Jeweller Interview with Gemma Atwell of The Silver Shed

Fairy tales in all their forms are such an important part of childhood. We think we grow out of them but, really, those years are so formative that we can never really leave their magic behind, and I felt a reminder when I first saw Gemma Atwell's beautiful jewellery.



The Silver Shed, Gemma's online shop, is full of jewellery inspired by fairy tales and childhood stories, as well as images from folklore and nature. It's a wonderful place to visit to escape from the modern world and go back to simpler times...

Read on to learn more about how Gemma comes up with such wonderful ideas, how she is developing her work, and  where her beautiful pieces is created.



When and how did you start making jewellery?

I kind of fell into it really, around 15 years ago I was looking for a creative short course to do and found a 10 week silversmithing one. That was it, I was hooked. The interest had always been there though, I was given a silver charm bracelet as a child and was so fascinated at how the little charms were made. After the short course I signed onto a City & Guilds design for jewellery NVQ, the love for metal-smithing grew from there.


I love your shop name - how did you think of it and does it have a story behind it?

It is quite simply because I am a shed dweller! My studio is a garden shed/summerhouse. I originally thought to use my own name as my business name but I wanted something a little more memorable.



Where do your design ideas come from and what is the process that sees them through to the finished product?

An idea for a collection can begin anywhere, I have many snippets of inspiration waiting to be worked on. I tend to make mood boards, Pinterest is good for this, and doodle in sketchbooks until an idea forms into something more concrete. Sometimes I make maquettes from paper or copper, but more often than not I move straight into working in silver. If something doesn't quite work I will smelt that silver down to cast other pieces. If I am working on a gold piece of jewellery I will usually make a model or two first to make sure the design works.



Your designs have a wonderfully whimsical style - where do your ideas come from?

The majority of my work is based in folklore and fairytales, I am a firm believer that we can all do with a little bit of magic in our lives. Nostalgia and whimsy definitely play a part, I love when someone says a piece stirs a long forgotten memory, or when they get misty eyed thinking of the books they have read to their children.



Do you take your own shop photos, and if so do you have any photography hints?

I do take my own photos yes, although I am never completely happy with them. I'm no great photographer but it is something that needs to be done. I would certainly say good, sharp photos are one of your best tools when selling your own work, naturally lit and styled to reflect you and your business.



How did you decide on the way you style your jewellery photos?

The photos I take need to represent my brand so I like them to reflect the way I style my stands at shows/markets. I always want my staging to evoke the idea of a professor's study or an alchemist's desk, with books, inkwells and bell jars filled with archaeological or natural history finds. I use a lot of text and ancient/folk imagery in my work so I want my lifestyle photographs to enhance that.



Which social media platform do you find the most enjoyable and helpful, and how do you use it?

Instagram is definitely my go to for social media, I like how visual it is and that it is one of the only platforms where independent businesses still have the upper-hand. It's great for networking too, I've made lots of Insta buddies and love how much support you can find from other creatives all over the globe. I also still use Facebook and actually manage to sell through both, they are a great way to gauge how a new design will be received before launching it properly.



How do you hope your jewellery making will evolve over time? How do you see your shop changing?

I actually made a conscious decision this year to concentrate on making some larger, more intricate jewellery, pieces I want to make rather than what I think I should be. I was really nervous about this move but thankfully so far my new work has been really well received. I understand they are more considered purchases but I also know that when somebody buys one it is because they truly love it.



What is the best tip or advice you've been given?

Be inspired by others but don't copy them and do not constantly compare yourself to your contemporaries, do your thing and the right people will find you. Those you follow and admire have the same insecurities as you too.



All photographs in this post ©Gemma Atwell (The Silver Shed)

Thanks so much for the interview, Gemma, I loved learning more about the inspiration behind your work - and that you really do have a silver shed!

To see more of Gemma's work and inspiration then head to the links below:

Folksy Shop ~ The Silver Shed
Etsy Shop - The Silver Shed

Facebook ~ The Silver Shed
Twitter ~ @silvershedgirl

Instagram ~ @silvershedgirl

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If you'd like to read some other of my jeweller interviews then do click here to find more

Jeweller Interview with Leisa Howes Jewellery

One of the things I love about Folksy is that it can be easier to find new gems than on some of the bigger online craft platforms.This was how I discovered Leisa Howes' wonderful work; just as I browsed around Folksy one day, it was waiting for me to find...



Scattered with natural and mythological imagery, all created in sterling silver, the work is both detailed and simple, striking and yet subtle - it has an artisan feel to it, the jewellery is well crafted and yet also hand-crafted, individual and special.

I do hope you enjoy this interview with Leisa, learning more about her inspiration and techniques and her plans for the future.



How long ago did you begin making jewellery and what prompted you to start? Are you self-taught or have you attended classes?

I started a jewellery making evening class at Hull College in 2007. My youngest was only a few months old at the time and I was still on maternity leave. I have always loved art and wanted to find something creative to do. I became hooked very quickly and as the course progressed I had the chance to study for a degree in 3D Metal Craft. I was really pleased to graduate with a first class honours.


Where do find ideas for your designs and how do you develop them into the finished piece of jewellery?

I try to research my designs but with time constraints I'm not always very good at doing this! I am drawn to nature, British wildlife and looking deep into our past. I'm really drawn to the mystery that surrounds our ancestors especially around the neolithic period and I love ancient landscapes and standing stones. I am also drawn to medieval art which inspire some of the animals which feature in my work. I try to draw my designs but they also develop as I make them too. I love to work in silver for jewellery although I will use copper and brass in brooches and other objects such as boxes.



What is your workspace like? Is it set up exactly the way you want, a work in progress or a kitchen table?

My workspace is a converted 10 x 8 foot shed. My husband insulated it for me and I have electricity which is essential. If I had to improve it I would have a sink but as it is, it works fine, even in winter I am warm and cozy. It's my space and I love it.


One of your key design themes is nature (especially hares!) and the sea - when did you decide to focus on this?

I have always loved hares and worked on them as a theme at college. They are beautiful creatures and I love all the mythology that surrounds them - I never tire of incorporating them in my work. My love of the sea comes from holidays in Cornwall and days spent on the North Yorkshire coast. I love tales of mermaids, the beautiful blues and greens of the water and whenever I'm on a beach I'm always on the lookout for little pieces of treasure, sea glass, driftwood and other found objects. At college I studied the work of Barbara Hepworth and looked at patinas on metal, I find the way the sea weathers objects and metal over time quite beautiful.



What jewellery making tools could you just not do without, and what is still on your wish list?

I love working with my hand engravers and use them in most of my work and so I would have to say I couldn't do without them. I'm lucky in that I have built up my tools over time but I would probably like to get back into etching metal and maybe experimenting with sand casting.


On Folksy you talk about your degree in 3D metal craft (congratulations!) - how has studying for this affected your approach to making jewellery, both in terms of the design and the physical construction of your pieces?

As part of my degree I had to research my pieces in-depth and create thorough designs as part of my work book thinking not only about if a piece would be aesthetically pleasing but also how it would work. My studies really helped me to find and develop my style of work. At college I made the engraving tools I still use now and the course allowed me to experiment with etching metals, creating patinas and working with mixed media such as incorporating found objects from beaches.



What is your favourite part of making jewellery?

My favourite part of making jewellery is working with my engravers to breathe life into the metal, be it a hare or a tree!


Do you take your own jewellery photos and, if so, do you have any photography hints?

I have a decent camera and I have recently bought a simple light box but I still find my best photo's are taken in the garden in natural daylight using the camera on my phone! I tend to photograph against pieces of driftwood and sometimes pick some flowers and pop those in too.


Do you use any social media sites to help promote your work? If so which one is your favourite?

I use facebook and have recently set up on Instagram after being told I should be my daughter! I don't really have a favourite but I wish I had set up on Instagram ages ago.



How do you find the balance between making your jewellery and marketing and selling it?

I really enjoy the making process and don't spend nearly enough time marketing my pieces. I think in time this will change but for now I am always so busy I just do what I can.


How do you see your jewellery evolving over time? Do you feel happy with what you're creating or do you hanker after new styles or materials to experiment with?

I want to incorporate etching, patina's and more mixed media into my work. I have lots of ideas! I think my work will naturally develop over time but my style will not change too much.


What is the best tip or advice you've been given, in jewellery making or life in general?!

The best tip I've been given was during my studies when I interviewed a lady who has enjoyed a successful career in jewellery and sculpture. She told me to be true to myself and not to follow fashion. With family commitments and a day job, I have also learned that patience is essential and things will grow and develop naturally in time, the main thing is that I enjoy creating what I do.


All photographs in this post ©Leisa Howes Jewellery

Many thanks to you, Leisa, for this interview - and for answering all the questions I asked! It makes for a really interesting read and I hope everyone else enjoys it as much as I did.

Do check out more of Leisa's jewellery at the links below:

Shop ~ Leisa Howes Jewellery

Facebook ~ Leisa Howes Jewellery

Instagram ~ Leisa Howes Jewellery

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You might also like to read some more jeweller interviews - click here for more

Jeweller Interview with Sasha Garrett

Sasha Garrett's jewellery is incredibly striking. When you see it, first it catches your eye. Then you notice how beautiful and professional it looks. And then you wonder just what gem those amazingly coloured stones actually are made from...



The bold and beguiling colours are set into artfully simple silver settings and are dazzling examples of bold jewellery. But, still, just what are those gemstones?

If you're similarly intrigued then do read on as in this interview, Sasha will explain everything including just who Jacques and Gibby are...



How long ago did you begin making jewellery and what prompted you to start? Are you self-taught or have you attended classes?

I've made jewellery since I was young (I love sparkly things and my personality type is very much a doer) but got into it properly in 2005ish when I did several terms of evening classes in silversmithing at a local college. That covered the basics and had much more of a club feel to it rather than taught course with objectives - we could turn up, use the equipment and bounce ideas (and problems) off each other, if we got stuck the tutor was there to help. Since then I've used blogs and youtube videos to fill in the knowledge gaps as required.


Where do find ideas for your designs and how do you develop them into the finished piece of jewellery?

I tend to be lead by the colours and patterns of the stones I use so there is normally lots of laying combinations out together to see if they work and shuffling them about until I get it right. At the moment my computer desk has disappeared under beads whilst I work out which murano beads from the stash go better with tanzanite and which with apatite. When I've made my mind up it will get moved round to the work bench for construction.

I love to travel and my boyfriend has many stories of me pouring over trays of gems and haggling in markets for cabochons and beads (he prefers it when I buy the already cut and polished stuff rather than the heavier rough slices as he has to carry it!). So I tend to buy when I find something interesting and figure out what to use them in later rather than designing first. This does mean I have quite a stash but I have sold pieces 'off plan' when people have chosen their stone and asked me to set it like something I've already got made up.



What is your workspace like? Is it set up exactly the way you want, a work in progress or a kitchen table?

I share my workspace with Jacques the faux taxidermy cow head and Gibby the zombie gibbon (aka 'the artistic directors') and other mementos so its very much a reflection of me and if I'm being honest its a bit of mess (an organised mess with not an inch to spare but a mess none the less) so I'll go with a work in progress. I have a dedicated work room but would love some more space to have a photography area with proper lighting and a lapidary zone (screened off to keep the muck under control).


Where did you discover fordite and why did you decide to incorporate it into your jewellery?

For those who have never come across fordite it is layers of cured car paint that built up as a by-product of old spray painting processes which are no longer used.

I fell in love with it about a decade ago when I read an article in The Times. Its not just the colours and patterns but also how it reflects the changing fashions of when it was made, it's a little bit of social history. Back then the jewellery making was just a hobby but I knew I wanted some for me so made a chunky ring and some cufflinks for the other half and then thought nothing more of it.

When the jewellery became a business I went back through the stash and found the few cabs I had left from doing that and made another pair of cufflinks, they were much admired (and sold pretty quickly) and I started getting questions about whether I could do rings or pendants. I realised that I wasn't the only one who appreciated its uniqueness and set about finding more so that I could produce a whole range of pieces.

Fordite is quite rare here in the UK (we stopped producing the rough material by the mid 80's but I have a dwindling stash of what is known as Dagenham agate) so I buy the rough from the USA and cut and polish it myself. I'm stockpiling at the moment as supplies will run out at some point (it's already been described as rarer than diamonds) and prices are creeping up.



How does working with fordite differ from working with traditional gemstones? And which is your favourite to work with?

I do love some of the more traditional stones, I have a soft spot for malachite and opals but fordite is definitely my favourite. In terms of handling it is similar to softer stones like opals but it comes with a couple of drawbacks; with traditional stones you can normally be certain of getting a standard range of shapes and sizes whereas with fordite the cabochons are free-form and you have to buy what you can get rather than being able to shop around for what you want. If you go wrong you can't phone up a supplier and get a replacement! Every setting has to be made to fit the piece's unique undulations and getting pairs for things like earrings and cufflinks is unusual and one of the reasons I learnt how to cut it myself.

The other drawback compared to the traditional stones is that not many people know about fordite - I'm working on changing that - I sound like a broken record at craft fairs explaining about it but it pays off and I have converted many people to its charms. That is much harder to do online which is reflected in the rate of sales.


What jewellery making tools could you just not do without, and what is still on your wish list?

I wouldn't be without my P1000 autobody wet and dry paper; I shape the fordite by hand with saws and files but its not until I get to this stuff, used wet, that the colours and patterns really start to appear and I know if it has been worth the effort.

My wish list consists of buying the end of my neighbour's garden and putting a work-shed on it (shed is a bit of a misnomer I have visions of solar panels, lots of insulation, storage shelves, veranda for sitting out on, a hedgehog box, tea on tap). And more fordite, always more fordite.



What is your favourite part of making jewellery?

I still get a kick out of seeing people wearing my work and was recently told a story of someone showing off a 'specially commissioned ring by a local jeweller' at a party and someone else looked at it and asked it if was 'a Sasha Garrett?' (it was). I don't like to think of my work languishing in jewellery boxes.


What is the best tip or advice you've been given, in jewellery making or life in general?

I'm always worried that I'll sound like a fortune cookie if I go giving advice. Life has thrown me rather a lot of curve balls over the years and I've always landed on my feet so I work on the principle of 'never be afraid to try something new'. It's working well for me with both the jewellery and life.


All photographs in this post ©Sasha Garrett


Thanks so much for answering those questions, Sasha; I really enjoyed reading your replies and I hope other people did too.


Do check out more of Sasha's jewellery at the links below:


Shop - Folksy
Facebook - Sasha Garrett
Pinterest - Sasha Garrett

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Click here for other jeweller interviews.

Jeweller Interview with Becky Pearce Designs

It's fair to say that for a long time now I've admired the jewellery of Becky Pearce Designs, mainly for the sweet-shop-hued gems and the artful simplicity of the silver settings that brings out the best of those rich colours.

The clever use of birthstones to make beautiful jewellery and, in particular, the wonderful stacking rings that Becky specialises in creating show both her flair for design and wonderful consistency in finding a very good idea and then sticking with it.

I do hope you enjoy this insightful interview - do check out Becky's Instagram page for more of her photographs and for excellent work-in-progress images and find links for her shop and other online sites at the end of the feature.



How long ago did you begin making jewellery and what prompted you to start? Are you self-taught or have you attended classes?

I started making jewellery back in 2009. I took an hour long earring-making class at a bead shop in Kingston, and immediately caught the bug. The great thing about jewellery making is that you can start with something relatively simple like threading beads and making loops with wire, but there are so many different skills you can learn as you develop. You can never get bored. I've attended a few classes along the way, but I'm mainly self taught.


Where do find ideas for your designs and how do you develop them into the finished piece of jewellery?

I tend to let the materials lead the way. My designs don't tend to be particularly intricate or detailed, and for new designs I pretty much just make it up as I go along. I do have a sketchbook where I note down new ideas, but they are not fixed in my mind, they're usually just a starting point to remind me of an idea, and I'll adapt and adjust as I go. I think I need to see things in front of me to judge whether I like it or not - I haven't got the brain power to do that from a sketch.


What is your workspace like? I've seen images of your studio (and am suitably jealous!) - is it set up exactly the way you want or still a work in progress?

A few years ago we turned our garage into living space, part of which is my studio and I absolutely love it in there. It was great to be able to get a worktop, sink, and extractor fan all built in. It's not perfect, it always feels a bit messy (I'm currently eyeing up tool boards which I'm hoping will help with that!) and it faces North- East so it doesn't get a huge amount of natural light, but it is my happy place. I am so very grateful to have a specific room for my work after years of having to work on the kitchen table.

You talk on your site about listening to audiobooks and podcasts while you work - which ones do you recommend and which are your favourites?

Yes I have an audible account, so I get a couple of audiobooks each month - I go for the longest ones I can find to keep me going - it was the only way I was ever going to "read" War and Peace. In between the books I subscribe to loads of podcasts; I have things like TedTalk audio, Stuff You Should Know and In Our Time for when I'm feeling like being educated, Dirty Mother Pukka, My Dad Wrote a Porno and the BBC comedy podcast for when I want a giggle and The Small and Mighty Podcast, and Hashtag Authentic when I want to be business focussed. And then there are all the general interesting things like This American Life, S Town... honestly the list goes on. I'm always looking for new ones to add in too if anyone has any suggestions.


One of your key design themes is birthstone jewellery - when did you decide to focus on this? Which are your favourite gemstones, both to work with and in terms of colour?

Jewellery is such an amazing thing if you think about it. It can be traced back to the very earliest ancient civilisations and throughout it's history it's held a special meaning for the wearer. Even today in our modern world although we're not necessarily wearing carved gemstone amulets, jewellery does tend to be something we buy for a specific reason. We might treat ourselves to celebrate a special birthday, or to finish off an outfit for a particular occasion. We might spend time choosing something for a loved one; it all has that meaning, a story behind it.

For me birthstones just add to that layer of meaning. My birthstone stacking rings are my favourite things to make, as there is always a story behind them, and they are so special to the wearer as they represent their loved ones. It's such an honour to be a part of that.

My favourite gemstone tends to be what I'm working with at the time. I am so fickle! But I love those stones with a flash of colour like labradorite and moonstone.


What jewellery making tools could you just not do without, and what is still on your wish list?

I absolutely could not do without my pendant motor. My wish list isn't that long at the moment, I keep toying with the idea of getting an engraving machine so I can engrave names, dates, or phrases on the insides of the rings instead of hand stamping them on, but my customers seem to quite like the not so perfect, hand stamped look so I haven't gone for it yet.




What is your favourite part of making jewellery?

I love batch making ring charms to go on my ring charm bangles. It's just so satisfying to get lots of things made all in one go. Oh, and that moment when after all the preparation, and careful setting up the solder flows perfectly and joins the piece together. It's like magic.


Your photographs are wonderful and your Instagram feed is quite beautiful - do you take your own jewellery photos and, if so, do you have any photography hints?

Oh thank you! Yes I take all of my own photos. For the jewellery shots I have set up a little corner of a table near the window to be my photography area. It's set up all the time, so I can literally just take a quick snap of a piece of jewellery when it is made which gets me taking more photos. I have both a daylight lamp, and a studio light there to make it a bit brighter on those overcast days.

Sometimes I get a little bored with the way product photos look, but I remind myself how important it is to have a consistent look. And at the end of the day it's the jewellery I want to highlight, not some fancy new background. I would love to get some more pictures of my jewellery being worn, but I'm finding that a real struggle to get looking right.


When did you start your website and blog and how much input have you had in their design? How do you look after them?

I started both my blog and website back in 2010. And I've just been working on a little revamp. The new website will be launched in mid August and I can't wait to share it with the world. I do all of the design and updating myself. It's part of what I like about having my own business... the fact that you get involved in all aspects of it. I even quite enjoy doing my tax return in a strange kind of way.

Like many people now you're on several social media platforms; which one is your favourite and how do you use it for your jewellery?

I have two favourite social media places - Instagram and Facebook. Instagram is great as I love the sense of community on there, as well as all the photo inspiration. It's a place where I really feel a part of the handmade/ small business world; I used to get that sense of community from from Facebook too, but that has changed in the last year or so. Facebook to me is now primarily a way for me to connect with my customers, as opposed to other handmade businesses. I pop lots of work in progress pictures on there, so people can see their jewellery being made and my customers seem to really like that.


How do you find the balance between making your jewellery and marketing and selling it?

I do find that hard. It used to be that I would do the making in the daytime and do the marketing/ listing etc.. in the evening when I got a chance. But recently I realised that the marketing and admin is vital, and should be incorporated into my working day rather than being an add on in the evening, when my energy and enthusiasm is not necessarily at it's highest level. I'm still trying to figure out the best way to structure my day - as I feel guilty doing computer based tasks when there are orders waiting, even if they don't need to be made immediately.


How do you see your jewellery evolving over time? Do you feel happy with what you're creating or do you hanker after new styles or materials to experiment with?

I hanker after more time to develop new designs. I have a little sketchbook with ideas in, but orders keep my busy day to day. I am trying to carve out a little time each week just to play, and develop new pieces, but it does feel like less of a priority than keeping up with the current orders so I don't do this as often as I would like.


What is the best tip or advice you've been given, in jewellery making or life in general?

Just to get started. Don't wait for things to be perfect, or the time to be just right. Stop waiting and just go for it.

All photographs in this post ©Becky Pearce Designs



Thank you for that wonderful interview, Becky, I really enjoyed reading it and I'm looking forward to exploring some of those podcasts you listen to!


To see more of Becky's jewellery then do take a look through the links below:


Website - Becky Pearce Designs
Shop - On Folksy and Ethical Market
Facebook - Becky Pearce Designs
Twitter - Becky Pearce Designs
Instgram - Becky Pearce Designs

Jeweller Interview with Nanuk Jewellery

Louise from Nanuk Jewellery is one of those clever jewellers who are as happy working with precious metals and semi-precious gems as they are working with polymer clay.

The proliferation of dragons in her work also marks her out as a craftswoman skilled enough to transfer creations of myth and fantasy into works of silver and clay art.

And if you've ever fancied carrying your very own dragon with you, in a locket around your neck then you've found the right jeweller for you. Enjoy the interview.



When and how did you start making jewellery?

I have always enjoyed making things and trying different crafts, and eventually I came across beadwork and jewellery making. I was amazed to discover you could even study jewellery making at university, so that’s what I eventually did!


How did you think of your shop name and does it have a story behind it?

I knew I wanted a logo, so when I had trouble coming up with a name for my business I started working on a logo instead and came up with my bear. After some reading into bears, I discovered Nanuk is an Inuit name for a polar bear, which seemed to fit with my little bear and so I became Nanuk Jewellery.





Where do your design ideas come from and what is the process that sees them through to the finished product?

I like trying new techniques and materials, so quite often I will start by trying out some basic ideas in a new technique before starting to experiment and see where I can go with it. Quite often my ideas develop around a stone, or the beads or metal I have to hand and what I can do with them.

I read a lot and love illustrated books, and sometimes this or something I have seen on a walk will give me an idea which I will sketch for trying out in the future. I don’t often sketch ideas out before making them, at least not in full, unless I am working on a commission and have to show some suggestions; sometimes I sketch out the vaguest intention of what I have in mind and the final form comes into place once I start thinking about what materials and techniques I want to use to create the piece.


Where do you create your jewellery; do you have your own studio or use a kitchen table? Does your physical space affect how you work and what you can create?

I do have my own little studio space, but it is in an outside shed so it can get quite cold! It has a jeweller’s bench and my larger equipment, so it’s not really suitable for design work or metal clay (which I work with quite a lot) anyway. The rest of the time I work from the kitchen table, often with headphones on and something on my ipad in the background.





How do you motivate yourself to keep on creating?

I am usually always making something, jewellery or otherwise, so not much motivation required! I really enjoy making things and trying out new crafts. My problem is trying to narrow down my project list so I don’t have too much on the go all at once.


What jewellery making tools could you just not do without, and what tool/item is on your wish list?

Probably my many pairs of pliers are my most useful tools, and the ones I use just about every day, and my tumble polisher has become indispensable! My wishlist would include some enamelling equipment, as that’s the next technique I would like to try as another way to add colour to my work.





What is your favourite part of making and selling jewellery?

I enjoy being able to see an idea in my head made into something tangible, and being able to share it and hear what other people think of it, which is why I enjoy doing craft fairs and being able to meet the people looking at my work in person.


Which social media platform do you find the most enjoyable and helpful, and how do you use it?

Surprisingly, considering I wasn’t attracted to the site when I first decided to join it for my business, I have found Twitter to be probably my most successful social media outlet. I don’t always post very regularly, I have trouble thinking of things to say and have considered stopping it to concentrate on my Facebook and Instagram pages, but I have had some great conversations on there and found some of my most faithful fans through Twitter!


How do you hope your jewellery making will evolve over time? How do you see your shop changing?

I have so many different ideas I want to work on that I sometimes worry my shop is becoming a bit too eclectic; I already have two shops, Nanuk Jewellery and Nanuk Designs, to separate out my range of steampunk and fantasy-inspired polymer clay jewellery from my silver and stone jewellery. I would hope in the future to find a niche I can really focus on, and create a more cohesive, distinctive Nanuk style.






Thanks so much for such a great interview, Louise, I hope others have enjoyed your words and the photos of your beautiful jewellery. 
All photographs in this post ©Nanuk Jewellery


If you would like to see more of Louise's work then do check out the links below - and I can definitely recommend taking a look at Nanuk Designs on Etsy for those whimsical locket dragons.


Website - Nanuk Jewellery
Shop - On Etsy and Folksy
Facebook - Nanuk Jewellery
Twitter - Nanuk Jewellery
Instgram - Nanuk Jewellery

Jeweller Interview with The Owl and the Pussycat

Last year I bought a gift of a pewter brooch, on the basis that I rarely make brooches and I've never worked in pewter, so the intended recipient wouldn't wonder why I hadn't made it myself.

When I received the brooch I had to persuade myself to still give it away as a present, and I immediately wanted to ask its creator, Christine from The Owl and the Pussycat, to do an interview (with lots of wonderful photos) to feature here. I'm pleased to say that she said yes and I hope you find her work as beautiful and inspiring as I do.



When and how did you start working with pewter and using it to make jewellery?

It was more than 20 years ago, when I spotted a crafts magazine that featured on the cover a rose wine bottle decorated with embossed metal sunflowers. I thought "Wow! I'd like to do that!". There were kits that you could send away for from a lady called Susannah Lucy. When I'd completed and polished up my basic floral brooch, I was amazed at the result, and all without needing any special equipment. I'd always produced drawings and paintings but was attracted to making 3-dimensional things that could be useful and decorative.



How did you think of your shop name and does it have a story behind it?

I really didn't think for long about the name of my shop. When I was a child I had a book with an illustration of The Owl and the Pussycat which I thought was the most magical thing I'd ever seen. I'd already made an Owl and Pussycat brooch and faced with entering a shop name (I set up shop quite impulsively), the name "The Owl and the Pussycat" just sprang into my mind.







Where do your design ideas come from and what is the process that sees them through to the finished product?

I get ideas from all over the place. If get an idea for an image in my head, I will doodle it actual size in a layout pad until I'm happy with it. Then I will trace it onto tracing paper. From there it is simple to transfer it to the metal. I don't do any experimentation- I've been doing this for so long I know what will work.



Where do you create your jewellery; do you have your own studio or use a kitchen table? Does your physical space affect how you work and what you can create?

I work on a table in the bedroom. One of the reasons I love this craft is that you don't need a large space or special equipment.



What is your favourite part of working with pewter?

My favourite part is when I've finished! I still get a thrill when I look at something that's turned out well and think "I made that!"





Do you use your drawing skills in your pewter work?

I've always had a very linear style of drawing, which suits pewter work quite well. I trained as an illustrator and most of my work is tiny illustrations.



Do you take your own photos, and if so do you have any photography hints?

I've always found photographing my work quite difficult as it is quite reflective and in shallow relief. With a lot of trial and error over the years, I think they are now quite a reasonable standard. I always need to make sure there is something coloured reflecting in the metal, otherwise the design doesn't show up.



How do you hope your work with pewter will evolve over time?

I have some plans to update my shop with some light-hearted and humorous designs, perhaps spending less time on making them and selling them at a lower price than my more intricate work. My designs haven't changed much over the last several years so perhaps it's time for a bit of a rethink to bring my shop up to date.









Many thanks for the interview, Christine, and for sharing the photographs of your wonderful work.
All photographs in this post ©The Owl and the Pussycat 


If you want to see more of Christine's stunning pewter creations then do click through on these links -


Shop - The Owl and the Pussycat on Folksy and Etsy
Facebook - The Owl and the Pussycat
Pinterest - The Owl and the Pussycat

Jeweller Interview with Sycamoon

Name changes can sometimes cause confusion but can also be quite illuminating. 

I've been an admirer of Nanfan for a while but only recently discovered she's turned into Sycamoon, which fits her work even better - do check out her explanation of the new name on her blog here.

And after you do that, or beforehand if you fancy, have a read through of this interview with Nana and enjoy her wonderful words and pictures while you learn more about her craft.




When and how did you start making jewellery?

I started making pendants in 2010. To begin with they were really just a new way to sell my art. I made tiny drawings and put them in bezels and on domino pieces. But of course then I had to make chains and bails, hooks and clasps and from there the metal just took over – I became fascinated with wire wrapping and gorgeous copper. It took over completely.

I never had much luck selling my prints and paintings, but the jewellery started selling, compelling me to learn more and get better. I loved the world that just opened up in a new craft and then I discovered metal clay and was completely hooked.

Today most of my items are made from metal clay. That’s tiny particles of metal – bronze, copper or silver – mixed with an organic binder, which makes metalworking feel like playing with play dough. You shape your pieces in wet clay – much smaller quantities than a pottery artist of course, this stuff is expensive! Once dry and refined the clay is fired in a kiln at very high temperatures and the binder burns away leaving pure metal.



Where do your design ideas come from and what is the process that sees them through to the finished product?

Inspiration for new designs come from all over the place. I take macro photos of nature and bring home pods, leaves and feathers. I doodle a lot trying to get a swirly Art Nouveau style that also reminds me of fantasy creatures and Elves. Other designs just come from finding a gorgeous bead and needing to frame it somehow – or learning a new technique like electroforming and just trying out what it can do. As a result I get a lot of disparate pieces and not really a coherent collection.

I used to agonize over how I could tighten my style – We’re always told to have a strong visual identity and to get that coherent look. But which part should I get rid of? Wire wrapping or metal clay? Nature inspiration or Fantasy and legends? In the end I decided to just allow myself to create anything that I find beautiful and if the shop looks a little messy because of it, well that’s a small price to pay for having fun.






How do you motivate yourself to keep on creating?

In the beginning I was very much driven by the ambition to be my own boss and having my own business. But that part wouldn’t have survived if I hadn’t found it so much fun to keep learning and experimenting. These days it’s actually much more straight-forward – orders come in and have to be filled. There are people waiting for their jewellery, so I have to do the work.

I’m so lucky that I now sell enough on Folksy, Etsy and my own site to fill my days. And when there’s a slump which inevitably happens it just means I get to play with new designs until more orders come in. I have many half-finished projects that got moved to one side when other things were more pressing. But enough new ones get finished to make me happy and feel like I still have room to play.



What is your favourite part of making and selling jewellery?

One of the very best parts is getting feedback from an excited customer who has just got their parcel and is ecstatic about their new jewellery. I make a good number of wedding rings now and occasionally I manage to get a ring or a necklace just right and the resulting gratitude just melts my heart. It is wonderful to make a tiny thing with my own hands that speaks so loudly to another human being.

Another favourite of mine is happy accidents. If you experiment enough then they do happen and then I look at the piece and think – “Wow that looks quite good. How did you do that?”






Do you take your own photos, and if so do you have any photography hints?

I take all my own photos, but it would be nice to have someone else model the items! As for advice I’d say keep practising – you can always get better and nothing is more important in getting sales than good photographs when you sell online. I know everyone advises to photograph in natural light, but that just never suited me. The light changes from day to day making your photos look different. If I can’t have a coherent collection at least I can have coherent photos, and for that I needed the same light every time and to not depend on weather and time of day. If you’re the same then here’s what I do: I have 3 lamps in various sizes fitted with daylight bulbs. I then learned how to set the custom white balance on my camera – you photograph a sheet of white paper and tell the camera: “This is white” and it then corrects all the colours for you. This gives me if not identical results every time, close enough to make the photos look like they belong in the same shop.



How did you decide on the way you style your jewellery photos?

This is an ongoing process. I still change it from time to time. I did a lot of experimenting and really tried getting the classic white background to work that everyone recommends. Lots of people get really good results with white (including SilverMoss!) but it never really worked for me, so I went for something slightly different. Like I said I needed the photos to be coherent at least so I came up with a recognisable combination. I have a printout of a blotchy blue colour – like a faded piece of wallpaper, on top of that a skeleton leaf in a tan colour and on top a piece of glass.

The paper to me says rustic/handmade, the leaf says natural and the glass says clean; 3 things that I’d like to say about my jewellery from the get go. I know the advice is to not have reflective surfaces when shooting jewellery, but I like the hint of a mirror pool I get this way, so just decided to keep it.









How much time do you spend online promoting your work and how do you balance making with selling?

I’ll admit straight away I am lousy at maintaining any social media, but I do keep trying in a half-hearted sort of way :oD

I’m on Facebook, Instagram, Twitter, Pinterest and have several blogs and they all suffer terribly of neglect. When I am busy social media drops to the bottom of my to-do list

I do think they are a very good way of building a connection with your customers and like-minded people who also craft. There’s a fantastic community out there and it’s wonderful reaching out and getting support and feedback. I see it as more of a social thing rather than strictly promoting and that idea I am much more comfortable with.

I think the most important thing in terms of promotions goes is to have good customer service. I go out of my way to make my customers happy and to give them exactly what they want. It makes me feel better when everyone is happy with the transaction and it pays off in the long term as word of mouth gets me a lot of sales. It warms my heart when a customer says that a friend recommended my shop.

***

Thanks so much for the interview, Nana, and for sharing such fascinating information about your work.
All photographs in this post ©Sycamoon


If you want to see more of Nana's beautiful metal clay work then do click through on these links below -

Sycamoon's shop on Folksy
Sycamoon's inspiring blog including excellent photos and explanations of making rings from metal clay here and here.

The Round The World Blog Hop - Silver Moss Jewellery

I must confess that when I was first contacted about being involved in the Round The World Blog Hop, I'd not heard of it before. Perhaps part of the reason why it hadn’t crossed my notice is that no one seems to know where it was started or by whom... (if you do know, then do share the information please!)

So, if like I did, you need bringing up to date then let me tell you that the idea behind the Blog Hop is for creative bloggers, of any kind, to write a post based around four simple questions. The answers they provide gives an insight into their creative thoughts and processes. The blog ‘baton’ is then passed on to another artisan and so the trip around the globe continues.

Emma from Little Cherry Hill has passed this baton to me. Her blog centres around her wonderful jewellery, consisting of silver and gemstones, put together with heaps of inspiration and imagination to create stunningly beautiful jewellery. It's well worth checking out as her her own great Round The World post here.


Here are the four questions, and my answers, along with a few photos as well. Hope you enjoy.


1. What am I working on?

I've just finished making a gift this very day, but aside from that I've been working on creating silver leaves from wire (which I love to do) and developing an idea I had earlier in the year for simple circles of wire combined with circles of melted silver.



Heart shapes have apeared on my work bench lately (another design I love to make), as has a little copper wire. My stash of gemstones is a little neglected at the moment, as is my copper clay, but I'm hoping to at least utilise the former very soon as I've been playing around with some 'charm' ideas to use with them.

I've also been making some silver leaves as I find they tend to inspire at any time of year, whether it’s when they fall to the ground in the breeze and pool in stunning colours, when they start to shrivel and hide under snow, when they begin to bud and are so fresh and new, or when they’re in their prime, rich with summer colour and life.

 


2. How does my work differ from others in its genre?

My work tends to be quite personal and led by the materials I have at hand - I don't tend to order supplies in very often and like to find inspiration in what I find in front of me when I open my box of wire, sheet and remnants from previous projects.

Much of what I create is very delicate-looking, a style I've always enjoyed working in. Whilst silver sheet has many uses, the way wire can be moulded and manipulated with pliers (and fingers!) allows me to express designs in a satisfying manner most of the time anyway. I also enjoy the challenge of making sure the finished piece is far tougher than it looks by work-hardening it with hammers and polishing.




3. Why do I write/create what I do?

I create silver jewellery because I love to do so. I find it frustrating, difficult and even painful at times, and yet the joy of a finished piece is pretty wonderful. I'm often tempted by the thought of dabbling in other crafts, but have built up years of experience working with silver and find that is so valuable in helping me create when I have in my mind's eye. I also believe that focus is very important and that concentrating on one craft will allow that focus to become ever more sharp and honed. I also know that I need to keep reminding myself of this as it’s too easy to get distracted!



I love being inspired by the natural world, as in the dragonfly pendant I made (above) and enjoy creating variations on what I originally make - the wings of the dragonfly 'evolved' from the designs of the earrings shown in the photo right at the top of this post. I enjoy developing style ideas, especially in my wire leaves and hearts; they both lend themselves to this as it’s far easier to make them different than to make them alike!


4. How does my writing/creating process work?

Much of my inspiration comes from nature, seeing the lines and curves that exist in trees and leaves and plants has a big impact on me. Once I have an idea the best way to hold it so I can work on it later (because, of course, inspiration strikes when you're nowhere near a workbench) is to do a very rough scribble of it in a notebook. That allows me to return to the idea and elaborate upon it which I normally do by working in the material I want to create it in.



This allows me to know whether the piece of jewellery will actaully work in its finished form and whether I have to tools to create it how I want to make it look. Then, once I have a prototype made up I can develop the style to add flourishes and refinements.


I hope you’ve enjoyed reading through my responses to the questions. It’s been an interesting process answering them; although they seem quite simple queries, you can mine them fairly deeply to find things that clarify why we do what we do.


I'm passing the Round The World Blog Hop baton onto Heather from Moon River Jewellery who works in silver clay and creates the most beautiful leaves and butterflies, as well as special 'fingerprint' jewellery amongst other wonderful items.