Brooches and other beauties...

Recently, I have been sitting down to my workbench with the express purpose of creating something that will challenge my skills and imagination. Of course, sometimes, one or the other is challenged. That is certainly the case with my newest creations - brooches. While I could have taken one of several options as to my inspiration, I chose to look at the styles of brooches most closely associated with Scotland and the use of base metals. This brought me to the designs and allure of the fibula brooch and the penannular brooch, both relatively simple in concept, but challenging in design. I want my designs, as always, to be just a bit different. And while the fibula brooch can be almost anything, the penannular brooch is proving more generic, so I am trying to find ways to make my creations just that little bit different. Both these brooches go back millennia in terms of their history and both started with the express purpose of simply fastening garments. Both present me with limitless ideas.

The fibula brooch is most associated with the early Roman empire, the name taken from the Latin for "brooch" was most simply a fastening device made from one continuous piece of wire. The brooch itself is made of four parts - the body, spring, pin, and hinge. The most recognisable is the safety pin style of fibula, but the use of an alternative spring mechanism (rather than a single loop of wire) transfers the fibula to something more design-led. For my fibula-inspired pins, I have used long lengths of both copper and bronze wire and created loops and spirals, accented by gemstone beads. So far, I have created three of them, but I have so many ideas, I have no doubt I will soon have a dozen or so from which clients may choose. One of the designs is shown here, with a single amethyst accenting the undulating length of bronze wire. This is the longest of the current offerings and is about 4 inches long. The gauge of the wire means that it can be worn with fabrics such as linen or cotton, rather than simply large weave woolens. I haven't named this piece yet, but I anticipate that most of my fibula-inspired pieces will bear the names of Roman goddesses and queens.

In addition to using plain wire, these pieces lend themselves to the look of an antique piece by introducing patination. I have done just this with this second brooch - a copper brooch accented by a single malachite bead. By introducing a patination agent, I've been able to darken the metal, polishing it after to create highlights and even more depth to the design. I love this piece. It is much smaller than the bronze fibula brooch, measuring about 2 inches in length.

In addition to the movement of the wire and the use of patination, I've used many of my various tools to create different textures and dimensions to the pieces. These pieces take a great deal of work to create, due to the need to create a tapered pin, a spring, and a design that can hold one's interest. I certainly felt the work the next day in my shoulders and arms. Who knows, after a lifetime of trying to find exercises to alleviate the appearance of "bingo wings," I may find that forging brooches will provide me with just the right exercise!

The second brooch I referred to and that I have enjoyed creating is the penannular brooch. This is a two-part brooch consisting of a large circle (usually with an opening) and an attached pin. The pin is placed through the fabric of the garment that is being fastened and then the brooch is rotated so that the pin rests against the circle, having been accessed through the opening. In addition to the semi-circular penannular brooch, it is possible to create a brooch with a complete circle and a separate pin. I will be creating some of these in the days to come. I will also be creating these in sterling silver and some will be mounted with gemstones and cabochons.

These brooches are often associated with Celtic cultures, such as ancient days here in Scotland or in Ireland. The size of these brooches means that they are often used for fastening heavier weave clothing, but I am working on some small and much lighter brooches that could be used on finer materials.

This first penannular brooch may be my favourite. Here I've combined three lengths of bronze wire and twisted them for a braided look (not the easiest thing to do in the world, by the way). I've then applied fire to the ends of the wire to create a bead from all three pieces. I've added an oxidising agent to give the piece an antique look, using sandpaper to remove the patination from some of the metal. The final look is very ancient and I love it. It is a rather small brooch and would look amazing on a scarf or cowl.  I am really quite taken with this brooch. I am sure it will sell well when it is first offered at the Gale Centre on June 11-12.

The second penannular brooch I am sharing here is more common for this particular style of brooch. Here I've used hammered copper, polished to a bright finish. This brooch is quite large, so would be best used when fastening a heavy wool scarf or something with an open weave. I can see this brooch being used on a tartan wrap. (I am looking forward to coming up with wonderful ways to display these brooches on my table.) 

I have two other penannular brooches - one small copper brooch and a very large brooch with fabulous wirework at the terminals. Because of where I live and sell my designs, I am quite sure keeping a fair number of these in stock will make good business sense. They are lovely brooches that convey a feeling Celtic antiquity, and I really love that. Not only that, but the process of creating them is metalsmithing at its most basic and probably using the oldest methods there are. I feel so accomplished when I complete one.

Other news - I am currently working with a Canadian designer on a new logo and look for the business' website, packaging, and materials. I have long searched for a graphic that would give me just what I wanted to convey in terms of magic and joy. Hopefully, the new look will be up and running by mid-month.

As always, thank you for your interest in The Selkie's Haunt. Your interest in my business means so much.

Spring is here!

What a strange month March was. In addition to not having particularly lovely weather, it was a time of changes for me. After seeing my neurologist at the end of February, and, thankfully, receiving the news that I have essential tremor and not Parkinson’s, it was time for an adjustment of my pain meds. After some to-ing and fro-ing that made me feel a bit manic, we have settled down with morphine tablets. They are handling the pain pretty well, but, oh my, between them and the beta blockers for my tremor, I couldn’t be more relaxed. And that’s not always good! I’ve produced far less this month than I had hoped, and my anticipated new collection for Ailleas Designs hasn’t even been started.  But I’ve been very busy with my bronze and copper jewellery. With two events this month, and then increasing numbers of events until December, I need to be sure to have a substantial amount of stock available for those events, and have some available for my stockists as well (I am anticipating one new stockist to be announced fairly soon). And I’m still working on that. I’m finishing up my first brooch, to be followed by more. I’ve opted against making rings in bronze and copper because, unlike silver and gold, the solder does not precisely match the metal in colour and I don’t like the visible seams. While that is more acceptable in general pieces, I don’t feel that rings would benefit from that look. I will continue to try to see if I can get a technique perfected that will not give me visible seams, but I am not going to concentrate on rings for now. Instead, I will be doing more with pendants, some bangles, and more detailed metalsmithing and designing.

If you follow my Facebook page, you will have seen the photograph of this pendant that I created using copper and a beautiful 4.5mm rhodalite garnet. I love the look, but didn’t feel the finish was as perfect as I wanted it to be. It became, instead, a gift for a friend. She loves it and, as another friend said, my not quite perfect is probably perfect by anyone else’s estimation; but still, I have my standards for making things to sell. I will be using this technique on other pieces, including its use with the precious metals and faceted stones. I am looking forward to exploring the designs that appear in my mind. This particular design reminds me of far eastern/medieval textiles. What other amazing looks can I create? I am limited only by my imagination and how far I can manipulate the metal. But I do love the process.

In addition to the markets in which I will be taking part, I will spend part of April preparing pieces for the Dornoch Summer Exhibition. The exhibition runs for two weeks from May 21 until June 4. I am so happy to be taking part again this year. I will be providing some innovative work for the exhibition and hope to sell well.

I am looking forward to working with larger and differently shaped cabochons as I expand my offerings for The Selkie’s Haunt. Keep your eyes on my Facebook page and my website to see new pieces as they are added. It’s going to be an exciting time.

A busy February...

Copper bracelet with Brazilian amethyst and labradorite

These past six weeks have been all about making. In addition to creating the perfect look for my packaging/branding, I also wanted to take my designs to the next level. And I have been doing just that. I am pleased that say that, by mid-February, I was able to post 10 new pairs of earrings and a new necklace. Some sales of jewellery from the Aultbea Hotel meant a restock, including a stunning copper bracelet that was created completely by hand. When, in the past, I wanted copper chain, I simply bought it. That is no longer the case. I am now making all the chains, links, pins, etc., for each piece. So this bracelet, pictured here, was a real triumph for me. The copper bracelet is comprised of 27 hand-forged links, hand-forged clasp, and 81 hand-forged pins. The African amethysts I've used number 54 - two to each link, and the stunning labradorite, with its amazing flashes of colour, number 27, one to each link. This bracelet is now on offer at the Aultbea Hotel for the cost of £70. A pretty amazing piece of jewellery.

Copper post earrings with
bezel set peridot

I had a wonderful time creating my new pieces. One pair, which I've called "Celtic Swirls", features two separate pieces of copper, soldered together, and a bezel setting and decorative wirework soldered onto the face of the earrings. These earrings feature sterling silver posts and earrings backs. In my pledge to make everything myself, the earrings backs are the only things that I am buying in. As they are not an intrinsic part of the design, I am not as concerned about them being bought complete. But I will continue to make, by hand, all the parts of each of my designs.

Bronze earrings with handforged
chains, green fluorite, and
A-grade carnelian

These bronze earrings, which feature beautiful green fluorite and A-grade carnelian, are another pair of post earrings. The delicate chain of bronze wire that connects the hammered bronze round to the stones beneath, is, once again, completely hand made. The sense of achievement that comes with this sort of work is exhilarating. To see all the new designs, pop over to the website at www.selkieshaunt.com. You can also follow The Selkie's Haunt on Twitter and Facebook.

Finally, I just want to thank all of my friends and Selkie's Haunt followers for their good wishes. I have been dealing with a hand tremor for the past couple of years, but it had become much more prevalent and was causing problems with me doing my work. My GP put me on beta blockers and referred me to a neurological consultant. I had my appointment and I'm relieved to say that I do not have early Parkinson's Disease. I do, however, have a condition called Essential Tremor. It will be with me for the rest of my life and will have moments of making things difficult, but the beta blockers are doing a good job of easing the tremors and I will continue to find ways to work that will allow me to create my work without fear of setting myself on fire! So, thank you for your good thoughts.

Getting "the" look...

One of the things that plagues many artists is getting the look of the "brand" just right. Over the years, from the beginning of this business back in 2009, I have tried so many different colours and textures for my packaging. And while I wasn't unhappy with the look, I wasn't happy, either. Just as my jewellery has evolved, so has my vision of what the branding should be.

Finally, I have the look I want for The Selkie's Haunt. All Selkie's Haunt jewellery will now be sent out in beautiful brown kraft paper pillow boxes, accented by deep green raffia ribbon and the Celtic knotwork graphic I've chosen as my logo. The jewellery will be wrapped in gorgeous green mulberry tissue paper before being placed in the box. And once the package is tagged and bedecked with ribbon, bubble wrap will be placed around the box before it goes into a padded envelope. Even the mailing labels have been changed so as to give a consistent brand look.

The website has been given a makeover to reflect the new branding, as well. As I move forward with my new designs, they will continue to be presented on a white background with a green frame. So, it only took me seven years, but, at last, I have the look I have wanted for the brand. (And, yes, even this blog has been changed to reflect the new brand colours.)

I've been spending time in the studio working on new designs. I have the beginnings for three pairs of copper earrings complete now after a day of cutting, sawing, soldering, pickling, and tumbling. I will be working on some bronze earrings as well and hope to have at least six new pairs of earrings ready by mid-February. Some of the new earrings will have posts rather than hooks and these will be done in sterling silver. I am making the posts myself, as part of my quest to provide as much as I can that is handmade. The only thing I can't make by hand are the earring backs, so those will be bought in. I simply don't have the equipment or expertise for making those myself.

I recently purchased some beautiful 3.5mm cabochon pairs in six different gemstones. These will be adorning new earrings and I'm so excited about the prospects of more jewellery featuring set stones. I will be creating some rings and brooches along with the necklaces, bracelets, and earrings that I have offered for the past seven years. I hope you will love them as much as I will love creating them.

Finally, I am thrilled to announce that The Selkie's Haunt will be taking part in some of the very popular Poolewe Tuesday Markets, starting in April. I look forward to being part of this very successful market. In addition, The Selkie's Haunt will be featured in the Dornoch Summer Exhibition from May 21 to June 4. I'm looking forward to creating some very beautiful pieces for this exhibition.

Romancing the Stone

One part of the business of creating beautiful, one-of-a-kind pieces of jewellery is the process of choosing the stones to be used in the designs. The first part of this process, for me, is finding the right supplier. I research all my suppliers, making sure they have excellent reputations for honesty and integrity. There are a lot of fake stones out there and I don't ever want to be required to question the authenticity of any of my designs. The stones have to be right and true. Once I have chosen the supply partners with whom I want to work, the next stage is to find the right stones. 

When choosing stones, I like to find pieces that are unusual and unique. To a certain extent, you can say all natural stones are unique - no two are ever the same. That is the joy of working with the products of Mother Nature rather than the products of laboratories or factories. But I like to find focal stones that have that 'wow' factor. When I see a stone, I know immediately whether or not I want to use it. There is no hemming or hawing. And sometimes I find a stone when I don't have the funds with which to purchase it. Fortunately, the suppliers I use will allow me to reserve stones so that I can purchase them within a specified time. What do I look for, specifically, when I am shopping for focal stones or even for the smaller stones that act as complementary parts of a design or used for earrings on their own? 

Firstly, I look for the right size. If I am looking for a focal stone, I try to find stones that are about 2 inches or more in length. A focal must make a statement and it can't do that if it is too small to be seen or gets lost in the design. Secondly, I look for colour and pattern. Do I have stones in my inventory that will work well with the stone? Does the stone lend itself to working well with copper or bronze? Does my mind immediately start designing around the stone? If the answer is yes to these questions, then I know I simply must have the stone. It is already part of my collection before I've even purchased it.

Boulder Opal

I like to buy stones that are less known or less available. The brecciated red jasper in the 'Flame and Ash' design is a good example. Brecciated jasper is becoming more and more difficult to find. The colours in this particular piece were amazing. I knew the moment I saw the stone that I had to have it for my collection. The bonus is that it is even more beautiful in 'person.' I have recently added a boulder opal to the collection to be used in The Selkie's Haunt jewellery. Usually reserved for use in the sterling silver designs of Ailleas Designs, the boulder opal is expensive and completely unique. But the colours of this particular opal seem perfect for use with bronze or copper. I hope to start working on a piece incorporating this beautiful opal very soon. It's not time, yet, though. I will sense when it it time to sit down and work with this incredible piece of Mother Nature's artwork. As you can see, it is a stone that easily captivated my imagination. I think it was a case, this time, of the stone romancing me.