Skip to main content

Meet......Linda Jones Jewellery Designer & Author

*Meet ...............Linda Jones
A UK Jewellery designer, author of several jewellery books and an instructional DVD, and regular contributor to Make Jewellery and Step By Step Wire magazines.
I own one of Linda's wirework jewellery books so was thrilled to discover she had recently started her blog Wireworkers Guild.
She very kindly featured me and my jewellery on it recently here and agreed to do on interview for me in return...........
If like me, you'd love to have a piece of your jewellery featured in a magazine, read on for Linda's tips on how to do it..........

Amonite Brooch

How long have you been making jewellery and what made you start? 
I’ve been making jewellery for about 20 years. It’s a long story and I will try to condense it as best I can … I have always been creative, making and fiddling with all sorts of crafts from a very young age: painting, drawing, sewing … and I’ve studied textile batik making and copper tooling in Indonesia in my gap year when I left school and following that, a Foundation Art Course at Canterbury Art College specializing in Theatre Design … but then, reality hit and I fell in love, got, married and needed to earn a living … so it was first catering and then admin. office job for the next 8 years … until I got serious creative withdrawal symptoms – a craving to do something artistic – so I enrolled at the Sir John Cass Jewellery College (now called the London Metropolitan University in Whitechapel, London and did a City & Guilds in jewellery making, specializing in enamelling, which led on to 1 year of an HND course in metalwork as a maturing student of 30!


Orbital 

What made you concentrate on wirework jewellery?
Wirework choose me, rather than the other way round! It was a case of survival at the time, as sadly, my marriage broke down and I was left looking after 2 small kids of 6 and 4 years old as a single mum. Therefore to ‘make ends meet’ I had to either go back to office work or try my hand at selling my jewellery, which up to this time was much more of a hobby between looking after the children. I decided to give selling my jewellery a go, as it had become an all consuming passion and I got an agent and was relatively successful selling my photo-etched, mixed metal pieces in shops and galleries around UK , especially London. However, the mark-up was high and I could see that I could never make enough profit for the all the time and effort I put in! That’s when I decided to teach – and wirework was the natural answer, as I had fallen in love with metalwork! Solderless wirework did not involve investing in expensive tools and equipment and was portable … and I had always ‘played’ with beads. So I approached my local arts authority and managed to secure a grant to set up ‘Creative Wire & Bead Jewellery’ Classes at my local adult education centre (I should mention, that I had previous experience of teaching Enamelling, which had provided me some confidence to face the public). These classes grew in popularity and everything else has evolved from this beginning…


Metalwork Jewellery

You are the author of several wirework jewellery books and frequently contribute jewellery projects to magazines in the UK and America. Was this hard to achieve?
I have just been very lucky and began designing wirework jewellery before the market became over-saturated. I was spotted by my publisher, 7 year’s ago, when I was demonstrating and teaching at Art in Action Craft event (Oxford) when wirework was not particularly popular in the UK, just in Canada and the U.S. so my designs stood out – however, people still want to buy and make unique, original pieces to complement their personality and style. My 6th book : ‘Making Beautiful Bead & Wire Jewellery’ is out this year around July (but can be pre-ordered on ‘Amazon’ from April onwards). I have had many projects featured in magazines over the years because I love sharing my designs: it’s a case of being passionate about what I do and trying to pass that on. The fact that I teach, has always challenged me to thinking of new ways of working with wire and stretched my imagination.


Autumnal Garden


What advice would you give to anyone wanting to submit projects/articles about their jewellery to magazines?
If I can give any advice to designing for magazines – it’s, just to give it a try … and keep trying until you get something accepted. My personal motto is: ‘Perserverance Pays’! Magazines want to see jewellery that ‘jumps out of the page’ – they love colour and boldness, so that the pieces photograph well and stand out. Find the editor’s name on their website, or inside cover of the mag and email one or two images of suggested contributions … and then just sit back and hope they will reply… It’s a good way of promoting yourself and getting publicity. The pay is not brilliant, but having your pieces printed in glossy techni-colour is very self-satisfying!


Eastern Delight


If you weren't a jewellery designer, teacher and author what would you do?
I would have always done something creative and I’ve been incredibly lucky to be able to follow my heart and fulfill my dreams. I never planned to teach or write books, that has just evolved naturally and gradually as a way of passing on my passion to others around me.

Red Berries



*You can see more of Linda's work and information on classes at her website ~ Wire Jewellery 



Blue Allsorts

I'd like to thank Linda for letting us know a bit more about herself and the story behind her success 

Comments

  1. wow! I love the autumnal garden necklace. Thanks for this, looks an interesting read, will have a proper look later! Great that you've had contact with a well known jewellery maker who you admire. It was such an exciting feeling when I was in contact with my ceramics 'hero' kate malone :)

    ReplyDelete
  2. Interesting interview and I really like the orbital necklace. regards Stefanie

    ReplyDelete
  3. Thank you for letting me come on your blog - I do hope it will raise the profile of The WireWorkers Guild (wwww.wireworkersguild.blogspot.com)
    and I am so impressed with your beautiful wire jewellery!

    ReplyDelete
  4. Inspiring article! I really admire Linda for turning her love of jewelry making into a wonderful career to support her family.

    ReplyDelete

Post a Comment

Your comments and questions are very welcome!
If you would prefer to contact me directly please use the contact form on my "get in touch" page.

Popular posts from this blog

Etching Silver Using Nail Art Stamps

So my love/hate relationship with etching sterling silver continues. I've tried a few times now and always end up with different results most of them not that great to be honest. I've tried connecting the silver and a piece of copper to a 9v battery and also heating the ferric nitrate. Sometimes the results are good sometimes not so good. I currently have an etched piece of silver sheet waiting to be reticulated and rid it of the mess that is the etched "pattern". 
I now know that using stamps and Stayz On ink just doesn't work with silver - the time needed to etch using ferric nitrate is much longer than etching copper and the ink starts to wear away after about an hour. This results in the pattern being patchy as the resist is eaten away and the silver ends up quite lumpy and course looking. I have yet to try using pnp paper. I don't know why but it all seems a bit of a faff to do. I don't have a laser printer so would need to find somewhere or someone…

Rolling Mill Textures On Metal

I had another play with my rolling mill last week using some of the texture sheets from Etsy shop Rolling Mill Resource. I used some sterling silver and copper sheet and soon discovered it's best to get organized before you start!

I cut the sheet to size and worked out which design was going on which piece of metal. I also tried a feather but more on that later. Most of the sheet I used was 20g/0.8mm with one piece of 18g/1.0mm and one of 22g/0.6mm.
I've read that you should do a dead pass of the metal through the rolling mill with the gap the same size as the metal and texturing item. I'm not sure what this is supposed to achieve but I don't bother doing it. Judging the correct size of gap between the rollers is a trial and error thing that you discover by setting the gap then starting to roll the metal through. If there's too much resistance you make the gap bigger until there's just enough resistance to roll the metal through without giving yourself a herni…

Using Tabs To Set Stones In Jewellery

I received the May 2014 issue of Art Jewelry last week and was immediately drawn to a piece by Michael David Sturlin in the Metalsmith 101 section called Cold Captures: Push-up Prongs. It covers a method of setting stones or buttons or enamel pieces {or anything with a flat base really} using tabs or prongs rather than using a soldered bezel or other setting that needs to be soldered in place.



I fancied a change and do love a bit of messing about with metal without doing any soldering so I took the magazine to my jewellery night class and had a go. This is my attempt at the above.....



 The millefiore cab was the largest size I possess at the mo as I haven't bought any large cabochons yet {give it time!}. It's about 15mm I think so I used it as a practice piece. I had to draw the shape by hand or rather my scribe as I didn't have anything to use for the curves so it's a bit wonky but I do like the design. I'm not planning on doing anything with this so I left it un…