I purchased three of Michael Barley's lampworked beads in neutral colors and strung them with an assortment of vintage beads and freshwater pearls.
I used sterling silver cones with a sterling silver "S" clasp. I used 20 gauge dead soft sterling wire to make my wraps and Beadalon to string. 
This is my lampwork necklace that I completed at the Kate Fowle workshops.
I made each of the glass beads. Compared to yesterday's post, one would think I would not admit that, but I have to say I am so proud of this piece. I earned my merit badge on this one.
This lampwork necklace was made by Kate Fowle. It is a "sampler" necklace of her lampworking techniques done in black and white with tiny touches of subtle dark red. I took two weekend master classes from her and thought I could learn lampworking. As I was settling into my workspace, I admired the sampler necklace she was wearing. Oooooh, I want to make one of those, I thought.
Three minor burns later I realized this was not for me. At the end of the workshops, I asked her if I could just buy the necklace she was wearing right off her neck.
It's gorgeous. The Bali silver beads she used are a perfect compliment to her beads. I now appreciate the skill involved in creating flameworked beads. I sat in awe as I watched her effortlessly create one of her "gumball machine" beads and she also gave a demo on one of her sculptured Goddess beads.
Anyway, I purchased her sampler and have enjoyed every minute of wearing it.
I love this necklace; mostly because of a wonderful learning experience and I appreciate what went into creating each and every one of those designs. 
I wanted a "candy" necklace for the holidays and went through my collection of beads and found enough to make a cute and colorful piece. Love those lampworked cupcakes and candies!
Above is a bracelet I made to use up a lot of my "orphan" beads. Love it. In the below necklace, the focal bead was a special gift from someone I love very much and I wanted to incorporate it into an unusual design. I am very happy with the end result and treasure it.
Below is a vintage necklace I did not want to take apart, but it just wasn't "me". I found some resin turtles that I could easily drill and attach jump rings to and it is just what I had in mind.
I always have fun wearing it. Guess you couldn't help but feel good when you are wearing turtle jewelry.
Before moving to Arizona from Chicago, I took two weekend lampworking workshops from a master teacher. When I arrived, the instructor was wearing a necklace comprised of sample beads (all in black and white) made by her displaying her various lampworking techniques. It was gorgeous! I want to do that, I want a lampworked necklace. I put my best effort into it. I really thought I could conquer it, which is why I invested in a second two-day workshop. "How hard can this be?", I thought. Also, I should interject that I have a slight fire phobia that I thought this class would help me overcome in a positive way.
I treasure this little necklace. Proud as punch I survived the workshops with very minor burns on both hands. I made the focal bead and the rest of the glass beads in this beauty. The normal beginner would have tossed these lame attempts, but, not me. I wear them proudly.
Then I had a momentary loss of sanity and ordered the best digital oven and stocked up on glass and all the paraphernalia because "a craftsman is only as good as his tools". What the heck was I thinking?
Now I was stuck with all this stuff (thank God I was able to sell it in Arizona), but thankful I didn't have to re-mortgage the house to pay for those two fun fire-filled weekends.
By the end of it all, I looked at the instructor and said, "Would you consider selling the necklace you are wearing?" Seriously. I knew I would never come close and it was so breathtaking. She said she would make a duplicate for me and I had it by the holidays. I will post a picture of it when I get back. And, yes, still have the fire phobia. I will be off to New Mexico re-energizing my “beading” heart (sorry, couldn't help it) with 15 or so other beading artists from across the United States for seven glorious days. The hubby is so happy. So, create, be happy and I will see you in a week. -Marlene
I had so much fun making the above "Outer Fringe" necklace. The fringe base is peyote and then I chose a thick braid for the neck design. I used lots of gemstones and vintage beads.
Jade and copper with a bone button closure. I wanted the green of the beads to match the green of the jade perfectly, but what we want and what we get are two different things.
Sculptural Peyote was the first stitch I learned many years ago and fell in love with it. Since day one I have used doubled Silimide beading thread for all of my woven beadwork. I took some master classes in beadwork and jewelry construction and design and these teachers swore by it and that was good enough for me. Although, I will use Fireline if I want a tubular form to hold its shape.
I have collected beads, plus odds and ends for years. I love old broken jewelry that I can take apart and incorporate into a beading design. And I like using old buttons with metal shanks for closures like in the one above.
Bad photo, I know, but the best I could do at the time. The focal bead was a Laura Liska (famous for her polymer clay Bargello beads and now for her color collections); great size, great colors. I did a free form design with "holes" that I filled with gemstones, pearls or crystals that picked up the bead colors. Two simple knots added the final detail to the neck area.
The final four are all about spring. Sometimes I use lampworked beads (artist made, not machine) as focal points in my beadwork and sometimes I use form or....
fringe with vintage beads and gemstones. The peyote closure is out of the picture below, but I did a small bit at the closure for the button and loop and then strung and wove the strands of glass beads and gemstones.
I bought a necklace from bead artist Elizabeth Knodle many years ago when I took several of her workshops at The Whole Bead Show in Chicago. The necklace was always a little to short for my neck so decided to re-string it and custom fit it to me. Above is the end result and I am happy with it. I kept the Michael Barley lampwork beads and added more gemstones, vintage beads and fresh water pearls along with the sterling silver accents.
Above and below are photos of the mess. I strung my basic design and then sat there thinking, "What have I done?" I took good notes at Elizabeth's workshops and surprisingly I found them on my computer. However, what I've learned through all of this is what I took for granted many years ago that I would "just know" certain things, I didn't and learned the hard way. At least I took photos along the way for future reference.
It turned out how I wanted it to and that's an accomplishment for me. Above is a detail of some of the gemstones - fresh water pearls, amber, quartz, agate, sterling silver, labradoite, pearl blister chips, etc. Hopefully it will be a nice long time before I tire of this design. I did put a note at the bottom of the instructions "Think Twice". I was on a roll. Had these gemstones sitting on a shelf and finally strung them. I used a good quality Soft Flex with the jade and fresh water pearls. Did not pearl knot.
Although, the next time I re-string this, I will add small pearl tension beads. The fresh water pearls are so uneven, the jade squares don't curve with ease. They really are just fine, but I'm obsessing.
