The Good, the Bad and the Ugly

I just sent in my request to join the SRA (a group of Self Representing Artists who work with glass). As part of the application, they asked for photos of my beads and where I made them. This is to try and verify that I really am making beads and not reselling another artist's work.

This is an excellent idea, IMHO, and I very much want to join.

This got me thinking, though, which generally gets me into trouble. Wouldn't it be better to ask for pictures of horribly yucky beads? Beads that no self-respecting artist would ever sell? If I could produce a picture of, say, a misshapen blob of puke-green with violet dots, they'd know for sure that I had the tools necessary to melt and shape glass. Hmmm?

Or, I could just send in this photo of some of my very first (bad) beads:

(Believe it or not, I actually wore this necklace--I love the colors--and people complemented me on it. Either they have poor eyesight, or they are *very* polite.)

My point is this: Many glass artists try to explain how labor intensive well-made lampworked beads are, but I can't find anyone showing pictures of how many things can go wrong in the process.

So, being the smart-aleck I am, and having many, many examples to draw from, I present to you a new Blog Post Series: How NOT to Make a Lampworked Bead.

Comments? Questions? Outraged Lampworkers? Comment away!

Kelley

Where do all the artists go?

Since being bit by the lampworking bug, I've spent hours searching the web for everything lampwork related: pictures of beads, flameworking videos, sites to buy glass, blogs about beads, and especially sellers of jewelry made with handmade lampwork beads.

You know what I've noticed? Many, many sites link to artists whose sites are no longer there! These aren't old links, either. It seems that on their way to finding what they really want to do, many people try out lampworking. Then they try something else.

I guess it's evolution of a sort, but I'm strangely bothered by it. I hope I'm still making stringers and shaping beads when I'm old and grey (okay, more grey). I can't imagine doing anything else. But who knows? 

Until then, I'm following the artists who've "hung in there." And making beads.

       

Kelley

Some Artists I follow:

Corina Tettinger - has the best bead newsletter ever 

Harlan Simon - makes easy-to-see and follow beadmaking videos

For the Kids

If anyone is in the Rochester, NY area this weekend, Studio 34 is hosting a bead-making workshop on Friday June 4 from 4-8 PM. We'll be making glass beads to donate to the Beads of Courage program, which awards kids with serious illness a special bead at various milestones in their treatment. I think this is a wonderful program, and Marilynne is terrific for donating torch time for this.

If you're not a bead artist, but still want to lend your support, stop by the studio! You can 'sponsor' a bead with a $5 donation to the cause and watch one of us create a bead of your choice to donate! (But you may want to choose someone more experienced than me for this. These girls are talented!)

Here's to a fun Friday!

Kelley

Burned!

Well, the honeymooon is over. My torch and I had a spat.

I was wrapping a bead with a short piece of stringer when I suddenly, stupidly forgot I was working with MOLTEN GLASS in a FIRE and REACHED IN to adjust the stringer. Whoops.
I burned my index finger pretty badly, but it could have been oh-so-much worse! I am grateful that all I have is a hot-head torch. My first thought after I got my finger under cold running water was, "And I had to get Chem-Pro for the extra 500 deg." LOL

Love and learn. (Yes, that was a typo, but it makes sense so I'm leaving it.)

I'm back at it, though. I was even out there melting glass with a big 'ol bandage on my finger. That probably wasn't so smart either, now that I think about it. But I'm still in love with each and every little bead I make.

:) Kelley