Solamente

Chevron Beads – Traditional Bead Making

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I use lots of lampwork, artist made glass beads, in my jewelry designs. This Friday I got to see a trunk show of Luigi Cattelan’s work at Creative Castle in Newbury Park, California. Their entire classroom is filled with beautiful, unique glass beads and jewelry.

The short version is much of glass bead making was invented and perfected in Italy. In 1291 the glass factories of Venice were moved to the island of Murano to contain the fire hazard and better protect the trade secrets and glass-making techniques. Beads were used for trade all over the world and in the 1500s the exchange rate was 1 to 1000, so even then the price of beads was dear!

Luigi’s father owned a glass factory where Luigi worked until it closed. Then he worked at one of the oldest factories still in operation until it closed in 1992. From there he started to make his own beads, especially chevron beads, which he makes them in the traditional Venetian method

Luigi Cattelan artist profile


I purchased these yesterday – they are the last of the red and white chevrons from a production run in 1994. Big and bold with a soft, semi-matte finish – they are substantial in your hand and dramatic to the eye.

And if all that was not enough… he has with him some amazing bead history that I got to see up close and personal. Bead cards used by traders to show their wares and bead trim samples from a the late 1800s stiched to a cloth with the orignal tags and numbers for customers to view and order. The beads we love thread back through history and have been dear to the human race for centuries.

You can see Luigi and his beads at Creative Castle through Sunday. He is going on to the Tucson shows and to some other locations in the US. Look for him! His work is exciting and the sense of history and care for those who have come before is palpable.

Capture the Dragon

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I am an avid collector of Robin Poff’s dragon beads; they are special, sculptural and big! They each have their own personalities. I have spent alot of time working out how to mount them so they can be used in jewelry. You can see one example on my home page here. The spring issue of Belle Armoire Jewelry has an article I wrote called Engineering Sculptural Lampwork that gives directions for a wire based frame.

The article includes instructions for making this necklace.

I like to use lampwork with wire because they work so well together. The lampwork accomodates the wire and makes a bold statement. The challenge can be engineering the piece so it is not too heavy. Here are three suggestions to manage the weight:

1. Make sure the heaviest part rests on the center of the chest, just below the collarbone.
2. Include a counter balance, I use several beads at the end of the series of links attached to fasten the piece. This falls down the wearer’s back creating weight in the back that offsets the weight from the front. Bonus! if you wear your hair up, you are adorned going as well as coming. I first read about using a counter balance in a book by helen deitze.
3. Compensate for the heavier beads and wire by using lighter beads and pieces where possible. I am fond of vintage Lucite beads and they often find their way into my designs. Resin, horn, filigree findings, or whatever you have in your stash that works with the design.