Storque articles by vadjutka

Oeuvre Evolution: annarubyking

2009-02-13T15:05:00-05:00

This month Anna from annarubyking tells us about how her flourishing shop started with Christmas cards sent to family members and friends. She became a professional card-maker in two years, and had to learn the same lesson that our previous Oeuvre Evolution artist, Tabitha from ThePairaBirds, was faced with: how to simplify one's own design.

When did you start crafting with paper and textile? Why did you choose this medium?
I think paper is where every artists starts: it's affordable, accessible and you can do so much with it. At university I majored in printmaking, so basically all the processes of print media (etching, screen printing, photography, lithography, graphics) involve paper. In my minor, painting, there was a whole wonderful unit on creating and preparing canvases, as well as making gessos, temperas and varnishes. While this was one of my favorite classes, spending 3 hours making and preparing a canvas really didn't suit my style of work. I was also rather frightened of drop saws, band saws and staple guns.

My interest in textiles comes no doubt from my mother. She quilts, sews, knits, and crochets. I do none of these things. I tried to learn but it just didn't fit. However, I do covet the raw materials, especially fabric. My mum and I would go to fabric shops together, and she would buy fabric and wool for her latest projects, and I would buy fabric just to hoard. I love the colours and patterns and textures.

When I started to make my cards, I decided I needed to incorporate some of my fabric. My stash was growing and growing, and it was time I started using it for something.

How do you evaluate the change between your first piece and the works you do now? In what way did your style change, and why?
The first set of cards that I made was to send to my family and friends for Chistmas, 2006. It was my first Christmas living in another country, and when I went out to buy cards to send that November, there really wasn't that much to choose from. I decided that since I had time to spare, plus an arts degree, I really should be able to make my own.

The cards that I made turned out really well. Everyone told me they loved them, and I decided that I could make some to sell and earn myself a bit of money. When you start wanting to get paid for something, though, you start to rethink how you make that thing, how much the supplies cost and how much time you spend making the item. These cards I made must have taken me 30 minutes each, which is just too much work for a gift card. I had to think about how to simplify my designs and find faster methods. I also started thinking about how my cards would look, as a product, in a shop. I wanted to create a "look" for my cards, so that even if I used different designs and motifs, all my cards would look like Ruby King cards.

In which area do you think you evolved a lot?
I'm really happy with how I managed to simplify my designs. The first cards I made had so many elements. When I look at them now, I think there is too much going on. I was using too many techniques, with no direction. The thing is, I am still using all those same techniques that I used in those first cards. However, in my cards now, I have learned how to be more selective in the ways I use those techniques.

You use a lot of birds in your cards. Why did you choose these flying animals?
Well, birds came about thanks to more product development. I know I'm supposed to say birds are my favorite animal, and I did have many, many pet birds growing up (most were called Oscar or Ernie, if you are curious), but they are not my favorite animal (horses, followed by Labradors).

But I digress. Using birds came about for two main reasons. First, I wanted to have some sort of cute creature as a motif on my cards, and it had to be something that was suitable to many occasions. Second, it had to be something with a shape that was easy to cut out in fabric. All my bird shapes have either one or two sides, making them much easier to cut out than horses or Labradors, for example. I know this process sounds very cold and business-like, but by going through all this design work using birds, I have actually really become quite fixated with them, as you can see by my other artworks — they might now have moved into the third favorite position (sorry, tigers).

What kind of evolution do you see as necessary in the future? What are your plans (if any)?
I still want to try and reduce the amount of time I spend making my cards. I've pretty much halved the time I was spending before. Learning to make things in multiples was a fine revelation, although some of the designs, like the fabric squares cards, have no quick method. I really want to come up with some designs that are a lot speedier so I can have some lower priced options available.

Also, I recently made the decision to stop buying new fabric altogether, and only use recycled and off cut fabric, so once I get through my collection of bought fabrics (okay, that might take a year or more...) my cards will be made of 90 -100% recycled materials, which for me is something really important.

See other Oeuvre Evolutions on the Storque. Vadjutka highlights many more artists' evolutions on her blog, Craftsthenandnow.blogspot.com. How has your craft changed over the years? Post in the comments below!

Oeuvre Evolution: thepairabirds

2008-08-18T13:11:00-05:00

A month ago PamelaAngus found an early piece of hers hidden in the drawer. Now Tabitha from ThePairabirds is delving into the past to show us her beginnings. The Chicago-based illustrator came a long road from manga-styled figures to pop-art, and she is still evolving.

When did you start drawing and painting?
I started drawing regularly when I was eleven. I became interested in comic book art. I didn't begin painting until 2001, when I started college.

How do you evaluate the change between your first drawings/paintings?
My early drawings were inspired by Japanese manga work. I was really entranced with the use of line-weight and light and dark contrast. My style began to take on its own when I started art college. In school, I had the chance to experiment with different media, study different cultures, and learn and share with my classmates. This blending of cultures encouraged me to blend the beautiful linework of Japanese manga with nostalgic American pop culture.

In which area do you think you evolved a lot?
I think my use of linework has evolved. I used to add so many details to a piece that it became over-worked. I am drawn to clean and uncluttered design (which is ironic since I am a pack-rat), particularly in interior design. This look is finding its way into my pieces more and more.

What kind of evolution do you see for yourself in the future? What are your plans (if any)?
I think my art is beginning to focus on the juxtaposition of human and nature. I think the most beautiful relationship is the one between humans and their environment. I am intrigued by people and how they relate to their environment, specifically their homes. So it is interesting for me to see how art and furniture is arranged in the sacred place of "Home."

Can you live on selling your drawings?
At the moment, yes. I'm single and child-free. It means going without an iPhone, a lot of social events, and having to live with family. But, those are some of the sacrifices I have to make right now that will hopefully change over time.

See other Oeuvre Evolutions on the Storque. Vadjutka highlights many more artists' evolutions on her blog, Craftsthenandnow.blogspot.com. How has your craft changed over the years? Post in the comments below!

Oeuvre Evolution: PamelaAngus

2008-07-18T10:48:00-05:00

I am sure that from time to time, every artist and crafter finds an early piece of theirs hidden somewhere in a drawer. They look at the piece and ask themselves, "Who made this?!" Sometimes it is good to stop and look back to see where we started. PamelaAngus, Irish glass artist, started with traditional stained glass in 2003, and ended up making three-dimensional pieces inspired by Asian textiles.

When did you start crafting with stained glass?
I took a traditional stained glass course with David Walsey in England in 2003. I was not a particular fan of stained glass but I had been working on very detailed black and white pen and ink work and thought I needed to learn to use colour again. Also the idea of learning such a traditional craft was appealing. I moved to France shortly after finishing the course so it was about a year before I started to experiment with making pieces.

How do you evaluate the change between your first piece and the works you do now?
My first piece was made in the traditional method of lead came, which is great fun to construct - lots of messy putty, chalk dust, etc. I'm still very proud of it: David encouraged us to design our own pieces rather than take a copy from stained glass pattern books. I took my inspiration from a rhinestone hairclip and I still use jewelry for design ideas now. However, I found that the work I wanted to try out was not possible with lead and I started using copperfoil because it's lighter and more versatile and allowed me to experiment and make the sort of stained glass I’d want to live with myself. It has enabled me to put movement into the pieces and also for the overall shape to be more organic. I want the work I do now to be beautiful first and stained glass second if that makes sense – I want the pieces to be tactile and I hope they make people want to stretch out and touch the beads or ribbons or whatever.

Which area do you think you evolved a lot?
Well I’m still learning technique, but I think my designs have evolved. When I started, I bought pattern books and searched the Internet for designs like everyone does when they are starting out and haven’t found their groove yet. But it was only when I started to look at non glass work for inspiration that it all clicked for me – hand embroidered textiles from India, collected trinkets, knitwear, etc. – if I love something I’ll look at it and think how I can interpret it in glass. And I think my use of colour has evolved – which was the whole purpose of the exercise!

What kind of necessary evolution do you see for yourself in the future?
I’m always looking to try out new ideas and want to work on more 3D pieces such as cups and saucers and start adding my own etched patterns to the glass. I’ve also recently started experimenting with glass sewn onto painted stretched canvas and I’m using ribbon and tiny bells there too, so that you can brush your hand gently over the work and there’s just the gentlest of noise and slight movement in the glass pieces. Who knows, it could be a total disaster, but you have to try these things.

Vadjutka highlights many more artists' evolutions on her blog, Craftsthenandnow.blogspot.com. How has your craft changed over the years? Post in the comments below!

How-to Photograph Jewelry: Get the Basics with Vadjutka

2008-06-04T14:43:00-05:00

vadjutka.etsy.com recently submitted a piece on Hungarian traditional and contemporary crafts for the Etsy World Tour series. Turns out she has worked as a professional photojournalist. She now sells her jewelry on Etsy, and so she has some crucial tips for jewelry sellers who want to take great photos of their items. Read on, sellers, for more on exposure, background, angles, and more....

I think most jewelry makers have faced this problem at least once: how to take a good photo and how to style that photo to make the most of an item. In the next few paragraphs I'll try to sum up the practices I learned as a photojournalist — which could be useful for photographing still subjects like jewelry.

1. Light: Sharp vs. Smooth Shadows
There you are, with a beautiful piece of jewelry, ready to take some photos and list it in your shop. Right before you push the button on your camera, there are a few things that might be good to consider: for example, the angle of the light coming from outside (or inside), and the shadow it casts on your item. Some may like sharp lines, others may like smooth. For those who belong to the first group, natural light it is best, and it is useful to take pictures around noon, when the sun is high. Those who prefer smooth lines should shoot in the morning or after 4 pm.

Sharp, defined shadows:
.
[Dangle earrings by fantcastle]

[Crown necklace by spicychocolate ]

Smooth, diffused shadows:

[earrings by shimmerglassjewelry]

[Mushroom ring by ctseibels]

Of course, most of us don't have time to wait for the perfect sunlight to arrive. What can we do if we only have time to shoot in the early evening, when the light is not so bright, but we don't want an underexposed grey picture as a result? We shall use the flash, but not directly — and ever so carefully! Using flash directly makes very bright white spots on the picture, because the light of the flash is not diffused to different directions. So either we can put a smaller white plastic card on the flash to diffuse light, or if it is not possible, cover the flash with a white tissue. It will result a brighter picture but without the distracting, overexposed bright spots.

2. Correcting the photometer
If your camera allows you to adjust it manually, don't be afraid to use it. At first it might seem a bit difficult, but one can learn it quite quickly. There are two main "numbers" we have to deal with: the shutter speed (the duration of time the shutter is opened) — its values are marked with 1/125, 1/60, 1/30 etc. — and the F-stop (the amount of light coming into the camera’s aperture) — its values are marked with numbers like 2,2, 2,8, 3,5, 5,6 etc.

Don't panic about having to measure these values manually, as the photometer built into the camera does it for us. Though built-in photometers react quickly — my photometer measures on nine different spots — at the end of the measuring process we get an average number. This means that if we do not correct the measurement a little bit, we might get a photo with over or underexposed spots.

If we want the darker spots to be more detailed, we have to add a bit more light: either with a lower f-stop or with a lower shutter-speed. Consequently, we do the opposite in case of overexposed spots — for example, when taking photos of a white, glittering or very bright jewelry, we add one or one-and-half to the measured values of the photometer, which means higher numbers of f-number and shutter-speed.

[measured by photometer and altered values, photo by vadjutka.etsy.com]

If we sit in a quite dark room, and all f-stops are gone (which means that the shutter is opened to its maximum size), we still have opportunities by letting in more light with an even lower shutter speed number. As far as I know, most people can make a sharp picture with the maximum value 1/30 of a second for shutter speed; below that, photos become blurred. So if the picture requires longer than that, we should use a tripod...or stabilize our hands on a sturdy object (in extreme situations it can be our knees, as well), hold back breathing, and shoot!

LINKS:
http://en.wikipedia.org/wiki/F-number
http://en.wikipedia.org/wiki/Shutter_speed

3. Go closer! - Making a photo essay
When I was in photography school, my teacher always asked me: “What do you want to say with these distant pictures? Go closer!” Luckily enough, we can get close quite easily when shooting jewelry, thus easily fulfilling what my teacher always wanted: one close-up picture showing details of the item, and one "big picture," showing the whole item its environment, or on a model. We should also take some photos from different angles: what does the item look like from the back, or from the sides? It is like telling a story, except in pictures and not in words.

[by yasminbochi]

[by lesthings]

[by juliery]

4. Background: patterns vs. white
An important part of telling the story of your jewelry in pictures is the background of the photo. Browsing Etsy, we can find a few main types of backgrounds: plain white, solid color backgrounds, and non-white, patterned backgrounds — usually with flowers, shapes or letters. The plain white background has an advantage: it is easier to photograph, and easier to take in visually. Using white as background has one more advantage: it intensifies the light, so it can help in taking photos of a darker item. We can use a plain white sheet for photography — that is what I do, or a white box (see here for a how-to).

An example of a white box:

[photo by panyizsuzsi.etsy.com]

white backgrounds:

[fabric necklace by fabricfarrago]

[polymer pendant necklace by jkollmann]

[ring by KelbelleDesigns]

The advantage of a non-white background is that a good background adds a special meaning and an atmosphere to the jewelry, thus creating its own little world. Make sure to consider the look and feel of your shop as a whole. Ask yourself, "Does this background work with the overall branding and image I want for my work? Will my target buyers relate to it?"

non-white backgrounds:

[ring by pocketfullofpoesy]

[Cherry Drop earrings by nicoleleeartistry]

[necklace by TheHandOfFatima]

These are just some general tips. Within these constraints, the photographer can really get creative and best of all — let the jewelry shine as the center of attention.

Here's a link to other photo how-tos on the Storque. Add any of your favorite tips in the comments below!

Etsy World Tour: Hungary, Where Traditional and Contemporary Crafts Meet

2008-05-08T18:07:00-05:00

In this edition of Etsy World Tour, vadjutka highlights a few of Hungary's diverse crafting traditions, both traditional and contemporary. Enjoy!

Gömör Pottery
Once upon a time, a few hundred years ago, peasants of a county called Gömör (which is now part of Slovakia) started to make a special kind of ceramic that could be used for cooking. Soon this area became the center for supplying households with nicely painted bowls and pans. Meanwhile, potters of Gömör county lived in small villages and did their everyday work: ploughing, feeding animals, etc. Making beautiful pottery was only a small slice of rural life. By the beginning of the 20th century, potters of Gömör found themselves competing with porcelain and saucepans made of iron. Unfortunately, mass production eventually won out over handmade ceramics and Gömör Pottery is now part of folk art history.

Zsolnay Porcelain
The world famous Zsolnay Porcelain was founded in 1853 to make both stoneware and porcelain. After a few years of difficulties, Zsolnay became world-known and reached its peak in the 1910s. Its signature look is called eosin: a unique greenish, iridescent metallic luster glaze that reminds me of the color of some flies. Jardinieres, wall plates, lamps, and jewelry were made using this glaze, all reflecting the spirit of Art Nouveau. After WWII, Zsolnay started to mass-produce some designs, but they did not stop making exclusive models with eosin technology adapted to porcelain. Currently, Zsolnay Porcelain is not just following trends, but leading them: they teamed up with the famous Hungarian fashion designer, Katti Zoob, who designs haute couture as well as pret-a-porter clothes. Here is a nice example:

(photo by drgnmastr)

Matyo Embroidery
I think every Hungarian woman (including me) has tried doing embroidery at least once in her life: embroidered clothes, tablecloths, etc. are quite common in Hungary. Many patterns are available, but the most famous is the colorful Matyo embroidery. Though it is very well-known — most Hungarians can only recall Matyo if asked about embroidery — it is made only in three small villages. Mezökövesd is the center of Matyo embroidery, where the ethnic group called Matyo lived. Although most of the embroiderers were originally peasants, the industrialization process at the turn of the 19th century resulted in a flourishing folk art scene, especially with embroidery. Below is a picture of the most famous pattern of Matyo Embroidery: a rose with red, green, blue and yellow.

(photo by hattyu)

Painted Eggs
Painting eggs for Easter is common throughout Eastern Europe: almost every nation and ethnic group has its own tradition of egg painting. Though most of Europe uses mostly one color for egg painting, Hungarians use the batik technique to paint the eggs multiple colors. Nowadays, men visit women on Easter Monday, and spray them with perfume: this represents attraction. In return for their efforts, men get a nicely painted egg. The original tradition was to spray the egg with clean water as a symbol of rebirth. A beautiful example:

(photo by hattyu)

Crafting Today
Almost twenty years after the political upheaval in Central-Eastern Europe, craft society (as well as civil society) has started to re-blossom in Hungary. Since the summer of 2006, Hungary has instituted an ongoing craft fair called WAMP (short for Sunday Art Market). It takes place every month, on a sunny (or rainy) Sunday in the heart of Budapest, Hungary's capital. Originating as a small market with around thirty artists, WAMP now has more than 300 registered artists and crafters. Lots of them are professional artists with university degrees, but there are plenty of crafters like me, coming from outside: geography teachers, sociologists or engineers.

Products are as varied as crafters themselves: from bags made of LPs, to earring made of LEGO toys, one can find everything. Since retro became very fashionable - once again - in these years, Matyo patterns have found their ways into mainstream fashion: one can find blouses, bags and wristlets decorated with specially designed Matyo patterns.

A cool wristlet:

(photo by vadjutka)

A retro outfit with traditional influences:

(photo by vadjtka)

A huge thanks to vadjutka for sharing her thoughts on both the traditions of crafting in Hungary, as well as her insight into today's crafting scene. We'd love to hear more about crafting traditions around the world; send your thoughts to the Storque's pitch box and make sure to include the words "Etsy World Tour"!