NZGBA – New Zealand Glass Bead Artists

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Archive for the ‘Education’ Category

NZGBA aims to educate the lampworking community. Please post any interesting articles that would educate on showcasing, exhibiting, displaying, selling etc here

The Silent Salesman

Posted by BorntoBeadnz on April 15, 2010

Package design is as much a sign of the times as it is functional. It may seem to be little more than a protective container, but as the external manifestation of a brand, its role is much more pivotal.

According to Geoffrey Hollows, a consultant at Heawood Research, there are two aspects to packaging: “First, there is the physical function. Second, there is the psychological function and that is the one you have got to get right.”

It is at this unconscious level that consumers engage with a brand. Brand owners have long realised that they can sell a product by imbuing the brand with qualities that the consumer both recognises and aspires to. Powerful brands are those that have successfully been able to reflect and influence a consumer’s ideas, values and attitudes.

It’s what’s on the outside…

As the face of the brand, packaging design needs to reflect the emotional bond that connects the consumer to the product. But, while the concept behind packaging has not changed–to sell a product and create an emotional tie with a brand–the ways in which design has been used to express the concept has evolved to reflect the different cultures and trends through the years.

“The past five decades of consumerism have seen brands and packaging evolve from post-war existence on a mass scale to one of affiliation and personal definition,” says Jonathan Ford, creative partner at brand consultancy Pearlfisher. During the power-hungry Eighties, brands took on a more prominent role to express the identities of consumers. “It was more ostentatiously about design,” says Stephen Bell, creative director at Coley Porter Bell (CPB). “Everything had broad shoulders, even the packaging.”

You can download the entire article from the following website

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Electric Mandrel and roller Marver tools

Posted by BorntoBeadnz on April 14, 2010

Having been to visit Laurie Caroll’s studio as seen in previous post, he has two new tools that I thought I would look into and expand on.

The two tools appear to go hand in hand for best use. The first tool is the electric mandrel. Basically the tool has various sized tips in which you can insert the end of your mandrel much the same as you would a rotary tool like a Dremel. The tool then plugs into a transformer that allows you to change the speed of the turning. Laurie appears to have purchased the delux model (correct me if I am wrong Laurie) which takes 9 different sized mandrels and also has better or more variable speeds. Having gone online to Torchbugs and lampworketc the feedback on this device is amazing. It would appear that once you have had a “Deluxe electric mandrel spinner” you will never look back. There are many of us full timers who are starting to develop rsi in the thumb but more importantly the spinner allows a steady even pace rolling so you can apply stringers and decorations with ease, and making earring bead sets, two beads on a mandrel is a breeze. The other cool thing is it gives you a very steady hand for those of us who shake rattle and roll.

The second tool which comes hand in hand is the Roller Marver tool, which is a set of rollers that spin, so while you have your hot bead pressed into the rollers they for a perfect (and I mean this) perfect shape.

You can currently buy these two tools through Bead Glass in Australia I have emailed them to see if maybe we can get a group discount based on volume as the electric mandrel without shipping is $575, and the roller marver an additional $128 without shipping or GST. Maybe they can help us with a combo deal.

In any event I can personally say that I may consider the investment as I have a sore thumb starting and want to have longevity in the game.

Here are two videos that show how both work…

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My ventilation

Posted by KristanHorne on April 12, 2010

I hope anyone making beads knows how crucially important good ventilation is!  Lisa has asked me to give some info about mine and I’m happy to share how I set up my ventilation, it was my main priority/challenge getting started, just a little disclaimer though that while i did a lot of research and put my safety very highly there is a lot of debate and differing opinions out there and i just chose what I feel comfortable with for myself… everyone’s health is their own responsibility!
I got a lot of info from the LE forum particularly about the merits of ‘funnel vs hood’ type ventilation, especially this bit http://www.lampworketc.com/forums/showthread.php?t=71995&highlight=funnel+hood . My partner Ben has worked with boro and actual ‘fuming’ a lot in the past and he prefers a hood type set up but personally for what I do, soft glass and a little bit of silver, I prefer the idea of a funnel directly in front of the torch flame, I feel as though all the fumes are being sucked well away from me and the incense smoke test appears to support that.
After reading a lot I had a mental picture of what I wanted but I also worked with what I had… (good ol kiwi no. 8 philosophy)…  the ventilation fan I used is a centrifugal… the sticker on it says securimax, I scored it from Ben because it wasn’t strong enough for him and he got a better one.  It sticks out the garage window through a piece of plastic tube, glass replaced with metal (from handy old dryer!) with a hole cut in it, and on the inside a layer of plyboard

 

the intake side has flexible ducting from the hydroponic store which was a bit delicate creating the S shape and hence the duct tape covering splits in a  few places

 and the actual ‘funnel’ was an old industrial lamp shade which flew off the back of the truck on the way home and got slightly dented! (another idea I saw was a metal bucket with the bottom cut out)

(don’t look at the messy bench!!)

Its not ‘pretty’ but it works for me. From what i’ve read the bigger that initial funnel is the better, the closest possible distance to the window or hole-in-wall is desirable, the outside exhaust needs to be a decent distance from a fresh air source, avoid 90 degree turns in the ducting, and then there’s a whole lot of complicated calculations about the size of the room and cfm’s (cubic feet per minute) which in NZ tranlates to l/s (litres per second) arrghhh!! of fan capacity. My workshop being in the corner of a double garage I ignored some of that as I don’t expect to replace all the air in the garage, but I believe my fan is strong enough and I make sure to have a source of clean air coming in, ie open the double garage door a bit.
Hope that all makes sense and is of some help:)

Posted in Education, Showcase | 1 Comment »

What went wrong here?

Posted by KathrynMunro on April 5, 2010

Hello Everyone!  As you can see by the following photos, I’m still new to the world of glassworking.  What I’m hoping is that maybe someone can give me some hints or tips as to what went wrong and how to avoid it in the future.  This was stacked glass.. opaque red on the the bottom, several layers of clear-backed dichroic and a top layer of clear… all COE 96…kiln fired to 816C.

Thank you in advance for any advice on this one.

Posted in Education | 5 Comments »

Artlist.co.nz

Posted by BorntoBeadnz on March 16, 2010

Artlist was set up initially to provide artists with a single directory of internet resources to assist them as an Artist practicing in New Zealand. The directory was then created and optimised to achieve top search results thus increasing the search results for listed artists. The listing fees mostly cover the cost of hosting as I manage the directory myself. The vision is based around increasing exposure for NZ Art and Artist rather than profit.

Regarding visitors to website:
Approx 1600 unique visitors a month, 5000 page views.
84% from Search Engines
82% come from New Zealand

Most common search term is “nz artists” or “new Zealand artists”

I often get general public requests for information on a particular artist or wanting to know which NZ artist created an artwork they own. The nature of the emails received makes me think it is usually people looking for information on NZ artists rather than artists themselves.

Regarding the artist profile views:

Premium listings ….. 900+ page views

Standard listings ….. 700+ page views

Promotion and marketing:

Primarily I rely on search results having a background in SEO and my own web development business.
Artlist has been added to many business and art directories in NZ and around the world.
I have an account set up for Google AdWords and am due to trial this form of advertising.

Thank you for showing an interest in Artlist.

Kind regards
Amie McCarron

Artlist Director

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History of Beads – Tracy Stillman

Posted by BorntoBeadnz on March 11, 2010

I have been emailed this article on beads and thought it very interesting. This amazing article was created by Tracy Stillman, you can find more articles of hers here

For almost 40,000 years, human beings have adorned themselves with countless forms of beads, for just as many reasons. Primitive man used beads as protection from evil and for other spiritual rites, as did the Egyptians. Roman’s used them as decorations and sometimes as a form of currency, while modern man concentrated on their aesthetic value. Even today, Rosary, Worry (or Kompoloi) and Ottoman Tespih beads play an important part in religious rituals. Indeed, beading is not only a universal art form but one that has crisscrossed every continent and been influenced by almost every culture on Earth.

Some of the earliest beads were produced using animal bones, threaded with natural forming vines. While to us it sounds rather ghoulish, it is believed early man wore animal bones in the hope that the souls of the animals would protect them from evil. Any hollow bone that could be threaded with vine or fiber was used and once man developed tools capable of creating a hole in a particular item, almost anything could be turned into a bead.

Native tribes often used seeds or plant pods, such as nut shells, while others learned to make clay beads and decorated them with crude paints. Much later, the advent of glass forever changed our outlook on beading. Such was the popularity of glass, that the Egyptians, Mesopotamians and later the Hebrews, Romans and sub-continental Indians, all manufactured beads and lent their individual cultural influences to the art.

While the Egyptians are often credited with creating the first glass beads, the actual root of that honor is ambiguous. Still, the Egyptians made not only bead manufacturing into an art form but left a profound legacy to jewelry making. Today their ancient beaded treasures are some of the most admired and beautiful in existence.

They also discovered the processes used to make colored glass beads and created intricate, colorful designs, often combining these with beads made from precious and semi-precious gemstones and rare elements such as silver and gold. Such was the demand for beautiful beads that they became an important economic component exported widely across the ancient world.

Certainly, beads in ancient Egypt were inextricably tied to spirituality. Different colored beads signified certain states of mind, one’s status in society or represented celestial idols. Depending on the form of an item and what materials the beads were constructed from, ancient individuals believed that the beads ensured them anything from a place in the next world, to health and happiness.

During Roman times, beads were traded across the Empire and even as far away as Indonesia. The Romans used beads to make one of the world’s first calculators, the abacus, and like their Egyptian counterparts, these patricians sought out the most precious beads, such as pearls, to decorate themselves, hoping the revered goddess Isis would watch over them.

Even the fashion conscious marauders of the north, the Vikings, fancied themselves as bead artisans. What they lacked in manners, they certainly made up for in design and although their beads were possibly not quite as elaborate as those made by some of their counterparts, the Vikings’ use of color in glass beads was impressive. This, together with the arrangement of their beads in making amulets, necklaces and bracelets gives us fine, historic examples of man’s earlier jewelry making – some of which would not be out of place in today’s emporiums.

A beading renaissance occurred a few hundred years after the Vikings when European couturiers of the late 1800’s, caught on to the fact that beading aristocrats’ gowns and accessories could command not only attention, but quite a bit more money for their efforts! Intricate designs, some taking months to create, were sewn on everything from dresses to ball slippers. The most magnificent, using precious stones and rare metals, such as gold, were worn by royalty.

In the early 20th century, beads continued to play an important role in fashion in Western society. Victorians and Edwardians draped themselves elaborately in beads and embroidered beaded garments. One only has to look at a picture of the late Queen Mary to see that she had more than a passing interest in wearing beaded garments and strings of baubles – albeit very expensive ones! Even the daring ‘Flappers’ of the 1920’s embraced the use of beads in fashion. They were also the first to enjoy experimenting with the word’s first plastic beads, made from bakelite.

After the wars and with the true beginning of the plastic revolution, costume jewelry took hold firmly. While beaded fabrics became less fashionable, the market for plastic beads exploded. Far cheaper to produce and buy than other fashionable beads, they were not only affordable to more people but able to economically mimic expensive beads, such as those made from turquoise.

Today, many countries around the world produce beads and offer beaders a deliciously broad choice of styles. In fact, while it is possible to buy historic beads and beaded jewelry online, beaders also have the freedom to create items, borrowing from the many cultures which have contributed to what is the world’s most popular art.

(c) Copyright 2006. All rights reserved. Publishing Guidelines: You may freely distribute or publish this article provided you publish the whole article and include the copyright notice and links in full. A courtesy copy is requested upon publication.

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What should you look for when buying lampwork beads?

Posted by BorntoBeadnz on March 10, 2010

There are a lot of beads out there. New beadmakers are popping up with websites and ebay listings every day. But not all lampwork beads are created equal.

There are a few simple things to look for that will tell the difference between good quality lampwork beads and inferior junk beads.

Kim Miles lists a very crisp list which we thought you should read, scroll down past her beautiful beads

Click Here

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Pricing Your Work. Can You Live on What You Make?

Posted by BorntoBeadnz on March 10, 2010

I think that most people that enjoy creative endeavors have fantasized at one time or another about quitting their “real” job and earning their living doing what they love. I know I used to. Now that that has become a reality, it has been a real eye opener. It’s not as easy as one thinks to be able to produce and sell enough of your wares to provide a decent income. The words “starving artist” do have a basis in fact after all!

We recently entered a phase in our life where what I make from my glass work will be almost our entire monthly income. I have always taken the income from my work seriously, but this will be the first time that we will be dependent on it. I love what I do, but something has been lost now that I know I “have” to do it and that so much is dependent on it. Mixing being an artist with being a business person is a difficult task. What makes you good at one does not necessarily support being good at the other. I am a willing artist but a reluctant salesman. The following are some of my thoughts and observations about the ability to earn a living as an artist and putting value on what we do.

Read more at Mary Anne’s website

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What is our glass jewellery worth?

Posted by IngeChappell on February 21, 2010

Hello fellow glass artists,

My first post at last!  Don’t know about you guys but it has been a bit too hot for me to do much glass work lately.  I’ve been very focused on coldworking and fusing – no torch required!  But I’m keen to get back to it now that the Auckland heat is subsiding a bit.

Not that the climate is purpose of this post but rather, the heat on pricing our wares.  The pre-christmas period was a busy sales period for me as I’m sure it was for you too.  As anticipated, I had a few cheeky people wanting to “steal” pieces and offering silly prices.  However, I stuck to my prices and did not provide any discounts.  I explained to the punters that the beads & jewellery are after all, art and the results of many hours of work.  No different than buying an original oil or watercolour painting!

I have to say (being the outspoken Dutchie that I am haha!) that I am concerned that some very talented people in our group are, in my opinion, selling their glass beads and jewellery at a similar price level to cheaper, imported, mass produced jewellery.  My question would be: what is the point?  You spend hours developing designs, using expensive materials and time at the torch/fusing only to put your works of art out there with no price premium.  I believe that the issue with this is that if one person prices too low, the expectation is that others will need to follow in order to achieve sales.  The end result is that glass bead & jewellery artistry as a category will not develop effectively in New Zealand and utimately, the art will not grow and thrive.  As a single artist, it means that people will come to see you as someone who produces low priced jewellery and its hard to put your prices up once you have created an expectation of lower prices.  Sorry to be so blunt :)

As a marketer (my main occupation is web development and marketing communications) I often say to my clients: don’t price yourself too low, its hard to pull back from a low pricing strategy and it puts emphasis on quantity as opposed to quality.

Think of the greatest prestige brands in the world.  They have carved out a niche in the market based on “uniqueness” or what we in marketing often refer to as a “USP – unique selling point”.  This is what allows these brands to carry pricing that is consistent with its special qualities.

I believe glass art is unique, highly differentiated and above all, true artistry.  I hope that we as a group can benchmark ourselves through our uniqueness and follow that up with strong, premium pricing.  And you know, just because you are a beginner, that’s no excuse and neither is the recession!  Lets band together this year and work hard on our pricing so its worth it for everyone – the artist and the purchaser.

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Effective writing for media

Posted by BorntoBeadnz on February 18, 2010

I have found a company that offers workshops in Parnell and wanted to share this with you…

Businesses are using the written word more than ever, something that many business owners find challenging. It’s not that they don’t know how to string a sentence together, it’s that they don’t know how to turn the words they use into an effective sales tool or means of communication.evbmedia offers a series of short seminars designed to help business owners and employees write more effectively in several areas of their business communications.The seminars are short, practical and interactive and each participant receives clipnotes of everything we’ve covered.Click here for full details on workshops and costings

Whether you’re interested in the material for your 

own business, have a client who would benefit or you want to test us out, this is a great opportunity to learn more about how to write effectively in business.

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