We introduced our new “By Artists for Artists” at The Bead&Button Show this past year and have since received a number of applications from interested artists.  As we get closer to being able to fully launch the program and begin working with these artists, we want to share the experiences of one of our established B3 Designers, Kat Wisniewski, regarding creating products for Blue Buddha.

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When did you start designing for B3?  2008. Glass Caterpillar Bracelet

In your opinion, what makes B3 tutorials distinctly “B3”?  The fact that there is a photo for each and every step, which showcases how to hold the weave, where the pliers are and the path the ring should go through.

What is the hardest thing about writing instructions?  The text must very accurately describe what is going on in each photo.  The photo editing can take a lot of time and adding in arrows that make sense is tricky for sure.  

You photograph many of your own tutorials, what’s one thing you’ve learned about that that you could share?  It’s great to have an extra pair of hands, just to take the photos.  I also use the tool called “Helping Hand” with fishing line to help hold a weave in a certain position while I shoot the photo.  Great lighting and a camera with aperture and F-stop settings is a necessity!  Some metals and colors have to have light adjustments made and a great camera will help do this for you–without actually changing the lighting.

How do you come up with new projects?  I spend hours thinking about and testing what weaves I know, seeing how I can alter them to make them very different.  Other times I try a brand new weave that already exists and then see how I can alter it to be very different.  Many times think about shapes and figures that I enjoy and see how I can adapt those shapes into jewelry designs.

What have you learned from being a B3 designer?  To set myself apart from other designers, I decided to specialize in chainmaille with glass rings.  I’ve learned tons about photoshop editing, photographing jewelry, and writing clear and concise text.

Do you sell the projects/instructions you created for B3 on your own?  Yes, after the exclusivity period, I have sold the instructions on my own through my shop on Etsy.  I sell anywhere from 2-5 per week and notice that there is a great demand for quality chainmaille and wirework tutorials.  I have international customers and domestic customers that have made multiple tutorial purchases from me.

What do you feel it means to be a B3 ambassador?  I feel good about supporting a local craft business that employs other artists and works hard to help customers learn the craft.  I am thankful for the support they have given me to be a designing artist for the company.  Being an ambassador means that I showcase my support for the company to my students and customers in a variety of ways including using them as my primary supplier, being a knowledgeable expert while using reference tools from B3, and producing high-quality and inspiring products for the company.

What characteristics do you think make for a successful B3 designer?

1. You have to be a truly knowledgeable expert, which means it is not just what you know about chainmaille, but that you make a very strong effort to know everything there is to possibly know about chainmaille.  If the advice and technique you share is limited to what is only your experience, you credibility will certainly be challenged and possibly lost when other experts find your errors and lack of expertise.

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If you’re interested in becoming a B3 Designer, learn more about the program and how to apply here.  To find out more about Kat’s experience, post your questions in the comments section below, write the on our wall on Facebook or Tweet them to us.

Ask an Artist · b3 designer · by artists for artists · glass caterpillar · kat wisniewski

It’s that time again – time to meet another fantastic chainmaille artist who has agreed to let us pick their brain for our “Ask an Artist” blog series!  Charlene Anderson is an incredibly talented chainmaille jewelry artist (who incidentally uses Blue Buddha rings frequently!) and was Step-by-Step Wire Jewelry magazine’s Featured Artist of the Year in 2010. As someone widely recognized for coming up with new and interesting designs, weaves and projects, she is the perfect person to ask questions about creating your own original designs.  Read more about Charlene below and learn how to submit your questions for her at the end of the post.

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Charlene Anderson grew up in Hemet, California, on a Thoroughbred horse ranch. After college she moved to Hawaii, (sea level) where she lived for more than twenty years, before finally moving to Jackson Hole, Wyoming (6237 feet above sea level, oxygen tank optional).



Being fortunate enough to extensively travel the world, her time exploring the cultures, architecture and artwork in over 100 countries has given Charlene an international perspective to design; borrowing inspiration from different cultures and continents and combining them in original and eclectic ways is a hallmark of her work


Her work has been featured in many books and magazines, including Step by Step Wire Jewelry, Spin-Off, Interweave Knits, Handwoven, and many more. She has held numerous one-woman gallery shows and has been featured in juried exhibitions around the world

Charlene also sells her jewelry and jewelry making tools and supplies through her web site www.charanderson.com.
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It’s your turn to pick Charlene’s brain about how she turns her widely varied sources of inspiration into beautiful original designs. We will be accepting questions until Friday, April 8th! Here’s how to get your question to Charlene:

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

Ask an Artist · chainmaille jewelry · charlene anderson · design · inspiration · step by step wire jewelry

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

While sharing project ideas and instructions may not be part of EVERY jewelry artists’ mission – it certainly is a huge part of our mission here at B3. We are always in the process if developing more projects and instructions whether that means creating new kits and tutorials, writing and publishing a book (at least for Rebeca!) and contributing to jewelry magazines.  The response we get from the projects that appear in jewelry magazines and other publications is often overwhelming and we love that it helps us to introduce chainmaille to a broader audience.

The process of getting your work published for the first time however can seem daunting.  It may be difficult to know where to start and the experience might even be peppered with doubts: “Is my project really ready to be published?” We decided to demystify this process for our readers by going straight to an expert in this area.  Sara Richardson of Lovestruck Jewelry was one of the founding editors of Step by Step Wire Jewelry magazine and as such, has a wealth of information when it comes to submitting your work to be published.

Read on for tips about submitting your work and learn more about Sara and her journey to become an independent jewelry artist.

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Having my jewelry published would be a dream come true but I’m worried I might be a little too “green”.  What do you think qualifies a piece, or an artist for that matter, as “ready” to be published?

First, I would recommend taking a look at your favorite jewelry making magazines and see what other published artists have done. This may give you a clue to determine if you’re ready to be published or not. When an editor gets a submission, she/he considers the following:

1. Is the piece something unlike what we’ve published before?
2. Is it a good match for our magazine?
3. Will it be popular with our readers?
4. Does it feature an interesting combination of different techniques?
5. Perhaps the most important question: is the piece technically put together and constructed well enough to look professionally-made?

So, keep all these questions in mind when you put together a possible project submission for consideration.

If my piece isn’t accepted initially, is it ever appropriate to resubmit the same piece to the same magazine at a later time?

If your piece is rejected, and you’d like to know why, feel free to ask the editor about how the piece can be improved. The editor shouldn’t have a problem giving you suggestions. Take their advice seriously and constructively, and do your best to make the improvements. Then, feel free to re-submit the piece for consideration. Whatever you do, do not take rejections personally, but rather see it as a learning experience. The editors want you to be successful, but they also want to sell magazines. If you are rejected, you are not alone! I’ve even had pieces rejected. It’s easy to get discouraged, but keep trying!  (Pictured, Foxy Roxy Necklace as seen in Step by Step Wire Jewelry Summer ’09 and Interweave project store)

Is it appropriate to submit the same project to several different publications?

Yes, but I wouldn’t do that at the same time. Take it one at a time. Submit it to your favorite publication first. Then, if it’s rejected, try another. If you submit the same project to multiple publications at once, the project may be accepted by more than one! Sounds good, right? Well, actually, it may not end up being so good for you! While it is flattering to have more than one publication accept, if they find out it’s going to be published in another publication, it may be scrapped! Or, if they find out about each other, it may be scrapped from both of them. Publications like magazines and books, and even online, have to abide by copyright laws, and they don’t want to risk legal action from this conflict. If you have any question about copyright issues or a possible conflict, make sure you ask the editor.

I don’t see as many chainmaille projects in magazines as I do bead and wire projects, which publications do you think are the most chainmaille friendly?

Unfortunately, there aren’t many magazines devoted just to chain maille. The problem is that each jewelry-making magazine has to try to reach out to multiple demographics in order to sell their issues. They do their best to strike a balance so that as many readers as possible will be satisfied. I would recommend checking out Interweave’s Step by Step Wire Jewelry (BBB’s Rebeca Mojica is a contributing editor and helps edit all their chain maille projects), or Kalmbach’s Wirework special issue magazine. Each has a good selection of chain maille projects. But, fret not, maillers. The editors know that chain maille is growing in popularity, and takes industry trends that into consideration when developing new specialized publications!

How do I find out if a publication (print or online) is accepting submissions?  Is it appropriate to just contact them at any time with my work?

My best advice is to check your publication’s Web site. They should have a link telling you how and when you can submit possible projects. Usually, the editors will first want to see a photo of a finished piece when considering your work. The photos do not have to be taken by a professional, but they should be clear enough so they can see the techniques employed and the quality of the work. At Step by Step Wire Jewelry, they welcome submission proposals all year long. Other publications may be different. If in doubt, just send a quick e-mail to the editor. (Pictured below, Vineyard Coils Bracelet as seen in Easy Wire ’08 and Interweave project store)

When you were at Step by Step Wire Jewelry, what were the first things you would look for in submissions?  Did you have any “deal-breakers” that would make you reject a proposal right off the bat?

Even though I was an associate editor, and not the editor-in-chief, I was often involved in thumbs-up or thumbs-down decisions. Again, the piece has to be well-made. For instance, a chain maille piece needs to be woven properly, with jump rings completely closed. A wire project should have neat, clean wire wraps. And, the piece most of all needed to primarily feature wire techniques.

I would also recommend making sure your proposal or e-mail is spell-checked and grammatically correct. Nothing turns off an editor more than a glaring error, or worse, multiple errors! Your piece may not necessarily be rejected, but it’s a warning to the editors that your written project may be difficult to tackle.

It was part of my job to help make sure that the technical instructions were easy for our readers to understand. If we couldn’t understand the technical information to make the piece ourselves, the readers wouldn’t be able to get it either. Even though the piece of jewelry may be gorgeous, what good would it be to publish it if nobody understands how to make it themselves?  Don’t risk your piece not being published because the written text is too hard to understand!

I also recommend you check the style of how certain things are spelled in the publication you are submitting to. For instance, Step by Step Wire Jewelry uses “chain maille”, while others use “chainmaille” or “chain mail.”

Is it better to upload images or mail in photos when trying to get your pieces published?

Either way should be fine, but check with the publication.  All publications require high-resolution photos (300 dpi).   Shoot all photos at the highest resolution that your camera allows and send all the photos raw (not edited or cropped in programs such as Photoshop.)  There are two ways to send your photos digitally.  (Pictured left, Coily Chain and Baby Blue Disc Earrings as seen in Easy Wire ’09)

1. Attach them in an e-mail to the editor. I recommend you first send a warning e-mail to the editor, alerting them that your photos are on the way. Also, only send them a few at a time. If you have 30 step photos at high resolution, and attach them all in one e-mail, it will bounce back. Instead, I would send them no more than five photos at a time.

2. Send your photos on an FTP site like Sendspace. You can upload several high-resolution photos, and you can send an editor a link so they can go to the site to download the photos.

If you feel that you aren’t that technologically savvy, by all means, burn the high-resolution photos onto a CD-R or a DVD-R. Make sure you send the disc early enough in the publication process just in case the editor finds a problem with any of your photos.

What are your favorite blogs right now?

I really enjoy Jewelry Making Daily. (And I’m not just saying that because I’m a contributing editor!)  It has a ton of great tips on wire, chain maille, and metalworking, not only written by the editors, but lots of industry experts. I also follow blogs created by my jewelry-making friends. One of my favorites is by Cindy Wimmer (www.sweetbeadstudio.com).

What inspired you to make the leap to start your own business?

It was very difficult to take that leap. I really did enjoy my job at Step by Step Wire Jewelry. I did a lot of soul-searching and a lot of talking with my husband. It was very important that I had his support, not only because we would be going down to one steady income for awhile, but also because he plays a vital role in my business. He takes the photos for my Etsy page, he is designing my Web site, and also plays a role at shows I do: helping me set up, break down, and take orders.

The moment when I felt the most confident in starting a business was when my mother-in-law hosted a jewelry party featuring my work which was very successful. That got me thinking, and believing—if I spent more time doing this and concentrating on this, I can turn it into something good. I could be my own boss and do the things that make me happy, primarily making jewelry and to be a writer and editor on my own terms.

But I am still very involved with those good people at the magazine. Currently, I have been writing media reviews and projects, and may even be doing some upcoming freelance work for them.

Has your experience with Step by Step Wire Jewelry influenced the way you approach your own business?

Yes, it definitely has. I know the proper way to submit projects, and I have a ton of confidence in my writing and editing abilities. I picked up great tips about how to perfect my craft and was exposed to so many different techniques. And, by working at several Bead Fest shows put on by the magazine’s company, Interweave, I also crafted my sales skills and learned how to effectively promote and sell my work in a public setting. Also, the informative articles that we published in the magazine and on Jewelry Making Daily has helped me develop my Web site, and introduced me to the beauty of social media and marketing. I think all of this experience gave me that much more confidence to spread my wings and open my business in August 2010.

What made you fall in love with chainmaille?

I was exposed to chain maille in my first months at Step by Step Wire Jewelry. I saw a beautiful foxtail bracelet made by one of my fellow editors at the time. However, not knowing much about jewelry at the time (I was hired because of my editorial experience) I never believed I could make something like that myself. I took a chain maille class at Bead Fest about a year later, but I couldn’t understand the weave, and almost gave up.

When Donna Ryan-Kocun’s Colorful Foxtail Necklace was offered at Bead Fest Wire, I decided to try again. By using the large anodized aluminum rings I finally “got” it! Then, I tried the weave with smaller rings and it still worked.  My chain maille adventure began. Now, I’m pushing myself to learn more complex and advanced weaves to expand my repertoire. I’m gaining more and more confidence every day.

Now that you are a professional jewelry artist, do you still experiment with different techniques and styles or have you found a niche that you are sticking to?

Since working at the magazine, I was exposed to so many different techniques, and it’s hard for me to narrow my art to just one of the techniques. I love working with colored craft wire, Swarovski crystals, and anodized aluminum jump rings. I also enjoy making mixed media pieces, like bottle cap pendants filled with resin. But I would like to add and expand my chain maille inventory, and in 2011, I intend to. But most of all, I love to work with color, and no matter what kind of piece I make, it all comes together in a bright, vibrant rainbow!

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Find out more about Sara/Lovestruck Jewelry:

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

Ask an Artist · Lovestruck Jewelry · publishing your work · Sara Richardson