THE DREAMS STUFF IS MADE OF – Sharon Peters

APRIL 2012
THE DREAMS STUFF IS MADE OF – Sharon Peters
On January 17, 2012 we started the year off with a bang with
a pictorial presentation of zaniness by Sharon Peters. She
went through over 400 slides of her work – explaining how
each concept came into being and where one insane idea
leads into another.
still loves to doodle which is where many of the beads get
their start. She loves to go through kid’s books for funny ideas
and color inspiration…visualize Dr. Spock on laughing gas.
There was a display on the table of how a glob of glass
becomes a fish and the fish becomes…..well, you had to be
there! She went into the steps of making her beads and the
difficulties with each idea that worked and some that didn’t.
To quote Sharon, (in 1996) “I took a class; lit a torch, turned
on the oxygen, the yellow flame turned blue, and I was
hooked forever. This is better than chocolate!”…now how is
that for a start? You will note that her bangs are always
kinda short as she is constantly setting them on fire
in the torch – call that getting into your
work? Sharon LOVES the English language
and especially puns….they inspire her into
creating hysterical renditions of glass beads
with wild names, eye balls, belly buttons,
butts and stupid grins - now that will certainly
send you over the edge. Few of us knew
that she became a stand-up comic to help
her fear of speaking to crowds….now if
you have ever met with Sharon’s
personality, you will start to smile and
nod your head as that makes total
sense with a web site named
“smartassglass.com”. Her site has over
50 pages of wonderful beads….if you are ever
blue, depressed, or in need of a giggle ~ go there and get
ready to lose your eye makeup, and get hiccups from
laughing until your sides hurt!
Last year while in Venice, she stepped off a
boat onto the wharf and broke her leg in 3
places. That forced a total stoppage in
getting into her bead room. It was almost
like the inspiration went out the window
when the cast went on her leg. She
could sit at a table and play with
polymer clay but the glass had to sit
on the shelf until the doctor cleared her
to traipse up and down the stairs again. Granted,
she did reorganize her work area and
guesses that this was a positive after all.
She cleaned off the table, cleared out the
dust, add new storage shelves that are
larger than a refrigerator and got new little
boxes (See’s candy boxes do have additional
uses…after all the chocolate is gone) but that
is not making beads nor gaining inspiration for
creativity….bummer!
One thing that she did do though was the main issue of her
talk = inspiration! Sharon stressed keeping multiple
notebooks; in your purse, in the car, by the bed, by the t.v., in
the bathroom….you never know when you will see color
combinations or shapes that will kick up those little idea
gremlins. It is essential to write down your ideas, drawdoodle-sketch a shape, tape pieces of fabric, take pictures of
everything you see for color, texture, pattern and design, look
around you with a child’s eyes of new inspiration.
Sharon spent the first part of the night showing her beads
and how she got the ideas for their creation. She is into
multi-media so if something doesn’t work in glass, she plays
with polymer class or paints until it all gels, often combining
one art medium with another.
She explained that the strange creations started because she
has an inability to make a nice roundly sane and regular bead.
She started to draw cartoons when she was 3 years old and
continued on page 2
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They went out for dinner one night to a Chinese restaurant.
The dragon place mat created an entire series of
beads…however, it was another issue to find out how to
create the horns, get them to match in size and shape, and
get them to actually stick on the head. She went on a cruise
with her mother and was inspired by the various wild abstract
patterns in the carpets from one room to another. (I took a
photo of the wildly colored design on the room in the hotel).
Create a “DREAMS” file of things your brain has come up with
when you have your eyes closed in sleep. Inspiration is
where you find it…write it down in your notebook and put it
away until you are ready to play…don’t try to push your brain
to create if nothing is there….take a break, do something
totally not related to what you are trying to come up with
and let your brain and imagination just flow.
If you don’t already have a camera, get one and learn to use
it. You can move the pictures you take from your cell
phone/camera to your computer by sending them to yourself
via email and then saving them into your ‘ideas’ file. Take
pictures of a row of bolts of fabric for color and combinations,
take a picture of architecture design that you fancy, check out
the reflections in lakes, pools or puddles of water.
If working with hot glass is
daunting at first, try out
your ideas in polymer clay or
mixed media. She has even
taken some of her bead
designs and created tiles for
the kitchen and bathroom. If
you also have problems with making round beads, try your
hand at making cabochons. When inspiration isn’t playing
fair she will still sit at the torch and make basic little $2
beads. Many of these are added to her bead heads to
become dragons, dogs, cats, or informal creations of nature.
Take classes from other glass artists. Even if you only gain
one new technique, you can use that to expand what you are
already doing.
Create an “IDEAS” file on your computer. If you like a picture
in/on your computer, use “Photoshop®” or another picture
program on your computer to change or play with the colors.
Go into the picture system and “pixilate” your picture for a
totally random look at what you were looking at…there are
also other versions that you can play with in that section. The
internet is awesome for inspiration. Google “IMAGES” for
design ideas. Play on the internet; check out “fashion”,
“food”, “microscopic photos of nature” for ideas.
Keep notebooks of ideas. Slide the images you collect into
page protectors, and put them in a 3-ring binder. Go to library
book sales and grab image books, children’s books, color
plates of nature, check out what other illustrators have
created. Collect old calendars, magazines, greeting cards, all
the cool images you can find, and cut out various shapes from
these pictures and make collages by gluing them onto an 81/2” x 11” paper,. Punch 3 holes and keep your creative
collage pages in a binder. Using a 3” x 7” piece of blank
cardstock, cut out a circle, a square, and an oval. Move this
card around on the collage page you to see if a color
combination or design displayed in these little windows kicks
up your inspirational fancy.
Sometimes being Sharon Peters just isn’t enough for her
adoring public….she entered a glass bead making contest and
one judge refused her entry writing, “A very nice try at a
Sharon Peters-type bead”…huh?
Bead & Button Magazine Dec. 1999 did a four page spread on
Sharon and her beady creature-creations – the one necklace
showed a “Recycling Cow” with bottles of mile, Oreo cookies,
dancing black and white cows and udders…another was
devised from daily drives to and from her work which worked
themselves into various renditions of tire treaded critters and
the “Roadkill Café”…I told ya her pieces are crazy! Showing
this issue around brought gales of laughter at a local bead
store…then I wrote down her web-site…..
When you hit a blank wall, take down one of these books, do
a random “open sesame”, close your eyes and p-o-i-n-t !
Look at that design, colors, shapes and patterns and see if
you can play with it, making it expand into something that
you can create from. Sharon has 7 tubs and 2 huge notebooks
full of ideas like these and they help a lot when she daydreams up the colors and designs she creates in these wacky
beads!
Check out Sharon’s work at:
http://www.smartassglass.com
or call her at 510-865-2138 –
start her conversation with a really
great pun and she will take it from
there…her email addy is:
Sharon.peters@smartassglass.com
see – told ya!
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A MATTER OF SCALE – ADVENTURES IN BIG AND SMALL GLASS - Janice Peacock
On February 21, 2012 Janice Peacock
took us down the white rabbit’s hole
into Alice’s magical world where
things start small and become
strangely large. In September of
2011, Janice embarked on a
wonderful adventure of changing her
“mask” beads into larger beautiful
glass sculptures. That was the plan
accepted by the Museum of Glass in
Tacoma, Washington. It was then up
to her to bring this vision to fruition.
the color gets stretched thin over a larger blown piece.
However, in flameworking the pieces are solid so the colors
stay very dark. She carefully documented each color
combination; which color of glass with which color of powder
and what happened. Janice experimented with many colors
and finally settled on a limited palate to 7 colors and focused
on a handful of powders.
She was one of four artists chosen to participate in an Artist
in Residence program in 2011. The selection using an
extensive application process that included writing three
stories about herself and submitting photos of her work.
Janice is a glass flameworking artist who is famous for her
work with Effetre glass and a hot torch and not as a glass
blower working in a “hot shop” glass pulling globs of molten
glass out of a furnace. Thank goodness she had an amazing
team of glass wizards to help.
At the end of September her glass making equipment was
packed into her car and off she went on a great road trip. Her
daughter Kiera was along for travel guidance. She made a lot
of stops along the way north, especially to stop into glass
companies like Trautman Art Glass in Portland and Double
Helix south of
Tacoma.
Then she had to decide on which of her mask shapes to
develop into sculptures. Janice picked five of her masks to
feature in this venture: antelope, whistler, female, male and
buffalo.
When she got to the
museum, she was
amazed at the size
of the glass blowing
studio. She had an
audience all around
the work area, their
every move was shown on a Jumbo-Tron, and there was a
catwalk that circled the center area where she worked with
her crew so audience members could move in for different
views. On the floor she set up a flameworking station where
she could work on small sculptures. When the furnace glass
workers were creating a large-scale sculpture, she consulted
with them about the shape and colors as they worked. At
times they work on a 1” to 1’ ratio and at times worked on
other scales to try see how the different sizes and
relationships worked. The glass blowers worked from
Janice’s original small prototype and referred to it often so
that they could accurately render each piece in the larger
scale. The entire time, a museum docent walked around the
floor verbalizing what was happening step by step. The
audience was free to ask questions which the docent
answered as the work went on. The Museum of Glass also
made a small movie about Janice’s time at the museum. You
can view it at http://tinyurl.com/jpmogvideo
continued on page 4
The project that she was proposed and that was the focus of
her work at the museum was to look at how and why does
scale matter. She was interested in “what happens when the
tiny and delicate is changed into the large and grand,” as well
as all the challenges involved in expanding and contracting
the scale of an object. The project would be to take her 1inch to 2-inch beads and recreate them as glass sculptures in
finished sizes of 18 inches to 2 feet.
She sent her family away for three weeks in September and
her life evolved into a monk’s existence of solitude,
immersing herself completely working with glass. She had to
learn how to work with a different type of glass that
demanded a totally different set of rules. Since she wanted to
create small prototype pieces that could then be recreated on
a large scale, she switched over to using Reichenbach and
Kugler glass in cane form. Using this glass, which is used
extensively to color furnace-blown pieces, would allow Janice
to match the colors of the large and small pieces.
She bought a several different colors of Reichenbach glass
cane. Many of the colors turned out to look black when
worked in the flame because the color was super-saturated.
These high-density colors work well for furnace glass because
3
This type of furnace glasswork was
amazing to Janice and to anyone who
was not familiar with seeing 20 lbs. of hot
glass worked – putting it in and out of the
glory hole. The workers would heat a
“glob” of glass and cut off what the main
artist wanted as it was put into place and
formed. As they worked on each design,
they had to work through each problem
and design limitations. Even issues like the effects of the
enamel powders that are a noticeable part of the total design
in Janice’s smaller pieces were lost on the larger scale. The
effects of the additional enamel colors and metallic lusters
were there, but it would have taken the addition of coarsely
ground glass, called frit, to have the same impact of the
nubby finish on her beads.
They made a total of 15 pieces in various sizes
and Janice gets to keep all but two, which will
be used a prototypes for future collaborations
with other glass blowers. One sculpture will
part of the permanent collection at the
Museum of Glass in Tacoma and the other will
be auctioned at the museum’s next
fundraising event. The hardest part of this
entire endeavor was to pick those two pieces.
Janice had two of her statues on display at the meeting and
beside each, was the bead that inspired its existence.
As part of her presentation she showed two video clips of
their work while at the museum. Her 1-1/2” tall “whistler”
bead ended up as a 14” tall sculpture that weighs almost 18
lbs. A couple of her regular sized beads did not make it to
sculpture status, as they could not be duplicated. Her beads
all have a hole from end to end to enable them to be worn on
a cord, but that was certainly not possible with such large
pieces as a couple of them weighed in at 12 – 20 lbs. Instead,
these large blown pieces were hollow with a hole at the
bottom so that they can be mounted on a vertical rod that is
part of a larger stand.
There was the issue of glass that changed color as it was
heated. Janice had worked with this problem in her month of
exploration, but it became more noticeable now on the larger
scale. The finished color of the glass changed…and not
always for the best. The violet red color that looked purple
when worked in the torch, but turned out bubblegum pink
when used in the furnace environment. The gorgeous “dark
multi” glass turned opal green. The amount of flame and the
time in the glory hole turned the glass different colors every
time. It became quickly obvious that working with her small
beads was not going to work the same way when she went
over to working on creating the larger pieces. But, the results
were phenomenal, even if the final pieces didn’t have
matching colors.
She doesn’t yet know how this
experience will affect her
bead making by torch in the
future, but she did admit to
enjoying working with this
different type of glass and
watching a vision come to life.
By Marilyn Peters
She also learned that some design elements in the larger
glass objects were much more difficult than at a small scale. A
design of adding dots that is so quickly and easily done when
working with a torch on her smaller beads became a
momentous 5-minute process working with globs of hot glass
having to be cut apart, precisely placed and formed into a
rounded form on the statues.
Another frustration was in the cool down time. Because of
the amount of glass in each of the sculptures, it could take a
minimum of two days to cool down enough in the kilns so
that they could see the finished product and there was no
way of knowing if what they made had even worked out. As
they worked, it became easier to form each piece – resulting
in about three per day and he best part is that every statue
made it out of the kiln without breaking!
4
CREATIVE MARKETING MONEY SENSE FOR THE ARTIST – Marcia Harmon and Joan Silva
On March 20, 2012, we had a two part presentation of how
to get yourself, as an artist, into the positive and productive
area of your financial status….in other words, how to start
making money.
Let go of perfection. Many artists have O.C.D. (obsessive
compulsive disorder) and seem to never be able to get a
project done to their satisfaction. This will stop you from
selling your product and marketing yourself. This is the
hardest to overcome as it will stop you from accomplishing
anything. You need to LET GO ~ accept your finished project
the way it is and accept the flaws. Look at what you see as
the flaws and see if they are actually a reflection of
something personal inside of your mind or body. When you
show your project to others, do NOT point out the flaws, as
those points may be exactly what they like about it. Start a
conversation with the person who is looking at your piece.
Interact with that person, listen to their response, talk about
what they see in your piece and learn from that person.
Joan Silva was first presenter and took an unusual stance on
what we all need to do to be successful. She found a way to
break rules and still be successful on two fronts: 1) It is
important to love what you do and 2) If you can’t sell what
you collect or make, then why do it.
The primary issue of being successful is FOCUS-FOCUSFOCUS. You need to narrow your ideas to the point of total
concentration of your specialty. Be like a small dog with that
wonderful bone but be sure to always take care of your
health and eat and sleep. Decide if you want to specialize
your art and make one-of-a-kind items that will command a
high price and be sold in exclusive stores, museums, and
boutiques or to make many of the same or similar items to be
sold at craft shows and on-line at sites like eBay and Etsy.
Joan Silva started working as a CPA and specialized in internal
audits. After 15 years, she realized that her soul was dead –
she was totally burned out and her artistic side had lost out.
Today, Joan is a money coach and specializes in working with
artists. In contrast, Marcia is a life-long crafter, jewelry
dsigner and collector of stuff. She now limits herself to
“things she is willing to be buried with” and refers herself to a
Master of Pile Management. Knowing that clutter can be an
obstacle for artists, Joan has a lecture and does consultation
on this very subject.
You need to “normalize” what you are going to do: decide
what amount of work can you do daily to enable yourself to
stay sanely sober – your ego doesn’t like to be scattered so
create first and let your mood of the resulting success follow.
If your ego wants what you create to be too ‘different’ for the
market, it may become hard to sell. Your creativity may be
limited but your spirit is limitless ~ so don’t listen to friends
and/or family. Well now, you can listen to what they say, but
discount and disregard what doesn’t fit for you. The ego is
the most difficult to deal with when you are creating….if you
are too much of a perfectionist you will never finish what you
are trying to create. Work on your piece from start to finish
and then put it out there for sale. Don’t let your personal
creative ‘flow’ run out before you finish your piece.
She also talked about a Mastermind Group: Work at
mastering something and heed warnings of procrastination,
distraction, the approach to your project, and the importance
of networking. She holds lectures by phone, puts out
monthly e-newsletters, offers access to past recordings and
hand outs from guest speakers.
Then Marcia Harmon took over and explained how what Joan
had just discussed had changed how she ran her business.
She shared some additional tips learned from her experience
as a jewelry artist since 1992 combined with show
participation, special event promotion and as a shop owner
for the last 10 years. To sell your product successfully, you
need to be creative and seek out mutually beneficial
relationships. She found that the biggest problem was to not
get stuck in a “box” – what might work for your mother or a
friend may not work for you and do not let their influence
close your mind to what could work to make your artistry and
your business a success.
Stick with one thing at a time. Chose one idea and work at it
until you are successful. Set that as a goal and work to
achieve it. Do not jump to another until the first goal is done.
It is important to partner with someone who really
understands YOU. Talk about your goal, your deadline, and
what your ideas are to achieve it. The ‘partner’ will hold you
accountable. You will tell that person what you want to
achieve and then call them up when you have achieved it.
But that person has to really understand you as an artist. It is
important that they allow you the artistic freedom and don’t
try to impose their ideas on you as an artist.
continued on page 6
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Watch out for “blather” …. Who is going to buy my pieces,
talk to people who come by, do I work directly with
customers and sell my things in a shop or let someone else
sell it for me by placing a special item into a gallery. The price
will determine where to place it for sale and who will
purchase it. If the one-of-a-kind piece will be placed in a
store or gallery for another person to sell for you, you must
determine a workable wholesale price. However, if you make
multiples or variations of a style, you can personally sell them
your own set market price in your store or at craft shows and
at a lower price which may appeal to more buyers. Your
strengths and talents will determine your earnings. If you
take months to create a one-of-a-kind exclusive piece, your
price will be high-end, you can put it into a museum or
publish it for more exposure or you can make smaller pieces
as a ‘collection’ (3-pieces or more) for the same result.
them. There is a new company called “PATCH” which is
owned by Google. It allows format for an on-line newsletter,
bulletin board, announcements, and blogs and most
important ~ it is FREE!!
If your town has a museum, keep on top of what they are
planning ~ and work your knowledge and/or subject into
matching with what they are promoting. This can help to get
your foot in the door while you help them build their event
and the more people who know what you do, the more
success you will have. Take good photos of what you create.
Explain to potential customers that you can customize your
pieces to what they personally want. Don’t be shy ~
recognize your value and talk it up. Look in local newspapers
for other stores that could apply to what you create.
Sometime down the line, your efforts will come back to you.
If there will be special events in town, get out there and
promote yourself and your products. Join with other artists
to promote a joint show as a community event and start a
“Meet the Artist” event. Gear your thinking and planning
about the local potential buyers and not just as yourself as a
seller. Pay attention to fashion and consider what the buyer
would want: colors, styles, and most important – price.
When you go out, wear a dramatic piece that you have
created. Be ready to talk with people who come up and
admire it. Have business cards handy to spread your
exposure. Don’t be afraid to drive around to stores and
galleries and show off your pieces. Develop a rapport with
the owners and managers and suggest putting your pieces in
their establishments. Have pictures of other pieces you have
created and may not have with you on that day. Try to get
your pieces into juried shows when they are held in your
area. These are not easy to get into, but they usually feature
local artists and it is important to get yourself known as one.
Watch for special events in your town and try to partner with
another store, like a museum, to develop your presence.
What you make or what you know that can meld with
another company to enable your exposure to grow. Have a
goal: to be recognized, to be published, to buy more
materials (i.e. beads!), have a store, and be most of all, to be
successful.
Brand yourself. Create a logo and stay true to your core
values. If you can’t do something like make a fancy large size
poster, find someone who can and promote the both of you.
Take time out for yourself and your creativity. If it takes time
away from your creativity to clean the house, hire someone
to clean the house for X-hours. During that freed-up time,
work like crazy to be productive enough to be able to pay for
that service as well as to make a profit.
Marcia and Joan both stressed the need to clarify your goals,
to focus on your strengths, to set priorities, to establish your
logo and brand, to sell yourself and your product daily and to
show off what you do. The presentation helped us to
understand the frustration and confusion we all face and how
to take action to sell our art, to get more clients, and to make
more money. Both Joan and Marcia had wonderful points to
face all of these issues and more.
Find your niche. In difficult times, Economic Revitalization
and Art go hand and hand. Your efforts can help the local
economy to grow while expanding your own. It is important
to know your audience and your customer. Establish your
Goal / Need / Objective and then Network – Network –
Network. Networking is always important so grab business
cards and emails. In the old days, we sent out postcards,
fliers, mailers and had info tables for the printed material.
These are expensive to create, to print, and to mail and you
don’t always get the customer’s feedback. Today most
people have an email address, which makes contacting your
customers so much easier and cheaper. If you have a larger
customer base, use Constant Contact but don’t over saturate
Joan Silva can be reached at joan@joansilva.com and her site
at http://yourmoneydream.com and at 925-432-7570.
Marcia Harmon can be reached at info@cottagejewel.com
and at Cottage Jewel, her fabulously unique jewelry boutique
at: 100 Prospect Avenue in Danville, Ca 925-837-2664 as
well as at http://www.cottagejewel.com. She will also be at
st
the B.S.N.C. Bead Bazaar on April 21 .
6
7
Calendar of Events
April 6, 2012
Wild Things will be at the Trunk Show at Just Bead It
April 6-8, 2012
The Garden of Beadin’ will be at the International Gem & Jewelry Show, Booth 922.
They will have Czech & Japanese seed beads, Findings, Beading Supplies & much more.
April 7, 2012
Saturday 10am – 5pm
April, 13 – 15, 2012
Wild Things will be at the Trunk Show at Benicia Beads
Sat, April 14 (10-7:30)
Sun, April 15 (11-6)
Krimsa Fine Rugs & Decor , San Francisco invites you to a trunk show of Tamara Hill
Studio Jewelry Designs. RECEPTION: Saturday, April 14th, 5:30-7:30 p.m. PLEASE JOIN
US FOR REFRESHMENTS & MEET THE DESIGNER "Exquisitely handcrafted one-of-a-kind
necklaces, bracelets and earrings – to be treasured as personal talismans"
Ralph McCaskey will be teaching a one-day workshop for Intermediate-level torch
workers. The workshop, "Adventures in Soft Glass: Finding Your Inner Monster" , will
extend your glass experience by learning techniques in creating open hollow forms.
BSNC program - "The History of Jet and Mourning Jewelry" with David V. Horst . Free
to members.
April 14, 2012
Saturday 10am - 5pm
April 17, 2012
Starts @ 7:30
Wild Things will be at the Lost Coast Gem Show at Redwood Acres Fairgrounds
April 20- 22, 2012
Friday 9am to 5pm
Sat & Sun 10am - 5pm
April 21, 2012
Sat 10am - 6pm
Nancy Nagle will be exhibiting at the Santa Clara County Gem & Mineral Society 57th
Annual Gem Show Booth:NC Nagle GemStones & Beads
April 28 & 29, 2012
Sat & Sun 10am - 5pm
April 28 & 29, 2012
Sat & Sun 10am - 5pm
Nancy Nagle will be exhibiting at the Santa Cruz Mineral & Gem Society Show
Booth:NC Nagle GemStones & Beads
Ralph McCaskey will be teaching a two-day "Weekend Intensive" Beginning Glass
Beadmaking Class. Learn how to make colorful glass beads from Effettre glass rods (a
soft glass), using an oxy-propane torch.
Nancy Nagle will be exhibiting at the Reno Gem & Mineral Society Gem Show
May 12 & 13, 2012
Saturday 10am - 5pm
Sunday 10am - 4pm
May 5, 2012
Saturday 10am - 5pm
May 15, 2012
Starts @ 7:30
Friday May 18 thru
th
Sunday, May 20
June 1-3, 2012
June 10, 2012
Sunday 11am - 5pm
BSNC Annual Bead Bazaar!
Linda Benmour will be hosting theVintage Bead & Button Trunk Show. Free admission.
A portion of the proceeds benefit Frank Bette Center for the Arts, a non profit
representing Bay Area artists. Questions: Linda 510-919-8435 or
Lbenmour@yahoo.com
BSNC program - "Designer & Maker: Hands On" A lecture on the cycle of design from
the conscious to the physical. Alison Antelman (metalsmith/jeweler) explains her design
process and discusses finding your own voice. Free to members.
Judy Tomsky owner of Natural Touch Beads will be exhibiting at the CNCH 2012
Marketplace conference. Its the Northern California Handweavers 2012 gathering.
Their website link is: www.cnch.org
The Garden of Beadin’ will be at the International Gem & Jewelry Show, Booth 922.
They will have Czech & Japanese seed beads, Findings, Beading Supplies & much more.
Deborah Anderson will be at the Naglee Park Open Studios. Free admission,
refreshments. For more info, contact: Deborah Anderson 408 286-6030 or visit
www.nagleepark.org/npos.html
8
2051 Harrison Street, Suite C
Concord, CA
San Mateo Event Center
2495 South Delaware
San Mateo, CA 94403
126 East E Street
Benicia, CA
3750 Harris Street
Eureka, CA
2190 UNION ST. at Fillmore
S.F., CA. 94123
The Crucible
Oakland, CA
Courtyard Marriott
5555 Shellmound,
Emeryville, CA 94605
SantaClaraCountyFairgrounds
344 Tully Road
San Jose, CA
Oakland Marriott City Center
10th and Broadway
Oakland, CA 94607
Santa Cruz Civic Auditorium
(corner of Center & Church)
The Crucible
Oakland, CA
Reno Livestock Events Center,
Exhibit Hall
1350 N. Wells Ave.
Bette Center for the Arts,
1601 Paru St.
Alameda, CA
Courtyard Marriott
5555 Shellmound,
Emeryville, CA 94605
Oakland Convention Center
San Mateo Event Center
2495 South Delaware
San Mateo, CA 94403
685 Margaret Street
San Jose, CA 95112
SUBMISSION DEADLINES & ADVERTISING RATES
BRAGGS & BOUQUETS
Two BSNC members have just had pieces juried into the new Lark Press publication "500
Beaded Jewelry" which will become available in August, 2012. Wow! Out of all of the
thousands of beaders in the US, two BSNC members were selected!
Carol Tanenbaum’s necklace is made of African
Trade Beads.
Pricilla Martins' very first seedbead piece
"Egret's Garden" was also selected.
Annual Spring Bead Bazaar Coming Soon!
April 21, 2012 10 am - 6 pm ~ Oakland Marriott City Center Hotel
This terrific show is the largest bead society sale in the Us, with over 110 artists/exhibitors. All of the work to
put is on is done by member volunteers. Volunteering is a great way to meet other BSNC members. Email
Volunteer @BeadSocietyofNorCal.org to check what volunteer hours and opportunities are available.
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COMMUNITY BOARD
Ralph McCaskey will be teaching a six-week Beginning Glass Beadmaking class at the
Richmond Art Center (www.therac.org) on Thursday evenings from 6:30 pm to 9:30 pm.
Beginning Thursday, April 5. Small class, much individual attention will be paid.
Intermediate level students are also gleefully welcomed, so that they can
play with soft glass, too.
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Annual Membership Dues, which include digital mailings and meetings are $20 per year. Memberships with snail mail
and meetings is $25 per year. The year begins on the month you join. Dues are accepted at monthly meetings or can be
paid online using PayPal or a credit card, or with a Membership Application printed from our website.
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