With very mixed feelings, sadness and joy all jumbled together, I closed my business with the state of Washington today, retroactive to December 31, 2016.

It's super great to think about never having to keep track of business miles, save receipts for every little business expense, do the tedious bookkeeping, take end-of-the-year inventory, or prepare everything for taxes.... Not ever again will I have to do any of those odious tasks!

Me, celebrating 41 years in business as Artist - Teacher - Author

On the other hand, my business has pretty much been my "identity" since 1975. That's 41 years - more than half of my life. What am I now? How will I respond when somebody asks, "What do you do?" Will I say, "Oh, I'm retired now?" Will I say, "I'm an artist?" It feels a little like I'm walking around 3/4 naked, the clothes of the past 41 years gone, the remaining artist clothes not enough to cover my nakedness.

But, we will not have any crying over spilled milk; the deed is done; the authorities officially notified. And, with respect, I thought it might be fun to share a few photos here, photos of the business me, and the story in more-or-less chronological order.

It all started when I met Liz Chenoweth, who is still my closest friend, and who at the time was studying metalsmithing at the University of Washington and I think working for a commercial jewelry manufacturing business in Seattle. I got the bug from her. After taking a short class in soldering sterling silver to make jewelry, I bought a workbench and all the tools, getting into it full-tilt-boogie! Liz helped me, teaching me all that she knew, and helping me to realize the design ideas I had.

Liz (on the right) and me in our metalsmithing shop, The Fort

I don't recall the exact date that I drove to the Department of Licensing to get my business license, but on that day, I named my business Atkins Creations, because I intended to make and sell sterling silver (and a little later, gold) jewelry. I bought a handsome, red, ledger book, and began the 41 year process of keeping track of all expenses and all income, mostly for tax purposes.

Sterling silver ring, commissioned by a male customer

New-beginnings.... in the spring of 1975, Liz and I decided to set up a metalsmithing shop in the spare bedroom in my little home in Ballard. Removing all other furniture, we put in side-by-side workbenches, and installed a polishing table/motor. We called our shop the Fort, because we were just like kids in the summer, when we couldn't wait to be in our "fort," our hideaway, our own special place. We both had day jobs, but we lived for spending time in the Fort. My job was 5 days on, followed by 5 days off, which was great because I could work with metal for 5 consecutive days at a time.

Jasper stone set in sterling silver, sterling clasp, leather cord - this is a man's necklace

We sold our work at some of the craft fairs of the time, but mostly we held "open studio" days at my home, slowly building a fairly decent client list. Eventually we made most of our money doing commissions. It was a marvelous, fun time in my life. That's for sure!

This is the display of my silver and gold creations at our second "open studio," 1977

Three years later, in 1978, I started a new "day job," one which quickly turned into something much more demanding of both my time and creative energies than had been my previous job. Soon, I could no longer continue making and selling jewelry at the previous pace. And, by the early 1980s my jewelry tools and supplies were lonely and dust covered. But, I didn't close the business officially.

Multiple strand necklace in style taught by Carol Berry

The hook was still set, because in 1987, I took a 2-day class from Carol Berry on making multiple-strand beaded necklaces. BEADS! In those two short days, I fell absolutely bonkers in love with beads, and within a few months, I was back in business again.

Multiple strand necklace I made as a "project" for Margie Deeb's book, The Beader's Color Palette

This time, I added the name Beads Indeed! to the official license, making it Atkins Creations - Beads Indeed!  Nice, huh?! Plus I quit my day job, deciding to support myself somehow with beads. Not easy. Especially for the first few years. Hard work and lots of rice for dinner. Since the selling part of making gold/silver jewelry was never fun for me, I decided to make my living this time by selling beads (just the "raw" beads, not made into jewelry) and teaching classes. If I sold a few pieces of beaded jewelry, that would be fine, but there would be no pressure to pay the bills by promoting my own creations. On the other hand, selling beads WAS fun; and buying beads to sell was even more fun!

 By 1988, I sold my metalsmithing equipment, and turned my garage into a studio/store for both selling beads and teaching beading workshops. For 10 years, that was my life, my identity... Beads Indeed!, open every Wednesday of the year, classes most weekends, open for your beading needs at any time by appointment.

It worked! I could have my cake (beading/beadwork) and eat it (selling beads and teaching classes) at the same time. You have to know that back then I did not in any way consider myself an artist. I knew I was a pretty good craftsman, making jewelry that would last and that looked great technically. But I did not think of myself as a creative person.

Generations, a small pouch, my first improvisational bead embroidery piece

The discovery (made mostly by Carol Berry, with some input by me) of "improvisational bead embroidery" in 1991 caused a shift, both in my sense of identity and my business. Gradually, stitching beads on fabric without a plan, letting a piece develop bit by bit without trying to control it, and thankfully with no intention of ever selling it, altered my perceptions about myself as a craftsman, turning me into an artist.

This was such a huge alteration of identity. It made me feel more sure of myself as a teacher, and gave me the confidence to promote my beading workshops far beyond the walls of my studio/shop. I traveled to many states, teaching at conferences, for bead shops and guilds, branching out to teach beading to quilters and fiber artists, eventually even teaching at art schools. All in all, Beads Indeed!, in Seattle turned into a pretty decent business. I could afford to eat out now and then, plus travel to far away places, like China, Germany, and Eastern Europe, on bead-buying trips.

Those 10 years, immersed in beads, with a growing sense of myself as an artist, gave me the confidence to begin writing books about beading, which in turn, provided another source of income, income I would need after moving from Seattle to San Juan Island, where I could no longer depend on selling beads to support myself because the population base was so small.

Marriage Bag, a small purse I made while deciding if I should marry Robert

That move, in 1998, was because I met Robert Demar, who a few years later became my husband. He already lived on San Juan Island, which was a plus for me, because I love it here, much more than living in a big city, even though Seattle is quite nice as cities go. After we married, I still traveled widely and fairly frequently to teach beading workshops, but I needed to fill the time when I was home and also needed to earn more money. The answer came easily... write books about beading! My first book, One Bead at a Time, was published in 2000, and was re-printed 3 times. Including two small booklets, there are currently nine books with my name as the author.

My first book, published in 2000

My most recent book, published in 2013

I guess my business identity, for the past 41 years, can be summarized as: "teacher-artist-author." But, in the last two years, it's been mostly "artist," with much less teaching and no further book writing. Business income has dwindled to a pittance, I'm 74 years old, and I don't enjoy the record-keeping. Even my accountant agreed. So today I pulled the plug on Atkins Creations - Beads Indeed!

Already there are new questions facing me, questions such as:

1. What shall I do with the remaining inventory of my book, Heart to Hands Bead Embroidery?
2. Shall I keep paying for my website (my domain name and web service), which includes my primary email address, and which badly needs to be updated?
3. Shall I continue teaching now and then, maintaining the necessary supplies to do so?
4. Can I immerse myself in creating things (quilts, art, bookmaking, beading, etc.), with no intention of doing anything with the things I create, not using them as examples when I teach, and not selling them?
5. And, of course, there's the question at the top of this post.... who am I now?

Home, one in a series of bead embroidery pieces about gratitude

When my brother, Thom Atkins, visited last fall, he showed me (and a few quilting buddies) his new method for designing and constructing "scrappy improv wall quilts," a technique that turned out to be a lot of fun for me, especially given my long history with an improvisational, intuitive approach to bead embroidery.

Basically, what we did was to empty our bags or boxes of scraps onto a large table and start pawing through them, pulling out ones that appealed to us at that moment. For me it was all about color - red, magenta, fuchsia, with hints of pink, golden-yellow, orange, lavender, and dark green. All of the fabrics were in my scrap box. We had two days of Thom's demonstrations and guidance. During that time, each of us in our small group produced a unique and very pleasing "piece" or "block," measuring roughly 18 x 21 inches, the size of a fat quarter.

One of my red scraps, cut in a nice arc at one end, was the start of it all because I liked the shape and the color. Next I picked up a small strip of yellow, and held it behind the arc of red. Ooooh! Nice enough to repeat. The scrap of orange/red batik was large enough to cut a similar arc, and the strip of yellow was long enough to go behind that one too. These two arcs formed the basis of my piece.

You can see the two arcs above; the lower right was the first. The yellow strip was only about 3" wide, not enough to go all the way around the arcs, but I cut two shapes that would echo the top of each of the arcs. I layered the remaining scraps from that on top of the arcs along the vertical edges of the design. Then I put a dark green scrap behind the arcs and the yellow, which set them off nicely. The rest was just filling to the edges of the quilt with more scraps, including fussy-cut leaves and flowers.

The next step was to glue it all together along the 1/4" seam overlap, working in layers from bottom to top, and cutting away the excess fabric from the underside after each piece is glued. Cutting away the excess fabric leaves a double layer of fabric only at the seams; the rest is a single layer. The glue is Elmer's School Glue, Disappearing Purple, as shown below. It is an organic stick glue, relatively easy to sew through, repositionable, (in case you change your mind), and purple when first applied, drying to transparent (so you can see where exactly you are putting it).

Thom's method is a type of raw edge applique, typically accomplished with heat-fusible web, such as "wonder under." The typical method, given a complex, layered design such as mine, would have resulted in a thick, stiff, multi-layer surface, which would be difficult to quilt, even with a machine. In Thom's method, there is no web, and in most places only one or two layers of fabric. Like all raw edge techniques, the raw edges must be sewn down, and the resulting quilts are not very suitable for bed quilts unless there is heavy stitching over the raw edges (for example, dense, zig-zag, machine stitching).

After gluing my original (shown above) quilt top, I assembled the quilt, using a spray glue to layer the backing, batting and top. The next step was to stitch along the "seams," the overlapping, glued edge of each piece. From there, it was up to each of us as to how to finish the quilt, perhaps with machine quilting, such as stippling or contour stitches, or perhaps with beading, all of which Thom does on his quilts.

A couple of months went by after getting to the unfinished stage shown above. I liked it, but didn't know what to do with it, until one day when I was at our Senior Center, getting foot care from a trained nurse who comes a couple times a week to help those who need it. Her treatment room, about the size of a walk-in closet, has no windows. Her client faces the door to the room, a plain, wooden door.  "That door needs a quilt," I told her. The rest is history; my scrappy improv quilt, Eclipse,  hangs there now.

Only first I had to finish it. Above is the finished quilt, Eclipse. Below I'll tell you some of the finishing steps and about how I transformed it from looking flat and ordinary to sharp and textured using embroidery embellishments. Please click on the photo so you can see the details!

You might have noticed that the finished quilt is longer (better suited for hanging on a door) than the original piece. That was a challenge, although less than you might expect, because Thom had demonstrated for us how he sometimes extends the size of his quilts. In short, I roughly planned out the addition, the mock-up shown below, then created it using the same process and scraps as the original piece.


I used fusible "tape" made for butt-joining pieces of batting, to add a new piece of batting to the bottom edge of batting on the original (upper) part of the quilt. The horizontal strip of striped fabric overlaps the two parts of the quilt and the joined batting underneath. As you can see below, I added a fussy-cut flower over the striped fabric to break up the horizontal strip and visually join the two parts.


Confession time... I'm not good at machine quilting, and don't even have a proper quilting foot for my old machine (1972 Pfaff). I tried stitching around the fussy cut flowers to secure the glued edges, but failed miserably. What to do? Ah, hand-sew with embroidery stitches and floss? Yes! It took a few tries, but eventually I found stitch and thread combinations that worked.

It looked so good that I decided to add stitching and knots to the yellow arcs next. Wow! That popped the eclipse look! In the photo below, you can see bits of all the embroidery stitches I added. Not only does the embroidery provide embellishment and emphasis, it also further quilts the piece. Click the photo to see the detail and better read the stitch identification.


Here are two more detail photos of the finished quilt (without the text boxes).



Lots of fun, and I like the results! Will I do another one? Well, right now I've finally returned to my hexie project, where I'm likely to remain for many months, but after that, scrappy improv may be just what I need!

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Back for its 134th year, the Princeton Triangle Club premieres a brand-new Triangle Show: Pageant Pending! Welcome to America’s Most Wanted, the biggest pageant event in all 50 states! The lights are blinding, the competition is cutthroat, and the interview questions must be answered in twenty seconds or less. Dreams, schemes, and ripped seams are all exposed under a merciless spotlight in this new musical comedy about a series of sash decisions! Join us for Pageant Pending and discover what has made the annual Triangle Show one of Princeton’s favorite town/gown traditions for over 130 years!

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