HELP ME OUT!! Please :)

If you could spare 5 minutes to fill in this survey, it would really help me out with my dissertation.

Also, as a little incentive, you’ll be entered into a prize draw to win a piece of my new jewellery collection (photos to come soon) :) And naturally i will send you virtual love and internet points! Much love.

(for extra points, please share this and nudge your friends into filling it in too!!)

Here is a little obscure sneak peek into my new collection:

Thank you :)

Chloe out.


Faery Wings: Shape sampling.

Before i ramble on, the photographs of my final Mossycoat piece (no i didn’t forget!) will hopefully be unveiled at the start of next week. I say hopefully because the photoshoot this weekend is very weather dependent! so pray for sunshine!

Okay… moving onto Faery Wings…

I’ve been making lots and lots of samples! I’ve decided i want to make earrings, however, what those earrings will look like i’m not quite sure yet! I do know that for the most effect visual translation of my Faery Wings haiku i have to get the forms perfect, so i’ve been practicing with different mediums and shapes to see what i can come up with.

First, i played about with a little paper:

Paper Samples (1)

Paper Samples (2)

Paper Samples (3)

Paper Samples (4)

Paper Samples (5)

Paper Samples (6)


This one is tissue paper stitched around a wire frame.

Paper Samples (7)


But the paper wasn’t giving me the best forms, so i moved on to metal.

Copper Samples (1)

Copper Samples (2)

Copper Samples (3)


For these copper pieces i was sampling with shapes, sizes, thicknesses of metal, and ways to attach the ends together (ie. stitch, soldering and beading). I also dabbled in a little surface texture, by shining up a few and satinising a few others; both were very pretty! so i might have to use a combination of the two.

Copper Samples (6)


My tutor suggested a sturdier metal to achieve more rigid shapes, so i sampled with a little steel wire.

Steel Samples (2)

Steel Samples (3)

Steel Samples (1)


I love the steel. It was challenging to work with (being such a tough metal and new to me) but it is a material i want to use. I really like the matte glittering shine it had after being rolled through the mill and i love the darker silver colour, so i think i will play about combining it with silver and aluminum (which is what the tube is in the first piece) in further samples.


I’m taking a break from my sampling this week to produce pieces to sell for the two upcoming Christmas sales my class is participating in, more details on those to come soon!

Stay tuned!

Chloe out.

Faery Wings Drawings

Over the summer i posted a post about a little earring i made based on my Faery Wings haiku.

After i finished Mossycoat, i decided i wanted to work on from that maquette and make it into something more.

I’ve been doodling lots and lots and lots of design drawings for earrings based on the haiku, and i’m currently trying to pick out the best elements of each one so i can take them up to the workshop and start sampling different elements.

I thought i’d share with you some of my drawings, i know i want to use etching again and this time i’ve taken my pattern elements from butterfly and insect wings:

Sketchbook (3)


Sketchbook (4)


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And now i’m off to draw and sample and to draw some more :)

See you on the other side…

Chloe out.

Mossycoat: The making of.

Mossycoat is now finished…!


It feels very odd to have a final piece made already, but at the same time it feels wonderful!

So, in light of my euphoria, i thought i would sure with you how Mossycoat came into creation…..



Here is the initial doodley sketch i was working with. A few bits and pieces of the design have changed since this drawing, but it still has all the essential elements of what i have create.

Mossycoat is a neckpiece; the pendant is a brass disc sewn in with a silk organza pouch containing real moss and gold thread, and the neckpiece is made of green gemstone beads, primarily moss agate, and little segments of brass that have been etched into with my mossy drawings and then all stitched up using golden thread.

Sketchbook (15)

First step was to make the brass disc, and step one was to cut out the larger circle shape.

Working (1)

Working (2)

I filed up the edges before cutting out the inner ring because a more solid shape is easier to file without warping the metal.

Working (3)

After filing, the inner ring was cut out.

Working (4)

And then the inner ring was filed too.

Working (5)

I marked out little dots along the edges of both outer and inner circle.

Working (6)

And punched them.

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The drilled them out. These holes will later be the basis for the organza stitches.

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But first i needed to sand down the circle with a rough grade of sandpaper. I wanted the scratches to appear like strands of finely spun gold. I also lacquered the metal, and then rubbed it back a little with finer sandpaper. Where the lacquer has been rubbed back the metal will tarnish faster and the ideas of Mossycoat coming from “dirty” meager beginnings will be more apparent when set against the image of finely spun gold.

Working (11)

Next step was to stitch in the silk organza with the golden thread. I have used this material because it is one of the fine dresses Mossycoat wears in her happily ever after life. I have heat-altered the front swatch of material because i wanted to represent the turmoils and hardships Mossycoat had to face before her happily ever after.

Working (12)

I stitched the silk in as a larger shape so the material wouldn’t tear as i was working, and then i cut it back into the circle shape.

Working (13)

The backing material has not been heat-altered as i didn’t want the material to scratch/irritate the skin when worn.

Working (15)

It was at this stage that the pouch was stuffed with golden stitched real moss. I wanted this pouch to appear as though i have captured and preserved a piece of the real Mossycoat. The coat is caught between two pieces of the dress and is protected by sealing it with golden thread.

Working (16)

Like with the inner circle i used a larger piece of material and cut it back.

Working (18)

Next step was to stitch in the golden layer of beads on the outer circle, these beads represent the “gold sprigs” on the white dress that Mossycoat wears. They also act as a barrier of protection, as this way the back piece of material will not fray and will stay in place.

Working (19)

Next stage is to etch my drawing segments for the neckpiece. First step is to prepare a piece of brass with stop-out fluid.

Working (20)

Once the stop-out fluid dried, i etched a variety of shapes taken from my Mossycoat drawings into the surface.

Working (21)

I have drawn out a lot more than i will need. This way i will be able to play around with different patterns and figure out what looks best when positioned together (it also means that i will be able to make up some pieces for my shop… so stay tuned for that!)

Working (22)

I used the nitric acid method to etch. I love using this method because it leaves a rough, grainy texture to the etchings which i think is beautiful, especially when your run your fingers over the shapes and it looks more like one of my drawings this way too.

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Next the messy bit, rubbing away the flakey stop-out fluid after etching. Messy but satisfying.

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All pretty and clean!

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Next step… spending ages cutting out all the little shapes!

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And filing and polishing them up until they looked perfect!

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Now all is left is the long, long, long, long, long, long, long task of beading it all together. I do love beading using my strange stitching method, it’s a wonderfully relaxing way to spend an evening… well a multitude of evenings (man this technique takes a long time)!

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Working (31)


But in the end, worth it, wouldn’t you agree?

Working (32)





Here is a little sneak peek at the finished piece!

Sneak Peek (1)


I will soon show off the full thing soon, i just want to take some really good photos of it first…

… see you on the other side.

Chloe out.