ODDS or EVENS … What’s Your Preference?
Sometimes, jewelry must conform to a type of numerology — odds or evens or multiples of some number, like the number 3 — related to the numbers of beads or the numbers of strands or the numbers of drops.
Do you have a personal preference for ODDS or EVENS?
Such as,
— The number of beads on a strand?
— The number of strands in a necklace or bracelet?
— Or the number of bangle bracelets you wear on one arm?
— Or the number of beads you use to begin a peyote stitch project?
— Or the number of drops you include in your piece, or dangles you include in an earring?
— Or the number of colors or elements repeated in a pattern or jewelry segment?
— Or the number of fringes on an earring?
Is this ODDS/EVENS preference consistent all the time?
Or is it situational? That is, in certain circumstances you prefer ODDS, and in others, EVENS.
Is there any experiential, aesthetic or hypothetical basis for your preferences?
If you have a preference for one over the other, has does that affect your design process?
Do you get more compliments, when you are wearing one- or three-strand necklaces, than when you are wearing a two-strand or four-strand necklace?
Historically in Europe, it was considered bad luck and inappropriate to have an EVEN number of strands in a necklace. If you had a very long necklace that you would occasionally wrap around your neck multiple times, then it had to be long enough so that you could wrap it around an ODD number of times — such as tripled, never doubled. Even today, in etiquette books, such as “Miss Manners”, the rule is “Always Wear Odd Numbers of Strands of Pearls.” No explanation is given.
Russians even believe that you should never give an even number of flowers to your wife or girlfriend!
In ancient Babylon, even numbers were believed to be unlucky and somewhat demonic. To them, something should never be repeated an even number of times.
An ODD number of beads lets you define a specific center and focus.
Cognitively we prefer things with clear pointers and with clear symmetry.
But we also like balance and harmony and things to be distributed EVENLY.
Where do you come down in this ODDS vs. EVENS debate?
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Other Articles of Interest by Warren Feld:
Do You Know Where Your Beading Needles Are?
Consignment Selling: A Last Resort
Odds or Evens? What’s Your Preference?
My Clasp, My Clasp, My Kingdom For A Clasp
Why Am I So Addicted To Beads?
The Bead Spill: My Horrifying Initiation
You Can Never Have Enough Containers For Your Stuff
Beading While Traveling On A Plane
My Aunt Gert: Illustrating Some Lessons In Business Smarts
A Jewelry Designer’s Day Dream
I Make All The Mistakes In The Book
How Sparkle Enters People’s Lives
Upstairs, Downstairs At The Bead Store
Were The Ways of Women or of Men Better At Fostering How To Make Jewelry
Women and Their Husbands When Shopping For Beads
Women Making Choices In The Pursuit Of Fashion
Existing As A Jewelry Designer: What Befuddlement!
How To Design An Ugly Necklace: The Ultimate Designer Challenge
I hope you found this article useful. Be sure to click the CLAP HANDS icon at the bottom of this article.
Also, check out my website (www.warrenfeldjewelry.com).
Subscribe to my Learn To Bead blog (https://blog.landofodds.com).
Visit Land of Odds online (https://www.landofodds.com)for all your jewelry making supplies.
Enroll in my jewelry design and business of craft video tutorials online.
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CONQUERING THE CREATIVE MARKETPLACE: Between the Fickleness of Business and the Pursuit of Design
How dreams are made
between the fickleness of business
and the pursuit of jewelry design
This guidebook is a must-have for anyone serious about making money selling jewelry. I focus on straightforward, workable strategies for integrating business practices with the creative design process. These strategies make balancing your creative self with your productive self easier and more fluid.
Based both on the creation and development of my own jewelry design business, as well as teaching countless students over the past 35+ years about business and craft, I address what should be some of your key concerns and uncertainties. I help you plan your road map.
Whether you are a hobbyist or a self-supporting business, success as a jewelry designer involves many things to think about, know and do. I share with you the kinds of things it takes to start your own jewelry business, run it, anticipate risks and rewards, and lead it to a level of success you feel is right for you, including
· Getting Started: Naming business, identifying resources, protecting intellectual property
· Financial Management: basic accounting, break even analysis, understanding risk-reward-return on investment, inventory management
· Product Development: identifying target market, specifying product attributes, developing jewelry line, production, distribution, pricing, launching
· Marketing, Promoting, Branding: competitor analysis, developing message, establishing emotional connections to your products, social media marketing
· Selling: linking product to buyer among many venues, such as store, department store, online, trunk show, home show, trade show, sales reps and showrooms, catalogs, TV shopping, galleries, advertising, cold calling, making the pitch
· Resiliency: building business, professional and psychological resiliency
· Professional Responsibilities: preparing artist statement, portfolio, look book, resume, biographical sketch, profile, FAQ, self-care
548pp.
SO YOU WANT TO BE A JEWELRY DESIGNER
Merging Your Voice With Form
So You Want To Be A Jewelry Designer reinterprets how to apply techniques and modify art theories from the Jewelry Designer’s perspective. To go beyond craft, the jewelry designer needs to become literate in this discipline called Jewelry Design. Literacy means understanding how to answer the question: Why do some pieces of jewelry draw your attention, and others do not? How to develop the authentic, creative self, someone who is fluent, flexible and original. How to gain the necessary design skills and be able to apply them, whether the situation is familiar or not.
588pp, many images and diagrams Ebook , Kindle or Print formats
The Jewelry Journey Podcast
“Building Jewelry That Works: Why Jewelry Design Is Like Architecture”
Podcast, Part 1
Podcast, Part 2
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Easy. Simple. No tools. Anyone Can Do!
I developed a nontraditional technique which does not use tools because I found tools get in the way of tying good and well-positioned knots. I decided to bring two cords through the bead to minimize any negative effects resulting from the pearl rotating around the cord. I only have you glue one knot in the piece. I use a simple overhand knot which is easily centered. I developed a rule for choosing the thickness of your bead cord. I lay out different steps for starting and ending a piece, based on how you want to attach the piece to your clasp assembly.
184pp, many images and diagrams Ebook, Kindle or Print
SO YOU WANT TO DO CRAFT SHOWS:16 Lessons I Learned Doing Craft Shows
In this book, I discuss 16 lessons I learned, Including How To (1) Find, Evaluate and Select Craft Shows Right for You, (2) Determine a Set of Realistic Goals, (3) Compute a Simple Break-Even Analysis, (4) Develop Your Applications and Apply in the Smartest Ways, (5) Understand How Much Inventory to Bring, (6) Set Up and Present Both Yourself and Your Wares, (7) Best Promote and Operate Your Craft Show Business before, during and after the show.
198pp, many images and diagrams, Ebook, Kindle or Print
BASICS OF BEAD STRINGING AND ATTACHING CLASPS
Learning Bead Stringing Is More Than
Putting Beads On A String And Tying On A Clasp
There is an art and skill to stringing beads. First, of course, is the selection of beads for a design, and the selection of the appropriate stringing material. Then is the selection of a clasp or closure, appropriate to the design and use of the piece.
You want your pieces to be appealing. You want them to wear well. You want someone to wear them or buy them. This means understanding the basic techniques, not only in terms of craft and art, but also with considerations about architecture, mechanics, and some sociology, anthropology and psychology.
In this book, I go into depth about: (1) Choosing stringing materials, and the pros and cons of each type, (2) Choosing clasps, and the pros and cons of different clasps, (3) All about the different jewelry findings and how you use them, (4) Architectural considerations and how to build these into your pieces, (5) How better designers use cable wires and crimp, as well as, use needle and thread to string beads, (6) How best to make stretchy bracelets, (7) How to make adjustable slip knots, coiled wire loops, and silk wraps, (8) How to finish off the ends of thicker cords or ropes, so that you can attach a clasp, (9) How to construct such projects as eyeglass leashes, mask chains, lariats, multi-strand pieces, twist multi-strand pieces, and memory wire bracelets, (10) How different teaching paradigms — craft vs. art vs. design — might influence the types of choices you make.
452 pp, many images, illustrations, diagrams, Ebook, Kindle or Print
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