Author Archive

Lucy Sarneel…

Necklace, ribbon, silver…

Necklace Zeebauw, 2002, silver, ribbon, zinc and shells…

I first saw Lucy Sarneels beautiful jewellery work a few years ago when I was attending a seminar on narrative jewellery. It was the Zeebauw necklace that was shown in the slide-display…and I still, to this day, have the quick sketch I did of it to remind me to look it up.

Lucy Sarneel was born in Maastricht, Netherlands and studied at the Gerrit Rietveld Academy in Amsterdam and in Maastrichts Stadsakademie itself…you can read more about her career and education here. What instantly grabbed me about Sarneels work was the varied {and successful} use of materials…how she combines a variety of them in such an apparently effortless and beautiful way. Mixed media jewellery is amongst some of the hardest type of work to do well – there are so many challenges inherent within each of the processes and materials themselves, how to marry them successfully and make them work as a whole etc…something that Sarneel does expertly. I felt there was a strong link {in her fabric neckpieces} to national dress, folk art and textile histories….I love seeing these combined with personal touches like the found shells, and beautifully constructed metal elements like the foliage…

See more of Lucy’s work at Galerie Marzee and at Klimt 02 art gallery….there you will find many more beautiful pieces of her work to browse.

More on the Jerwood Prize….

A few months ago I posted about this years Jerwood Applied Arts Prize…which is showcasing jewellery this time round. The Crafts Council’s mini-site has now been updated with images of the six makers {Adam Paxon, Susan Cross, Grainne Morton, Mah Rana, Nora Fok and Yoko Izawa} new work and short biographies…


images above – Adam Paxon, Grainne Morton and Nora Fok…

You can check out the rest of the images by clicking here….

ps..Happy New Year to you all :)

Tutorial…silhouette necklace…

Right…here is a tutorial to make your own silhouette necklace, just in time for a holiday gift {for yourself, or a lucky friend or family member!!}. There are a few basic tools you will need for this job – the main ones are pictured below – but in addition to this you will need some jump rings {bought ones are fine}, a packet of saw blades {I used a 4/0 but I would recommend the 2/0 size for beginners} some jewellery pliers {a flat nose pair and a round nose pair}…wet and dry paper {or fine sandpaper if that’s all you have}..a small amount of 0.8 wire {but you can open up a jump ring and use that if you don’t have any}….plus some scotch magic tape and a fine liner pen. If you can get one..a clamp-on jewellers bench peg makes projects like this much easier…and you can pick one up for around £15, so it is worth the initial investment.

..find yourself an image you would like to use in your necklace – I chose this stag {thinking raindeer really!} – but floral motifs, other animals, fruit, birds etc would all work well too. Print it off the computer, or re-size it to the scale you wish by hand. Choose your material carefully…I am using a piece of hot pink acrylic for this piece [3mm thick], but you could use any plastic, sheet silver, copper or brass…wood even! This would also be fun made from thick cork…you would only need a craft knife for that, but it is something to think about if you don’t have a jewellers saw.

Cover the image you are using with strips of scotch magic tape, overlapping each one…but don’t rub the tape down hard. Use a fine liner to trace the design..then peel off the tape [in one large piece]…

Stick the design down onto your material…make sure it is well stuck down now, and tuck the edges over if they are sticking out. Place the piece of acrylic flat on your wooden bench peg. [it is worth noting at this point, that the wooden peg for jewellers has a sloped side and a flat side. I don't believe the sloped side should be used for piercing, as the material can never sit flat and the cut edge will be at an angle..so, use the flat side where possible]…slowly start to cut the material following the lines of the design.

When piercing, try and maintain the saw in a permanent upright position…the saw should only go up and down. To change direction, gently turn the PIECE as you are sawing {not the saw itself} with your other hand {which is always holding the piece to stop it moving with the force of the saw} Resist going too fast with the blade…take slow, easy strokes. This is good practice for any piercing excercise, but especially when working with plastic as the friction from the blade can make the plastic dust melt if you go too fast..jamming up the teeth and forcing the blade to break prematurely. {expect to go through lot’s of blades if you are a beginner…especially if sawing metal, so get plenty {they come in bundles of 12}}

Keep sawing around the edge of the design…concentrating on where the blade goes, and keeping a good smooth line….the less filing to tidy up the shape you have to do the better.

..soon, you will have the outline cut out!!

Use the dremel {or similar drill with a chuck that will accomodate a fine drill bit…0.8 is the best size for this}…to drill a pilot hole in any internal spaces you may want to remove. You can then undo the blade of your saw at one end, feeding it through the hole…and then re-tightening it.

[note: to tighten your saw, place one end of the blade -- teeth pointing down -- in the topmost clamp of the saw frame and tighten. Then rest the saw frame in the 'V' of your bench peg...handle facing your body, blade at the top. Press forward on the frame with your body {rest the handle on your breastbone} placing the free end of the blade in the bottom clamp, tightening it under this pressure. This will mean the blade is good and tight, and will give a clear 'ping' when plucked]

Continue to saw out the internal spaces…being careful when you reach any fine or delicate points.

One you have the silhouette fully cut out {that’s the hard part done!!}…you will notice some saw marks on the edge of the stag. How much work you want to put into removing these is up to you….it is possible to fully remove all sign of any work from the edge and restore it to a full shine {file, sand with wet and dry through all the grades of paper, finish the edge with the wet and dry paper and water, then polish the edge out with brasso}..but this will takes *hours*. I like to remove the obvious saw marks and then sand with a medium grit paper to take the edge to a smooth, yet frosted finish.

Use your needle file to smooth the files marks away…working in careful, long movements {a half round needle file is the most versitile}. Again, creating too much friction can clog the file {beyond repair} and cause the piece to break if it catches.

I then chose to frost the face of the acrylic {perfect too if the plastic you have is a little scratched}…place it down flat on a sheet of wet and dry paper on your work surface, and move it in smooth circular motions, checking every now and then if it is totally and evenly frosted. Using circular motions makes it easier to get an even finish and not remove material at one side more than the other which happens if you sand back and forth.

Now that the shape is fully finished, find a good point to hang the chain from. {you can buy the pre-bought chains from craft stores or jewellers, or buy a length of chain by the metre from a silver dealer…or have a look at the unusual chains you can get at the hardware store..powder coated brightly coloured ones for example…or even just use ribbon or cord}. Use the dremel to drill two small holes into the edge of the acrylic {this is why you want a 0.8mm drill bit — so it is fine enough to drill the sides without bursting out the face of the piece}…with the wire and the round nose pliers, form two small ‘U’ shaped pegs to fit the holes..and then glue them in to the holes with araldite.
[use the end of one of your broken saw blades to place a tiny bit of the glue into the hole]

If you are using sheet metal..simply drill a hole, and fasten two jump rings through it directly.

Then you can attach any chain, thread, cord or ribbon of choice….inserting a catch if you wanted {I made the chain long enough to just fit over the head…}. I used a medium weight silver belcher chain with oval links {which I buy by the meter}, because I had some and thought it went well with the size of the piece.

Now — Wear with glee and abandon!!! ;)

::: I would say this took me just under an hour from inception to completion {including finding and printing the image, and photographing all the steps}..but I would perhaps give yourself a couple of hours to complete this necklace if you are a beginner with a saw :::

** even if you don’t want to make a necklace…consider the techniques used here and how they could be used and adapted to make a great Christmas tree ornament, gift tag, place-setting etc!! Once you master the saw, the possibilities are endless! **

If looking to source some jewellery tools, have a look at this previous post on where to source tools and materials.

….also, see all the images in a larger size by viewing this photo-set on flickr

Craft in Crisis?….

Whilst checking out the news today on the Craft Scotland website, I came across this short article exploring the problems facing ‘craft’ and the difficulties surrounding the usage of the word ‘craft’ in reference to comtemporary applied arts……there is also a forum where people are able to respond to this article, which also makes for an interesting read.

Tina Rose, the Craft Scotland editor writes…

“The word craft is misused, misunderstood and misplaced. It is used in ways that diminish its credibility. It is vitally important we reclaim the word craft so it is understood and people will buy it, galleries will want to exhibit it and the media will want to write about it. How can we stop the word craft being misused and misunderstood?”

….this is certainly one debate that will spark a lot of opinions, and I though many of you out there may well have some thoughts on this too??….

Jerwood Applied Arts Prize…

The Jerwood Applied Arts Prize is an annual competition that runs on a six year cycle, encompassing Metal, Jewellery, Ceramics, Glass, Textiles and Furniture disciplines. It is a partnership between the Crafts Council and the Jerwood Charitable Foundation, and together each year they run a touring exhibition profiling the work of the six successful makers in the running to receive the £30,000 prize for their outstanding contribution to their craft.

This year it is the turn of the jewellers, so here is a run-down of the candidates…


Yoko Izawa


Nora Fok


Mah Rana


Grainne Morton


Adam Paxon


Susan Cross

Lots of beautiful work to choose from this time around…and as a result, I am undecided who I think might win…but do personally hope Adam Paxon {a former tutor of mine} scoops the prize, as his work really is technically sublime in person!!

- I look forward to the results with eager anticipation…this is one upcoming show to keep your eye on….!!

Audio Jewellery…

…I found a very interesting audio lecture about three pieces of jewellery in the collection at the Victoria and Albert Museum, London…..it is a short commentary {about 15 minutes}…which introduces and discusses the work of Arthur Fleischman, Naum Slutzky and Giovanni Corvaja {who happens to be one of the greatest living goldsmiths!} Corvaja’s work {pictured above} is the only item of jewellery the site displays….so you are rather in the dark about what the two other pieces look like, but as the conversation is mostly about Corvaja’s piece, it still makes for good listening….enjoy!

Ceramics for breakfast – call for entries

Designboom and ‘MACEF international home show’ are looking for new ceramic tableware designs for their design competition Ceramics for breakfast. Participation is open to applicants from every country in the world, to professionals, students, and design-enthusiasts.

Above are two cups not related to this competition – but perhaps they could be? They’re by Elizabeth Robinson.

My highlights from Origin


Gardening Man brooch by Abbott and Ellwood.

I’ve just come back from Origin, the new London craft fair. I was exhibiting and selling my work in the first of the two weeks. All in all we were 300 exhibitors, including the 24 emerging talents showing their work at Springboard.

Wall Sketch by Lizzie Farey.

Despite all the hard work it involves to take part in an event like that I thoroughly enjoy it. I love meeting the public, the trade buyers and the students to talk about my work. I love selling my work! I love meeting collegues from other parts of the world or just next door…


Turquoise ruffle bag by Louise Turner

In the stall next to me was Louise Turner, I believe she originally trained as a costume designer and one can tell from her vibrantly imaginative bags.

Little Moth book kit by John Dilnot.

My curiosity was tickled by John Dilnot’s one-off box works and his little books af various nature inspired topics made in numbered limited editions of 500.

Garrick silk cushion by Ruth Singer.

Ruth Singer exhibited her scarfs and cushions at Springboard, here is her impressions of the event.

I’ll be back with more from Origin – so much to see and report about! In the meantime, read more about what I saw at Origin on my blog and on d*s guest blog. And there is Abigail’s pre Origin post here at whip up on jeweller’s taking part.

Ceramics inspiration

Kathleen at cake & pie wrote a beautiful post about a ceramics course with guest teacher Toshiko Takaezu. Not to be missed!

Photo CanFrame

photo cans

Check out this fun tutorial to turn regular canned goods into cool looking photo frames.

Great example at kottke, where I first spotted this tutorial, and suggestions to empty out the cans before you begin and use the finished product as storage for pens and pencils.

advertising