Thanks, Miss Erin! I'm looking into it, trying ways to present the info. There's a lot to color theory so there's a lot to break down - but thanks for giving me food for thought! And yes, email when you get a chance - I'd love to hear what you've got planned.

Thanks for the feedback, Rose! Right now, I'm thinking posts. I like the idea that if someone's got a question, I can answer it right in the comments, versus an ebook (though that's got its own merits, too!). I hadn't thought about a series of challenges, but the idea is intriguing - thanks for the suggestion!

Sounds awesome, Libby, thanks for the suggestion! I think that'd be a perfect way of showing practical uses for color theory. Thank you!

Whoa, I was mentioned in a Fire Mt newsletter? That's all kinds of awesome! Wish I had a copy of that. As for your comment, Tina, I started smiling as I was reading - you've given me a bunch of awesome starting points! Thank you! I've got an idea for a longer color/metals post, but let me address a couple points right now. Metallics (like paint) can be tricky because they've got a sheen on them, so they aren't really just one flat color. Hardly anything is, thanks to light and shadows, but metallics are even harder because the color can look like it's constantly shifting. That's done on purpose to replicate metal on non-metal surfaces. When you start talking about metals for findings, try to see the metal as colors themselves. Bright silver and nickel can act as a light gray or white, gunmetal or oxidized silver a dark gray, gold and brass a bright yellow or yellow-orange, copper a shade of rosy orange, bronze and Vintaj natural brass a medium to dark brown. So, if you've got a particular set of beads, the metal findings you choose can be a part of the overall color scheme and blend in, or contrast against the beads to make everything pop. Forgive the lack of images, and I promise I'll write up a full post with some on this exact topic, but it has to do with how much contrast you want between the metals and the beads. Let's say I've got a lot of light pink beads, like rose quartz. If I use bright silver, the beads and the metal will blend together, since one is light pink and the other is light gray. If I use gold, there will be more contrast, because the bright yellow of gold is a different saturation/intensity than the pale pink. If I go with Vintaj natural brass or gunmetal, the pink will really pop and become more obvious, because the metal is so much darker. Make sense? Without seeing photos of the turquoise pieces you're talking about, I'm willing to bet that what you're noticing is the contrast between the color of the metals and the color of the beads. Generally speaking, if you want minimal contrast in a design, use light beads with lighter toned metals or dark beads with darker metals. The particular hue of a bead does play into it, too, but a really powerful trick of color theory is to play with the contrast - pick beads and findings with different saturations so each will pop against each other. Think of red and blue - a dark blue with a dark red won't have nearly as much visual interest as a pale blue with a bright red will, and that's due to the contrast between light and dark. The dark blue and dark red are both close to each other in value, so the eye skims over them. A pale blue with a bright red will cause the eye to stop and hold, because one's light and one's dark. Obviously, I've got a lot to say about this, so look for a longer post in the next few weeks! But I hope this helps for now, Tina!