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Margie Deeb Challenges You…

July 08, 2014, 05:37 am  Posted by Lark
 

The Beader’s Guide to Jewelry Design, written by Margie Deeb, teaches you to design your own creations by paying attention to unity, scale, proportion, balance, rhythm, shape, pattern, texture, movement, drape, and color. You’ll explore the interaction of jewelry and the body: how it moves, how it drapes, how it guides the viewer’s eye to complement–or clash–with different body sizes and wardrobe. The concepts presented are supported by photos, illustrations, before-and-after examples, and challenges. Tips from today’s leading jewelry designers in polymer clay, beads, precious metal clay, ceramic, and wire teach you how to take your ideas and refine them into extraordinary, wearable jewelry.

  • Discover why a piece of jewelry is visually appealing.
  • Understand why you prefer certain styles and how to apply the concepts to achieve what you want.
  • Gain confidence in using specific applications of visual and aesthetic principles.
  • Be inspired to grow and express more of yourself and your unique visions of beauty.

 

This is the last of a nine-part interview (whew!) with the author.

Q Each chapter ends with a Challenge Yourself page that’s kind of like fun homework assignments. Tell me about those.

A I love homework and assignments. And I am so irritated by books that tell you how to do something without providing exercises to practice it! I love putting into practice what I learn, without the pressure of having to create a masterpiece. That’s what these challenges are: they’ll compel you to apply what you’ve learned in each chapter. And they’ll inspire you to stretch beyond comfortable boundaries.

 

For example, at the end of Chapter 3: Balance, the “Challenge Yourself” section asks you to consider symmetrical balance, something you’ve probably worked with all your life, more carefully. I write the following:

  • Browse jewelry catalogs or websites for examples of vertical and horizontal symmetry. Find examples that simultaneously display both. Which kind of symmetry do you find more in earrings? Necklaces? Bracelets?
  • Sketch several pair of earring designs using vertical symmetry.
  • Do the same using horizontal symmetry.
  • Sketch several pair of earring designs using both vertical and horizontal symmetry simultaneously.
  •  Vertical symmetry is common in necklaces and earrings. Horizontal symmetry isn’t as common, and is rarely seen without vertical symmetry also being present. How do you feel about horizontal symmetry in a necklace or in earrings?

 

Most jewelry designers haven’t considered the difference in impact that vertical or horizontal balance has on their jewelry, or on the way that jewelry looks when it is being worn. Understanding these concepts and their visual ramifications improves your ability, expands your options, and helps you become more creative.

Click on this image to link to a PDF of these pages

 ***

Margie Deeb is the author of four other books. For more info about her new one, check out http://beadersguidetojewelrydesign.com


 
 
 
 
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Take a Creative Journey with Margie Deeb

July 01, 2014, 05:45 am  Posted by Lark
 

The Beader’s Guide to Jewelry Design, written by Margie Deeb, teaches you to design your own creations by paying attention to unity, scale, proportion, balance, rhythm, shape, pattern, texture, movement, drape, and color. You’ll explore the interaction of jewelry and the body: how it moves, how it drapes, how it guides the viewer’s eye to complement–or clash–with different body sizes and wardrobe. The concepts presented are supported by photos, illustrations, before-and-after examples, and challenges. Tips from today’s leading jewelry designers in polymer clay, beads, precious metal clay, ceramic, and wire teach you how to take your ideas and refine them into extraordinary, wearable jewelry.

  • Discover why a piece of jewelry is visually appealing.
  • Understand why you prefer certain styles and how to apply the concepts to achieve what you want.
  • Gain confidence in using specific applications of visual and aesthetic principles.
  • Be inspired to grow and express more of yourself and your unique visions of beauty.

 

This is the eighth in a nine-part interview with the author.

Q In Chapter 8: The Creative Journey, you discuss fear and doubt. How come, Margie? Isn’t beading all about having fun and being creative?

A All truly creative pursuits are accompanied by some degree of fear or doubt. Fear and doubt are evidence of being challenged. I’ve never completed a project in my life in which I haven’t doubted myself, sometimes for a few moments, and other times severely.

 

 

I don’t see or hear enough discussion out there about fear, doubt, and failure (which is also part of the process). And because of that, people new to design get the message that if they doubt themselves, it proves they aren’t capable. I hate those consequences. It’s so important to accept the process. And the process includes fear, doubt, and failure. In the book I present the most effective ways I know to deal with them.

If someone doesn’t experience fear or doubt while executing a creative project, that person isn’t challenging themselves. He or she isn’t pushing out of the comfort zone.

One of the most exciting sections of this chapter addresses finding your artistic voice. I designed a worksheet to help you clarify your motivation and strengths. This will be so valuable to anyone, regardless of their skill level.

 

 

Q You include brief interviews with Sherry Serafini, Frieda Bates, Marcia DeCoster, Barbara Becker Simon, Jamie Cloud Eakin, Heidi Kummli, Diane Fitzgerald and Robin Atkins. How did you select these artists, and what are the interviews about?

A The most powerful way to become a master at any art form, including jewelry design, is to structure your creative process. Honing our creative process is something we all must do as artists. And it differs for every artist. I talk a little about mine and how I manage my energy and time. I wanted to present other artists’ methods as well, so I chose prolific artists who I consider masters. It was such fun reading how others work! And it both validated some of my own practices, and inspired me to try new ones.

 

Click on this image to link to a PDF of these pages

 

 

Check in next Tuesday for the last segment of this interview with Margie!

 ***

Margie Deeb is the author of four other beading books. For more info about her new one, check out http://beadersguidetojewelrydesign.com


 
 
 
 
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Margie Deeb Talks About Jewelry & the Body

June 24, 2014, 05:33 am  Posted by Lark
 

The Beader’s Guide to Jewelry Design, written by Margie Deeb, teaches you to design your own creations by paying attention to unity, scale, proportion, balance, rhythm, shape, pattern, texture, movement, drape, and color. You’ll explore the interaction of jewelry and the body: how it moves, how it drapes, how it guides the viewer’s eye to complement–or clash–with different body sizes and wardrobe. The concepts presented are supported by photos, illustrations, before-and-after examples, and challenges. Tips from today’s leading jewelry designers in polymer clay, beads, precious metal clay, ceramic, and wire teach you how to take your ideas and refine them into extraordinary, wearable jewelry.

  • Discover why a piece of jewelry is visually appealing.
  • Understand why you prefer certain styles and how to apply the concepts to achieve what you want.
  • Gain confidence in using specific applications of visual and aesthetic principles.
  • Be inspired to grow and express more of yourself and your unique visions of beauty.

 

This is the seventh in a nine-part interview with the author.

Q The chapters about the major principles of design are followed by Chapter 7: Jewelry and The Body. Tell me about this section, Margie.

A This is my favorite chapter in the book! It’s so very important to consider how jewelry interacts with the body, not just how it looks in a photo or on a display form. Too often that’s all we see because we’re looking at static photos. And unfortunately, many bead artists disregard the wearer’s size, coloring, skin tone, shape, and comfort when making jewelry. This chapter presents information that has never been published, material I’ve spent decades learning and gathering. Chapter 7 is worth the price of the entire book, in my opinion. It includes info on how to design necklaces for specific fashion necklines, body shapes and sizes, face structure, and more.

 

 

 

I’ve developed a “Customer Preference Form” to copy and fill out when you’re designing for specific clients. You can use it to capture all you need to know about your customer, including measurements, allergies, color preferences, and more.

 


 Q Does the success of jewelry on the body have to do with proportion?

A In large part, yes. When a woman is overwhelmed by jewelry, it often looks comical. When a woman wears jewelry that can barely be seen, it can look odd and unflattering. The proportions within the piece jewelry are so important, too. A huge focal bead on a flimsy strand (something I see far too often) appears painfully out of proportion. We cover those kind of proportions in the Balance chapter.

 

Click on this image to link to a PDF of these pages

 

Check in next Tuesday for the eighth part of this interview with Margie!

 ***

Margie Deeb is the author of four other beading books. For more info about her newest one, check out http://beadersguidetojewelrydesign.com


 
 
 
 
1 Comments

Shape & Color, with Margie Deeb

June 17, 2014, 05:31 am  Posted by Lark
 

The Beader’s Guide to Jewelry Design, written by Margie Deeb, teaches you to design your own creations by paying attention to unity, scale, proportion, balance, rhythm, shape, pattern, texture, movement, drape, and color. You’ll explore the interaction of jewelry and the body: how it moves, how it drapes, how it guides the viewer’s eye to complement–or clash–with different body sizes and wardrobe. The concepts presented are supported by photos, illustrations, before-and-after examples, and challenges. Tips from today’s leading jewelry designers in polymer clay, beads, precious metal clay, ceramic, and wire teach you how to take your ideas and refine them into extraordinary, wearable jewelry.

  • Discover why a piece of jewelry is visually appealing.
  • Understand why you prefer certain styles and how to apply the concepts to achieve what you want.
  • Gain confidence in using specific applications of visual and aesthetic principles.
  • Be inspired to grow and express more of yourself and your unique visions of beauty.

 

Margie Deeb

This is the sixth in a nine-part interview with Margie.                   

Q How is shape important, Margie?

A As we wear a carefully crafted shape of beauty—for that is exactly what jewelry is—it becomes an expression and extension of who we are. Shape contributes to that expression. When you look at a piece of jewelry from a distance, its shape is the first thing you see. You can’t discern individual beads or intricate surface embellishment. Your eye immediately perceives just the essential shape.

Obsessed as bead artists are with surface embellishment, it can be tempting to minimize the importance of the shape of the jewelry we’re designing so we can get to the “good stuff,” the intricacies of stitch wizardry and surface ornamentation. When this kind of myopia is in place, design suffers. The most extraordinary beads woven into fascinating patterns amount to little if they’re part of a sloppy or confusing shape.

So I encourage everyone to fall in love with shapes: learn all you can about their movement, style, and language. Your jewelry will be more beautiful because of it.

Click on this image to link to a PDF of these pages

 

 

Q It seems color would be the most important principle for a piece of jewelry. Isn’t that the first thing people notice?                           

A Most often, yes. But it depends on the distance the jewelry is being seen from. When seen up close, color does compose the major impact of a piece. When looking at a piece of beadwork, a viewer will accept or reject it in less than 30 seconds. The colors account for 60 percent of that decision. Consider the jewelry on magazine covers: color provides the over-riding emotional tone. But when seen from a bit of a distance, even just another foot or two, it’s the shape of the jewelry that our eye immediately discerns. That’s why a whole chapter of my book is devoted to shape.

I devote another chapter to color. Our reaction to color is emotional and visceral. Our “heart” reacts strongly and we feel the response in our bodies. Likewise, the colors we choose for our jewelry elicit emotional, gut-level responses from others. Color, and color alone, can infuse your creations with the ability to astonish.

Color is critical to the artist because it’s one of the most powerful notes in your artistic voice. Your unique sense of color, cultivated and nurtured, becomes a signature of who you are.

 

 

 

Check in next Tuesday for the seventh part of my interview with Margie!

 ***

Margie Deeb is the author of five beading books. For more info about her newest one, check out http://beadersguidetojewelrydesign.com


 
 
 
 
1 Comments

You Move Me, Margie Deeb

June 10, 2014, 05:30 am  Posted by Lark
 

The Beader’s Guide to Jewelry Design, written by Margie Deeb, teaches you to design your own creations by paying attention to unity, scale, proportion, balance, rhythm, shape, pattern, texture, movement, drape, and color. You’ll explore the interaction of jewelry and the body: how it moves, how it drapes, how it guides the viewer’s eye to complement–or clash–with different body sizes and wardrobe. The concepts presented are supported by photos, illustrations, before-and-after examples, and challenges. Tips from today’s leading jewelry designers in polymer clay, beads, precious metal clay, ceramic, and wire teach you how to take your ideas and refine them into extraordinary, wearable jewelry.

  • Discover why a piece of jewelry is visually appealing.
  • Understand why you prefer certain styles and how to apply the concepts to achieve what you want.
  • Gain confidence in using specific applications of visual and aesthetic principles.
  • Be inspired to grow and express more of yourself and your unique visions of beauty.

 

This is the fifth in a nine-part interview with Margie Deeb.                          

Q Why did you include a chapter on movement?

A Movement is something I’ve never seen written about, even though it’s critical to beautiful jewelry: Movement makes art come alive. We know physical movement well, the kind that occurs when beaded fringe sways or metal charms shimmy. Physical movement is obvious. There is, however, another kind of movement—one less tangible, one that doesn’t physically move. We sense this intangible movement more often than we see it.

 

Click on the image above to link to a PDF of these pages

 

It is the movement—physical or intangible—in jewelry that initially calls to and captures the viewer: the sparkle of a reflective facet, the sinuous curve of an element, the beat-like percussion of a repetitive pattern. In this chapter we examine the movement of light, pattern, line, shape, texture, and color. We dicuss the “musical”  effects of visual rhythm, repetition, and space.

 

 

I love studying intangible movement because it involves intuition and feeling rather than anything physically measurable. I wrote: “Intangible movement and visual rhythm dwell in the realm of feeling and the senses—slightly elusive, slightly mysterious, perfect for evoking mood. You can create tension by repeating angular elements. Smaller elements can create more rapid movement. Imbue a piece with tranquility by using long, curvilinear shapes and motifs in horizontal positions. To speed up movement, increase the repetition with progressively shorter intervals. To slow it down, do the opposite.”

 

Which kind of repeated line makes you feel more calm? Which moves faster? Does one seem older than the other?

 

Visit this blog next Tuesday for the next part of the interview with Margie!

***

Margie Deeb is the author of five beading books. For more info about her newest one, check out http://beadersguidetojewelrydesign.com


 
 
 
 
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Margie Deeb Stays Balanced

June 03, 2014, 05:29 am  Posted by Lark
 

Today is the official release of The Beader’s Guide to Jewelry Design, by Margie Deeb! Congratulations, Margie!

This information-packed book teaches you to design your own creations by paying attention to unity, scale, proportion, balance, rhythm, shape, pattern, texture, movement, drape, and color. You’ll explore the interaction of jewelry and the body: how it moves, how it drapes, how it guides the viewer’s eye to complement–or clash–with different body sizes and wardrobe. The concepts presented are supported by photos, illustrations, before-and-after examples, and challenges. Tips from today’s leading jewelry designers in polymer clay, beads, precious metal clay, ceramic, and wire teach you how to take your ideas and refine them into extraordinary, wearable jewelry.

  • Discover why a piece of jewelry is visually appealing.
  • Understand why you prefer certain styles and how to apply the concepts to achieve what you want.
  • Gain confidence in using specific applications of visual and aesthetic principles.
  • Be inspired to grow and express more of yourself and your unique visions of beauty.

 

This is the fourth in a nine-part interview with Margie Deeb.
Q Tell us about balance as it applies to jewelry design.
A When something is visually off-balance, we feel it. In my book we explore ways to achieve visual balance (both symmetrical and asymmetrical) because balance takes us a step further in achieving the unity we seek in jewelry design.

 

Click on this image to link to a PDF of these pages

 

In this chapter we explore all kinds of balance: radial, vertical, horizontal, symmetrical. We discuss what kinds of balance harmonize best with the body. We look at why asymmetrical balance can be so compelling. We examine balance of composition and of movement. There are so many ways to play with balance, and we explore achieving it through value, color, positioning of elements, texture, pattern, shape, and movement.

 

 

Q What do you mean by “balance through value or color”?

A Darker colors—those with lower value—are visually heavier than lighter colors. You can use a larger area of a lighter color to counterbalance a small area of dark. Now, balancing dark and light is relatively simple. When you add color into the equation, it becomes more complex. With color we need to consider luminosity—the brilliance of a color. A color’s brightness affects visual weight.

A small amount of a darker or muted (less saturated, more dull) color can counterbalance an expanse of a lighter color. But when luminosity comes into play we need to look more carefully. Bright, luminous colors demand more attention than colors that are simply lighter.

Balance through Value

In the illustration on the left (above), the smallest circle is dark (visually heavy), so it balances all three lighter, larger circles. The positioning of lights and darks balances the composition. In the drawing on the right, the dark circle in the earring balances the whole circle because its visual weight is equal to the crescent and the lightest circle.

 

Check back next Tuesday for the next part of this interview with Margie Deeb.

 ***

Margie Deeb is the author of five beading books. For more info about her newest one, check out http://beadersguidetojewelrydesign.com


 
 
 
 
1 Comments

Get Focus with Margie Deeb

May 27, 2014, 05:27 am  Posted by Lark
 

The soon-to-be-released book The Beader’s Guide to Jewelry Design, written by Margie Deeb, teaches you to design your own creations by paying attention to unity, scale, proportion, balance, rhythm, shape, pattern, texture, movement, drape, and color. You’ll explore the interaction of jewelry and the body: how it moves, how it drapes, how it guides the viewer’s eye to complement–or clash–with different body sizes and wardrobe. The concepts presented are supported by photos, illustrations, before-and-after examples, and challenges. Tips from today’s leading jewelry designers in polymer clay, beads, precious metal clay, ceramic, and wire teach you how to take your ideas and refine them into extraordinary, wearable jewelry.

  • Discover why a piece of jewelry is visually appealing.
  • Understand why you prefer certain styles and how to apply the concepts to achieve what you want.
  • Gain confidence in using specific applications of visual and aesthetic principles.
  • Be inspired to grow and express more of yourself and your unique visions of beauty.

 

This the third in a nine-part interview with Margie Deeb. This one is about Focal Point & Emphasis.

Q What do you mean by “focal point” and “emphasis”?

A Our task as designers is to guide viewers into the world of our jewelry. You do this as other artists in all mediums do, with carefully planned focal points and areas of emphasis. Our goal is to first attract the eye, then guide it. We consciously design an entry point and a subsequent path for the eye to travel. In the book I show some of the most powerful ways to do this.

 

 

I also discuss different approaches to emphasis: Do you want a main focal point, or an allover pattern? Do you want a centered or an off-center focal point? What are the benefits of one over the other? How can you use negative space as an attractor or focal point? And the most alluring and elusive part of this chapter—how to imbue your work with mystery.

 

 

Q That sounds very intriguing! Tell me more about mystery in jewelry.

A Look at a piece of jewelry that stops you in your tracks, one you can’t stop thinking about or one you wish you had created. Can you feel yourself drawn in, seduced as if by a magical spell? That is the power of mystery. I feel this when I look at much of Heidi Kummli’s work. The mystery she creates is both within and beyond the intricacies and drama of her work.

You can feel the presence of mystery. You sense a sacredness. You gaze at a piece of jewelry and your mind leaps. You feel awe. You feel wonder. You want to figure out why you’re so drawn to it, and you’re inspired to make something as exciting or beautiful. In the presence of mystery, you feel more alive and empowered as an artist.

 


 ***

Check in next Tuesday for the fourth part of this interview with Margie.

Margie Deeb is the author of four other books. For more info about her new one, check out http://beadersguidetojewelrydesign.com

Margie Deeb


 

 
 
 
 
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Margie Deeb Discusses Unity

May 20, 2014, 05:18 am  Posted by Lark
 

The soon-to-be-released book The Beader’s Guide to Jewelry Design, written by Margie Deeb, teaches you to design your own creations by paying attention to unity, scale, proportion, balance, rhythm, shape, pattern, texture, movement, drape, and color. You’ll explore the interaction of jewelry and the body: how it moves, how it drapes, how it guides the viewer’s eye to complement–or clash–with different body sizes and wardrobe. The concepts presented are supported by photos, illustrations, before-and-after examples, and challenges. Tips from today’s leading jewelry designers in polymer clay, beads, precious metal clay, ceramic, and wire teach you how to take your ideas and refine them into extraordinary, wearable jewelry.

  • Discover why a piece of jewelry is visually appealing.
  • Understand why you prefer certain styles and how to apply the concepts to achieve what you want.
  • Gain confidence in using specific applications of visual and aesthetic principles.
  • Be inspired to grow and express more of yourself and your unique visions of beauty.

 

This is the second in a nine-part interview (we’re keeping it bite-size!) with the author.

Q Your book contains six chapters on the major principles of design—unity, focal point and emphasis, balance, movement, shape, color. That’s a lot of information! For someone new to design, do you suggest starting at the beginning of the book, or is there one section readers might focus on first? In other words, do you feel there’s one principle that’s more important than any of the others to explore first?

A I wrote the chapters in an order that was easiest and most natural for clear understanding. I suggest starting at the beginning for anyone, not only those new to design. Seasoned artists often rely on the same set of visual design principles as they work. This book presents many design principles they may not have explored, which will spark ideas and inspire them to try new approaches. Design, like color, isn’t something you learn once and get it forever. I’ve studied design and color for over 45 years, and will continue to for the rest of my life.

The book's table of contents

 

 Q Let’s talk about the principles of design. For someone not familiar with these concepts, can you summarize in a sentence or two what a designer is trying to achieve through unity?

A Good design expresses harmony, in which every part affirms its connection with all the rest, each element speaking to and with the others. Color, placement, texture, pattern, technique, materials, and components belong together: They’re related to each other and to the whole. There’s an intentional order and purpose to the piece. We call this kind of harmony unity. Without unity, a piece becomes chaotic and unappealing.

Unity is the goal of good design: how much unity is the challenge. It’s often difficult to know “when to say when” regarding how much variety to include within a piece of jewelry. On the other hand, playing it safe too often can lead to boring overuse of similarity. The challenge is how to balance variety and repetition in order to create striking unity.

It helps to think of unity not as a destination, but as a state existing somewhere between random variety and repetitious uniformity.

Q The chapter called Unity contains a section about The Ugly Necklace Contest. As your editor, the first time I saw it, I got a huge kick out of it! I had never heard of that competition. Tell this blog’s readers a little about it.

Warren S. Feld, owner of the Land of Odds bead store, concocted and sponsors the annual The Ugly Necklace Contest. It’s a brilliant idea! I’m so grateful he let me include what he has learned and some of the photos from the contest, for there is much to be learned from jewelry born of the attempt to make and to interpret “ugly.” As I say in the book, “Mediocre is easy to achieve. We all can do it when we feel lazy, uninspired, or we’re not challenging ourselves. Mediocre falls in the middle of the spectrum between beautiful and ugly. Both beauty and ugliness encompass what this book is about: the deliberate application—or lack of application—of design theories.”

Click on this image to link to a PDF that gives you a sneak peek at The Ugly Necklace Contest!


 ***

Check in next Tuesday for the next part of my interview with Margie!

Margie Deeb is the author of four other books. For more info about The Beader’s Guide to Jewelry Design, check out http://beadersguidetojewelrydesign.com

Margie Deeb


 
 
 
 
3 Comments

New Book from Margie Deeb!

May 13, 2014, 06:30 am  Posted by Lark
 

The soon-to-be-released book The Beader’s Guide to Jewelry Design, written by Margie Deeb, teaches you to design your own creations by paying attention to unity, scale, proportion, balance, rhythm, shape, pattern, texture, movement, drape, and color. You’ll explore the interaction of jewelry and the body: how it moves, how it drapes, how it guides the viewer’s eye to complement–or clash–with different body sizes and wardrobe. The concepts presented are supported by photos, illustrations, before-and-after examples, and challenges. Tips from today’s leading jewelry designers in polymer clay, beads, precious metal clay, ceramic, and wire teach you how to take your ideas and refine them into extraordinary, wearable jewelry.

  • Discover why a piece of jewelry is visually appealing.
  • Understand why you prefer certain styles and how to apply the concepts to achieve what you want.
  • Gain confidence in using specific applications of visual and aesthetic principles.
  • Be inspired to grow and express more of yourself and your unique visions of beauty.

Margie Deeb

 

This is the first in a nine-part interview (we’re keeping it bite-size!) with the author.

Q What made you decide to write this book?

A As with all my books, I’ve written a book that I want to read. There’s been nothing published that focuses deeply on aesthetic principles of design for jewelry artists. This book is my answer to that lack. And like my other books, it makes exploring abstract concepts quite fun. It’s a thrilling read for anyone interested in design, not just jewelry design.

Q Is there any one thing you hope readers take away from reading the book?

A Yes, and it’s a two-part hope: inspiration and beauty. I want the reader to be inspired to design their unique versions of beauty.

I see bead artists afraid to take risks, afraid to design jewelry. I see them giving up after a couple of tries because they think they don’t have the capacity to design. I want them to catch the fire of inspiration.

I see a lot of beaded jewelry that pays little to no attention to aesthetics, and I’m hoping to inspire designers to focus on overall beauty, not just “wow” and bling factors, or technical expertise.

Q You used social media to augment the book. Will you say a little about that?

A I asked questions of readers of my newsletter and on Facebook. In this way I learned what beaders need in terms of jewelry design. Throughout the pages you’ll see the names and concerns of those who responded. It was a fun process, and I’m grateful for their input and everything I learned from them.

Q You both wrote the book and served as the designer and illustrator. You also shot much of the photography. What a huge undertaking! What was your favorite part of putting together this book?

A I’m a professional artist/designer as well as a writer, so handling all aspects was a joy. I loved every bit of it. If I had to choose one part over all, it would be drawing the illustrations. I wish I could include more illustrations.

The table of contents. Click on this image to link to a PDF that gives you a sneak peek of the first few pages of the book!

Q The book contains almost 200 photos of jewelry made by some 70 artists. How did you choose them?

A I searched online and in books for jewelry that clearly illuminates concepts I explore in the text.  I also commissioned pieces from artists, giving them guidelines for the concept I was presenting. Almost all of the “Challenge Yourself” sections involved commissions.

 

Click here for a sneak peek at the first few pages of the book, and check in next Tuesday for the second part of my interview with Margie!

 ***

Margie Deeb is the author of four other books. For more info about her new one, check out http://beadersguidetojewelrydesign.com


 
 
 
 
0 Comments

Marica DeCoster Presents—Now Available!

February 11, 2014, 15:08 pm  Posted by Lark
 

 

Marcia DeCoster interviews 30 leading beaders on inspiration and technique

Just published! Beadmaster Marcia DeCoster delivers page after page of inspiration by offering you the personal stories and latest creations from 30 leading jewelry designers in her latest, Marcia DeCoster Presents.

 

Through interviews conducted by Marcia, these artists open up about their beginnings, their successes, their muses and influences, their favorite materials, their membership in the worldwide beading community, and their future beading dreams.

 

In addition to the insight and innovation present in these discussions, this volume is filled with gorgeous color photos that showcase a number of the most beautiful pieces from each contributor.

 

The artists in this book represent an international roster of the best in the field:

Daeng Weaver, Miriam Shimon, Patrick Duggan, Kerrie Slade, Melissa Ingram, Beki Haley, Betty Stephan, Sian Nolan, Debi Keir-Nicholson, Nancy Dale, Martina Nagele, Helena Tan-Lim, Heather Kingsley-Heath, Elke Leonhardt-Rath, Riana Bootha Olckers, Cynthia Newcomer Daniel, Isabella Lam, Petra Tismer, Marsha Wiest-Hines, Christina Vandervlist, Linda L. Jones, Gabriella van Diepen, Idele Gilbert, Kinga Nichols, Susan Blessinger, Ann Braginsky, Heather Collin, Patrizia Tager, Zoya Gutina, Edgar Lopez

       

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

And don’t forget the best-selling companion book in this Spotlight on Beading series, Suzanne Golden Presents