My latest creation: a multicolored Murano glass beaded necklace with golden touch on the beads .I wear a lot of black so I thought this would add a bit of color. The beads are large, about 3/4 of an inch.

They say "TO IMAGINE IS THE ONLY THING IN CREATIVITY" , and our team is always trying to develop new designs and colours to express their imagination in GLASS.

Here are some of the new product designs which we created this month.......

We are constantly into designing new beads .All suggestions from all of you are welcome.

Today, the real Turkish glass evil eye beads ( nazar boncugu ) are produced only in Görece and Kurudere villages near Izmir, by a handful of craftsmen that have devoted their lives to this art. The roots of the very few glass masters that still practice this age old tradition goes back to the Arabian artisans who settled in Izmir and its towns during the decline of the Ottoman Empire by the end of 19 Th century.

These masters of glass produce the magic objects of a universal belief with an amazing technique. This art has changed very little since thousands of years. These masters of glass produce the magic objects of a universal belief with an amazing technique. The 3000 years old antique Mediterranean glass art lives in these eye bead furnaces with its every detail.After so many years in front of the gleaming fire, the masters turn into suffering dervishes.In the compartments of the furnace, there is liquid glass that has taken the colour of the fire. Soon this liquid will be enlivened by the skilled hands of the evil eye bead masters.

We offer a large selection of evil eye beads from old furnaces.The evil eye bead gives protection and brings luck to all.
Have you just had a new child? Bought a new car? Built a new office building? Worried that your "friends" and others are filled with envy about your good fortune? The bead reflects the evil intent back to the onlooker. It somewhat resembles an eye and it is said the typical blue color is a factor in protecting the user. Glass evil eyes are worn, in the form of jewelry; evil eye bracelets, evil eye home protectors, gold or silver evil eye charms and pendants, blue evil eye talismans, evil eye earrings - rings and plenty of evil eye ethnic jewelry.

Blue glass evil eye bead amulets are the most common talisman in Anatolia to stop the evil eye. It’s believed that there are three types of evil eyes: The first are unconscious evil eyes. These harm people and things, without intending to. The second type intends to harm. The third one is unseen, hidden evil which is the most scared one. In daily life you can find glass evil eye charms almost everywhere. People donate everything they love or appreciate with these blue evil eye charms. They attach an eye bead to the clothes of a new-born baby. They buy gifts with an eye bead for their sweethearts. They bring gifts with eye bead for a new office or a new car . Almost everywhere you see thousands of blue eyes, that aim to stop the evil eyes with an eye amulet.

Swarovski crystal was first created when Daniel Swarovski invented an automatic cutting machine in 1892. In 1895 the Swarovski company was founded when he established a crystal cutting factory in Wattens. Here he could take advantage of local hydroelectricity for the energy-intensive grinding processes he had patented.

Swarovski crystal contains approximately 32% lead to maximize refraction. The Swarovski Crystal range includes crystal sculptures and miniatures, jewelry and couture, home decor and chandeliers.

Swarovski Crystals are high quality Austrian cut glass crystals that are expertly faceted and polished to produce the finest quality crystals available. The reason for their popularity is that they sparkle & shine like diamonds.

Swarovski pearl beads are beautiful, versatile and expertly crafted, and now they are available at CRYSTAL HOUSE !

We’re sure you’ll love using these coated crystal pearls along with other Swarovski beads, pendants and components for stunning results.

You can now buy all colours of Swarovski pearl in 4, 6 and 8mm round. This offers tremendous possibility for co-ordinated, graduated pearl designs.

Use Swarovski pearl beads alone for elegant and understated jewellery, or mix with bold colours and sparkling crystals for eye-catching fashion. The choice is yours, stand out from the crowd!

Be inspired to IMAGINE today. To view and buy Swarovski® crystal pearl beads click here now!

THE IMPORTANCE OF JEWELRY IN THE MODERN GOLDSMITH'S ART

Since time began jewelry has been used either for ornamental or for functional reasons, but always as a mark of distinction. The shape, dimension, complexity and richness of jewelry are important features which characterize the person who wears it. In ancient times, objects made of gold were nearly exclusively worn by the upper classes because of the high cost of material and labor - a worker had to work hard and for a long time to make objects of such great complexity. Those who could not afford such costs sought poorer materials such as bronze, a viable chromatic alternative to gold. In the course of time imitation became a productive reality, so that, by the end of the 19th and in the early 20th century, imitation jewelry was being produced in a large scale . In the beginning they used marcasite, synthetics and rhinestones as substitutes for precious stones, and not precious or semi-precious stones such as crystals, lapis lazuli, mother of pearl and others to create color effects. The use of all these colored materials, including ebony, plexiglas and above all silver, has been of great importance for the art of the modern goldsmith's. Between 1940 and 1960, first in America and later in Europe, a sort of competition took place: everyone wanted to try to eliminate a certain formal rigidity in the art of making jewelry and give a new identity to the design of jewelry, which was becoming more and more creative an innovative. It was prevalently during these decades that so many workshops were founded, and that the various artists who worked in them, at first in a experimental way and then with convincement and for stylistic reasons, managed to achieve fame and notoriety, finding their own role in the world. This thanks to a wave of innovations in the fields of painting and sculpture-innovations brought about by artists of the caliber of Kandinsky, Klee, Calder, etc, who awakened the artists of the whole world with their creativity and modernity. A new way of creating jewelry was born; various artists began to make modern jewelry which was no longer the result of cyclic repetitions and imitations, but an expression of the artists individuality. As already pointed out, it was the low cost of material which encouraged the birth of such creations. And so, during the following years, thanks to an ever increasing demand and a conscious optimism (favored by the particular historical period), silver, copper, and bronze gradually began to be substituted by gold, which became the leading material, even in the experimental field. In this way jewelry had come full circle; it had regained its former value and had again become the magical, symbolic, original object which characterized the person who wore it and the artist who designed and made it. So jewelry has made its small contribution to the jeweler's art, at least, because it showed that it was possible to create objects with less noble materials. The most important thing is not the richness of a creation, but the idea and artistic concept which lays behind it.

THE IMPORTANCE OF JEWELRY IN THE MODERN GOLDSMITH'S ART Since time began jewelry has been used either for ornamental or for functional reasons, but always as a mark of distinction. The shape, dimension, complexity and richness of jewelry are important features which characterize the person who wears it. In ancient times, objects made of gold were nearly exclusively worn by the upper classes because of the high cost of material and labor - a worker had to work hard and for a long time to make objects of such great complexity. Those who could not afford such costs sought poorer materials such as bronze, a viable chromatic alternative to gold. In the course of time imitation became a productive reality, so that, by the end of the 19th and in the early 20th century, imitation jewelry was being produced in a large scale . In the beginning they used marcasite, synthetics and rhinestones as substitutes for precious stones, and not precious or semi-precious stones such as crystals, lapis lazuli, mother of pearl and others to create color effects. The use of all these colored materials, including ebony, plexiglas and above all silver, has been of great importance for the art of the modern goldsmith's. Between 1940 and 1960, first in America and later in Europe, a sort of competition took place: everyone wanted to try to eliminate a certain formal rigidity in the art of making jewelry and give a new identity to the design of jewelry, which was becoming more and more creative an innovative. It was prevalently during these decades that so many workshops were founded, and that the various artists who worked in them, at first in a experimental way and then with convincement and for stylistic reasons, managed to achieve fame and notoriety, finding their own role in the world. This thanks to a wave of innovations in the fields of painting and sculpture-innovations brought about by artists of the caliber of Kandinsky, Klee, Calder, etc, who awakened the artists of the whole world with their creativity and modernity. A new way of creating jewelry was born; various artists began to make modern jewelry which was no longer the result of cyclic repetitions and imitations, but an expression of the artists individuality. As already pointed out, it was the low cost of material which encouraged the birth of such creations. And so, during the following years, thanks to an ever increasing demand and a conscious optimism (favored by the particular historical period), silver, copper, and bronze gradually began to be substituted by gold, which became the leading material, even in the experimental field. In this way jewelry had come full circle; it had regained its former value and had again become the magical, symbolic, original object which characterized the person who wore it and the artist who designed and made it. So jewelry has made its small contribution to the jeweler's art, at least, because it showed that it was possible to create objects with less noble materials. The most important thing is not the richness of a creation, but the idea and artistic concept which lays behind it.