Wednesday, June 30, 2010

General Jackson Slaying the Many Headed Monster

Title: General Jackson slaying the many headed monster. Related Names: Robinson, Henry R., d. 1850. Date Created/Published: N.Y. : Printed & publd. by H.R. Robinson, 1836. Medium: 1 print : lithograph on wove paper ; 30.2 x 36.5 cm. (image). JPEG (99kb) || TIFF (1.7mb)
Rights Advisory: No known restrictions on publication.

Summary: A satire on Andrew Jackson's campaign to destroy the Bank of the United States and its support among state banks. Jackson, Martin Van Buren, and Jack Downing struggle against a snake with heads representing the states. Jackson (on the left) raises a cane marked "Veto" and says, "Biddle thou Monster Avaunt!! avaount I say! or by the Great Eternal I'll cleave thee to the earth, aye thee and thy four and twenty satellites. Matty if thou art true...come on. if thou art false, may the venomous monster turn his dire fang upon thee..." Van Buren: "Well done General, Major Jack Downing, Adams, Clay, well done all.

I dislike dissentions beyond every thing, for it often compels a man to play a double part, were it only for his own safety. Policy, policy is my motto, but intrigues I cannot countenance." Downing (dropping his axe): "Now now you nasty varmint, be you imperishable? I swan Gineral that are beats all I reckon, that's the horrible wiper wot wommits wenemous heads I guess..." The largest of the heads is president of the Bank Nicholas Biddle's, which wears a top hat labeled "Penn" (i.e. Pennsylvania) and "$35,000,000." This refers to the rechartering of the Bank by the Pennsylvania legislature in defiance of the adminstration's efforts to destroy it.

Part of: American cartoon print filing series (Library of Congress) Reproduction Number: LC-USZ62-1575 (b&w film copy neg.) Call Number: PC/US - 1836.R661, no. 37 (B size) [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA

* Printed & publd. by H.R. Robinson, 52 Cortlandt St. N.Y.
* Title appears as it is written on the item.
* Weitenkampf cites another version of the print issued by Robinson with the date 1836, and suggests that the present version is a reversed copy of that. One print with this title was registered for copyright by Robinson on March 29, 1836.
* Weitenkampf, p. 39-40.
* Forms part of: American cartoon print filing series (Library of Congress)
* Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1836-7.

* Adams, John Quincy,--1767-1848.
* Biddle, Nicholas,--1786-1844.
* Clay, Henry,--1777-1852.--Political activity.
* Jackson, Andrew,--1767-1845.
* Van Buren, Martin,--1782-1862.
* Bank of Pennsylvania--1830-1840.
* Bank of the United States--1830-1840.
* Pennsylvania--1830-1840.
* Downing, Jack or "Zek" (Fictitious character)

* Lithographs--1830-1840.
* Political cartoons--1830-1840.

* Cartoon Prints, American

Joyful Encounters - Free Project

Can I tell you how much resin beads are my new best friend?  We met at Bead & Button, thanks to Judy from Natural Touch Beads.  They are warm, the texture is delightfully matte, the colors are luminous and remind me of beach glass.  They are lightweight, durable and create the perfect mix with any type of art bead.  Resin, I think this is the beginning of a beautiful friendship.

Joyful Encounters
Supply List
Nest Pendant and 1 disk bead from Humblebeads
Joy bead and 3 faceted ceramic beads from Diane Hawkey
Shibuchi Flower clasp from Green Girl Studios
6 6mm teardrop Czech glass beads
5 12mm buri beads
3 green olivine 8mm resin coins(
25 watermelon 8mm resin coins
3 4mm flat silver spacers
1 6mm flat silver spacer
2 4mm flat copper spacers
size 11 seed beads (
3" of 20 ga sterling silver wire
2 tube crimp beads
Copper beading wire

Necklace length: 20"

1. Create a wire-wrapped bail with the silver wire.
2. Attach the clasp to the end of beading wire with a crimp tube bead.
3 String 1 polymer disk bead, 4mm silver spacer, faceted clay bead, 4mm silver spacers, buri bead, seed bead, 3 teardrops, two seed beads.  String the pendant unto the wire.
4. String buri, seed bead, repeat. String buri, 4mm spacer, faceted clay bead, 6mm spacer, faceted clay bead, 4mm copper spacer, joy bead, 4mm copper spacer, buri bead and 3 teardrops.
5. String seed bead, green coin, repeat. 
6. String seed bead, watermelon coin. Repeat 24 times.  String seed bead, green coin, seed bead, tube crimp. 
7. String the wire through the leaf part of the clasp and back through the crimp bead and crimp.

Design by Heather Powers,
Natural Touch Beads is one of sponsors this month. 

Robert Weaver: "The artist... should be the reactor"

Not surprising to see that Weaver's work and words provoked some powerful reactions from readers yesterday - and how interesting to see enmity juxtaposed with admiration! Truly, Robert Weaver's polarizing effect on readers (especially those who are illustrators) reflects how each of us sees ourselves and our personal esthetic.

For those who are at this point incensed, I again encourage you try to keep an open mind and see where this week takes us.

Personally, there's very little about Weaver's artwork that appeals to me. But there's a lot in his philosophy and advocacy of the merit of illustration that I find extremely compelling, and its his words that have made me see his work in a new light.

In his 1959 interview in American Artist magazine, Weaver said, "If as an illustrator I say what is wrong with contemporary 'serious' painting, it is because I see no reason why an illustrator should not see himself as a serious contemporary painter."

"The artist should not merely reflect; in an atomic era he should be the reactor."

Speaking to the then popular trend in fine art toward abstract expressionism, Weaver chastised the 'serious' art world with this powerful criticism:

"On the simplest level it is an incredible oversight on the part of the artist that he neglects to use his eyes. A true avant-garde might today proclaim the return of subject matter!"

"In my own teaching I am trying to remedy this deficiency by ordering students out onto the streets with sketchpads. Once the initial shock of life wears off the student can begin to discover the magnitude of the world."

A laudable attitude - and one that even the most conservative-minded traditionalist illustrator would surely agree with. But for those content to maintain the status quo, Weaver qualified his statement:

"But just as he cannot afford to ignore the world he cannot afford to turn his back on the good things in our modern painting."

"While there is the obvious omission of life in our contemporary art, there are far graver deficiencies in what little conservative painting of merit is still being attempted. we cannot go back or retrench, as some would urge. Art, as life, evolves. If we think we can disguise the fact that a new generation is coming into being that rejects what we think is important by calling it 'the beat generation' we are kidding ourselves."

"Conservatism may be sound policy in fiscal matters, but the artist who ignores his time does so at great peril to his usefulness."

* My Robert Weaver Flickr set.

Tuesday, June 29, 2010

Melted red, white, and blue candle wax on a sidewalk, following the September 11th terrorist attack on the World Trade Center, New York City

Melted red, white, and blue candle wax on a sidewalkTitle: [Melted red, white, and blue candle wax on a sidewalk, following the September 11th terrorist attack on the World Trade Center, New York City] Creator(s): Finn, David, 1921-, photographer.
Date Created, Published: [2001] Medium: 1 photographic print : color. Reproduction Number: LC-DIG-ppmsca-01935 (digital file from original)

Rights Advisory: No known restrictions on publication. David Finn's photographs relating to September 11, 2001 are in the public domain. Publication and other forms of distribution: Permitted. In providing photographs for the Library's collections, Mr. Finn has stipulated that his photographs relating to September 11, 2001 are in the public domain.

Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA

* Title devised by Library staff.
* Published in: Lamentation 911 / text by E.L. Doctorow ... photographs by David Finn. Millwood Pub., 2002.
* Unprocessed in PR 13 CN 2002:100.4

* World Trade Center (New York, N.Y.)--Disasters--2000-2010.
* September 11 Terrorist Attacks, 2001.
* Candles--2000-2010.
* Monuments & memorials--New York (State)--New York--2000-2010.

* Photographic prints--Color--2000-2010.

* Miscellaneous Items in High Demand

Robert Weaver: "Illustration is an essential to great painting."

As predicted, yesterday's post provoked some strong reactions - some enthusiastic, others a bit ornery. Readers asked, "why the controversy?" and wanted to take me to task for suggesting Robert Weaver might be somehow better (or even just different) than NC Wyeth.

In fact, my real intent was misread - I have little doubt that Robert Weaver could have admired NC Wyeth's (or Howard Pyle's) work and that these artists actually had more in common than we might expect at a glance.

That being said, the elephant in the room that has to be acknowledged is that the classical style of illustration, the tradition that came down by way of NC Wyeth and a thousand commercial artists who 'descended' from him, was, by the mid-century period, becoming irrelevant.

By the mid-1950s traditional, 'realistic' illustration was no longer fashionable, desirable or meaningful to the larger graphic arts industry or, frankly, even to many of the artists employed in making commercial pictures.(1)

While Robert Weaver may have admired Wyeth and Pyle, I get the feeling he had little more than disdain for their 'descendants' - for the Sundblom Santas and the Whitmore 'clinches'. Describing his take on the state of illustration in a 1959 interview in American Artist magazine Weaver said, "Many illustrators of today are too little concerned with the actualities of their time."

"Too often they merely aid and abet the pre-sold illusion of the age. The illustrator, who should be outside momentary surface illusions observing, is himself observed as part of the phenomena by more serious students of the time."

By "serious students", Weaver was not referring to the contemporary fine artists of the day, by the way. Of that crowd, he said, "Today's artist finds himself unattached to society. There is no mutual sense of responsibility He is 'free.' He likes it that way."

"Is it not that very freedom that has robbed art of its raison d'etre? I have noticed that abstract expressionism carried to the most reckless extremes no longer has the power to shock and disturb even the most conservative audiences. Ennui sets in."

"How can there be vitality without meaning? A much more intellectually challenging field of painting is that which includes illustration but is not limited by it." (emphasis Weaver's)

"Illustration is an essential to great painting. Abstractness cannot be equated with it; it is merely the grammar. Color, texture, design, etc. are tools to be applied to a purpose. 'Self expression' is not a purpose, it is an inevitable by-product of that purpose. It is at this point that the illustrator-painter should realize his opportunities."

"That he has not realized them is borne out by the low opinion in which the illustrator is held in the general art world."

* My Robert Weaver Flickr set.

(1) By example, consider the story of Murray Tinkelman luring, one by one, the Cooper studio artists away to Reuben Tam's painting class at the Brooklyn Museum. In Neil Shapiro's article in Illustration Magazine # 16, Cooper artist Don Crowley described Murray's influence (somewhat facetiously) on the Cooper staff as "[getting] those guys dissatisfied with what they were doing... they weren't happy doing illustrations any more. They wanted to be fine artists."

Design Team Challenge - June

You may remember a while back I put out a call for our new monthly Design Team Challenge.  Here are the amazing results from our first round. 

I sent each of our designers my Autumn Wildflowers Pendant and a set of Willow Disk Beads.  Their creations are so unique and I'm thrilled to see how different each designer highlighted the pendant.
 Jen Judd
Jen Judd - "For this necklace I wanted to include leather, which I love for texture and the casual influence, so I went with a two strand design. The orangy-red leather brings out the subtle color of the Humblebead pendant. Plus, I added to the centerpiece with another art bead pendant from Kristie Roeder's Artisan Clay. The main component of the other strand is some gorgeous Red Creek Jasper from Dakota Stones. I love the way its organic look works in concert with your handmade pretties."

"I've been in 'set' mode lately, so there's also a multi-strand bracelet and a little pair of earrings that complete the look." 

Lori Anderson
Lori Anderson - Her design used kyanite, aquamarine, and carnelian along with silver.  I love how the delicate flowers of the chain enhance the wildflower pendant.

Erin Prais-Hintz 
Erin Prais-Hintz - I was inspired by the pendant that Heather sent. I imagined that these are like the billowy grasses that are along the waysides throughout the state. Wherever you drive, country roads or highways, you see these grasses and wild plants waving in the breeze. I called this main necklace "By the Wayside" from that inspiration.
And the blue ones were so pretty that they need a design on their own. The branches against a bright blue sky reminded me of the limbs of the trees by the Wisconsin River in the winter, starkly outlined against the sky. And "Frost on the Blooms" was born.
Cindy Wimmer
Cindy Wimmer - "I had fun trying out some newly-learned skills from my workshop with Richard Salley. I etched a copper 'frame'/backing for the focal and even created a toggle from copper sheet using a stamp I found in a similar pattern used in the disk beads."

Lorelei Eurto

Lorelei Eurto - "I was so excited to finally get to work with one of Heather's new painted floral pendants. I was following her blog posts about the inspiration behind these, and the different patterning on each of the beads she had been working, really spoke to me. The texture is subtle, and the coloring especially on this oval pendant, was soft and earthy. I love the coordinating beads that she sent as well.

I knew right away that I wanted to use some suede lace, and creating the long wire wrapped lace sections was something that I was just playing around with. Adding in some pretty orange aventurine, and some burgundy buri seeds really makes the colors in the pendant pop. Brass wire, wire wrapping the links together accentuates the vintage flair of the piece, overall. "

Monday, June 28, 2010


Corel Painter X art software simulates a Bamboo Pen... without the drawbacks of traditional pens, which can clog, spatter, or run dry.

Young Ronald Searle and his friends enlisted in the British Royal Engineers at age 19 during World War II. They were stationed in Singapore when the city was captured by the Japanese in February 1942.

Searle and his friends were taken prisoner and shipped to a dense tropical jungle to build the Burma-Siam railroad. They worked at forced labor in sweltering heat, chopping through miles of dense bamboo forests and hacking a path through granite mountains. On a starvation diet of less than 400 calories per day, plagued by insects and disease, victimized by brutal guards, the prisoners began dying like flies. The guards quickly killed any member of the ragtag group who fell behind. Searle recalled:
My friends and I, we all signed up together. We had grown up together, we went to school together and they all died like that. So few of us came out of it. Basically, all the people we loved and knew and grew up with simply became fertiliser for the nearest bamboo....
Cholera also took a terrible toll on the men, including Searle:
Between bouts of fever I came round one morning to find that the men on each side of me were dead, and as I tried to prop myself up to get away from them, I saw that there was a snake coiled under the bundle on which I had been resting my head.
His captors enforced a harsh discipline. The slightest infraction
meant a thrashing for someone with the ubiquitous bamboo stick - and being beaten with bamboo is like being beaten with an iron bar.
One such beating left Searle temporarily paralyzed. But there were even more insidious uses for bamboo:
Some of our overseers had an extremely primitive sense of humour. During the noon break on the cuttings, they would frequently relieve their boredom by calling us into line before we had barely gobbled down our rice, to watch the torture of one of us picked at random. The unlucky one might be made to hold a heavy rock above his head in the full sun, with a sharpened bamboo stick propped against his back. If he wavered, which he inevitably did, the bamboo spear pierced his skin.

Searle resolved that he was going to draw a record of his ordeal. He obssessively began drawing every day on smuggled scraps of paper.

He later described his sketches as "the graffiti of a condemned man, intending to leave a rough witness of his passing through, but who found himself - to his surprise and delight - among the reprieved." Searle could have been severely punished by the guards for his drawings. He sometimes concealed them by rolling them up inside the ubiquitous bamboo and burying them in the ground.

When the railroad was completed, Searle was among the small percentage of prisoners who survived the jungle. He was shipped back to Changi, a horrifically squalid and overcrowded jail in Singapore.

There, the men continued to starve. Searle was especially taken by a pair of baby kittens at the jail:

Searle fattened them up and on Christmas day, 1944, cooked and ate them.

In August 1945, Searle was released after the war ended and went on to a long, passionate career as a brilliant artist. Thinking back, he said, "Everything goes back to being a prisoner. When I think how fortunate I was to survive that, to lose all one's friends at 19 years old - every day is a treasure. I decided when the war ended that I was going to do something interesting."

Searle, now 90, drew distinctive pictures using an old fashioned bamboo pen.

Corel Painter X art software conveniently provides you with art and passion with none of the mess or drawbacks of a traditional Bamboo Pen... which can clog, spatter, or run dry.

Uncle Sam's birthday July 4th

Uncle Sam's birthday July 4thTitle: Uncle Sam's birthday July 4th 1776-1918 142 years young and going strong! Date Created, Published: 1918. Medium: 1 print (poster) : lithograph, color ; 85 x 53 cm. Summary: Poster showing Uncle Sam running with a bayonet, amid bursting shells. Unedited JPGs: JPEG (59kb) || JPEG (217kb)
Reproduction Number: LC-USZC4-8134 (color film copy transparency) Call Number: POS - WWI - US, no. 296 (C size) [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA.

* United Cigars.

* World War, 1914-1918--Communications--United States.
* Uncle Sam (Symbolic character)--1910-1920.
* Fourth of July celebrations--1910-1920.

* Lithographs--Color--1910-1920.
* War posters--American--1910-1920.

* Posters: World War I Posters


Happy Monday to all! And thank you so much for the Fimo birdie love :)
Congratulations to Allyson Haskell for winning the giveaway at my Facebook page!

Robert Weaver: The "Anti-Wyeth"?

Last week's series on NC WYeth certainly evoked a positive response from many readers. One commenter wrote, "all hyperbole over NCW is superfluous." "NC Wyeth is fantastic!!!!!" wrote another, and a third person commented "due to the fact that the illustrations were timeless, Wyeth's work was still appropriate a full twenty years after his death."

All of which makes me think this would be a wasted opportunity if I did not use it to present what some might call "the Anti-Wyeth": Robert Weaver. Because for all of the tradition and craft in Wyeth's work, for all of the gorgeous, thoughtful, classical composition, for all the "timelessness", there was, by the 1950s, hardly a trace in the mainstream print media of NC Wyeth or any other artist who might be considered to have followed in his footsteps. There was, however, a burgeoning movement of young, avant-garde, modern art-influenced illustrators who seemed to be laughing in the face of all the traditions their elders considered prerequisite to good, proper picture-making.

Some would say Robert Weaver was the leader of this gang of young punks. At the very least he must be considered one of it's chief agitators.

In a 1959 interview in American Artist magazine, Weaver said, "...rather than emphasize the difference between the painter and the illustrator I would like to show how 'art' and illustration could serve each other."

This is an incredibly important statement and marks a defining moment in the evolution of illustration as it exists to this very day. Before Weaver, most illustrators saw themselves as purely commercial artists - craftspeople - whose highly skilled efforts were essentially in service of the story or advertisement that required visual reinforcement.

After Weaver, illustrators began seeing themselves as a sort of hybrid commercial/fine artist; someone who must have the freedom to include some degree of sincere personal artistic statement in their assignments. The story was now in service to their requirement for personal expression.

To put it plainly (and I have seen this most often among editorial illustrators) those artists who follow the Weaver philosophy want to have their cake and eat it, too.

From past experience, I know some readers are going to remain firmly entrenched in the Wyeth camp and everything it represents. They will see Robert Weaver's work as unskilled and unworthy of serious consideration or respect. Other readers, I know, adore Weaver and see Wyeth and other traditionalists as hokey and "compromised." Amusing but also somewhat contemptible. I ask both parties to keep an open mind and see where this week takes us (but of course, all comments and opinions are welcome and I look forward to hearing whatever you care to contribute to the discussion).

* My Robert Weaver Flickr set.

Designer of the Week: Beth Hemmila

Each Monday the Art Bead Scene features the Designer of the Week. One of our editors picks her favorite from the Monthly Challenge entries. This week's featured designer is Beth Hemmila from Hint!

ABS editor Heather Powers had this to say about Beth's creation, "I love that Beth choose a symbol that wasn't in the painting but embodied the fiery spirit of the dancer.  It's a beautifully constructed piece focusing on the orange hues of the painting.  There is a fluid motion to the necklace that also reminds me of the dance."

To see more of Beth's work visit her blog.
This is our last featured designer of June, but there is still time to enter the monthly challenge to win $150 worth of beads!

Sunday, June 27, 2010

Sundays with Cindy

Oopss! Sorry I'm a bit late posting this morning - The Teen graduated from high school! Here's a quick snapshot of us after graduation - I'm wearing my "Smokey Blues" necklace from my last Studio Saturday! Enough about me, it's all about the links! Without further adieu, let's see what's going on in the Bead Blogging world....

A Bead A Day
Let's have a Tiki party! Lisa found Tiki beads at Big Lots for $1.00 and is looking for ideas! Jewelry Making
Thinking of selling on-line but worried about the cost? Tammy has discovered three freebie sites for selling your jewelry, crafts, and vintage items.

Art Bead Scene
Art Bead Scene finds findings worth finding!

Barbe Saint John - New Jewelry from Forgotten Artifacts
thoughts about creating multiple streams of income as a jewelry artist

Beading Arts
Cyndi has a copy of "Metalworking 101 for Beaders" to give away!

Carmi's Art/Life World
Carmi's button maker is the reason for this new vintage image necklace.

Cindy Gimbrone aka Lampwork Diva
Cindy rewinds on wire.

Earthenwood Studio Chronicles
Melanie shows her Steampunk Sampler class made of mixed metals, industrial porcelain, and cold connections.

Lorelei's Blog: Inside the Studio
Lorelei's studio is in total disarray. Check out some pics and if you have suggestions, she would totally be appreciative!

Snap Out of It, Jean! There's Beading to be Done!
Jean is delighted to review Totally Twisted by Kerry Bogert! You will LOVE this book which focuses on wire and art beads!

Strands of Beads
Melissa discusses the process of reworking a weak necklace design - the revised version of which now appears on the cover of The Best of Step by Step Beads.

The Writing and Art of Andrew Thornton
Always on the hunt for unique components, Andrew spotlights "pinch bail components" from Shoutrinse on Etsy!

Three little fimo birds

Three little fimo birds
From above
All done! I painted them with acrylic & a coat of matte varnish.
It's Daniel's now because he asked me for could I say no to Daniel :)
He wants to put it on the window above his desk in the new house.

Saturday, June 26, 2010

July 4th fireworks, Washington, D.C.

July 4th fireworks, Washington, D.C.Title: July 4th fireworks, Washington, D.C. Creator(s): Highsmith, Carol M., 1946-, photographer. Date Created, Published: 2007 July 4. Medium: 1 photograph : digital, TIFF file, color. Part of: Highsmith, Carol M., 1946- Carol M. Highsmith Archive.
Rights Advisory: No known restrictions on publication. Ms. Highsmith has stipulated that her photographs are in the public domain.

Call Number: LC-DIG-highsm- 04460 (ONLINE) [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA

4th of July celebration African Americans

4th of July celebration African Americans4th of July celebration, St. Helena Island, S.C.

Title: 4th of July celebration, St. Helena Island, S.C. Creator(s): Wolcott, Marion Post, 1910-1990, photographer. Date Created/Published: 1939 July. Medium: 1 slide : color.
Summary: Photograph shows Texaco filling station. Part of: Farm Security Administration - Office of War Information Collection 11671-14.

Rights Advisory: No known restrictions on publication.

Call Number: LC-USF35-199 [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA

* Transfer from U.S. Office of War Information, 1944.
* General information about the FSA/OWI Color Photographs is available at
* Title from FSA or OWI agency caption.
* Additional information about this photograph might be available through the Flickr Commons project at

* Fourth of July
* African Americans
* automobile service stations
* United States--South Carolina--Saint Helena Island

* Slides--Color
* Farm Security Administration/Office of War Information Color Photographs.

Clay Birdies WIP

Polymer Clay Birds wip
I cooked these little polymer clay birds this morning to be made into a mobile after I've painted them with acrylics. I'll show you the end result tomorrow.
The biggest one is 3 1/2 inches long from beak to tail.

Studio Saturday with Humblebeads

Welcome to Studio Saturday! Each week one of our contributors gives you a sneak peek into their studio, creative process or inspirations. We ask a related question of our readers and hope you'll leave comments! As an incentive we offer a free prize each week to bribe you to use that keyboard. The following week we choose a random winner.

This weeks winner is Steufel! Congratulations!

You have won a Miss Fickle Media's Message From the Skies necklace!

Please send Shannon an email with your address so she can ship this package out to you.

Before Bead & Button I did a series on my blog called 23 Days of Inspiration where I shared the story behind some of my favorite beads.  I mentioned at the time I was working on a new collection of beads inspired by Gustav Klimt's paintings of Birch Trees.  He visited the theme of birch trees in several different paintings, but the one pictured here is my favorite. 

So my first beads in this series were literally a little birch tree trunk.  I love faux bois (fake wood) patterns and this one worked out exactly as I had pictured in my mind. You know how hard that can be sometimes!
Another version of the birch tree trunk.

Disk beads in the color palette and pattern of Gustav's painting.

These 6-hole spacers were adapted from a few older canes that were on my table and I just happened to notice that they fit perfectly with the painting when paired together.  (Canes are the long tubes of clay, layered into patterns & designs, that are sliced off into paper thin selections and applied to the base bead.)
These bezel pendants were made with the same pattern, on the back side is an etched brass bezel.  Love them!
Here is peek of a necklace I created with one of the little tree trunks!  You can see a few more photos of jewelry using my new beads later today on my blog.

Okay, so now we need the million dollar question - What season is your muse?  I have to say mine is mostly fall with summer a close second. 

One comment will be randomly drawn next Saturday to win this set of teal birch disk beads.  Have a great weekend!