A Behind-the-Scenes Look

This is the space behind the finished pieces—the worktables, tools, experiments, and creative detours that eventually become part of a collection.

I've always enjoyed learning new techniques and working with a variety of materials, which means there is usually something interesting happening on the bench. Some ideas work exactly as planned. Others take a few wrong turns before finding their way.

Here you'll find a behind-the-scenes look at the tips, favorite tools and creative processes that shape Bee City Studio creations. If you're curious about how things are made, you're in the right place.🐝

We create in all kinds of ways.  Some of us paint. Some garden. Some write. Some build furniture, decorate homes, quilt, cook, restore old cars, or make jewelry. The medium isn't what matters. The joy comes from giving an idea a chance to become something real. 

Somewhere along the way, many of us begin believing there is a "right" way to create. We compare our work to someone else's, worry about whether it's good enough, or decide we simply aren't creative. I don't believe that's true. I think creativity begins the moment we give ourselves permission to explore an idea without demanding perfection from it.  

I don't believe creativity belongs only to artists. I think it lives in anyone who enjoys making, building, growing, writing, cooking, decorating, designing, restoring... or simply imagining something that didn't exist before.

This page is a glimpse into my own creative process—the sketches, inspirations, gemstones, materials, experiments, and little discoveries that eventually become finished pieces. My hope isn't that you'll create the way I do - or that you create anything at all.  It's that you'll give yourself permission to explore your own ideas, wherever they take you.

Step into My Workroom - Article Guide

Still, I find the color wheel a bit daunting.  It has taught me how to determine how one color relates to another, but I don't really find it helpful for inspiration.  What I have found helpful are color palettes.  And I was gifted some color cubes designed by Australian artist Sarah Renee Clark a couple of years ago and they've completely changed the way I approach color.

When I see the cubes on my worktable, they remind me to step out of my color comfort zone.  I really needed these because I am drawn to the same colors over and over again.  I have twice as many beads in blues and greens as I do in any other color.  And frankly, reaching for the same colors over and over again hinders my creativity -- and I doubt that my customers would only like blue or green earrings to choose from.  That's when it's time to pull out the color cube!  An example of how pulling a palette card can manifest into a design is shown in the video below.  

For the painted earrings above, I had a design in mind, but I didn't know what colors I wanted to use.  After sorting through the cards and finding a pretty color combination, I chose my paints and began creating - without fear of muddying colors or creating garish combinations.  

Probably the thing I like best about the cubes is the digital companion that came with it.  It's stored on my computer and I can identify a theme, season or mood I would like to capture, and it display the various palettes that apply.  Then I simply go to the box and pull the card, and as you can see in the video, it is a tangible guide that can sit right next to whatever piece is in process at the moment.  Below are snippets from the digital files showing how they are displayed on the screen.  I can click on any one and it will pop up a palette.

And Because Color is a Science....

This is a picture of the color palette I chose from the "Cool" choices.  Digitally, the information is all showing on the face; the cube has just the colors and photo on the front, and the "science" on the back.  

You will note Sarah has covered the science part with references to Hex codes, RGB and CMYK Color models, and other themes where this palette lives.   Artists and designers rely on consistent coding to ensure wherever their work turn-up - online, on paper, in store - the colors are exactly the same.   To that end, these cubes are brilliant.  They're fun.  And they work, even for the casual artist!

This was one of the most thoughtful gifts my husband has ever given me, and it's become one of favorite tools in my studio.   I'm so grateful for his support of my creative endeavors. 🐝

Credit where credit is due:

Sarah Renee Clark is a artist in Melbourne, Australia who designs coloring books.  She frequently struggled to choose fresh, harmonious colors for her artwork and coloring pages.  She initially designed a digital color catalog to compile her favorite color palettes, but she wanted a more tactile, hands-on way to physically compare colors to her artwork. She designed the cubes to help beginners and experienced artists, like herself, bypass complex color theory rules, offering instant visual inspiration and exact color matches.🎨

I never set out to become a polymer clay artist. I simply wanted to make components that felt more personal than anything I could buy. That curiosity led to countless experiments with patterns, textures, color, and surface techniques. The pieces below are a glimpse into that season of exploration—part practice, part discovery, and occasionally, exactly what I had hoped for. 

Mokume Gane and Other Techniques

Perhaps My Favorite:  Faux Ceramic and Faux Porcelain

I would still consider myself a newbie when it comes to creating jewelry components from polymer clay.  Last year, I spent a lot of time experimenting and learning what I could.  But the more I learned, the more I realized I was only touching the tip of the iceberg.  And while I enjoyed it very much, I realized I want to have some basic polymer clay skills in my tool box, but I don't want to be solely a polymer clay jewelry artist.  I enjoy assemblage too much, and so I mastered a few skills I knew I would use to incorporate into my jewelry, and used what I made to create some wonderful pieces.  🐝

Product Photography: To AI or Not AI? That Is the Question 

One of the biggest discussions among artists and makers today is whether product photos should be traditional photographs or enhanced with artificial intelligence. Like any new technology, opinions range from enthusiastic adoption to complete rejection. 

Rather than debating which approach is "right," I thought it might be interesting to compare the two side by side using photographs of one of my own handmade pieces. 

The above photographs are examples of both approaches.  Neither is "right" or "wrong."  Each has strengths, limitations, and a different purpose.  Every image in this comparison began with an actual photograph of a real, handmade bracelet sitting in front of my camera. The AI versions weren't created from nothing—they were built from those original photographs, using software to change backgrounds, improve lighting, or place the piece into a new environment.   Even with the fails noted above, AI could be useful to help me design my own photography lay-out using similar props and lighting.

The real question isn't whether AI should replace photography. It's whether it can become another creative tool in an artist's toolbox.  As with any artistic decision, the goal is simply to present the work honestly while creating an image that invites someone to stop...and take a closer look. 🐝

My First Experience with Precious Metal Clay

My first introduction to Precious Metal Clay (PMC) came in a class at La Bead Oh! in Springfield, Illinois, sometime around 2009. Each student received a small packet of clay and a quick lesson on the basics. Although it's been quite a few years, I still remember the instructor's list of "rules" more vividly than I remember what I actually made!

Before we even touched the clay, we were told:

• Keep your fingers lubricated!

• Work quickly once you open the package!

• Keep the unused clay tightly wrapped—it dries out fast!

• Look carefully for cracks before firing!

• Repair cracks with a damp paintbrush... but don't use too much water!

• Once it's dry, sand away any rough spots before firing!

• Before firing make sure your piece is completely dry!

• Save every tiny shaving you sand off—it costs too much to waste!

• And if you do this at home, whatever you do, read the firing instructions and make sure you know your kiln!  (I didn't have a kiln.)

By the end of that list, working with metal clay sounded more like defusing a bomb than making jewelry.

Then came the expectations:

• Sometimes pieces crack despite your best efforts.

• Your design will shrink by at least 10%, depending on the formula.

• Don't expect perfection on your first attempt.

Daunting, to say the least.

And then they handed out the clay.

I received a little packet about the size of a quarter.

Now, if you've ever worked with traditional clay—or even just imagined doing so—I'm guessing you pictured a nice, satisfying lump that filled your palm. I certainly did.

Instead, I was holding something barely larger than a quarter and thinking, "I'm supposed to make jewelry out of this?"

As it turns out, precious metal clay has always been sold in surprisingly small quantities because, well... it's precious metal. Some packets contained as little as 7 grams of clay. Ours that day were a generous 25 grams, though at the time it certainly didn't feel generous!

Looking back now, I laugh at how intimidating that first class seemed. What I didn't realize then was that, like most creative pursuits, the rules eventually become second nature—and once they do, all that's left is the joy of creating. 🐝

You can see here the two pieces  have different finishes. At the time, I didn't own any of the specialty chemicals commonly used to create a dark patina on silver. Instead, I relied on a trick many metal clay artists used in those days—I reached into the refrigerator for an egg, then headed for the stove to boil it.

After firing, fine silver emerges with a dusty, almost white appearance.  You bring out the luster of the metal by burnishing it either by hand, or in a tumbler.  Then, to create the darker contrast that helps bring out textures and details, the silver needs to be exposed to sulfur. And that's where the hard boiled egg comes in.   A freshly boiled egg naturally releases small amounts of sulfur, so I simply cracked one open, placed it in a sealed bag with my silver heart, and let nature do the rest.

When you're just starting out and every dollar counts, you learn to be resourceful. Sometimes the fanciest tool in the studio is... lunch!

My First Kiln:  A PMC Ceramic Pot!

Because PMC requires exact temperatures to fuse the metal particles without melting them, traditional large, deep commercial kilns proved unreliable. So tabletop "beehive" or clamshell ceramic kilns were developed specifically for PMC.  Although compact and not much to look at, they provided the precise, tightly controlled heating environments needed for the rapid sintering of precious metals using a special gel fuel.  For many years, this was the kiln I used to fire all my pieces.  It does create somewhat of a stink when it fires, so it is recommended to be fired outside in a well-vented area.  The gel fuel worked really well, and if I felt a second firing was needed  due to an extra thick or larger-than-normal piece, I just refilled the little ceramic cup and fired a second time.  It should be noted that metal clay can also be torch-fired, but personally, I haven't had much luck with that method.

Some visitors may find these COVID-era photos a little jarring. They are, however, the only photographs I have from my certification class, and I believe they capture something important about that moment in time. They remind me of the resilience and determination so many of us shared. COVID wasn't going to stop us from pursuing our passions, and I admired the venue for finding a way to keep the classes going. "Adapt and persevere"—that became my motto. 

Want to learn more?

A Brief History of Precious Metal Clay

Precious Metal Clay (PMC®) was invented in 1990 by metallurgist Dr. Masaki Morikawa while working for Mitsubishi Materials Corporation in Japan. Originally developed as part of Mitsubishi's research into powder metallurgy, the remarkable new material combined microscopic particles of precious metal with an organic binder and water, creating a clay-like substance that could be shaped by hand and transformed into solid metal through firing. The first commercial product, made from 24-karat gold, was soon followed by the more affordable and immensely popular fine silver PMC.

The invention revolutionized jewelry making. For the first time, artists could sculpt, texture, stamp, carve, and form precious metal much like ceramic clay, making fine jewelry techniques accessible to beginners while opening exciting new creative possibilities for experienced metalsmiths. Mitsubishi continued refining the product line with innovations such as PMC+, PMC3, PMC Flex, and PMC Sterling, each offering improvements in firing temperature, strength, and shrinkage.

Around the same time, another Japanese company, Aida Chemical Industries, introduced Art Clay Silver®, a competing silver metal clay that quickly became popular throughout the world. Both companies continued advancing the technology through new formulations, paste, syringe, and paper versions, establishing metal clay as a respected medium in contemporary jewelry making.

In 2023, Mitsubishi discontinued the entire PMC® product line after more than three decades, marking the end of the brand that introduced metal clay to the world. Although many artists still treasure and use remaining supplies, the art form itself continues to thrive.

Today, jewelers have access to an expanding range of precious and base metal clays from manufacturers around the world. Some of the best-known names include:

• Art Clay Silver® (Aida Chemical Industries)

• Aussie Metal Clay

• Metal Magic®

• FYI Silver Metal Clay

• BRONZclay™ and COPPRclay™ (Metal Adventures)

• Hadar's Clay® (powder-form bronze, copper, steel, and brass clays)

These products now encompass fine silver, enriched sterling silver, gold, bronze, copper, brass, steel, and iron, allowing artists to choose materials based on their creative vision, firing methods, and desired finished appearance. More than thirty years after its invention, metal clay continues to evolve, offering artists an ever-growing palette of possibilities while honoring the groundbreaking innovation that began at Mitsubishi Materials in 1990. 🐝

I've always been drawn to the beauty of aged brass, and over the years I've found a handful of trusted suppliers whose components have become favorites in my studio.  Many of those pieces arrive at my studio beautifully patinaed, but some arrive in raw brass form, without any patina at all.   Raw brass is very yellow, almost garish.  The term "brassy" has a connotation of being unpleasantly bright, with a cheap yellow-metallic appearance - and rightly so - it's pretty unappealing.  

Raw brass frequently comes with a light coating of machine oils, requiring cleaning in a solution of vinegar and Dawn dish soap.  But after a good cleaning, it's ready for my personal touch to bring it to the beautiful rendering of "aged brass" that I love to work with.  And this is where the fun begins!

These are some finished pieces created from the first leather veneer shown above. They are absolutely beautiful in person, and while I think these photographs capture them well, the pieces themselves are even more striking. I love the finish the archival ink lends to the leather—almost like a soft, brushed patina. By using a leather tool called a wooden edge burnisher (or wooden leather slicker), I can compress the fibers and bring out the leather's natural richness, creating a smooth, polished finish.  While I did not do that here, as I wanted a more natural look, a burnished finish is also beautiful.

I have thoroughly enjoyed experimenting with leather and creating one-of-a-kind pieces. Collecting the tools that bring leather to life has become one of the unexpected pleasures of the journey. Every new tool, technique, and discovery opens the door to new creative possibilities, reminding me that there is always something new to learn. I hope this glimpse into my process has inspired you to look at leather—and perhaps even a few unconventional supplies—in a new way. 🐝

Leatherworking Glossary

Antiquing – A finishing technique that highlights stamped impressions and tooling by leaving a darker color in the recessed areas, creating depth and an aged appearance.

Archival Pigment Ink – A permanent, fade-resistant ink commonly used in paper crafting and mixed media. Although not designed specifically for leather, I use archival inks to build transparent layers of color while preserving the natural look of the leather.

Beveler – A leatherworking tool used to soften or round the sharp edges of cut leather before burnishing.

Burnishing – The process of smoothing and polishing leather by compressing its fibers with friction, often using a wooden or glass burnisher.

Cutting Die – A hardened steel tool used to cut consistent leather shapes when struck with a hammer or used in a press.

Edge Burnisher (Leather Slicker) – A wooden, glass, or acrylic tool used to smooth and polish the edges of leather after they have been cut and beveled.

Flesh Side – The back side of a piece of leather, where the natural fibers are visible.

Grain Side – The finished outer surface of the leather—the side that originally faced outward on the animal.

Leather Dye – A coloring product formulated to penetrate leather fibers rather than forming a surface coating.

Leather Stamp – A steel tool used to impress decorative textures and patterns into damp vegetable-tanned leather.

Patina – The rich character, subtle color changes, and softened appearance that develop naturally over time or are intentionally created through finishing techniques.

Poundo Board – A dense, resilient cutting surface that absorbs impact while protecting leather punches and cutting tools from damage.

Stamping – The process of creating textures or decorative impressions in damp vegetable-tanned leather using specialized steel stamps.

Vegetable-Tanned Leather – Leather tanned using natural plant tannins rather than chromium salts. It is ideal for stamping, tooling, carving, molding, and accepting dyes and finishes.

Tooling – The decorative process of carving, beveling, stamping, and texturing vegetable-tanned leather to create raised or recessed designs.

Many gemstones and semi-precious gemstones have long been associated with symbolic meanings and traditions shared across cultures for centuries.  May people belief there are metaphysical benefits as well.  If you would like to learn more about some of the stones I have listed above, click here.

Every artist has favorite tools, and every jewelry make has favorite stones.  While I’m always experimenting with new materials there are a handful of stones that seem to find their way into my work again and again,  Some are chosen for their earthy color palettes, others for the unique patterns that make each bead or pendant one of a kind.  

Here are a few of the stones you’ll most often discover in Bee City Studio designs:

African Turquoise
Amazonite
Apatite
Aventurine
Carnelian
Citrine
Chrysocolla
Fluorite
Freshwater Pearls
Garnet
Jasper (various varieties)
Labradorite
Lapis Lazuli
Lemon Quartz
Moss Agate
Onyx
Sodalite
Turquoise

Not all my work features gemstones, but there is a special quality to  jewelry designed of elements from the earth.  Each stone speaks it's own quiet language, and it's no wonder each of us has our favorites, from  pearls to turquoise, or birthstones to milestone markers.  Whether it's the metaphysical qualities, the meaning behind them, or simply because of their beauty, stone choices are very personal.  What's your favorite?  🐝