Tag Archives: art

Reality TV: British Baking vs. Blown Glass

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I compare two contest style reality TV shows.

I don’t watch regular TV. I don’t have cable or satellite, although both are available where I live. Instead, I have a smart TV and subscribe to a handful of services: Netflix, Amazon Prime, and Disney Plus. (I also watch YouTube on my TV but I haven’t yet sprung for a subscription to get rid of the increasingly annoying ads. I don’t think YouTube should cost more than Netflix.) Because I absolutely abhor commercial breaks while watching TV, I pretty much ignore the extra channels my TV offers for “free.” (My time is worth more than what I’d spend watching those commercials.) I don’t channel surf; once I start a show, I’ll either watch it all the way through or turn off the TV and do something else.

What I watch is pretty much limited to what I find on the services I get. (This means that if you try to start a conversation with me about the latest hit on CBS, you will not succeed.) When I feel like watching TV and I don’t have something specific in mind, I’ll browse to find something new. I’m big on binge watching when I want entertainment, so that occasionally has me trying new multi-episode series to see what resonates with me enough to watch.

I should mention here that, as a rule, I don’t watch reality TV. My personal reality is entertaining enough for me — I don’t need to watch some onscreen reality, manipulated by directors and creative editing to add drama. I’ve never seen Survivor or The Great Race or The Bachelor. I don’t even know the names of other shows that countless Americans waste their time watching — probably because they have time to waste. I prefer spending my free time enhancing my own reality.

Great British Baking Show Promo
The promo photo on Netflix for the Great British Baking Show.

That said, I rather enjoy The Great British Baking Show, which I believe — and you can correct me if I’m wrong — falls into the reality TV genre. It’s kind of fun and very heartwarming (at times) to see the contestants help each other out. There’s very little (if any) friction between the folks vying for the prize of top chef. I watch people struggle (or not) to bake amazing things. They succeed (or fail miserably). The hosts provide just the right amount of comedy while the judges keep things grounded. Along the way, I learn a bit about baking techniques and how people’s backgrounds influence the kinds of foods they make. There’s no fake drama — at least none that I can see. I think that’s what explains why it’s such a hit with many of my friends, although we don’t usually gab about it the way other folks seem to gab about The Bachelor. (For Pete’s sake, even one of the late night TV guys — one of the Jimmys — includes a recap of each Bachelor episode in his monologue. Who cares?)

Blown Away Promo Photo
The promo shot for Blown Away on Netflix.

Recently, while looking for something new to watch, Netflix suggested Blown Away, a contest-style reality TV show featuring glass blowers. This seemed like a good fit for me. I love the look of blown glass and sort of expected the show to enlighten me about glass art techniques, much the way British Baking gives me insight into making custard or layering cakes. I figured I’d give season 1 a try and tuned in for a few episodes.

I was disappointed. Although the show offered many clips of what the glass artists were doing, there was very little in the way of educating viewers about it.

Well, that’s not exactly fair. I remember seeing some onscreen captioning that did explain certain terms and techniques briefly, but all of those seemed to disappear by the middle of the first season’s run of episodes. Other than that, the only time artists or judges explained what was going on was to enhance the drama. “That’s a very risky procedure so-and-so is attempting.” Or “If I don’t do this just right, the whole piece can shatter.” In most cases, these insights were actually the foreshadowing of breaking glass or ruined pieces.

I know that the place must have been full of cameras because of the amount of footage they edited in that set up rivalries between contestants. One contestant leaves the annealer door open too long; cut to another one yelling, “close the door!” Another contestant is yelling at her assistants; cut to the other contestants complaining about the yelling. And don’t even get me started on the way they edited in facial expressions from competitors that were obviously not responses to things that were said in the edited video. In the final episodes, half the scenes consist of one contestant comparing his/her work to the others and saying how much better (or worse) it was or declaring that he/she should win (or should get eliminated).

Four episodes from the end, I already knew who the final face-off would be between: a particularly outspoken and prima donna-ish woman who claimed to be making art that always seemed to be gender related and a no-nonsense man who definitely had superior skills but a similarly unattractive attitude. The editors had been developing the rivalry between them for nearly the entire run of episodes; how could they possibly eliminate either one? I got the feeling the outcome was established long before the show was edited and the scenes they included were edited in to support that outcome. The trouble for me was that I didn’t like either of those last two contestants. And when it came down to the final winner, I preferred the other one to win. (I actually wanted the guy eliminated just before the final round to win; he had the skill and the humility to take his art to the next level with the prize.)

When the series was over — I watched the 10 half-hour episodes over three nights — I was left feeling disappointed. I’d learned next to nothing and felt manipulated. I’d grown to hate the host of the show and the person who won. I felt too much pity for the contestants I thought should have stayed in the running but had obviously been eliminated because they were too much like British Baking contestants and not enough like other reality show contestants who would do anything to win.

I had just started watching the first episode of season 2 — perhaps thinking it would get better? — when I realized that this was probably like most reality competition shows. Fake. Contrived drama. Judging designed to maintain the rivalry between competitors. Little, if anything, to be learned. Why would I waste my time with more of this?

I turned it off.

I spent some time thinking about how this show stacked up against a reality competition that I actually liked: The Great British Baking Show. I wanted to understand why I liked one show and disliked the other. This blog post is the result of those thoughts.

What do you think? Have you seen either show? Can you recommend something you think I might like?

Phoenix Festival of the Arts

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I participate in an art show in Phoenix.

I was set up as a jewelry vendor this past Friday through Sunday at the Phoenix Festival of the Arts in Phoenix’s Hance Park.

Hance Park is also known as “the deck park” because it’s the park that sits atop a tunnel where I-10 runs under Phoenix. (It’s a park on the top deck of the tunnel.) It’s a bit of a pain to set up and tear down because they limit the number of vehicles on the deck and if someone selfishly sets up while unloading — rather than unloading, moving a vehicle out of the park, and then setting up — there’s a long wait to set up. Parking outside the park was supposed to be a problem, but I didn’t have any problem at all. I always arrived early enough to get a good spot on the street less than a block away. For tear down, however, I couldn’t get my truck into the park timely so I wound up parking in the nearby library lot and taking my gear through a gap in the fence that someone had opened. It saved me a lot of time, but I had to carry each of my 40-pound tent leg weights separately. I felt it in the morning.

The event included at least 80 vendors, most of which were selling handmade goods. There were a lot of potters and jewelers, some woodworkers and metalworkers, a handful of photographers, and some painters. The rest were making a variety of other handmade items, some of which were impressive pieces of art while others fell into the category of granny crafts. There were also more than a few vendors who shouldn’t have been there at all — folks selling obviously buy/sell merchandise they didn’t made like salt scrubs and salsa and garlic grating dishes. It was a typical mix for an event that was apparently setting a low bar for vendors and lucked out by getting some good ones. I’d say that my work was neither the best nor the worst, which is a spot I don’t mind filling.

Because the booths were set up in quads, we were all able to have our booths open on two sides. Technically, I could have been open on three sides because I was in the last row, which just had paired booths. But I went with two sides and had a nice walk-through booth. I put my pendants on the back table, logically with the cases of stones that I use to make pendants. I had earrings in three places, including the back of my large hinged display on an island in the open corner of the booth.

First booth setup
My initial booth setup on the first day of the show.

Oddly, the only thing I sold that day were earrings — six pairs. No pendants, no bracelets, no rings, no stones. I suspected it was because of the booth layout so on Saturday morning, I reorganized to move the pendants closer to the front of the booth and reorganize the earrings to both sides of the hinged display.

Booth 2
My booth setup for the second and third day of the show.

I’d put up my shade extension on Saturday morning but quickly realized that it was causing people to walk around the front of my booth instead of coming in. So I pulled it down. People came in. (Go figure.) From that point on, I did relatively well, selling a mix of pendants, earrings, and rings.

I was satisfied with sales at the event, but not thrilled. All my costs were covered and I made a little profit, but I’m not convinced that my time wouldn’t have been been better spent at camp, making more jewelry in my mobile shop. As it was, I sold out on all of my most popular earring styles; I’ll definitely need to make a lot more for my next show in January.

I’d been accepted to two shows that weekend but had chosen this one because it was a three-day event instead of a two-day event. I think it was also a little cheaper. Next year, I might try the other show, which I think was in Tempe, AZ.

As an event for people wanting something to do on a December weekend in Phoenix, I recommend it. With art vendors, mural painting, live music, and food trucks, it was a great way for people — including families — to spend an afternoon.

A Marketing Moral Dilemma

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Any advice?

K2 Wrapped in Sterling Silver
A K2 cabochon wrapped as a pendant in sterling silver.

Labradorite
A labradorite cabochon wrapped as a pendant in sterling silver.

Yellow Feather Jasper
A yellow feather jasper cabochon wrapped as a pendant in antiqued copper.

I’m in a bit of a moral dilemma.

To increase the marketability of the semiprecious gemstones I’ve been turning into jewelry, I need to include details about the stone in each piece.

I have no problem writing up the geophysical aspects of the stone, but I’ve been advised by other jewelry makers to include metaphysical aspects, too. And that’s the problem: I don’t believe in any of the purported metaphysical benefits of rocks.

The trouble is, although the stones I’ve been wrapping are attractive pieces of jewelry in their own right (if I do say so myself), many of the people who would consider wearing stones as jewelry do so because they believe in the metaphysical properties of the stones they wear.

Although true believers know what stones they want, borderline believers might not. If I include the “fact” that moss agate, for example, aids in childbirth, I could help convince a pregnant woman to buy a piece of jewelry that includes a piece of moss agate. It certainly wouldn’t hurt her in any way, but I don’t believe it would help her, either.

The moral dilemma is that I believe that including such information is misleading a potential buyer. But what if the buyer expects such information? And if the information is widely available and easily confirmed, why shouldn’t I include it if it could help sales?

Any advice?

Another New Hobby: Wire-Wrapped Jewelry

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As if I didn’t have enough hobbies to keep me out of trouble.

I’m in Quartzsite, AZ, this January and although I originally had plans to camp out in the desert for the first half of the month, a variety of circumstances convinced me to take a booth at Tyson Wells’ Rock and Gem show. I’m selling (or trying to sell) aerial photos of desert campsites. (More on that in another post.) The east side of the show is full of rock vendors, many of which sell polished cabochons (or “cabs”) and finished jewelry.

Dictionary Definition of Findings
In case you’ve never seen the word “findings” used this way, check definition 2 here.

There are several ways to make a rock into a piece of jewelry. The most obvious is to drill a hole in it to fasten a hoop or use some other sort of findings. But a more artistic method is to use wire to wrap the stone securely and add embellishments. This is called wire-wrapping and there are a lot of examples of it here, especially during the rock shows at Tyson Wells and the bigger/better rock show at Desert Gardens nearby.

Kindling an Interest

Last year, my friend Rebecca came to town while I was here and introduced me to her friend John Heusler, a gemologist who has a booth each year at Desert Gardens. John not only cuts and polishes stones, but also makes jewelry. Dorothy Roubik-Ellenbecker, another jewelry maker, works for/with John and shares booth space. She makes beautiful wire-wrapped pieces with intricate wraps that are really a joy to behold.

I got slightly interested in wire-wrapped jewelry last year, but was busy doing a lot of other things. This year, I’m sort of trapped in my booth, especially on weekends when there’s a decent crowd at the show. I’ve been looking at a lot of different wrapped jewelry styles while I’m here and starting getting the idea that maybe making some of these was within my capabilities.

Getting Training

I talked to Dorothy and asked if she’d be interested in teaching me in the evening, when we’re both done booth sitting for the day. She agreed and set a date for Monday evening. I asked about books that might be helpful and she recommended skipping the books and going right to YouTube. So I did.

I discovered that there are a lot of how-to videos on YouTube about wire-wrapped jewelry. Search for yourself. I spent one evening watching about a half dozen of them, mostly by one artist. “Tried-and-Tested Wire-Wrapping Tutorial for Pendants” showed one basic technique and “Quick Wrap! Wire Wrapping Tutorial for Pendants” showed a quicker but less polished technique. Neither of them looked terribly difficult. I went to bed that night eager to get started.

Buying Materials and Tools

Fortunately, everything I needed was walking distance from my booth. Before I opened that morning, I went shopping for cabs. I bought two nice ones, then realized that since I was just learning, I should start with lesser stones. I found a booth selling some nice but apparently low quality ones for a lot less. I bought ten.

I closed up early (as I often do — seriously, how to people do 9 to 5 unless they’re busy the whole time?) and walked over to the booth where I could find tools and wire. Although the woman working there tried hard to sell me expensive square silver wire, I homed right into the silver-plated copper. I expected to make a lot of mistakes and didn’t want to screw up with expensive wire.

A comment about tools…

If you look at the two videos I linked to above, you’ll see that the woman who does the tutorials makes a point of saying that she uses regular tools — not special jewelry tools. Sure, you can use an Ace Hardware needle nose pliers and wire cutter to get the job done. But look closely at her work. Those ridges that make needle nose pliers so good for gripping also mark up the soft metal wire she uses to wrap the stones. I didn’t want those ridges on my stones so I bought the right tools.

Her husband was extremely helpful with the tools. They had a big selection with a variety of qualities. One video I watched discussed tools in some detail, so I knew what I needed to get started. He helped me find every one of them, including one that wasn’t displayed that he had to dig through stock to find. (He also recommended another tool, which I passed on but wound up buying the next day.) The tools weren’t expensive — they averaged $5 to $10 each. My initial investment in tools and wire was $35, which I didn’t think was bad.

In case you’re wondering what I bought, here’s a list:

  • Small chain pliers
  • Small flat pliers
  • Small round pliers
  • Wire straightener
  • Wire cutter
  • 18 gauge silver plated copper wire
  • 20 gauge silver plated copper wire
  • 22 gauge copper wire

First Tries

That evening, after dinner, I spread out my tools, pulled out some wire and a large teardrop-shaped labradorite cab, and got to work. I went with the quick wrapping technique in the second video I linked to above, using the 20 gauge silver wire. The biggest challenge was holding the cab and wire in place while I did the wire twisting required to hold it. I was almost surprised when I got the cab to stay in the cage I’d built for it. I then made and positioned swirls on the front of the piece with two of the leftover ends. I admit that I was kind of blown away by the results. The finished piece didn’t have the same polish as John or Dorothy’s work, but it sure wasn’t bad for a first try.

Labradorite Wrapped in Silver
My first finished piece: labradorite wrapped in silver-plated copper.

A closer look at the piece, however, reveals its problems. The biggest problem, in my opinion, were the small burrs I’d created in the wire by rough handling. Simply said, I’d used my flat pliers too aggressively and had damaged the soft metal wire. There were burrs on the decorative bends, especially on the back. This could catch on fine fabrics like silk or nylon, making the piece pretty much unwearable. Unless Dorothy knew a way to fix it, it would never be more than a piece for show.

My wire twists aren’t as neat as they could be, either. Although my spirals are very good with minimal tool marks, the wire joins are clumsy. Surely Dorothy would have tips to fix that, too.

I decided to try the more difficult technique on a small piece of bacon agate that the vendor in the next booth had polished up and given me the day I arrived. I really think that the desire to do something useful with this pretty little stone is what helped fuel my interest in wrapping.

Bacon Agate wrapped in Copper
My second piece was a small bacon agate stone gifted to me that I wrapped in copper.

I chose the thinner, 22 gauge copper wire for the job. I thought (rightly, I believe) that the copper wire would go well with the colors in the rock and the small size of the rock meant I needed a thin wire. I followed the instructions in the video to the letter to create the tightly wrapped anchor points that would form the cage around the rock. I was very careful to avoid overworking the metal; this was a piece I wanted to wear and I didn’t want burrs. I purposely made the bail small and loose and added a single swirl to the front. When I was finished, I was very pleased with my work.

I sent photos to a few friends and put them on Twitter. I got some positive feedback, which made me feel good.

I watched a few more videos before I went to bed.

Additional Efforts

The next morning, I went back to the tool shop and bought three more tools:

  • “Micro” chain pliers – to get into tighter places
  • Nylon headed flat pliers – to prevent marring soft metal
  • Bailing pliers – to make nice bends

Speckled Agate wrapped in Silver
My third piece was an oval of some sort of speckled agate wrapped in silver-plated copper.

I chose another cab from my collection of cheap ones: an oval stone that combines a white quartz with black and pink rock specks. (No one seems able to give me the exact name for this stone, but I will keep trying to find out.) Again, I went with the more polished technique that used tightly wrapped anchor points to build the cage. I ended up with spirals that I positioned over the area that had no colored specks. I think it came out good, although I wish I’d made the upper spiral a little larger.

I had a nice elongated piece of rose quartz that was actually two-sided and decided to get fancy. I’d do a bevel mount with a thin wire to weave the bevel and hold the stone. I walked over to the findings booth and bought two more types of wire for my quickly growing collection:

  • 24 gauge silver plated copper wire (for this piece)
  • 28 gauge copper wire (for future use)

Then I went back to my booth and got to work. I started off well, using the 18 gauge silver-plated copper wire for the edges of the bevel. When I brought the ends up and around, I created a really pretty spiral finish.

Around this time, a woman I’d seen around the show came by my booth. She was on a bicycle with a small, white, curly-haired dog in the front basket. She’d caught sight of me working on the wire wrap as I sat at the table in my booth. She also does wire work. I told her I’d just started and showed her my pieces. (By that time, I’d also bought a small glass-fronted box to hold and display my work.)

We chatted for about 45 minutes. She complemented me on my work, pointing out how nicely I’d used the swirls to fill the white space on the stone with the pink and black speckles. She said that the labradorite piece I’d chosen was not a good one, showed me how to look for features in labradorite, and explained the importance of finding good stones by “cherry picking” them. She told me about a big booth on the other side of the show that had decent quality, inexpensive cabs, as well as where to find more wire in a shop in town. She pointed out that the swirls in one piece could move if they were caught on the wearer’s clothing and gave me a tip about preventing that. She also told me about some inexpensive wire-wrapping classes being held evenings at the QIA building not far away.

While we talked, I tried to work on the piece. The distraction is probably what screwed it up — I accidentally shifted one of the thick wire frames while trying to weave it to the opposite side. My wraps were okay — neither good nor bad — but I’d made one side much smaller than the other, thus screwing up the bevel.

I had to run out to the post office so I closed my booth early. On the way back, I stopped at Hardies Beads and Jewelry in town. They sell mostly beads and jewelry (as you might expect) but do have a good selection of wire-wrapping wire at the back of the store. I wound up spending about $32 on a selection of wires in colors and styles, including an interesting 21 gauge twisted silver wire and various thicknesses of antique copper wire. I now had just about all the wire I’d need to move forward with additional projects.

Rose Quartz wrapped in Silver
My fourth piece was an incredibly boring round piece of rose quartz that I dressed up with fancy twisted silver-plated copper wire.

That evening, I tried to fix the bevel piece but failed miserably. I took a few photos of the design (which I won’t share here) so I could remember what I liked about it, then took it apart. I tried two other wraps on that stone and gave up before putting much time into it. But rather than finish the day with a failure, I picked a round rose quartz piece and did a wrap on that using the new twisted silver wire with a narrower wire for the wrap points. The stone was extremely boring — I honestly don’t know why I picked it — but the fancy wire and swirls I added really dressed it up a bit.

So at this point, I have four completed pieces, three of which can be worn.

Next Steps

It’s Saturday morning. Before I open my booth for the day, I’ll stop by that shop with inexpensive cabs and buy a few interesting ones. I feel better qualified to choose them now that I know how I can work the features of the stone into my work.

After I open my booth, I’ll settle down with my little bin of cabs and tools and wire. I’ll pick out a cab and work up another piece. And maybe another after that.

And I’ll likely do a few others on Sunday.

On Monday evening, I’ll bring my collection to Dorothy for her critiquing. I hope she’ll be honest and frank. I also hope she can offer good advice on doing the wraps and twists I find difficult. And teach me how to do bevels!

It might take more than one evening. That’s fine. I’ve told her I’ll pay for her time, although I don’t think she expected that. (She is a professional; she should be compensated when sharing her expertise with a novice.) We’ll both be here at least until January 25, so we have time for a few lessons. I’ll post an update on my progress — if I make any!