The care of your jewelry is something that every jewelry owner should keep in mind. At Fair Winds Jewelry, we distribute a small note with your purchase to remind you about how to store and care for your new piece of jewelry art.
Because most of Fair Winds Jewelry is hand made from fine silver, sterling silver or hand dyed 3D printed materials that sometimes include sterling silver details, it is packaged in a resealable plastic bag. When you aren’t wearing your jewelry it should reside in this bag.
The reason for this is because tarnish is a result of the silver reacting with the oxygen in the atmosphere. Although some portions of our sterling silver designs are intentionally oxidized to appear dark, you want to keep your silver bright.
Whenever any of your jewelry needs to be cleaned, at Fair Winds Jewelry, we are happy to do that as a service free of charge. Having your jewelry professionally cleaned is always a good idea as a professional jeweler is qualified to check the integrity of stone settings and check for stress cracks, as well as cleaning and polishing your pieces to look like new.
So why should you care for your jewelry? Because it is a personal expression of who you are.
When I’m not working in my studio this is one of the places where you can find me. I really appreciate all the support of the Northeast Times, and reporter Logan Krum, in shining a light on the emerging arts scene in Northeast Philadelphia. This week Logan came out to the LAB for an interview and to get a look around. Here’s the article he wrote.
It is possible to view ancient Viking ships in person in museums like the Viking Ship Museum in Olso, Norway. Their amazing preservation after being buried for centuries helps us to understand their construction and design. Although I personally have not visited these ships, many others have and there are many resources online for research which I have used in my work.
In Fall 2016, I was about halfway through grad school and I was working on a body of work based on the forms of traditional ships, I came across an amazing video showing the construction of a modern version of a Viking longship. The Draken Harald Hårfagre was designed using a combination of designs using artifacts in museums along with the shipbuilding traditions of Scandinavia, this ship was built from May 2010 – Dec 2011 to sail the seas in the wake of its forebears. Continue reading An Ancient Viking Ship in Modern Times
I’ve always been interested in inspiration and the creative process. Where do our ideas come from? How can two different artists find different impressions from the same content?
As individual artists, we look at the world in front of us and find the fuel that powers our ideas. But that fuel is processed through our individual experiences and knowledge. It is changed and filtered with the vision of what we have seen and what we visualize.
In grad school I interviewed one of the world’s most accomplished goldsmiths, Giovanni Corvaja. As I usually do when speaking to someone I admire, I asked about his creative process and received one of the most intuitive answers to this question.
It was early 1999 when I received my first copy of The Artist Way, A Spiritual Path to Higher Creativity. The book by Julia Cameron was touted as a breakthrough for blocked artists to renew their work and their creativity. Little did I know that it would change my life.
It was a late Christmas present from my best friend Pat. She had already had the book and worked through the 12 week process within it and felt that I would really benefit from it as well.
The exercises within the book help the reader to explore their motivations and history while delving into new ideas and ways to be more creative in one’s life. Each chapter explores a different area of our lives, but the biggest tools to come out of The Artist Way for most people are the artist date and the morning pages. Continue reading My Artist Way
It’s no secret I’m a boat geek. I admire the lines of a well-designed vessel from ancient times to the present. Center of Effort vs Center of Lateral Resistance is the naval architecture jargon for it, however such a techy phrase translates to the graceful movement of a boat harnessing one natural force- the wind to move through another natural force- a body of water.
Of course it was inevitable that my Masters of Fine Art Thesisexplored the idea of vessels becoming wearable by interacting with the human body and I have continued this work in recent pieces as well, such as the Viking Ship penannular pin. I constantly find connections between jewelry and boat design. So naturally I’m delighted when I find more of these connections.
Yesterday I found myself at the Metropolitan Museum of Art in New York City. My best friend, Patty and I try to go on an immersive “artist date” at least once a year. The Met is one of our favorite venues and we both have enjoyed looking at the images of Medusa in art history together so we decided to make sure to see the special exhibit Dangerous Beauty: Medusa in Classical Art. It was a small exhibit, but we enjoyed it.
I got a new title this past week- Craft Pusher. I think I’ll embrace it.
It happened when I was teaching an introductory workshop in needle felting, also known as dry felting, at the Tacony LAB. The “LAB” is a community art center in the local neighborhood where I live in Northeast Philadelphia and I work there as a coordinator as well as instructor. I had eight students around the tables shaping wool roving into small whimsical forms. None of them had ever tried needle felting before and each person was enjoying it immensely with the room experiencing periods of near silence with only the sound of poking needles.
The classes at the Tacony LAB are free and include all supplies. Introductory classes like this are a great way to try out a craft you are interested in without investing in tools and materials. In the course of the workshop, it became apparent that many of the participants wanted to continue in the new techniques they had learned.
“These free workshops are really starting to cost me.” one lady said with a laugh. “I’ll need to go buy some of these needles and the wool.”
“Tell me about it!” said another. “I took the Intro to Enameling and enjoyed it so much that I bought a kiln!”
In the course of the discussion that followed, I was labeled as a Craft Pusher. I’m happy to embrace it, as I have found it a delightful experience to bring new techniques and art forms to students who may not otherwise get the chance.
In the course of the workshop, I was busy working on an experimental piece that combined both vitreous enameling and needle felting into an eye pin or brooch.
My life has always been surrounded by craft. Tools, materials and processes have shaped my approach both as an artist and educator. It fuels my curiosity about the ways that different techniques can be used in new ways. As a jeweler, interaction with the body and wear-ability are as important as the quality of the work, but as an artist and process geek, I can not help but constantly investigate new ways of making.
Middle Eastern puzzle rings have been a part of my life since childhood. My father purchased two of them in Pakistan in the early 1960s when he was in the merchant marines. They bore the rough texture of sand casting in several places and they were very thin in the back.
So thin in fact that I had to repair them for my mother several times over the years even though she rarely wore them. This was a design flaw in my opinion, but perhaps they were produced for tourists like my dad. After all, he only paid one American dime for each of them. He immediately threw away the instructions and entertained himself on the ship by trying to figure out the puzzle.
My mother called them “trick rings” and kept them hidden away for the most part. (With five children, I would do the same.) In my early jewelry career, I wanted to recreate them and asked to borrow them. They had such sentimental value to her that she wouldn’t let them leave the house. So I spent some time drawing each individual ring as well as how they were assembled. It was necessary to study the “puzzle” of how they fit together – taking apart and reassembling them many times. Then I went home to my shop and spent about 12 hours creating my first puzzle ring. Continue reading The Middle Eastern Puzzle Ring
As a bench jeweler, I can’t tell you how many times I was asked to make a ring as a gift when the customer did not have any idea of the ring size.
“She’s about 5′ 2″ and a little bit chubby. I know she wears a size 10 dress. What ring size do you think?”
I had to break it to him that, in my experience, the size of her fingers has no relation whatsoever to her height, weight or dress size. And which of her 8 fingers and two thumbs are we guessing at?
We would need to figure out her ring size another way. In the interest of secrecy, that can be a tall order without giving away a surprise. This is why jewelers will often offer one free ring sizing with the purchase of a brand new ring within a certain time period from the purchase date.
Humans have expressed themselves through personal ornament for as long as we have existed. The way we dress, wear our hair and mark our bodies are all ways for us to communicate, in subtle or not-so-subtle ways.
Jewelry may be the oldest form of art and personal ornament with the very earliest artifacts going back to the dawn of humanity. Ancient jewelry of beads and bone held meaning that we can only guess. But the tradition of assigning meaning to the jewelry we wear has continued.
The poesy ring was popular in Medieval times and was engraved with words or phrases that held meaning to the wearers as a token of love and esteem. I became interested in the idea of words and rings about the same time I became interested in jewelry making as a career.