Time to Stitch: Bead Embroidery and Happy Fish

I've always admired bead embroidery, but never really taken the time to play with the medium.  Christine and Therese's announcement back in February that their next Time to Stitch Blog Hop would focus on Bead Embroidery seemed like the perfect excuse to give it a whirl.

I even had the start of a little project that had been hanging around for a while - a little bead embroidered oak leaf I'd started some time in the past.  I thought I'd finish it, then move on to something larger.  My goal with the leaf was simply to try out lots of different ideas, stitch combinations, and types of beads.  Some worked better than others, but I think it's quite cheerful, and was a lot of fun to work on in the dead of winter.

Then came a long lull, with not a spurt of creativity in sight.  I was definitely caught in the creative doldrums.  As the days and months sped by, I started to wonder if the leaf would be all I had to show for this blog post.  Then my dear friend Georgia McMillan came to my rescue!

Georgia brought several of her wonderful "Happy People" bead embroideries to the May Seedbeaders' meeting. Better yet, she graciously allowed me to take photos to share with you (I'm including two in this post).   Thank you Georgia!  I spent a couple of days studying the photos and thinking about her work.

Georgia McMillan's Happy Person seems to be dancing

This more abstract design uses size 18 beads in the flowers!

Her Happy People are small - the largest easily fits into the palm of my hand, so I'm guessing maybe 3 1/2" tall, tops.  But the details are incredible.  I loved their size, I love Georgia's sense of whimsy, I love her attention to detail.  I contemplated making my own Happy Person.  But I feared that I'd simply be copying Georgia if I did, and wanted to do something more 'me'.  So I decided to sleep on it.  Can you guess where I decided to go with?

Fish!  Big surprise, huh?  I figured I could surely I do something with fish.  I've made right angle weave fish, and freeform peyote fish, but I'd never made a bead embroidered fish.  So it was about time!  Time to pull out the sketchbook.

playing with design ideas on paper and interfacing

I pulled several ideas from my sketchbook, including these two above.  I love the curves and lines of the top fish, but feared she was too complex.  I wanted something simpler to use as a 'blank canvas' for more exploration.  The bottom fish is about perfect, complete with a lovely, cartoony smile. Transfering the design to interfacing, it was time to start stitching. 

First up? Sequins!

I totally blame the sequins on Sarah of Saturday Sequins. I'd never even considered using sequins in my beading before seeing her work. These days, sequins keep showing up in my designs (they are really sneaky that way!)  In this case I thought they'd make great fish scales.  I ended up using five different colors of sequins - three transparent and two opaque. 

My first Happy Fish - poor thing doesn't even have a name yet!

Like the leaf, I didn't have any specific plans for where I was going, other than the two large blocks of color and wanting to use sequins for fish scales.  I added in some of Georgia's 'flowers' along the bottom of the fish, using 15s.  Because I had just purchased them, I added a line of dragon-scale beads towards the top of the body.  Originally they laid down in a nice, flat, spiky row, but I decided I wanted more dimensionality and added a line of beading under their tips to make them sit up from the background.  Not sure it was the right choice, but hey, it was fun to experiment. 

I finished the little guy on Thursday, and the poor thing doesn't even have a name yet.  Not that it looks like he cares.  :)

So that's where I went with my bead embroidery.  Nothing fancy, but it sure was fun.  Now it's time to check out what everyone else created!  Here's the full roster: 

detail shot of the overlapping sequins-scales

Time To Stitch Blog Hop

1.       Therese (Host) 

2.       Christine  (Host)

3.       Amy

4.       Lola

5.       Lori F

6.       Kim

7.       Becky Pancake

8.       Karin G.

9.       Debbie (Kepi)

10.   LizE

11.   Maryanne

12.   Paula

13.   Wendy

14.   Janet

 Here's the start of my second fish - this one's going to have spikes!

15.   Jasvanti

16.   Ginger

17.   Alicia

18.   Bobbie

19.   Shirley

20.   Sarah

21.   Cynthia

22.   Lizzie

23.   Samantha

24.   Sally

25.   Niki

Oh, and if you have a name suggestion for my little friend, let me know.  If I like it, you just might claim naming rights! 

Lessons Learned: Scrivener Writing Software

Every craftsperson knows that the right tools make the job simpler and easier.   This week, I thought I’d share a review of one of my hands-down favorite pieces of software.   It’s called Scrivener, and it’s designed to make it easier for authors to put their manuscripts together.  In truth, it’s great for any large writing project with lots of ‘moving’ parts.

Why do I love Scrivener?

1) It makes it so much easier to organize your writing.  

To organize your document using Word (or other traditional word-processors), you might create separate folders for each chapter, and then separate documents for each section in the chapters.  To edit your project, you would need to find and open each individual file.  This can mean lots of open files.  And what if you want to see how one section flows into the next. Do you copy and paste both files into a separate document?  Then what happens when you need to do more editing; which do you edit, the combined document or the individual files?  Nightmare!

Scrivener organizes all of these 'files' within one Binder document.  Here's a screenshot from an early version of my Scrivener file for Explorations in Freeform Peyote Beading. 

Scrivener file for Explorations, with my original outline in the right window

The Binder window on the left gives a quick overview all my documents 'files' and 'folders'.  I can click on any folder to see all of its files.  Click on a file and it shows up in the larger window to the right.   And if I want to see how one file flows into another?

Screenshot from early in the project

I simply select multiple files from the binder at left to view them in the right window.  A horizontal line shows the transition from one section to the next. You can see this in the screenshot above.  (I added the red annotations in Photoshop). 

Need to rearrange sections?  It's as easy as simply dragging and dropping the file or folder names in the binder view at left.

2.  Scrivener allows you to view two sections side by side. 

Scrivener allows you to view (and edit) two documents side-by-side

 This is so useful for editing! 

3.  Fantastic Tools for Printing and Compilation

When you are ready to 'print' you can compile and export the entire draft into a single Word document.  Scrivener provides a number of tools to help you easily format that document.  Checkboxes allow you to quickly select which files you wish to include when you compile your document. 

This is particularly useful for for fiction or novel-style books.  Since all of my page layout was in InDesign, I couldn't take advantage of the compile feature for the print copy of my book.  But I did use this to create separate files for the ebook versions.  

4.  You can store research inside your Scrivener document

Scrivener allows you to store and organize your background research, documents and even whole web pages into a separate section.  Amongst other things, I used the research section to store all of the text I'd received from my contributing artists, and copies of older blog posts that related to the book.  Having this information easily accessible and organized made life so much easier!

The research doesn't compile with the rest of the draft, but remains with the Scrivener file.

5.  At $45, it's Not Terribly Expensive

Literature and Latte (the company that produces Scrivener) offers a free 30 day trial for both Windows and Mac.  If you fall in love with the software during the trial, its only $45.  Compared to the other software I use, this is such a good price!  (I don't have any affiliation with Scrivener, or Litterature and Latte except as a very happy customer). 

In this review I've just barely touched on the power and capabilities of Scrivener.  My goal was to simply highlight some of their most basic and powerful features.  One of the other things I love about Scrivener is their in-depth (and FREE) instructional videos and tutorials that will quickly introduce you to so many more possibilities. 

While it's designed for writers, I've used Scrivener for all sorts of things, including storing research for upcoming trips because it's so easy to organize and access information.

Book Review: Creativity Inc.

I've been doing a bit more reading lately, and have been working my way through Creativity Inc. by Ed Catmul, president of Pixar Animation and Disney Animation.   My husband picked up the book before Christmas, and it's been floating around the house ever since.  While the book focuses on the lessons Catmul (and Pixar) have learned about fostering creativity in a large, corporate environment, I found many parallels to my personal experiences as a solo artist.  His candid look into Pixar's creative process is both refreshing and thought-provoking.  I found myself alternating between "YES! Exactly" and "Huh! I hadn't thought of that" as I read.  My copy looks like a ticker-tape parade with all its little post-it flags pointing to passages that struck me. 

Through the book, Catmul reminds the reader that creativity is a process, and there WILL be lumps and bumps along the way.  Creation is a messy process, and most projects start out ugly. He stresses that understanding this, and protecting the 'ugly baby' is important to allow for it to potentially grow into something beautiful.   He also reminds us that starting on a project is a journey into the unknown.   That at the beginning "There is no movie.  We are making decisions, one by one, to create it".  Sound familiar?  The parallels to any creative endeavor are unmistakable. 

In his introduction, Catmul states "The making of Toy Story - the first feature film to be animated entirely on a computer - had required every ounce of our tenacity, artistry, technical wizardry, and endurance.  The hundred or so men and women who produced it had weathered countless ups and downs as well as the ever-present, hair-raising knowledge that or survival depended on this 80-minute experiment.  For five straight years we'd fought to do Toy Story our way." 

As solo artists, our art can make the same demands - drawing on our tenacity, endurance and technical skills, as well as our creativity - without the support network of a larger creative environment.  We have complete creative control, but often have little in the way of back-up or support.  The book reminded me of the importance of establishing a personal a creative support network.  

Creativity Inc. stresses that an atmosphere of fear is anathema to a truly creative environment.  Mistakes will happen.  Some big, some little.  Fear of the repercussions from those mistakes cripples the creative flow.  Accountability is important.  But so is an understanding that mistakes happen, and a willingness to think outside the box not only in creation, but in response to the unexpected of the less pleasant sort.

A safe environment is crucial to developing one's vision, as is constructive criticism. Constructive being the key word hear.  Catmul devotes an entire chapter to "Honesty and Candor", focusing on Pixar's Braintrust, which meets several times a year to assess each movie they're making.  Introducing this chapter, Catmul states "People who take on complicated creative projects become lost at some point in the process. It is the nature of things - in order to create, you must internalize and almost become the project for a while, and that near-fusing with the project is an essential part of its emergence.  But it is also confusing."

His anecdotes from Braintrust meetings provide beautiful examples of the power of constructive criticism.   Criticism can be difficult for me, no matter which 'side of the table' I happen to be on.  It's difficult for most of us, I think.  Reading through their process gave me powerful insight and examples of how truly constructive criticism can be given and received, and how it can work to improve a project.  Lot's of food for thought.

Other powerful concepts he explores through the lens of his time with Pixar and later Disney Animation include The Hidden, looking at the creative process of going from the unknown to the known; The Power of Limits, how boundaries help us to create; and Post Mortems, looking at what we've done to see what worked, what didn't and what could be done better, then using that information to add to personal and corporate knowledge.  This last resonated with me as what I've been trying to do with my Lessons Learned blog series.  The series looks back at the past year, solidifying what I've learned in a series of essays, then sharing that knowledge with my Internet 'braintrust'.

I could go on; did I mention how heavily I bookmarked my copy?  But I'll end this here:  Creativity Inc would be a great commuter book - it can be easily picked up and put down, while providing a veritable feast for anyone interested in thinking about how they relate to their creative process, no matter the setting. 

Have you read Creativity Inc?  I'd love to hear what stuck you most, what you took away, where it made you think, where it made you exclaim "exactly" to the empty air, at the risk of startling those around you. 

Lessons Learned: Brainstorming and Outlines

I’m a little behind on everything right now.  Last week I took a nosedive down my basement stairs and am still dealing with the repercussions.  Teach me to try to do laundry!

This week, while waiting to determine if I need surgery on my broken foot, my thoughts keep turning to the importance of planning and organization.  Outlining is the first, and one of the most important steps in developing a manuscript.  Outlines help you define both the scope of work (which can also be summarized as your mission statement) and the breadth that you wish to cover.  If you hope to approach a traditional publisher with your book idea, most will expect to see a polished outline. 

Start by giving yourself a one-sentence mission statement outlining your goal.  Then brainstorm, writing down everything you think you might want to include.  You can do this in as much or as little detail as you please.  Once you have your ideas down where you can see them, look for common patterns and themes.  Does one idea build upon another?  Treat your notes as pieces of an ever-expanding puzzle and move things around until they 'fit'.  Your goal is to start sorting like with like to see how the pieces might all work together as a future whole. 

My first mission statement for Explorations went something like this:  “I want to showcase the breadth of what can be done with freeform peyote beading”.   Pretty basic and far too open-ended, but it was a place to start.  From there, I asked myself, what could that look like?   My earliest outline only had a few points:

• Showcase the breadth of what might be done with Freeform Peyote Beading
• Basic to advanced techniques
• More in-depth primer to the creation process
• New projects
• More projects
• Not all jewelry
• Include works by other artists

My next goal was to fill things in the who, what, how, why, where and when.  What techniques did I want to include, what did people need to be successful with the stitch, what types of projects, what work did I already have completed, what would I need to create, how would other artists and their work fit into the overall theme of the book?  As I answered these questions, I arranged and rearranged the pieces until they started to form an overall picture.  Some bullet points translated into chapters and sections of my manuscript.  Others simply helped illuminate or better define the overall project.  

My Four Rules of Outlines: 

I.  Outlines can be as simple or as complex as you desire.  In the early stages of my book planning, I had very clear ideas of what I wanted to include in some areas.  I made extensive notes as ideas came to me, including full paragraphs where necessary.  It’s easy to forget things over the weeks, months and even years it takes to turn an idea into a finished book. If you think it might possibly be important later, write it down somewhere that it’s easy to find (so you don’t kick yourself later as you wrack your brain trying to remember that great idea you once had!) 

II. Outlines are never set in stone.   Consider your outline a living document that will continue to change and evolve along with you and your manuscript. 

I originally divided Explorations into five chapters with these headings: 

1. Getting Started
2. Starting Small - Test Subjects & Little Beauties
3. Bracelets and Cuffs
4. Designing Larger Jewelry Projects
5. Beyond Jewelry - Beaded Forms and Freeform Sculptures

I liked how this outline built from simpler to more complex projects.  But I couldn’t find a good place for an in-depth look at creating freeform ruffles.  This is a very powerful technique, but because it’s more advanced I didn’t want to include it in Chapter 1.   Ruffles use the basic technique in different ways, with their own distinct challenges and rewards.  After much thought, I repurposed Chapter 3.  The new chapter, Working with Ruffles, became a bridge between the simpler projects of Chapter 2, and the larger, more complex designs in the later chapters.

Rather than dividing my book solely by project types, it’s organized more by building skills and how I thought about the creation process surrounding each item.  Smaller projects like rings require significantly less planning and forethought than a freeform collar or beaded bottle.   My final outline doesn’t look that different, but represents a shift in my thought process. 

III. Outlines keep you focused.  It’s surprisingly easy to get lost and wander off on random tangents when working on a long project.  The ‘wouldn’t it be cool to include X’ factor.  I use my outline to keep me focused by periodically pausing to see how and where my current work fits into the overall whole.  If it doesn’t fit in my current outline, then I force myself to pause and ask if truly fits into my current manuscript, or if it should be set aside for a future project. 

IV. Outlines help you track your progress. I’ll talk about developing your production timeline in more detail in a later post, but your outline is an excellent way to track how well you are progressing towards your goal. 

As an example, say you’ve given yourself a twelve-month timeline to develop your manuscript.  Let’s also say your outline is divided into five chapters.  Here’s a sample timeline:  one month for outlining/gathering data, and building your style-guides and templates; two months per chapter (5 chapters x 2 months = 10 months); and another month for proofing at the end.  This is a tight production schedule, but it shows how the outline might be divided into a timeline.

In Summary

Outlines are living documents, not stone tablets.  Whether simple or complex, their role is to act as goal posts and guides.  If you've used outlines - what other ways have they helped you? 

While you work on your outline, you should also brainstorm ideas about the overall look and feel of your finished book, things you need to learn, and resources you could potentially tap to help you along the way.  In my next few posts, I’ll talk more about these topics, including how I collected and organized my data for ease of use, setting up a more concrete timeline, and establishing style-guides for my finished book. 

NW Bead Society's 2015 Seedbeaders Meeting Schedule

 If you are a beader living anywhere around the Puget Sound, then you should definitely check out the Northwest Bead Society.  And if you're like me and love seed beads, then you definitely need to check out the Seedbeaders' group.  This includes anyone who might be visiting the area.  If your trip coincides with one of the meetings, consider dropping by;  guests are always welcome! 

To make it easier to visit, I'm including the schedule for upcoming Seedbeaders Programs through early February 16th.  Each meeting, one of our members agrees to host a mini-tutorial, sharing a project or technique.  Everyone's welcome to work on the project of the month, or bring your own project (or simply visit with everyone else).  We meet from 10:30-3:00 on the fourth Sunday of the month.  Supply lists are generally posted to the Yahoo group (search for 'seedbeaders') about a month before each tutorial. 

2015-2016 Schedule

May 24 2015  Jennifer Brown - Mosaic Bracelet
Note: This is Memorial Day Weekend - the meeting cannot be moved to May 17 due to the NWBS retreat.  This meeting may be moved to May 31.

June 28, 2015 Karen Williams - Flame Pendant or Earrings

July 26, 2015 Jennifer Brown - Tila Patchwork Bracelet

August 23, 2015 Vivian E. - Birds of a Feather 

September 27, 2015 Marla Baer-Peckham - Holiday Bell Earrings

October 25, 2015 Debby Zook - Twin Bead Snowflakes

January 24, 2016 Marla Baer-Peckham - Zig-Zag Peyote Earrings


February 28, 2016 Jennifer Brown - Super Duo Triangle Earrings (no photo available right now)


There's something powerful about beading in the company of friends.  Personally, I feel incredibly fortunate to be part of a group like the Seedbeader's.  Their camaraderie, inspiration and support is fantastic.  

One caveat regarding the schedule - since scheduled workshops may change due to all sorts of circumstances beyond anyone's control, it's a good idea to join the Yahoo groups if you are hoping/planning to attend.  That way you'll get the most up-to-date info.

Lessons Learned: Family Photos vs Submission Photos

In my last post in this series, I talked about what I'd learned about submitting work from the "other side of the table", running a call for entry.  In that post, I spoke in general terms.  With her gracious permission, in this post I'm going to share the process Mary Foyes and I went through to include her piece. 

Mary's family photo of the veil she created for her daughter

It all started with a Facebook message asking if I'd be interested in including a freeform peyote first holy communion veil in my book.  Mary wasn't sure if I'd be interested because it wasn't 'jewelry', but sent a picture along, just in case.  That fact that it wasn't typical jewelry intrigued me, so I wrote back and asked if she had any other photos of the veil itself.

She promised to send some additional pictures that evening.

While these photos would likely be fine for personal use, there was no way I could use them in my book.  Mary's greatest concern was that I wouldn't be interested in her work because this was a 'beginner' piece.  That concerned me far less than the issues with the fuzzy carpet and the yellow color cast (not to mention file size, slight blurriness and image resolution issues). 

I liked that it was a wonderfully approachable example of 'thinking outside the box' in terms of what you can use bead weaving for.  Beyond that, it was one of only a couple of submissions I'd received that were stitched along the width (a less common technique than stitching along the length).  

At this point I knew that I wanted to include Mary's veil, but couldn't use the photos I'd received.

A side note here; I'm not a major publisher, with a streamlined submission process receiving hundreds of submissions.  Rather, I see myself as first and foremost an advocate for freeform peyote and for the other artists working in the field.  So I put on my thinking cap to come up with ways I could help her improve her photography. 













After a morning's research, I put together my next email.  I'm including the text here so you can see my process:

"I need high quality shots of your bead work on a completely neutral or complimentary background.  By complimentary, I mean something that seems to fit with the idea of First Holy Communion (think white, gold, soft lace, old prayer books, etc.) Alternately, you could take the shots on a live model, or even a larger doll if you wanted, but be careful of the backgrounds even then.  

I just did a little research on Etsy, and here's a shop that might give you some ideas:

Made4YouBoutique uses large dolls to showcase their headbands

Made4YouBoutique,  This listing shows a nice example of using a large doll as a model.
I really like the background in this listing.  The background is in such soft focus it becomes simply a color wash, but you'd need to make sure the beads are in crisp focus.  This is a depth of field issue, if your niece is a camera aficionado.
In this listing, I like the headband shown against the decorative paper backgrounds.  A trick I've learned when using decorative paper as a background - it the print seems too strong for a background, cover it with a layer or two of tissue to soften it.  Does that make sense?  I am not as fond of the wood backgrounds as they don't seem to say anything about the piece.

ButterCreamDolls spectacular photography makes me wish I had a little girl to buy for

Here's a shot from a different store (ButterCreamDolls), on a real little girl.

I couldn't find the shop name when I went back while writing this post

And I like this shot from a third shop.  Also on a real girl, The focus is very much on the veil.  I could see your freeform band showing up beautifully in a shot like this.  And your daughter might enjoy having such a shot for her scrapbook, too.


I highly recommend using Etsy, Pinterest or other sites heavy on photography to get ideas for how to set up your photo shoots.  Look at background, lighting, how they display their items and which seem most appealing to you.


I'd like both some closeup (detail) shots, and a shot or two from a greater distance showing more of the veil and giving me room to crop the photo as necessary to fit my page layout.  Because the focus here is your freeform, the flower at the back of the veil isn't as important, but it's nice to see some portion of the veil itself to make it clear what it is."

Mary promised me new photos.   A couple of weeks later, these are what I received:

photography by Shauna Ploeger, Photography Du Jour

photography by Shauna Ploeger, Photography Du Jour

photography by Shauna Ploeger, Photography Du Jour

Mary decided to work with a professional photographer, Shauna Ploeger, of Photography Du Jour.  Shauna took a number of different shots, of which I've included three.  Gorgeous!  I loved that she included both horizontal and vertical versions of each shot.  This gave me tremendous flexibility when it came to page layout and design. 

If you choose to use a professional photography, make sure that they know how you plan to use the photos!  It is very important that you get the proper licensing if you plan to submit photographs for possible publication.  As a publisher, I need to be able to use the images in a variety of ways, and I need to not have to worry about photographers becoming understandably irate over unauthorized usage of their work. 

My artist agreement contract states that "Artist grants Author a non-exclusive, non-transferrable license to use the photographic representations of the Artist’s Work(s) provided by the Artist, in print and digital formats in relation to the publication of Explorations in Freeform Peyote Beading, referred to hereafter as the Book, including publicity and promotional materials including but not limited to websites, press releases, blog posts, posters, point of sale displays, postcards, etc. related to the book."  This is a fairly standard publishing clause.  When working with a professional photographer, make sure you have the license necessary to grant these permissions.  Get it in writing.  You may have to pay more for this license. 

Whether you plan to photograph your work yourself, or hire someone to do so, researching background and display options will give you a better understanding of what you'd like the final photographic product to look like.  Back when I worked as a gallery owner, an artist once commented that his slides were more important than his actual work, because the slides were what he'd be judged on for shows, grants and almost all other professional opportunities.   That shocked me at the time, but I'm coming to understand what he meant.  The photographic records of your work can be almost as important as the works themselves, depending upon what you hope to do. 

As solo artists, we wear so many hats!  Artist, photographer, personal publicity manager - each with its separate set of skills and proficiencies. 

Went Fishing on Sunday, Guess what We Caught?

One of my earlier 2-Fish designs

Spent a wonderful day "fishing" at Fusion Beads this past Sunday.  The Catch of the Day were my two-faced fish pendants.  Because they're designed to lay flat when worn, only one side of the fish shows at a time.  This meant that each side could be slightly different.  They remind me of sunfish and never fail to make me smile.

My working title for the design was "One Fish, Two Fish."  Rather than fully encapsulating the core bead as in my other fish designs, these pendants allow the beauty of the central stone to shine through and become part of the design.

They're built with right angle weave, my second-most favorite (can you say that?) bead weaving stitch and what I think of as 'bead sketching' - drawing the fishy details with beads (size 15s). 

The other side of the same fish from above

Two of my students brought fish to show off from previous classes.  And they let me take pictures to share!

I love how Vala used orange thread with her cream beads for the body!

Is it just me, or does Vala's little fish look terribly sad in this picture?

Linda rocks my original Catch of the Day design, finishing it with a herringbone chain

I love their choices of colors!  Just wish I'd taken better photos.  I should have taken the pictures at the beginning of the day - my photography skills definitely decline by late afternoon.   These were the only three that even halfway came out of all the photos I took.

I also managed to snap a single pic of their works-in-progress from the class.  I waited too long and the other two students had managed to slip away before I thought to pull out my camera.  As it was, I had to snatch Linda's WIP out of her bag as she tried to pack.  I am so bad!

Vala & Linda's fish in progress.  (Linda actually started two separate fish)

I simply love teaching; it's such fun sharing my designs and seeing where others take them.  How they make them their own.  One of my students was new not only to right angle weave, but to bead weaving in general (she does come from a wire-working background).  It was interesting to see how quickly she became comfortable with the stitch.  Makes me wonder if the fact that she didn't know that right angle weave is often considered 'difficult' worked to her advantage.