Taming the Tangle

What's all the buzz about?

Kim Caisse of Bee Design and I caught up last October at the Historic Shaw Art Fair... quite a treat since we hadn't seen each other at a show in about 3 years. It turns out we each radically changed our show schedules for similar reasons.

Kim crouched down behind some of her asymmetrical earrings. She is so great at creating interesting color combinations. All designs ©Kim Caisse

We used to see each other twice a year at the Philadelphia Buyers Market, a wholesale show geared towards buyers looking to stock their stores with American-made craft. The tricky thing with wholesale shows is that you get known and categorized for a certain style and look, yet we all want to explore new directions and continue to grow as artists.

More asymmetrical earring designs! Gotta love the fun shapes and colors. These types of flat, abstract designs are what Kim has been really known for over the years. All designs ©Kim Caisse

Some people handle this in different ways. It seems that each Kim and I felt a desire to step away from that sales venue (temporarily we assume) so we could expand artistically without the pressures to strictly adhere to our styles that we show. Not that either of us has radically changed... Kim still creates ceramic and silver jewelry, and wire is still my main medium.

 

Kim creates some of my favorite bumpy pieces ever! These hoops are too fun. They are a great sample of her dimensional work. ©Kim Caisse

Yet there's a freedom to creating and exploring without wondering how something fits in your line, will it appeal to the same buyers, can it be displayed and marketed the same way. How can I emerge fresh and capture new attention again? Sometimes an artist just wants and needs to create without the constant judgement.

New directions can also generate fears... does the new work step on someone else's toes or cross into their territory? Will it sell? Does it fit into my style? Will people see that new artistic growth positively? etc.

Kim has created a line of the cutest pendants ever! They are a new foray into representational designs. I was torn between a skull with rhinestone eyes and this rocket... which was more emblematic of my theme for the year (blast off!). My snapshot does not do it justice. ©Kim Caisse

To see more of Kim's work, visit her Bee Design Etsy shop, which is fairly new, so if you see something here that's not in her shop, message her through Etsy for more information. All prices in the photos are from 2011 and are not guaranteed. Her shop also has super cool ameoba soap dishes!

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As a side note, I just had a tough learning experience.... I have the habit of writing my blog posts directly into the Typepad editor, which does not have an auto-save function. When I thought I was closing another window, I accidentally closed the window of my original post and lost the entire thing. This post was originally longer and more detailed, but I didn't have the energy (or memory!) to re-create that. I've even taken classes that tell you to write and edit your blog in a word processing program... only bring it into the blog editor when you are ready to add links and post. This is a painful first... I plan to change my ways after this experience!

Do you prefer post earrings?

If you prefer post earrings to French hooks, do not be afraid to request a custom modification to allow for this. I have many options available for post earring tops, and in some cases I can even modify post-style earrings to be clips.

Here are two recent adaptations of hook to post earring designs. I do try to bring a selection of post earring styles to each show (and many are available in my Etsy shop), yet if you don't see what you are looking for or fall in love with another style, remember that it is worth it to truly get what you want and have it made for you. It requires a little patience -- yes, we all love instant gratification -- yet it's wonderful to get personal attention to your design needs. And as an artist I learn a lot working one-on-one with clients rather than always trying to guess the next design someone will fall in love with.

These Pearl Box Dangle Earrings are so beautiful, delicate looking, and lightweight. They are definitely one of the designs that I think of wanting the simplicity of a hook. I've tried these earrings on a tiny simple post before, and the balance is all wrong, yet look below at the modification a client and I formulated by brainstorming during a show.

Pearl Box Dangle Earrings, oxidized silver and white freshwater pearls, ©2012 Kathy Frey, photo by Grant Boyle

 

Pearl Box Earrings, custom modified with large square posts, which provide nice visual balance and support. Notice that the Pearl Boxes also have dark grey pearls on the oxidized silver wire, which tie in beautifully with the brushed silver highlights on post of the earring... a beautiful silver/black combo. ©2011 Kathy Frey (snapshot)

These types of modifications can also be requested via email. If you can accurately explain to me what you are looking for by piecing together designs from my Etsy shop and website or by explaining your desired outcome, I can usually make it work (I will let you know if otherwise).

Just last week a client fell in love with these Triple Stack Satellite Earrings yet wanted a post. She saw in my Etsy shop that I made posts with heavier silver wire, so she explained that her first choice would be to have all the balls with the same wire size, or if that wasn't possible to make the post from the heavier wire, oxidize it, and hang 2 sattelites from it. It was nice to have options for approach.

Triple Stack Satellite Dangle Earrings, oxidized silver and white freshwater pearls on lever backs, ©2012 Kathy Frey, photo by Audrey Keller. These are the earrings a client wanted modified to a post style.

 

Black Silver Ball Stack Post Earrings, ©2012 Kathy Frey, photo by Audrey Keller. These earrings showed a ball post option if I couldn't keep all the wire the same size. This wire is much too thick to put pearls on, yet oxidized it might complement the satellites.

I emailed the client and clarified that she wanted a slight gradation of size from smaller to larger on the earrings. I have done post earrings with this thinner wire, which requires soldering the wire to an earring post... often a technical struggle when dealing with such thin wire that likes to melt and get way too soft, yet I was confident that I should be able to create this style as long as the soldering fairies visited me (hooray, they did).

Triple Stack Sattelite Post Earrings, oxidized silver with white freshwater pearls, ©2012 Kathy Frey (snapshot). Here are the wonderful results! The client and I both agree.

Personally I love earrings of this style where you get the best of both worlds... a post with some feminine dangle. In some cases the Triple Stack Satellite Dangle Earrings may be too long, and bringing them up to sit on the earlobe solves this issue. I'm not sure why I'd never tackled making these before... I'm so glad that someone requested them!

So don't be shy about asking for custom modifications. Do know that, yes, generally posts are more expensive than French hooks since there's more metal, more time if soldering is required, as well as the cost of hefty silver ear nuts to keep everything in place and hanging upright on the earlobe. Yet you get the joy of finding the perfect piece for you while working directly with an artist.

Why did these earrings take more than a year to make?

Yesterday I finished a pair of custom earrings that have taken me more than a year to complete. This is ridiculous, and I'm lucky that I have a very patient, artist-supportive patron. So, I'm opting to celebrate rather than feel guilty.

In that 1-year time span I have moved my home and studio, worked through artist blocks with The Artist's Way program, taken classes, done more than a dozen art fairs around the country, moved my mom into a nursing home, filled orders, finished other custom pieces, and done lots of fun stuff too... yet none of those things specifically points to just why it took me a year. So, I'm going to explain it a little bit just for fun.

Here's where the conversation started:

Client: I'd like a pair of clip earrings in your anemone series, like the Gradient Anemone Ring you created.

Me: Okay! I've never done anything like that, but I'm sure I can figure it out. It might take me a while.

Gradient Anemone Ring, photo by Larry Sanders, ©2012 Kathy Frey

That's not an exact, verbatim transcript of our conversation, but it's pretty close. I know from my very own experiences, that I should write out for myself the steps I think the project will require, estimate the number of hours as a range, and then estimate the cost also as a range, and then get a deposit to start the project. These steps are ideal because they make everything more concrete. They are essential for any project, whether doing website updates or creating custom jewelry.

The other thing that's just one of my personal FEAR creators, is that the client sent images of some other jewelry of similar designs but totally different mediums. This starts a fear reaction for me because I've been accused of copying other artists' work even though I rarely look around at a lot of other work... I've found it's the kiss of death for me and opens up the pits of despair because I feel like everything has been done and my vision is not unique. This fear reaction is not something I realized until taking The Artist's Way class... I don't have the perfect solution for fighting it yet, but I do know just to push on and keep working rather than be paralyzed.

So, right off the bat, I'm afraid and have a vague project that on the surface seems easy enough yet has no deadline. I did do some work up front because the client wanted a coating on the wire to help preserve the gradient patina. I'm shocked that even a year later I'm still learning pointers. I did opt for a light lacquer, and I want to explore other lacquer options and even the possibility of wax for certain pieces, yet I know from many experiments over the years that I need to maintain the structural integrity of the pieces and prevent webbing between the wire wraps.

The other technical challenge was to master soldering clips. I practiced by making other simpler designs for this same client so she could test them out and let me know which clip styles she prefers. I learned a lot about soldering spring mechanisms... they cannot have heat! So that led to exploring cool gels to use during the soldering process (which I much prefer to disassembling the mechanism... so hard to reassemble!).

I also made the mistake of not sketching concepts of my own. I kept mulling over how other artists had tackled clip earrings and realized that I didn't have the know-how to do what they did. This is okay! I'm self taught and always try to come up with interesting design solutions on my own... I'm a trained designer after all. My problem was mulling this over rather than putting pencil to paper. Anytime I make something concrete, I make much more progress. When I actually did sketches, my confidence returned, yet I knew more experiments were ahead of me.

Sketches, no matter how rough or basic, get you out of your head and into reality. This shows a couple of my concepts.

I knew I had to figure out how to group the branches together with something more substantial than wire (which was what I did for the ring and other pieces in this series) because I needed to solder it to a clip.

Based on my sketch (the bottom one... way more aesthetically pleasing), I was able to do a simple paper mock-up. This helped me to figure out other supplies and tools I would need: specifically a doming set and silver discs (the paper mock up helped me to figure out the size).

I still wasn't sure if I would be able to make the cone from sheet metal, so in the meantime of buying supplies/tools to experiment with, I made an Artist Date with Suzanne Himmler of Riverwoman Design who was willing to teach me metal clay... I wanted this as a backup medium for forming the cones. I even made a sample of the shape I wanted in bronze clay... way too heavy for earrings but good for me to play around with (and a more accurate model than paper). I knew I could make them in silver clay if needed.

Bronze clay cones, essentially a 3D sketch... and a fun artist date.

Another fear thing gets triggered for me... for some reason I have a hard time playing in the studio and trying new things that may or may not work, so my doming set sat in the box for months! How embarrassing is that? I really do want to play with it too... it's such fun to make metal dimensional. I seem to put pressure on myself that I need to be able to sell everything I make... this is not conducive to trying new things and entering new territory... so I'm working on that. A lot of times it means playing in copper and other less expensive metals than silver, so that's where I will head next.

This photo served as proof that I finally had the earrings underway. It was also a good reality check... I could finally supply a cost estimate based on time (I did not charge for learning and tools along the way since those are things that will benefit me).

Making the branches themselves was the easiest part because this is comfortable territory for me, yet I had not made tiny branches in a couple of years... they take forever! For custom work, I time myself so I know exactly what to charge. At this point (about a year in) I finally contacted the client with a snapshot of the progress and an estimate to make sure she wanted me to continue with the earrings and take them to completion. I had been in contact several times, but not very often... it's hard to believe it took me so long to get an estimate and explain the concept approach.

The good news is that the project was a go! So I wrapped, applied patina, and then the real procrastination (ha!) began when I had to face working with metal and soldering... still what I perceive to be a weak point in my skill set. Some day I want to splurge and take an intensive either at Revere Academy or an art camp such as Penland.

Applying the gradient is stressful, especially on small pieces, yet it's still one of my favorite processes since I never know exactly how it will come out.

And by the time I was moving on the project, it was also time for me to head on the road for a month of shows. I tend to have bursts of motivation before a big deadline yet run out of time to finish all the projects... hence my desire to cut down on travels but how will I motivate myself without those deadlines? A conundrum I'm willing to tackle.

For the final push, this week I told myself I couldn't work on inventory for upcoming shows until I had 2 custom orders done, this being one of them. I have a lot of new designs that I'm itching to explore (some of them involving doming), so I decided to just force myself. Once I'm in the studio and creating, fear falls away. One piece had to go in the scrap bin, but that's just part of learning... it's no biggie. And I gave myself a goal for finishing... the weather has turned absolutely gorgeous here, so I told myself in the morning that if I finished the earrings I could go play a round of disc golf later in the afternoon. Yesterday I went out and played a great round because I had the guilt off my shoulders.

And today I mailed these earrings to the client. Now I just have to eagerly anticipate her feedback... hopefully it's love! They are so much better in person....

I secretly want a pair for myself... I already have an idea how to adapt this to hooks.

This whole process was a great learning experience for myself. I now have some strategies for tackling fear, and I know to make things more concrete as soon as possible to see if they are even possible.

Massive mondo pods... ideas for custom modifications

When I'm designing jewelry, I'm striving for many things, especially balance of proportion, form and structure, and often beauty. Yet once I've designed a piece, it's interesting to me to play with scale. Sometimes this is an easy size up or down, but often it requires some re-engineering and re-evaluating proportions.

Back in the late '90s, I created this pair of Half-wrap Pod Earrings (originally in steel with niobium ear wires... now in oxidized sterling).

Half-wrap Pod Dangles, oxidized sterling silver and freshwater pearl, ©2012 Kathy Frey, photo by Grant Boyle

The pods measure about 1-1/2" with minor fluctuations since I make them all by hand. Then I got many requests to make small ones... here's a pair in bright sterling.

Mini Half-wrap Pod Dangles, sterling silver and freshwater pearl, ©2012 Kathy Frey, photo by Grant Boyle

These pods are a little less than 1". They are so cute! Yet I don't make them regularly since they weren't great sellers... although it was nice for clients to have size options and to open the discussion that I can make just about any size.

Earlier this year a client custom ordered a mondo 3" pair! I'd never made them so large... there was definitely engineering involved. I had to work with heavier wire, and you can see that I scaled up the pearl to keep the whole earring in proportion.

For a custom order like this, where it's more of a modification, there's no design-time charges... just cost based on creation time and materials.

The nice thing is that they are still quite lightweight even at this size. They are really quite dramatic!

So don't hesitate to request pieces at different sizes... we all have our own style and body proportion. I'm always happy to help you make the statement you want.

Return of the anemone

Since last fall with the chaos of life, I've been working hard to get "unblocked." I'm working a lot and making pieces... not feeling totally stalled out, yet there are piles of sketches that I haven't even addressed. Sometimes it's easier for me to tackle production rather than enter that squirmy realm of making something new... pulling the ideas out, engineering them, letting them take shape. Then there's the reality of setting aside that kind of exploratory time in the studio, but play is important and some of my best pieces over the years have come from these moments.

And then there's the photography and possibly fear of showing something new... and the sometimes sadness when everyone else doesn't love what you did. Or maybe they love what you did but no one bought it... making it a tough business decision to keep pursuing it.

Anemone Brooch, photo by Larry Sanders, © 2012 Kathy Frey. This brooch is in my private collection because the engineering on it isn't quite perfect. And it's also weird. I've tweaked the pin stem so it works better, yet never remade a brooch for sale because everyone thought it was so strange... which is exactly why I love it so. I would love to see some out in the world, though! So this is one to put on the "revisit" list.

Or maybe you sold a couple of pieces from a collection but never continued flushing the ideas out fully to make them more marketable.

Black Gold Anemone Necklace, photo by Larry Sanders, ©2012 Kathy Frey. This photo is one of my favorites. I loved exploring the gold against the oxidized pieces. This necklace is now in a private collection... hopefully being worn!

 

Black Gold Double Anemone Strand necklace, photo by Larry Sanders, © 2012 Kathy Frey. This necklace is one of my favorites for how it lays. It has an interesting drape that is slightly off center. The branching pieces are really special on this one, and I love the sprinkling of 14k gold. I still show this piece... it is still available if you are interested. I'm wondering if I need to revisit the clasp to make it more secure... some people are afraid of the little tiny hook... I just like how it blends in with the design.

Who knows, it's nebulous to think about yet most artists know how it feels. One year not so very long ago, I got really hyped up about my anemone series... pushing my pod forms to be asymmetrical, weirder... playing with the ideas of "growth" and "emerging."

This mis-matched pair of anemone earrings just sold at the end of 2011. They are one of my favorite pairs of earrings ever! Many comments put me off of making mis-matched earrings, but I really do want to explore more... they are so fun, playful, and intriguing to me.

Due to the way the pieces are made, each one is totally one of a kind, which also raised my price point. When I showed them, sometimes the negative comments hurt, especially when I loved them so.Yet mostly the feedback was positive... not sure why the negatives sunk in so much.

Anemone Ring, photo by Larry Sanders, © 2012 Kathy Frey. This ring never sold because many people were daunted by the idea of wearing something so tall, yet the attention it has received got my work in numerous magazines and books... and most importantly it was fun to make! Sometimes you just have to let your inner workings as an artist show... not everything has to be about sales.

Now that I'm looking back over this series, I'm so happy to see all the good things that did come out of it. Publicity, sales, and design... that's why it's time to revisit it as well as some of those other ideas I've shelved.

Gold Anemone Double Strand Necklace, photo by Linda Savitz, © 2012 Kathy Frey. This was one of my efforts to combine the weird with the glamorous. It's my "from the sea" piece where I've mixed in Tahitian pearls and natural keishi pearls around the chain. I chose pearls that were naturally weird and organic, much like the shapes I wrapped to mix in. There are also raw diamonds in the mix for sparkle and a sandy texture... I liked making that connection with the pearl/ocean theme. This piece is also available and currently on show at Rare Gallery in Jackson Hole, Wyoming. Many people comment on it trying to find a recognizable form (like a shoe, the most common comment)... I'm hoping it will reach out and speak to the right person who likes the organic oceanic feel.

Last year I got a custom order for a pair of anemone clip earrings... it's taken me almost a year to face them. And now I'm jazzed again and want to make more pieces in this series! Artistically I felt like it was a strong direction for me because it's so hard to wrap and construct the asymmetrical pieces... I like that challenge for myself. And with the earrings I'm working on engineering different ways to join the branches together that doesn't feel so cumbersome. I will have to charge what I have to charge... which is something all artists have to reckon with. Yet I'm lucky to have a supportive fan base.

Proof that a new piece in the anemone series is underway! Thanks to my special client for pushing me back in this direction.

For the love of earrings!

Lark Books put out a new book -- A Bounty of Bead + Wire Earrings -- compiling several bead and wire earring projects under one cover. It's fun to see the different styles and approaches that each creator has to wire. There are 50 earring projects, all with instructions and photos. This book makes a great gift if you don't know someone's design style... with so many artists, they will be sure to find projects they love.

Most of the projects are great for beginners or anyone who wants help with design ideas. You can personalize any of the projects just by using different beads and colors. One of my earring designs from "Elegant Wire Jewelry" (Dancing Branches) is included. To see other books where my work is featured, check out the Press :: Books section of my website. Happy making!

Designing asymmetrical earrings

I just discovered Jewelry Making Daily when Tammy from Interweave Press contacted me about featuring a pair of my earrings in her post about mis-matched earrings.

Black Silver Mismatch Pyramid Stack Earrings, photo by Katie Lime, ©2011 Kathy Frey

It's a great inspiration boost, and it reminds me of way, way back in the mid-90s when I did a huge series of mis-match charm earrings like she mentions (wine & corkscrew, scissors & thread spool, hammer & saw, etc. etc.).

Tammy did a great job of finding examples on Etsy. She shows earrings by Susan Dyer, an artist I know from the show circuit, and she also mentions Mia Montgomery, whose Etsy shop I immediately feel in love with for her truly asymmetrical/mis-matched earring designs.

Okay, I'm inspired... time to step away from the computer and sit in front of the jewelry bench!

Recession-worthy gold

Have you seen my new vermeil pieces at a recent show? While working with a Chicago customer of mine who wanted a gold bangle but not the solid gold price tag (we are talking many thousands of dollars with today's market), we discussed the idea of vermeil -- a high quality, extra-thick (also government-regulated thickness) plating of gold over sterling silver. She was willing to be patient while I ran tests with Red Sky Plating, and the results are fantastic! She now has a beautiful gold bangle to round out her collection.

Square Riverstone Bangle, Cube Sculpture Hook Earrings, and Cube Pendant in 24k vermeil, snapshot from a recent show, ©2011 Kathy Frey

The Riverstone Bangle comes in at about $1200, although price can fluctuate with the market. The necklace and earrings are less than $300 each! This is very exciting, and a great way to get a gorgeous look. These prices are also for 24k gold, which is pure gold... the color is so warm and brilliant. Vermeil can be done in other karats -- 14k and 18k are common to match other pieces in a collection, which also brings the cost down a bit. I also want to do some tests with rose gold and green gold for some color variety without a high investment on my part.

The other exciting option is rhodium plating, which is what most white gold is plated with to give it that brilliant shine. I've done this over sterling. It looks almost like sterling but slightly shinier. It's a great option if you want a piece to remain tarnish-free yet still have the look of silver. This will make the cost of some of my pieces higher, but it's totally worth it to have low-maintenance jewelry. I will also do some tests where I matte the wire before plating to tone down the shine... so many options, so little time!

If you have any questions or want to special order any pieces, contact me directly since this collection is not available in my Etsy shop yet.

Custom order: cross pendant

Over the years I've done a lot of custom work, and actually it's one of my favorite things to do because it usually gets me to see my work in new ways or with new colors. Sometimes custom orders come at tough times. I'll get an inquiry that I'm excited about, but time is just not on my side. Custom orders often take more time, especially if design explorations are in order. And I've learned in the past that I must be paid for this design time, so that's always part of my estimates now. And other times, custom orders are just not up my alley... either something that doesn't speak to me or something that is not going to move me forward artistically (such as copying an existing design by another artist).

In the past I've been asked if I make cross pendants. That's not something that is in my repertoire, especially since I consider myself an abstract artist (although I have drawn specific pieces before, such as making a mini violin, which can be a fun challenge at the right time). Recently a wonderful customer asked me to make a cross, and she had an idea based off one of my necklaces she owns. This idea clicked for me, and I was excited to be able to make a special piece for her goddaughter.

Bundle Pendant, photo by Grant Boyle, ©2011 Kathy Frey

It's easy to imagine my Bundle Pendant with another section of wire that crosses it, which is what we both imagined. I didn't have to charge for design time since the creation of the new piece came naturally to my thinking. Here's the finished cross.

Cross Pendant, ©2011 Kathy Frey

I love how it looks with this new chain I've been working with, and the addition of the pearl makes it perfect for a young woman.

If you are interested in a cross pendant or any other custom work, contact me at any time. You can leave a comment here, send me an email through my website, or send me a conversation though Etsy. All of my contact information is also on my website.

What's the #1 killer of jewelry?

Each jeweler and jewelry-wearer you talk to will probably have a different answer. In my 15 years as a jeweler, I've been pretty blessed to not have to do too many repairs.

My #1 killer is dressing rooms. My most common jewelry repair is making an earring mate because one has been lost, usually while trying something on or wearing a scarf or turtleneck with long dangly earrings. A lot of these could be prevented by wearing rubber earring backs (tuck them up behind the earlobe so they aren't seen), which I have for sale in my Etsy shop.

Because it's harder to make a single earring that matches the already made one, earring mates are 60% of the cost of the pair. I also need the single earring to match the size exactly since I make all my work freehand. Sometimes I can get away doing this with a digital image with the piece next to a ruler, yet it won't be exact (which is okay if you aren't detail-obsessed since they are being worn in different ears).

When Andy Cooperman walked through the Indulge show in Bellevue, Washington last February, he was drawn to my Nest pendants which prompted a discussion about seatbelts. He creates a lot of pins and brooches, so seatbelts are his number one destroyer. I hadn't really thought about that one, but it makes sense.

Asymmetrical Nest Necklace with Pearls, photo by Larry Sanders, ©2011 Kathy Frey
In my newest nest necklace, I'll have to remind people to be conscientious since the nest is off to the side, unlike on the pendants, which potentially positions it in the line of a seatbelt.

Another one that I've seen a few times is that pieces get stepped on. It's a sad end result, but the squashed pieces always make me laugh for some reason. I'm not able to resurrect them, but I can usually re-make and replace the flattened pieces. This is a tough one to prevent because almost everyone's instinct when they drop something is to take a step back, which is often where the piece has landed. When I drop something in my studio or at a show, I don't freak out but instead look around first then move my feet if necessary. It takes some practice and simple comfort knowing that the pieces can survive a fall.

Rarely do I have to repair something due to workmanship, which I think is the same for a lot of handmade jewelry makers. We put a lot of love and effort into our pieces and really don't want to re-make them again. Since I use lightweight chains to complement my delicate wirework, a chain will occasionally break if yanked or caught in something. That's an easy replacement that sometimes comes with regular wear and tear.

Over the years I've learned that bracelets receive the most abuse, so early on I strengthened my construction techniques on those. It's not so much that they get banged around, it's more the torque and twisting that comes with movement. This is true for any pieces we have the tendency to want to play with or that are kinetic.

Caged Aquamarine Bracelet, photo by Larry Sanders, ©2011 Kathy Frey
In my linked bracelets, all loops are completely wrapped close now after I observed in my first couple of years that loops tend to open due to the torque of wearing it on a wrist. Doing repairs can build our jewelry skills and knowledge as well.

In general many breakages can be prevented if we are aware of our surroundings, yet we all don't want to be super-sensitive. We like being in the moment and wearing our treasures, and we all know that sometimes things just happen. That's the best reason to buy jewelry from individual artists; unlike large companies, we will take our pieces back into our arms and make them as good as new for you.