Bead soup tease

I’m posting this from sunny, still summery Perth, where I’m holidaying with family for the next couple of weeks. But as yesterday was the first reveal of Bead Soup Blog Party 7 I thought I’d update on my progress! I have been very busy creating with the wonderful soup that Jane Pranata Lim sent me, and so far I have made 8 pieces. I would have made 2-3 more, but I have run out of 2 ingredients, and they will have to wait now until after my BSBP reveal date.

Here’s a sneak peek of one of my creations! I love this Lego-ised photo!

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I am in the third reveal group and I will show you all what I made on 13 April. In the meantime, why don’t you go and browse through the first group of 161 jewellery designers, who have showcased their beautiful creations today! Visit the Bead Soup Blog Party blog for all links here.

Art Bead Scene March Challenge

I’m a bit late posting this, as it’s almost the end of the month, but between work, kids and trying to get ready for two weeks’ holidays on the other side of the country, I just haven’t had time to show you the pieces I made for the Art Bead Scene March Challenge.

This month’s inspiration picture is gorgeous, full of lovely rich jewel-toned colours. It’s a painting called Deer in the Forest by Expressionist painter Franz Marc. Here’s the painting, along with the colour palette created by Brandi Hussey.

march 2013 - deer-in-the-forest by franz marc palette

Deer In the Forest, 1911
Marc Franz
Oil on Canvas, 100.97 x 104.78 cm
Philips Collection, Washington DC, USA
Palette by Brandi Hussey

When I saw this painting I thought immediately of a lovely set of lampworked glass beads I have that were made by a fellow Australian, Liz DeLuca. They are large bicones in a deep purple and red combo with a smattering of silver along the edge. I combined them with Czech glass ovals in green with a brownish streak though them and antique brass findings and chain in a simple wire-wrapped necklace.

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I used two of the big lampworked beads to make a striking pair of earrings too, with a tiny Czech glass rondelle in green on each side.

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Sand and Sea Blog Hop

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I’m taking part in Lisa Lodge’s My Bead Table II Sand and Sea Blog Hop. Lisa is a jewellery designer and occasional purveyor of bead mixes, and every now and then she throws out a challenge sending out interesting bead kits to inspire us all.

In this challenge, Lisa made two bead mixes, a Sand kit comprising beads and components in tans, creams, orange and brown tones, and a Sea kit of blues, greens, and purple tones. I received a Sand kit, with an interesting Greek ceramic focal bead, a handful of larger glass and stone beads, and a bead soup of tiny freshwater pearls, some larger glass pearls in champagne tones, green Czech glass rondelles, and a variety of tiny Czech glass and seed beads, along with a few gold toned beads, beadcaps and jumprings.

Sand and Sea bead soup

I had ideas to make a number of pieces from this soup, but in the end I only made one in time for the hop. There is a design in mind for the Greek ceramic focal, but I didn’t have the right coloured waxed linen cord and I didn’t have beads that I liked next to it. And I will use the two smaller oval beads and the larger oval pendant when the right beads come along as well.

So, with the bead soup, I made a necklace inspired by the colours of a very special place. I grew up in Western Australia, and my husband’s family still lives there. Every couple of years we head over in early autumn to holiday on Rottnest Island, which lies about 20km off the coast of WA’s capital city Perth. It’s a fantastic place to unwind, as there is really not much you can do other than go to the beach, and if you feel energetic enough, go for a bike ride. Needless to say, the beaches are spectacular, with white sand, rocky outcrags, dull green vegetation on the dunes and water in colours ranging from a pale greeny-blue at the edge to a deep azure blue further out.

Little Salmon Bay, Rottnest Island (photographed by Matthew Dry)

Little Salmon Bay, Rottnest Island (photographed by Matthew Dry)

This necklace is strung on a greeny-blue ribbon to represent the junction between the water and the sea. A couple of nugget-shaped orange and green beads from my stash cap the ends of three braided strands of bead soup. Unusually for me, I used the gold-toned beads from the soup—I’m not usually one for gold-toned jewellery, but it worked well with this colour palette.

Sand and sea necklace collage DS

Please visit the other bloggers taking part in this blog hop!

Lisa Lodge, A Grateful Artist — Our hostess!

Eleanor Burian-Mohr, The Charmed Life
Mary Govaars, MLH Jewelry Designs
Tanya Goodwin, A Work in Progress
Kathy Lindemer, Bay Moon Design
Toltec Jewels, Jewel School Friends

Sharyl McMillian-Nelson, Sharyl’s Jewelry
Marla Gibson, Spice Box Designs
Melissa Trudinger, Bead Recipes — YOU ARE HERE!!!
Dot Lewallen, Speedie Beadie
Ema Kilroy, Ema K Designs

Kim Booth, The Pink Martini Boutique
Jami Shipp, Celebrating Life
Leah Tees, My Beady Littleeyes
Christie Murrow, www.charisdesignsjewelry.blogspot.com
Monique Urquhart, A Half Baked Notion

Gloria Allen,   Gloria Allen Designs
Cindy Anderson Wilson,  It’s My Sea of Dreams
Suzi Campbell, Suzi Campbell Creations
Shaiha Williams,   Shaiha’s Ramblings
Annette Rivers, MamaOwl’s Mess

Rhythm and Syncopation—the Challenge of Music

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About a month ago, Erin Prais-Hintz announced her latest quarterly design challenge—The Challenge of Music. I love doing Erin’s challenges, so I signed up straight away! And like all of them, this one has a little twist. The music used to inspire our creations had to be instrumental, with no words to influence our designs.

In Erin’s words:

  • Find a piece of instrumental music that speaks to your soul. The goal is to find a piece of music without any choral accompaniment, so that you have the freedom to interpret the colors, textures, shapes, movements and images that it evokes. YOU get to tell the story!
  • Create something of your choice – jewelry, accessory or some other artistic representation – that takes us on the journey of this piece of music. I am opening this challenge up to any artistic interpretation. Whatever way this music moves you, follow its lead!

Music has always been a part of my life, one way or another. My parents, my Dad in particular, are keen traditional jazz fans, and as a child I spent many hours sitting in dingy pubs listening to jazz bands (for some reason, Saturday and Sunday afternoons were prime time for jazz band gigs) and playing with the straw in my glass of red cordial. At age 9 I started learning to play classical guitar and performed in numerous performances and competitions until I reached the last couple of years of high school. I spent many, many nights in my 20s and early 30s going to see bands in venues ranging from sticky-carpeted pubs to gigantic football stadiums, and the radio is rarely off in my car.

When I started thinking about which pieces of instrumental music might inspire me, jazz was the first to come to mind, after all it is music I have been listening to for my whole life! And of the myriad of instrumental jazz tunes I have heard over the years, catchy little ragtime numbers kept popping into my head.

According to Wikipedia, ragtime was an early form of jazz:

Ragtime (alternatively spelled rag-time) is a musical genre that enjoyed its peak popularity between 1897 and 1918. Its main characteristic trait is its syncopated, or “ragged,” rhythm. It began as dance music in the red-light districts of African American communities in St. Louis and New Orleans years before being published as popular sheet music for piano. Ernest Hogan was an innovator and key pioneer who helped develop the musical genre. Hogan is also credited for coining the term Ragtime. Ragtime was also a modification of the march made popular by John Philip Sousa, with additional polyrhythms coming from African music. The ragtime composer Scott Joplin became famous through the publication in 1899 of the “Maple Leaf Rag” and a string of ragtime hits that followed, although he was later forgotten by all but a small, dedicated community of ragtime aficionados until the major ragtime revival in the early 1970s. For at least 12 years after its publication, the “Maple Leaf Rag” heavily influenced subsequent ragtime composers with its melody lines, harmonic progressions or metric patterns.

One of my favourite rags is the Maple Leaf Rag, that first hit ragtime tune.

This video uses a recording of a pianola roll, apparently one of seven recorded by the composer Scott Joplin himself (you can hear it skipping and speeding up here and there, a captured slice of musical history). Late last year I heard the tune played by a student at my daughter’s end of year piano concert and it’s been dancing in and out of my head ever since. It’s a bouncy, happy piece of music, makes me think of bright colours, women and men kicking up their heels in jewel-toned dresses and black and white tuxedos (although since this tune would have been played in dance halls as the 19th century became the 20th, I’m not sure that my mental image is particularly accurate!).

The other thing that strikes me about this music is its structure, which holds the tune together amid all of the wild syncopation. Ragtime music tends to follow a specific pattern with distinct repeated themes. Again, Wikipedia explains it better than me:

Original ragtime pieces usually contain several distinct themes, four being the most common number. These themes were typically 16 bars, each theme divided into periods of four four-bar phrases and arranged in patterns of repeats and reprises. Typical patterns were AABBACCC′, AABBACCDD and AABBCCA, with the first two strains in the tonic key and the following strains in the subdominant. Sometimes rags would include introductions of four bars or bridges, between themes, of anywhere between four and 24 bars.

So we have bright, happy colours and a repeating structure—in the case of the Maple Leaf Rag, the structure of repeats is AABBACCDD. I spent a long time browsing through my stash of beads, looking for the right combination of colours and shapes. In the end, I designed a necklace with 4 different sections, repeated in almost the same pattern as the song. Three of my sections are semi-precious gemstones (rose quartz ovals, dyed blue agate rondelles and dyed greenish-yellow jade flat rounds) with tiny brass spacers between each stone to represent the steady beat underlying the syncopation, while the fourth is a fancy brass chain. I added an extra section of chain—my designated A section—to balance the necklace a bit more, as I couldn’t get it to work asymmetrically (and in truth, one version of the rag I heard had a slightly different structure, with an extra AB on the end).

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Now that you’ve seen my creation and heard about its musical inspiration, please take some time to visit the other bloggers in this hop!

Erin Prais-Hintz –> OUR HOSTESS!
Alenka Obid
Ali McCarthy
Alicia Marinache
Amy Severino
Amy Grass
Carolyn Lawson
Cece Cormier
Cynthia Riggs
Ema Kilroy
Emanda Johnson
Emma Todd
Erin Kenny
Evelyn Shelby
Evie and Beth McCord
Gerd Andersson
Holly Westfall
Jennifer Justman
Jenny Davies-Reazor
Jess Green
Judy Campbell
Karla Morgan
Kay Thomerson
Kristina Johansson
Lola Surwillo
Lynn White
Malin de Koning
Mallory Hoffman
Mary K McGraw
Melissa Meman
Melissa Trudinger –> YOU ARE HERE
Michelle Escano
Michelle Bourbonniere
Michelle Heim
Michelle Mach
Molly Alexander
Molly Schaller
Monique Urquhart
Niky Sayers
Pam Farren
Rebecca Anderson
Sally Russick
Sharon Palac
Sharon Driscoll
Susan Kennedy
Tari Kahrs
Tracy Stillman
Veralynne Malone