tracking

About Me

My photo
Francestown, New Hampshire, United States
I am the owner of Mirrix Tapestry & Bead Looms (www.mirrixlooms.com) and an avid tapestry and bead weaver, among other things. Needless to say, I love my job!

Monday, November 16, 2009

Additonal Mirrix Loom Workshop

I have had a request for a one day workshop the first weekend in February (that's the weekend of the 6th and 7th).  This would be great for folks who live in New England. It could be either day.  The price would be $250.  If you are interested in this workshop, please send an email to:  mirrixlooms@comcast.net.

Home Sweet Home

Sunday, November 15, 2009

Mirrix Workshop


The last couple of days I had the pleasure of teaching (informally) beadwork to a couple of boys age 11. They were great and it reminded me how much I miss teaching and how much I love teaching, especially now when I've garnered a whole lot of new ideas that I want to share.

So, I've decided it is time to teach a workshop. And why not do it in my studio. It's a gorgeous space with tons of Southern facing windows (facing a pasture and a mountain range beyond). We've got some great Inns nearby. And my daughter has agreed to cater lunch and dinner!

Place:  Francestown, New Hampshire

It would be a weekend workshop. Intense, eight hours a day with great food in between. The project would be a woven band necklace with an off-loom created focal piece and/or a woven band bracelet with an off-loom created clasp. I will post the project on my blog when I get it finished. I do have some similar pieces there, but the piece I will teach has not yet been finished (blog: http://www.mirrixlooms.blogspot.com/)

What you will take away from the workshop:

How to:
1) use the Mirrix Loom for beadwork
2) use the Mirrix loom with shedding device
3) create spontaneous geometrical shapes
4) work with color to create a stunning piece
5) create a double-sided peyote stitch triangle to use either as a clasp for a bracelet or as an end piece for a necklace thereby burying the warp ends between the triangle layers
6) general finishing techniques
7) anything else you want to learn about beading on the Mirrix Loom including using fiber with beads.

What you will need: yourself and lots of creative energy

What we will provide:

A Mirrix loom, if you don't have one. If you do have one, you might want to bring it in case you want to go home with an additional project on your loom. If you use one of our looms and don't own your own, you can of course purchase it, but you do not have to. But who would not want to!

Lunch and dinner both days. We will find out what your food loves and dislikes are and create delicious and healthful meals to keep you fueled for the day. Although the actual instruction time will be eight hours, we will be taking breaks during the day to eat or chat or just stretch so the class will start in the morning and end probably a couple of hours after dinner.

Included in the price of the workshop will be a materials fee which will cover c-lon thread, Delica beads in the most delectable colors, needles, and a bead matt. If you would like to bring all your own materials you can subtract the materials fee from your tuition.

The cost including the four meals will be $500. If you bring your own materials, the cost will be $475, but you still have the option to buy the materials at the workshop.

Okay, so when? A weekend in February or March. I haven't pinned down a date yet because I am hoping to hear from you to see what works best for the most people. Class size will be strictly limited to eight students. We will run the class with a minimum of six students.

So when are you free and when would a workshop be best for you?  Please email me:  mirrixlooms@comcast.net

Claudia

Mirrix Wonderful Home

__._,_.___

Monday, November 9, 2009

Color Theory for Beadwork

What is your favorite color?

I don't have one. When I was a child the answer would have been a combination ofpink and red.  I was told early on though that pink and red do NOT go together.  Since pink is born of red, I always found that notion rather silly. I still do.  What I should have been told was:  fire engine red does not go well with pale pink but there are other reds that do! So I painted my room green and blue.  Green trim, blue walls.  The green was soft like leaves before they fall to autumn.  The blue was like a deep sky just after a rain.  I could live with it.

I live with favorite color combinations which have a tendency to grow and mutate over time.  But the themes do not change.  They are my personal themes.  I believe everyone who works in color has within them certain color themes.  It takes a lot of looking back into our heads to find out just what they are. I do have favorite bead colors (which is a combination of finishes and colors, since beads do not any longer exist in the realm of just opaque color) that I rely on as the base of most of my work.  You can tell which bead colors I love the most by the fact that they live in 100 gram packs.  The accent beads live in bead tubes.  By buying large quantities of the beads I love most I allow myself to freely use them.  Since I have a tendency to not want to use up what I love most, this trick is imperative for me to freely create.

The worse decision to make when trying to pick what color bead to use in a piece is the one based on:  gee I've got a lot of these beads I really should use.  I don't think I've ever successfully produced a piece on that decision and I can tell you about a whole lot of pieces I've cut up and returned to the bead box after having done so.

The Choices You Don't Make

Trying to decide what bead not to use is more important than the ultimate decision of what bead to use.  You've got your stash or your color card or you are standing in front of a display of what seems like five billion beads and you are trying to pick out a limited number of beads to make, let's say, a bracelet.  What you are actually doing in this process is eliminating the beads you won't use.  "Nope, won't use that bright yellow.  Negative for that matt deep red.  Not in the mood for metallic blue-green.  Well maybe, because it might look great with that amazing palladium silver.  And if I add that matt metallic green.  No.  No.  Not the matt metallic green.  Gotta go somewhere else with this.  Yes, the pink gold!  Nah, not the pink gold."  And so it goes for what can take a very long time.  I find standing at a bead display in a store very daunting, although not as daunting as it used to be.  I have been on my bead journey for quite a while now and I've figured out what beads compromise my personal "bead theme."  Sure, I can break out of it, but there is a ground work there.  And because of that, I usually have some idea of what needs to end up home in my bead basket.  That's not to say I am in a rut, I just know what I love.  And it was something I could only figure out.

The most important choice you make in beadwork is color.  Sure, the design is important but bad color choices can ruin a piece more than a not so great design.  A not so great design with great colors might survive the scissors.

Woven Color

The next problem when choosing color is that those beads in their tubes or even in piles on your bead board don't necessarily speak the same language they ultimately will when woven together.  In other words, that kind of weird brassy green you didn't choose might have been perfect in a tiny quantity with the colors you did choose.  The only way you can find out is to play.

In a perfect world, our studio would look like the walls at Caravan Beads and we could experiment until we needed a new glasses prescription.  We could grab that brassy green, spill out a few beads, and see if it sings with the rest of our palette.  Taking the plunge and buying that brassy green can be daunting and even impossible.  Who wants to buy colors they might only use two of or might never use at all?

However, a lot of us have colors in our bead stash that we don't much use.  I know I said not to ever choose your colors by trying to use up beads in your stash, but that's not the same as hauling some dusty tube out with a color you used ten years ago for some long-forgotten project for a bead workshop you would also like to forget.  I am talking about climbing into your stash and unearthing something different.

I found a lovely transparent green by doing just that.  I probably used all of twenty beads, but it fit.  It fit perfectly.  Now that I know about that green I might very well pull it out again, but it did take a lot of bravery to make the first plunge.

What Colors Live Inside Your Brain?

For those of you starting off on the quest for a reasonable bead stash you need to spend a lot of time thinking about what you really love.  Sure, you can study color theory and you can play with all those color wheels and you can read the latest bead color forecasts, but all that does not add up to what lives inside your soul.  Maybe that sounds dramatic, but let's face it:  you are creating these pieces so these pieces should be your colors.  That's what makes them yours in a large part.

So how do you find your colors?  If you subscribe to my theory that they live inside your and you just need to turn your eyes inward to see what your brain already has stored, then you need to engage a little fantasy time.  My method is to lie in bed in the darkness, figuratively turn my eyes inward toward my brain and turn on the color slide show.  If you give yourself permission to do this, in time the colors will start to flow.  And if you are lucky, you might pick up some patterns too.  And as those colors flow you will find yourself attaching emotion to them.

Let's face it:  color is emotional.  I don't know why.  I don't know why music is emotional.  Or why touch and smell are emotional.  But they all are.  We aren't taught this.  Color sits on a color wheel and we are meant to learn the rules of the color wheel and then mathmatically apply it to our art.  That's absurd.  If we applied that kind of math to music (even though music once created can be seen as mathamatical) we would create music that sounds like math.  Imagine that?  So I propose that you apply the "color rules" after you've created the color if you must apply the rules at all.

The color rules were invented by humans to try to explain what lives inside us already, to explain something that already is just as math explains what is there.  Math does not invent it.  Color lives in our world, in our brains, in our spirits, in our thoughts, in just about everything we see.  We have all the information we need to fold it into our art work.  We just have to trust ourselves.

Open your eyes.  Look around you.  What color combinations in that world do you love?  And why do you love them?  I recall buying a towel once that had color combinations I never would have put together but they were perfect.  And for months I used that information to weave (I was just a tapestry weaver then).  I didn't actually copy those colors, but I used the same sense of surprise I found there to surprise myself with the colors I was choosing.  It opened something up to me that I had not understood. I was able to break away from preconceptions about color that were holding me back.  That was the beginning.

Bead Finishes

Beads are unique in that they have "finishes."  They are not made of opaque color that lies flat on a page.  They embody properties that are different from, let's say, yarn or paint.  Hold a piece of beadwork up to the light, and half of the beads will loose their beauty.  They are not stained glass even though they are made of glass.  They are not meant to have light shine through them and yet they are made to have light shine on them.  I can think of no other material like that.


A Box of Pastels


I once wrote in a poem:  "I am living inside a box of pastels."  How could I know then how true that line would eventually become.  At the time I think was just living inside teenager angst.  I didn't understand then how connected I was to color and how it would form my life in beautiful and unexpected ways, how it would emerge to engulf me and point me solidly to a world in which I now live every day.  There is not a day that goes by in which color is absent.  I am now unusual in this.  I just acknowledge that fact.  I don't think you can be an artist without this daily fascination with color and how it intersects our visual field constantly.

I will be adding to this post (photos and more thoughts) as the week progresses.


Visit Mirrix Looms











Wednesday, November 4, 2009

Bead Woven Bracelet



I just finished this bracelet.  The band is loom woven.  The triangle is a combination of peyote and herringbone stitch.  The clasp is peyote stitch.  The triangle took almost as long to make as the band, which worked up really quickly.  I woven two pieces simultaneously on the loom and learned quite a lot.

Let me show you a shot of the two pieces as they came off the loom.




The piece on the right became the finished bracelet.  The piece on the left is still awaiting its fate.  The left piece is twelve beads wide whereas the right piece is eleven beads wide.  I discovered that I love odd count bead rows.  It lends itself better to spontaneous design.  On an even bead row, diamonds have a two bead point.   You can't center anything including which is fine, but on a thin piece like this I like being able to center the designs.  The even count rows would serve better abstract design, color blocks, Greek keys, etc.

I did not use my usual technique of weaving a fiber edge and folding it over thereby concealing the knotted warp threads because of two reasons:  I knew that the double-sided triangle clasp would buy one end of the band.  And I had decided that I would try a new technique on the other end which was to continue the end of the piece with four rows of square stitch and then fold those four rows onto the back of the piece and sew it down, again burying the knotted warp threads. I liked the outcome because it was clean and neat and no thread showed.   It might have been a little more time consuming than weaving a fiber edge, but I think it was worth and I do plan to experiment more with this technique.

Here's a not so great photo of the extended square stitch. (I took it in bad light last night).  Once I folded it back onto the woven section those threads were buried.  I did apply some glue just to make sure the warp thread knots didn't come undone.



I discovered something else and I am kind of hitting my head wondering why I couldn't have figured this out a thousand years ago.  I've been having a lot of trouble missing beads when using the traditional technique of bead weaving which I do tend to use for thin pieces.  I couldn't figure it out until I randomly used a long thin needle on these two pieces.  Normally I use the softouch needles meant for softouch wire.  Why?  Because they are very sturdy and easy to use.  BUT they don't like passing through the front of a bead when on the loom.  The longer and thinner needles don't mind doing it at all.  So with this new needle I made NO mistakes.  And you all probably already new this!  I was so happy with the  quality of the piece.  So perfect and flat and I didn't have to sew through beads that hadn't quite got connected to the warp.  WOW, major breakthrough I should have had along time ago.  Hope you haven't lost all faith in me!


Picture of finished bracelet on my wrist!