Anne Potter - Global Style Jewelry: Inspiration and Instruction for 25 Exotic Beaded Jewelry Projects

In loving memory of Josh Lamken (19692016).

For Eric, Brian, Molly, Lia, Kevin, and Josie.

You are arrows in my quiver

Psalm 127:4

Fascinated by other cultures, I have always loved to travel. For the last twenty years, however, I have been on a layover to raise my five children. This wonderful season has been worth every minute, and in the end, Im still the girl who loves the people and places of far-off lands. Most other adventurers I know are on layover, too. Demanding jobs, raising small children, paying for college, caring for aging parents: there are a lot of things that keep us from traveling the world. But no matter our situations, theres no quelling the creative soul! So if youre an artist with wanderlust like me, I hope youll enjoy this book.

Global Style Jewelry features twenty-five designs inspired by different design traditions from around the world: global design. Arranged like a world tour, the book is divided into five sections: Europe, Asia, Latin America, Africa, and India. Thanks to such a varied fount of inspiration, the projects are diverse, exploring different facets of jewelry design, from chain maille, to beadweaving, to macram. Some pieces are more laborious than others, but all are approachable for the intermediate beginner and a great introduction to new techniques. On this level, Global Style Jewelry will be a great addition to your crafting library. And because we artists respond to the setting, the context, and the story of a piece, I set these projects into a narrative. A romantic tale that lovingly pays homage to the cultures and artisans that make the beautiful designs that inspire us. As a teenager I enjoyed reading The Travels of Marco Polo and the J. Peterman catalog. Both inspire my own writing and read similarlyjust as in those works, the people and stories featured in this book are fictionalized, but the narrator is real.

Enjoy and bon voyage!

The stringing materials you use can be purely functional or a major design element.

Each project in this book includes a complete list of tools and materials needed. Here is some background on the supplies I like to use.

The right stringing material is a crucial part of your design, so make sure you choose a material that is strong enough to support your design but lends the right flexibility for your piece, as well. And design matters, too! While some projects call for the strong and silent type of stringing material, other pieces employ it as a feature, as in macram and knotted pieces.

Silk Beading Thread: I turn to silk thread time and again for my stringing projects. Silk thread is perfect for seed bead work because its fine, strong, and smooth. Then when youre done, it knots perfectly. Nylon options also do the deed.

Waxed Linen: This slightly stiff thread provides the necessary structural base for macram projects, while its waxed finish makes knots stay. I find this casual stringing material is well-suited for bohemian-style jewelry.

Memory Wire: With its great memory, this wire returns back to its original shape every time. Be sure to use memory-wire cutters when cutting, though, because the tempered steel of the wire will dent the blades of your everyday wire cutters.

Wire: Wire is a workhorse (and a chameleon) in my designs: I use it for everything from stately earring forms to sloppy wraps on beaded dangles. Besides good sterling silver and gold-filled wire, my favorite wire is by Vintaj because the rich, warm patina enhances every design. Wire is classified by hardness and gauge. Hardnesshard (H), half-hard (HH), dead soft (DS)indicates the wires rigidity and malleability. And for gauge: the higher the gauge, the skinnier the wire. So while 18-gauge hard (H) wire is perfect for making something structural with wire, 26-gauge half-hard (HH) wire is just right for wrapping.

Flexible Beading Wire: Look to the break listed on the package when choosing strong wire for heavier projects. A 10-pound break means that the wire can hold 10 pounds before breaking. While we dont usually make 10-pound necklaces, this measure of strength also accounts for 10 pounds of tension (like catching your necklace on a cabinet pull while making dinner!).

Though findings can seem to be insignificant to a pieces overall look, Ive found that head pins, clasps, and chains with great patina or good form can make all the difference. I like to use vintage or handmade findings in my designs because they lend another layer of interest, and I avoid cheap findings with a garish finish, as they always detract from the finished piece.

Clasps: Depending on the design, I choose clasps according to how prominent I want them to be. Sometimes the clasp has a place in the design, either as a resting spot for the eye, or to give a necessary metallic element to the palette. For these jobs, I love to use decorative S-hooks or toggles for their architectural interest. And for busier pieces, I happily choose a small lobster clasp that recedes design-wise. No matter which clasp you choose, make sure it can manage the weight of the design and not come unclasped too easily.

Chain: My favorite source for cool chain at a great price is vintage costume jewelry. Ignore ugly pendants and look for chain with interesting links and a quality (or beautifully worn) finish. And even better: finished jewelry comes with a matching clasp and findings.