strawfactory

the LBCC jewelry metalwork triennial book

2008-05-28T16:20:00.000-07:00

first of all, congratulations to our students who are transferring:

jeremiah gusha
CSULB

kristi patten
CSULB

amy hamai
SDSU

Charity Beal
Oregon College of Arts and Crafts

and the triennial photobook:
After three more years of hard work and dedication, it's time to produce another photobook glorifying the work of our students.
If you would like to preview the photobook and possibly order one for yourself, your family, your friends, you can have a look at shutterfly.
Shutterfly did a nice job on the book we did last time and the students ate them up. This time you can preview online and then order your own after signing up with shutterfly.

There's a lot of good work that we can be proud of and share with others. Have a look!

things i wish i had known in school

2008-04-28T08:56:00.000-07:00

In 2002, artists across the country were surveyed on the topic "things i wish i'd known in school" for the snag conference's student breakout session. these are their responses.

Kristin Shiga
Independent Studio Artist, Student, Oregon College of Arts and Craft
http://www.kristinmitsushiga.com/

Note: Look for The Guerrilla Guide to Mastering Student Loan Debt By Anne Stockwell
1. Grades mean nothing (unless you're on an academic scholarship). I carried a 4.0 the whole time I was in school the first time, and ended up learning little, and exploring even less. When I returned to school a couple of years later, I really just wanted to learn and experiment. I didn't care what my GPA was, or what letter was assigned to correspond with my work. Of course, the respect of my teachers was important to me, so I worked hard. But in the end, it was more important that I was happy with the experience I had than that I fulfilled every tiny requirement of every project. Bending the rules helped me stay engaged and inspired, and pushed my fellow students, as well. In the end, working this way earned me good grades, not because it was my focus, but because my teachers recognized my genuine desire to learn.

2. Other students are not there for you to compete with, but to learn from. What I missed most when I left school the first time was the community of like-minded people within which to work. Returning to a classroom environment was invigorating. We raised the bar for each other, and learned from each other's triumphs and mistakes.

3. Don't burn bridges. The students that you study with, and the faculty you study under, will be your colleagues when you graduate. The craft community is incredibly small in this country. Everyone knows everyone. Don't kiss up, but don't step on toes unthinkingly. The Golden Rule applies here as elsewhere in life.

4. It's not a race. I took ten years and five majors to finish my BFA, and I wouldn't have wanted to do it any other way. My route was circuitous, but enormously scenic. Sometimes the long way is much more rewarding.

5. Know what your debt will look like in the end. If you're borrowing for your education, take it from someone who has already paid off one round of loans, and is working on another: Know what you're getting into. Your education is a valuable asset, and in most cases, worth every penny you throw at it, but be sure you're not getting in over your head. On the other hand, remember that the Feds are happy when you pay them anything on a regular basis, so don't let funding hold you back from pursuing a degree. Just be aware of your actions (and their consequences)!

6. Apply for everything. As a student, you are a little fish in a relatively small pond. Once you graduate, the waters will broaden tenfold! There are many shows, grants, and awards that are open to students only. Take advantage of that opportunity, and put yourself on the map when the competition is a little less fierce.

7. Age means nothing. Never assume that someone does or does not have something of value to offer based on their age or perceived experience level. I have learned more from my students (of ALL ages, all levels) than I did from all my teachers combined.

8. Join all the organizations you can. Most guilds and national associations have student rates for memberships and subscriptions. You can decide what you like, and continue those after you graduate. Once you're a member, make the organization aware that it has an active student constituency. Most organizations work to serve their membership. They can't serve you unless they know you're there.

9. Never assume something will be done for you. This is a good rule for life, as well as for when you're in school. If you want change, make it happen. If you want something done, start doing it. Others will join in. Complaining about changes that aren't happening will get you nowhere.

10. Just because someone is a teacher, doesn't mean he or she is always right. Question authority (while respecting it). Your professor's solution to your problem may not be the one for you, and is certainly not the only way. Obviously, safety issues are another matter, but when it comes to aesthetics or other choices, listen to your teachers, listen to your peers, do research, etc.; then decide for yourself.

11. Remember it's just school. Keep your priorities straight. Some things should be more important in your life: your family, your marriage, your kids, your health. Don't forget those things. It's true what they say about getting out of school what you put into it, but you can only do so much.

Marjorie Simon
http://www.marjoriesimon.com/
Independent Studio Artist, MO
SNAG Editorial Advisory Committee

You may know that I did not go to art school, but have undergraduate and
graduate degrees in sociology. I wish I had taken more history, more
literature, certainly more art, but I am (now) VERY glad I had a liberal arts
education. I would do that over again, but go to graduate school in metals.
Workshops are NOT the same as a university education!! You can learn the
technical skills, but not the level of dialogue, the intensity, focus, or
criticism.

Charles Lewton-Brain/Brain Press
http://www.brainpress.com/

Although I was lucky in my last year or so, for the earlier years I had
teachers who would not show very much technically, who left you on your
own. I wish I had had teachers (as I did later) who knew more than I did
and who were free about teaching it. Technical in order to be able to
better make objects.
In general the critical level was good and honest.
I wish I had been taught some basic business skills, basic bookkeeping,
and grant applications practice, professional skills.

Harriete Estel Berman
http://www.harriete-estel-berman.info/
Independent Studio Artist, CA

Note: See the Professional Guidelines on the SNAG website

1) How to get your work in shows and galleries. (This seems to be a very obvious question that everyone still asks.)

2) I wish I had known that you should expect to split yourself in two. One part does the artwork and the other part does the money making part. AND THAT THIS IS OK. That it does not take away from your credibility as an artist.

3) Where is a good place to invest your money in your work and where is a waste of money. Where should your investment of time and money be concentrated in the beginning?

4) Where can I find the secrets to success and professional advice?

5) How do I find a support network? (I personally recommend putting together a critique group for every one, no matter how old or established.)

ROY
www.roystudio.com
Independent Studio Artist, PA

I think a mini course in the Art Market would have been helpful.
Metal techniques and more emphasis on process-can never get enough of!
Less emphasis on creating the final piece...studying a series of metal pieces would have been good.
I look back on my BFA and MFA fondly. You never stop learning and I plan on taking courses whenever I can.

Lori Colina-Lee
Independent Studio Artist, MO

I wish I had known about intensive workshop courses offered in the summers at schools like Penland, Haystack, Arrowmont, Touchstone...knowing about those concentrated workshop programs would have been fabulous. Also, any overseas metals program info short or long term would be useful to have had-even after school.
I think that's the main one.
Also, join a guild so you can make useful contacts with people you genuinely
like (that way it's not brown nosing but making friendships) That's a good
thing.

Taweesak Molsawat
Independent Studio Artist,
Recent graduate, U Kansas

It is the new technology that involve in our field such as computer program (rendering, prototype making and milling), equipment and supply. Computer in particular has become extremely important in the job market and open many possibilities not only creating the work but also in every day life. We should have at least a basic computer class for Metals students.

Cima Katz, Professor and Graduate Studies Co-ordinator
University of Kansas

I wish I had known how smart and capable I was, I wish I had known that it was alright to make a total fool of yourself and enjoy the moment (still trying to learn this one), I wish that someone had told me that teaching was a calling (this I have found out and fortunately it was/is a good fit), I wish someone had told me that the best, smartest, most talented one's weren't necessarily the ones who would still be making art in 30 years- that it would be the dogged, determined, neurotic ones. And that none of us would be 'famous' (I knew this already but I wish some of my peers would have known it then- would have made for a more pleasant atmosphere). And then there's the professional stuff which I think is still the things that I hear students now talk about...I wish we had been better prepared professionally. And for the record- we definitely do a better job than when I was in school, and than we used to here, but the students wish for more...the fact is that they aren't ready for it and they wouldn't listen anyway. But the fact is that being an artist and being a professional are two totally different jobs (being a teacher is a third)...I don't think that anyone talks about that.... to each other never mind the students. Wish I had know that being an 'artist' didn't mean being a 'printmaker (metalsmith, ceramist, painter').... but that we needed to be prepared to move around as necessary. I personally wished that someone would have asked me harder questions

Jon Blumb, Photographer

Make as much art as you can in school because you will not have time once you’ve graduated and enter the working world.

Kathy Buskiewicz
Department Head, Jewelry and Metals, Cleveland Art Institute

I wish I had understood the cyclical nature of interest and relevance toward processes and equipment and not to shun learning a process in school because you never know when you will need it.

Linda Kaye-Moses
Independent Studio Artist, MA

As a self-taught jeweler, with a Bachelor of Arts Degree in Speech
Therapy (with Minors in Theatre, Philosophy and Psychology), I wish I
had known that there were schools/programs where I could go to study
jewelry making. I didn't have the question formed, didn't know to ask
it, didn't know who to ask or where to go to find the right person to
ask. It took me many years of experimenting (thirteen years,
exactly), and finally taking a one-semester, one-night-a-week
intensive in jewelry making to jolt me into twenty-six years of making
a living making jewels and loving it (most of the time)! I can't
think of anything more pertinent to my life than that unanswered (and
long-unasked) question.

Tim McCreight
Author, Complete Metalsmith
Prof of Art, Maine College of Art

I should preface that I don't think all these topics could or should be covered in a curriculum; I mention them more to suggest the scale of the territory.

1. I didn't have a very good understanding of the breadth and depth
of the jewelry world when I was in school. Over the years I have come
to see that there are many more people involved in jewelry than I
thought, particularly in the corporate manufacturing side. I don't
think it undermines the importance of art jewelry to see how it is
positioned in the larger jewelry constellation.

2. I didn't understand until recently the concept of jobbing out
tasks to specialists. Knowing that there are specialists who do
casting, stone setting, bookkeeping, graphics, etc. has the advantage
of encouraging a bold move that a student or recent grad might
otherwise be worried to pursue.

3. I was surprised when I got out of school and started making
production work to discover how quickly I could work when the tasks
were repetitive.... and when speed translated to profits.

4. Like most students, I took for granted the benefit of dialog and
criticism that is part of school. I have a lot of respect for people
who organize friends to provide this kind of collaborative support
system after they leave school.

Diane Falkenhagen
http://www.dianefalkenhagen.com/
Independent Studio Artist, Texas

Positive career developments don't just happen -- you have to make them
happen. It doesn't matter how talented you are. Your work won't be seen
unless you put it out there to be seen, your accomplishments won't be
known unless you make them known. Don't be shy. Take risks, stick your
neck out.

Tom Dimond
Prof of Art, Eastern Oregon University
“Drinking makes you stupid and it lasts for a lifetime." or
" Alcohol is a very dangerous drug, very similar to Heroin"
I did not understand this at that age and it is obvious to me today.

Deb Karash
http://www.debkarash-jewelry.com/
Independent Studio Artist, IL

Naturally I wish I had learned more about business when I was in school. I think most artists under value their work in the beginning. I still don't know as much as I would like to about doing wholesale business. Students should know that the opportunities for academic work are limited and very competitive. There are so many ways to be a metalsmith that aren't looked at in college curriculums. In the marketplace you have to be the designer, creator, schlepper, sales person, bookkeeper, maintenance person, publicity person and display artist. It's really important to hire someone to do the things you aren't great at, especially photography.

Peggy Eng
Independent Studio Artist, MO
SNAG Board member

I wish I had known about "the business end" of being in the arts. For me, that included the following.
-knowing about options on supporting myself other than teaching or working with galleries
-how to put together a cohesive collection of work
-how to design for reproduction
-how to analyse time efficiency in the making of a piece and employ the use of jigs or special equipment when necessary
-bookkeeping basics, tailoring order forms, creating both wholesale and retail brochures, scheduling orders with other commitments (gallery shows, craft fairs, etc)
-how to price one's work
-marketing - how to identify who your work appeals to, how to get your work seen, identifying the best geographic areas for potential customers, mailing lists post cards, thank you notes
-how to word special orders for customers to minimize any misunderstandings
-galleries - what to look for in contracts, how to check out their business practices

Walter Soellner,
Prof of Art, Evergreen Valley College, San Jose, CA
Co founder of Precious Objects Gallery, Los Gatos (for the past 22 years)

1. If you want to be a professional artist, it isn't enough to be a 'good' artist, learn the basics of running a business because that is what you will be doing if you want to live off your artwork.

2. Get a minor in Art Education, so you can qualify to teach...many/most professional SNAG members teach as part of their careers. Just because you can craft art, doesn't mean you know how to teach the crafting of it.

3. Diversify your thinking/goals and approach to your career. Consider wholesale, retail, commissions, consignment, repair/restoration, teaching, co-ops, collaborative projects such as with architects, interior designers, etc., open your own retail space, do bench work for another artist, etc., etc.

Marcia Macdonald
Independent Studio Artist, OR
SNAG Board member

I graduated in 1990. At that time, I do not think taking business courses in school was a requirement. So, the first thing that comes to mind is that I wish I knew what I was getting myself into with regards to trying to make a living as an artist. The great thing about being in school is that it is a time when you are filled with wonder, innocence and aren't thinking about the reality of the business of art and making a living.... ...you are just passionate about art! So, maybe that is what I wish I knew...but then if I had, I may have gotten scared out of it and let my mind override my passion...and that wouldn't have been good now would it?
I wish that I had had more practical info about making a living and business courses related to art in school. Trouble with the academic art environment is that many of the instructors don't have that kind of knowledge base. They teach and sell art at a few galleries.... and they are interested in teaching their students to make interesting work. I am not dismissing this...because had I not gotten that kind of instruction, I wouldn't have the work that I do have...which I think has gotten me where I have gotten professionally. I think the best thing you can learn in school is how to be resourceful. I had a very positive experience in school.... and to be truthful...don't think I would have changed much at all. I have never quit being a student and feel that for as long as I live, there will always be things to learn. You have to be hungry and motivated to learn and to succeed as an artist. You have to just live it and breath it. I am now enrolled in a small business management class that is teaching me lots of things I never learned in school I don't blame the schools...I wasn't interested at the time. If they had made me take them, I probably would have rebelled!:)

One other thing that I think all students need to hear is that information is everywhere if you know how to find it and ask the question. They can work for artists at craft shows, they can work at a gallery, and they can do internships at any number of places. You can learn the business of art in more ways than in a business class. You just have to want to do it and realize it is a huge part of the business...once you accept that, it just becomes part of the job.

Linda Weiss
http://www.lindaweiss.com/
Prof of Art, Santa Rosa Junior College, CA

* That the personality and teaching philosophy of an instructor is just as important as their reputation as an artist, or how well equipped the school's studio is. There are many educators who have big reputations for their own work and great expertise in their field, but little or no background in education, learning styles, teaching methodology, or insight into how to help a student tap into their own personal artistic vision - and helping a student developing a plan to pursue that vision.
* That short term workshops, outside of your own community, can seem expensive to a student - but in addition to the topic being "studied" you get the increased benefit of being exposed to other students - that come from different "walks of life" than your own and who approach the medium in a totally different way than you have ever considered, and that can be a more valuable learning and growing experience than learning a new technique.
* That you should ask, especially if you are an undergrad transferring to a different 4 year school (because it has what you think will be a good metals program), how many classes are taught by Grad students instead of the actual Professor.
* It would be VERY helpful to take some business management and marketing classes - so that when you are done investing all of your heart, time and money into your education that you can go forward in life and support yourself in your chosen field - especially if you want to be a full time studio artist - and not teach.

Justin Baehr recent grad
explore your job options before you graduate.

make sure you are happy before worrying about other
people.

your grades are not the most important thing in life.

slides slides slides...

urban objects studio visit

2008-04-27T19:31:00.001-07:00

in the back,
originally uploaded by urban-objects.

more fun than driving around in a van solving mysteries...

strawfactory enjoyed it's first annual artist's studio visit with aaron kramer of urban objects in venice beach.
after getting us properly caffeinated, aaron talked his head off for 2 1/2 hours straight saying important things like "keep a notebook!" and giving valuable terminology like "garba-trage". students sat around the carefully staged chaos of urban objects while aaron pulled out past jewelry and sculpture, boxes of old nails, mechanical toys, bars of vintage bakelite, and all his favorite shop tools.

we saw a range of pieces from aaron's earliest work created during a post-baccalaureate bike tour of the US to the new powder coating on his latest commissioned piece.

little was left out of his talk on the glamorous life of the artist. you can see aaron's shop tour here.

we thank aaron for his generosity and willingness to share so much, so fast.

this field trip was sponsored by club dues and support of strawfactory through student participation.

strawfactory dry goods

2008-04-27T16:24:00.000-07:00

*Items marked with an asterisk are generally in stock, other items must be ordered. Orders take 5-10 days for delivery. Tax included in prices.

Periodically, the club will place collective orders with Rio or other suppliers to save on shipping and receive a bulk order discount. Notification will be given 2 weeks prior to such an order.

Please email all questions, suggestions, or concerns to: thestrawfactory@yahoo.com

Item
Price

Alcohol Lamp
5.50

Natural Beeswax Chunks*
0.50

Bench Block, 2 1/2"X 2 1/2" X 1"
9.25

Portable Bench Pin
6.00

Plastic Cutting Mat*
1.25

Bezel Roller
2.75

Natural Hair Artist Brushes (Flux Brush)
1.00

Plastic Bristle Artist Brushes (Flux Brush)*
0.25

Burnisher
4.25

Center Punches, set of 4
4.75

Charcoal Block, small 3 1/2"X2 1/4"X1 ½"
7.25

Cuttlefish Bone, average 8" to 10"
1.25

Drill Bits, sz 50,51,52*,53,55*,59,60*,67,72,76
0.50
or 3/$1

Diamond Drill Bits, set of 12
6.75

Vinyl Disposable Gloves, price per pair*
0.50

Dust Mask, AO Safety, N95*
1.25

Respirator, 3M N100
8.25

Dandix Flux, 1.5 OZ jar, no fluoride
5.00

Dandix Flux 1.5 OZ refill*
2.75

Earplugs*
1.25

Files: Half Round 6" 2nd cut, from Grobet
8.50

Mill Smooth 10", from Grobet
9.75

Needle Files, set of 12
5.00

Needle Files, slightly used, set of 12*
2.00

Needle Files, slightly used, set of 5*
1.00

Mini Needle Files
4.75

Wax File, double ended, from Portugal
19.50

Wax File set, 6 pcs.
9.75

File Handle
0.75

Changeable Handle for Needle Files
1.25

Flexible Ring Gauge from Rio Grande*
1.50

Safety Glasses Tier 1*
5.50

Safety Glasses Tier 2
7.50

Safety Glasses Tier 3
9.25

Safety Glasses Tier 4
12.75

Ball Peen Hammer from Grobet
6.50

Chasing Hammer, 1", from Grobet
8.00

Riveting Hammer, from Grobet
8.25

Exacto Knife with cap and non-slip grip
5.00

Mini Mandrels: screw top, split (straight),
0.75
toMoore's snap-on, threaded
1.25

Polish Cloth
2.50

Pliers: Individual round, chain, or flat nose
4.25

Diagonal Cutters
4.25

Nylon Jaw
8.50

Paint Sticks for sanding*
0.25

Ring Clamp
5.25

Rubber Cement, 4 OZ
2.50

Used Rubber Cement (min 1/2 full)*
1.00

No. 2 Pencil*
0.25

College Ruled Filler Paper, 150 sheets*
2.50

Sketch Diary*
6.75

Index Cards, 3X5 or 4X6, sold in set of 10 cards*
1.00

Metal Ruler, 6"*
2.50

Metal Ruler, 12"*
3.75

Sandpaper, 3M WetorDry, 220, 320, 400, & 600
1.00

Extra Fine Steel Wool
0.75

Saw blades: Hercules #1 to #3/o, sold by dozen*
1.50

Hercules #4/o (red tip), sold by dozen*
1.75

Saw Frames, from Grobet 3"
11.00

Saw Frames, from Grobet 4"
12.75

Saw Frames, from Grobet 6"
13.50

Scale, Digital, up to 500g, dwts, oz, .1 accuracy
9.75

Scriber, General Tool
2.50

Hand Shears
4.25

Used Shears Tier 1*
0.50

Used Shears Tier 2*
1.00

Solder Pick, Titanium
4.25

Tweezers: Fine Tip Stainless Steel, non-magnetic*
1.50

Heat Resistant Cross Lock
3.25

Matt Block Wax, blue (med. Hardness) Cut A
0.75

Matt Block Wax, blue (med. Hardness) Cut B
1.00

Matt Block Wax, blue (med. Hardness) Cut C
1.25

Matt Block Wax, blue (med. Hardness) Cut D
1.50

Matt Ring Tube T-200, blue
6.75

Vigor Sheet Wax, 20g 4"X4", pink
1.00

Sprue Wax, gauges 8 and 10
0.25

Sticky Wax, 6"
0.75

PNP, ($2 to Kristin Beeler, .50 to club)
2.50

Casting Grain, 1 OZ bags, Sterling
25.50

SILVER SOLDER (no cadmium/fluoride)

Wire Solder, 6" Hard (red)*
0.50

Wire Solder, 6" Medium (blue)*
0.50

Wire Solder, 6" Easy (green)*
0.50

Wire Solder, 6" Extra Easy (black)
0.50

Paste Solder Syringe, Hard*
8.00

METALS- Price subject to change due to market price volatility, Price rounded to nearest .25

Copper and Brass Sheet (sold in 6"X6" increments and priced per sq")

12g
0.1892

14g
0.1787

16g
0.1675

18g
0.1500

20g
0.1366

22g
0.1200

23g
0.1000

24g
0.9875

26g
0.8888

Sterling Silver (Please Note:Argentium silver avail. upon request for additional manuf. cost)

Sheet, priced per gram
0.8271

18g Ring Blank*
8.50

20g Ring Blank*
6.75

18g and 20g Ring Blank Set*
14.50

Wire Calculated per Foot, price is approximate

6 Gauge Round Wire
27.75

8 Gauge Round Wire
17.25

10 Gauge Round Wire
11.75

12 Gauge Round Wire
8.25

14 Gauge Round Wire
5.75

16 Gauge Round Wire
4.00

18 Gauge Round Wire
2.75

20 Gauge Round Wire
2.00

22 Gauge Round Wire
1.50

Other wire types avail upon request- refer to Stuller Catalog
When ordering metal not in stock, please leave the price field blank on your order form . Thanks!

links to love

2008-04-27T16:15:00.000-07:00

“In all ages, far back into prehistory, we find human beings have painted and adorned themselves...”--H.G. Wells

A few websites to look at

what jewelry looks like to 99% of the US market
www.zales.com/

retail catalogs - using individual artist's work
www.uncommongoods.com/
www.sundancecatalog.com/

body modification - more popular culture
www.jewelryranks.com/info/bodmodtattoo.html
www.bmezine.com/pierce/bme-pirc.html

galleries - where to find the good stuff
http://www.helendrutt.com/resources/P/AP01_a02.html
www.ric.edu/Bannister/2003/fw2003/nov2003/
www.ornamentumgallery.com/gallery/index.php
www.facerejewelryart.com/
www.lachaert.com/gallerie/currentlyno.htm
www.gallerymateria.com/
www.siennagallery.com/
www.freehand.com/index.asp
http://www.sculpturetowear.com/
www.galerie-ra.nl/indexen.html
www.taboostudio.com/gallery.htm
www.thesignatureshop.com/Pages/Jewelry.html
www.galerie-helene-poree.fr/
www.velvetdavinci.com/
www.patina-gallery.com/
www.denovo.com/index.htm
www.mobilia-gallery.com/
www.charonkransenarts.com/
www.aaronfaber.com/home.html
www.artifactsindy.com/home.htm
www.deuxpoissons.com/
www.galerie-slavik.com/seiten_en/home_e.html
www.fvandenbosch.nl/index.html
www.alternatives.it/index.html
www.guild.com/
www.objectsofdesiregallery.com/gallery.html
www.mossonline.com/index-exec/

museums - international with large jewelry collections
www.metalmuseum.org/
http://www.mintmuseum.org/collections_subpage.php?collection_id=13
www.ramart.org/02_collection/index.php
http://www.americancraftmuseum.org/
http://www.schmuckmuseum-pforzheim.de/
www.sfmcd.org/
mfah.org

artists - just a handful
www.hartlandvilla.com/a2/a2ben/index.html
www.borisbally.com/
www.clausbjerring.dk/index.htm
www.suo-emiko.jp/index.html
www.toddreed.com/index.cfm
harriete-estel-berman.info/index.html
http://www.elizabethgarvin.com/
www.carolwebbstudio.com/

associations - international
www.hartlandvilla.com/index.html
www.craftcouncil.org/
www.massconline.com/index.html
www.silversmithing.com/index.htm
www.snagmetalsmith.org/index.htm
www.object.com.au/html/objective.html
www.agc-it.org/index.html
www.mjsainc.com/
www.acj.org.uk/index.jsp

periodicals
www.craftscouncil.org.uk/crafts.htm
www.ganoksin.com/
www.lapidaryjournal.com/
www.object.com.au/html/magazine.html
www.craftsreport.com/
www.twebeads.com/twebk20.html
www.ajm-magazine.com/index.php

suppliers
http://www.stuller.com/
http://www.riogrande.com/.
http://www.ottofrei.com/
http://www.gesswein.com/
http://www.snagmetalsmith.org/infocentral/www.allcraft.peachhost.com
http://www.grobetusa.com/
http://www.snagmetalsmith.org/infocentral/www.ijsinc.com
http://www.snagmetalsmith.org/infocentral/www.hooverandstrong.com
http://www.snagmetalsmith.org/infocentral/www.smallparts.com
www.aajewelry.com/
www.dhfco.com/index.html
www.contenti.com/
www.thompsonenamel.com/welcome/main.htm
www.pasternakfindings.com/index.html?r=f

and then there's the blogs of note
www.inhabitat.com/2005/08/18/biojewelry/#more-226
other90.cooperhewitt.org/
designthatmatters.org/
www.poppytalk.blogspot.com/
www.etsymetal.com/members/
elmundodelreciclaje.blogspot.com/search/label/joyer%C3%ADa
webforjewelers.blogspot.com
18kt.blogspot.com
glassfiction.blogspot.com
amytavern.blogspot.com
www.designspongeonline.com
www.siennagallery.com/index.php