Studio Saturday - Hello Van Gogh!

Welcome to Studio Saturday! Each week one of our contributors gives you a sneak peek into their studio, creative process or inspirations. We ask a related question of our readers and hope you'll leave comments! As an incentive we offer a free prize each week to bribe you to use that keyboard. The following week we choose a random winner. Last weeks winner is Lucky Designs Jewelry, Congratulations! You have won two swirl heart buttons from Creative Impressions in Clay. Send us an e-mail with your address and we will get it right out to you.

Come on it to the Humblebeads Studio this week, well it's more like a factory than a studio at the moment. We are high-gear-production-mode making more Van Gogh beads than you can shake a stick at.

And why am I so busy this week? In part thanks to Lorelei's amazing Van Gogh necklace design that is in the current issue of Bead Style magazine. (I'm also in Stringing, Bead Star and Bead Trends this month!) This is such an original take on using my spacer bead. I had originally designed these beads to use as a spacer/focal bead for multi-strand bracelets. The etched copper is from Jennifer Stumpf, love it!

Bead Style this month is packed full of artsy goodness. The editor paired quite a few projects inspired or relating to famous paintings. I'm telling you, there is a trend there. Go check out a few art history books this week if you are need of some jewelry inspiration!

So my question for the week: I currently offer my Van Gogh beads in cuffs and disks, what other shape/style of bead would you like to see in this design? Leave a comment to win a Van Gogh cuff bead.

Jewelry Designer Interview Part Three - Finding One's Own Unique Voice

NINA BAGLEY INTERVIEW CONTINUED – PART THREE

The Storyteller Tells Her Story. Part the Third.

A Three-Part Art Bead Scene Interview with Beadmaker and Jewelry Designer Nina Bagley


In this third and final post installment continuing my on-line conversation with Nina Bagley, I went even further beyond the questions from the set that are usually asked of Jewelry Designers on Art Bead Scene blog, past her inspirations, aspirations and what's next for her designs, and directly to a subject that has some controversy and is thought-provoking for all of us who are creative makers, about the role of teachers and students, and the sometimes difficult path to finding one's own voice and expression.

As many of us do, Nina has a request on her blog reserving her original photographs and words against use without her permission.

Nina teaches at Artfest, Valley Ridge Art Studio in Wisconsin and at Art and Soul Asilomar in 2009 and recently returned to her home from teaching in 2008 at Ocracoke, so she has a deep well of experience from which to speak about this topic.

Nina did not back away from having a very frank discussion about this highly debated and well-considered issue. I've seen well-known jewelry design magazines and publications devote large parts of their 'Letters to the Editor' section discussing the boundaries and limits of copyrights and respect for others' originality of design. Nina has been deeply involved in this thought process, and here's what she shared about the subject with all of us.

ABS: When you teach your methods and processes to others during your classes, you are sharing a lot of information and insight into how you work, and those who learn from you will be applying those methods to their work after the class.

How do you encourage the process of finding one's own voice to express new ideas?


Okay. Are you ready for my soapbox?


This is a very sensitive subject for me, and one in which I take a very strong stand. This stand has cost me friends, blog readers, and relationships with a certain magazine in which I once frequently published my work.


It is a subject that has also caused me to step back, reevaluate the teaching part of my income and has caused me to reach the very risky decision of cutting greatly back in that regard. I do teach techniques, and have been told by countless students that I am very generous with what I share. My classes fill without fail, so I know that I’m satisfying their needs, I know that they’ve left the workshops happy and rewarded, because there are many, many loyal students who return again and again to take my classes.

What bothers me deeply is the level of imitation that I’ve seen surface in this art community in the last couple of years. There is a similarity of style out there now that greatly resembles my own designs, and I find myself questioning which came first – my work, or theirs?

There have been quite a few instances of students taking my workshops, then proceeding to submit artwork and instructions for magazine publication. There have been workshop designs that have been submitted while I’m still teaching that project, that design, and the publishers have no problem publishing these knock off “creations”, in spite of my consistent protests.

Yes, I teach techniques; yes, I encourage students to go forth and make designs of their own. What I do not encourage, and what I warn against, is a student leaving a workshop and then beginning to create jewelry that is alarmingly similar to my design in style, in “feel”.

I’ve written publishers regarding this topic, and have been completely ignored. I want people to create after my workshops, very strongly; what I want even stronger is for them to develop their own style, one that is uniquely their own. What is so wrong, so selfish, with that?

Yet I’ve been talked about with great disdain over this topic, over my taking a firm stand for what I believe is morally wrong.

And with this, I heave a huge sigh. Writing these words will most assuredly just stir up more grief and conflict, will cause uproars in certain little circles. It hurts when I’m accused of being “mean”, when I’ve ridiculously been threatened with a lawsuit, when I receive the occasional nasty anonymous letter, when an acquaintance calls me long distance several times and urges me to confront certain designers, and then inexplicably turns on me.

Someone wrote a comment [on my blog] that I should “expect” my designs to show up in students’ work if I teach classes, that I should stop complaining. And my response to that, as I’ve already said, is that I teach techniques – not style.

And now, those very same designers are now teaching classes, with the same style and techniques, of their own.Thankfully, those people are few, and I stand firm in my conviction … part of the price of being published with frequency, I suppose, for all these years, of filling classes successfully, of selling my jewelry consistently.

But the conflict is a very uncomfortable and difficult burden to bear.

ABS: Thank you so very much, Nina, for the insights and background about your beautiful handmade jewelry, hand bound books and all your other inventive creations, and for being willing to discuss every kind of topic without withholding.

It was such fun thinking about questions I'd like to ask you if we were sitting down together at tea, and you answered so generously, honestly and graciously!

Lynn, thank you for inviting me to be interviewed; and thank you for asking such insightful, thought-provoking questions. It was a pleasurable way to spend the greater part of my Sunday morning.

Now? On to cleaning up that studio!!!! xo

This concludes the three-part interview with Nina Bagley for Art Bead Scene, I hope you've enjoyed it and it has caused you to think about things you might not have considered, and sparked new sources of inspiration. I was privileged to have this conversation with her, and look forward to all her new designs and ongoing creative outpouring in 2009.

Posted by Lynn Davis – with deep gratitude to Nina Bagley for her participation and her past, present and future gifts - All photos courtesy of Nina Bagley (copyright 2009)

Jewelry Designer Interview Part Two - Insights and Inspirations

NINA BAGLEY INTERVIEW CONTINUED – PART TWO

The Storyteller Tells Her Story. Part the Second.

A Three-Part Art Bead Scene Interview
with Beadmaker and Jewelry Designer Nina Bagley

In this second post installment continuing my on-line conversation with Nina Bagley, I expanded the questions from the set that are usually asked of Jewelry Designers on Art Bead Scene blog and asked some directly about her inspirations, aspirations and what's next for her designs.

Nina was so very generous with her responses, and here's what she shared with all of us.

ABS: I know you've been making jewelry for over twenty years, and you have taught many people in that time. Who were and are your mentors and inspirations?

I started making jewelry as an extension of 3-dimensional embellishments that I created for pillows, then sweaters, then fabric belts that featured layered scraps of antique lace; the embellishments consisted of antique beads (glass, pearl), antique lace ribbon, and velvet ribbon.

As the embellishments grew more dimensional and focal, I realized they would make lovely brooches, and then necklaces. This was in the early 1980’s, when I lived in Chapel Hill, NC and was doing free-lance artwork / sewing design for a small exclusive shop (Lavender’s) that featured antique linens and jewelry. I can’t really remember any particular influence or inspiration at that time. I think that perhaps Glenn Lavender himself was a large inspiration to me, as he loved antique textiles and beads, and encouraged me to incorporate these things in my work.

When I moved back to my hometown of Montgomery, Alabama, I began making mixed media jewelry to sell in art festivals, then in my home at Christmas.

My mentors now? Currently I give a big nod to my online friend / student Minnie Helvey, who sent me a simple, beautiful little choker of leather and silver charms for Christmas. I have worn it every day, and have since then begun to work in leather with my designs. Minnie has been a great encouragement, and has sent me gifts of leather scrap and leather tools for my work.

I also love the work of British textile artist Cathy Cullis, and own quite a few pieces of her designs (and have given several pieces of her jewelry as gifts to friends).

I owe a lot to my friend Lesley Riley as well, who is an accomplished and greatly talented fiber artist; we’ve been friends for going on ten years, and although we live hundreds of miles apart, we spend 20 or 30 minutes (or more) most mornings chatting online about art and life. Lesley has listened, encouraged, given honest feedback about my work, given me many wonderful ideas to use as starting points.

As for actual canvas artwork, I’ve loved the work of friend Misty Mawn for several years, and have been inspired by her as well. Although we’ve gone in different directions with our work, I continue to be in awe of what she creates with her hands.

Well known artists include Andy Goldsworthy, who creates magnificent works out in nature, of sticks and stones and flower petals and ice. One of my life dreams is to work with Andy – one can dream, right?!


ABS: You do a lot of travel for teaching, even internationally. How do you balance being creative and expressive in your own work with the preparation and energy required for teaching students?

That is a very interesting question, considering that I’m in the process of greatly cutting back my teaching time – a decision that has come after much thought, meditation, prayer, discussions with friends. I’ve taught all over the world at this point, and have taught with great regularity in this country for the past nine years. Nine years, going on ten! When I write that, I find myself raising my eyebrows in disbelief that it’s been so long.

I remember the first class I taught, at Artfest in Port Townsend, Washington – all the way back in 2000. I was petrified, and not sure of what to say, what to discuss. A friend recommended, when Teesha Moore wrote and invited me to teach, that I do it with a co-teacher; this was not the easiest decision, and the first class had its ups and downs with the juggling of who taught what. I’ve learned a lot since then about the role of teacher and the role of student, and can honestly say that I now know what constitutes a good class. (and, I might add, I am a very poor student!!).

There is a huge amount of work involved in the weeks leading up to teaching a workshop; my classes usually include a kit, and with classes holding upwards of 25 students (sometimes more, in the case of Artfest) I spend many a day planning the class, writing the description and handouts, pouring over the materials list to make sure something is not omitted (or that too many things will go unused), purchasing supplies for kits, assembling the kits themselves. Travel is expensive and exhausting; I more often than not fly to teaching venues, rent a car, drive added hours after arriving at the airport to reach my destination. Time change makes it a challenge as well, when traveling from the east coast to west, and back again.

And, finally, there is the challenge of remaining fresh, of coming up with a project for class or a collection of techniques that have not been previously taught. Is it worth it? Usually, yes. The joy comes from seeing students who had, prior to coming to class, been afraid to express themselves, to learn a new technique. “I’m not an artist, I’m not creative”, they say before we begin; and by day’s end, they are beaming with pride.

ABS: Do you prefer teaching with a group or creating in solitude?

Currently? I’m beginning to savor the luxury of creating in solitude. Exposure has had its costs, its penalties. I’m happiest when creating in the solitude of my tiny little cluttered studio, when feeling the flow that comes from uninterrupted creativity. I’m not sure how much longer I’ll continue to teach; I’ve been at this, as I said earlier, for many many years, and am just not sure how much longer I’ll be able to keep up the stamina, to stay fresh, to feed the demands required from an instructor.

ABS: Along with the jewelry design and creating personal adornments to be worn, you also create collages in the shapes of boxes and books. How did you get started making jewelry, and if you have a preference which do you most like to design, wearables or non-wearables?

I began making jewelry after designs on embellished sweaters, belts, and pillows became more and more dimensional (picture a central item on a taffeta wrap sash placed where a buckle would ordinarily go; picture it being dimensional, with rumpled lace, sewn faceted glass beads, a metal cherub, and you’ll see where it began).

When I look back at the pieces I first created as jewelry (brooches, first, then necklaces followed), I’m amazed that I’ve reached the level where I am today ….

Those items were mostly textile, embellished with antique bits and pieces (remember this was 1983 when I began) such as watch faces, antique broken jewelry, tiny glass bottles created from, of all things, decorative grape clusters of glass.

The books followed later, when I began reading Teesha Moore’s Studio zine, back in the late 1990’s; I was very, very inspired by the work that she shared with the world, and began creating art journal pages late at night when I was going through a divorce.

I credit artist Janet Hofacker with inspiring me in this regard, as well; I ran across an issue of Somerset Studio that featured her art journal on the cover, and filled an entire inch-thick blank journal within a month or two. And, just as with the textiles that leapt from clothing to jewelry, I began taking my journal work outside of the pages and onto boxes. It was only natural that I then began to make art books from scraps of old books and findings, using jewelry techniques to bind and adorn.

Which do I prefer, as far as wearables or non wearables? I’d have to say the jewelry, but it is a tough choice to make. Both pull at my soul with great intensity and strength.

ABS: Many of your pieces incorporate things from the natural world, like stones, sticks, feathers and insect wings, in a lovely way that is very natural. What inspires you to use the items from nature and what does it bring to your finished work?

I’ve always been attracted to the natural world, for as long as I can remember. As a little girl I gathered the same sticks, stones, insect wings, bits of moss that I do as an adult. I’m not sure why.

My grandmother Mimi was quite a collector of these things as well – feathers, lichen “platforms” that grew on trees, smooth river rocks – and incorporated these into little “vignettes” around her house. There were wreaths into which she stuck every feather that she found when in the yard, and slabs of stone and wood that she’d place in unusual spots (her manger scene at Christmas featured the lichen and stone). My mother – her daughter – is the same way, and I suppose it is from the two of them that I inherited my love of all things natural.

What does it bring to my finished work? I don’t know. You tell me. What I’ve been told is that it ties the natural world with a romantic one in an evocative way, and I’ll accept that definition, graciously.

ABS: You work in many media, using fabric, wire, silver metal clay, resin, ribbons, paper and many others. Do you create one piece from start to finish, or do you create various components and then the piece grows to completion separately?

I don’t create by imagining a completed piece in my head or drawn on paper; it just cannot work for me that way – I’m far too spontaneous. And the word spontaneous made me think of The Catcher in the Rye, that stream of consciousness way of seeing things – that is my world.

I do create batches of resin and sterling “charms”, at random, using words that consistently appeal to me (think of “hope”, “fly”, “begin”, “touch” – or, on a more natural level, “water”, “rock”, “time”, “nest”, “bird”); when I have little tray of completed resin charms, so central to my designs, it is a great pleasure to pluck one from the bunch and let it work its way into a necklace or bracelet design; often that one word will then dictate the feel, the emotion, for the rest of the work that follows.

I also have antique and vintage findings scattered all over the place – in bins, on stacked plates, in little vintage metal tins. Yes, they get misplaced, they are forgotten; then it is great fun to rediscover an item and be suddenly inspired to incorporate it into a design!

ABS: Are there things that you enjoy and do often without putting it off, and other things that aren't your favorite and you delay doing them? What sort of things do you prefer making and creating, what comes easily to you?


An interesting question! And I sigh as I ponder and write. Well – as far as cleaning goes, I will put that off until it reaches crisis mode. I am not kidding. Why spend time cleaning when I could be writing, creating, admiring the beautiful world around me?!

As much as I like using the resin and sterling charms in my work, I detest making them – I truly do. The resin fumes are not healthy, and it is a tedious, unfun process: finding the images or typing the words onto pre-tea stained paper (another unfun task), cutting them out with precision and then gluing into the bezels, mixing and pouring the resin (finding a clear level spot in the studio is always a challenge), keeping a vigilant eye on bubbles that form for two or three hours into the curing time, keeping dust away from wet resin – none of this is what I would ever call fun.

I guess, reading what I’ve just written, I’m not fond of any preparatory stage of my work. I just like to create, without having to take the time to make components. The most relaxing technique is wire wrapping, and I don’t mind doing an assembly line of wrapped pearls to dangle from leather or chain – and I can do this at night with a tray in my lap by the fire.

ABS: What are the things you consider most important to do for your business and your creativity? What would you recommend for others like your students who may just be getting started?

I spend a good amount of time leafing through classic art books for inspiration, as well as online to see what things consistently speak to my heart and soul.

The books of Andy Goldsworthy’s work are good fodder for the imagination.

I never. ever. ever imitate.

What I avoid doing is leafing through magazines; I do not want my work to be flavored by what is currently out in the art community.

I also take long walks along a stream, through the woods, down a winding gravel road; much can be gleaned from fresh air, from the branches of trees, from moss growing on the sides of rocks. Inevitably, what I start out doing, after seeing something inspirational, is not what I end up completing, anyway.

My work has a voice of its own that dictates to me what needs to be created. I also find talking things over with artist friends to be vitally instrumental; from what seems like the most casual observations, great ideas are born. My dear friends Kathy Van Kleeck (fellow jewelry artist) and Lesley Riley are key for this; thank you, both, for listening, for being honest, for urging, for loving.

You will become bright stars in the night sky, of that I am sure.

In Part Three, Nina Bagley discusses teaching, the roles of student and teacher, the responsibility of finding one's own creative voice and vision, respecting the copyright of others' designs, and growing into a creatively unique statement - don't miss the final ABS post of the interview with this internationally known and respected jewelry designer.



Posted by Lynn Davis – All photos courtesy of Nina Bagley (copyright 2009)

Jewelry Designer Interview - First Glimpse Inside the Mind and Heart

The Storyteller Tells Her Story in Part the First -

A Three-Part Interview with
Beadmaker and Jewelry Designer Nina Bagley

There are people who consistently inspire, whose well of creativity seems more like a fountain. I had the privilege to interview someone who is one of those people in my world. Although we don’t know each other personally, I have sought to actively follow her creative story through publications and her blog.

Her imagery is primal to the found object mixed-media genre and formative in its current expression of ideas.

Among many other publications (you can see a list on her blog), she was featured in the Artist Portfolio of the September/October 2000 issue of Somerset Studio, and was involved in the True Colors Art Journal Collaborative.

Because Nina Bagley was so generous with her sharing, and I was so curious and asked extra questions, I am making this a three-part Jewelry Designer Interview post for the Art Bead Scene Blog. I hope you will enjoy reading them as much as I have enjoyed working on it for you.

Nina Bagley is one of those legendary people who need no introduction, but here’s some background about her that you may have missed. She’s been an active full-time artist for more than twenty years, and creates most of her own components. Her sister Ellen is a lampwork beadmaker, and they have begun to collaborate on pieces of jewelry. I believe I first saw Nina’s work when she was working with stones, drilling and wrapping them with wire, to create some fantastic designs influenced by the spirit of the natural world. Her work continues to evolve and change, always breaking new ground and staying fresh and innovative.

But enough from me, without further delay here’s Nina Bagley’s interview, Part One – The Standard ABS Jewelry Designer Questions. Part Two will be some extra special questions that I asked and that Nina (pronounced like the number NINE-A) was gracious enough to answer and generous in sharing with me. Part Three will be thoughts about copyrights, student-teacher relationships and finding one's own voice for creativity.




















ABS: Tell us your personal name, business name, website and location?

Nina Bagley
Nina Bagley Designs, North Carolina
http://ornamental.typepad.com/



ABS: What is your studio or workspace like, and how do you work in your studio?

My regular blog readers (ornamental.typepad.com) are very familiar with the usual state of my disheveled studio! I’ve featured photographs every fall that show just what a deplorable state it reaches before I get so disgusted with the mess that I take a weekend to straighten and organize.

Beautiful things have come out of these clean up sessions; back in the fall of 2007, I grew so weary of the dim atmosphere of my northeast facing studio room that I worked out additional lighting with multiple strands of tiny white lights laced amongst bare tree branches that I dragged from the woods down into the house. I’ve had to replace one strand since then, but those lights are lit with the tap of a toe every single time I walk into the studio to begin my work; they create a cozy environment that is very conducive to creativity. That studio right now is in dire need of an overhaul, in fact, and this afternoon is designated to hauling out unneeded things (fabric, old books, flotsam and jetsam) that are not used frequently enough to warrant the space they consume.

You asked how I work in the studio. There is a long table (purchased from a church yard sale, and decoupaged with old dictionary pages – not that you can really see the surface!); I usually sit at this table, and pull items from the pile that surrounds me, willy nilly. Spontaneity reigns in my work; I never work out a design by drawing it beforehand, or by picturing a finished product in my head.

More often than not, I’m just as surprised by the finished piece as the next person that sees it.


ABS: How would you describe and think of your style, what kind of jewelry do you make and what type of materials do you prefer?

I call my designs “narrative jewelry”, because I’m quite fond of incorporating emotion and stories into my work. No work bores me more than a piece of jewelry consisting of a single stone set in metal – where is the connection between ornament and owner in that?!

I love to tell a story through my work, and the story may vary for each person looking at the individual piece – what he or she sees may be entirely different than what you or I might see in the same item. One word may pull from the observer a whole river of emotion; one word coupled with one image will begin that story, and the wearer or observer can take the story from there to continue or finish it. My work is romantic and earthy and elegant, all at once – an odd combination, I think, but one that works.


What materials do I prefer? There isn’t one favorite type of thing. I’ve mentioned resin and sterling charms; I also like using mother of pearl buckles that I’ve turned into frames that highlight words and/or imagery. I like, in fact, anything that can be transformed into a frame of sorts – buckles, bezels, buttons, antique game chips, silver strips, metal lampshade trim. I use these things in my books as well, and am fond of seeing my style unfold itself that way.



ABS: What new directions do you hope to move in the future? Do you have big plans, new ideas or designs you will be exploring soon?


I hope to have more time to create with greater frequency. My work sells fairly quickly online (and at teaching venues) and for that I am eternally grateful. With more time, I’ll be able to more readily fill my etsy shop, and can focus on new pieces that call to me.

I’ve been asked over and over and over again to publish a book; perhaps I’ll turn my attention to that as well.

Who knows? The universe shall provide.






ABS: On your delightful blog you often share insights into your workspace, what is your typical day like? How do you work during the day in your studio, and what keeps you inspired and motivated?

I’m not very structured, truly not. I usually end up in the studio an hour or so before lunch, because I spend far too much time on the computer (I have a slower connection, so everything takes much more time than I’d like). I’ll work until around 6, when my buddy Aspen will begin nosing me with urgency for his dinner. If I work at all in the evenings, it is in the living room, with a tray in my lap and the fire going (in colder months, anyway).

I gave up long ago the all nighters, even when deadlines loom; I don’t want the studio to become a prison that way. Ever.









ABS: Your sister Ellen is a glass lampwork beadmaker and you have been collaborating with her on some designs. What kind of art beads do you look for, and is there a bead you wish an artist would make for you?


I’m so proud of Ellen! (her etsy ID is starcatcher). She rose to the occasion with incredible grace and precision when I contacted her with my dreams for the perfect glass egg bead.

I wanted something beautiful, unique, glass, a certain size (no larger than 20mm), a matte finish to mimic nature’s true eggs, and she pulled all of that off within days. I was amazed, but not surprised. And now? Her etsy shop is booming with orders for these lovelies. Ellen has always been able to greatly succeed at any artistic endeavor she tries, and I’m anxious to see what will be down the road for her.

Is there a bead I wish an artist would create for me? Tough question. I’ve asked Ellen to make little birds, and she isn’t yet happy with the end results. I think she’ll get it right, one day soon.


And for years I’ve pined for a silver gothic shaped window bezel, for my resin charms – oh my, what I could do with those!!!!!




In the next post from my interview with Nina Bagley, Part Two will discuss her methods of working, people and things that inspire her, and how she stays motivated with an active teaching schedule and travel agenda each year.

Be sure to come back and follow along as Art Bead Scene asks her these and many other questions!

Posted by Lynn Davis – All photos courtesy of Nina Bagley (copyright 2009)

Monthly Challenge - The Kiss

The inspiration for this month's challenge is Gustav Klimt's painting, The Kiss. Our theme this month was picked by Beverly Herman of No Easy Beads. It's the perfect painting for the month of romance! Your entry this month can be inspired by the colors, pattern or whatever you choose to focus on for your creation. Just remember to include at least one art bead in your design. A few places to start: wood beads, gold foil beads, frit lampwork glass in floral hues, brass filigree, and bronzite. We can't wait to see what you create!

The Prizes:
A winner will be randomly chosen from all the qualifying entries on March 1st. Our prize this month is a set of Florence White Frosty Sparkles lampwork beads by SueBeads. And a set of Golden Kiss beads from Humblebeads.

Featured Designer of the Week!
From all the entries during the month, an editor is going to pick their favorite design to be featured every Monday here on the ABS. We want to give our participants more time in the spotlight! Our Featured Designer will be this Monday, so get those entries in soon.

How to enter the Monthly Challenge:
1. Create something using an art bead that fits within our monthly theme. This challenge is open to jewelry-makers, fiber artists, collage artist, etc. The art bead can be created by you or someone else. The challenge is to inspire those who use art beads and to see all the different ways art beads can be incorporated into your handiwork.

***Beads by themselves and beads simply strung on a chain or cord will not be accepted.***

2. Upload your photo to our flickr group. Detailed instructions can be found here and click here for a tutorial for sending your picture to the group. If you can't upload to Flickr, send your entry and information to Heather.

Please add the tag or title FEBABS to your photos. Include a short description, who created the art beads and a link to your blog, if you have one.Deadline is February 28th.

Photos are approved by our moderators, if a photo hasn't followed the guidelines it will not be approved. You may upload 2 photos a day.

What is an Art Bead?
An art bead is a bead, charm, button or finding made by an independent artist. Art beads are the vision and handiwork of an individual artist. You can read more about art beads here.

*** A bead that is handmade is not necessarily an art bead. Hill Tribe Silver, Kazuri ceramic beads or lampwork beads made in factories are examples of handmade beads that are not considered art beads.

p.s. If you have a blog, post your entry and a link to the ABS challenge to spread the beady goodness.

Monthly Challenge Winner

Well, the lucky winner for our monthly challenge was also the last person to enter the challenge this month. I'm glad she took the time to jump in at the last minute because this also happens to be on of my favorite entries for the Van Gogh Irises challenge!

Congratulations to Jennifer Cameron of Glass Addictions! You are the winner for this month's challenge. This entry was randomly chosen from all the qualifying entries this month.

Jennifer has won an amazing set of raku beads from Lisa Peters and a set of Van Gogh inspired beads from Humblebeads. Tomorrow we'll announce our February monthly challenge with a new sponsor and prizes!

The Desperate ABS Neighborhood

About.com Jewelry Making
Check out our Show & Tell forum folder some amazing jewelry eye candy.

Art Bead Scene
Take a risk in your jewelry design. Why a risky color choice works.

Barbe Saint John - New Jewelry from Forgotten Artifacts
Barbe reviews The Fabulous Fabric Beads book.

BeadStyle magazine
Erin posted some great new stuff to tie in with the March 2009 issue of BeadStyle magazine.

Carmi's Art/Life World
Carmi wishes she was going to the prom with her "Urban Corsage" project.

Jennifer Jangles Blog
Jennifer highlights a few posts to help with your jewelry business.

Jewelry & Beading
How about improving your design skills in 2009?

Katie's Beading Blog
Katie shares more DIY tips for stylish and fun beading. Check it out!

Snap Out of it, Jean! There's beading to be done!
Jean was interviewed by the fabulous and brilliant Barb Switzer! What an honor!

The Writing and Art of Andrew Thornton
Amidst the preparations for the Tucson shows, Andrew whipped a cute Baby Bird Necklace with a new Green Girl Studios fine pewter piece.

Have you heard any good dirt in the beading world? We'd love for you to share!

Gossiped...errr...reported by Cindy Gimbrone, The Desperate ABS Editor.