beadworkmagazine.com ©2011 Interweave Press LLC. Not to be reprinted. All rights reserved.

Quick
+ Easy
Q+E 2 CONTRIBUTORS
Q+E 4 STRAIGHT AND NARROW Amy Haftkowycz
Enhance a right-angle-weave band of fire-polished beads
with a simple row of pearls
Q+E 6 AROUND AND ABOUT Silvana Terry
Stitch a pretty spiral rope to show off an elegant piece of
peyote-stitch beadwork
Q+E 10 SUMMERTIME BLUES Heather Kahn
Brick-stitch blue crystals into this scalloped necklace,
fantastic to wear year-round
Q+E 14 EARTH, SKY Jeanne Barta Craine
Earth-toned seed beads framed with square-stitch spacer
bars comprise this easy bracelet
Q+E 16 ARABIC MOTIFS CUFF Marcie Abney
Use tiny glass rounds to create a multitude of star shapes,
reminiscent of Arabic design
Q+E 28 DROPS AND DAGGERS Julie D’Amico-Beres
A diverse mix of crystals, pearls, drops, and daggers
embellish a peyote-stitch base
Q+E 32 TEAL TILES BRACELET Rachel McEnroe
Jewel-toned gemstones and right-angle weave combine
with flair in this comfortable bracelet
Q+E 36 BAYOU INFLUENCE Lucy Baker
Embellished pearls accent a strung necklace in a salute to
Cajun hues
Q+E 40 MAGDALA BRACELET Nancy Peterson
Re-create the look of Victorian fretwork with this bracelet
of netting with right-angle weave
Q+E 44 DOUBLE HELIX BRACELET Tamara Allison
This herringbone-stitch bracelet mimics the distinctive
twist of our DNA
Q+E 48 MORE TECHNIQUES
p. Q+E 4
Straight and Narrow
by Amy Haftkowycz
p. Q+E 44
Double Helix Bracelet
by Tamara Allison
p. Q+E 14
Earth, Sky
by Jeanne Barta Craine
p. Q+E 6
Around and About
by Silvana Terry
p. Q+E 32
Teal Tiles Bracelet
by Rachel McEnroe
AUGUST/SEPTEMBER 2011
SUBSCRIBER BONUS PROJECT DOWNLOADS
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06152011143208
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Q+E 2 beadworkmagazine.com
contributors
F EATURED ARTI STS
“The first thing I notice is balance. Good
balance—whether or not a piece is symmetri-
cal—really makes jewelry pleasing to the person
wearing it and the person viewing it. Balance
can be the difference between good design and
great design.”
— MARCIE ABNEY
“The interplay of lines is the first thing I notice.
If the shape or curve of a line is interrupted, the
piece is unsuccessful. Lines define shapes, which
then give rise to forms. The rest comes later.”
— TAMARA ALLISON
“The color combination is most important to me.
Whether it’s shades of similar or complementary
colors—the combination determines whether a
well-made piece looks tacky or gorgeous. I try to
use one to four colors; more than that, and
things start to look chaotic and less designed.”
— LUCY BAKER
“The first things I look at are a project’s stabil-
ity and wearability. And I always look at the
project’s back. (My mom’s wisdom: Your work
should be as neat on the back as it is on the
front.) Beadwoven art jewelry should be
created for future generations to enjoy.”
— JEANNE BARTA CRAINE
“The first thing I notice is color. Whether
muted or bright, if the palette is pleasing, I’ll
want a second look. When the wrong colors
are paired, even the most extraordinary design
can be ruined.”
— JULIE D’AMICO-BERES
“Since I’m driven by color, the first thing that
jumps out at me when I look at beaded
jewelry is color composition. I find it fasci-
nating how the same technique or design takes
on completely different looks just by changing
the color of the beads.”
— AMY HAFTKOWYCZ
“I want jewelry to be complex but look effortless.
The techniques should support the structure of
the design but not obscure its form or beauty.
I am impressed when I see something that
appears to have transitioned straight from
imagination to reality, because I know how
many hours went into making it perfect.”
— HEATHER KAHN
“Color! I notice the colors in a piece of beaded
jewelry before I recognize the stitches or beads.
I also notice the way different colors and fin-
ishes in the piece interact. When I plan a piece,
I like to use unusual color combinations to
produce surprising results.”
— RACHEL McENROE
“The first thing I notice is composition—how the
piece is put together aesthetically. I love seeing
how artists work stitches together in various
ways to create lovely pieces of jewelry. Second is
how color enhances the basic structure by giving
it depth, shading, and highlights.”
— NANCY PETERSON
What is the first thing
you notice when you
look at a piece of beaded
jewelry?
Q
“When I first look at a piece of beaded jewelry,
I always look at the style of the piece. Beaded
work is art that takes considerable time and it
should be timeless, longlasting and unique to
the artist.”
— SILVANA TERRY
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06022011134402
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BW QE03 swarovski ad_QE.indd 3 6/2/11 12:26 PM
06022011122715
Q+E 4 beadworkmagazine.com
TECHNIQUE
right-angle weave
See pp. Q+E 48 and 94 for helpful
technique information.
straight
and narrow
Amy Ha f t kowy c z
ARTI ST’ S TI P
To ensure a good fit, make sure the two ends
meet when you wrap the bracelet base around
your wrist. Adding the clasp provides the ease
needed for a comfortable fit.
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06022011122831
BEADWORK QUICK+EASY august/september 2011 Q+E 5
Back view of the bracelets.
MATERIALS
1 g dark bronze size 15° seed beads (A)
2 g bronze size 8° seed beads (B)
78 aqua celsion 4mm fire-polished
rounds (C)
25 cream 4mm glass pearls
1 antique gold 9mm ball-and-socket
snap clasp
Smoke 6 lb braided beading thread
TOOLS
Size 10 beading needle
Scissors
FINISHED SIZE: 7½"
1) BASE. Stitch a right-angle-weave base
using fire-polished rounds:
Unit 1: Use 4' of thread to string 4C,
leaving a 6" tail. Pass through the
beads again to form a circle and knot
the tail and working threads. Exit the
next bead on the circle (Fig. 1—blue
thread).
Unit 2: String 3C; working in right-angle
weave, pass through the last C exited
in the previous unit and the first 2C
just added (Fig. 1—red thread).
Units 3–25: Repeat Unit 2 twenty-three
times or to the desired length.
2) EMBELLISHMENT. Add pearls to
the base and finish the edges:
Pearls: With the thread exiting the sec-
ond C added on the end unit, string
1A, 1 pearl, and 1A; pass back through
the second C of the previous unit.
Repeat to embellish the entire base
(Fig. 2).
Edging: String 1B; pass through the next
C along the edge of the base. Repeat
around the base, keeping the thread
tension tight (Fig. 3).
3) CLASP. With the thread exiting 1C at
the end of the base, string 3B, 1C, and
one half of the clasp; pass back through
the 1C and tighten the thread. String
3B; pass through the first C exited in
this step (Fig. 4). Repeat the thread path
several times to reinforce.
Start 12" of new thread in the last unit
at the other end of the base and repeat
this step using the remaining clasp half.
Secure the threads and trim. ✦
A SIMPLE ROW OF PEARLS becomes an elegant
embellishment when stitched over a right-angle-weave band
of fire-polished beads.
Fig. 4: Attaching the clasp
Fig. 1: Stitching Units 1 and 2 of the base
Fig. 2: Adding the pearl embellishment
Fig. 3: Finishing the edges
AMY HAFTKOWYCZ is co-owner of Artful Beads
Studio and Workshop in Pennington, New Jersey,
where she lives with her husband and six cats. In
addition to beading, Amy is a self-taught
lampworker and a certified PMC artisan.
RESOURCES Check your local bead shop or
contact: FireLine braided beading thread and all
other materials: Artful Beads Studio and Work-
shop, (609) 737-1077, www.artfulbeadstudio.com.
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06072011155429
around
and about
S i l v a na Te r r y
TECHNIQUES
Russian spiral
peyote stitch
stringing
See pp. Q+E 48 and 94 for helpful
technique information.
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BEADWORK QUICK+EASY august/september 2011 Q+E 7
STITCH A RUSSIAN SPIRAL ROPE to show off
a swatch of peyote-stitch beadwork in this
simple but elegant project.
MATERIALS
5 g amethyst size 15° seed beads (A)
5 g gold metallic size 11° cylinder beads (B)
18 dark purple 9×12mm potato pearls
6 gold 4mm filigree rounds
2 gold 6mm filigree rounds
2 gold 4×8mm filigree tubes
1 gold 12mm fancy toggle clasp
Smoke 6 lb braided beading thread
TOOLS
Scissors
Size 12 beading needle
Pencil or large straw
FINISHED SIZE: 16½"
Fig. 1: Working the Russian spiral rope
ARTI ST’ S TI P
For a firmer rope, insert a 6"
length of mesh tubing or a
strand of 5mm beads through
the center of the spiral before
adding the loops at each end.
1) ROPE. Work Russian spiral to form
the stitched rope:
Round 1: Use 3' of thread to string {2B
and 3A} four times, leaving an 8"
tail. Pass through the first 2B added
to form a circle (Fig. 1—blue thread).
Place the circle around a pencil or
large straw.
Rounds 2–end: String 2B and 3A; pass
through the second B of the next 2B
three times. For the fourth stitch, pass
through the second B of the first stitch
in this round (Fig. 1—red thread). Con-
tinue working in a spiral for 6½".
Finish: String 9B; pass back through the
next 1B and 3A at the end of the rope
to form a loop. String 4B; pass
through the fifth B of the 9B just
added. String 4B and pass through
the 2B set on the other side of the
last round. Secure the working
thread and trim.
Using the tail thread, repeat at the other
end of the rope.
2) PEARLS. Secure 2' of new thread that
exits the point B at one end of the rope.
String one 4mm round, 1B, 1 pearl,
one 4mm round, 1 pearl, and one 6mm
round. String {1 pearl and 1B} three
times. String 1 pearl, 1 tube, 1 pearl,
one 4mm round, 1 pearl, and one half
of the clasp. Pass back through all the
beads just strung, pulling the strand
close to the rope. Repeat the thread path
as many times as possible to reinforce.
Secure the thread and trim.
Repeat the entire step at the other end of
the rope.
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Q+E 8 beadworkmagazine.com
3) SLIDER. Peyote-stitch a sliding
pendant:
Rows 1 and 2: Use 6' of thread to string
20B, leaving a 2' tail.
Rows 3–51: Work flat peyote stitch with 1B
in each stitch for a total of 51 rows
or 1¾".
Row 52: Pass through the loop of exposed
thread at the edge of the beadwork
between the last 2 rows added. Pass
through the nearest edge bead and the
last B added to form a hidden row-end
decrease. Peyote-stitch across with 1B
in each stitch (Fig. 2—green thread).
Row 53: Pass the needle around connect-
ing threads between the nearest beads
of the last 2 rows added and pass back
through the last B exited and the last
B added to form a turnaround.
Peyote-stitch across with 1B in each
stitch (Fig. 2—blue thread).
Rows 54–61: Repeat Row 53 eight times,
decreasing at the beginning of each
row so the beadwork comes to a point
(Fig. 2—red thread). Secure the working
thread and trim.
Use the tail thread to repeat Rows 53–61
off Row 1, forming a point at the other
end of the strip.
Edging: Secure 2' of new thread that exits
1B at either point. String 2A, skip 1B
along the edge, and pass through the
next 1B; repeat along the angled edge
of the peyote-stitch strip (Fig. 3—blue
thread). At the corner, string 2A, pass
down through the next B along the
flat edge, and pass up through the
following B (Fig. 3—red thread); repeat
down the flat edge. Continue to add
2B embellishments along the entire
edge of the beadwork.
Fringe: Exit the single B on one point and
string 3B, 1 pearl, and 1B; pass back
through the pearl, the 3B just added,
and through the B at the point to form
a fringe (Fig. 4). Secure the thread and
trim.
Connect: Start 12" of new thread that
exits 20 rows from the slider’s point
on the side without the fringe. String
3B, 1 pearl, and 3B. Lay the strand
across the beadwork toward the point.
Pass through the center B 10 rows
from the point.
Fold the pendant so the tips touch and
the pearl just added sits on the outside
of the fold. Slightly adjust the fold so
that the end with the fringe hangs
down below the top. Stitch down into
the other half of the beadwork to con-
nect the sides (Fig. 5). Repeat the
thread path to reinforce. Secure the
thread and trim.
Use the rope to string the slider. ✦
SILVANA TERRY has been making jewelry for
five years. She enjoys teaching beading classes as
well as creating her own beadwork and multi-
media designs.
RESOURCES Check your local bead shop or
contact: Delica cylinder beads, FireLine braided
beading thread, and all other materials: Beadflow,
(905) 746-9919, www.beadflow.wordpress.com.
Fig. 2: Decreasing the
end of the slider
Fig. 3: Adding
the edging
Fig. 5: Assembling
the slider
Fig. 4: Stitching the
pearl fringe
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06022011122952
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06062011154655
summertime blues
He a t he r Ka hn
TECHNIQUES
brick stitch
picot
wirework
See pp. Q+E 48 and 94 for helpful
technique information.
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06022011123208
BEADWORK QUICK+EASY august/september 2011 Q+E 11
NO MATTER WHAT THE SEASON
or the weather, you’ll enjoy wearing
Heather’s scalloped necklace of
brick-stitch crystals in the
richest shades of blue.
MATERIALS
1 g metallic deep-blue size 11°
cylinder beads (A)
1 g metallic deep-blue-iris-lined crystal
size 11° seed beads (B)
2 g cobalt iris 8° seed beads (C)
4 g matte metallic-lined sapphire
size 8° triangle beads (D)
33 sapphire 3mm crystal bicones (E)
2 sapphire 4mm crystal rounds
5 sapphire 6mm crystal rounds
1 silver 14×38mm decorative hook-
and-loop clasp
12½" of silver 4×8mm oval filigree chain
5" of sterling silver 22-gauge wire
Blue nylon beading thread
TOOLS
Scissors
Size 12 beading needles
Chain- or flat-nose pliers
Round-nose pliers
Wire cutters
FINISHED SIZE: 19 ½"
1) FANS. Form 5 fans with brick stitch
using crystal rounds as the base:
Row 1: Use 3' of thread to string one
6mm round; pass through twice so
2 threads are resting along the side of
the crystal round. Knot the tail and
working threads; pull the working
thread until the knot is inside the
round (Fig. 1). String 2A; pass under
the exposed thread on the crystal
round and back through the last 1A
strung to form a brick stitch. String
1A, pass under the exposed thread,
and pass back through the 1A to form
a second brick stitch (Fig. 2); repeat five
times for a total of 7 stitches.
Row 2: String 2B; pass under the exposed
thread loop between the next 2A of
Row 1 and back through the last 1B
strung to form a brick stitch. String
1B, pass under the thread loop of the
next 2A, and pass back through the 1B
to form another brick stitch; repeat six
times for a total of 8 stitches (Fig. 3).
Note: The last 2 stitches will be
attached to the same loop from the
previous row.
Fig. 1: Pulling the knot inside the crystal
Fig. 2: Beginning the first row of brick stitch
Fig. 3: Forming the second row
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06022011123208
Q+E 12 beadworkmagazine.com
Row 3: Repeat Row 2 with C, making
9 stitches.
Row 4: Repeat Row 2 with D, making
10 stitches.
Picots: String 1B, 1E, 1B; pass down
through the next 1D and up through
the next 1D (Fig. 4). Repeat along the
edge of the fan for a total of 5 picots.
Secure the threads and trim.
Repeat the step four times for a total
of 5 fans.
2) ASSEMBLY. Cut the chain into
2 pieces, each 6¼" long. Set aside.
Secure 2' of thread to 1 fan, exiting the
first 1C in Row 3. String 1B and one end
of 1 piece of chain; pass back through the
1B just added. Pass through the first 1C,
1B, 1A, 6mm round, 1A, 1B, and 1C
along the top edge of the fan. *String
1B, 1E, 1D, 1E, and 1B; pass through 1C,
1B, 1A, 6mm round, 1A, 1B, and 1C of
the next fan (Fig. 5). Repeat from * three
Fig. 4: Adding picots
Fig. 5: Attaching the fans to the chain
ARTI ST’ S TI P
Because the beads increase
in size from one row to the
next, allow your thread
tension to be slightly loose
when stitching the larger
beads so the work remains
flat. If you notice your work
starting to curl at the edges,
ease up on your tension.
times to connect all 5 fans. String 1B
and one end of the remaining piece of
chain; pass back through the last 1B ex-
ited. Repeat the entire thread path to re-
inforce. Secure the thread and trim.
Use 2½" of wire to form a wrapped loop
that attaches to one half of the clasp;
string one 4mm round and form a
wrapped loop that attaches to the free
end of one of the pieces of chain. Repeat
using the other half of the clasp and the
other piece of chain. ✦
HEATHER KAHN grew up beading at her parents’
bead business, Caravan Beads. She recently
launched her own line of costume-inspired jewelry
with her business partner, Jeff Witkavitch. Their
otherworldly products can be seen at Chrononaut
Mercantile, www.chrononautmercantile.com.
RESOURCES Check your local bead shop or
contact: Miyuki seed beads, Swarovski crystals,
C-Lon beading thread, Delica cylinder beads, and
all other materials: Caravan Beads, (800) 230-8941,
www.caravanbeads.com.
OPTI ON
For a coordinating bracelet,
create two 5-fan strips and
connect their 6mm crystal
rounds using right-angle
weave, 3mm crystal rounds,
and cylinder beads. Partial
fans add a decorative
element to the clasp ends.
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06022011123209
for you
make it easy
great jewelry
We
to make
This design was made by Katie Hacker using Beadalon 19 Strand
Silver Color Wire, Remembrance™ Memory Wire, Chain, and
Findings. You can learn how to make this design at:
http://www.beadalon.com/fairytalecollection.asp ht ht ht ht hht hhttttp tp tp tp tp tp p tp tp tp ppppppppppp:/ :/ :/ :/ :/ :/ :/ :/ //w /w /ww /w /w /w /// ww ww ww ww www ww ww ww.b .b .b .b b .b .b .b .b bea ea ea eaa ea ea ea ea eada da da dda da da da da da d lo lo lo lo lo lo lo on. n. n. n. n. n. n..co co co co co co co co co com/ m/ m/ m/ m/ m/ m/ m/ //fa fa fa fa fa fa faaair ir irr ir ir iryt yt yt yyt yt yt yyt yt yyyyyyyyyyyy al al al aal al al aa ec ec ec ec ec ec ecc ec ecol ol ol ol ol ol ol oo le le lee le le leeect ct ct ct ct ct ct ct c io io io io io io io on. n. n. n. n. n. n. n.as as as as as as as as asppppppppppppppp
Making your own jewelry is fun, easy, and very
gratifying. Save money and express your style
by creating your own earrings, bracelets and
necklaces. Visit our website for hundreds of design
ideas, step-by-step instructions, product videos,
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To find a Beadalon retailer near you, please visit
www.beadalon.com/locatewheretobuy.asp
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Create Something Great™
J[`
BW QE13 Beadalon ad_QE.indd 13 6/2/11 2:06 PM
06022011140636
THIS EARTH-TONE
bracelet may look
complicated, yet it’s easy
to do using colorful strands
of seed beads framed with
square-stitch spacer bars.
earth, sky
J e a nne Ba r t a Cr a i ne
TECHNIQUES
stringing
ladder stitch
square stitch
See pp. Q+E 48 and 94 for helpful
technique information.
1) BAND. Connect seed bead strands
with rows of cylinder beads:
Note: Select beads from the mix to stitch
patterns of color, as shown above, or use
the colors randomly.
Section 1: Use 9' of thread to stitch a
7-bead ladder using B, leaving an
18" tail (Fig. 1—green thread). Weave back
through the ladder to reinforce it and
exit from the first bead (Fig. 1—red
thread). String 5A and 3B; pass down
through the second B and up through
the third B just added to form a
square stitch. Manipulate the beads so
they are side by side. String 1B;
square-stitch it to the next 1B on the
strand (Fig. 2—orange thread). String 5A;
pass up through the second ladder
bead and down through the first
Fig. 1: Working the ladder-stitch base
Fig. 2: Stitching Section 1
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06022011123410
BEADWORK QUICK+EASY august/september 2011 Q+E 15
MATERIALS
10 g total Picasso size 10° or 11° Czech seed
beads in cream, maroon, dark blue, and
shades of brown (A)
4 g total size 8° cylinder beads in matte
bronze, luster bronze, cream, and black
iris (B)
1 gold-plated 21×6mm 3-loop slide clasp
Smoke 6 lb braided beading thread
TOOLS
Size 10 beading needle
Scissors
FINISHED SIZE: 7½"
ladder bead and the 7 beads on the
first strand. Pass up through the 7
beads on the second strand and the
second ladder bead. Pass down
through the third ladder bead (Fig. 2—
green thread). String 5A and 1B;
square-stitch the 1B just added to the
second-to-last 1B on the previous
strand. String 1B; square-stitch it to
the last 1B on the previous strand (Fig.
2—blue thread). String 1B and square-
stitch it to the 1B just added. String 1B
and square-stitch it to the next 1B on
the previous strand. String 5A; pass
up through the fourth ladder bead
and down through the third ladder
bead and the 7 beads on the third
strand. Pass up through the 7 beads
on the fourth strand and the fourth
ladder bead. Pass down through the
fifth ladder bead. Continue adding
5A and square-st itching 2B for a total
of 7 strands. Exit the last square-
stitched B (Fig. 2—red thread).
Section 2: Repeat section 1 using 3A and
1B on each strand.
Section 3: Repeat section 1 using 5A and
1B on each strand.
Section 4: Repeat section 1 using 8A and
2B on each strand.
Section 5: Repeat section 1 using 5A and
1B on each strand.
Section 6: Repeat section 1 using 5A and
1B on each strand.
Section 7: Repeat section 1 using 3A and
2B on each strand.
Section 8: Repeat section 1 using 11A and
1B on each strand.
Section 9: Repeat section 1 using 4A and
2B on each strand.
Section 10: Repeat section 1 using 7A and
1B on each strand.
Section 11: Repeat section 1 using 5A and
3B on each strand.
Section 12: Repeat section 1 using 1½" of
A, adjusting the length as needed to fit
your wrist, and 1B.
2) CLASP. Using the working thread,
weave through beads to exit the second B
added in the last section. String the end
loop of the clasp and pass through the
third B. Repeat the thread path several
times to reinforce (Fig. 3). Repeat to at-
tach the remaining clasp loops to the
end row of beads. Use the tail thread to
attach the remaining clasp half to the
ladder-stitch row at the other end. ✦
Fig. 3: Attaching the clasp
JEANNE BARTA CRAINE lives in Cedar Rapids,
Iowa, where she specializes in improvisational art
jewelry. She enjoys teaching and sharing her love
of beadweaving. Contact Jeanne at jbartacraine@
hotmail.com.
RESOURCES Check your local bead shop or
contact: Picasso-finish Czech seed beads: Beads
and Babble, www.etsy.com/shop/beadsandbabble.
Delica cylinder beads, clasp, FireLine braided
beading thread, and all other materials: Bead Haven,
(319) 247-2323, www.beadhavenbeads.com.
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06022011134032
ARTI ST’ S TI PS
• You don’t have to use just one color of 4mm rounds. Using
different colors in Round 1 creates an interesting effect.
• Weave the tail and working threads toward the center of each
component before trimming—you need the beads along the
outside of the component to be free of knots.
arabic
motifs cuff
Ma r c i e Abne y
TECHNIQUES
circular peyote stitch
picot
ladder stitch
herringbone stitch variation
See pp. Q+E 48 and 94 for helpful
technique information.
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06012011164109
BEADWORK QUICK+EASY august/september 2011 Q+E 17
ARTI ST’ S TI PS
• Do not use nylon thread for this
cuff as the glass rounds may cut
the thread.
• Make subtle adjustments to the
length of the cuff by changing the
number of beads used for the
toggle bars. Adding or subtracting
a component in each row will
change the length by about 1".
INSPIRED BY REPEATING MOTIFS seen in Arabic
architecture, this cuff uses tiny glass rounds and peyote
stitch to create a multitude of star shapes.
MATERIALS
15 g matte iris green size 11° Czech
seed beads (A)
7 g matte transparent teal size 11° Czech
seed beads (B)
5 g matte black size 11° Czech seed
beads (C)
88 jet 4mm glass rounds
Black 10 lb thermally bonded beading
thread
TOOLS
Size 12 beading needle
Scissors
FINISHED SIZE: 7"
1) COMPONENT 1. Use circular pey-
ote stitch to make star components:
Round 1: Use 2' of thread to string {1A
and 1 round} six times, leaving a 5"
tail. Knot the tail and working thread,
pass through all the beads again, and
exit a glass round.
Round 2: String 2B and pass through the
next round; repeat around to add a
total of 12B and exit the first B added
(Fig. 1—blue thread).
Round 3: String 1C and pass through the
next B, then string 3A and pass
through the following B; repeat
around to add a total of 6C and 18A
and exit the first C added (Fig. 1—
red thread).
Round 4: String 1A and pass through the
nearest 3A of Round 3, then string 1A
and pass through the next C of Round
Fig. 1: Working Rounds 1–3 Fig. 2: Adding Round 4
Fig. 3: Stitching Round 5 Fig. 4: Connecting two components
3; repeat around to add a total of 12A.
Exit the first A added (Fig. 2).
Round 5: Pass through 3A from Round 3
and 1A from Round 4. *String 1A, 1B,
and 1A and pass through the nearest
5A of Rounds 3 and 4; repeat from *
to add a total of 6 picots. Exit from the
first B added in this Round (Fig. 3).
Weave the working and tail threads
toward the center of the component;
secure the threads and trim.
2) COMPONENTS 2–7. Repeat Step 1
to create a second component, but omit
the B when working the final picot in
Round 5; instead, pass through a B of
Round 5 in the first component (Fig. 4).
Repeat Component 2 five times for a
total of 7 components. This forms Row 1
of the cuff.
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06012011164109
Q+E 18 beadworkmagazine.com
to the bottom edge of Row 1 compo-
nents as you work and connecting
them side by side as before.
4) CLASP. Use a variation of herring-
bone stitch to make 2 toggle bars that
form the clasp:
Rounds 1 and 2: Use 3' of thread to ladder-
stitch a strip 2B high and 3B long
(Fig. 6—blue thread). Stitch the first and
last stacks together to form a ring
(Fig. 6—red thread).
Rounds 3–9: String 2A; pass down
through the nearest 2A stack and
up through the next stack (Fig. 7—blue
thread). String 1A; pass down through
the next 2A stack, up through the fol-
lowing stack, and through the first A
added in this round (Fig. 7—red thread).
Repeat for a total of 9 rounds, passing
down through just the top bead of
each stack (instead of 2 as before) as
you work the next round.
Ends: String 1 round and 1A; pass back
through the round and the A next to
the last one exited in Round 9. Pass
up through the next A of Round 9, the
round, and the last A added. Pass back
through the round and 1 stack of
beads to exit the other end of the
toggle (Fig. 8). Repeat to finish the
other end. Exit from Round 5 in the
center of the toggle.
Attach: String 19A; pass through the B of
Row 1 at the end of the cuff. String
19A; pass through the last bead exited
on the toggle (Fig. 9). Repeat the thread
path to reinforce. Secure the thread
and trim.
Repeat the entire step to add a second
toggle to the B of Row 2 at the same end
of the cuff. ✦
MARCIE ABNEY is a self-taught beader living in
Wilmington, North Carolina. You can see more of
her work at www.labellajoya.blogspot.com.
RESOURCES Check your local bead shop or
contact: Green and teal seed beads: Jane’s Fiber
and Beads, (423) 639-7919, www.janesfiberand
beads.com. Black seed beads: A Place to Bead,
(910) 799-2928, www.aplacetobead.com. Rounds:
Michaels, (800) 642-4235, www.michaels.com.
WildFire thermally bonded beading thread:
Artbeads.com, (866) 715-2323.
Fig. 9: Connecting a toggle bar
Fig. 5: Connecting the first component of Row 2
Fig. 7: Herringbone-
stitching the toggle
Fig. 8: Adding a
toggle end
3) ROW 2. Create 7 components that
connect to Row 1:
First connection: Repeat Rounds 1–5 of
Step 1 to create an eighth component
but instead of trimming the working
thread, weave through beads to
exit the tip of a Round 5 picot. Pass
through the tip of Component 1’s
bottom-left picot. String 1A, 1B, and
1A; pass through the last B exited on
the eighth component. Repeat the
thread path, skipping the 1B just
added. Note: This will cause the B to
“pop” out. Weave through beads to
exit the eighth component’s next picot
(Fig. 5—blue thread). String 1A, 1B, and
1A; pass through the nearest B of
Round 5 in the first component and
the last B exited. Repeat the thread
path, skipping the 1B just added (Fig.
5—red thread). Secure the thread and
trim.
Following connections: Add 6 more com-
ponents, continuing to connect them
Fig. 6: Ladder-
stitching the
toggle start
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06012011164110
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To fnd stores near you, visit WWW.ARTISTICWIRE.COM.
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BW QE19-25 Aug11Advert_QE.indd 21 6/2/11 1:01 PM
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Q+E 22 beadworkmagazine.com
RIVETING PUNCH
MAKES COLD
CONNECTIONS EASY
By adding a simple hole, you can turn a bottle cap,
a copper disc, or any piece of soft metal into a
pendant, charm, or link. You can even layer several
pieces together with a rivet. However, punching holes
and riveting can be frustrating without the right tool.
Luckily, Beadsmith’s Riveting Punch makes it easy!
Just line up the punch where you’d like the hole and
squeeze the handles together as you would with a
paper-hole punch. The 1.5mm pliers are the exact size
of the rivets used for jewelry and work on sheet metal
up to 22-gauge. The pliers have extra-long jaws, mak-
ing it possible to punch holes far from the edge of the
metal. A Gauge Guard™ ensures a hole without dents
or rough edges, a must for professional-looking, com-
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pin to use as a replacement when the original one
eventually wears out. Beadsmith also sells 1.25mm and
1.8mm metal-hole punch pliers. For an instructional
video, you can visit www.helby.com/punch.
To fnd stores in your area, visit WWW.BEADSMITH.COM.
Berry Beads Burst
onto the SUMMER
BEAD SCENE
This summer Miyuki, known for its high-quality beads,
introduces Berry Beads (BB), a new peanut-shaped
bead that looks like two drop beads combined together.
You can fnd the 2.5 x 4.5 mm beads in stores shortly.
A larger size (3.3 x 5.5 mm) will be available later. It’s
offered in 33 colors, including sweet summertime
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Berry Beads make terrifc accents. You could string a
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bracelet appear more intricate. These new beads might
make especially beautiful netted necklaces, bracelets,
and earrings, as the curved shape of the beads would
complement the lacy look of the netting stitch. No
matter how you use them, you’ll love the way they add
romantic texture and interest to jewelry designs.
Learn more at WWW.MIYUKI-BEADS.CO.JP/
ENGLISH/SEED/BERRYBEADS.HTML ENGLISH/SEED/BERRYBEADS.HTML
RIVETING PUNCH
MAKES COLD
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06022011130413
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Q+E 24 beadworkmagazine.com Q+E 24 beadworkmagazine.com
Toho Embraces the
“SENSIBLE AND SPIRITED”
Color Trends for Fall
This fall’s colors include a mix of brights and neutrals.
According to Pantone’s “Sensible and Spirited” color
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Toho, known for its uniform, high-quality beads, offers a
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season’s trends.To add dazzling bright tones to your
beadwoven jewelry, try Toho’s hip Metallic Grape (#461),
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modern colors pop! If you prefer vintage or romantic-style
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Green Tea (#457), or Silver-Lined Milky Grapefruit (#2112).
Of course, timeless neutrals always have a place in
jewelry designs. Subtle hues like Ceylon Smoke (#150),
Matte Dark Copper (#702), and Black Diamond with
Orange Creme Lining (#369) are the must-have neutrals
that add a sense of elegance to your design.
No matter what the season or the trends, Toho has
beads to match. Find more inspiration and the full
range of colors at WWW.TOHOBEADS.NET
Discover the Perfect
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New CREATE YOUR
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If you always stick to monochromatic, safe color pal-
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of
DISCOVER THE SECRETS
Peyote andHerringbone
Stitch
N
OW YOU CAN MASTER bead
stitches from the basics + beyond
with expert Melinda Barta.
With thread-path diagrams,
expert tips and tricks, and
up-close shots and images,
you’ll easily learn two of the
most popular seed-bead
stitches.
Order your copy of these dynamic DVDs to:
‡

Get started the right way with
a comprehensive tools and
materials overview.
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Create pieces even faster with two-
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making easy embellishments.
‡

Discover the formula for creating
your own one-of-a-kind patterns.
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And more!
with this must-have,
easy-to-follow jewelry
resource you’ll use
again and again!
Get Started Today
Watch a preview at
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BW QE26-27 barta spread ad.indd 26 6/2/11 12:36 PM
06022011123744
T U B U L A R ,
S P I R A L , F L AT,
A N D M O R E !
W O R K S H O P
Fall in love with
seed-bead stitching
Do you remember the f rst time beads called your
name? I do. I was about seven years old, killing time
in a gift shop in the old Denver Stapleton Airport,
when the sweetest white-and-yellow daisy-chain
bracelet caught my eye.
Sure, I’d seen beaded bracelets before. But this was the f rst time
I truly saw beads. I studied and studied the thread paths that
connected those tiny beads until I was able to make my own. That
daisy-chain bracelet was just the tip of the iceberg.
Now is your time to fall in love with bead stitching, just as I did.
Watch along as I show you step by step how to create fabulous
jewelry with peyote and herringbone stitch. We start with the basics
and then step it up a notch with advanced variations. So you can
begin creating right away!
Melinda Barta
artist, designer, and senior editor of Beadwork magazine
BW QE26-27 barta spread ad.indd 27 6/2/11 12:36 PM
06022011123745
drops and
daggers
J ul i e D’Ami c o- Be r e s
TECHNIQUES
even-count peyote
fringe
See pp. Q+E 48 and 94 for helpful
technique information.
ARTI ST’ S TI PS
• After cutting a new length of thread, use chain-nose
pliers to firmly grasp the end of the thread and pull.
This will straighten out and stiffen the thread,
making it easier to thread your needle.
• Before adding the fold-over clasp, take chain-nose
pliers and carefully squeeze the connection loop to
prevent your threads from slipping out.
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06022011123830
BEADWORK QUICK+EASY august/september 2011 Q+E 29
USE AN ECLECTIC MIX OF CRYSTALS,
pearls, drops, and daggers to embellish a
simple peyote-stitch base.
MATERIALS
1 g silver size 15° seed beads
15 g metallic dark-cobalt iris size 6°
seed beads
51 matte dark-blue iris 4×5mm drop beads
31 matte black 3×10mm pressed-
glass daggers
31 Capri blue AB 4mm crystal bicones
1 silver shade 4mm crystal bicone
6 navy 4mm crystal pearls
4 light blue 4mm crystal pearls
6 navy 6mm crystal pearls
7 light blue 6mm crystal pearls
13 sterling silver 6×3mm decorative
bead caps
1 sterling silver 5×12mm fold-over clasp
1 sterling silver 8mm soldered ring
Smoke 8 lb braided beading thread
TOOLS
Size 10 or 12 beading needle
Scissors
FINISHED SIZE: 7
1
⁄8"
1) BASE. Working with 8' of thread and
leaving a 9" tail, use size 6° seed beads to
make an even-count peyote-stitch base
4 beads wide and 84 rows long. String
1 size 6°; pass back through the last bead
of Row 84, the nearest bead of Row 83,
and the first bead of Row 84 (Fig. 1).
String the soldered ring; pass back
through the bead just exited. Pass
through the ring again and through
the next end bead; repeat twice.
Pass through the ring (Fig. 2); pass back
through the bead last exited. Repeat
the thread path connecting the ring to
reinforce. Secure the thread and trim.
Using the tail thread, string 1 size 6°;
pass through first bead of Row 1 and
weave through beads to exit toward the
center of the base from the second bead
of Row 1. String the clasp; pass through
the last bead added (Fig. 3). Repeat the
thread path several times to reinforce.
Secure the thread and trim.
Fig. 1: Adding an extra bead
on one end of the bracelet
Fig. 2: Attaching the soldered ring
Fig. 3: Adding the fold-over clasp
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06022011123831
Q+E 30 beadworkmagazine.com
2) EMBELLISHMENT. Add pearls, drop
beads, daggers, and bicones with a series
of dangles and loops:
6mm pearl fringe: Secure 5' of new thread
that exits between 2 beads 4 rows
from one end of the base. String
1 bead cap (small end first), 1 light
blue 6mm pearl, and 1 size 15°; pass
back through the pearl, the bead cap,
and between base beads to exit the
back of the bracelet. Pull tight to
secure the fringe (Fig. 4).
Drop-bead loops: Weave through 1 to
2 beads on the back of the base and
exit toward the front of the base near
the 6mm pearl fringe. String 3 drop
beads; pass back through the base,
passing the needle between beads a
few beads from the last one exited.
Pull tight to secure the loop (Fig. 5).
Dagger loops: Weave through 1 to 2 beads
on the back of the base and exit
toward the front of the base, near
the 6mm pearl fringe. Add 3 dag-
gers in the same manner you added
drop beads.
4mm bicone and pearl fringe: Weave
through 1 to 2 beads on the back of the
base and exit toward the front of the
base, near the previously added
embellishments. String 1 bicone and
1 size 15°; pass back through the bicone
and the base, passing the needle
between beads next to the last one
exited. Pull tight to secure the fringe
(Fig. 6). Note: String 1–3 size 15°s before
the bicone to adjust the height of the
fringe. Repeat using one 4mm pearl
in place of the bicone.
Continue adding embellishments in a
freeform pattern while working down
the length of the base. Note: Alternate
the pearl and bicone colors. Try adding
1 size 15° between the drops for a dif-
ferent look on some of the drop and
dagger loops. In general, keep the
6mm pearls more in the center of the
bracelet. Use daggers along the edge of
the bracelet for a more dimensional
look. Drops look nice when surround-
ing a 6mm pearl fringe, plus they help
the fringe stand upright. Smaller
beads, such as 4mm pearls and crystals,
are best used to fill in the gaps between
larger beads. Secure the thread and
trim. ✦
JULIE D’AMICO-BERES designs and sells jewelry
and can be reached at jewelsbyjules@wi.rr.com.
She lives in Wisconsin with her husband of
eighteen years and their two dogs. She travels
extensively both in and out of the United States
and enjoys looking for beads in exotic locales.
Experienced in many forms of crafting, she found
her passion in beading about seven years ago.
RESOURCES Check your local bead shop or
contact: Swarovski pearls and bicones; FireLine
braided beading thread, and all other materials:
Midwest Beads, (262) 781-7670, www.midwest
beads.com.
Fig. 4: Creating a 6mm pearl fringe
Fig. 5: Adding a loop of drops
Fig. 6: Adding a bicone fringe
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teal tiles
bracelet
Ra c he l Mc Enr oe
TECHNIQUE
right-angle weave
See pp. Q+E 48 and 94 for helpful
technique information.
OPTI ONS
• Experimenting with different supplies will create interesting
results. Glass 8×8×4mm puff squares create a more contem-
porary bracelet.
• Randomly mixing transparent squares of different colors can
produce a stained-glass appearance (gunmetal size 11°s
would complement this option).
• Puff-square beads come in a variety of sizes. Adjust the
number of size 11°s used in each unit to accommodate
different-sized squares, using an even number on top and
bottom and an odd number on the sides.
• Create a pair of earrings by forming three square units that
hang vertically and attaching an ear wire.
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BEADWORK QUICK+EASY august/september 2011 Q+E 33
JEWEL-TONED GEMSTONES with the look of
mosaic tiles surround your wrist in this versatile
right-angle-weave bracelet.
MATERIALS
2 g antique brass size 11° seed beads (A)
45 green fluorite 8×8×4mm puffed
squares (B)
1 brass 25mm vintage shank button
Crystal 6 lb braided beading thread
TOOLS
Size 10 beading needle
Scissors
FINISHED SIZE: 7"
1) BRACELET. Use right-angle weave to
create a bracelet that has 45 units filled
with fluorite squares:
Row 1, Unit 1: Use 3' of thread to string
22A, leaving a 6" tail. Tie a square
knot to form a circle; exit through the
first 2A. String 1B; pass back through
the 13th A and continue through
beads to exit the 4th A (Fig. 1—blue
thread). Pass through the B and the
15th and 16th A (Fig. 1—red thread).
Note: Adjust the beads so the top and
bottom of the square will each have
6A and each side will have 5A.
Row 1, Unit 2: String 17A; pass through
the top-right 2A of Unit 1. String 1B
(Fig. 2—blue thread); pass back through
the 8th A just added and continue
through beads to exit the bottom-right
2A of Unit 1. Pass through the B and
exit the top-right 2A of this unit
(Fig. 2—red thread).
Row 1, Unit 3: String 17A; pass through
the bottom-right 2A of Unit 2. String
1B; pass back through the 8th A just
added and continue through beads to
exit the top-right 2A of Unit 2 (Fig. 3—
blue thread). Pass through the B, exit
the 10th A just added, and continue
through beads to exit the top-right 6A
of this unit (Fig. 3—red thread).
Row 2, Unit 1: String 16A; pass through
the top 6A of the previous row’s
Fig. 2: Adding Unit 2 to Row 1
Fig. 3: Stitching Row 1, Unit 3
Fig. 1: Working Row 1,
Unit 1
Fig. 4: Adding Row 2, Unit 1
Unit 3 and the first 2A just added.
String 1B; pass back through the
13th A just added and continue
through beads to exit the 4th A just
added (Fig. 4—blue thread). Pass through
the B, the 15th and 16th A just
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Q+E 34 beadworkmagazine.com
added, and the top 6A of the previ-
ous row’s Unit 2 (Fig. 4—red thread).
Row 2, Unit 2: String 11A; pass down
through the top-left 2A of the previ-
ous unit. String 1B; pass back through
the first 2A just added and continue
through beads to exit the bottom-left
2A of the previous unit (Fig. 5—blue
thread). Pass through the B and the 4th
and 5th A just added (Fig. 5—red thread).
Row 2, Unit 3: String 11A; pass through
the top 6A of the previous row’s
Unit 1 and the bottom-left 2A of
the previous unit. String 1B; pass
back through the 8th A just added
and continue through beads to exit
the top-right 2A of the previous
unit (Fig. 6—blue thread). Pass through
the B, the 10th A just added, and
continue through beads to exit the
top 6A of this unit (Fig. 6—red thread).
Row 3, Unit 1: Repeat Row 2, Unit 1 (Fig. 7—
black thread).
Row 3, Unit 2: String 11A; pass down
through the top-right 2A of the
previous unit. String 1B; pass back
through the first 2A just added and
continue through beads to exit the
bottom-right 2A of the previous
unit (Fig. 7—pink thread). Pass through
the B and the 4th and 5th A just
added (Fig. 7—green thread).
Row 3, Unit 3: String 11A; pass through
the top 6A of the previous row’s Unit 1
and the bottom-right 2A of the previ-
ous unit. String 1B; pass back through
the 8th A just added and continue
through beads to exit down through
the top-right 2A of the previous unit
(Fig. 7—blue thread). Pass through the B,
the 10th A just added, and continue
through beads to exit the top 6A of
this unit (Fig. 7—red thread).
Repeat six times, alternating Rows 2 and
3, for a total of 15 rows.
2) CLASP. Add a closure to the bracelet:
Loop: Weave through beads to exit the
top-center 2A of Row 15, Unit 2.
String 38A (or enough to slip over the
button); pass through the last 2A
exited (Fig. 8). Repeat the thread path
several times to reinforce.
Button: Weave the tail through beads to
exit the bottom-center 2A of Row 1,
Unit 2. String 2A, the shank of the
button, and 2A; pass through the last
2A exited (Fig. 9). Repeat the thread
path several times to reinforce. ✦
Fig. 5: Working Row 2, Unit 2 Fig. 6: Finishing Row 2
Fig. 7: Working Row 3
Fig. 8: Adding the clasp loop
Fig. 9: Attaching the button
RACHEL McENROE has been beading for more
than four years. She is a freshman at the
University of Chicago, where she is pursuing
studies in chemistry and physics as well as
continuing her foreign language studies (Arabic,
Russian, and Chinese).
RESOURCES Check your local bead shop or
contact: Puff squares: Lima Beads, (888)
211-7919, www.limabeads.com, and Sojourner,
www.sojourner.biz/beads.html. FireLine braided
beading thread and seed beads: FusionBeads.com,
(888) 781-3559.
BW QE32-34 McEnroe.indd 34 6/2/11 12:39 PM
06022011124033
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06022011140907
bayou influence
Luc y Ba ke r
TECHNIQUES
square stitch
stringing
See pp. Q+E 48 and 94 for helpful
technique information.
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06022011124319
BEADWORK QUICK+EASY august/september 2011 Q+E 37
OPTI ON
Use Lucy’s beaded pearls
to make a matching pair
of earrings.
USE EMBELLISHED PEARLS to accent a lovely strung
necklace inspired by the purples, golds, and greens Lucy
wears to honor her Cajun heritage.
MATERIALS
8 g metallic burgundy size 11° seed
beads (A)
4 g ceylon light mauve size 11° seed
beads (B)
3 g rose-lined spring green size 11° seed
beads (C)
2 g metallic green iris size 8° seed beads (D)
16 mauve 5.5mm flat-sided round pearls (E)
16 olive 4×7.5mm rice pearls (F)
14 cream 12mm crystal pearls
1 cream 16mm crystal pearl
1 sterling silver 5×12mm lobster clasp
1 sterling silver 5mm split ring
2 sterling silver 2mm crimp tubes
2 sterling silver 3mm crimp covers
3' of .011 beading wire
Crystal 4 lb braided beading thread
TOOLS
Size 10 or 12 beading needle
Scissors
Wire cutters
Crimping pliers
FINISHED SIZE: 21¾"
1) PENDANT. Embellish the large pearl
with beaded strands and flowers:
Beaded strands: Use 6' of thread to string
a tension bead, leaving a 6" tail.
String the 16mm pearl and 17A; pass
through the 16mm pearl to form the
first beaded strand (Fig. 1). Repeat for a
total of 10 strands. Pass down through
a beaded strand, remove the tension
bead, knot the tail and working
threads together, and pass up through
the pearl again.
Links: Pass down through the first 3A of
the first strand. String 1A; pass up
through the third A in the next
strand, back through the 1A just
added, and down through the third A
in the first strand to form the first
link between strands. Pass through
the 1A just added and down through
the third and fourth beads of the next
strand (Fig. 2). Start the next link from
Fig. 1: Adding the first beaded strand
OPTI ON
Use Lucy’s beaded pearls
to make a matching pair
of earrings.
Fig. 2: Forming the first link between strands
the fourth bead. Continue joining
1 strand to the next with links,
moving down 1 bead each time to
form a total of 13 links that spiral
around the pearl. When you complete
the last link, weave down to the end
of the strand and up through the
16mm pearl.
ARTI ST’ S TI P
Keep the beaded strands in
order when beading the small
rounds so that the spiraling
color pattern stays correct.
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Q+E 38 beadworkmagazine.com
Flower embellishment: Weave through
beads to exit the first link. String 1B;
pass through the 1A just exited, form-
ing the top middle petal. Repeat,
forming the bottom middle petal. Pass
through the first 1B added in this step
(Fig. 3).
String 2B; pass up through the third
A in the first beaded strand and down
through the second 1B just added.
String 1B; pass through the bottom
middle petal (Fig. 4–green thread).
String 2B; pass down through the
third A in the second beaded strand
and up through the second 1B just
added. String 1B; pass through the
top middle petal and the next 2B
(Fig. 4–blue thread).
String 1C; cross over the center of the
flower and pass up through the center
B on the flower’s right edge (the right
middle petal) and back through the 1C
just added. Pass down through the left
middle petal and the 1C. Pass up
through the right middle petal and
down through the third and fourth
beads of the right beaded strand, exit-
ing the fourth bead (Fig. 5). Pass through
the link, continue down through
1 bead on the next strand, and exit
through the next link. Make a total of
7 flowers, skipping one link between
each flower. Note: The sixth and
seventh flowers are stitched between
the same pairs of strands as the first
and second flowers, respectively.
Weave through beads to exit a strand
at the bottom of the pearl. Knot the
tail and working threads together.
Secure the threads and trim.
2) BEADED PEARLS. Use 4' of thread
to string a tension bead, leaving a 6" tail.
String one 12mm pearl, 1A, and 11B;
pass through the 12mm pearl again to
form the first beaded strand. To form
the second beaded strand, string 1B, 1A,
and 10B; pass through the 12mm pearl.
For the third strand, string 2B, 1A, and
9B; pass through the 12mm pearl. Con-
tinue adding strands, keeping them in
order around the pearl for a total of
12 beaded strands, moving the 1A down
one place on each strand to create a spi-
ral of A beads. Repeat to make a second
mauve beaded pearl.
Repeat twice, substituting B for A and A
for B for a total of 2 burgundy beaded
pearls; repeat twice, substituting B for A
and C for B for a total of 2 rose beaded
pearls.
3) ASSEMBLY. Use 3' of beading wire
to string the pendant, 1D, and 1A to the
center of the wire; pass back through the
1D and pendant. *Use one end to string
{1D, 1E, 1D, 1F, 1D, one 12mm pearl,
1D, 1F, 1D, 1E, 1D, and 1 mauve beaded
pearl}; repeat four times, substituting
1 burgundy then 1 rose beaded pearl
for the mauve beaded pearl and omitting
the last beaded pearl. String 1 crimp tube
and the lobster clasp; pass back through
the tube, crimp, and trim the wire.
Cover the crimp tube with 1 crimp
cover. Repeat from * on the other end,
substituting the split ring for the lobster
clasp. ✦
LUCY BAKER has a BS in mechanical engineering
and is the quality-assurance manager and safety
officer at a machine shop in Louisiana. When she
is not designing and improving processes during
the day, she is dreaming up and constructing
complex beaded structures in her spare time.
RESOURCES Check your local bead shop or
contact: Size 11° seed beads: Victorian Purses By
Sue, (989) 865-6970, www.victorianpursesbysue
.com. FireLine braided beading thread, Swarovski
pearls, and all other materials: Fire Mountain Gems
and Beads, (800) 423-2319, www.firemountain
gems.com.
Fig. 3: Attaching the first two petals
Fig. 4: Adding the rest of the petals
Fig. 5: Finishing the flower center
ARTI ST’ S TI P
If your size 11° seed beads are a slightly different size, you may need
to use 16 or 18 beads per beaded strand on the large pearl and 11 or
13 beads per beaded strand on the small pearls. After stringing the
first beaded strand, there should be a gap equal to the size of one
bead where the thread is still showing on that beaded strand. This will
fill in as you add other beaded strands.
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magdala
bracelet
Na nc y Pe t e r s on
TECHNIQUES
right-angle weave
netting
picot
See pp. Q+E 48 and 94 for helpful
technique information.
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BEADWORK QUICK+EASY august/september 2011 Q+E 41
REMINISCENT OF VICTORIAN FRETWORK,
this bracelet combines the beauty of netting with
the structure of right-angle weave.
MATERIALS
10 g Montana-blue-lined crystal AB
size 15° seed beads (A)
75 white opal 3mm crystal bicones (B)
76 navy 4mm glass pearls (C)
2 sterling silver 5mm jump rings
2 sterling silver 6mm split rings
1 sterling silver 15mm fancy toggle clasp
Smoke 6 lb braided beading thread
TOOLS
Scissors
Size 10 or 12 beading needles
2 pairs of chain- or flat-nose pliers
FINISHED SIZE: 7¾"
1) BASE. Use 9' of thread to string 4C,
leaving a 12" tail. Pass through the first
3C again to form a tight circle. String
3C; pass through the last C exited and
the first 2C just added; repeat to form a
right-angle-weave strip 25 units long.
Note: If adjusting the bracelet’s length,
make sure there are an odd number
of units.
2) EMBELLISHMENT 1. Stitch a fan to
embellish the base:
Cross: String 2A, 1B, and 2A; pass down
through the opposite C in the last unit
exited (Fig. 1—blue thread). String 2A,
pass back through the B just added,
string 2A, and pass down through
the first C exited in this step. Weave
through the next 2C of this unit
(Fig. 1—red thread).
Fan base: String 9A; pass down through
the opposite C in the unit (Fig. 2).
Repeat the cross embellishment (Fig. 3—
green thread).
Fan: String 7A, 1B, and 1A; pass through
the eighth A added to the fan base,
then pass back through the last A/B/A
strung and through the next A. String
3A; pass through the last A exited to
form a picot. Repeat the entire section
three times, connecting to every other
bead on the fan base. String 5A; pass
down through the nearest C (Fig. 3—
blue thread) and weave through beads
to exit down through the fifth side C
along the center of the base (Fig. 3—
red thread).
Fig. 1: Adding the first cross to the base Fig. 2: Forming the fan base
ARTI ST’ S TI P
To help the picots hold their shape
on the edge of the bracelet, dab a
small amount of Future floor polish
on them with a cotton swab and let
dry overnight.
Fig. 3: Weaving the fan
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Q+E 42 beadworkmagazine.com
3) EMBELLISHMENT 2. Turn the base
so the previous fan points down. Repeat
the fan base and weave through the
nearest 3C of the previous unit (Fig. 4—
green thread). Repeat the fan (Fig. 4—blue
thread). Repeat the cross, but don’t weave
through more C (Fig. 4—red thread).
Repeat Embellishment 1 (starting with
the fan base) and Embellishment 2
across the base to add a total of 12 fans.
4) CLASP LOOP. Exiting from the C at
the end of the bracelet, string 4A, 1 split
ring, and 4A; pass through the last C
exited to form a loop. Pass through the
beads again to reinforce (Fig. 5—blue
thread). Use a jump ring to connect one
half of the clasp to the split ring on the
clasp loop.
5) CONNECTORS. Connect the fans:
End: String 3A, 1B, and 7A; pass through
the nearest C and the next 3A, 1B,
and 2A just strung to form a base for
the connectors (Fig. 5—red thread).
Connectors: String 4A, 1B, and 3A; pass
through the top C of the next unit.
String 2A; pass back through 1A, 1B
and 1A. String 3A; pass through the
left side A of the next fan’s closest picot
and weave through beads to exit
through the right side A of the fourth
picot in the same fan (Fig. 6—red thread).
Repeat this section to connect the
fans. Note: On the last fan, weave
through beads to exit from the C at
the end of the bracelet.
Repeat the clasp loop, then repeat the
end and connectors along the other
edge of the bracelet. Secure all threads
and trim. ✦
NANCY PETERSON enjoys the challenge of all
types of beadweaving. She teaches regularly at the
Garden of Beadin’ in Bartonsville, Pennsylvania.
Visit http://stores.lulu.com/nlpbeaddesign for
more of Nancy’s designs; read her blog at
www.npbeading.blogspot.com; contact Nancy
at nlp.bead.design@gmail.com.
RESOURCES Check your local bead shop or
contact: Miyuki seed beads: Fox Den Beads, (262)
634-2323, www.foxdendesigns.com. Glass pearls:
Shipwreck Beads, (800) 950-4232, www.shipwreck
beads.com. Swarovski bicones and clasp: INM
Crystal, (561) 734-2101, www.inmcrystal.com.
FireLine braided beading thread: Fire Mountain
Gems and Beads, (800) 355-2137, www.fire
mountaingems.com.
Fig. 4: Adding
Embellishment 2
Fig. 5: Stitching the clasp loop and end connector
Fig. 6: Adding connectors between fans
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06022011124521
your peyote stitch
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Best of

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06062011164959
double helix
Ta ma r a Al l i s on
TECHNIQUES
tubular herringbone stitch
ladder stitch
See pp. Q+E 48 and 94 for helpful
technique information.
ARTI ST’ S TI P
Tamara recommends pairing red with blue beads and
green with orange beads as you work the color rows.
Switch the order that you stitch the beads in each row
as desired, but work the front and back of each row as
mirror images of each other.
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06022011124852
BEADWORK QUICK+EASY august/september 2011 Q+E 45
DESIGNED TO MIMIC THE DISTINCTIVE
twist of our DNA, this herringbone-stitch
bracelet recalls the highlights of biology class
in Tamara’s high school days.
MATERIALS
2 g transparent orange size 11º seed beads (A)
2 g silver-lined green size 11º seed beads (B)
24 g satin white size 11º hex-cut cylinder
beads (C)
2 g opaque red size 11º seed beads (D)
2 g opaque luster blue size 11º seed beads (E)
10 g opaque black size 8º seed beads (F)
10 g opaque white size 8º seed beads (G)
1 silver 13mm toggle clasp
Smoke 6 lb braided beading thread
TOOLS
Scissors
Size 10 or 12 beading needle
FINISHED SIZE: 8"
1) SPIRAL BAND. Stitch a foundation
ladder and tubular herringbone band:
Round 1: Use 3' of thread to ladder-stitch
a 12-bead strip in the following colors:
1F, 5C, 1F, and 5C, leaving a 12" tail.
Connect the last C to the first F to
form a circle and exit up through the
F (Fig. 1).
Round 2: Working in tubular herring-
bone, add 2 beads per stitch in the fol-
lowing order: 1G and 1D, 2D, 2E, 1G
and 1E, 1E and 1D, and 2D. Step up
through 1F and 1G to start the next
round (Fig. 2). Note: The F and G size
8º beads form the band’s edges; the
size 11º beads form the band’s center.
Round 3: Repeat Round 2 using 1F for
each edge bead and C for the center
beads. At the end of this round, step
up through 1F, 1G, and 1F (Fig. 3). Note:
Step up through 3 edge beads this way
at the end of all the remaining rounds
to create the twisted spiral.
Round 4: Repeat Round 2 using 1G and
1B, 2B, 2A, 1G and 1A, 1A and 1B,
and 2B.
Round 5: Repeat Round 3.
Rounds 6 to end: Continue working in the
established pattern for 115 rounds or
until the band is the desired length.
The band will begin to twist after the
ninth round. Note: The clasp adds 1"
to the finished length.
Fig. 1: Ladder-stitching Round 1
Fig. 2: Adding the first herringbone-stitch round
Fig. 3: Stepping up through 3 edge beads
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Q+E 46 beadworkmagazine.com
2) FINISHING. After working the final
herringbone-stitch round, ladder-stitch
the center beads together in pairs and
exit an edge bead. String 5 size 8° beads,
continuing the alternating pattern of F
and G beads previously established. Pass
down through the edge bead across from
the one just exited and continue through
the next 3 edge beads. Weave back
through a neighboring size 11° and 1C
and pass back through the second and
first edge beads. Continue through the
next 3 size 8° beads, exiting through the
center bead of the 5 just added. String
6C, one half of the clasp, and 6C; pass
through the center bead, repeat the
thread path through the beads and clasp
just added, and continue through the
size 8° beads to the band (Fig. 4). Secure
the thread and trim.
Repeat this step using the tail thread
and the other half of the clasp to finish
the other end of the band. ✦
TAMARA ALLISON discovered beading when she
was thirteen. Nine years later, she is pursuing a
BFA at Midwestern State University in Wichita
Falls, Texas, and continuing to develop her own
jewelry designs. To see more of her work, visit
www.tamarallison.webs.com or contact her at
vanishingpearl@yahoo.com.
RESOURCES Check your local bead shop or
contact: FireLine braided beading thread and all
other materials: Fire Mountain Gems and Beads,
(800) 355-2137, www.firemountaingems.com.
Fig. 4: Attaching the cla sp
OPTI ON
Work shorter sections of the
herringbone-stitch spiral to
make a playful pair of earrings.
Add a bead loop to connect the
ear wires.
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06022011124853
finish it

your way
Take your jewelry to the next level
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rings, ear wires, bails, and more.
Handcrafted Wire Findings
Techniques and Designs for Custom
Jewelry Components
Denise Peck and Jane Dickerson
ISBN 978-1-59ôô8-283-2 · 128 pages · $22.95
BW QE47 hwf book ad_QE.indd 47 6/2/11 12:49 PM
06022011124938
Q+E 48 beadworkmagazine.com
more techniques
These basic instructions are for techniques used in this issue’s projects and are from The Beader’s Companion (Interweave, 2005).
Don’t have this popular book? Call (800) 272-2193 or visit interweavestore.com.
CRI MPI NG
String a crimp tube and pass through the connec-
tion finding. Pass back through the tube, leaving a
short tail. Use the back notch of a pair of crimping
pliers to pinch the tube into a U, leaving a wire on
each side of the bend. Rotate the tube 90° and use
the front notch to form the pinched tube into a
clean cylinder.
F I NI S HI NG AND STARTI NG
NEW THREADS
Tie off your old thread when it’s about
4" long by making a simple knot between beads.
Pass through a few beads and pull tight to hide
the knot. Weave through a few more beads and
trim the thread close to the work. Start the new
thread by tying a knot between beads and weaving
through a few beads. Pull tight to hide the knot.
Weave through several beads until you reach the
place to resume beading.
GLUI NG
Place a sparing amount of glue on knots to secure
them (we recommend G-S Hypo Cement) or use
enough glue to completely secure beads to a sur-
face (E6000, Terrifically Tacky Tape). Allow any
glue to dry thoroughly before continuing.
HAL F- HI TCH KNOT
Half-hitch knots may be worked with two or more
strands—one strand is knotted over one or more
other strands. Form a loop around the cord(s),
pull the end through the loop just formed, and
pull tight. Repeat for the length of cord you want
to cover.
OVERHAND KNOT
The overhand knot is the basic knot for tying
off thread. Make a loop with the stringing
material. Pass the cord that lies behind the loop
over the front cord and through the loop.
Pull tight.
S QUARE KNOT
The square knot is the classic sturdy knot for
securing most stringing materials. First make an
overhand knot, passing the right end over the left
end. Next, make another overhand knot, this time
passing the left end over the right end. Pull tight.
S URGEON’ S KNOT
The surgeon’s knot is very secure and therefore
good for finishing off most stringing materials.
Tie an overhand knot, right over left, but instead
of one twist over the left cord, make at least two.
Tie another overhand knot, left over right, and
pull tight.
TENS I ON BEAD
A tension bead (or stopper bead) holds your work
in place. To make one, string a bead larger than
those you are working with, then pass through the
bead one or more times,
making sure not to split the
thread. The bead will be able to
slide along but will still provide
tension to work against when
beading the first two rows.
WI REWORK
To form a simple loop, use flat-nose
pliers to make a 90° bend at least ½"
from the end of the wire. Use round-nose
pliers to grasp the wire at the tip; roll the
pliers toward the bend, but not past it, to
preserve the 90° bend. Adjust the pliers as
needed to continue the wrap around the nose of the
pliers. Trim the wire next to the bend. Open a sim-
ple loop just as you would a jump ring (see below).
To form a wrapped loop, begin with a 90° bend
at least 2" from the end of the wire. Use round-
nose pliers to form a simple loop with a tail over-
lapping the bend. Wrap the tail tightly down the
neck of the wire two or three times. Trim the
excess wire to finish. Make a thicker, heavier-
looking wrapped loop by wrapping the wire back
up over the coils, toward the loop, and trimming
at the loop.
To open a jump ring, grasp each side of its open-
ing with a pair of pliers. Don’t pull apart. Instead,
twist in opposite directions so that you can open
and close without distorting the shape.
Wrapped-loop bails turn side-
drilled beads, usually teardrops,
into pendants. Center the bead on
a 3" or longer piece of wire. Bend
both ends of the wire up the sides
and across the top of the bead.
Bend one end straight up at the center of the bead,
then wrap the other wire around it two or three
times. Form a wrapped loop with the straight-up
wire, wrapping it back down over the already
formed coils. Trim the excess wire.
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