Lapidary Journal Jewelry Artist March/April 2020

MY LITTLE WORLD WAS ROCKED. When John Glenn became the first human being to orbit the earth in 1962, we saw part of it on a television set specially brought into my first grade classroom. Of the two events, I was almost as wide-eyed at watching TV in school as I was about putting a man into orbit, but I knew which was the bigger story. It was not our first venture into space, not even the first that I remember, but it was the first that I understood as extraordinary. Ever since, the Space Age has thrilled me, broadening our horizons and showing us worlds throughout our solar system and beyond. Yet one of the most striking horizons of all was revealed to us early on when we simply looked…

MY LITTLE WORLD WAS ROCKED. When John Glenn became the first human being to orbit the earth in 1962, we saw part of it on a television set specially brought into my first grade classroom. Of the two events, I was almost as wide-eyed at watching TV in school as I was about putting a man into orbit, but I knew which was the bigger story. It was not our first venture into space, not even the first that I remember, but it was the first that I understood as extraordinary. Ever since, the Space Age has thrilled me, broadening our horizons and showing us worlds throughout our solar system and beyond. Yet one of the most striking horizons of all was revealed to us early on when we simply…

Design Challenges Your Design Riffs Design based on projects and jewelry shown in previous issues of Lapidary Journal Jewelry Artist. Your Settings Letters Re: “Zen of the Blade,” July/August 2019 To readers of my rock sawing feature last summer, here’s an update. I continued to practice the freehand mindfulness technique of withdrawing and reinserting the rough into the blade. I’m now at a stage of awareness where I can usually tell what my alignment is just by relaxing for a moment, sensing the vibrations, then resuming the forward push. If I feel I need more feedback, I pull back just a quarter inch or so, letting the blade idle in the slot. Then the vibrations will tell me which side of the slot the blade is abrading. There are other subtleties I’m only intuitively aware of…

Kieu Pham Gray’s Separation Enamel Pendant Enamel, copper, vintage chain, vintage charms “LESSONS LEARNED,” p.18 Katie Kameen’s Winding Brooch Plastic found objects, rubber suction cup “SAY IT WITH JEWELRY,” p.70 Lexi Erickson’s Pendant Rough-faced drusy, sterling silver, keum boo “LESSONS LEARNED,” p.18 “THE SNOW QUEEN,” p.54 Noël Yovovich’s Fold-Up 3D Pendant Metal sheet, masonry nails “THE UNCUT VERSION,” p.42 LAPIDARY JOURNAL JEWELRY ARTIST’S DOER’S PROFILE, p.96 E. Douglas Wunder’s Medusa’s Machine Brooch Titanium, silver, hand-sawed sheet metal, sand-blasted and powdered coated “EARTH FROM ABOVE,” p.58 “SAY IT WITH JEWELRY,” p.70 Luana Coonen’s Coral Compass Rose Pendant Sterling silver, fine silver, 14K yellow gold, glass, polycarbonate, Hawaiian coral “SAY IT WITH JEWELRY,” p.70 Jeff Fulkerson’s Concho Belt Sterling silver, copper, turquoise, leather “LOOK THROUGH IT,” p.36 Become an LJJA Contributor! Contributors’ guidelines for print or online publication can be found at www.interweave.com/jewelry…

Design Challenges Your Design Riffs Design based on projects and jewelry shown in previous issues of Lapidary Journal Jewelry Artist. Your Settings Letters Re: “Zen of the Blade,” July/August 2019 To readers of my rock sawing feature last summer, here’s an update. I continued to practice the freehand mindfulness technique of withdrawing and reinserting the rough into the blade. I’m now at a stage of awareness where I can usually tell what my alignment is just by relaxing for a moment, sensing the vibrations, then resuming the forward push. If I feel I need more feedback, I pull back just a quarter inch or so, letting the blade idle in the slot. Then the vibrations will tell me which side of the slot the blade is abrading. There are other…

“PEOPLE HAVE NO IDEA how much time goes into thinking about the display,” says glass artist and metalsmith Debra Adelson. “It’s hard to come up with a display that reflects your work and is eye-catching enough to pull people in.” To do that effectively, the display has to reflect the artist’s brand while fitting into the show itself. It also has to be portable, break down and reassemble easily, and at some venues withstand a strong wind. Sometimes this requires more than one display — or, at least, variations on a theme. If you look closely, you’ll notice artists’ displays vary a bit from show to show. When we spoke at the highend juried Philadelphia Museum of Art Craft Show in November, Debra stood behind Plexiglass jewelry cases. Behind her, colorful glass…