I don’t make art glass beads, I make them even better

October 31, 2016 by Melanie Schow Leave a Comment

Do not pass go

I’ll never forget how surprised I was the time I got turned down to show my work because the focal art glass beads in my creation were not my own.

Even though the sting has worn off over the years, this experience gave me an insight into the standards of the art world. Painters don’t make their own paint. Sculptors don’t quarry their own stone. Similarly, when wire artists use beads, frequently they are not of their own making.

Many artists, many styles

From the very beginning, it was a conscious choice to use others’ artist-quality beads in my necklaces, earrings, and sculpture. Here’s why: no on can be good at all things.

Instead, my finished pieces are different and unique as Breastplate for Ninsun, the Scaredy Cat collection, and the Morning Song rooster necklace.

BreastPlate for Ninson Silver Necklace

Professor Specs pendant

Morning Song rooster necklace wire art jewelry

Morning Song necklace

What I love best about working with artist-quality beads is the variety. From Joy Munshower‘s animals and the art glass of Gail Crosman Moore to the whimsical cats of Kathleen O’Connor and Robin Poff‘s dragons, these gifted makers inspire the art I create.

The art of wire design

When you work with wire as I do, the artistry comes down to creating a beautiful, balanced piece using a variety of elements. Wire artistry entails knowing how many scrolls and coils create a harmonious look and also recognizing the point at which you stop adding.

Using focal beads means understanding color and choosing accent elements that highlight the theme. For example, in my pendant using Kathleen O’Connor’s Wicked Witch, I echo the fun, square-kinked tails in the wire scrolls of the drop on this pendant.

Although I have taken lampwork bead-making classes, it’s not my medium. Understanding the kind of work that goes into making fine art glass beads makes me appreciate artists that use this medium even more. If I tried to do it all myself, I’d be a beginner for a long time!

My specialty is in creating a beautiful, well engineered settings with high-end materials and choosing gorgeous color palettes that bring out the uniqueness of the focal beads that are made by other artists and by Mother Nature too.

My twisted path to wire art jewelry

April 15, 2016 by Melanie Schow 1 Comment

Budding young artist and entrepreneur

Although I have a background in the corporate world and am currently a part-time farmer, art has always been in my life. Even as a kid, I remember going to the beach with my family and making a collage with shells and pebbles. Not only did I enjoy making it, but I set it outside with a for sale sign!

My creative adventures over the years have included knitting, needlepoint, collage, and dabbling in different art mediums. I never imagined then that I’d become a wire art jewelry designer.

Getting hooked by wire art jewelry

It wasn’t until adulthood that I claimed the title of artist. It happened by happy accident when a friend wanted to learn how to wire wrap objects. As a gift, I gave her a class, and we went together.

At the end of the wire-wrapping class, she was satisfied with her finished project, but I kept going back. In fact, I kept taking classes on every possible bead-related and metal-related topic—from seed beads and soldering to wire.

Finding my artistic style

As I got deeper into the work, I started hearing about this amazing artist in bead magazines. Lynn Merchant was teaching in the San Diego area and has a rich background in jewelry design. Her many travels including visiting stone cutters in Afghanistan and other artists in far away places. Lynn uses unusual things, very large pearls, and wire in remarkably creative ways. Lynn became a primary influence for my work.

My designs spun off from the techniques and projects I was experimenting with in classes. As I learned, I started to develop my own style and confidence in making wire art jewelry.

In my corporate career at Starbucks, I was trained to teach adults, so it was a natural progression to start teaching my designs to students. From there, I dipped my toe into big shows like Bead and Button and Bead Expo which encouraged me to develop more new classes. It’s hard to believe that was twenty years ago!

Developing as an artist entrepreneur

Of course, being an artist isn’t just about techniques; it’s also about running a business. A few years later, I was found a teacher who would shape my understanding of what it meant to be an artist. NanC Meinhart, who is both a psychologist and recognized seed bead artist, leads groups of artists through a year-long master class. Rather than focusing on recreating other artists’ designs, NanC’s master class helped me find my own voice through wire.

The year my master class met NanC challenged us to take our art seriously, to build a body of work, and to develop a recognizable style. We focused on the necessary details like writing a bio, taking photos of our work, display and logistics required to enter our work in shows, pricing, and more. At the end of the year, our work was shown in a gallery in San Luis Obispo. That year, I developed an artist’s perspective instead of just making things.

Practice practice practice

One of the things that really stays with me was reading War of Art. In it, the author tells the story of two groups of artists. The first group is instructed to make as many clay pots as they can. The second group is told to make one perfect pot. In the end, it was the group that made many who created the most beautiful work. The lesson I got from that was how important it is to make a lot of things and keep at it. Even when it is a dud, or not something you’ll sell.

Today, my work is featured at several local galleries including Madera Circle Gallery and Mixed Messages in Sanger and The Brush and Easel Gallery in Fresno. This year, I’m taking an even bigger leap with my art by making it available for purchase on my website (stay tuned!).

For me, art is about finding a medium you love and then continuing to learn, practice, and take small steps toward creating work you enjoy. What you have enough interest, love, skill, and patience for—that’s your medium. Wire art is mine!

Spring Fever: Using springs in art and art jewelry

March 29, 2016 by Melanie Schow Leave a Comment

Why I love springs

Along with unique beads and jewelry-making tools, wire is one of my most important supplies.

Although I often work in sterling silver, I use springs to add color, texture, and volume to a piece. My art wire comes from Parawire, and I love their enamel over copper. Their gorgeous lighter shades are silver plate to make the colors true.

I have a tackle box full of pre-coiled springs, always at the ready. They’re fun to use just like beads, and their bendy-ness creates endless options and combinations for my art.

Using springs in art and art jewelry

Springs create the illusion of bulk without adding a lot of weight. Because wire comes in so many colors—copper, sterling, and myriad rainbow shades–you can introduce color into a piece without using beads.

You can bend them through or around a piece, or use them structurally. I sometimes use contrasting wire inside the spring for peeks of color when it is coiled.

“Iris” — wire embroidery sculpture

How to create your own springs

There are lots of ways to make springs, and the two I use both start with a mandrel. Almost any cylindrical, hard object will work, but mandrels used by lampwork artists are great; they’re sized and have finished ends. For a long time, one of my favorite mandrels was a pen. Just be sure that the mandrel ends are the same diameter or smaller—otherwise you’ll be the proud owner of a wire-wrapped object, rather than a spring.

The low-tech way is to wrap the wire by hand around a mandrel to the desired length, the same technique as making jump rings by hand.

A faster alternative to making springs is using a hand drill. You insert the mandrel, crank the handle, and the wire twists around the mandrel. Because it’s so much faster, you have to be careful of the ends so they don’t cut you. At this speed, wire can get hot, so you can protect your hands by using a polish cloth or a glove.

Starting a spring with a mandrel and hand drill

Wrapping a mandrel with a wire spring

Finished springs

Things about springs

Think before bending: Like other wire, springs are not very forgiving—especially once you put a sharp bend them. If you take your time and are patient bending them, you’ll get great results.

Shaping tips: I find that starting to shape them is hardest part. Put a wire through the core and the spring follows the curve of the core wire. To start bending a spring, bend a small tail (1.5″) of core wire at a right angle to the spring. Then hold both the end of the spring and the core wire together as your pliers begin to bend the whole coil. Take your time and it will come together.

Making adjustments: When you bend springs, they don’t always fan open nicely. If this happens, you can carefully use round nose pliers spread the spring open on the outside edge. This makes spaces along the outside curve. You can also adjust these spaces to look even and pretty.

Watch this space

I’m working on a yet-to-be-revealed piece that uses springs. Although I can’t say more about it yet, details are coming soon.

In the meantime, try out some curly wire in your work and, before you know it, you’ll have spring fever too!

Messing about with sterling wire art jewelry

February 26, 2016 by Melanie Schow 2 Comments

After a rather long dry spell involving baby cows and endless paperwork (I know, don’t ask), I’m starting to make wire art jewelry again.

A new breakthrough was inspired six weeks ago while I was poking around on Pinterest. Looking at wire art jewelry, this stunning piece by Ruth Jensen of SparkFlight stopped me in my tracks. The free-form wire she uses at the center of a necklace is inspiring! I want to play with that!

In fact, I printed it out and have been dragging around that picture—along with my wire and bead trays—ever since.

Of course, there’s a fine line to walk as an artist because you don’t want to copy or reproduce someone else’s work. At the same time, magic happens when you’re putting your own spin or taste into something that inspires you—and giving credit to your inspiration.

Budding ideas

Seeing Ruth’s work brought to mind a floral lampwork bead I’ve been wanting to use for the upcoming Blossom Trail event in Sanger, CA. One afternoon, I finally sat down to start. Our springtime fruit tree festival inspires me, and the floral focal bead looks like the stone fruit blossoms we are seeing all around us.

In the early “spaghetti phase,” the long ends stick out everywhere, and you’re not really sure it will come together. As I worked, I really started to like it.

Then it sat for a while. Sometimes I have to stop or step away. Instead of forcing the completion or the design, it’s important to take time with it and visualize what it can become. It’s better to think things through since wire isn’t a super-forgiving medium. With wire, once you bend it, you’re committed.

Bursting into bloom

When I came back to the piece, I did the rest of the setting all at once. By luck, I found accent lampwork beads that compliment the focal bead. Instead of manufactured chain, I knew it needed sterling hand-forged links that refer back to the piece itself.

Here’s the finished piece:

I feel so excited to play again! Working the wire this way really feels like a something new.

Side note: I bought on ebay the focal bead and accents and cannot find the lampwork artist’s name. If you happen to know, please mention it in the comments. I’d like to give credit.

Come see!

If you’re interested in seeing or purchasing my work, this piece will be featured at Mixed Messages Art leading up to the Blossom Trail event on March 5.