Lapidary Journal Jewelry Artist November - December 2018

PUBLISHED IN APRIL, 1947, Raymond Addison’s “Cameo and Intaglio Carving” appeared as the cover story of Volume 1, Number 1, of Lapidary Journal. Recently, I was contacted by Addison’s great-niece, who was compiling a family genealogy. She was seeking information about more that Lapidary Journal had published by or about her great-uncle, and I helped her as best I could. In return, she kindly sent me a copy of the finished genealogy, which just arrived and sent me back to the gentleman’s inspiring tale. Here are some highlights, as timely as ever. HOW HE STARTED: • Boyhood examining rocks and gravel pits in central Michigan, shapes a few stones• Studies art, later (per his great-niece) becomes an instrument maker at the forerunner of NASA• As an engraver and stonesetter, sees the occasional…

Your Settings Next Time Riff on the design of any of these or other pieces within this issue, using a design feature such as color, texture, form, value, line, space, repetition, balance, contrast, unity, or variety for your sketch. Please indicate which piece your entry is based on. Sketch a setting for this Botswana agate from Smokin’ Stones, page 26. DEADLINES: DECEMBER 31, 2018 Email digital scans at 300 DPI or send photocopies of no more than three sketches per challenge, indicating the design factor that is your starting point. Sketches will not be returned. WRITE TO US ANYTIME: What do you think about what you’ve seen and read in Lapidary Journal Jewelry Artist? SEND SKETCHES & LETTERS for possible print or online publication to: Karla.Rosenbusch@fwmedia.com. Please include your name, city, and state, and indicate “Your Turn”…

PUBLISHED IN APRIL, 1947, Raymond Addison’s “Cameo and Intaglio Carving” appeared as the cover story of Volume 1, Number 1, of Lapidary Journal. Recently, I was contacted by Addison’s great-niece, who was compiling a family genealogy. She was seeking information about more that Lapidary Journal had published by or about her great-uncle, and I helped her as best I could. In return, she kindly sent me a copy of the finished genealogy, which just arrived and sent me back to the gentleman’s inspiring tale. Here are some highlights, as timely as ever. HOW HE STARTED: Boyhood examining rocks and gravel pits in central Michigan, shapes a few stones Studies art, later (per his great-niece) becomes an instrument maker at the forerunner of NASA As an engraver and stonesetter, sees the…

Kieu Pham Gray’s Love Knot Bracelet Sterling silver Betsy Lehndorff’s Crystal Pendant Quartz with inclusions, sterling silver Lynda Bahr’s Mosaic Ring Yellow gold, rose gold, green gold, sterling silver, raw diamonds, mokumé gané Kylie Jones’s Bracelet Sterling silver, turquoise Roger Halas’s Steampunk Seahorse Cuff Brass on leather Jeff Fulkerson’s Stacked Ring Fine and sterling silver, fossil palm, Cherry Creek agate, malachite Erica Stice’s Caught! Pendant Sterling silver, aventurine, ocean jasper Become an LJJA Contributor! Contributors’ guidelines for print or online publication can be found at www.interweave.com/jewelry…

Your Settings Next Time Riff on the design of any of these or other pieces within this issue, using a design feature such as color, texture, form, value, line, space, repetition, balance, contrast, unity, or variety for your sketch. Please indicate which piece your entry is based on. Sketch a setting for this Botswana agate from Smokin’ Stones, page 26. DEADLINES: DECEMBER 31, 2018 Email digital scans at 300 DPI or send photocopies of no more than three sketches per challenge, indicating the design factor that is your starting point. Sketches will not be returned. WRITE TO US ANYTIME: What do you think about what you’ve seen and read in Lapidary Journal Jewelry Artist? SEND SKETCHES & LETTERS for possible print or online publication to: Karla.Rosenbusch@fwmedia.com. Please include your name,…

NORTHERN CALIFORNIA JEWELRY ARTIST Lynda Bahr spent 15 years in commercial interior design working with large architectural firms in San Francisco. Intrigued by the work of local jewelry artists, when she and her husband moved to the countryside, she decided to try jewelry work herself. She found the work suits her perfectly. The small scale gives her complete artistic control from design to finish. Bahr uses square wire and sheet to provide the architectural structure she appreciates, then skillfully integrates the natural, organic patterns she sees around her every day through the use of nubby textures, gemstone choice, and mokumé gané. “A major amount of my work is soldering,” says Bahr, which makes a good torch indispensable to her. Bahr uses the MECO Midget Torch combined with a selection of Paige torch…