6 projects you can make - String an SMHS NMC Me Les , ead@ Button. heative Ideas for the Art of Beads and Jewelry Weave a a4 ibbon of pearls ~ from our past — plus a how-to by Cynthia Toops MManything goes Burton Glass Summer dy Michelle Lewis y great-grandmother baby-sat for me and several of my cousins during summer vacations. The seeming- Iy endless sunny days usually found us exiled from the house until Great- grandmother finished her cleaning and cooking. At the back of the house she had a sewing room that was always off limits to us because ofthe needles and scissors. Looking back, Limagine she also kept us out because it was really the ‘only room in the house that was hers alone. It was certainly the only peaceful room in the summer, ‘One afternoon when I was six or seven, a stomach ache kept me in the house and out of the baking heat. I Jounged on the high feather bed sucking ‘ce cubes until Theard the screen door bang shut. Knowing my great-grand- ‘mother had gone outside to hang the wash on the line, erept down the hal {nto her sewing room to prowl and found a box af buttons. I thought the transparent reds, blues, and greens ‘would be pretty with the sun shining through them. When I held the glass and plastic buttons to the window, they glowed with such bright colors that 1 thought it would be neat if they were always in the window. So Trammaged around for the glue that I had seen earlier and proceeded to glue about 30 buttons tothe window, Just when Thad the last one firmly in place, Great- ‘grandmother found me. I remember thinking that gluing buttons to the win- dow didn’t seem like such a good idea all ofa sudden, “Kind of pretty, aren't they?” she said, looking at the patternless arrange- rent, then sent me back to bed. She let them there until over the next several years, they all eventually el off. Obvi- ‘ously, the glue wasn't designed for sticking buttons to glass. ‘As she grew older, my great-grand- mother's mind started to retreat into the past, and every time she saw me, she'd say, “Those sure were pretty buttons.” {Pm ghad to have this memory (and my button collecting hobby), but tobe hon- si, green buttons still make me sort of sad that she’s not around anymore. © A native of Chattanooga, TN, Michelle has been collecting buttons since she was teenager. She has only just begun to be serious about her hobby — doing research, learning the terminology, and talking with other collectors.contents see page 68 ‘A Connecticus artisan recreates bronze buttons and charms with 2,500 year-old techniques, seepage 4 Meet Sage, one of America's {firs contemporary gloss bead makers —and still one of the best. 34 ‘Métis Dog Team Finery by Darnele Huerkamp Bead embroider a floral fantasy 38 by Mary Mowery Decorate with beaded lass spheres 40 <= impressed Mokume Gane by Nan Roche Use rubber stamps and patinas for ancient effects 44 ‘Ribbon of Pearis by Louise Malcolm Create luxurious drape with a Variation on right-angle 46 a sare inks Salow Ceebrate Beadé-Button's Fifth anniversary 30 Cleopatra's Collar bby Linda Salow Create a classic look with eye ps and beads American Glass Beadmaking Pioneers Sage by Alice Korach 58 The Elegance of a Sunken Era by Ruthe Kanakoff fringe, and edge a “Titanic” comb in one step COVE STORY What Are They Doing Now? by Alice Korach Artists from our first three Years update us with their current work 66 <= Transforming bullseye canes for a cone necklace by Cynthia Toops 68 Artifact Jewelry by Ernest Neri Hand-forged buttons and beads /Q Lace Christmas Tree Earrings by Kathy Rice Weave a tree with seed bead diamonds 72 Figures of Enchantment by Kathiyn Moss Beaded dolls by four artists 77 Make a beaded totem doll bby Pa Chiovarie with Kathlyn Moss S$ NUMBERWena beaong ton ut rexders. Hou ree tocetct us, call 418-7568716, ve ite Bena PO Ba 1612 his, WI sans7t512 EET Cy sutscri Simpl call wsat 900-496-583, ‘A casomer src agent ‘i Dap tele yu, Simp wat see page 53 1-54 558-54, ando Who says elegance can be easy and comfortable? ‘aes be departments dete to snes ‘quests or sito. 6 From Alice’s Desk 8 Tips & Techniques Corrosion-free buttons, bead tote, necklace short- ener, tapestry purse, needle puller, polymer clay texture, cardboard thread holder, needle threading 12 Your letters 16 Origins ‘rican Trade Bead Museum 22 Computer Notes 24 Your Work 26 Patterns 28 Chic & Easy: italian Designer Necklace (nthe cove 80 News & Reviews Cynthia Toops Books fr inspiration, laom weaving, and chil trasshucent poly dren; bead reamer; abalone buttons and pen- mer clay cone seep dant; bracelet loom necklace is almost Susanne Stern easts glass as fit were metal for her 88 Gleaming Treasures 1998 weightless. Photo experimental Morning Glory brooch, soia-ime glass 92 Calendar by Jn Forbes sterling silver, cepper;2-in. diam. (Sem), 1998. Photo 94 Basics by George Post Surgein's knot, pear! knotting, tcular peyote stitch and decreasing, square stitch, loops, wrapped loops 106 Anything Goes Button Glass Summerfrom alice’s desk ur jumbo Fifth thas been completely his is a very special issue for us. In the scheme of milestone birthdays, five is no big deal. But when I look back to where we were 2/4 years ago, | never thought we’d make it to three, let alone five. Kalmbach has been elegance and artistic Aavor of incredibly good to us. And our new logo. Having helped personally, I wouldn’t trade design the frst logo, I didn’t the life Thave now for armil- think we needed a new one ~ lion bucks. We've been plan~ until saw it! After that, T ning this issue for the past could hardly wait to switch. year. Rather than spend alot Where is Bead & Button ‘oftime looking back to our going in the next five years? nostalgic past, however, ‘We plan to keep growing so ‘we've striven to give you —_we can continue to give you ‘more ofthe things you most even more fabulous jewelry enjoy in Bead & Button. We and art projects and excellent only glance back at our past profiles of inspiring artists, inonearticleto see what And we'll keep improving three of the outstanding our photosto give you more artists we featured then are inspiration and information. doing now, Like all true We're totally committed to amists and like Bead & Burton showing you beautiful work itself, Suzanne Stern (glass and giving you all the tools and metal), Sue Jackson and you need to be able to repli ‘Wendy Hubick (seed beads), cate and then go beyond it. and Cynthia Toops (polymer Beads are beautiful and hay) have continued to pro- full of power. We experience duce more wonderful work such calm and joy while ‘with each passing year. We're working with them, and we ako looking back into the Tove the sense of continuity, carly days of the American _going all the wayback to gss beadmaking movement Neolithic times. Our goal is with a profile of Sage. Only to help you experience the handful of dedicated artisans same pleasures and to made glass beads ten or more become part of this enthusi- ‘years.ago. In futureissues, _astic, generous community. ‘we'll continue to profile these So welcome, newcomers! pioneers to whom we all owe And thankyou, subscribers, somuch, for making our frst five years ‘Thisissue is also special 50 good we hope you'll con- becauseit's the firstof our tinueto bea part of the fami- ‘complete redesign. We've _ ly for many years to come. added three new depart ‘ments, which we hope you'll hap to shape with your con- Reece | amet puter Notes, and Origins. ? ‘We're also thrilled with the BewdorBotion » December 1998 Bead@Bu Edler Alice Kerach Associate Eta Link iow tris Assit Sse eh Contribeting Edfter Louse Madan ‘et Dire Lise M Sehwoeder BrapteDese as LKpe Sta Photopaprs Rk Ze: fn ets Saf Mattos Ter Fel Ree ig erertas Be a eo ‘serra Bor ser en Sea sever. ‘Dawn Bebe ‘oie ket ee Ne As seers greene Sect Fs ret te Penge ‘ode Sect Keown Ket rete Gerd fonts pee frei “nce at races Vet) cc Caeeve nce reo Ger 8 emer icin ers Maho Seps rose ‘Bb en agen art Breer ‘was Eg mang Bivcne Stare Sch ‘esench Hood & ates tial Ofes: $14798-37 Enel aaah besdaetin Weed. Web Hone Fase titstown Sete cnt Coster Sues an Serie, ‘aon 305 Advertsing Sales 268-58-154, 1648 Dealer Sales. 1-500-558-1541 M=f,830 an, 10 390 po. O3T Reade turin (SSX 1672-4981, USPS 012-099) fttied Hroety by Each Peting Coc ‘Tiny Croats Clk, PB 1612, Wash ‘WSSU? 0 19%, Kalmbach Pblahing Ca. Al igs reread Tile begs as tne, Pepe Patel Washes, Wises, and nal bet Ths putin may ote repre Fast n wine wos len perindo e he Pobishe. Pee seal cisoral contin to: bce Str 0 os, Weck (Gama $4295 pr to yor fon $4155 per tree ets (08 uae) Cana a fone $80 Be eur 9 U.S unde cy, Candin pce nines Esy ns 1227 30 Ry ow ape verePogson TSG enna ae ni 147 Sacnauenero Sr. |Apurx, CA 95603 (830) 823-1020 con raen $4.00 Howrs 10305 Closed Tuesday a! tom AIRY WING PRESS! “The Illuminated Beading Manuscripts ‘Book 15- DESIGN sloavailate Book 2- THE LOOM, Patterns, Kits, & Sik Beading Thread 'Y ToviEWA ORDER Ite ST Al PRC Creasy er New look for an old necklace To change the look of a long secKlace, put it on with the clasp in the front. Cross the ends just below your neck. ‘Gross them again, bring the clasp ends to the back, and slose.~ Florence Bishop, Twista longnectisce Placerville, CA 2s shown above for aneanciting newieok Needle puller ‘The next time you get a hole ina nubby rubber glove, don’t throw it away. Cur out the textured palm piece and nse it to grip your needle when it needs alittle help getting through the beads. It works like a charm, —Susan ‘Tucker, Mechanicsburg, PA Not just for pills Itrave alot, so I'm always looking for sturdy and con- ‘enient ways to bring along my seed beads. I discovered the perfect way at the local drug store. They have large pill boxes with enough com- partments fora week, and each day has four individual sections. The lids are perma- rently attached, and they ups@techniques close tightly. They're practi cally impossible to spill because the whole thing sits {nits own tray. Best ofall, they're cheap. —Kelly Ziegler, Swoyersville, PA Polymer clay texture ‘When you want to add tex- ture to sheets of polymer clay, try using adesigner ‘water oF juice bottle, Save bottles with decorative shapes, fill them with sand, and glue the top on the bot- te. To use, rol it across poly- mer sheets. You'll be sur prised at the patterns you get. — Carolyn Cecelia Davis, Washington, DC Corrosion-free buttons Ifyou can’t find a source for + desiccant to keep your but- tons in good shape, try mak- ingyour own. Buy the d cant used for drying flowers at acraft or variety store. Put small amount in small envelope or tiny bag and place with your buttons. —Carol A. Heivilin, “Thomasville, GAJen-Ken Kiln ‘ead Annsaler & fusing! Siumpine Kiln = sn" Chater Uses Regal Bess Aomesh ass ose & Shp hm 12 Verte Wana aga tae $98 Nisa Mase “Special Price: $293 Dayerrdin $6 Sutes ‘800-958-5319 yor Sie COVKILN.COM. Cones DeVere ‘saaten Sect Alomar 02275 ‘3.New Unique TieFintin Phins Indian Products & Craft Supplies Books & Music Craft Supplies * Italian Glass Bead Onefor $2 + TwoerS3 + Al Tire foc $4. < —__——_« “156th Svet, BB «Rapid iy, SD 57701 T800-156:3394 = 605-348-4822 Pecioteen « wns COPPER BOVIS BEAD CO. French WHITEHEARTS, OLDTIME Colers, and Seed Beads 810-1810. French Brave & Copper Beads: Arizona Turquoise « ‘Support, Supply & Instruction for the bead artist, craftyerson or collector Uniame Retail Inventors, Possible HOURS: M\W,F,S = 10-5* 7,TH ~ 10-6 +SUN= 11-3 VISIT OUR WEBSITE: WWW.EXECPC.COM/~MWHEAD/ eadRutton » Decenber 1598 Beaded tapestry purse When I needa special little purse for an evening out. make a convertible carrier. "The purse section is made from tapestry ribbon. 1 embellish it and the strap with beads and buttons. The closure design on the flap is removable and can be worn asa brooch, - Barbara J. Lynch, Madison, CT Trouble threating a needie? Tur the needle over and try threading through the other side ofthe eye All eyes are not equal. ~ Sue Raasch, Missoula, MI'@ Doyou have ahandy way to de something. a seca saluting ite techmigue? Hers your nance to share It wih other dead & Buon readers. We'l | | ‘pay tr eae on we pubish. end your tis te Tips Eiitr Bead & Button PO Bor 1612, Vawesha, Wt s3187-1612BEADWORK DESIGN SOFTWARE AVAWABLE} (© crys vat as ora ent les le! comer da age tatoo! et money att br $0995 US pnw Ggagephica Tam co aon Sed fret oman soniermen MacOS Samy oe corde poe crs Fee a op ep Cada ‘tttp://members.ol.com/ equesse/beadscope him Bead Workshop in Paradise Ill Feb. 21-24, 1999 Sarasota, Florida ‘Thi eer wil old by NanC Meinbard. ‘Other tachers to be announced. Project forall levels of beading expertise, ‘Workshop fee $398 Seago by Saraota' finest bead shop ‘Beads, F.0.B., Inc. 2312 Gulf Gate Dr Sarasota, FL 34231 (800) 425-8337 October issue My new issue of BB came this moming, and Ihave devoured it, gloated over it, swooned over it, drooled on the pages... Gorgeous. at Spang, Catan, 1H Three cheers for beaders October 1988 Embellishment was wonder- Issue#27 ful. In my glee, I misplaced a plastic bag of 12 silver chains. Towe someone a deep debt of ‘gratitude for returning them to the staf desk at the center. ~ Sue Bat, Honma, Russian beadwork 1 was surprised by the lst paragraph of your editorial (#27) where you said you had never seen “peyote leaves.” Here are two WWW address es (World-Wide Web) from Moscow that youl like: ‘www. geociies.com/SoHo/Lo fis/8782 is Maria Oldring’s home page. She is a comput- er programmer and beader in Moscow. Check out her pat- tern for peyote leaves. eww ropnet.rw/pagesnidus is the Moscow bead club. ‘Their gallery is fantastic, and see the instructions for the pink flowers necklace. — ene earrtont, Avbatedonde@ae com Leftover beads!? I wonder where Beth Stone got her leftover beads (#27, p. 22). fonly havebeads that Thaven't used yet! Hid olan, Dee AL Buddhist mala (rosary) I would like to explain some indecuracies about the Bud- hist mala in your article (#26, p.64). All Buddhist ‘malas have 108 beads (or some division of 108) plus Headerbutton + December 1998 your letter: any or all of the following extras: 4 heavenly king beads, 20 discipline beads with 2 egg-shaped beadsat the end of these strands, 2 parent beads, and the vinalakirti bead. This is the formal ojuzu (apanese mala). The infor- mal variety, which most peo- ple use everyday, is com- posed of 54 or 36 beads (depending on size) plus 2 smaller beads representing the Dharma and the Sangha (teachings and congregation) and a larger central bead called the Buddah bead with tassels or strings to represent the spread of Buddhist teach- ings. The number 108 is standard throughout Bud- hism, representing the ‘number of human passions, —Fath vt, bogueue Buttons on display While in Boise City, OK, 1 visited the new Cimarron Heritage Center on Hwy. 287. Ithas thousands of but- tons from Opal Cox's callec- tion. Opal went to great lengths to get buttons, even writing to each president then in office. sy sey, tem22aenrdigicon Boad shareware In your bead design software review (#25, p. 52) you omit ‘one of the best programs for Windows 95 users. Ed Hand’s Beader program is shareware, Download it for free, us it for 30 days, and if you like it, it costs only $20 to register — httpr//home.att.net/~edhand Sia Sur, sur wont ate Mutant fish at Embellishment Anyone who has my Tropi-origins Sica a S iweo alking through the substantial carved African \ \ T sooro Pises AGican tporis ant Trade Bead Muscum is like stepping into a different reality. Time takes on a fluid quality. The Museum and shop are ina huge, light-flled room. Items in the front half are forsale, They include African carvings, stools, brasswork textiles, and thousands of gorgeous old and new beads at excellent prices, Currently, Ruth is especially charmed by the small bicycle sculptures made with recyeled scrap. I've been curious about the thick, multi-strand seed bead necklaces, so 1 asked Ruth, who told me that they are women’s waist necklaces worn for fertility. But on this vist there was no time to shop, so back Went in time and space to the Museum. John and Ruth Picard have been collecting African trade beads for the last 30 years, and their knowledge and love of all things African is inspiring. Not long ago, their collection near- ly doubled when they acquired a major collection. Both sides of the first aisle on the right are devoted to chevron beads, one of John's specialties. (The Picards have published several color catalogs of African trade beads, including one on chevrons.) Chevrons are made by dipping a bead core with a bubble into vats of molten glass in several colors and impressing the mass a Ses Sec, mer poo ft one roeo reweDIRECT IMPORTER OF JAPANESE ‘BEADS © WHOLESALE ONLY BEADING BOOKS RETAIL AND WHOLESALE We specialize in supplying bead stores, designers, and other bead sellers with the highest quality Japanese beads, at competitive prices, ‘with prompt, personal service. For Price List and Samples Send $2.00 To: Copper Coyote Beads, Ltd. 9430 E, Golf Links #28686 Tucson, AZ 85730 (please specity Wholesale or Reta Book) in an optic (star-shaped) mold, When the massis large enough, it ispulled out into a cane (rod). After cooling, the rod is cut into bead lengths, which are then ground to reveal the star ends. Noticing that some of the chevrons were labeled “roset ta” beads, | asked John what the difference was, He replied that “rosetta” is the italian word for chevron so the terms are interchangeable. Chevron beads have been in production since the 1500s, and the Picards' display showcases the full range — from 6- and 7-layer 16th cen- tury Venetian chevrons to contemporary American art glass chevrons by Mary Mul: laney (Bé+B #12) and Art Seymour, according to John, the best chevron makers of all time, Most Venetian ccheyrons were made in the familiar brick, coba Caw ag Nia ube 7) white layers. Cob tis usually but John that many old chevrons show a primarily brick- Africans tend to prefer that color and laboriously grind off the blue layer on stones. The museum also has an excellent collection of chevrons in rare colors. The oppos two huge Plexiglas cases withBig catalog. several thousand Venetian nillefiori trade beads, the mast commonly recognized African trade bead. In the aisles betweea, beadwork and many sample cardsare on display, as well as everything se from the very fancy gold- stone and floral Venetian beads that were rarely tra in Africa to 800-ye folded glass Islamic beads and the powder glass, shel, bronze, wood, seed, stone, and bone beads that Africans ‘make. Despite the amazing that they have only 10% of the bead varieties ever made for the African trade ‘sil all good muse tums, the Picard collection is smuch larger than can be dis: played. Many more sample cards and information about available. If your want to engage in a deeper study, John and Ruth encourage you to make an appoint by contacting them at Berwick Dr., Carmel, CA 93923; (831) 624-4138. @ Alice is Bead & Button editor DELICA BEADS ANTIQUE BEADS HIRSCH DESIGNS 7000 N. t6rn Steet, $urTt 120-181 DerarraoerT. Protne, AntzoWa 85020 01 861.2961 Fase: 602.394.9306 (24 vine) Maximum service. Minimum order $25. EEE En kod Ce oC ee) Eee]Beads Findings Beads Semi-precious beads Gage“ Eiehwater parts ing Galle Alpaca oe directly from the ay tore ‘or ~ ‘Save an economy, buy a bead. Free cat ie 1 800 338 2162 South, race oes Co. East! VT 05651 Bac Monti Webpage www.beading.com computer notes Cyberspace You've all heard that WWW stands for World-Wide Web. While this is true, it also stands for World-Wide Wait. Like a huge ne, it lurks wait- ing toensnare newbies and information seekers. Usually feelings about the internet depend on your access fe. pay an annual fe that allows me 20hours per month guilt-free internet surfing, Although 1 do have to share (grudgingly) seth my son (the hog) and my daughter. My husband works on com= puters all day and won't fight us forcomputer time. ‘What does this have to do with my favorite internet sites? Well, the best sites allow you to sce the posted information at a glance, and that information doesn't take ages to download. The prob- Jem with beading sites is that they are inherently visual. Unfortunately, pictures often take forever to download. My feelings about a site depend on the amount of time | spend waiting foran image. 1 already spend too much time with email, so {steer clear of web surfing, However, if1 need something, Lwant to find it quickly ke beading patteras, techniques, and shopping for beads. IFT have to name only ‘one site for each of these, I'm doing a disservice to some wonderful pages. However, if you're only allowed to access two sites, I suggest you try Emily Hackbarth’s Mining €o, site nd Simone Oet- tinger’s Bead Fairy site. They cover beading techniques, offer patterns, ell you how to join bead chats; and they post links to commercial sites. Emily's site is my first choice because she keeps it up to date, dnd she has a splendid gallery of beadwork made by ‘other besders. The Bead Fairies site is connected toa ‘comprehensive collection of bbead-related web sites called Bead Net. Unfortunately. all this information comes at a price, The sites have become ‘ery large and a litte unvieldy. Ifyou have plenty of time (& couple of hours or ‘more), these are wonderful sites to browse with links to places.all over the globe. Look, [just can't help it. Please visit Maria Oldring’s hhome page, Anne Hawley's ‘web site, and Suzanne Coop- F's web site. Maria has Rus- sian beadwork pattems; ‘Anne has a chart comparing stitches; and Suzanne posts hilarious anecdotes. Mind you, do we really need rea- sons for surfing for or buying beads? Just because they're there is enough for me! @ hee jribspce na web addresses Emily Hacktarth’s Mining Co- http://beatwork niningea.com Simane Oetinge's Bead Fairy: http. nes.nel/~simene/beadtaires tnt Mari Orina’s home page: hitp//wew geocities.com SoHa/Ltts/8782/mair_e htt ‘Anne Hawes website: ip://roque.nortnwestcomi-~ahawley/home ttm! ‘Suzanne Cooper's web site http:wmw swzannecooper com DeadeeButton * December 1998your work “THE LION” AMULET BAG This bag is one in my series of jungle bags. After incing just the right animal picture, | raph itwith cxloed pencis. Then choose a hide or skin rattem forthe background and graph it around the animal In this bag, | used Japanese oytnder beads in circular two- rop pete stitch. Byusing heringbone cord stitch forthe strap and making twisted fringe, | was able to incorporate the snow leopard skin throughout the bag. The final step was adding vines and leaves. — Jackie Kineaid, Navarre, FL SILVER RIGHT-ANGLE WEAVE BAG | started beading in Api! 1997 ata knitung rete, where | was taught how to kita watermelon bag. This right-angle weave amulet bag was 3 class projec, but! wanted something with a lighter feeling | tan the rode My use oF quid ive nd 2 tein, beads was inspired by Jane Alleys *Stering Opere Purse” shown in Creative Bead Weaving by Carol Wilox Wels. The | front of my bog sagged bitwhon it was finished, but afew careful stitches joining the center font and back cued the problem, — Karen Kuckenbecker, Waukesha, W1 ‘THESE ARE YOUR PAGES When you make something you'r especially provd of, seed us a picture so wecan consider including it here. We may have to berow the piece to photograph it, but pleese dont sendit untiwe ask. Writto us at Your Work, Bead & Button, PO Box 1612, Waukesha, Wl 53187-1612. ™ BesdeBuiton + December 1998VICTORIAN TREE GEMS Due to my family’s fondness forthe Christmas holidays and because of en an¢ grandchildren itis iteraly Christmas in our heme. all yearlong. My “Victorian Tree Gem” requires knowfedge of payote stitch and lats of imagination. ~Karen Boyton, Grass Valley, CA delight of our chi REFLECTIONS OF THE SACRED FEMININE — “LADY STAG” Here Ihave attempted to ive life to the female stag. The forest-green background represents growth, and the purple border relects the sacted presence, Using a variety of 14” seed beads tu give ‘ the effect of light and shade, | stitched the main pleoe in tat peyote. The strapis at ude hex beads, 13° char- lotes, and 18° antique 3-cut Grech beads. A sterling, hand-crafted Bali clasp finishes the pieoe. —Jody Stemart-eller, Alexander, NC ye NATURE BEADS n 1996 we purchased a torch kit, and. etre long, we mee obsessed with lampworking. Now we capture nature's splendor in our beads. From detalid florat BS beads to i-th tropical fish, we creat iy works of wearable a. eve became so suecessfl that we now spend ou time producing unique beeds andthe cher half running ourbead shop, Sting Bead. Kari and Robert Madera, Chica, CA gS with Kevlar thread. inthe branched fringe,pattern gallery China doll ve been beading for fiveyears and ECL oo Nae eomate Designing bes SCHEDULE ee because I love the challenge of work- ingwith ie dabe fcaot octal are my biggest lenge because it’s not hard to create a large par- trait, but asmall one that makes sense is another matter, I post all pele rae fa ocd a conlindesh tml. This peyote- stitch china doll cates Jabot repre bed Japanese cylinder oe ee ae Eh World's Largest Jewelry Bazaar! Beads - Rings + Necklaces Earrings = Watches Charme - | THT God = Siver Opals » Diamonds : Peavis* Crystals: Settings J neyote stitch design, bus it's suitable for tubu- lar peyote if you want to make an THE SHOWPLACE [eeendet ing The MARKETPLACE design is aportnit Ce eR EEE | of my black cat | Tibbs. I used Call 1-800-662-0411, ext. 817 “for more information. Japanese cylinder beads, Cad ve, eee hs | ones aac ae to any | ‘TWESE ARE YOUR DESIGNS We yo bbs isa ee Well pay for any pattem that we publish Wrteto us a 2, Wades, 53187-1612 International Gem & ‘raph so we can consider includ (Galery, Bead & Button, Po Box BS Ta aCe) be » Bescotieron + December 1998Detroit, Mle ewnnnnnn-October 9-10-11 Balkimore, MD.....~.October 16-17-18 Asheville, NC enenn-October 20-21 rns OCtObEL 23-24-25 January 5-6 Orlando, FLeemnnnnsJanuary 8-9-10 |TUCSON, AZ—_—-January 31- Feb 13 Greensboro, NC...-—-April 9-10-11 Dewoit, MI_————-April 16-17-18 Bloomington, ML————--—~April 21-22 Minmeapelis, MNeceoo-—-April 25-26 Cincinnati, OH....April 30 - May 1-2 May 14-15-16 July 9-10-11 Bakimore, MDD anan—Fuly 16-17-18 Franklin, NCommnonJuly 2223-24-25 Spruce Pine, NC.Jaly 29-30-31-Aug. 1 TUCSON, AZ_September 9-10-1112 NINN a WHOLESALE ONLY chic®xeasy Iralian Designer Necklace by Hannah Marie few weeks ago, I spotted an Italian designer's Searched a gorgeous multi-strand citrine necklace in a fash- A beautiful ine barrel bead ion magazi hhung from « ribbon that loosely gathered all the strands together. After checking my bank account, and realizing, of course, that I couldn't afford the designer necklace, | plunged into making one myself. Finding just the right stone to tie to the strands wasa problem. After many frustrating phone calls to rock shops, Theaded over to one of my favorite bead stores. The first case I looked in held several amber pi stones. One pi seemed perfect, and when I held the citrine next to it, it glowed. As I was putting the necklace together, I realized that if purchased extra ribbon, I could wear the necklace with or without the donut — two for the price of one,Beadwork VIDEOS Learn from the masters.. Blakelock, Korach, Perrenoud, Hughes, Segal and more. Free Catalog. Over 175 videos including 25 beadwork videos. CTORIAN Call DEO 1-800-848-0234 1990 Massachusetts Lmmance, KS 65044 BEAD CREATIVE THE BEAD GOES ON HILLTRIBE SILVER FROM THAILAND HIMALAYAN ADORNMENTS. MMILAGROS RECYCLED GLASS JAVANESE MANIK MANIK BEADS SATIN POUCHES BAMBOO BOXES ARTIFACTS MASKS. SHOW ROOM ON "MARTHAS VINEYARD ISLAND Vs (Catlag $250 or FREE with $10 bead yampler ‘Compatitve Prices 256.739-6114 Shonoom By PO box 1324 Appainiment’ — Culman AL 35056 | Beads % Suppl RA orsiline ae an ! Teuln ghee bon rule parses Body Haar Ds ing eg“ oc $1295 plus spinal roe le Beading Heart Dea) (6476 Lori Court, Las Vegas, NV 89103 702-369-1750 Visit my web ste. ftpe//mamiberstripodcom/beadingheart fevie@ebenetcomicont Set of 3 Sample Cards - $25.00 Japanese Delicas & Antiques, Austrian ‘Crystals, 6¢ Japanese Matte/Matte ABs Caulog & postage included! Fast, Reliable Mai Onder Service NO MINIMUMS? Vie, MC, Amx, Discover Send $2.00 for catalog only PO Bex 460 BB Rolliaeville, CO 80474 Phone « (303) 258-9989 Fax - (303) 258-9394 pitmemtersakamibeyedbead BOSTON BEAD Company | Unique lanpwworked Czech German and French Beads. Vintage German Glass Beads, ze rf purl) Fax ~ 617-332-8077 Phone ~ 617-332-6588 25 Aberdeen St., Dept. BB Newton, MA 02461 chic€ eas: stepbystep On each end of the necklace, tiethe multiple strands to the same loop, hidden inside a bead cap or cone. t made wrpped loops for security on my necklace. However if you prefer an easier finishing technique, make plain loops (sce “Basics,” p. 94 for both). cut 4 in. (em) of wire and make a loop ora ‘wrapped loop with a diame- terhalf the length of the inside of the cone so the tops ofthe bead strands fit in the cones, Repeat with asecond piece of wire cur 5 ft. (1.5m) of cord Thread 2 needie and double the cord, String a seed bead, leaving a3-in. tail. Go through the seed bead again from the same direction for a stop bead, String 224 in, cm) of citrine. Cut the needle from the thread and ethe strand onto a wrapped materials 15 Strandsof 3am citrine rectangles #1 2in. (Lom) Aner donut 43am Glt-fited beads #9 Send beats ary color * 2 Bead coneseaps antique gold * Bin (20cm) Gold wire, 20 gauze © 12in, Bem) Shes, gold syle bon, in (13cm) wide * Silamide orton uptostry tre, cream «in (1.3om) Clasp, ange gld * 1ZEnglish beadieg needle * Clear nal push * Fray Cheek optionJoop with several knots. Repeat 8 more times, Seal the knots with polish, Tie all the ends together before coating the entire bunch of knots with polish. When dry, trim to Yin, (1.6mm). @kemove the stop beads and tie each end onto the second wrapped loop. Winish asinstep 2. @lnsert the wire through the hole in a cone from the side, String two 3mm beads on the wire and slide them down to the top of the cone. Make a wrapped loop above the beads, attaching half of the clasp before closing the loop. Repeat on the other side (see detail photo a), @Bring a ribbon end through the pi and around the front of the strands to the hack. With the ends of the ribbon meeting between the piand strands, cross the ri- bon ends over each other and bring them around to the front of the necklace. Cross the ends again and bring them around to the back (photo b). Tie a square knot (see “Basics”). Trim theends and seal with Fray Check. © Hannah owns a bed and breakfast near Lone Pine, CA. She enjoys sharing her bens and beadwork with her guests. aera utp Ba Son CoS eres tangles Sane | eso Se Ta Sting Arce Vor « SPaui NESTOR seinazaaio Ena OessSiempaclcom The better you See, the better you work. OTT-LITE' unique blend of ‘are earth phosphors replicate nature's perfect light ~ sunlight. You'l see colors and details arcurately inane a¢ you ean eutdooes, witht the harsh glare and heat that is associated wth ofr kinds of ighting. © Match Colors Easily and See Details Accurately * Reduced Glare © Greate your next project exact ‘way you pictured itt © Low Heat, Great Comfort more accurate and more enjoyable! Ask. for genuine OTT-LITE® TueColor™ Fighting products. Starting at just $3995 OTT-LITE TECHNO! 1214 VE Cass St, Tampa, FL PEE CREELMétis Dog Team Finery Bead embroider a floral fantasy by Darnele Huerkamp photos by Jim Forbes {started with a picture of painting by Paul Intrigue that depicts a wedding party traveling by dogsled. The dogs are ‘wearing decorated blankets, called tuppies: Above the paint ing in the picture isa close-up of atheavily beaded tuppie, When I ssw the picture, l eouldn't believe that beautiful beaded blankets were put on dogs, and I ‘wanted to know more. [started making calls and asking ques tions. I'ma beader, and my hus- band Mike and I run sled dogs a fur trade rendezvous, historical reenactments of forts from the 1750s-1850s. | decided to makea = tuppie for our lead dog, Noah. (Yes, we actually put itona working dog. He wears itwhile hauling firewood and water for us though heis not allowed to ‘wear it long because he likes to chew.) One day after Ihad called Canada and the East and West « some comments about obsession and 12-step programs. After more calls and more comments, Tearned a few things. During the fur trade era, much of winter travel was done by dogsled. The mushers of that time liked to make exciting ast several times, Mike made entrances when they came into town for supplies orto sll their furs, They stopped about a mile from town and put elaborate headed blankets and bells on their dogs. Between the noise from the belisand the flash from the beads, the entrance was extremely eye-catching The blankets were ether beaded or embroidered on dark ‘wool or velvet and were backed with canvas. They were tied onto the hamess with leather thongs, and a fringe of yarn and bells was added for effect. They varied in size abit from 17x17 in. ( ) 9 15x 14in, (38x ds were opaque bright blues, greens, pinks, and reds. Metal beads we sometimes rusted. The blankets were usually madein sets of two fora total of six, most were on the teams of wealthy men unless aman’s wifecould bead or embroider blankets for him. Dog blankets are still used by saushers today. They keep the dogs warm in extreme cold, but they aren't usually decorative e. My decorative blanket velvet and This 174x -m) without also used, but they is stitched an bh has a linen backing 17ikin. (44.544. ‘The tuppie took about 1/ years to bead plus about a month to fringe and finish Damele worked on it occasionally, soher eyes didn start to cross. the fringe. I've found an Amish hharness maker who makes the old style harnesses for me, and a sledmaker makesan old style cariole or toboggan sled. ve also found people who will do the embroidery on several blankets I started beading about sev yearsago, working in brick stitch and making amulet bags. Prom there [learned loom weaving, square stitch, and peyote stitch. ‘When I decided to make a tup- pie, I had to learn the return stitch, also called the backstitc. Itis easy to do, versatile and durable; and it can be modified easily to suit the needs of th piece. It's used to sew one, two, to three beeds at atime ontoa backing of velvet, light canvas, wool, or leather. ‘The designs are limited only by your imagination. For me it's casy, [tell Mike what Lwant,and hae designs it. He designs the pat terns that we sell for loom and square stitch work also (see the birds and Laughing Dog, p. 37). When you're choosing colors or planning stitching lines and pat- periment and ty new combinations. This ll keep your beading fun and teresting and will make the fin- ished piece even better. terns, be willinBead embroider a floral design stepbystep preparing the design First design a pattern and enlarge if necessary. You can also use iron on transfers successfully, Keep the designs fairly basic, especially while you're learning. You might want to try enhancing other types of embroidery with beaded backstitch flowers and vines. To transfer your pattern or the flower pattern (figure 1) tothe fabric: Cover it with a sheet of transparent, stiff plastic. Lay a sheet of tissue paper over the plastic and trace the pattern with a fine-tip mark er. Pin the tissue pattern to the fabric. Now decide what colors you are going to use and where they will go in the design, At this point, I draw a map so | can remember what colors go where. A basic map would look some thing like figure t with the colo added. 1am slightly color blind, so Mike helps me with color selection. Also include any of your notes or ‘comments about the design on the map. For example, “use opaque beads con petals but use transluce: tips.” Now place the fabric in the embroidery hoop. duce or on the stitching the flower To start a flower, stitch the outlines of the center and the petals. Then stitch the insides, You may need to stitch down one bead st a time or place the beads at angles to each other to get the coverage needed. Try not to crowd the beads or the fabric will not lie fat. Ifyou look closely at some of iy pieces, you can see that Thave overcrowded. The only reason to crowd beads is to prevent gaps from forming ifthe fabric is going to stretch. Remember, ifyou don’t like what you've done, you can always cut the beads off and try again. @ Thread a needle with 18 in. (46cm) of thread. Pull the needle through from the back where you want to star backstitch beading leav ing 2 4-in, (10m) tail. String 2 beads. Following the pattern line, go through the fabric to the back right against the second bead (see p. 78). Tie the tal threads together in a snug knot. Bring the needle through the fabric to the ont between the beads, and go through the second bead again. String 2 more beads and go through the fab- rie right a @ Come up between the last 2 beads added. Go through the last bead (photo a). String 2 beads. Repeat until you've completed the outline Remove the paper. Fill the centers and petals with the backstitch (photo b). © I prefer to add to beac at atime both for durability and because I have better ck getting the beads to lie correctly with less puckering. Howev er, adding one bead or three beads 50 works, To stitch three beads ata time, string 3 beads instead of 2. Go to the back of the fabric against the third bead. Bring the ncedle back to the front between beads | and 2 or beads 2 and 3. Go through beads 2 and3 or just 3 again. @ To finish your piece, sew a liner ‘or backing onto it to prevent wear the threads, An embroidery option you have with thick woolen or leather fabrics i to stitch only halfway through the fabric. This way no threads are exposed on the back. I's bit trickier because ifyou don’t stitch deep enough, the thread will pull out and if youstitch too deeply, the thread will be exposed on the back. © Mike and Darnele operate Winterhaven Beadworks. Contact theni at 12426 260th Ave, New Richland, MN 56072; Lang ingdog@huro.com 111° Sood beads in assorted coors + #120113 English beading needle ‘Nymo Dead thread «Velvet, wool, or leat «Transparent, sit plastic Tissue paper + Fioe-tio marker «Straight pins «© Lerge frame embroidery hoop + Your ann design (optiTie birds on Damele's avy woo shaw! are worked in square sith, and the flow ers and leaves are backsithed. Se has along way to ge forts insted. The Laughing Doe ‘banner hangs on Mike ‘and Damele's lodge ands subjected to outside weather, though they take tin during extreme storms. Thedog is worked in a combina tion of lomwork and square stitch. The et tering and flowers are all backstithed. It took about five ‘months of regular work Darel coated the beadwork with cleat nail palish to help protect itEasy Ornaments Decorate with beaded glass spheres by Mary Mowery hese ornaments were developed for a class that I teach. The beadwork combines basic stringing and netting, and hav- ing only four rows, it goes quickly. Before you start beading, consider glv- ing the hangertop onto the ornament. "This isan optional step, but | usually do it because the glass edge on these orna- ments is very sharp. Ifthe top pops off, iteould cut you or the thread. stepbystep @ If desired, slue the banger top on'o the ornament with E6000. Let dry @ Thread a needle with 2 yd, (1.8m) of waxed thread. Don't knot. String 2 main color (A) seed heads and | accent color (B) bead, leaving a 6-in, (15.2cm) tal. Repeat for a total of 45 beads. Hold the tail and go through all the beads again from the same direction, forming a ring: Make sure this ring fits over the hanger top of your omament. Ifnot, open the ring and add extra A beads just until it fits smoothly. Pull up tight and knot. Seal the knot with polish. When dry, trim the tail after going through 2-3 beads. Exit from a B bead to start row 1. @ String A beads to equal 1% in. (3.9em), String 1B bead and 1% in. of A beads (measure rather than counting). Go through the next B bead in the ring (photo a), Repeat until there are 15 long Joos Snug up the beads before going ‘on. Go through 2-3 beads in the ring ‘and make 3 half-hitch knot over the ring thread. Repeat 2-3 times and end by going through 2-3 beads. Seal and trim. @ Wax 3 74. (27m) of thread. Tiean ‘end onto the ring thread with a square knot. Go through 2-3 beads and make a hhalf hitch. Seal the knots. Go through 2 3 more beads and exit B bead. Go through all the A beads on the right side of along loop. Fxit the B bead at the bottom ofthat loop (photob). © Connect the long loops: String 5A beads, 1 B bead, and 5.4 beads. Make sure that the next long loop isn't twisted before going through the B bead init. {photo «). Repeat, connecting the 15 ong loops. Snug up this row and make ‘a half hitch to hold it. Go halfway through the first connector, exiting the Bead. @ String 5 A beads, 1 B bead, and 5A beads. Go through the B bead in the next connector. Repeat around for 15 short loops. Saug up and makes half hitch. Go through the fist 5 A beads on the next short loop and the next B bead @ String 1% in. of A beads, 1B bead, and 1%oin, of A beads. Go through the B bead of the next short loop. Repeat until you've made 14 long loops. Pull the’ {dow to the beashwork so that you're ‘working with a double thread. Make the 15th long loop. Snug up and thea half hitch. Go through 2-3 beads and tiea halfhitch. Repeat 4-5 times. Seal knots, go through 2-3 besds, and trim. @ String another needle with 2 f. (6lem) of doubled thread. Do not knot or tie onto the beads, With this tempo- rary thread, go through all the B beads ‘ofthe long loops in step 7. Don’t tightenand make sure the loops are not twisted. Place the beadwork over the ornament. Pull the temporary thread gently from both ends distribute the beads evenly around the bottom of the ornament, and check the distance between B beads, slate the number of A beads needed to ill he space between the Beads without jamming. Ths will probably be tich like the top circle When you have ecided on the number of beads to use, remove the temporary thread, take the beads off the ornament, and lay the ornament aside © Thread your needle with 2. of seswedl thread, ga thrawigh any Bt had from sep 7, leaving a 6-in. tal. Pick up the number of A beads calculated in step 8 and go through the next B bead (photo d). Repeat around, keeping the work loose. Make sure the long loops aren't twisted @ Place the bead fabric over the ora rent. Pull up the thread careflly and adjust the beads, Go through the first B bead again and continue around, going through all the beads (photo e). Pull the thread up gently so none shows between the beads. @ if tie beats of the closing ring Gt the ‘ornament too loosely, or ifthere is too much space between the beads, take the closing thread out and subtract or add beads to the ring. @ Tic the starting and ending tails together. Run the thread beck up one of the long loops, Make a halfhitch, go materials © 1.2Xin, (6.7m) Cear glass ball ornament © 11°Seed beads intwo colors © #12 Beading needes © Nymo D beading thread ‘Clear rail polish * Beeswax or Thread Heaven ‘> 6000 (optional through 2-3 beads, seal, and trim: ‘Thread the other wil on a needle, and ‘end it the same way. © ‘Contact Mary at 4747-65 Oak Crest Rd, Fallbrook, CA 92026, beuderaze@uolcom_™ Impressed - Mokume Gane Use rubber stamps and patinas for ancient effects by Wan Roche okume gane or “wood-grain metal” is a Japanese metalworking technique that many artists have adapted for use with polymer clay. first described its use with polymer clay in The New Clay (1991), My inspiration came from Oppi Untracht's book, Jewelry Conceptsand Technology. Since then Lindly Haunani, Tory Hughes, Kathy Amt, and Donna Kato have all created their own variations Uhave always found mokume gane fiscinating and beautiful. like the “predictable unpredictability” of the technique. Objects made using mokume gane have a refer- ene to natural forms, tre rings, or geologic topography and are reminiscent of many ‘beautiful Japanese objects like lacquer boxes and trays and sword blades. In metal- working, mokime gane is done by fusing two or more layers of different metals together. The metal is pushed down from above, carved, or punched up from below; then it’s sanded to reveal the different layers. It's easy to create layered blocks of col- ‘ors with polymer clay and itis easy to carve, push up, or press down on the soft cay. ‘The technique described here uses rubber stamps to create the impressions and metal powders and patinas to antique the pieces. Please read through the entire process before beginning. Bead Butive * December 1998stepbystep Aft layering the clay colors, you meke ‘deep impression in the lay sheet with cither the negative or postive portion of arubber stamp. Then sce off paper- thin slivers from the raised areas of the sheet to reveal the different layers and produce 2 pleasing design. Treat the piece with metal powders if desired, bake, and patinate: or bake then treat ‘with metal paints and patinate. mokume gane © Condition 3 colors of day. (You can use different brands together or clay mixes, but they should all be well condi- tioned and the same consistency, or the softer clays will stretch more and the harder clays will fracture) Rolla #1 sheet (thickest setting) of each, usinga pasta machine. Make your sheets as wide as the pasta machine (about 4 in,/10cm) and square or rectangular. Stack the colors and roll out air bubbles with a brayer or rolling pin, My stack is ordered black, white, and terra cotta. @ Kol the stacked sheer through the pasta machine on #1. Cut the sheet in half and stack it again, Press out air bubbles as before and roll the stack through the pasta machine again, creat- ing a 6-layer sheet. Repeat once more for a #1-thickness sheet of 12 layers. Use aay number of colors, but if you stick to about 12-15 layers in a #l-thickness sheet, the results will be good. © Decide which side of the sheet you prefer. With my colors, the final pieces look like polished ebony or old red lac~ quer with creamy white highlights. © Using rubber stamps, two types of impressions can be made with quite dif- ferent effects. First the typical rubber stamp has a raised pattem that will cre- ate valleys in the clay when pressed into it (photo a), Before stamping the day, put iton tissue paper or parchment, oF it will be hard to get off your work sur face, Press evenly over the entire image to make a deep impression. Ifyou have your stamp images made to order, request the plate along with the rubber and you'll get the negative image that the rubber was poured into (the plate). The plate has valleys, so when you press the clay into it, the result isa raised image (photo b). (If you don’t have your own stamps made, you can still makea plate by pressing a ‘rubber stamp into conditioned scrap clay and baking it. Since you apply a lot Of pressure on the sheet when pressing it into the plate, make your plete from one of the strongest days, using Fimo, Premo, or Cernit.) © Now use your tissue blade to carve away some of the clay. For this step, make sure the impressed clay i well anchored to your work surface soit won't shift when you are carving i Hold your blade in both hands your wrists resting evenly on the table, Use your thumbs w Mex the blade slight “U” shape. Keeping the curved blade parallel to the clay, draw it across the clay in a very shallow slice (photo ¢ shows carving from the plate: photo d shows carving from the stamp). You can always cut deeper later, but you can't go shallower if you've removed too much lay. So carve conservatively, @ The #1 thickness of lay you started with is now much thinner, so you need to back your piece. I use a #3 sheet and texture it with coarse sindpaper. Gently press your carved piece onto the back- ing, trying not to distort it, Cut out a pleasing shape with your blade or an X- ‘Acto knife (photo e). Then press gently around the edges to make sure the layers are sealed, — antiqueing @ Adding patinas to age and weather the piece isa two-step process. First apply metal in the form of either paint ‘or powder. Then apply the patina (ammonium chloride and copper sul- fate solution) to oxidize the metal. I got the idea of using metal paints and pati- nas from Gwen Gibson, but | also like to use copper or bronze atomized powder with the patinas. These powdersare not the same as metallic powders or Pearl Exsold at art supply stores. You must use actual metal powder or paint in order for the patina to work (see “Sources” below). Use a loose, fluffy makeup brush to apply the atomized powder, making sure to work it into the deep spaces (photo f). The powder sticks fo the unbaked clay. (Apply paints later.) Bake at 270°F (130°C) for 20 min. © Sand the pieces with wet/dry sand- paper, starting with 320- or 400-grit and ‘ending with 600- or 1000-grit. (Auto parts stores carry very fine sandpaper.) Ler the sandpaper pieces soak ina shal low basin of water to make them pliable. ‘Tury Hughes weap the papes around a small piece of sponge to make sanding casier. This is basically her process: Start with the coarsest grit, 320 or 400. Use 320 only if you want to remove alot of chy. Progress through the grits til you reach 600 oF 1000. With sanding. less is ‘usually more, Aim fora light touch and. use a circular motion (photo g). If you use only the metal powder on your piece, simply paint on the patina solution, wetting all the crevices. How- ever, you mayalso choose to treat the piece with metal paints at this time and then use patina. These products are sold in kits or individually in the faux paint section of most craft stores. There are several different brands, and with a variety of metal paints, you can producematerials © 3.Or more colors of Clay FactoryClay (Prema) —here white, blac, and tea cata, atleast oz. (113g) each «© Pasta machine © Tissue sling blade © Rubber stamps © Metal ponders or metal-containing paints © Patinas © 2 Brushes 1 futy, 1 sit © 320-, 400, 600-, and 1000-gritWel/dry sandpaper © Shallow metal or plastic basin + Small piece of sponge «© Tissue oc parchment paper © Zap-A-Gap cyanoacryate glue © Pinback a wide range of color effects. Use cau- tion; patinasare noxious and somewhat corrosive. Follow the instructions care- fally, wear gloves, and wash your hands ‘ell after use. Puddles of extra patina will dry. Usean old, somewhat stiff brush, and expect it to have a short life (phata bh). Allow the patina ta wact for several hours or overnight for maxi mum color. Copper powder with green patina Will give various shades of bright sen to turquoise, and bronze powder vill give more gray-green tones. @ Lightly resand the piece with damp 600-07 1000-grit sandpaper. Do not go back to the coarser grits. Spot sanding ‘works best. Do not submerge the piece in water, or you'll ruin the patina. @ Polish the piece using a buffing machine with a cloth polishing wheel or a Dremel with a cloth wheel or by hand with a terry doth towel or a piece of old denim. | usea Foredom variable buffing machine with a 4x30 sewn muslin buff and a 4x30 unsewn star buff. buffing machines can be dangerous. Always ‘wear eye protection and keep your bair pinned up out of the way. Always hold your piece with both hands and place it in the lower third of the wheel. Move it around continuously to avoid hot spots that will partially remelt the clay (photo §), Place a box behind the wheel in ease the piece flies out of your hands at high speed, which will happen occasionally. For best results without a machine, sand ‘your pieces with 1000 or 1500 grt send paper and hand polish with denim, @ 1 ike things to took natura, so 1 don't mind if lot ofthe patina rubs off with handling; there's usualyy enough left to look realistic. (Ifyou wish, seal the patina with Fimo mattelacquer.) ® Attach a pin back. | use Tory Hugh- 5’ method with Zap-A-Gap glue: Light- ly sand the pin back and the area that will receive it. Apply the glue sparingly to the pin back. Hold it with both hands and position it on the piece. Leave your hands in place for 30 seconds or more and do not move anything until the glue has set. Ths glue will not tolerate repo- sitioning. Ifyou goof, sand it off and startover. © Nan would like to thank Tory Hughes and Gwen Gilson for sharing their techni cand fr their inspiration. She alo thenks Modern Options and Modern Masters for the samples she used in this aricle. Contact her at 4511 Amherst Rl, College Park, MD: e-mail Roche@helix nih gov ees eer sources sonal Lindy, “Wokame Cae Apne eta ing Tecdigue Poe Clay” Bead ten, Feb 135, gs fy. "Yel 6 Moar Gan try he ew ‘lay io Ses Gena vane, 225 Mey ee Baa (43708 (10) 6.0853 ty Grn. Ie dt of Pine ip Dies ad Tc ie Ceting Sey, Pt 2d Date ‘ie Ne Yor Man 157. "Ya? Ppa ¢ Puja ly Tchiins “ie tar ideo Sree Waar Pees ‘2625 Netra re, Sut 2, Bee, CASTES, imyeueis2. ech Nan. The or ip Tens nd Aico ig Rh WP a Pes Spec ches Poe Cay Mister "Ais Vio Gres Medtrs Pocers ahw Ruther samps Roady Supe Adie othe Dad rebral Pip, 1805 Sigs Msn 108, Se Dee, 2108, i) 28-8723 hy nd les The Ca Fact ead 9.81, etal pss ~ fuga 4 Saree. 730 Bat, Sun Frac, CASAOY, 08) ART ST, Suess mtea.com Maal ts aed paties oat as oe Motes pte 1) 2525520, ee ctl aennl otal eres Wate Mas 00 2315. ’a FA rd wv A Ribbon muerte ORR ean Le variation on righi-angle weave DU Ne Rona Siem Crane er a) The Jewels of Miriam Haskell by Deanna Farneti Cora (Antique Collectors’ Cluby 1997), 1 =| Pesce Srae oer An Seg ee co erate ed ee eel CR OMi mR TRU Riis oa Mar Por enrea ng Com Nase Memo renee es sc and sced beads that | realized the lariat was woven with a variation of the stitch half way bet gle-bead and three-bead right-angle weave, ee mem ann taare anystepbystep My lariat consists of 114 rows of right- angle weave and is 36 in. (91cm) long. plus the dangles; make yours any length you desire. Fach strand of pearl gives you about 4 in. (10cm) of right-angle © Tiiread a beading needle with shout 2d. (1.8m) of white Silamide or Nyro B. Thicker thread will not go through the pearls as many timesas needed. © Forthe frst stitch, string 1 seed bead ‘and I pearl four times ~8 beads, and push the beads to about 4 in. (Idem) from the thread end. Tie the thread ends with a surgeon’s knot (see “Basics,” p. 94) to forma tight circle. Continue through the first 6 beads strung in the same direction, exiting the third peatl, @ String 1 seed bead and 1 pearl three times; end with a seed bead ~7 beads strung, Continue through the pearl you ‘xited on the first stitch and the first four beads strung on thesecond stitch in the same direction. @ Forthe third stitch, string 7 beads as in tep 3 and continue through the pearl you exited atthe end of step 3 and the first 2 beads strung (figure 1). @ Begin thesecond row by stringing 7 beads as in step 3, Continue through the pearl you exited on row 1 and the first 6 beads of the first stitch of row 2. Suing | seed bead and go through the pearl atthe top of the second stitch ‘on row 1. @ String 5 beads — seed, pearl, seed, pearl seed and continue through the third pearl of the first stitch. Then go through the next 4 beads— seed, pearl, seed, pearl (figure 2). @ String 5 beads asin step 7 and con- ‘tinue through the top pearl on the first stitch of the first row. String 1 seed bead and continue through the pearl you exited in the pre- ‘vious stitch and the frst 2 beads of this, stitch (figure 3), @ For row 3 and subsequent rows, aan (figures). You will need to end and add threads by weaving through several cir- cles inthe stitches and rows below. Fol- low the thread path exactly. @ Ifyou have atleast 2 ft. (61em) of thread left, makethe dangles. Ifnot, add thread so that it exits the top pearl of Beadornuton « December 1998 EE ae a a a the first stitch. For the first and thied dangles, string 3 seed beads, | pearl, 1 seed bead, 1 shell bead, and 3 seed beads. Go back through the shell bead, string 1 seed, go through the pearl, and string 3 seeds. Re-enter the peatl you cited on the end stitch. ‘Then follow the thread path around the stitch to exit the top pearl on the middle stitch. The mid- dle dangle has two groups of 3 seed beads between the peael and the shell bead (figure 5). Make the third dangle like the fist and end the thread secure ly. Repeat at the lariat’s other end. @ Louise i contributing editor to Bead & Button magazine, materiats ‘© 10-1216-in (41cm) Strands of mm ice- shape treshwater pears ‘¢ 1 Hank clear god-lned 11° seed beads © #13 Beading needle '* White Silamie or Nymo 8 bead thread '* 6 25-30mm Koliow pear-shall beadsWear our anniversary bead 4 Ways eibracetemech by Linda Salow ‘When we received the first shipment of Bead & Button’s Fifth Anniversary beads from artist Bob Bur- kett (see B&B #15, p. 23), we couldn’t resist the desire to wear the bead. Alice, Be+B’s editor; Lisa, our art director; Shawn, our circulation manager; and I each took a bead and designed a necklace to show- case it. ‘The designs range in difficulty. Lisa’s is a simple stringing project. Shawn’s adds a degree of difficul- ty with wire and wrapped loops. Alice’s five-strand necklace is accented with choke beads, and my choker is peyote stitched around a plastic tube. Li stepbystep Lisa antiqued her clasp before beginning the neck- lace. To antique your silver, dip the pieces briefly into. blackening solution such as liver of sulphur of Silver Black. The amount of time the silver is in the solution determines how dark the silver becomes. Polish the silver with a lint-free cloth to remove some of the antiquing, @ Place a crimp end on one endl of the waxed linen. Crimp the center with a chainnose pliers (Photo a). @ Measure 7/ in. (18cm) from the end of the waxed linen andl tie an overhand knot to begin the center ofthe necklace. String silver bead, a turquoise bead, the Anniversary bead, « turquoise bead, and a silver bead, Make sure this section is centered on the waxed linen. Tie an overhand knot oie the silver bead. Place a crimp end on the other end of the waxed linen and crimp, Open one end of the S- hook clasp with the pliers and attach it to the loop ‘on one of the crimp ends. Close the clasp. Lisa's materials 11 Anversary bead (see 9.100) ‘© 184i, (42.6cm Black waxed linen ‘© 2 Turquoise pony beads ‘© 2Maite silver pony beads ‘1: (25cm) Silver $-hook clasp © 2 Stetng sitverorimp ends + Chainnose plies 6 Bead@Bution * December 199%step! ystep Shawn antiqued her chain and clasp before beginning the necklace. To antique your silver, see Lisa’s necklace, © Cut the chain into the following pieces: 2-at 6% in. (17.2em),2 at 1K in, (3.2em), | at2 in. (S.lem),1 at 2% in. (Zem),and J at 34in. (83cm). © Make a large wrapped loop (see “Basics,” p. 94) on one end of the 4-in, piece of 18-gauge wire through figure 3. Attach the in. pieces of chain as shown in figure 4. Contin ue with steps5-6. String the Anniversary bead on the wire and make another large wrapped loop through figure 3. Attach the 2., 2i-,and 34-in. pieces of chain before finishing the wrap (Photob). The wraps will fit into the bead, © Make a small wrapped loop through figure 30n the end of 3in, (7.6m) of 22-gauge wire. Attach the second end of a 1%- in. length of chain. Finish the wrap. String a Bali spacer, a 10- 12mm accent bead. a spacer. and a nugget. Make a wrapped loop through figure 3, attach one end of a 6i-in. piece of chain, and finish the wrap, Repeat for the other side of the necklace. @ Make.a small loop (see “Basics”) on the end of three 3-in. pieces of wire. On one string a turquoise nugget, an accent bead, and an 8* accent bead, Make a small wrapped loop through figure 3. Attach the 2-in. length of chain and finish the wrap. On the second 3-in. piece of wire, string a spacer, & nugget, a spacer, an 8* bead, and a spacer. Finish the wrap after attaching the 2%-in. piece of chain, On the third 3-in. wire piece, string a spacer, an accent bead, a spacer, and a turquoise nugget. Finish the wrapped loop, attaching the 3% ice of chain, Attach the split rings to each halfof the clasp and the clasp tothe necklace ends. Shawn's materials Anniversary bead © 4 Accent beads 10-12mm ‘+ STurquoise nuggets 230m '* 28* Accent beads 3m Sider Ball spaceee © Bin. (ten) Roll chain, ‘approx 3mm © Stering siher wire Ain (10cm) 18 gauge 'Sin. (em) 22 gauge © Thin (2 54cm) Svar clasp © 2 Siver spit rings Bead®Button + December 1998 °stepbystep Peyote stitch around two pieces of plastic tubing. Then string all the components and attach the clasp. @ First measure your neck at the place you want the finished necklace to rest. From this number, subtract in. (1-3em) for the clasp, in. (19cm) for the Anniversary bead, X-X in, (16- 20mm) for the nuggets, «in. (6.4mm) forthe crimp beads, and X in, (9.5mm) for the peyote end sections. Divide the remainder by two. Make each peyote tube section this length. @ Cut two pieces of plastic tubing the length calculated in sep 1. With 40 in. (1m) of waxed thread, string approximate ly 9 black Japanese cylinder beads leaving a 4-in. (10cm) tail. Tie into a circle. Slip thering over the tube to check fit. Add or subtract beads as needed. Peyote stitch (see “Basics,” p. 94) around the tube with the black Japanese cylinder beads, At random, use an aqua cylinder bead, © When you reach the tube’s end, work row decreasing every to stitches into one ~ 4-5 stitches remain (photo ¢). Work another row again decreasing every stitch ~2-3 stitches remain. Go through these beads, pull together tightly forming acone, and go through again. Weave the thread back into the beadwork, tie a knot, and seal with polish. Weave again and trim. Weave the tal into the beadwork securely, tie off, and trim, Make the second tube. © Atach the togee clasp to the split rings. © Cuta piece of flexible beading wire the length of your fin- ‘shed necklace plus 6 in. (15cm). String a crimp bead and a split ring, leeving a 3-in. tail (7,6em). Put the tail through the crimp bead again and pall tight. Pall up the slack and crimp. Stringa turquoise nugget: a peyote tube, cone lat; approx. in. of black cylinder beads (to cover the wire that goes through the Anniversary bead); the Anniversary bead; the sec ond tube starting at the cone; a nugget; a crimp bead: and a split ring. Go through the crimp bead again. Guiding the pey- ote tube cone ends into the holes of the Anniversary bead, take up the sack in the wire, and crimp. Linda's materials * Japanese onder beads (COBC-010 black hex-ut 862 Matte tansparent aqua AB © 1 haiversary bead ‘© Turquoise nuggets 8-10mm © 24in. Glen Pastic tubing. in. (6.4mm) diameter yoo B beading thread, tack in. Flee beading wie ‘i, (LSem) Sie toggle clasp ‘© 2Shver cin beads ‘© 2 Siver spit ings 5-6mn ‘+ #13 Beading neede, crimping to, split ring pers, lar nail polish s Beade-Buton « December 1998Op stepbystep String each of the five 24-in. (61cm) strands oneat a time but do natend them or shorten the threads until all are finished © Thread each offive needles with 2-yd. (1.83m) of thread doubled. Tieall the ends together ina single, overhand knot and seal with polish. When dry, trim the tals to %« in. (2rem), ‘Thread the needles through a bead tip away from the hook. @ Lay4 ofthe needles and threads aside. String 1% in (38cm) of liquid silver and one of the two smallest turquoise rmuggets. Repeat four more times, each time stringing ¢ slightly larger stone. For the center of the necklace string 2% in. (7emn) of liquid silver, the Anniversary bead, and the other largest turquoise. Repeat 1¥-in, runs of liquid silver and the other four graduated stones, End with liquid silver and string into, the bottom of the second bead tip. Tie a waste bead on the thread to keep the strand from pulling loose. @ String the other four needles. After stringing each group of liquid silver, go through the next turquoise on the frst strand (photod). Ai the center, go through the Anniversary bead then the second large turquoise. Make sure that the lengths of liquid silver match in each group. © When allthe strands have been strung, tie each group together with an overhand knct atthe bottom of each be tip and efi and after each turquoise (ser “Rasice” fo knotting, p. 4; photo e) Before tying each ki the beads are pulled up, and there is no slack. @ End the nechlace by cating off the needles and dividing the 10 strands of thread into two groups. Tie them together snugly inside the bead tip with a surgeon’s knot (see “Basics") and seal the knot with polish. When dry, im the tailsand «lose the bead tips with chainnose pliers. Use roundnose pli- exsto complete the loop of the bead tip hook around ene split ring each and join the split rings with the dasp. Linda is Bead & Bution’s associate editor, jice’s materials ‘V Amniversary bead ‘+ Koz. Twisted liquid sitver 4mm ' Tan Silamive or #1 Stringth + Lin Silver $ hook csp © 26mm Sider split rings ‘© 2Siber clamshell bead tps ‘5 Pairs turooise nuggets graduated 8-14mm ‘© #13 Beading nedles, chain. and roundnose pits, clear nal polish ‘© Optional: bead reamer to even and enlarge bead holes Bead@-Bution + December 1998 °Cleopatra’s Collar Create a classic look with eyepins and beads by Linda Salow road collars have always represented wealth and social status. First appearing in the Middle King- dom of Egypt (2133-1786 BC), they were made with fiience beads (a type of glazed earthenware During the Amarna Period (1379-1362 BC), additional shapes and colors of faience that was man’s first glasswork) beads resulted in collars that resembled claborately formed floral garlands. These colorful collars were given as party favors to guests attendinig banquets At the beginning of Rome's domination of Egypt, per- sonal adornment was 3 forbidden luxury. However by 100 BC, the attitude changed, and onee again Romans wore jew clry, inchiding the broad collar. People have continued t0 Jove this necklace form to the present day. Now and then I want to look exotic, You know, ! want to fel like Cleopatra — rule a country and have a Mare Antho- ny pursuing me. This broad collar necklice lets me leap into the time of pharaohs, and for a little while, feel as mysteri- us and as powerful as the queen of Egypt. All you need for this transformation is wire, beads, a clasp, and bars. I made the bars from a pair of domed brass, stampings by drilling three holes for the clasp and the strands that hold the eyepins Bead Suton » Devesibse 1998 3stepbystep necklace © Cat the wire into 64 3-in. (7.6m) lengths. Make identical loops on one end of each piece (see “Basics.” p. 94). @ String an “amber rondele,a car~ nelian glass bead. an amber rondele,a bead cap, a turquoise floweret,a bead cap, ** and. lime green bead. String from ** back to* (See photo p. 50). Make loop on top of the rondele. Repeat 63 more times, making sure that all the beaded eye pins are thesame length. Use your pliers to adjust the oops on each eye pin to the same plane. © Picea small paper plate ona piece of cardboard on a hard work surface. Position a stamping in the center of the plate. Mark the location of the holes for attaching the strands with a pencil, They should be about 1% in, (4.5m) apart and aligned on the stamping’sedge. Mark the location ofthe hole for the clasp. It should be about X in. (9.5mm) below the top strand hole andon the opposite edge of the stamping Now mark the second stamping asa mirror image of the first, giving you aleft and a right piece. Use firm pressure to drill cach hole with the electric Dremel tool {photo a). Smooth holes with a file, @ With 30in. (76.2cm) of flexible beading wire, string 2 crimp beads and one stamping through the top strand hole. Go through the crimp beads again and crimp with the crimping tool. Guiding the beads over the wire and its tail, string a**2mm bead, afloweret, and an eye pin*. Trim the tail. Repeat from ** +. End with a 2mm bead, a lowerct, a 2mm bead, 2crimp beads and the second stamping. Go through the crimp beads again (photo b). Pull up theslackand crimp. Guide the tal through iin. (13cm) of beads and trim. © Cat | ya. (91m) of flexible beading wire, string 2 crimp beads and one stamping through its bottom hole, go through the? crimp beads again. Pull the slackand crimp. Guiding the beads over the wire and its tall string a 2.5mm bead, abead cap, afloweret, abead cap, and a 25mm. bead. Trim the tail Making sure the eye pins ate in the same order as on the first strand, go through the bottom loop on 2 > the frst eye pin, “String a 2.5mm bead, abead cap, foweret, bead cap, 2.5mm bead, and an eye pin, Repeat from * stringing all the eye pins. Bnd with « 2.5mm bead, a bead cap, floweret, bead ‘cap, 2.5mm bead, 2 crimp beads, and the lower hole in the second stamping. imp as in step 4. @ Attach a jump ring 0 each clasp hholeon the stampingsand then attach the dasp (photoc). earrings @ String a floweret, rondele, carnelian ‘lass bead, rondele, and a 2mm bead ‘onto. headpin (photo d). Make a loop against the bead, Repeat once. @ String « carnelian glass bead, ron- dele, and aime green bead on « head pin and make a loop. © Cuts Kin, Clem) lengih of chain, pea the loop on top of thelime green bead sideways, string ene end of the chain, and close the loop. @ Glue acarnelian cabochon to the earring finding with E6000, When dry, open the loop on the earring finding. String a short dangle, the chain dangle, and the other short dangle. Close the loop and rotate it to the same plane as thestone. Linda is associate editor of Bead & Button. BeideDuttsn = December 1998 4 ——_—_—_—___ materials necklace 1 By (Br) Gl fled wire, 20 page ha-hard +386 Gld fluted bead caps, must fit? 14mm beads 4256 Tansparent amter rondsles + 386 23mm AB turqurseflaverets ‘64 12mm Lime green lozenge beads #128 55mm Camelia glass bicone beads 66 2mm Gold-filed beads #132 25mm Galt beads #2 yd, (18m) Feible beaing wire '* 2é-in. (64-6:9em) Pair old-clored domed brass stampings Gold S-hook casp #2 Gold 6 5mm jump rings ‘Electric Orem! tol with Yin. bit, tal file rund and chainnose plies, fiagonal wie cuter, crimping tool, small paper plate earrings 110 Transparent amber rondeles GAB tuqucise lowerets ‘2 Lime geen lozenge beads ‘= 6 Camelian lass bicone beads ‘© 42m Gald-filed beads 196 2-n, 61cm) Gold headins '©2.10mm Carnelian cabochons '©2 10mm Gold trench ear wires with lied bene and loop ‘Tin, (2-5em) Gold chain (025-in. wire must fit threugh the links) + £6000 adhesive“When I'm making beads, I go to another dimension, It’s like an open window to the potential of the human spirit, and the | bead brings that back into this world.” Sage: 4 Bead Bette » December 1998at story and photos by Alice Korach “I:mwst have made a zillion beads by now,” chuckles Sage, who datesher career as a beadmaker to March 1988. “L was recuperating from ‘back surgery and was inter- ested in working with seed beads, remembering the pas- sion Thad had for beads as a child and how they had cen- tered me after my mother died when [was eight. A friend told me that Brian Kerkvliet was a glassblower in town (Bellingham, WA) and said, ‘Ibet if you asked, he'd show you how to make lass beads’ So went out to Brian's and then rented a room in the house where he ‘was living. Will Stokes was also li in the house and collaborating with Brian in glassblowing projects.——American Glass Beadmaking Pioneers —a—— wa “Iwas the best possible beginning for me; although the glass bead movement was non-existent. A year later Julie Clinton joined usin a loose cooperative that we called ‘Ring of Fie.’ Atthat time, | was the only person | knew of on the West Coast trying to support herself sole- ly by making beads. But this ‘was also when Lois Scherr Dubin’s The History of Beads ‘was published, which proved a critical force in helping to give birth to the American lass beadmaking movement “I borrowed $500 from a friend to get started, and | focused on Seattle. I made some connections with a ‘couple of the glass galleries and the few bead shops that were just gettting started, and I went to the Northwest Bead Society meetings. Without the emotional and tangible support of bead society ‘members and the Bead ‘Museum in Prescott, AZ, 1 ‘wouldn't have made. In the carly years, I never made enough money to be able to rent a room, Ilived in my bus. But when I developed a rhythm and got my studio set up. my happiness increased tenfold. (It also helped that I adopted a lifestyle of volun- tary simplicity.) Theact of beadmaking is very liberating because it brings you into the present moment. It's medita~ tive and totally addictive. In the moment of making a bead, you can go all kinds of places. You're using creative visualization to form your dreams tight in front of you. Life has never been easy for Sage, but Ihave never known her to dwell on the negatives. Friendship, spir- tual valucs, and gratitude for the gift of each new day and the blessing of being a bead- maker define her reality, and she is filled with boundless Beadorbutton energy. “There's prayer in every bead.” she says. “When 'm making beads, I goto another dimension. It's ke an open window to the potential ofthe human spirit, and the bead brings thar back into this world. Lalso like to make things that look back at ‘me, which is why I'm so fas- ted with eye beads. Peo- ple don't understand what an eye bead isall about. It does: n't give you the evil eye; it protects you from it.” ‘Sage’s eye beads and the Second International Bead Conference (1990) are the source of her biggest break. “Lsenta few of my beads to the keynote speaker, Lois Dubin, whose subject was eye beads She was kind enough to see the significance of a contemporary American eye- bead maker and included me in her historical overview, She actually began her tae with a slide of my beads I also met Tom Holland (my husband) at that conference. Tt was just for five minutes and I didn’t see him again for tho years, but that was the beginning. The 1993 Con- temporary Glass Beadmakers Show at the Bead Museum in Prescott, AZ, wasanother turning point, marking the formation of the Society of Glass Beadmakers.” December 1998 Bead qualities According to Sage, "The {alities I try to conjure up inmy beads come from extensive theosophical read- ing and reflect my fascination with different cultures, reli sions, and spiritual ideas. But Talo want to make my beads light and humorous. In the last seven years, I've moved toward more sculptural ren- dering of creatures and fg- ures to try to evoke memo- ries of older att forms andto provokea smile. Ifyou start the day happy, it will proba- bly bea better day. Luse lots of color, which also makes people cheerful. Some of my favorite art is Buddhist and ‘Native American. And I try toreflect the metamorphosis ‘ofform and spirit in my. beads; use a lot of archety- pal symbols such as eyes, ‘wings, hands, and masks, “When I make beads, 1 know that they will be here Tonge than we will, which allows me to put even more potent messages in them. 1 hope that someone will be here to dig my beads up ina thousand years. The size of a bead is also really important to me, I'm moving towardthe idea that smaller is better, based on theefficient use of resources, Such a strongly dynamic object as « bead doesn’t have to be big to be very powerful.” Bead price isan important issue with Sage. She says, “I don’t like puting prices on my beads. They are wonder- fal entities Full of thoughts and wishes. My ideas fuse ‘with the glass. 'ee always tried to keep my beads ata wide price range so that any- one can afford one, not just collectors. It's important to me to keep beads out there forall bead lovers.’ Bead techniques Earlier in her carcer, Sage ‘was not interested in ancient shite bends, believing that the technology of several thou- sand years ago was too prim- itive to produce high-quality ‘beads But since marrying ‘Tom Holland, her view has changed. "Now that I'm looking at ancient beads more,” she says, “I'm discov- «ring how refined the ancient beadmakers were and how ‘much I stil have to learn from them, and I'm giving them a lot more credit. 'm doing more with complex dotting patterns and mosaic construction. T used to feel that iit was obvious your beads were made one ata time, you didn’t need to use murtinis (thin slices from patterned glass canes), but T've recently changed my tune. I want people to won- der how I made my beads. ‘The key isto find the balance cy and sim- ys the point where the bead is finished.” She continues, “The hot glass world is about balance ing « mass of molten, moving earth. If you're too heavy- handed, you're going to tip that balance; it'sall about delicacy of touch. Clear cas- ing (covering a bead or part of a bead in clear gass that acts asa magnifying lens) isa perfect example. Acased bead can easily get too big to wear; you have to tart with really small, delicate details, Clear casing used to be one of my signature crafts, but ‘now a lot of people do it: {commented that very few people do it as well as Sage, often lexving many non-intentional bubbles. Sage replied, “Bubbles are ‘one of my pet peeves. I'm very critical of impurities. ‘There are several things you «an to do to improve your clear casing. First clean the heck out of your glass. Then be careful where you hold the ‘ass in the flame s0 you don't burn it. also turn the oxygen pressure upa little to ‘make a purer flame. And finally, the key isto take the Bead@ Morton + December 199K trouble to remove all the impurities before they get ide the bead.” Sage and Tom have recently begun offering 3 week-long workshop in ‘March and October near their home in Mountain View, AR. She says, “From business point of view, my Diggest mistake has been doing so many different styles that require so much research and development. But research and develop- ‘ment is crucial from ateach- F's point of view. In combi: nation, Tom and Ihave an extremely diverse repertoire, ‘Teaching is important because it helps give the glass beadmaking movement a better future “it's nor easy to make a living as a beadmaker. I've had at least 50 jobs in my life, ‘and this is probably the hard- ‘est one. But the best thing 1 could ever hope for, a true and lasting love, has come from beadmaking.” Alice is Bead & Buttons editor.The Elegance ot a Sunken Era Weave, fringe, and edge a “Titanic” comb in one step ‘by Ruthe Kanakoff photos by Jim Forbes: E legant beaded hair accessories are great for almost any occasion from a caswal jeans Satur- day toan evening out, And this loom-woven comb is much easier than it looks. Since the edging and fringe are worked together with the weaving, when you've finished weaving, all you have to do is glue the bead- work to the comb (or to a barrette ifyou prefer). The comb also derives some of its grace from the fact that the woven rows as wel as the fringe graduate in length to the center. Use the basic pattern shape of the chart to design any other image that appeals to you; ‘once you've made your first comb, you'll probably want to design personalized hair ornaments (or brooches) for your friends. ‘Woven the same way, these graceful combs are fer easier than they look Beaded wire (#27, p. £2) and an antique jade button trim the cum at left; at gt loops and dangles are strung between beads while weaving. aceasta tae =materials * Beadweaving hom at last 3H in, wide by Bin. long 200m) © 1 2in-wide x2tin-long Frech har comb (73 6-4em) © Siamideor ye D bead threat, brown © £12 Beading neste orBig-Eye needle 5000, Gop, or yanoanyate ue 1 Fray Check seedbeads ‘hg 10° 2-cut, Bron metallic cut brane) © Ih 11°3-ct, ndigo/parpleovanue smealic descent (ut blue) ‘© 20g 11" Dark pple transparent (pure) 28g 1 tense green tansparent inidescem (green) 1 2h 11" icign/purpe metallic iridescent (ue) bugles + Boss Smm hex-cutnavy/purle metallic lindescent (purl irs) + 20g 9mm Bronze opaque metallic 1 20g 12mm (6-sited) He-cut royal blue transparent iridescent (Etc nol: we found al the Deeds at Uni- versal Smergetics/Beadca's, p. 91, but substi- ted cut-bronze/ctpper beads fon ou cal bead store) stepbystep ‘You weave all parts of this comb at the same time, Regin at the bottoms left- hand edge of the chart and string the first row and the firs fringe. Skip the last nine beads ofthe fringeand go back through the rest of the fringe. Then ‘weave in the nine beads of the firs raw. String the lacy edgingloop at the top between rows 1 and 2; then string the bbeads for cow 2and the second fringe. String back up the fringe and weave the row, and so on, © Wind 15 warp threads onto the lef hand sideof the loom, using «single, continuous thread. Warp threads should beabout 8 in, (20cm) longto allow room for finishing and should be firm but not stretched. Tiea separate single loose warp 2% in. (6.4cm) beyond the right-most warp thread. Leave long. ‘enough ends to be able to tighten or loosen this thread (photo a. It will sup- ‘port the fringe and keep it cut of the ‘way, but it does not count asa warp. @ Before starting to weave with beads, ‘weave a thread selvage. Thread a long strand (2-3 yd./1.8-2.7m) onto the beading needle and tie the end to the 10th warp thread from the right, aving 4434 in, (8-10cm) tail. Weave an even esdeoButon + December 1998 number of rows for in. (6mm), going, ‘over one thread and under the next. Ignore the five left-most warps,and end lbp going down between the 10th and the L1th warp threads from the right. © To weave the frst row, the needle and thread are underneath the warp threads, String the 9 purple beads on the lefi-mast (bottom) row of the chart. Read each row of the chart from left to right (top to bottom). Continue string- ing all the beads of the first fringe ~ 1 purple, 5 blue, 5 cut-bronze, 1 5mm bugle, 19mm bugle, Scut-blue, 1 2mm bugle, and 11 cut-bronze. Bring the needle upto the right ofthe loose warp thread, skip the 11 cut-bronze beads, and string back through all the fringe beads (photo). Be careful not to split the thread. ‘Use your left index finger to push the ‘9 purple beads up between each of the first 10 warp threads counting from the fringe. Hold the beads in position with ‘your index finger and go back through them with the needle still above the warp threads. Look for the glint of the needle between beads to ensure that you remain above the warp threads (photo ©) Ifthe loose warp is too tight to let ‘you snug up the fringe and weaving ‘completely, loosen ita bit. @ String 7 cut-bronze beads for thefirst edging loop. Row 2 is one woven bead wider, so bring the needleto the underside ofthe work between warps 11 and 12 (photo d). String the 10 beads of this row, following the chart. ‘Then string the second fringe. Complete row 2 asin step 3. Before going on to the next row always make sure that the fringe is snug but exible, the weaving thread hasn’t snagged on any of the pre- vious fringes, and the weaving is firm and close, @ To increase at the beginning of an ‘odd numbered row-such as row 3, bring. the needle below the warps between warps 11 and 12, string the increase bead, Bring the needle upto the left of warp 12, and go through the bead above the warps (photo e). Bring the needleto the underside and string the rest of row 3 and the fringe. When you weave back through the beads on the return, go through the first bead again. Then string 7 cut-bronze beads for the next edging loop. Note: all edging loops except the last comnect the end of an odd stum- bered row to the beginning of an even numbered row. © Repeat steps 3-5to complete 22 rows. Increase even-numbered rows as in step 4 and odd-numbered rows 2s in step 5. Row 23 isthe first decrease row. After weaving back through row 22, bring the needle around the edge warp tothe underside and weave back through the last bead toward the fringe. With the needle below the warps and between warps 15 and 14, begin row 23. ‘Complete as normal (photo f). @ The other decreases occur when moving from en odd to an even-num- bered row. On these decreases, string the 7 cut-bromze beads at the end of the odd-numbered row. Then bring the needle to the underside one warp fur- ther tothe right and weave normally (photo 9). @ String the 7 cut-branze beads for the last edging loop between the end of row 32nd the beginning of row 33. End by weaving the same number of over-under thread rows on the right- ‘most 10 warpsas you did at the begin- ning. Tie off the weaving thread securely onthe adjacent warp. Treat both thread selvage edges with Fray Check. Then cut the weaving off the loom, leaving 4-in. ‘or longer tals on the graduated portion. @ Thread each of these graduated ‘warps one ata time and weave the tails into the beadwork by going back and forth through 5-6 beads on 3-4 rows, Tie 2-3 halfhitch knots around warp threads as you go (photo h). @ Trim the tails close to the Fray Check on the thread-woven selvages. ‘Then fold the selvages under and glue the beadwork to the top of the comb. © Ruch has been beading professionally since the ‘60s and earns her living by making bead and sik vibbun wccessories and gift items, Contact her at 643 N. Serrano Ave., Les Angeles, CA 90004. Besd@Batton + December 1496 “_ What are They Doing Now? Artists from our first three years update us with their current work bby Alice Korach Sue Jackson and. «titeis grand!" exclaims ‘Sue. “We've been so excited Wendy Hubick: about crossing the country and going overseas to teach Here come beadwork.” “From Mexico to En i,” adds Wendy, the Wonder Beads ‘thes daughter says ‘On your next vacation, Mom, »-” Sue and Wendy are sisters, best friends, and business partners. For the past year, they've taught away from home (Chicago, IL) about once a month, They also havea Monday ‘night class that has been run- ning for almost three years, ‘tay Bee and they teach in area shops. But there's always time for Bead Circle, which has met ‘every Thursday for five years (see 10, p.39). Sue and Wendy were two of the four American bead artists invited to teach in England las: June atthe Stitching Extravaganza pre- sented by Len Turner and the Needlecraft Centre at Lon: sleat, Wendy explains, “We were there to teach basic techniques: our square stitch tennis bracelet (BEB #13), Wonder Besds, and a net and peyote bag. They use beads in their wonderful embroidery, but we had quite a few stu- dents who had never worked with just beads.” Sue adds, “We stayed with Len’s grand- mother, Gladys, and it was Just like being with our own grandmother. We got up éarly to visit with her every day. One morning when Len came to pick us up, she said, “Oh, we're not quite ready. We've been reminiscing’ He exclaimed, ‘What do you mean reminiscing; you've ‘only known cach other two days!” But it was true. When wwe left, we were surprised at hhow attached we'd become, and we hugged and hugged.” ‘Wendy and Sue teach as a team, which they consider the ideal method. "We see things differently,” benins Sue; “and approach problems and explain methods differ cently,” Wendy finishes. So their students receive more etsonal attention and more versatile explanations than cither could provide on her ‘own. Besides, Sue and ‘Wendy love working togeth- er because they spark so ‘many creative solutions off cach other. In fact, that’s where hollow, peyote-stitch Wonder Beads came from three years ago. They were teaching a cylinder bag tech- nique they had developed that included surface embel- lishment of peyote stitch. Sue says, “T was holding the bag flaton the palm of my hand, and it was like alight bully going off. looked down atit and saw a bead. Everything else has been part ofthe refining process: developing different patterns, designs, and shapes.” About a year ago, Wonder Beads It with its starlike decreases (see neck-lace at top right) be ofthe repertoire, Why do Sue and Wendy bead? “Well, of cours, it’s relaxingand meditative. We're constantly buildingon the last idea. Our picces don't represent emotions or experiences, but we hope they evoke something from the viewer, if only an appre ciation of color and texture. We like the creative process as muchas the finished piece, and we're fascinated with adornment,” says Sue. “ of our students gaveus a wonderful compliment recently. She said our designs ‘were $0 sophisticated that she could give them to her friends who wouldn't nor: ally wear bead jewelry, Wendy adds, “We make things we want to wear,” Sue continues. “It doesn't matter hhow long a piece takes; it’s not finished until it's right.”Suzanne Stern: Metalsmith and glass beadmaker According to Suzanne, “Experimentation and prob- Jem solving are important aspects of my work. Because Iwantto express my ideas through both inventive techniques and strong images, most of my pieces become complex. My drag- onfly pendant, The Razing of Ophelia (below, 7 x54 in/18 x dem), is agood example ‘of how I work, It isbased on abrooch by René Lalique, “Lalique’s abilities as 1 plasty as adept comps: sitions mixing material, techniques, and psychologi- cal themes, reflect what I strive to achieve as an artist. By studying his techniques and materials, thoped to improve my expression of these qualities in my work. This started months of ‘experimentation with cast- ing. I took a metals class at the University of New Mexi- £0 to lean how to cast silver and gold, then tried to apply ‘what Id learned about cast- ing metal to casting glass. | wanted to see if| could use the same techniques to work both materials. “The mood of the glass vas also important; f wanted it to look like something Lalique might have made. But for the past five years, Te been enthralled with everything industrial. Nature just hasn’theen a source of inspiration for me. It was hardto set aside my geomet. ic, industrial style for the organic and flowing lines of Lalique’s Art Noaveau period pieces, And it fel: uncomfort able to be copying someone's style on purpose. | finally decided that within thee eatormation + December 1998 fines of experimentation, copying was necesary to understand the aesthetics of Lalique’s glass before I could fally develop my own style. ‘The Morning Glory brooch (ee p.4) helped me to understand and develop the techniques necessary for ‘making the dragonfly “The dragonfly pendant is culmination of many of the techniques I have been work: ing with over the past few years, Her tows is cast glass; the central fish image is cast sterling with tube-set sap- Phire eyes; the wings are cut sheet glass riveted between constructed sterling sheet; and the tail isa lampworked glass bead. Ultimately, I find this piece successful because I have internalized external inspirations, digested them fully, and produced.a work that ica strong exprecsion of nny artistic voice. “My October Pod Series of constructed beads, at top left, isa direct outgrowth of ry experiments with the dragonfly. Studying Lalique’s ‘work inspired me to look at nature rather than machinery for ways to connect glass and metal [recently discovered the work of German photog- rapher, Karl Blossfeldt (1865. 1952). He photographed details of plants — stems, seed ods, leaves — intimate and almost voyeuristic in feeling. ‘The rich sepia tones of the Prints give the plant elements a metallic quality. When 1 saw his images, I immediate- ly realized how nature could telate to my work. These small metal and glass pods (the largest is Yox 60mm) have sent mein a completely new direction. want this series to help con- tain, refine, and expand the organic direction my workis now taking.”Cynthia Toops: From people beads and mosaics to abstraction About two years ago, Cyn- thia Toops began experi- menting with a variety of new polymer clay forms and techniques (above right and 66). She also developed ‘ways to transform basic poly- mer clay canes into intricate looking designs with a series of simple steps. “I had a box: full of old, lefiover canes most of which were simple ballseyes, jellyrolls, or checkerboards, and I wanted touse them up before they were too old,” she says. “So 1 started playing with different ways tocut, squash, reshape, and recombine them. At first Tused them to cover lenticu- lar and round beads. “L was also interested in creating large, light-weight beads.” Cynthia's massive but extremely light-weight cone necklaces (cover) made from transformed canes pre mired after Ravensdale 1996. “At that conference, Kathy Amt gave mea thin, flat bangle of translucent clay that inspired my work in this new direction,” she explains. “Lam fascinated by ethnic jewelry,” Cynthia adds, “and spend a lotof time with my ethnic books. [also carry sketchbook wherever Ig0, constantly sketching ideas or adding inspiring photes and postcards, For the last few years, I've been intrigued by the animal tooth and claw necklaces prevalent in almost all native cultures. The hol- low beads and cane transfor- mations came together for me in my own polymer clay version. The three-layer claw necklaces (above) are an even ‘more recent approach 1o my continued interest in mass without weight.” ‘Most recently hhas been working Seattle silversmith, Chuck Domitrovich, to create mosa- ic polymer clay rings with si ver lids. They remind her of poison rings, but the surprise inside is beauty, not death. She made her 3-in-tall (83cm) mosaic Shae Box (left) for Ravensdale 1998, She and her husband Dan ‘Adams continue collaborat- ing in polymer and glass with ‘ever more sophisticated necklaces. She's very excited about some of Dan's new ‘work with enamels and his spindle-whorl beads. And Cynthia wore her prototype ofa new concept to Embel- lishment 1998, an abstract, articulated, topographical pendant, “As usual, there are ‘more ideas and deadlines than time, but I'm finally beginning to be able to say no toa few commitments, which makes the others alit- tle easier. I just completed one of my last five-year-old commissions, so I'm almost fire of commission guilt,” Cynthia sighs. © ow to reach te artists (Contact Soe and Weney a 318 Eaton St, Mati 60053, sjacsontceberg. Sazane canbe reach at 2501 Aamo Ae. SE Albuquerque, MY 87106. O7- thin is ot 2514 E Spring St, Sat tien satTransforming bullseye canes for a cone necklace by Cynthia Toops art with a simp bullseye cane, Rolla }4-6-in-long (10-IScm) snake of gray clay with a diameter of about in (bcm). Rolla shet of whit clay about X in, 6mm), Make it ong enough and wide enough to wrap around the gray snake Batt the white seam don'toverlp it Then rol the cane in black sheet at #5 (Gext-t-thinnet) sting of your pasta machine. Use strong clay suchas Fimo, Premo, or Cemit and choose colors with strongly contrasting values, or al deta wil be lot in the transformation proces. ‘Anedm-length necklace wil require = 7 different but coordinated canes and litineal Sep Reenter rod stepbystep © Pieticn 0 black wrapped bullacye cane with the bel of 9 (photo a), © Cutit in halfand tayer the two pieces. Flatten the stack as you stretch it toabout 6 in (I5em).Cut the stack in half and layer again (photo b) to yield ‘one 3-in-long (7.6m) strip four canes high. Flatten and stretch again until it’s Sin. (13cm) long. Cut it in halfand stack again for one 2/-in-long (64cm), S-cane-high sick. Hatten and stretch the stack a bit to eliminate air pockets. @ With the stack on its side press a slight indent along one stack-seam edge as you gently stretch this new cane. ‘Then pinch the outer edges ofthe indented side together (photo c). Repeat this process on the opposite side; the cane should be about 4 in (10cm) long atthe end ofthis step (photo d) © Cutthe cane in half lengthise to Yield two 4-in-long triangles (photo e). @ Pinch a4-in.-long triangle of about the same dimensions in the coo ing color (here blue), and put the three ‘tangles together (photo). Make sure the black points meet over the blue one © Cutthe cane inhalfand then thetwo halves in half again (photo g). @ Assemble the four triangles into.a circle and squeeze gently to close the center evenly and eliminate air pockets (photo h). © Wrap the cane in a sheet of #5 black and prick out air bubbles that appear as you reduce thecane to 2 in. (Sem) long. Toavoid distortion as you reduce the cane, alternately roll it and squeeze it from the center toward the ends. The cane transformation is complete, © To make thin cones for a necklace, begin with a Yin. (1.6mm) slice from thecane. Run the slice through the pasta ‘machine beginning at the setting closest to its thickness. Continue to run the slice through progressively thinner set~ tings inthe same direction until you reach setting #5, At setting #3, turn the slice 90° before running it through the ‘machine (photo), @ Use the wide end of a decorating cone to punch out a circle in th of the lice, Then cut the slice in half, bowing the tissue blade a bit (photo ). © Carefully shape each of the half- © Small blocks ef igh contrast polymer clay slices around the decorating cone and (prefer Fimo, beck, gay, ite, anda seal the side seam, ‘medium blue orrose 3-4 colors plus back @ You mayhave to let the clay cota | * Festa machine bit before removing it from the cone. Tissue-sicing bade Fora necklace you'll also need to string | © Cake decorating cone fom pasty bag (use materials ahalf-ball spacer bead inside each cone, the fine-ine tp) Bake the spacer beads and clay cones * Toaster or convection ven dedicated fo wide side down (photo k) on a paper- polymer ciay lined pan at 275°F (135°C) for 30 min, Allow to cool completely in the oven,aw rae Artifact Jewelry Hand-forged buttons and beads by Ernest Neri Manufacturing these buttons takes me back in time to ancient Greece when stamping metal began with the striking of the first coins, The finished product retains an artifact-like aesthetic quality and greatly enhances the look of a special sweater or shirt. history of metal ‘The use of metal for adomment dates back to 4000 BC when meteoric iron was used to make beads near where Gerzeh, Fgyp' is today, Because of the scarcity of meteorites, these beads were probably very special. The smelting of iron began about 3500 BC in Egypt, but smelting iron proved inferior to ‘working bronze because hand-hammered bronze ‘was stronger and held an edge better than iron. ‘The Greeks learned how to work with metal From the Egyptians, and by 650 BC, they developed the first coin dies. The ancient writer, Xenophenes ascribed their invention to the Lydians who used a ‘mixture ofthe soft, valuable metals, gold and silver (called white gold by the ancients), to strike images or designs onto teardrop shaped metal, Later on in the 5th century BC, a need arose for smal change so bronze coins were struck. During this era, but= tons were made from a variety of materials includ- ing various metals and were used as fasteners for boots and garments, rise of the button Large production of buttons began around the 13th century AD when the invention of the button- hole replaced the loop fastener. Most early buttons, however, were reserved for decorative effects; and during the 16006, their use was actually controlled bylaws in France and England. In France, the law insisted that buttons be covered in silk, but in Eng Jand, laws prohibited fabric-covered buttons in order to encourage the metal button industry. ‘Stamping, molding, and casting buttons began inthe 1700s with the invention of mechanical machinery. This modern method of samping but- ton metal with dies was not much different from ancient coin stamping, Modern machinery just allowed for more control and speed during the stamping process. creating buttons and beads today The method I use isa combination of shaping molten metal and then hand-stamping surface impressions. Each button retains the aesthetics of ancient metal, and although similarin size, is 2 unique, individual workof art. ‘To create this effect, | use oxy-acetylene tanks, a micro-size welding and brazing torch set, jeweler’s. pliers, copper wire, and phosphorous-copper and Phosphorous-bronze rods. The latter metal melts ata higher temperature and does not flow as well as the former. It’s also more difficult to stamp because it cools quickly. However the finished product is quite pleasing because the surface fetains the pitted look of ancient metal. Phospho rous-coppet rods have various percentages of ver, the more silver, the smoother the flow. ‘When I melt a phos-copper rod on a firebrick or metal plac, the heat dissipates quic to press a design into the molten metal right away. use the top portion of fancy spoons oF forks for amy dies. I make the shanks for the buttons by ‘wrapping 12-gauge copper wire around a ‘in. (3.2mm) rod. After pulling the rod out, Icut the rings apart, heat them, and press them onto the button. When the button is cool, I sand it, come: times using an electric sander to remove or fatten the metal. Then I clean the finished button and lac quer itto protect the surface. This techniqueiis addicting, I quickly foand myself experimenting with a variety of shapes and making beads and necklace pieces. You won’t find anything like it in the stores or even on the internet ~except at my site (http://www havocmaker.convartifect htm) ofcourse! © Contict Brie at 121 Old Sachem’s Head Rit, Guilford, (CT 06437; (800) 681-3905; havoc@snetnet~ Lace Christmas Tree Earrings Weave a tree with seed bead diamonds by Kathy Rice -y customers at crafts shows eps ashing for seasonal ear rings, so I designed these Christmas trees in diamond stitch, a close relative of rightangle weave. When I'mworking ona project, ‘ike to tar it this way and that, upside down, and backward. That's haw I often get a new project idea. P€ probably get my projects donea lot faster if didn't spend s0 much time playing with my beadwork while I'm working on it. haven't tried the tree with Japanese cylinder beads yet, but I bet it would be very pretty and a bit smaller. Diamond stitch gets its name because you construct it in units of 12beads, but instead of circling back through all 12 beads again as you would in rght-angle weave, you go through only the 8 side beads (2 per side) and skip the four cor- ner beads. This makes the corner beads op out and forces the sides into straight lines, stepbystep Weave the tree from the star at its tip to the base by connecting squares of dia- mond stitch, Use 6* sced beads to make larger trees for ornaments. » © Thread a beading needle with about 1'ye, (91m) of waxed beading tntead, Do not knot. String 5 gold beads. through all beads again tojoin them ina circle, leaving about a 4-in. (10cm) tail that you'll weave ia later @ Pick up 1 gold bead and go through the next gold bend on the circle, Repeat four more times to make five points, End by going through the frst head added in this step (gure 1) @ String 2 green, 1 red, 2 green, | red, 2 green, 1 red, 2green, and go through the gold bead again inthe same direc- tion. *Continue through just the green beads again and pull the thread tght.* Encourage the red beads to pop out at the comers to maintain the diamond shape. Continue through the gold bead, 2 green beads, and the first red bead (Cigure2). @ String 2 green, 1 red,2 green, 1 red, and 2 green beads. Then go through the second red bead and the second group ‘of 2 green beads on the first diamond, Go through the 6 green beads on the new diamond then back through 10 bbeads om the first diamond as shown in figure 3 © Complete the second dismond on the second row of diamonds and begin the third row as in figure4, Note: after joining each new diamond, go through the green beads as in *-* of step 3 to tighten and square it. You will often have to go through some of the green bbcads a third time to position your nce- dle for the next stitch. @ Figure 5 bridges the center of the third row with a red 4-bead diamond and completes the third row. © After making the first diamond on the fourth row, connecting the center diamond to the red 4-bead diamond isa litle different (figure 6). ‘Optional: to make a short tree, com- plete the third diamond on row $ and ‘work the thread around to exit the bot- tom red bead of the center diamond. ‘String 13 gold beads for the stand, arrange them in two rows (figure 7), and square stitch through cach vertical pair (see “Basics,” p.94). Weave the thread in securely and end it. @ Forthe taller tree, complete the third diamond on row 4 and exit the bottom red bead (figure 8). Thea work ‘he fifth row as showin in figure. @ Finally construct the stand as shown in gure 10. Square stitch the seven ver~ tical pairs asin step 8, and end the thread securely.@ Before stiffening your tree as described here, make sure the beads are colorfast by stringing a few and coating ‘them with clear nail polish, Paint the back side of the tree with polish and let it dry. (Matte beads will become shiny 80 be careful not to polish the front of the tree.) Open the loop on the earwire and put it through the star. @ Kathy works at Sarai National Laborato ries as. computer graphics artist She beuls, evenings, weekends, holidays and vacations land attends Bead Maven meetings once a week, Her piece, Ocean Dreams, appears in “The Sea (seep. 80). You can contact her at 1044 Wade Cir. NB, Albuquerque, NM $7112: funstuf@eoncentricnet orsee her work at hipe/ivwwconcentrie.net/—furstuf Seadtutton + December 1998 materials * 11° Seed beads or apanese ofnderbeads, ‘green, ted, and gold or yellow + Nymo beading ead, size B, green or zld © #10 0r 12 Beading needie © Beeswax of Thread Heaven if desired © Pair of earwires with 3 loop © Clear nail polish mn\ ie Pena scares i) Ren SUSU SECs Breet nition) Pa Ue SRO ne CUI ees a Cea ormtteca ttre rel ee rag to heal or to harm. While the Cane RO MUSCLE UTS LS DUTT Omer Nea OSE) the mists of time, we continue to be fascinated by dolls, and Petersen enor tces nnof Enchantment Beaded dolls by four artists by Kathlyn Moss Olga Dvigoubsky Cinnamon “Ive always had dolls,” Olga Dvigoub- sky Cinnamon remembers. “I loved Barbies, especially making clothes and dressing them. I love the figurative in [any art form; the human shape is just 30 real. 1am especially drawn to the female form women and women's culture are wonderful. So far. male dolls because don't relate to the male experience. {don't make dolls just tomake them, they are a way f tell stories. I'm inspired by relationships with people, all the daily stuff oflife, and that gets put into my work through colors and symbolism. Some days I'm feeling nutty and that will come out — some dolls are bold, some are sad. Some have odd shapes and are not perfect, just like people aren't perfect; but, 60 tI think what people have on the isthe best part and f show that on the outside of my dolls.” The ertist’s studio isin an upstairs oom with a sink and shelves for books and supplies. “I can go into my studio, close the door, and put on music,” says ean work all night if ‘want to without distarbing my family Ie’ perfect! T’'m not a flashy person, so I sure like to dress and embellish my dolls! Cinnamon laughs, “Making them is | labor intensive. First I crochet separate | Pieces out of linen thread, then Isew the parts together and bead them. Then | stuff the doll with strips of cotton fabric, | starting at the feet. The crochet is taut and stiff, so I have to use ascrewdriver to force the strips into place. This part can be frustrating! | finish the head last, Cinnamon, so I'm making dedisions about the piece ‘up ta the last minute when 1 finally sew the head closed. made Into the Light of Da left) she reflects, moods of the earth. The spirals on her body depict the cycle of early morning light shifting into the darkness of night. The celors beneath these spirals are the hue-in-between. Like the earth, people have ‘ight’ and ‘dark’ moods. and the hue-in-between allows us to re-invent ourselves. | use spirals and triangles as symbols for the poxldess. The color red represents blood and life; yellow-gold, the sun and warmnth, Fertile (at right) is «colorful and bountifl field of crops ready for harvest. The baby she holds in her arms is her own harvest. want my ‘work to act «sa medium through which people not only see themselves, but aight also experience a connectedness to other human beings.” Ann Tevepaugh Mitchell Ann Tevepaugh Mitchel creates self supporting figures with peyote stitch 7m not a jewelry maker,” she says. “As a clasially wained artis, T went from painting and drawing to using beads as a medium. Out of curiosity, I took a workshop from Joyce Scott, who really inspired me. My very first attempt at beadwork was the three-dimensiona figure | made in her workshop. My bead figures are philosophical portraits of Ife, don’t think of them as dlls In fact, asa gir, I didn't like dolls because they didn't seem real to me, Mitchell's husband con horse barn atthe back ofth fa o represent the ted thered property Two figures ty Olga Dvigoubshy Cinnamon Left: ito the Light of Day, 1997. Crocheted waxed linen nd metalic thread, embroidered with glass and metal beads, cotton fabric stuffing: 12x 44x 14 i. (32x 1x em. Above Fertil, 1997, Crocheted ward lien and ‘metalic thread, embroidered with glass and ‘metal beads, cotton fabric stutfing: 11% 34x 3Xin. (30x 9x Bem,into a light-filled studio. Ann partic Iy enjoys the baby-blue poreelain sink that she brought from her childhood home, “It's like « large, square sculp- ture,” she says. “here are lots of shelves filled with rocks, pine cones, and other natural things that I've picked up;and © giass and antique whatnots These objects are a source of inspi tion. It’s important for me to have this place that nobody invades, where find the equilibrium to create. ‘My figures sart out as abow! full of beads, At some point in the process of sewing the bead: together” Mitchell muses, “the figure comes alive. The beads are like cells growing together, and that fits with my idea of reality. 1 use be and the light-bearing quality of the glass intensify the expressiveness of my fig ures. My work gets energy from the complexity of the pattern of the peyote stitch, the stretched thread, and the rep- etition of placing each bead. 1 can’t talk while I'm beading, it’s like a primitive is as pigments; the pure colors BeadéBatton + December 1998 function ~ mindless and intuitive. When Ihave a problem, Ithink of Joyce ‘Scott saying, ‘Go for the hardest parts ‘That's very encouraging. “The idea for Refugees came from seeing the people fleeing Rwanda carry- ing all their earthly possessions on their backs,” says Mitchell. “I was interested inbbright colors and variations of pat terns in this piece. [used one edge of the old apothecary bottles and the legs of the figures to achieve a three-point sup- port. Fach head is abeaded rock and symbolizes our connection to the earth. My most recent pieces are larger and get fr support from built-up layers of beadwork. So far my work is about women. These figures reflect my experi- ences, [think all artists channel their knowledge of lfe into their work and that this knowledge is understood by others on a non-verbal level.” Christy Puetz Christy Puet2 is a house painter by d and a dollmaker by night. “When I gethome from work, I'm so full ofenergy 1 usually go out for a run so I can calm down enough to bead!” she exclaims, uighing, “When I get back, I put on some music, pull my favorite chair up to the table, and work on the dolls until bedtime. I started making dolls because I didn’t need alot of equipment and because I've always done figurative art. 1 Jove the human form, even when its weird or goof}! I can see an odd-looking person in bright, unmatched clothes walking down the street and think, ‘Wow, you don’t even know it, but you just inspired me!” 1 ike finding the beauty in what others don't always con- sider beautiful “L collect rubber dolls. But, tradition- looking dolls are not enough, I can't tie them in with my own personality, she explains. “The dolls 1m: journals, each one is a visual representa tion of my life story. They are a way 1 «an exorcise my devils without being too obvious. I also create dolls because it's easy for people to relate to them. ce are litle Left: Ann Tevepaugh Mitchel, Refugees, 1997. Peyotestitt Yeadwar, apothecary bottles and tooks, each 6x 5 x4 in. (15x 13 x 10cm) ‘Above: Christy Puetz Gir as Sandwich, 1997. Beads embroidered overstuffed cation cath form, 7447 x3 in, (19. 18x Bom), ‘The dolls are interactive art; peoplejust ‘naturally want to reach out, pick them. up, and hold them, Strange shapes, bright colors, and cockeyed expressions are the hallmarks of Puctz’s dolls. She fees the process of. creating a doll is 2s important as the fin- ished piece. She begins each one by cut- ting its shape out of black cotton, which she sews together and stuffs with fiber fll. The final step is the beading and embroidery. “I use beads, not just because of their colors and lustrous fin ishes, but because they have a great hap- tie (touchable) quality and add weight to the dolls,” she says, “Because the doll shapes are 30 complex, I keep the bead~ ing stitches simple ~ backstitch and lane stitch, Sometimes, I make separate pieces with free-form peyote stitch that 1 sew on later” Puetz sees Girl as Sandwich as a humorous comment on eating disorders and our preoccupation with dieting food. “I'salso about choices, compro mises, and denial, The ‘Til have some of this, but [sure won't have some of that nonsense. With so many issaes and Weird stuf, sometimes I just feel like a salami stuck in the middle! she Laughs. Laura Leonard “Most of my art dolls are free-form pey- ote stitch,” says Laura Leonard, “but some are fabric with bead embellish ments. I like the human form, especially women. Hive ina blue collar, working class neighborhood where people are always doing something interesting. 1 can sce something whimsical and inspir ing just driving down the street. in my art, | try to capture that instant from ‘everyelay life. enjoy the ‘y there’ fun aspect of life. There's enough serious tuff people need to laugh!” Leonard creates her dolls in a small, second-level back porch with three win= dows facing east. “I can sce the backyard and keep an eye on my son while I'm beading,” Leonard laughs. "I usualy work om two or three dolls at a ti takes me an average of nine months toLaura Leonard. The Goddess of Love and Laundry, 1988. Rigt- angle weave, peyote sith, and embroidered beadwork over cioth wrapped wire armature, 15x11 x Sin. (38x28x23em) artists | tgs ovigautaty Cimernon 11581 23ed street Upland, A 91784 | coors. } (ara Leonard 2211 Pires Stost NE Minneapolis, WN 55418 (612) 782-8458 Ann Tevepaugh Mitchell 28 Old Weston Road | Wayland, MA01778. | 508 358-2057 CChisty Posts 18249 Alamo Street NE East Bethel, WN 55092 | (12) 823. aaxe. do a piece. I've never had a problem with ideas. While 'm working on one doll, I'm meatally looking ahesd to the next one. Goddess of Love and Laundry is my first really personal piece,’ Leonard. “The mesning came to me before { had the image, which celebrates ¢ joy of motherhood without ‘overlooking the isolating drudgery of ‘everyday tasks. While I only have one to represent the stages of devel- ‘opment. They are colorful and are hav- Li a ee ee ing fun, totally oblivious to Mom's needs. Imade them different races to referto the blenced family and theidea of the village. The mother figure is con: structed over a cloth-wrapped wire armature, I use T-shirt knit and quilt batting because it doesn't beard throu} the beadwork. I made the face as a sepa- rate piece in peyote stitch and sewed it on later. The body is beaded in running stitch, I embroidered black and white stripes to symbolize that Mom isa pris oner of love. The red ‘M’ on her chest refers to Hawthome's Tie Satrlet Letter and how motherhood can make a woman feel isolated and ostracized. While I've taken a humorous approach to this subject, | think art can be both light and meaningful.” @ Kathlyn isco-author of The New Beadwork «and wrote the introduction to Bead Art. Sh is ako a frequent contributor t» Bea Button. A bead artist in her own right, Katibyn's work i contact h n display in several gal- at Roseheart 30 SE Viewmont, Ave., Corva: leries. Youca Beadwork, lis, OR 97333-1904,totem doll by Pat Chiovarie with Kathlyn Moss “The idea for the mirror dolls just came to me one night,” muses Seattieartist Pat Chiovarie. “Earlier, Thad bought 3 lot of little mirror disks because I liked the way you could see your facein them. kept wondering what | could do with them, Ialso wanted to find a way to ‘combine all the techniques I use in my wildlife paintings and crocheted tapestry sweaters to create something new. The lls seemed a good way to do that. ‘Chiovarie creates her colorful, inti imate dolls ina light-filed converted ‘garage surrounded by books and the auterials of her art. “When I get bogged ‘down for ideas, tke out my books on ‘ethnic art, anthropology, and ancient ‘cultures. always find something that inspires me and helps me to find new iections in my work. Most of my ideas are formed internally, andit's hard to talk about them. They just come out in my art. In the beginning, I was surprised by the deep meanings people found in ry dolls since I was not thinking con- sciously of any particular message while was beading them.” Most of Pat's beautiful lite figures are crocheted, a technique that com- bines the luminous glow of pearl cotton with the sparkle of glass beads, For those who don't crochet, the basic doll shape is inclided to serve as pattern fora sewn cloth doll (igure 1). Photocopy enlarge it and add seam allowances when you cut it out. Refesh your knowledge of crochet with a basic book from the library or a book store stepbystep You construct two round heal piece, ‘one with a mirror enclosed on it and crochet them together around the sides and top. Then you crochet two body pieces and join them, Afer stuffing the head and body firmly, sew them togeth- er atthe neck. For acloth doll, blanket stitch eround the mirror to hold it on. Sew the front and back together, right sides facing, eaving one ide open to turn the doll through. Stuff; then blind- stitch the side closed. ‘Now comes the fun: decorate your doll with beads. Crochet a dott Head Row |: Ch3 (chain), 12. de (double crochet) in third ch from hook, join to form a circle. Ch 2 (do not turn). Row 2:2 Hdc (half double crochet) in each dearound ~ 24 hde— join, ch 1. Row 3: Sc (single crochet) in each hdc around ~24 se~ join, ch 1. Row 4: *1 sc in cach ofthe next 2s, skip next se, | scover the next ¢.* Con- tinue around **, easing inthe mieror disk (photo a) ~ 18 se — join. Row 5:1 sl st (slip stitch) in each se around. Break off and fasten, Other side of head - Repeat rows 1-3. Row 4: Se im each 56, at the same time catching the loop from row 4 of the mirror disk side (mirror disk out) for 18 stitches. The six skipped stitches on the mirror disk base and the head back (12 total) remain open for the neck. Break off and fasten thread. Body (make 2)— Row 1: Ch 28, Sein second ch from book and in cach ch sacros ~27 sc. Ch 1 and turnat the end of each row. Row 2: Sein each scacross ~27 se. Rows 3 & 4: Repeat row 2 (4 rows of 27 sefor arms). Row 5: Si st across 8se, ch 1, se across 11 stitches. Row 6: Se across 11 stitches. Rows 7-16: Repeat row 6 (12 rows of 11. sefor body), Row 17:Sc across 5 stitches. Rows 18-25: Repeat row 17 (9 rows ofS for leg). Break off and fasten. Other leg— Attach thread to 7th se of lower body and repeat rows 17-25. Finishing — Sc evenly all the way around each doll body piece without turning, Then sc or sew front and back of body together, leaving neck open. Stuff the body and head; then sew the hhead onto the neck opening.Fare ate materials Lin. (25cm) Round mia crafts store) © 3 kins peat coton #5 ‘© #5 (1.9mm) Stel crochet hook (¢4ifyou ‘rochet losely) Fier fil #12 Sharp or beacing needle yma B beading thread ‘+ Vasey of glass beads: 11, 8°, and 6 seed beads, 3mm bugles, 4-Gnm semi-precious stone beads, charms, et, Beading the doll beads backstitched on one at atime, Let your imagination be your guide as also like to tack om a skirt (photo) youdecorate your doll. Choose hot, made with square stitch (see “Basics,” p. bight colors or soft pastelsor go 94) or peyotestitch, And don’t forget ‘monochromatic. Then use bead fringe dangles on the skirt. @ embroidery stitches and your favorite ‘of-loom techniques to clothe your doll, Crochet doll blanks are avuilabe from Pat Cover the figure with personal symbols, at PO Bax 25297, Seattle, WA 98125; (206) oo dress her realistically. You'll bestr- 368-5530, prised at how she turns out, On my lavender dol, | strung seed beads and added them on many of the yam overs a I crocheted, but you can produce a similar effect by sewing them ‘on when the dolls stuffed, Photob shows applying them to thebody with half-cross stitch, which you may know from needlepoint as tent stitch. Bring the thread up in one corner of the stitch, string a bead, and sew clown in the diag- ‘onally opposite corner (gure 2). Use lane stitch for short bands of 3-5 beads as I did on the arm hands and seed bead/bugle collar. Bring the needle ‘up atthe start of lane (line), string 3-5 ‘beads (no more}, and go down so the lanes perfectly vertical, Take a horizon- tal half-bead-wide stitch on the back and come up next to where you went down. String the 3-5 bead pattern and ‘go down next to the start of the frst lane (photo c, figure 3), Keep lanes straight and even, Use backstitch bead appligue for out- lining appliqué motifs or making lines ‘or circles. Bring the nesdle up at the beginning of the line, *string 3 beads, and go down right against the third bead. Bring the needle back up between the frst 2 beads strungand go through beads 2 and 3 again. Repeat from * (Photo d, figure 4), To smooth lines and circles after adding all the beads, run the thread through the beads again, Fill in outlines with interesting beads or eaasvatton + December 1998n wee news@ books « buttons + tools Vi) Books for inspiration and technique The Sea: Selections from the Ist International Miyuki Del- ica Challenge edited by Barry Kahn, Caravan Beads, Inc. 449 Forest Ave., Portland, ME 04101; 1998, soft, 104 p $22.95 plus $3 S&H. You'll experience hours of inspiration and delight with this beautiful full-color book. ‘The digital photos are out- standingly detailed with rich «olor. The works range from fairly simple amulet purses to free-standing lighted sculp- ture, and all are created almost exclusively with Miyuki Delica beads. You The uminated may agrce with some of the The only patterned Gold Leaf available Beading judges’ choices and disagree Manuscripts: Book with others, but Barry's The Loom explanation of thearduous judging process and the qual- ities that the judges consid «ted critical should help guide you asyou create your ‘own masterpieces, Although, I was unableto discern any lar organization, that Great Packaging Exceptional Price ous liability; it’s clear who did whick piece. The book concludes with a page of information about the 2nd Miyuki Delica Challenge. Basie diagrams for peyote stitch, right-angle weave, and brick stitch follow (the frst bead on each brick stitch row Imported and sold by is not woven securdly). Iwas Accent import - Export, Inc. also somewhat bothered that PO: Box 4961 the direction of work is down for all stitches, wi Walnut Creek, CA 94596 oy eee 800-989-2889 Finally there isa state listing 5 of bead shops that sell Deli- www.fimozone.com as, Barry encourages Delica retailers who have been omitted to contact Caravan so he can add them. The Illuminated Beading ‘Manuscripts: Book II The ‘Loom by Delinda V. Amura. Fairy Wing Press, PO Box 973, South Pasadena, CA 910315-1997, spiral soft, 142 Po $22.95 plus $1.73 S&H. This self-published weav- ing handbook includes a hhuge amount of information to take the novice bead ‘weaver from selection of a oom and basic weaving tech- niques to advanced tech- niques. including emhenidery vork and conext- ork and peyote or brick stitch. Other advanced techniques include pulling ‘warp threads for finishing, increasing and decreasing, beads on warp threads lattice ‘weaving, and openings. Delinda also suggests various applications, finishing tech- niques, and embellishments, Fach step or technique is clearly illustrated with simple black and white drawings, anda drawing is almost always on the same page as the text it llustrates. There are a few grammatical, spelling, and proofing prob- Jems and Delinda tends to wordiness but you'll find that the instructions are clear and encouraging. A Siring of Beads by Mar- Reid, illustrated by Wolff. Dutton Chil dren's Books, 375 Hudson St., New York, NY 10014; 1997, hard, 32 p, $1499.POLYMER INSTRUCTIONAL VIDEOS’ PVCANA Mista eae og lia | +4 Free Caralog = MasterCard/Visa A RENT TNA a4 JEWELRY SUPPLY SHOP ERSOLE’S a} BeApeRAIns YANDMADE GLACS BEADS Loose EAD, * FinisHeo JeweLey Wrorecave k Reva Vere ove wyetcrre @ www .READbeAnvr.com Fro.00 & $100.00 FEA ArtOKTMENT PACKS AVAILABLE CAralge shtere AVALARLE. Seno F8.(7 Prove/ma 3226617880. EmAIcIeAsteart QEARHUNRNET $4.0 Kennan hay Lae Auta, CA Spee Don’t Myth It! Caravan Beads’ 2nd International Miyuki Delica’ Challenge Competition ‘Theme: Myths and folktales of the world Over $3,000 in cash prizes so ieaaioe Deadline for entries: Friday, April 2nd, 1999 Petand ME O51 297-761-2503 fa iloecanvantens. ‘wecararanbeads com Complete rales and entry forms are available at most beadstores, ‘on our web site or by contacting us in Portland, Maine. news@*reviews Here’sa great way to sha your love of beads with your favorite preschooler. In this charming picture book, alt tle girl and her grandmother share their bead hobby. Mar- garette and Ashley guide the reader through the steps of bead appreciation and col lecting (see how many differ ent kinds of beads you can identify in the colorful pic tures), materials, history, stringing, and polymer chy bbeadmaking. The last three poges lst many interesting facts about beads that chil dren and adults will enjoy Atajone buttons and pe Everyone loves abalone shell, and P'malways on the look out for really nice buttons and other pieces that can be tused as jewelry components S01 was delighted when Jules Kifot of Lacis ent me sam- ples of their beautiful buttons and thread winders, which are polished on both sides The butions come with 1 in, (3.8em), 2in, (Sem), and Sin (7.6em) diameters. The holes area bitsmall for rmacramé jewelry, but see below forthe tool to fx thet They retail forapprox. $4, $6,and $10. The thread winders are even more provocative. These decora tive shapes were used byCentra lores best ful service $M bead store. Festus» hulpslete Up ‘ok me beods and supplies toryou bead nee 1319 Edgewater Dr. Orlando, FL 39808 407- RECYCLED GLASS BEADS This Savtm ano TeAoe Besos ‘Coton Caratoc $3.00 Emailniheads@aol.com fA re bicrenetecg bores encod erie Alle eran Eel arate te eis ‘High Quality Japanes# Glass beads from al major manuactres » ye, Toho and Matsuno TTR M pias Bes tom ETTTBED ore coecnrepubic at direct importer prices * Glas Sood Beads fom Tainan for ehicten'scafts atlow buk prices + Over 2,000 Swarovekd stron Erystal Beads and Sones www. genbead.com Two Calforia Showrooms and domestic and iteration mal odor Prfex: 800-872-1302 Us cance RS) 317 National City Blvd “ost of FE and aay from F808, ‘Nations! Ci, Ca, S160 619-336-0100 EG) 637 Minna Street (etwoon Mission & Howard. 7th © 81h) ‘San Franceco, Ca. 93103 415-621-8187 FINDINGS! a et 4 19 & 49 str. Tiger Tailt MARVIN SCHWAB 2740 Garfold Ave. Sitvor Spring, MD 20810 (901) 565-0487 Fax: (301) 565-0889 end, . 14K... GF & SS... Plated Beads and Findings. . . Tools. Leather... Ziplocks. . Hairpips. All New Tiger Tat: Improved 7:str., Superior 19-utton ‘pear! knotting String a knotted necklace on doubled coed, starting with cord four times the desired Finished length phis 8 in (20cm). String a bead tip (if using them), all the beads, and the second bead tip. Push everything that will fol- low the first knot to the nee~ dleend of the cord. Figure 1: Loop the cord around the first three or four fingers of your let hand (right for lefties) with the bead tip end on top. Figure 2: Pinch the cross between your thumb and index finger. Hold the cord circle open on your spread fingers with your palm up, ‘Then drop the bead end of the cord through the circle into your hand, Figure 3: Put along T-pin or an awl into the loop the same ‘way the cord goes through. Gradually tighten the loop as it slips off your fingers, keep- ing the avl in it. Slide the awl toward the spot where you want the knot to be as you pull the bead end of the cord in the opposite dection. ‘When the knot is right against the bead tip, let the cord stip off the tip of the av. To set the knot, pull the two cord strands in opposite directions. Slide the next bead to the knot and repeat. = December 1998 circular poyote stitch Figure 1: String beads to the desired circumference. Tie in circle with enough stack for 2-3 more beads. Even-num= bered beads form row 1 and, the odds are row 2. Figure 2: Slip the ring over @ form. Go through the first bead to the let of the knot. Pick up a bead (#1 of raw 3), skip a bead and go through the next bead. Repeat around until you're back to the stat. Figure 3: To begin each row if you started with an even number of beads, go through the first beadsof roves 2 and 3. This is the “step up.” Pick ‘upa bead and go through the second bead of row 3; repeat. Note: if you begin with an ‘odd number of beads, there won't bea step up; you'll keep spiraling ‘rapid peyote decrease Figure I: At the point of the decrease, don't pick up a bead. Instead, go through 2 beads on the previous row. Figure 2: When you reach the point where youwent through 2 beads on the row below, pick up 1 bead and go through the next bead. Foret SPES. Fore? square stitch Square stitch looks tke loom weaving but is done without aloom.The Bead Pattern Designer Automated Tools for the Bead Artist ‘Windows 3.1 or Higher Required Patterns, Kits, Books, and other fine products available Catalog $3.00 ~ Refundable on first order over $25.00 “My ads in Bead & Button more than pay for themselves every month!” Sylvie Elise Lansdowne 4462 Oakdale Roat : Snnyma, GA 30080) ‘Spine rercetaren 770-432-6005 sengieemtlerives wet ite: utp/member 01 convsyiie203 “ering to bead aking ws # ef Goines, bute imately at as seeing as 1 0 et, sys ls a7 ye Eke Lawn has ‘ters he plished ad Ben for neat wo yeas ase happy ith eres bead & ato designed an adveriing se ha present me we Asa ei, he as for 'in-cataby Tor ay csoners” “in addon o mre than ping fe hemes ee oh, ya have se tsa! rare ecgnon andy ve poly Hea fot fe Beaders vo eer ‘2 9 1 shaw oF don't ane bel shops whee they Ine” Spe a. "Ad ton ‘wend _ To find out how Bouad & Auton caa help promote yourbusiness, call 1-888-558-1544 ‘ea E Sith, Advertsing Sales Manager, 8.63) ‘Siem nde, Adee Sale Representative ex 6k iro At, Cid Ad Sles Represent, ex. 338 PROTECT «z> INVESTMENT! Preserve your library of Bead & Button Magazines with durable hardcover binders. 1026 1 for $12.95 + 3 for $35.95 « 5 for $54.95 z 5 |S PVERTISER PROFIL Call 1-800-539-6644 Mail Ne Barton Crt Teva. tc Pati: 0 DaielS wedrack ct” 3s Coms Cr 9.0 bo te Wai W onary Mera ied — saab Fameness = iss Be : a ‘Online ‘Caen att an ora $2.90 ta ta a suiveetenartee eneiatitaason eben asa iran merce mest * BeadS>Buvion + December 1998 basic: Figure,I:Ifdesired, tie a temporary stop bead on the thread 4-6 in. (10-15em) from the end. String the number of beads forthe width of the piece. Figure 2: To weave the sec- ‘ond row, string 1 bead and place it directly above the last toad on the first row. Bring theneedle through the last bead of row 1 and the first ‘bead of row 2 again in the ‘same direction. Repeat this step one bead ata time above each bead on row 1. Figure 3: Work row 3 exactly likerow 2, but start at the other side. Turn the work over as needed for comfort. ‘making loops (or eyes) Figure 1: Cut the wit, leav inga %-in, (Lem) tail above the bead. Bend it against the bead at aright angle with the tip ofa chainnose pliers. Figure 2: Grip the tip of the ‘wire in roundnose pliers. Grasp the very tip in the pli- cers If you can fel it, you'll gota teardrop-shaped loop. Figure 3: Without pulling. rotate the wire into a loop 2s faras your wrist will turn. Let go, straighten your wist, regrasp the loop at the same place on the pliers, and keep turning until the loop is closed, The closer to the piTURQUOISE BASKET ‘A Carol Wilcox Wells Design ‘Graph #ORO0S Finished size: 4¥9° x34" For more information on this and other beaded basket graphs call oc write: Direct Importer «E10 eo on . ests FO Box 8492 { Asheville, NC 28814 + Bali Sterting Silver Beads + Bronze & Pewzer Castings + Scerling Siver @ Gold Filed Chain (by the foot) Missing someth Complete your library with back issues of Bead & Button! Order today at DN eA eve) oon eT Cay Fora complete listing of a send a businesssized SASE to Kalmbach Publishing Co., Back is 21027 Crossmoauls Circle, P.O. Box 1612, Waukesha, WI 53187-1612. emt? BBIS51 Hesd@atton » December 1998 Phone (€28) 252-0274 + Faxe(828)26 basics igre erstip you hold the wire, the smaller the loop. wrapped loops Figure I: Leaving a % (19-2.5em) tl place the ip ofa chainnose pliers where oT Shen wil be Bend theta to forma right angle. Figure 2 With roundaote ples, grasp the tail just past the bend and pall itover the jaw to point the other way Face Figure’ Rotate the plies so \\4__ the empty jawis on top of the partial loop and continue palling sound the bottom jaw to complete. Pull the til allthe way around unt its Po perpendicularto the bead or the wire Figure :Pulla spltring, chain, cc, from thetal into the loop. Figure 5: To kep the loop round, grasp with round- nose pliers in your non-dom- inant hand just above the cross. Don't dent the wie Figure 6 Grasp the til with inlanose pices are pall around the wire until it tnects the bead. Make the first wrap against the piers and keep wrape close. Clip. surgeon's knot vs square knot Asurgeon’s knot isa stronger version of a square knot. Because it hasan extra loop- through, the top of the knot ccurls around the sides to lock it together. Begin asa square knot: left over rightand around then right over left and through: then go through the loop again. Tighten. ©