1. What is your personal name, business name,  website and location?  My personal name is Lynn Davis, and my Etsy shop  also uses that, www.lynndavis.etsy.com. I'm a native  Texan living in the midwest almost ten years, at the moment in Saint Louis,  Missouri. Lots of artists and hot glass creators in this town, it's all very  encouraging.  The blog is at http://z-llyynn.blogspot.com/ - the 'z'  in front comes from an accidental typo years ago on some junk mail, and suddenly  getting mail for ZLLYYNN, which I thought was fun and decided to use. Currently  have the art bead Etsy shop, it's the newest one at www.expeditionD.etsy.com, and the  finished jewelry is at www.lynndavis.etsy.com.  I  originally had both in the same location but found it was difficult to keep them  together. I try to be a consistent blog writer, adding photos and new resources  almost every day. I take pictures of the process and focus on studio safety,  having heard too many artists say that they wish they had used more safe and  healthy practices in their creative activities.    
 
2. What kind of jewelry do you make? What types of  materials do you prefer? what kinds of art beads do you use?    I like making jewelry that seems to have a hidden  story, a sense of history and mystery to it. I am learning to use any materials  needed for the piece, including metal, wire, fused glass, etched and beveled  glass, sheet metal and polymer clay. I use different materials to make the  parts, I don't try to make polymer clay look like glass and use glass instead.  This has made me a student in the school of trial and error, not having a formal  education in any of these. I recently got a small torch and am learning how to  work with fine silver, and occasionally I use precious metal clay to make charms  and components. 
  
 I think of my jewelry as faux-tiques or replicas  and invented impossible objects. I use beads that come from molds I've created  in polymer clay, carved or made off actual vintage items. No doorknob or  faceplate is safe from my mold making materials! Travel is great by introducing  new images and styles and helping the faux artifacts to have that sense of  actual history. When possible I track down actual vintage pieces and purchase  them, not to disassemble and re-purpose, but to act as inspiration and  authentication for my creations.
  
 I've started to collect interesting bits of metal  from cans, boxes and packaging to explore using as found objects in the jewelry  and making domed beads or settings with them. Some of the imagery on packaging  is very visually interesting.
  
 
3. How did you get into jewelry design? What are  some of the important things you do for your business?
  I love wearing jewelry, especially unusual and one  of a kind pieces, and when I started out it was more difficult to find the  vintage and faux vintage findings and pieces to use, so I started making my own  pieces to wear. I make each piece, whether bead, component or finished jewelry,  as if I were going to wear it myself, so the feeling and style of the pieces  reflect my taste. I don't try to follow trends or other artists' successes  although it's impossible to work in a vaccuum so other artists do influence me.  I read a lot of books, especially those set in other times and places, to give  my mind something to work with in creating, as I believe the inventor in all of  use needs a spark to get started. 
  
 


4. What is your workspace like and how do you work  in your studio? What is a typical day like?   I moved into a house here in Saint Louis and have  two studios. The reason is that some work needs lots of natural light and is  clean and needs to stay pristine, and some activities are messy, create fumes  and shards, and need a spot away from the main living area to vent, hose down  messes and keep away from food preparation and eating. Studio A is upstairs with  natural light, where the assembly, photography and computer work is done. It's  large and airy with a big closet for storing the bead supplies, buffer and  jewelry tools. Studio B is in the basement away from the living areas, with  large sink and tools dedicated to jewelry making. No food or drink comes into  Studio B, because of the flux, patina chemicals, glass cutting areas and other  things that shouldn't be eaten or drunk. Jewelry and beadmaking is messy, that  comes as no surprise I'm sure. All the hot tools (dedicated polymer clay oven,  butane torch, soldering iron, kiln) are in Studio B. There are vents and fans in  the windows to remove the fumes, and a fire extinguisher that has never been  needed but is always handy. 
  
 I'm very lucky to have two spaces that can have  work in progress available and set up all the time, because I grab moments when  I can to do little bits at a time. On the weekends I do the parts that take a  long time, like setting up the glass for fusing, so I can kick off a kiln load  in the evening, or get up an hour early and make some wire work before I leave  for the day. 
  
 
5. How do you stay inspired and  motivated?
  I don't make the jewelry full time, so every piece  is very special to me. I carry a 3x5 card spiral bound notebook with me to catch  fleeting ideas, or make notes. When a new piece of glass comes out of the kiln,  I carry it in my pocket and look at it for a couple of days to get a sense of  what it will become. The fun thing about jewelry is you can always have a  do-over, if something doesn't quite look the way it should it can be taken apart  and the units made over into something new. Cut the glass and bevel, fuse again  and make a new piece.
  
 I get bead and finding catalogs and look through  them to let the shapes, colors and styles inspire me. I know it's not possible  for me to cast my own brass (although I've considered casting pewter) so I let  the images become part of my visual vocabulary and later influence my work. When  I'm creating, I try to stay open to anything that happens and not consider  anything a success or failure because too many times I have gone back to a  component with fresh eyes and seen a different aspect of it. 
  
 Movies can be very inspiring, especially period  pieces where the jewelry and costumes are from an earlier age or a different  geographical location. Science fiction shows also have interesting textures and  images in the sets and costumes. Just being open to images as they present  themselves.
  
 The motivation comes from the fact that if I'm not  creating, I'm incomplete in some ways. When I first moved to Saint Louis all my  art supplies were packed in storage for six months and I found myself drawing  with pencil and paper just to have an outlet. Creating and inventing is  automatic to me, I've always done some kind of creative work. Narrowing down to  jewelry was the difficult part, I also enjoy making handmade books, spinning,  dyeing and knitting yarn, and fabric dye and surface design. I also do collages,  and use the paper images to make my handmade shipping boxes. 
  
 
6. What kinds of art beads do you look for? Is  there a bead you wish an artist would make for you?   I love glass lampwork beads, and because of my own  torch fears I have not gone toward making glass lampwork beads. There are  vintage cast glass beads, very time consuming and highly detailed, that I wish  were being made today but they would be difficult to replicate today. Cast  pewter beads amaze me, especially those with high levels of detail or words and  phrases cast into them. Artists are doing amazing things with polymer clay, lots  of color and very contemporary images and textures.
  
 
7. What beady plans do you have for the future? Do  you have new designs or ideas you will be exploring soon?   I like to develop new techniques and do the testing  and research/development to get the materials to respond to my needs, at the  moment I'm working with glass and enamels, to find ways to fuse them together to  get the vintage glass looks I want. I'm experimenting with using my bevel  grinder to turn the fused glass pieces into gem-like faceted glass, both clear  and colored glass. I'm testing ways to combine my printmaking and fabric surface  design techniques for mark-making into polymer clay and glass to create unique  focal components. The article in the Spring 2008 Belle Armoire Jewelry Magazine  was on using molds with polymer clay to make distinctive pieces and how to  antique and patina them. In the Summer 2008 Belle Armoire Jewelry Magazine the  next article is on image transfers and using translucent polymer clay to create  highly glossy finished items that look like enameled copper. 
  
 I'm excited about getting the etching solution to  use on copper and creating some metal designs with vintage images and lettering  on them. I have this idea about making faux scientific instruments like  astrolabes and compasses with moving parts and metal connections, that look like  artifacts or machine age implements.  
  
 
8. If you have a discount code you would like to  give our readers, please list it here, including the expiration  date:
  ARTBEAD-4-16-2008 for free shipping and 10% off  purchases in either Etsy site for beads or finished jewelry - Expires  5-1-2008