off. I wasn’t sure if any had splashed into my eyes, but ran upstairs and used my special eye wash to thoroughly wash my peepers. At the same time, I said a audible “thank you” to my son-in-law who purchased and mailed me the eye wash that I mounted above my sink. He said he wanted me to be able to “see” his son as he grew up. I think he’s a very smart fellow.

When my wits returned, I wondered why I take my safety goggles off following soldering and before I rescue pieces from the pickle. From now on, I’ll be leaving them on until I’m ready to leave the torch room.

I was lucky, the pickle on my face caused no harm – just a bit of excitement. It was, however, a big reminder about safety. When I rush around or when I’m totally comfortable with a potentially harmful technique, I think I tend to wave some precautions. This is just STUPID! If I don’t watch out for my health, I won’t be making jewelry or anything else. How about you? Let’s all be careful at whatever we are doing and stay safe!

By the way, if you don’t have a son-in-law like mine or husband like mine who makes me torch in a safe environment, get yourself a surrogate. We all need someone to watch after us.

I’m preparing for a few art/craft shows in the Fall and thought I would get a jump on making some small, inexpensive items that could be stocking stuffers. Last year, I made a healthy number of wire bookmarks. There were wire cats. dogs and rabbits. This year I had visions of other wire animals hanging from the shepherd’s hook bookmarks. I was happily working on these when I happened to glance across and see my husband who was reading. Then it hit me. Someone moved my cheese!

If you are not familiar with this phrase, it is derived from the title of the 1998 book by Kenneth Blanchard  Who Moved My Cheese? (http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=Who+moved+my+cheese) Companies and educational groups bought this book by the dozens and used it to make employees cognizant of the fact that times are changing and we need to be prepared to learn new skills and to problem solve. Many of us who were “encouraged” to read the book felt we could have gotten the idea with a simple memo, but hopefully it made a difference to others. The full-day workshops on the topic were a bit much.

My “cheese” realization” came when I noted that my husband was engrossed in a book on his IPAD II and no longer needed a bookmark. With the onslaught of electronic readers, I had to rethink the number of bookmarks I might need this year. Many of my friends and customers who are readers no longer need bookmarks.

It was fortuitous that I realized I might not need so many bookmarks this year before I made a hoard of them. I garnered my bookmark energy and set out to find something else small that I could offer at the art shows. I’m currently working on a few very small pendants/charms that could go on a chain, bracelet or a BOOKMARK.  (Surely, that cheese didn’t all move away.) Unfortunately, these little things take a bit longer to make, but I’m sure I will get faster as I make more and more.

The charms with a religious theme might work well combined on a bracelet or simply as a single charm attached to a beaded bracelet. Surely something will hatch before long.

In the meantime, I’ll be making just a few new bookmarks and trying to pay close attention to any other cheese that has been moved since last season. Of course, it would certainly be exciting if I had a clue what customers want ahead of time. But where would be the fun in that??? I’ve just got to follow the cheese, but in the meantime it’s important just to realize that it moved.

Yes, the title is a made-up term that has nothing to do with math. Anyone with math phobia can continue to read this. The term could stand for multi-tasking or something else. Its meaning In this treatise follows the basis of multitasking; yet it means doing something that requires several steps of design planning to occur at the same time on multiple strands of beads. I think that makes this a double multiple task . . . ?

I was multipling for several days this week as I worked on a couple of articles/tutorials for Magpie Gemstones (www.magpiegemstones.com). The first has been published and the second will be out this coming week.

Creating with multiple strands has always been a challenge for me; but this week I remembered a piano pedagogy instructor from a long ago workshop in Dayton, Ohio. She said we should attack our weaknesses. Sometimes I’ve felt I should just avoid my weaknesses, which I prefer to call areas of challenge. This week, however, I heeded that instructor’s words and attacked.

I read the available information online and watched a few videos. Then I commenced to work on my own pieces. When multipling, I had to consider the length of each strand in relation to the others, the bead placement in relation to the strand length and the placement of multiple strand spacers and connectors which somewhat alter strand length. Please don’t ask me how many times I restrung things before I got everything in sync. The two pieces immediately below are thoroughly discussed in Creating Multi-strand Necklaces: Part I http://www.magpiegemstones.com/mutlistrand1.html 

Part II of this discussion, soon to be published, discusses clasps, connectors and spacers for multi-strand pieces. The bib style necklace with leather and the three strand necklace below are featured in that article.

I was enthused enough about multi-strand pieces to go ahead and purchase a fancy clasp for one at the bead show I attended today. It was so pretty, that I decided to use it in the front of the choker style necklace. I don’t make much bling, but I liked this clasp. So, there I sat at the workbench again – multipling.

Now, I need to get back to singling rather than multipling and stop making up new words!

I’ve always thought that when trying to learn something new you should work from big to small. Remember those first prereaders in Kindergarten? The one or two words on each page were quite large compared to the first grade readers and then chapter books and novels. The print got smaller and smaller as readers progressed in ability. (Of course, as we grow older, that print has to grow larger and larger due to failing eyesight issues. Of course, I can’t personally speak to that! Ha!)

In teaching piano, I found the big to small postulate to be the same. We started with a few large notes in songs and went on to hundreds of small notes and intricate passages. When my friend and I were trying to help little four year olds learn more efficiently, we developed musical notation with relatively large circles and ellipses that most little ones found easy to read. My engineer husband provided us with the appropriate drafting tools to write Keyboard Kapers, a book of original songs we used with the little ones. I wonder how many little pianists played songs about “my dog Blazer” when they were learning from us and the teachers with whom we worked. As the young pianists grew more proficient this notation gradually became the more common smaller notes we see in traditional music.

Having found success with big to large in the aforementioned reading formats, it seemed natural for me to apply this idea to learning to make jewelry. For example, when learning to make soldered bezels, I made large ones first and found they were easier than the tiny ones I’m trying to create now. I currently still have trouble and sometimes melt those little pieces of silver while encouraging my solder to hurry up and flow. Big IS easier!

Fortunately, a couple of my friends recently showed me how to use small premade bezels and snap sets for the tiny stones I wanted to work with. I purchased these from Rio Grande Jewelry Supply. I have always made large pendants, but decided I was ready to grow up to smaller pendants using this new bezel setting technique. My bravery extended as I also used more sterling silver that I usually do.

These pendants were not intended to look like anything in particular. I just wanted a pleasing shape that would house a little jewel. The first and second pictures show pieces that have rubies set in snap sets.

The next couple of pieces show peridot in snap sets. The first one IS NOT a bug!

Finally, I became brave enough to try a larger piece composed of more components. It’s still relatively small compared to most of the copper work that I do. Someone already told me it doesn’t look like my style since it is more formal. See what you think.

The photo on the left was taken from an angle and makes the piece look somewhat “off” Yet, it is symmetrical – my picture taking just isn’t! I wrapped a stone to hang from the basic silver armature and can change this out to other stones with the jump ring attachment.

Big to small is still working for me with one exception. I quickly realized early in learning about wire working that manipulating heavy gauge “big” wire is more difficult for me than working with a lighter gauge “small” wire. When you’re working with wire and have to sound like a tennis player who makes a noise every time she serves, it’s probably time to get a light gauge wire!

Before I begin, let me assure you the above title is not a statement about marriage.

Do you play with wire? One of the most enjoyable parts of playing with wire is manipulating it in various directions just to see what it does. There’s something relaxing about the freedom of working WITHOUT a pattern or a set idea of how a piece will turn out.

Art is one of the few places where the guidelines for problem solving are so open. For example, we’ve recently had a problem here at the ranch and needed a prescribed outcome. There was absolutely No Freedom regarding how things should turn out. When your irrigation pivot won’t run and you have to problem-solve a solution, you want the outcome to be a pivot that runs! (0bviously!) In art, however, the outcome may be unexpected, yet appreciated.

I have worked with what I call “double wire” designs for several months. You may recall the necklaces shown on May 28 which were double wire designs. The Chaos Necklace series has pieces that also begin with the double wire idea.

Today, I wanted to show two of the newer pendant-type necklaces that have hatched as a result of playing with the double wire idea. Both of those shown below feature tourmaline that I purchased from Magpie Gemstones (www.magpiegemstones.com). I actually used just one strand of tourmaline to complete both of these pieces and have also used some of that strand for other things. It was a good buy!

It’s interesting to see how different this style turns out when the wire starts in the same manner.

I’m not sure why I call is double wire, since all the pieces are made from a single piece that doubles back on itself. The challenge is how to make that single wire into a pleasing configuration. Give it a try and see what you can come up with.

If you aren’t a wire worker, just play around with drawing the way the wire might go. By the way, if you come up with something exciting, send it my way!!!

Freedom to play around can be found through many venues. It might be the way you dunk the basketball or a new dance move. Perhaps you play around with a new configuration in arranging a shelf full of books or nick knacks. I think that freedom to play around is just as much an attitude as an action. Am I stuck doing things the same old way, or am I free to try something different? Am I free to let those around me try something new?

Lest one of you takes the above to heed and get’s fired, I should remind you that we need to choose appropriate routes to freedom. If your boss isn’t into it, take care. If you ARE the boss, why not give an inch? We could all stand to play around just a bit more.