May Designer Feature

 







 How did you find beading, and what do you feel was the “hook” that has kept you beading?


Couple of years before I came across a beaded bracelet in a beading craft store. I decided to visit their next session to see how they make this bracelet. After I came home, I sat down and created a matching pendant to the bracelet. I didn’t have no pattern for it, I just did it by heart. Then I also created a matching ring. From this point on, there was no stopping anymore - one beaded jewellery was followed by the other.


Do you now, or have you in the past, done other forms of creative works, and if so, what mediums?


I was crafting creative things since my childhood. My mother taught me how to sew, crochet, knit and embroider. I think I wasn’t playing with my dolls the way intended: I sew dresses for them, created a dollhouse and furnitures for it. Sewing became the constant part of my life. I sew curtains, fabric wall arts, bags, dresses, even dance dresses. I love making costumes for bellydancing most, this is where the two loves meet: sewing and beadwork, because I decorate every piece with bead embroidery. For quite some years I was working as graphic designer, so creativity was always part of my professional life. But I explored and tried a lots of things: glass bead work, polymer clay millefiori technique, glass painting, felting and god knows what else. Currently I’m learning professional nail art.


Who are your beading “heroes” and why.

I love the works of Helena Tang-Lim, because she doesn’t use special beads but only well known ones, still miracles are born by her hands. This is also the reason why I love the works of Eva Maria Kaiser. I admire Gwen Fisher for her amazing 3 dimensional geometric creations.


Your pattern illustration – do you draw your own diagrams? Do you use a particular program? Do you use photos? Do you have a graphic design background?

Once a jewelry is born, I first prepare a prototype. Then I re-create it and take photos during the process from every single step. Then I prepare the illustrations. I don’t have any special tool for that, I use Adobe Illustrator for that, but essentially it could be done by any other vector illustration software. As I worked as graphic designer for quite some time, makes this process easier. Throughout the process I focus on creating easy to use, easy to follow drawings, so it is always visible what one needs to do at a certain step. If required I make illustrations for a step from multiple points of view, so everyone can use the one which is easier to understand. Then finally assemble the tutorial: each step consists of an illustration, the respective phase photos, a description of the process, and comments or advices if applicable. For me it's very important everyone understands my tutorial and can bead the piece by following it, and I do everything by myself, so from idea to finish, the production of a single tutorial takes multiple days or even weeks.


Is there a particular piece of beadwork or series that you are particularly proud of? If so, why? (please include jpg(s) if possible)

There are multiple pieces I am proud of. One of them is the “Corona de Flore” bracelet, where the original design is made of almost 10000 seed beads and delica beads. The entire bracelet is covered by tiny flowers made of those tiny simple beads. The flowers are the same as in the “Tiny flower ring”. I created a tutorial out of a version of the “Corona de Flore” bracelet, where the shape is a bracelet with clasps instead of the original bangle design. 
My other favourite are the “Aglio” series. It’s a kind of satisfaction to see I can create something new, a shape different from the usual even without using special beads. The Aglio means this to me: the bracelet looks like it made of garlic cloves, the pendant of the necklace too. Hence its name: Aglio means garlic.
I am also proud of my lamp called “Truth”, which I made for a contest. I just took a simple white wine bottle, and covered it with thousands of beads. I didn’t use anything else but Czech fire-polished beads, Japanese seed beads and Swarovski crystals. On  one side of the lamp you see the night, on the other, there’s daylight. This symbolises that the truth we see depends on our viewpoint, and as there are no men who think the same way, there can’t be no identical viewpoints. So as many we live in this world, the many truths exist.

Do you have beading designs that feature unconventional beading materials?

I seldom use unconventional materials, only for projects I don’t intend to make a tutorial for. For the jewelries in the tutorials I try to avoid using even special beads, because they might be difficult to obtain, and this ultimately renders the tutorial un-bead-able for some. There are different beads available in the US, in Australia or in the European countries, so also in Hungary where I live.


Can you tell us a bit about your creative process, sources of inspiration, work flow, etc?

In general, anything can inspire me: a colour, a shape, a flower, a dress … anything. But I find most inspiring the beads themselves. I just pick some beads, sit down to my desk, thread a needle, and the rest comes by itself. I usually say, I enter the 5th dimension: You find the first three dimensions in the space surrounding you. The fourth dimension is the time.
For me exists another dimension: THE BEADING. This is the FIFTH DIMENSION.
Although the four dimensions exists together, if I’m in my fifth dimension, space and the time ceases to exist for me. So I’m in a spaceless and timeless “state”, and this is CREATIVE BEADING.


Do you have favorite stitches? Least favorite stitches?

There ain’t no stitch I don’t like. I think every stitch is good as long we use it properly. We just need to know what we can achieve with each one, and use them according to this. Though I love them all, there are some favourites too: for example the right angle weave, the triangle weave - which is a bit more difficult to work with as thinking in ’triangles’ is a bit more challenging than in ’squares’ - however I love it because of the unusual shapes and novel designs you can create with. I love the ‘flat chenille stitch’ I published in the Beadwork magazine very much.


What are you working on now?

Currently I am working on a belly dance costume and making a project for a tip-box nail-art contest. And there’s also a new beading project tutorial in progress, a necklace without special beads: seed beads, some delica and Swarovski crystals.


Do you have a favorite type of thread, needles, or other supplies?

I almost exclusively use Toho One-G beading thread or just simple fishing line, and Pony beading needles.


Is there something you absolutely must have for beading or designing?

I absolutely must have beads, beads and more beads. And I need especially those which I currently don’t have at home.


Where can our members view your work and find more of your patterns?

You can find me, and my beading patterns on beading-tutorial.com, in my Etsy shop: diasjewelryshop.etsy.comfacebook.com/beadingtutorial

 

 THANK YOU DIANA!!