Charlene Anderson is an incredible prolific and generous artist. As the 2010 Step-by-Step Wire Jewelry Magazine Artist of the Year, she had a project published in every issue and continues to develop designs for the purpose of sharing them and inspiring chainmaillers, novices and experts alike.

We took this interview as an opportunity to learn more about where this inspiring artist finds her own inspiration.  Her thoughts are sure to have you looking at the world through chainmaille-colored glasses and seeing potential for designs in unexpected places.

Thanks again to all our readers who submitted questions for Charlene.  Stay tuned as we continue bring you closer to chainmaille jewelry artists and experts and find out how you can submit your questions to them.

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You mentioned in your artist profile that your traveling has influenced your work, how so?

Travel provides untold opportunities to be inspired. Whether it is paintings by Rembrandt in the Hermitage Museum in St. Petersburg or beadwork by the Maasai in Kenya and Tanzania, travel is my number one artistic influence. Photographs, postcards, fabrics, baskets, landscapes, architecture…almost anything can be an inspiration. I have a huge collection of things I have collected in my travels that inspire me every day. The inspiration can come in the form of a shape, a color story, or a technique.

Do you look exclusively to jewelry from other cultures to find inspiration?  What other forms of art inspire your jewelry?

Actually, very little actual jewelry serves as an influence in my work. The only exception is the Maasai beadwork (example shown left) I collected while in Kenya and Tanzania. Most of my inspiration comes from commonplace things…colors people are wearing, landscapes and flowers, architecture, paintings…anything can be an inspiration if you keep your eyes and mind open.

Do you take photos of things you see that could inspire a project or do you have other ways of remembering visual influences?

I take a lot of photos (even in the pre-digital days I took thousands of photographs a year) and also collect postcards, pamphlets, brochures, fabric swatches and all sorts of things. I have them filed by country in a large filing cabinet (such as this photograph of corn taken by Charlene in Togo, in West Africa.) I’ve been to over 100 countries so this is the most logical way for me to file them.

I’m lucky in that I have a really strong color memory…I can see a color once and match it years later…which really comes in handy when shopping for beads, fabric and other artwork supplies.

When you see something that inspires you, how do you translate that into chainmaille?

The first way is with shape…chainmaille weaves are architectural by their very nature and work especially well in translating those inspirations. My favorite way is with color. I have some rather unorthodox color combinations that I love and use often that were inspired by my travels.

The other way I use my travel inspiration is to actually incorporate things I collect on my travels into chainmaille pieces. The Maluaka bracelet from Step by Step Wire Jewelry used beach glass from Hawaii…but don’t limit yourself by including just the obvious like beads…sometimes things that are a little offbeat may be a starting point for a new design. With a Dremel you can make almost anything work like a bead!

Moving from Hawaii to Wyoming must have been a bit of a shock!  Does your living environment affect your designs (i.e. color choices, weaves, weight of the pieces, etc.)?

The biggest change is in my work after my move was in my color choices. The light is very different in Hawaii vs. Wyoming so what worked in the tropical light of Hawaii doesn’t work as well here. My palette moved from clear, intense, saturated colors to a more earthy and muted palette.

I was back in Hawaii recently and made sure I packed my bags with my “tropical” clothing and jewelry because it looks so beautiful there!

Chainmaille continues to grow as a craft but even so, it’s still a pretty small world and I would imagine there isn’t a huge chainmaille community in Jackson Hole, Wyoming (although, correct me if I’m wrong!)  How do you stay connected with the chainmaille community?

Two words: The Internet! The perfect way to connect, stay inspired, and get all the tools and supplies you need!

What are the best ways, in your experience, to get exposure both locally, and outside of your immediate area?

For local exposure, look to your local newspapers, and think outside the box if you want to show your work. Here in Jackson lots of hotels and restaurants have regular shows (and yes, even for jewelry.) Look to your libraries, corporate offices, clothing stores as potential places to have shows.  Offer to talk to schools, groups, clubs and organizations about your work. Think outside the box..anything can be an opportunity to promote your work.

As far as exposure on a larger scale, you need to decide what your goal is. Do you want galleries across the country to carry your work? Do you want to write and publish? Do you want to teach? Each of these requires a different approach, but in the end I subscribe to the “if you don’t ask you don’t get” method. Ask for what you want and you’ll be pleasantly surprised what you get.

How do you balance your time and energies between the different jewelry medias and all the other elements of marketing yourself and your art?  How do you make sure that what “needs” to get done gets done in the presence of wanting to create?

Rule 1: Marketing never ends.

I find that between promoting my own work and managing my online store, where I sell jewelry tools and supplies (I leave the rings to BBB!) I spend more of my time on the business side than I do on the actual creating. If I was an artist focusing on jewelry sales as my primary source of income I know I would have to spend a lot more time creating, but my online store (www.purveyorofallthingscreative.com) provides a large portion of my income so I must focus a lot of time there.

The steep rise in metal prices, especially silver, has had a huge impact on what metals I am now using in my jewelry. I am wondering if other maille artists are feeling the crunch, what alternate metals they are choosing to work with, and how it is influencing overall design of pieces.

A good design is a good design no matter what the metal. For those unable to work in silver, aluminum is a good option. Look at the rise in metal prices as an opportunity to educate your buyers about the beauty of other metals and their suitability for jewelry, as well as a challenge to your design skills. Combining metals, using colors in aluminum and niobium, and rethinking your designs can help maillers deal with the increase in metal prices.

Sometimes I can look at a pattern and get lucky to figure it out, however, I am at a loss when it comes to choosing the correct ring size. Is there any sort of formula to follow?

My suggestion is to learn the basic weaves and learn what ring sizes work for each weave. With that knowledge you have a starting point for figuring out what rings will work. For instance, I know Byzantine works well in BBB Aluminum in size F18. When I look at a weave based on Byzantine I have starting point to help me figure out what size will work. In the end it does come down to trial and error and personal taste…I like fairly firm, unfloppy weaves so that influences my ring choices.

As the Step-by-Step Wire Jewelry Featured Artist of the year in 2010, you had a project in every issue.  Why do you think it’s important to share your projects with your fellow crafters?  Do you have any projects that are your trade secrets (i.e. projects we’ll never see instructions for?)

I love teaching but my rather isolated location limits the number of classes I can teach. I feel that publishing my projects in magazines like Step by Step Wire Jewelry and on the web is just teaching in another format. As far as trade secrets…I have projects in the works that are due to be published and that will be the first time they see the light of day, but as a teacher at heart I love to share my knowledge and hold nothing back. Students pay for my knowledge and I don’t think it fair to hold things back.

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Learn more about Charlene Anderson:
Website: http://www.charanderson.com
Facebook page: http://www.facebook.com/charleneandersonartist
Twitter: http://twitter.com/char_anderson
Blog: http://charleneanderson.typepad.com/unravelings/

advice · chainmaille artist · charlene anderson · expert · inspiration

For this third installment of our “Ask an Artist” series, we had the pleasure of picking the very talented brain of Melissa Banks, chainmaille artist behind Rapt in Maille.  Questions came from readers about everything from success and rejection to creativity and being a badass.  Well, you asked and Melissa answered.  I hope you all enjoy her candid and thoughtful responses (complete with the occasional OMG or LOL) as much as I did.

Thank you to all the readers who submitted questions!  Don’t forget to stay tuned to our “Ask an Artist” series for your chance to have your burning questions answered by one of our amazing contributors.

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As we were collecting questions for you the word “badass” came up a few times.  I can only imagine this has a lot to do with the fact that you only use stainless steel rings which are notoriously difficult to work with (and require some serious muscle!) What kind of pliers do you use to tackle this material and how often do you have to replace them?

Ha ha, I like the word “badass” so I take that as a compliment, thank you!  The stainless rings are difficult to work with, but I’ve been using them for so long (about 15 years), that it is just second nature for me.  I forget sometimes how difficult they are to work with if you aren’t used to it.  I guess I have just built up the right muscles to be able to manipulate them well.  It’s pretty funny, the times I do work with sterling or aluminum I feel like Superwoman because the rings are like butter to me!

I use Rio Grande’s German pliers, really basic.  These are the pliers my professor recommended in college, and I just never tried anything else!  I originally used the slimline flat-nose.  After using those for maybe 5 years or so, I accidentally ordered the regular flat-nose pliers (which are wider).  Instead of returning these, I tried using them – and what a great mistake it was ordering the wrong product!  I’ve since tried going back to the slimline and they are SO much harder to use!  I used to break the slimline pliers pretty often, maybe every 6-9 months, but I’m pretty sure I still have those original regular flat-nose…they’ve served me well.  Others have suggested that I try some more padded pliers, but I really don’t have a problem using what I use.  Sometimes after a really long stint of work (8-10 hrs) my hands can ache, but it’s not debilitating.  And the huge callouses in the palms of my hand are like a mark of pride in my work.  Friends call them my “stigmata.”

One reader wrote, “I read somewhere once about her riding in the car with her feet up on the dash trying to get everything done for the show. Sounded like her life is very, very hectic.”  Our readers are really curious about how you get everything done. Are you weaving all your work yourself or do you have assistants?

I pretty much work all the time and sometimes I am hard on myself for not finding a good balance between work and play.  I have such a type A perfectionist personality that it’s really difficult and a constant struggle. Instead of seeing this as a negative, I am reminded by my boyfriend that that’s why I am successful, so I guess it’s a good thing.  I feel like I could manage my time better to be both successful as well as more social.  Right now, I feel guilty when I go out (should be home working!) – that’s terrible, right?

To answer the question, I do have one part time assistant who has been working for me for over 2 years.  His job consists mostly of cutting the chain that I use in a lot of my designs, which is very labor-intensive and tricky!  I do all of the weaving and assembling myself.  I have found it VERY difficult to delegate (to trust that others are closing the rings as well and as fast as I do) so most of the time my thought process is “if you want it done right, do it yourself.”

What about your rings – are you cutting them yourself or do you have ringmakers?

When I started making chainmaille in college, I was working with nickel, and I made a great deal of my own jump rings.  I bought a jump ring maker somewhere and coiled the wire and used a flex-shaft attachment with the saw blade and all that.  I have never attempted to make stainless rings (and would never attempt it) – I leave that part up to the professionals!  Plus, considering the amount of chaimaille I make and the number of rings I go through….if I had to also MAKE the rings, I’d pretty much be in a straightjacket.

Speaking of your rings, how do you get that shine?

Tumbler!  Stainless shot and tumbling solution….sometimes I use or add Dawn dish soap.  Tumbling time is usually 2-4 hrs.

Many of our readers know your work from seeing you at shows and as such, we got a bunch of questions regarding how to get into shows, how to handle rejection, and what to do once you get into a show.  Which type of art fair is most profitable? Juried?

I started out doing your basic street fair: music, beer, sunglasses, vendors, long, late hours, etc.  Although this is a great place to start, I’ve found that for my work, I don’t sell as much as I do at a juried art fair.  Patrons of street fairs are there to have fun, drink, and socialize, and don’t come expecting to spend money on jewelry or art.  If you are at an ART fair that is juried and does not allow anything mass-produced (called “buy-sell”), then you know that most of the patrons there are coming to SEE and BUY ART exclusively, and have higher expectations of what they are seeing and spending their money on.  Getting the right market is half the battle.

Obviously you are investing money in high-end photography of your pieces. Is that an important part of getting accepted into juried shows?

YES!  I would say to anyone, don’t ever bother trying to photograph your work yourself for the purpose of getting juried into a show.  (These are the product photos that I have with the standard gradient black/gray background.)  The cost is not bad, relatively speaking, and well worth the money you can potentially make at a big show.  You get one try a year to apply for each show, so skimping on the photography is not a good idea.  There are a handful of photographers that specialize in artist jury photos that can easily be found online.

As far as my website photos with models, I have those done by my friend, Audrey Keller (http://www.akphotodesign.com).  We met at an art fair in 1999 and traded art for service, and have been working together ever since!  It is a huge expense, so I only do one big shoot a year, but the results are fantastic.  And as a lot of you know, photographing chainmaille is difficult since it really takes on its most striking characteristics when worn on a form, the body.  Photographing chainmaille flat doesn’t really do it justice most of the time!

Have you ever had to prove your work is ART to the art world?

That whole idea of proving art…bah!  I guess I’ve felt like over time I’ve had to prove that my work is art – not verbally, but just by continuing to work to achieve my goal and stick to my guns.  I was told when I started that people would really never see the value in my work as long as I worked in stainless because it wasn’t a precious metal.  I always thought that was so ridiculous.  My jewelry can’t be of value because I’m not shelling out a ton of money for the material and therefore can’t charge a good price because the work itself is not worthy enough?  Somehow using sterling or gold and increasing the price accordingly would sell better and automatically make something respectful?  I think as long as your talent shows, and you have good craftsmanship and just simply make something beautiful, or something that just speaks to someone, it is art, and it is worthy of respect.

Have you ever been rejected from Art Shows?

Omg, yes!  NO one is immune.  In fact, I got 2 major rejections this year that are huge blows to my income.  This time of year is VERY stressful for artists because we are anticipating our show notifications, and our livelihoods are in the hands of strangers.  Some shows “grandfather” you in (once you get accepted, you’re pretty much guaranteed in every year), some will jury on site and extend an invitation for next year’s show, and some you just NEVER know.  The juries supposedly change every year, so you always have a different set of eyes viewing your work.  And then of course there’s politics.  Shows won’t admit to it, but there is favoritism for different situations.

Also, you need to have back-up shows.  Unless you get an automatic invite, no show is guaranteed.  Artists that do this hardcore for a living might have 2 or 3 back-up shows that they apply to for certain weekends, and hope it all balances out.

One reader wrote: “I probably just need a different craft fair, but at my last one I got no sales, and people said either ‘that’s for teenagers’ or ‘I already spent my money for today’/’that’s too expensive’.  How do you respond to those kinds of problems?”

Oh boy, that’s difficult.  The simple answer is “yes, you’re doing the wrong shows.”  I guess you should ask yourself “why?” to all of these responses.  “That’s for teenagers.”  Why are they saying this?  Maybe the answer is that you SHOULD be marketing to teenagers (nothing wrong with that!), or on the other spectrum tweaking your designs so that they appeal to a larger age group.  “I already spent my money today.”  Why did they spend their money elsewhere?  What are other artists doing that make people buy their work?  “That’s too expensive.”  Why do they think my work is too expensive?  Is this crowd not educated about the artistry involved in my work?  Is this crowd just looking for “deals?”  If your work is labor intensive and therefore expensive, you shouldn’t be at shows where the patrons don’t “get it.”

As far as responding to these problems, it can be frustrating.  I find that if you start explaining to someone why your prices are what they are, they don’t have the patience or care to listen to the answer, and then you just feel like your giving excuses that people don’t seem to trust or something like that.  The best response is to just smile, or say, “Well, thanks for taking the time to stop by and check out my work.”  I’m not going to pretend like I’m positive all the time (far from it at times), but it is the best policy.  If people don’t get it, most likely they won’t get it.  Time to move on.  Hopefully someone will come by that will get it, and they are the ones who should have your work anyway.

In addition to selling your work at shows you also have wholesale accounts with vendors. What do you think was the key to getting your first few wholesale accounts and what do you do from a customer service standpoint to keep those customers?

Again, I’m not going to lie and pretend I’m on top of things all the time.  Seriously, most of my wholesale accounts have found me or “fallen into my lap” somehow.  This is mostly because I concentrate on the retail aspect of my business because it is more profitable, and I enjoy the shows.  About 75-85% of my yearly income is retail sales.  That being said, I will not discount how important it is to have a good batch of solid wholesale accounts, because for me, they help me through the “down time” and help me reach more people.  If you’re just starting and seeking wholesale accounts, do some research on stores where your work might fit in well as far as price points and general aesthetic.  Ask people where they shop and where they think your work would fit well.  Make phone calls, send emails, send postcards.  Remember that buyers are really hectic and busy, so be respectful of that.  When you call, ask when would be a good time for them to talk and make an appointment.  Cold calling a store may get a cold reception.

As far as customer service, and how to deal with buyers, my general feeling is that you should definitely do what you can to keep the buyer happy HOWEVER, I will not deal with overly difficult buyers (and they are out there).  From experience, the frustration is not worth the money.  Also, from experience, I have learned to HAVE POLICIES AND STICK TO THEM.  I might have the luxury of turning away a nightmare account (someone who is very difficult or who can’t follow my reasonable policies) because wholesale is a smaller aspect of my business.  Your business might rely entirely on wholesale and you might want to be more lenient.  I just find that letting a buyer walk all over you in the beginning just invites trouble down the line and does nothing for your confidence as a business owner.

It’s always inspiring to see someone “make it” doing what they love but it’s no secret it takes an incredible amount of work to make that happen. How do you handle the pressure of being a professional jewelry artist?

Do I handle it?  Lol.  Sometimes, honestly, I don’t.  I get panic attacks, I get short of breath sometimes.  I’ll be the first to admit I don’t handle stress very well, but I try to keep myself in check and try not to take it out on other people (which is how it usually presents itself).  I have goals to try to exercise more, to try meditation, to deal with my perfectionistic OCD.  But the one thing I will say with conviction is this:  NETWORK.  Find people in the same situation as you.  Talk to people.  I will say this in general, even if you’re not stressed out.  Networking and talking to other artists can be extremely educational, extremely satisfying, and extremely de-stressing.  If you have a question about the business, I can say that most artists will open up their hearts to you to help out, and it is hands down the best way to learn.  There may be some people out there who will want to guard certain information, and you have to be respectful of that – there is a ton of competition out there and it is only growing.  But having a glass of wine with an artist friend, sharing experiences, venting, etc is SUPER cathartic.  I suggest starting a group of local artists in your area who meet regularly to share and hang out.  It’s the best!

What goals do you set for yourself each year to either improve on your art or make your business more successful?

Well, I try to design a new collection at least once a year, and design other new things here and there throughout the year.  It is very important to keep your product fresh.  Regular customers are your bread and butter, and they want to come to your booth or your store to see your newest creation, not the same thing over and over.  I do keep my best sellers around for years and years, but if something sits for too long, stop making it and move on!

The other thing is improvements in design or materials, and I only do this when I can afford it – that has been my approach to my business – I only spend money when I have it.  I have never had a business credit card, I’ve never had an official loan.  So my business has grown slowly, but steadily, and without the stress of debt.  So maybe next year I will use some of my profit to get better findings made, etc.  It’s just all about improving your craftsmanship and growing when you can grow.

What aspect of your business reaps the biggest financial reward – art & craft fairs or wholesale orders?  What reaps the biggest personal reward (that is, what brings you the most joy)?

Shows and shows.  Art fairs are most profitable because you are selling at retail, but that extra money will also pay for gas, hotel, booth fees, and the extreme exhaustion of dealing with long hours, being outdoors all day in heat, wind, rain, cold, tornado warnings, you name it.  But I can officially say I am an art show addict.  I love it.  I do.  There is something about working your butt off and living through hardships that really, really pays off and brings so much joy on the other side.  I guess it’s similar to how I feel about getting tattooed.  Temporary pain brings permanent beauty.

Thank you so much for being part of our “Ask an Artist” series – based on the response we got from our readers, your work is a true inspiration to many people. On that note – one final question:  How do you come up with your designs, what inspires you?

There are many different ways I come up with designs.  A lot of the time my designs are dictated by the material.  I am constantly on the hunt for stainless steel components to incorporate with chainmaille (or other things I think will go well with stainless).  For example, if I find a certain chain style, I will design around it, or a certain stone…the feel of that object will decide the style of the design, and I play around with what I can do with it.

I may also be inspired by other jewelry I see that is completely different than mine and think – how can I re-create that in chainmaille?  For example, the pen necklace that Joan’s character on Mad Men always wears….I tried to create a loose interpretation of this that became the Spike Pendant in the Metal Collection.  It’s a fun challenge to use chainmaille to re-create a form that sticks in your mind.

Sometimes I feel like I will need to fill a void in a collection and design something to fill that void.  For example – this one certain collection doesn’t have any long necklace options – what can I design that will be long, but still compliment the other pieces in the collection?  I guess I do design a lot to make my collections and displays appeal to a lot of people, to feel like a complete line of jewelry.  Another important thing to ask yourself is – how accessible is my jewelry to a wide spectrum of people?  Do I really want to be a niche product?  I feel like chainmaille can be a niche item, but it doesn’t have to be!  And we all know it’s getting more and more trendy, a fact that I have a love/hate relationship with.  The point is that I try to have a piece of jewelry for a petite, conservative woman, as well as a piece for someone who thinks, the bolder, the better – and I design with that purpose in mind.  “Something for everyone” translates to more happy people, more customers, and more sales.

Doing this for a living requires that you learn SO many hard lessons, but it is necessary to grow.  Just keep asking yourself “why” all the time when something doesn’t seem to work, try to scrutinize it, learn from it and then improve it.  And stay confident in your work – always!

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Learn more about Melissa/Rapt in Maille:
Website: http://raptinmaille.com
Facebook page: http://www.facebook.com/raptinmaille
Twitter: http://twitter.com/raptinmaille
Blog: http://raptinmaille.blogspot.com/

Psst….if Melissa has you inspired to try your hand at working in Stainless Steel, check out our Stainless Steel sampler pack or order a Try Before You Commit Stainless Steel Sampler.  We also recommend our Duck Bill Pliers for working with heavier gauge steel.  You too can feel like a “badass”!

advice · Ask an Artist · Getting in to Art Shows · melissa banks · rapt in maille · stainless steel

We are thrilled to announce that Melissa Banks of Rapt in Maille will be our next “Ask an Artist” contributor.  This will be the third article in the series and will focus largely on advice regarding selling your work at art shows.  That said, this is your opportunity to not only ask Melissa about her extensive experience with shows but about her artistry.  Get to know Melissa below and make sure to check out how to submit YOUR questions for her at the end of this post.

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rapt,  adj. – deeply engrossed or absorbed
in,  prep. – to or at a situation or condition of
maille,  n. – a flexible fabric made of interlinked metal rings

Melissa Banks – designer, fabricator, and owner of Rapt in Maille – attended the University of Illinois at Urbana-Champaign, receiving a Bachelor of Fine Arts in Crafts/Metals (Jewelry) in 1996.  After working for several years in the jewelry field as head of production for a local Chicago designer, she created her own line of jewelry, Rapt in Maille, in August of 2000.

Melissa’s jewelry combines traditional patterns of chainmaille with contemporary decorative elements, creating a progressive line of work with an emphasis on originality, style and elegance.  Every piece is handmade link by link, using stainless steel jump rings.  The process consists of opening and closing each ring, while interlocking (weaving) them with others to form a particular pattern.  This labor-intensive artform requires patience, precision, creativity, mathematics, and then more patience.  Other materials include stainless steel beads, stainless steel and gunmetal chain, rubber, gemstones, and sterling silver.




Rapt in Maille jewelry may be found at juried art festivals around the midwest, selected boutiques, and on the web at raptinmaille.com.

Learn more by reading this insightful blog post by Melissa about the history of Rapt in Maille: http://raptinmaille.blogspot.com/2010/09/from-beginning-history-of-rapt-in.html
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It’s your turn to pick Melissa’s brain about her extensive art show experience, jewelry, and life as a full-time professional chainmaille artist.  We will be accepting questions until Tuesday, March 8th!  Here’s how to get your question to Melissa:

1. Write it in the comments section at the end of this blog entry
2. Post it to our wall on facebook: http://www.facebook.com/BlueBuddhaBoutique
3. Tweet it to us using @BlueBuddhaBtq: http://twitter.com/BlueBuddhaBtq
4. Email it to me at jenna@bluebuddhaboutique.com

Learn more about Melissa:
Website: http://raptinmaille.com
Facebook page: http://www.facebook.com/raptinmaille
Twitter: http://twitter.com/raptinmaille
Blog: http://raptinmaille.blogspot.com/

advice · Ask an Artist · chainmaille · melissa banks · rapt in maille · selling jewelry at art shows

We are proud to announce Sara Richardson as the next contributor to our “Ask an Artist” series. Our first article in the series was chock full of great information about how to get started selling your own jewelry courtesy of Kat Wisniewski and Vanessa Walilko.  This next article is sure to continue providing you with awesome advice from professional chainmaille artists! Read more about Sara below and learn how you can submit your questions for her.

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Sara Richardson was one of the founding editors of Step by Step Wire Jewelry magazine. She recently started her own business, Creative World of Sara, which includes her jewelry line, Lovestruck Jewelry.  She is also a freelance writer and editor. She has been making her own chain maille, wire, beaded, and mixed media jewelry for five years. Sara’s work has been published in Creative Jewelry, Step by Step Wire Jewelry, Easy Wire, 101 Bracelets Necklaces & Earrings, and The Best of Step by Step Wire Jewelry (2010/2011). She has been published on the jewelry forum BeadingDaily.com, and is currently a guest editor on JewelryMakingDaily.com. In addition, Sara gives jewelry making parties for children and adults, and sells her jewelry at local craft shows.

Sara holds a Bachelor of Arts in Journalism and Mass Communication from St. Bonaventure University.  A native of the Buffalo, New York area, she currently lives in Chester Springs, Pennsylvania with her husband Michael, and Princeton, their Shetland Sheepdog.

What do people most often ask for your advice about? People always ask me for tips for submitting projects to magazines. While I was at Step by Step Wire Jewelry, I was the first person to receive any projects and proposals, so I can provide many helpful tips in this area.

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Want to know more about how to get your work published whether in print or online?  Sara is your gal.  We will be collecting questions for her through November 19th.  There are four easy ways to submit your questions:

1. Write it in the comments section at the end of this blog entry

2. Post it to our wall on facebook: http://www.facebook.com/BlueBuddhaBoutique

3. Tweet it to us using @BlueBuddhaBtq: http://twitter.com/BlueBuddhaBtq

4. Email it to me at jenna@bluebuddhaboutique.com

   
   

Learn more about Sara:

Etsy page: http://lovestruckjewelry.etsy.com
Facebook page: http://www.facebook.com/#!/pages/Lovestruck-Jewelry/442811710150
Twitter: www.twitter.com/lovestruckjewel

advice · Ask an Artist · chainmaille jewelry · jewelry magazines · publishing your work · step by step wire jewelry

Rebeca, myself, and everyone at B3 are working hard in preparation for the release of her first book, Chained (and all the goodies that go along with it!)  I had the great pleasure to be the photographer for the book and as such, had a great view of the countless tips and tricks Rebeca has up her sleeve when it comes to chainmailling.  The good news for you is that when she wrote her book, she made sure to include as many tips and tricks as she could possibly cram in there.  Inspired by this, I asked our fans on Facebook to share some of the best tips and tricks they have learned from others or discovered on their own.  The answers ranged from the practical to the poetic and I have deemed them totally worth sharing.  Enjoy.

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Aimee Berger: Wait until the kids (mine are 6 and 3 1/2) go to bed.

Teri Williams: Take it easy on the coffee before starting.

Dion Brodeur: Never put the piece down, unless you have to visit the loo. If you’re just starting out, never give up. Just take a break, if you get frustrated, go outside get some fresh air, count to 10 then dive back in.

Danielle Chase: I always have in mind what I’m going to play with and I only play with it for a couple of hours. That way I don’t get tired of playing with chain maille. I’m always looking for the next challenge.

Tania Moody Kitchin: Dip your tools before starting.

JoAnn Brallier Johnson: Take breaks, drink water, flex your hands, follow directions (I’m a beginner)…

Christa Krasneck: READ THE DIRECTIONS THOROUGHLY; several times, if necessary. But the newest trick I learned with Dragonscale (besides rule #1) was use the piece of wire included in the kit to nudge the rings into place. Worked like a charm!

Danielle Chase: Here’s a suggestion to learn how to do a pattern. Go buy you some shower rings from the dollar store and use the rings as jump rings and teach yourself the pattern before you use rings. I find this very helpful in learning new patterns and helping some one to learn how to do chain maille.

Diana Ferguson: Invest in ergonomic pliers; e.g. Lindstrom RX.  Don’t give up, ever. In addition to sight, your sense of touch can tell you a lot about whether you’ve achieved a clean, invisible closure on a ring. Don’t forget to PLAY!

Frann Ramales: Remember to BREATHE…. If you can’t ‘get’ a weave right away, set it aside and come back to it when you don’t have so many distractions or stress. Maille with stress and/or distractions leads to holes in the wall from thrown pliers. LOVE your pliers and love yourself… just BREATHE

Dylon Whyte: Hmmm, well, I guess to me, the most important thing never being afraid to experiment. There are no mistakes, just new opportunities for learning.  What I really like to do is pin my experiments to… the wall, so I can regard them over time. All my best ideas have come from the process of experimentation, examination and (when ready) refinement or (if appropriate and more often) evolution into something completely different.

Leayn Tabili: Make and use a starter chain for HP4-in-1.

Curtis Rondeau: 1) I must also echo the never give up part.  2) Get good with your closures before you get quick. Proper closures are key to a quality product.  3) Don’t be afraid to try to copy what you see but give credit where it’s due.  And lastly 4) Mistakes are nothing more than an experiment gone in a different direction.

Paul Madchatr: Best trick I have found so far is to be friends with B3 they always rescue me thanks always Reb and Kat

(*Blush* Thanks Paul!)
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Thanks to everyone who contributed a tip or trick and who made us smile.  What are your favorite tips and tricks?

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