Tuesday, 17 May 2016

Art Jewelry Forum

Art Jewelry Forum (AJF) is a nonprofit international organization founded in 1997 that advocates for the field of contemporary art jewelry through education, discourse, publications, grants, and awards.[1]

Contents

Publications

Art Jewelry Forum publishes online articles as well as in print books. AJF’s online articles cover historical pieces and movements, theoretical interpretations of work, and exhibition reviews. Contributors for the online articles include staff writers as well as professionals in the field. Printed books from Art Jewelry Forum include Geography (exhibition catalog), AJF Best of Interviews, and Show and Tales.[2] Art jewelry Forum also initiated and funded the publication of Contemporary Jewelry in Perspective by Lark Crafts.
The exhibition catalog Geography was Art Jewelry Forum's first publication in 2011. Geography was printed in conjunction with an exhibition of the same name that was presented at SOFA Chicago 2011 and at the Society of North American Goldsmiths conference in Seattle of 2011.
Art Jewelry Forum worked with Lark Crafts,[3] a subsidiary of Sterling Publishing, in 2013 to publish Contemporary Jewelry in Perspective. Contemporary Jewelry in Perspective is broken into three sections "the first exploring what kind of thing contemporary jewelry is, the second exploring its history, and the third exploring opportunities and challenges for the field".[4] Bruce Metcalf reviews that within these sections "There are two themes that run throughout the book. One is that studio jewelry should be critical. The other is that the most fertile territory for the present-day practitioner is in the realm of the hybrid."[5]
AJF Best of Interviews was published in 2014 by Art Jewelry Forum. AJF Best of Interviews "corrals some of the site’s most interesting content: interviews with jewelry makers and others central to the field. Taking part in the 20 lively conversations are makers such as Lola Brooks, et:Tanel Veenre, and Jamie Bennett; dealers such as Sienna Patti; curators such as Bruce Pepich and Ursula Ilse-Neuman; and jewelry aficionados such as Madeleine Albright... The focus is on intelligent questions and the voices of the interviewees – captured in fresh, informal exchanges that will captivate lovers of art jewelry"[6] writes Monica Moses, editor in chief at the American Craft Magazine published by the American Craft Council.
Show and Tales published by Art Jewelry Forum in 2015 and was released in Munich in conjunction with the annual Schmuck fair. Show and Tales focuses on exhibition making in regards to jewelry, making it the first ever publication on the topic.[citation needed] Show and Tales is broken into three sections that cover historical landmark exhibitions of jewelry, challenges in curating craft and jewelry, and exhibition reviews. It contains essays by Glenn Adamson (USA), David Beytelmann (AR), Susan Cummins (USA), Liesbeth den Besten (nl) (NL), Monica Gaspar (ES), Toni Greenbaum (USA), Marthe Le Van (USA), Benjamin Lignel (FR), Kellie Riggs (USA), Damian Skinner (NZ), Jorunn Veiteberg (no) (NO), Namita Wiggers (USA), among others.

Exhibitions

To date, Art Jewelry Forum has produced one exhibition titled Geography, which was shown in 2011 at SOFA Chicago[7] and at the Society of North American Goldsmiths conference in Seattle in 2011.[8] Geography was a thematic exhibition focusing on the scientific view of physical geography, the relational cultural geography, and the effects of natural surroundings on artists.[8] Geography was curated by Susan Cummins and Mike Holmes and features over seventy pieces[9] of jewelry from a wide array of international artists:
Fran Allison, Talya Baharal, Agelio Batle, Suzanne Beautyman, David Bielander (nl), Alexander Blank, Iris Bodemer (nl), Angela Bubash, Eric Burris, Suzanne Carlsen, Attai Chen, Jim Cotter, Willemijn de Greef (nl), Bettina Dittlmann, Georg Dobler, Iris Eichenberg (nl), Jantje Fleischhut (nl), Karen Gilbert, Gabrielle Gould, Mielle Harvey, Stefan Heuser, Rory Hooper, Marian Hosking, Sergey Jiventin, Soyeon Kim, Jenny Klemming, Brooke Marks Swanson, Sharon Massey, Christine Matthias, Fritz Maierhofer (de), Malaika Najem, Annelies Planteydt, Alan Preston, Ramon Puig i Cuyàs (ca), Tina Rath, Miriam Rowe, Deborah Rudolph, Estela Saez, Dana Seachuga, Nolia Shakti, Deganit Stern Schocken, Joyce Scott, Helen Shirk, Despo Sophocleous, Cynthia Toops, Julia Turner, Tarja Tuupanen, Sally von Bargen, Lisa Walker, Areta Wilkinson, Francis Willemstijn, Andrea Williams, Nancy Worden[8]

Grants

Art Jewelry Forum awards grants in three categories; Emerging Artist Award, Exhibition Award, and Speakers and Writers Awards.

Emerging Artist Award

The Emerging Artist Award is a prestigious[10] annual juried award of emerging artists who make wearable art jewelry with a prize of $7,500USD.[11]
Past winners include:
  • 2014-Seulgi Kwon[12][13]
  • 2013- Sooyeon Kim[14]
  • 2012- Noon Passama Sanpatchayapong[15][16]
  • 2011-Farrah Al-Dujaili[17][18]
  • 2010 Agnes Larsson[19]
  • 2009- Sharon Massey[20]
  • 2008- Masumi Kataoka[21]
  • 2007- Andrea Janosik[22]
  • 2006- Natalya Pinchuk[23]

Exhibition Award

The Exhibition Award aims to financially assist with exhibitions and catalogs that focus on art jewelry. Unlike the annual Artist Award, the Exhibition Award applications are rolling; the Exhibition Award is based on merit of the proposed project, and Art Jewelry Forums annual funds.[24]
Past support of the Exhibition Award has gone to:

Speakers and Writers Award

Art Jewelry Forum awards the Speaker and Writers Award to individuals who are critically engaged in the field. Most often the award is granted to help cover expenses of speakers and panelists at the annual Sculptural Objects and Functional Art (SOFA) NY and the SOFA Chicago fairs, and the annual Society of North American Goldsmiths conference.[39]
Past recipients of the Speakers and Writers Award are:
  • 2012- Kiff Slemmons, More Than One to Make One, lecture, SOFA Chicago[40]
  • 2012- Garth Clark, Who's Your Daddy, keynote lecture, Society of North American Goldsmiths[41]
  • 2012, Ursula Ilse-Neuman, The Transcendent Jewelry of Margaret De Patta: Vision in Motion, lecture, SOFA NY[42]
  • 2011- Contributing Writers: Jillian Moore, Gabriel Craig, commissioning of articles for Art Jewelry Forum
  • 2011- Davra Taragin, Iris Eichenberg (nl), Seth Papac, Gemma Draper, Monomater, panel discussion, SOFA Chicago[43]
  • 2011- Damien Skinner, All the World Over: The Global Ambitions of Contemporary Jewelry, lecture, Society of North American Goldsmiths[8]
  • 2011- Jeannine Falino, For People Who Are Slightly Mad, lecture, SOFA NY[39]

Board and select staff

Susan Cummins is the founder and current board chair of AJF. She is also the director for the Rotasa Foundation,[44] and previously owned and operated Susan Cummins Gallery for eighteen years until its closing in 2002.
Liesbeth den Besten (nl) is a board member and contributing writer for AJF. Besten graduated with a PhD in Art History from the University of Amsterdam in 1985. Besten's research and writing focuses on jewelry. Along with writing articles for AJF, Besten has written On Jewellery, A Compendium of International Contemporary Art Jewelery, numerous catalogs, and essays in Show and Tales, Art Jewelry Forum's Best of Interviews, and Contemporary Jewelry in Perspective.
Tanel Veenre (et) is a board member of AJF. Veere graduated from the Estonian Academy of the Arts in Metal in 2005 where he is currently a professor.
Benjamin Lignel is the editor and writer for AJF. Lignel studied Philosophy and Art History at New York University. He later went on to study Furniture Design in London. Lignel is also a co-founder of la garantie, association pour le bijou, and a member of Think Tank since 2009.[45]
Other board members and staff include: Linda Peshkin, Marion Fulk, Sienna Patti, Raissa Bump, Bonnie Levine, Doug Bucci, Sharon Berman, Susan Kempkin, Bella Neyman, Sofia Björkman, Jorge Manilla, Rebekah Frank, Nathalie Mornu, Kevin Murray, and Dina Noto[46]

References


  • "About AJF". artjewelryforum.org.
    1. "Board and Staff". artjewelryforum.org.

    External links



  • "Bookstore". artjewelryforum.org.

  • "Announcing "Contemporary Jewelry in Perspective" «  Lark Crafts". larkcrafts.com.

  • "Assume Nothing". craftcouncil.org.

  • Metcalf, Bruce. "Under the Covers: Contemporary Jewelry in Perspective". Metalsmith Magazine March, 2014. Volume 34 Number 2. Pg. 16-17. Print.

  • "Fresh Perspectives". craftcouncil.org.

  • "Geography: An Exhibition Organized by Art Jewelry Forum". sofaexpo.com.

  • http://www.snagmetalsmith.org/wp-content/uploads/2012/06/2011-Conference-Program-Book-Final.pdf

  • "SOFA Chicago Art Show". Chicago Tonight - WTTW.

  • "Design Competitions". gia.edu.

  • "AJF Artist Award Emerging Artist Guidelines". artjewelryforum.org.

  • "English". kwonseulgi.com.

  • "Seulgi Kwon Wins 2014 AJF Artist Award". JCK Magazine.

  • "English". sooyeonkim jewelry.

  • "CV : Noon Passama". noonpassama.com.

  • "Art Jewelry Forum Awards Creativity and Promise". Accessories Magazine.

  • "Farrah Al-Dujaili". farrahal-dujaili.blogspot.com.

  • "School of Jewellery". schoolofjewellery.co.uk.

  • "www.agneslarsson.com". agneslarsson.com.

  • "cv". sharon-massey.com.

  • "Masumi Kataoka, contemporary Jewelry". Masumi Kataoka, contemporary Jewelry.

  • "2007: Andrea Janosik - Art Jewelry Forum". artjewelryforum.org.

  • "2006: Natalya Pinchuk - Art Jewelry Forum". artjewelryforum.org.

  • "Exhibitions Award Recipients". artjewelryforum.org.

  • "EXHIBIT ARCHIVE". indiana.edu.

  • "2011: Art Jewelry Forum - Art Jewelry Forum". artjewelryforum.org.

  • "Fuller Craft Museum Wins Art Jewelry Forum Award". Accessories Magazine.

  • "Fuller Craft traces studio jeweler’s work and legacy". Boston.com.

  • "Art Jewelry Forum Announces Grant Award to Bellevue Arts Museum and Miami University of Ohio - Art Jewelry Forum". artjewelryforum.org.

  • http://www.bellevuearts.org/exhibitions/past/2010/lisa_gralnick.html

  • "Lisa Gralnick: The Gold Standard at Bellevue Arts Museum". All Art News.

  • "Jewelry exhibit now open at MU Art Museum". journal-news.com.

  • "Adornment and Excess: Jewelry in the 21st Century". muohio.edu.

  • "Rowan University Art Gallery". rowan.edu.

  • "Artwork of prominent women metalsmiths on display at Crossman Gallery Sept. 9-Oct. 18". uww.edu.

  • "Artwork of prominent women metalsmiths on display at Crossman Gallery". uww.edu.

  • "2006: Houston Museum of Fine Arts - Art Jewelry Forum". artjewelryforum.org.

  • "2005: Craft Emergency Relief Fund - Art Jewelry Forum". artjewelryforum.org.

  • "Speakers & Writers Award Recipients". artjewelryforum.org.

  • "ArtSlant - November 2nd, 2012 - November 3rd, 2012, SOFA Chicago,". ArtSlant.

  • "SNAG Conference - 2012 Conference Program". e-digitaleditions.com.

  • http://www.sofaexpo.com/epress/pressroom/ny12/releases/SOFA_NY_2012_Lecture_Release.pdf

  • "Continuing the Cranbrook Vision: "Monomater"". sofaexpo.com.

  • "Trustees". cca.edu.

  • "Klimt02.net Benjamin Lignel". klimt02.net.

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    Studio craft

    Studio craft is the practice of craft methodology in an artist's studio. Traditional craft tends to generate craft objects out of necessity or for ceremonial use while studio craft produces craft objects at the whim of the maker or intended owner. These objects are at most only desirable for use and often lack any utility. Because studio craft doesn't make objects out of necessity, it is similar to works of studio art which are made for aesthetic rather than functional purposes.
    Because of their diminished reliance on making objects for functionality, the studio craft object becomes more viable for the kind of aesthetic critical theory which occurs in fine art theory.

    Contents

    Craft theory

    Though studio craft works do seem to have some of the necessary conditions required for injection into critical art discourse, simplifying craft theory as synonymous with art theory strikes some crafts theorists as problematic. Glenn Adamson argues that the interesting thing about Craft is that it is perceived to be 'inferior' to art. In his book Thinking Through Craft Adamson presents an overview of this question by presenting five aspects of this supposed second-class identity: supplementarity, sensuality, skill, the pastoral, and the amateur [1] Contrary to the implied second-class status of these themes, Adamson suggests that these are in fact the things that make craft significant and unique.

    History

    The arts and crafts movement The arts and crafts movement has played a significant role in the formulation of the studio crafts due in large part to the arts and crafts movement's emphasis on both the hand made object and the importance of the individual maker. This has been especially true in North America (see American craft)and the British Isles. Though the studio crafts have been in development for more than one-hundred years since the arts and crafts movement proper its influence remains remarkably consistent.

    DIY craft

    One of the more recent developments in studio craft seems to be the emergence of a solidified do-it-yourself (DIY) movement. Since the mid-century turn towards the conceptualization of the craft object significant academic and institutional structures have emerged to support studio craft. As of 2008 there are hundreds of masters and even doctoral programs dedicated solely to working in crafts media and theory, and as many museums and cultural institutions dedicated to contemporary craft. This trend however has not been without its opponents who claim that studio craft has undercut its origins by overinflating its product, making it entirely inaccessible to anyone who cannot afford the exorbitant prices studio craftspeople demand. These arguments have grown louder and there has been a significant trend towards listening to the voices of "DIYers," that is, makers whose training has not come from a necessarily institutional source and whose audience lies outside the narrow confines of "Studio Craft Institutions." DIY craft can be found in many places among them the internet hub Etsy and in many craft fairs and venues around the country. The work of "DIYers" is often pejoratively referred to as "Crafty Craft" or "Craft with a K."

    External links



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    Craft


    Woodworking being done in a workshop
    Shoes are repaired by a skilled shoemaker, here he evaluates a pair of shoes with a customer watching
    A craft is a pastime or a profession that requires particular skills and knowledge of skilled work. In a historical sense, particularly as pertinent to the Middle Ages and earlier, the term is usually applied to people occupied in small-scale production of goods, or their maintenance, for example by tinkers. The traditional terms craftsman and craftswoman are nowadays often replaced by artisan and rarely by craftsperson (craftspeople).

    Contents

    Development from the past until today

    Historically, craftsmen tended to concentrate in urban centers and formed guilds. The skill required by their professions is and the need to be permanently involved in the exchange of goods also demanded a generally higher level of education, and craftsmen were usually in a more privileged position than the peasantry in societal hierarchy. The households of craftsmen were not as self-sufficient as those of people engaged in agricultural work and therefore had to rely on the exchange of goods.
    Once an apprentice of a craft had finished his apprenticeship, he would become a journeyman searching for a place to set up his own shop and make a living. After he set up his own shop, he could then call himself a master of his craft.
    This system of a stepwise approach to mastery of a craft, which includes the obtainment of a certain amount of education and the learning of skills, has survived in some countries of the world until today. But crafts have undergone deep structural changes during and since the era of the Industrial Revolution. The mass production of goods by large-scale industry has limited crafts to market segments in which industry's modes of functioning or its mass-produced goods would not or cannot satisfy the preferences of potential buyers. Moreover, as an outcome of these changes, craftspeople today increasingly make use of semi-finished components or materials and adapt these to their customers' requirements or demands and, if necessary, to the environments of their customers. Thus, they participate in a certain division of labour between industry and craft.

    Classification

    Main article: Outline of crafts
    There are three aspects to human creativity - Art, Crafts, and Science. Roughly determinated, art relies upon intuitive sensing, vision and expression, crafts upon sophisticated technique and science upon knowledge.
    Street handicraft: here a skilled metalsmith in Agra, India sits between scooters in a commercial area making careful observations in the practice of his trade

    Handicraft

    Main article: Handicraft
    Handicraft is the "traditional" main sector of the crafts, it is a type of work where useful and decorative devices are made completely by hand or by using only simple tools. Usually the term is applied to traditional means of making goods. The individual artisanship of the items is a paramount criterion, such items often have cultural and/or religious significance. Items made by mass production or machines are not handicraft goods. Handicraft goods are made with craft production processes.
    Mexican craft.

    The Arts and Crafts Movement

    Main article: Arts and Crafts Movement
    A product of handicraft: a relief of a simple house façade made as a decorative item
    The term crafts is often used to describe the family of artistic practices within the family decorative arts that traditionally are defined by their relationship to functional or utilitarian products (such as sculptural forms in the vessel tradition) or by their use of such natural media as wood, clay, ceramics, glass, textiles, and metal.

    Studio crafts

    Main article: Studio craft
    Crafts practiced by independent artists working alone or in small groups are often referred to as studio craft. Studio craft includes studio pottery, metal work, weaving, wood turning, paper and other forms of wood working, glass blowing, and glass art.

    Craft fairs

    A craft fair is an organized event to display and sell crafts. There are craft shops where such goods are sold and craft communities, such as Craftster, where expertise is shared.

    Tradesperson

    Main article: Tradesperson
    A tradesperson is a skilled manual worker in a particular trade or craft. Economically and socially, a tradesperson's status is considered between a laborer and a professional, with a high degree of both practical and theoretical knowledge of their trade. In cultures where professional careers are highly prized there can be a shortage of skilled manual workers, leading to lucrative niche markets in the trades.

    See also


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    Wearable art

    Wearable art, also known as Artwear or "art to wear", refers to individually designed pieces of (usually) handmade clothing or jewellery created as fine or expressive art. While the making of any article of clothing or other wearable object typically involves aesthetic considerations, the term wearable art implies that the work is intended to be accepted as a serious and unique artistic creation or statement. Pieces may be sold and/or exhibited. The modern idea of wearable art seems to have surfaced more than once in various forms. Marbeth Schon's book on modernist jewellery (see the section on jewellery below) refers to a "wearable art movement" spanning roughly the years 1930 to 1960. A 2003 The New York Times review of a book on knitting refers to "the 60s Art to Wear movement".[1]
     
     
     
    Beyond
    Most wearable art is made of fibrous materials and constitutes therefore a branch of the wider field of fiber art, which includes both wearable and non-wearable forms of art using fabric and other fiber products. Wearable art as an artistic domain can also include jewelry, or clothing made from non-fiber materials such as leather, plastic sheeting, metals, etc.

      Wearable fiber art

      Artists creating wearable fiber art may use purchased finished fabrics or other materials, making them into unique garments, or may dye and paint virgin fabric. Cou
      ntering the belief that art is something expensive, some clothing artists have started local companies to produce quality art work and clothing for a modest price. Wearable art is not restricted to jewellery but is also seen in graphic T-shirts and even pants.
      As with any other art form, the talent and skills of artists in this field vary widely. Since the nature of the medium requires craft skills as well as artistic skills, an advanced artist may wish to study color theory, chemistry, sewing, clothing design, and computer software such as Photoshop and Illustrator. Classes in clothing design and marketing are offered at colleges such as the Fashion Institute of Technology in New York City.
      The New Zealand city of Nelson gained a reputation in the field of wearable art, with its World of Wearable Art Awards, held annually since 1987 and run by Suzie Moncrieff.[2] In 2005, the show moved to Wellington to a larger venue, although a museum of garments remains in Nelson. In Australia, the Shearwater Wearable Arts or W.A.V.E. (Wearable Arts Vision In Education) has developed from a high school initiative to become a leading wearable arts event.[citation needed]

      Jewelry as wearable art

      Main article: Art jewelry
      Some 20th-century modern artists and architects sought to elevate bodily ornamentation — that is, jewellery — to the level of fine art and original design, rather than mere decoration, craft production of traditional designs, or conventional settings for showing off expensive stones or precious metals. In Modernist Jewelry 1930-1960: The Wearable Art Movement (2004), author Marbeth Schon explores unique and innovative wearable art objects created by surrealists, cubists, abstract expressionists, and other modernist artists working in the middle decades of the 20th century.[3]

      Extreme examples

      Not all garments created as wearable art are made from traditional fibers or fabrics, and not all such artworks are meant for ordinary, practical use. Performance and conceptual artists have sometimes produced examples which are more provocative than useful. "Trashion" is another branch of extraordinary wearable art. The Portland Oregon Trashion Collective, Junk to Funk, has been using creating outrageous art garments out of trash.[4]
      A well-known example is the Electric Dress, a ceremonial wedding kimono-like costume consisting mostly of variously colored electrified and painted light bulbs, enmeshed in a tangle of wires, created in 1956 by the Japanese Gutai artist Atsuko Tanaka. This extreme garment was something like a stage costume. Not really wearable in an everyday, practical sense, it functioned rather as part of a daring work of performance art (though the "performance" element consisted merely of the artist's wearing the piece while mingling with spectators in a gallery setting).[5]
      In Nam June Paik's 1969 performance piece called TV Bra for Living Sculpture, Charlotte Moorman played a cello while wearing a brassiere made of two small operating television sets.[6]
      Canadian artist Andrea Vander Kooij created a group of pieces called Garments for Forced Intimacy (2006). According to an essay at Concordia University's Faculty of Fine Arts gallery website, these hand-knit articles of clothing are designed to be worn by two people simultaneously, and they, "as the name states, compel the wearers into uncharacteristic proximity."[7]
      As wearable computing technology develops, increasingly miniaturized and stylized equipment is starting to blend with wearable art esthetics. Low-power mobile computing allows light-emitting and color-changing flexible materials and high-tech fabrics to be used in complex and subtle ways. Some practitioners of the Steampunk movement have produced elaborate costumes and accessories which incorporate a pseudo-Victorian style with modern technology and materials.

      See also

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    Handmade jewelery videos

    How to Make Quilled Paper Earrings for Party | Handmade Paper Jewelry Making 

    Hey Friends, Today's video is all about Quilled Paper Earrings! I have explained in detail how to make paper earrings in few minutes!
    These Earrings are easy to make and look very sophisticated! If you love handmade Paper Jewelry, this Quilling idea is for you!
    You can also gift this quilling earrings to your Mom, Friend or your Sis https://www.youtube.com/watch?v=zraM16eDwEU

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    How to make Paper Earrings Jhumka | Paper Quilling Tutorial

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      Learn Paper Quilling Jhumki Ear rings. This is very basic model but looks excellent. In this video I have shown basics of how to make paper jhumki. You can choose any colour or any beads. Based on your creativity you can make wonderful designs. uploading my own creative paper jewellery ear rings design.
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    handmade jewelry quilling paper earrings Latest model earrings Earrings Making video

    https://www.youtube.com/watch?v=fOvt4ZgWjE0 

     Earrings, quilling papers earring

     Bollywood Earrings 

    https://www.youtube.com/watch?v=9vMYymWlLN0 

    Presented by Beadshop.com and created by Brittany Ketcham, Bollywood Earrings is a delicious earring project sure to evoke the spirit of Summer! Brittany will take you step by step through this artisan project teaching how to fabricate your own handmade components. You will also learn how to adorn them with vibrant Chinese Knotting cord and bright Miyuki seed beads, and add the finishing touches including chain and juicy gemstones that capture the light so beautifully when worn. Bollywood Earrings is recommended for an Intermediate Beader, but we invite all levels of experience to enjoy. The 20 page companion handout can be downloaded for free by visiting website, Beadshop.com. We hope you enjoy!

     Handmade Jewellery Making Design Pendant Temprell 

    https://www.youtube.com/watch?v=kenDTvkAd7k 

    Commissioned handmade pendant in silver, 22.60ct blue topaz. This unique & individual piece was inspired by our customer & finely crafted by TEMPRELL to her specific requirements. Any piece of jewellery can be repaired, re-modelled, handmade or designed on CAD. All work is carried out on the premises by our team of jewellery professionals. Please search TEMPRELL to see us on facebook.

    DIY beaded necklace | jewelry making | How to make necklace |

     https://www.youtube.com/watch?v=c9FEeIYrq-M

     white big beads -- 10 mm - 77
    white small -- 7mm - 22
    pear shaped pearl -- 12x8mm - 15
    golden beads -- 1mm - 49
    crystal line fish thread or nylon wire - 2 meter
    gold chain
    jump ring
    clasps
    round nose pliers and wire cutter
    chain nose pliers
    headpins
    eye head pins

    DIY necklace , jewelry making at home , gift ideas , necklace for bride, beads art,beads work ,hand made bridal necklace ,hand made jewelry,necklace tutorial,how to make bridal necklace

    Handmade Jewelry: Beaded Heart 

    https://www.youtube.com/watch?v=4_hIbKrC_bg 

     With this tutorial you are going to learn how to make this beautiful heart using Tubular Herringbone stitch.

    DIY: Handmade Jewelry | Simple & Affordable 

    https://www.youtube.com/watch?v=ykJLHiWYWXo  


     

     

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