Scribd Logo
Upload

Welcome to Scribd!

  • Bead and Button 1999 02 Nr-029 PDF

    Uploaded by

    camicarmella
    224 views52 pages

    Original Title

    Bead and Button 1999 02 Nr-029.pdf

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    224 views52 pages

    Bead and Button 1999 02 Nr-029 PDF

    Uploaded by

    camicarmella

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 52
    February 1999 Barbara Minor’s Weave a lace purse with a new stitch 4 Fabulous button = quilts Create ocean beads with polymer clay Mil 32. Netted Stone Necktace by Rennie C. Weber Catch chips and beads in simple net 34 cm ‘Ocean Fantasy Beads by Debbie K ‘ee page 4 Build an underwater world Produce am unilerwater effect with very thi layers of translucent with Sculpey HIland Fimo polymer day anda variety of canes ‘ 39 46 34 The Face in the Needlecase Never Enough Buttons With a Twist by Keren Whitny By Alice Kora yale Males Bead your own ‘Thousands of humble Brick stitch fans rman about town pan power Rachel iit marsourkcng of aioe gals ake coke 4 B) Ss — COVER a ) @) 56 STORY Capture the Turn of Two < = see page 56 Centuries Barnacle Rocks: Barbara Minor's Dance Haran Mina ll shat Daa ye ty Ele Johan Bey by Linda Slow how she makes enamel beads Heirloom lace takes shape Peyote stitch a seashore ‘The ancient art of i precious tne and a tyne coamclng bas Pometalgia 5 “y . Peyote increasing and 6 () decreasing Lacy tice Purse by Barbara Grainger by Jane Tyson tend aqere stich and peyote stitch save Cry us fo 4 Hapa loa bien Pilgrimage to Jerusalem on Trapeze Earrings Rachel Rogge quit by Gloria Horris Six loopsadd excitement to furnace glass PEORUAKY 1999 NuMweR pent als ak soi le La ; anna Tale oy ade eo | departments n i a 2 % 66 n n How ta Reach BeadBButton een tein etree Hye eed twontad vs, al 416-296-875 or sta este Pon gi2 hasta, ‘iar-112 OCT ToSubserie: ek alos perrer) Aston service age wil be tappyte ae ‘ToAdvertise Sire 158.15 ed ss een esq tase penne east From Alice's Desk Tips Techniques Tubular peyote frm, clzaning batons, conve- nent thread carrie, detachable amulet purse straps, removing rust stains from glass beads, polymer clay scraps for frames Your Letters Origins Bidom Beads ‘Compster Notes Your Work Pattern Gallery Chic & Easy Graniina's Bracelet News & Reviews Vintage button catalog; amulet purse patter On the cover Barbara Minoe’s enamel took: bead tradition book: new, suner-Supple wire glow with may from Saft Flex; pohmer clay video layers of color. Calendar Photo by Bill Basics Zuback Square keat, surgoon’s knat, haf itch, brick sich, tubular peyote stitch, oops, opening and closing foaps 1998 Cumulative Index Aaything Boe 'WYou've Gat the Button, Honay, I've Got the Time from alice's desk Unusual new beats {rom thee artists: lochwise from top: two chewrons, K (Grady relish tray, ‘DV. Horst “ancient” plas, 8. Metzger boat paint, BN. Horste ‘evin O'Grady, a Jong: time glass beadmaker from Arizona, was at the Greater Chicago Bead Socicty’s fall bazaar. Kevin is bet known for his stunning Pyrex bracelets, bat be had some fbulous new work, too. I coulin't resis his aven- turine glass (the blue layer) chevron beads (at top). Kevin’s chevrons look subtly dlfferent from those made in the normal manner (BEB #28, p. 16) Instead of using an optic mold to form the star pattern, Kevin made his Matton = Febroary 1994 Bead@Button. ‘Eaitor Acc Kooxh seit ter Link Sie tal sat Sse Shoes Cattng Etre Nii Dieter Lio M Star Beapl Desgne PL Koge ‘Staff Photographers fei Zuback ios Forbes ‘Stat Mustrators Teen Fed Keli Jase ug eer Aen: Soh rane Se aren bone Cinders aka Sea oe ‘tarvent preset acy Fell Prebenrecing Selek pete ean cat kin he Croat Corer pemoitenn Rete ‘ene at omen Wake Shot ree ‘ol tocar Io Pra, Ae aoa S Set sri Merkin Maa Sete bring Salen 838554154 068 Trade Sale 50-558 544 MF 30am S08 pm CST aslo uce SS trie, USES. ep et iii Wintec ie Thi pbeaton may mt be repel [Da exin wha wont wes iene om et fie Hen wend edna contact tor Cees Redick ay 1853 kn Suen sae copmay ft $9 de iy 58 ye ‘hee years (1A bien Canadian and leap 32800 Sn Tari si for Ete denny ser Gdn Ae StS00%y Fovign Ae 5 00'ye AL ules eee iowa) Poumader Sent ‘lem changes Deon 0a Crore Giri Oe te, Woche WSN T6. IM tups@technique: Tubular peyote form ‘Cleaning buttons A 2liter plasticsoda bottle To clean button made from makes a much neater and .everal different materials or casier tubular peyote-stitch a button that has areas you form than atolet paper roll, don’t want to touch, cover T'veused one for several years the areas you want to protect and haven't found anything withsmall pieces or strips of thatworksas well: Firat cut 3-M Painter's Tape. Using off the ends ofa plastic soda small pieces allows you to produce a good edge. Be ‘areful t apply the tape firmly t avoid loose edges It tay take layer after layer to set iright, which can be tedious work but worth it. In the end, the oniy thi ing should be the areas where you want to work. Then if youslip in your cleaning, whatever the method, you will not mar the surface of pomtesteave a tin (10601) yourbutton. Lynn tallcireular section. Cut the Williams, Henderson, NV plastic the entire length, ‘opening the circle. After Bobbins anyone Your Jewelry Supply determining the sze form buy Sllamide thread in 990 Superstore you need for youreurrent —_yd. (819m) spools since this seoreaceek project, shape the plastic to. _ is the best value. However, hoe || the appropriate size and tape the spools are bulky. For “jewritycinin, itdlosed: Itean beused over beading on the go, I use my eSyety weer a sodoer. jst ape sing mac wind ingmupalics, aap off adjust thesize foryour —_botbin of Silamide. Machine Bei eea et project andretape. bobbins are an ideal ize for “Gmarientha@aolcom traveling. Eileen Lee, {900-928-3024 ‘San Lorenzo, CA Detachable straps ‘To make the neck strap Removing rust stains detachableon an amuletbag. Ifyou use steel mandrels, try use two clasps. Connect half a rust-removing toilet bow! ofeach clasp to the top cor- cleaner to remove rust stains, ners of the bag and the other from your glass beads. Use totheends ofthe neck strap. rubber glovesand a glass Ifyou.use interchangeable container and be careful. A clasps, you can makediffer- quick soak ofa few minutes, ent strap styles or strap 8 toothbrush (probably not Jengths and select the bet _best fo use your own), and a style and length for the neck+ good rinse will do the trick. If line you're wearing. One you soak the beads too long, strap canbe used forseveral they will etch somewhata bags. or weara strapalone as nike efectif that’s what you necklace. ~KayteeSumnida, want. ~ Bruce Cotes, San Diego, CA Saugatuck. ML een imulet Purse Designs fate ow ie toon ba 8 for peyole ttch feet tad os cips@ techniques Cardboard thread holder Take a halfhour to prepare some thread 40 you don’t have to interrupt your work ingrhythm when you run ‘out. Dempen and wax Tengths of Nymo beading holder and store in aplastic bag. When you stop working for the day, wind the thread board floss holder to keep it Phebe had a problem st what to do with mer cay Scraps. iy though, Pye started un es with them. | form the clay into the shape I want the frame to be PUTAS) soi SSSR, inzoneatea Pees Crnnsacecc Ss pee prac} Peat Seg Feo GEM-O-RAMA, INC. Pe eee ea Pera | Pr er | ‘De tips come trom you. Do you hve a handy we eee ray tosomethn, ail oon. a at ite ch ae eth the Bet Penenre rte 4 grag you tip 308 Fay | Sear th Peete eter Fr ned cat etna Pr Bearcat Loom & Stnd + Wene/snpprt ion Conc net | Baise iol Hap Hee \Loom wistand = MBO see oe 25 58M Pee a ON 3 i Pree end | 1 [NECKLACE DASE-PLATE ENHANCERS, “Aart Sages 6S anaes angen eno cha Send $435 fr oar comple bea, i dings & Angel parts CATALOG BALLY BEAD COMPANY "2004 Ridge Road »Roclowall, 7X 75087 TASS a ETAT anc kl atest com eee) ‘Mirrix Bead & Tapestry Loom trem eet sage Som teas sens 71 an 205 alent Wi” t/a your letter: Nows flash After 19 years, The Shep hherdess will close it retail space on December 31, 1998 Its workshop program will continue, specializing in innovative seed bead and wire work. Marcie Stone will also sell antique and modern seed beads in conjunction with the workshops or by appointment. On January7, 1999, Lost Cities will open in the Shepherdess former space. Both will beat 2802 Juan St, San Diego, CA, Wow! to the December issue Freceived Beadé-Button #28 Wednesday, and all Laan say is WOW! I don’t know when Fyyebeen as inspired. “Lose Ons Hohn. TH Comb suggestions The beaded combsin the December issue are lovely but may be dificult to wear I think perhaps the best way to use these designs would be to put the beadwork on 3 ingge barre, which could be seed to gather the hart the crown. The fringe would hhang straight down, shoving off the taper and mixing ee- gaily withthe wearers har. Goh! I'm of to get my bead- ‘bon. — Helen Stohinan, Somerniie. WA Crochet nook suggestions 1 was particulaly happy to tee the article on beaded dolls (428), but there isa problem regarding the size of the crochet hook forthe totem dol. tried using a #5 sted hook, at instructed, and the piece turned out siffas.a ‘board. In steel hooks, the larger the number, the small- cer the hook. A#3 would be more appropriate, ora #4 if you crochet loosely. sa, Roonaan isa is right. Use whatever size hook will give you a piece thar matches the full-sized pattern. | crochet loosely s0 4 45 wn fine for me. — Alice Feedback from the couch Itried beading on my back ‘mn the couch (#27, p, 6) ‘while Twas recovering from pneumonia. A pile of beads ina fold on my jamie chest was convenient. In the water~ color trays, they were out of the focal length of my glasses. “The omly down side was that kept forgetting to remove the beads before f stood up. OOPS, — te imora aan cA Prayer bead mistakes & anniversary bead ‘Thanks for printing my explanation of the Buddhist ‘mala in the December issue (p. 12), but your proofreader must have been out for cof- fee. “Discipline” beads should read disciple beads, and Buddhs is misspelled, bought one of the Anniversary beads. It is much nicer than the picture shows, more delicate and mult- dimensional, You will havea hard time beating it when it comes to your tenth anniver- sary. ~ Fath Gare etic cn Favorite Web site [really lke the Pattern Gallery and Computer Notes in the December issue. My favorite Web site is Aunt Molly's Bead Street, wwweflash.net/-mitafoya She updates her links to free patterns and projects month ly. hosts several people's pat 1511 Shemin Ave. = Bam IL 6COCK 4 r (s aa ; Ayla aolr your letters 2 ie | obsclaldy fatolous brad gallery: | z Z terns, and has a bunch of her £ . own up. Also hosted on the 8 camer slic lsa Wonder self pub- iS +B ir Ser lished book by Lica De Fehr, oa + Findiegs: Bead Sculpture Bugs and *Cumoen Lap Bee Dancing Frogs, adefinite Ee ee don't miss for wire and bead Lita ‘workers. Sala Reign 7a GAPS ee sasaki sean iganl akc + Reding Supetoe oS iiss os, mene + Cas Sther Chains 8 Pein Tahetoeiyncyocramee Goi $500 ine. My only request Dg mice sinir you havea page to exph the directions further. Lam OR 590 «HK Wa 9474248 ‘an advanced beader, but I ‘Soxsh, AZ 1575) fave alot oftrouble with ‘writen instractions. Is there any chance there will ever be a “help” page? — Ge ier, Magee cre Bases” mented to cla ify stiches ad techniques. On redesigned Web page (it should be up now), we plato tue "Reader Forum” for kelp {and other things), but you readers ned to lt srw where you need help! Always feel fre write, call, or e- ‘mail if you have a problem. Pill container problem Ifyou use the tip about car- rying beads in multi-com- partment pill containers (#28,p, 8), make sure the cones you choose have snug. fitting lids on the compart- ments, Mine didn’t. Result: 30 or so well-mixed cups of beads that were meant fo be separate. atari, 800 Sato Beers $3700 (des by nas ine com iA ee ha tga pe ee Enna #28, 35 ha potting nat ned Date era's 50 was Pal ao, et Pl se 127,10 Cheol it a ela rest eto propane a hte feral ys wl a en in angen sone — ety Chats ats Classes Online! Visit our New website for details www.DancingBeads.com 406 fast main Steet mediord, 8 97507 SaY/7347784 JOE MONI ITS Sot Arrow Springs mSaitheor WANT TO MAKE GLASS BEADS? We Offer A Complete Line Of The Finest Quality HAND TOOLS, EQUIPMENT AND SUPPLIES ALWAYS FREE HELPFUL INFORMATION * FREE CATALOG * Kits, Videos, Books, Glass, Tools ... EVERYTHING YOU NEED! Shingle Springs, CA 95682 computer notes The Internet Demystified bby Syivia Sur Ifyou fee abitlostand When youseea website you ‘uncomfortable when people like, add its address to your talk about the internet, here's browser's “favorites” oF description that won't “bookmarks” list so you can ‘make your eyes glaze over. find it again. Once you start ‘The intémnetisanctwork of surfing the internet, you computers from universities. might want to put up your government agencies, and own web page. Many ISPs individuals inked by phone provide free web page space lines. Ifyou don't own and insteuctionson how to ‘Send to: computer, many public swrite private web pages. Computer Netes libraries offer computers You can find almost any- eadBButton with Internet connections _thingabout beads on the POBox 1612 you can use. internet. Some sites are com Wackasha, Wi To connect tothiselec- prehensive almanacs, others $3187-1612 tronic world from your com- are weekly magarines, and puter, you sign up withan manyarelike unchanging IntemetService Provider _how-to books. Herearesome (SP) and pay afee that gives of my favorite places to visit you access to e-mail and the on the net. internet. My Yellow Pages “The most complete bead iets more [SPs than bend __resourcelisting is at the Bead stores. So it's easy to finda Fairies’ site. Everything about service provider. The month- beading's at Wead Fairies, Iy cost is about $20 for including book reviews, cnough'time to enjoy wrfing beading techniques, bead (beowsing from site tosite). societies’ meetings, retail and Ask potential ISPsifthey wholesale sourees, free havea local number for your lessons, and free patterns. area. not, youl paylong- Remembers type the letters distance charges each time and symbol of the web you logon. address exactly as you see ‘When you sign up with an them in theaddress box near ISP, you receive browser the top of the browser: software foraccessingthe dow to get to asite interne. The most popular BeadNetis the most com- browser programs are prehensivelisting of bead Netscape and interet resources on the internet. Explorer. Browsers let you. You'll discover some bead ‘open the wel pages ofsites sites sure to become your that interest you, and most favorites here. sites have links to other sites. Liza Lou, the artist who has *set out to bead the world,” has photos of her woh addresses beaded kitchen installation ead Faces: ‘on the Haines Gallery art site. | | setp.znwn mes nt/—smone/beadaries td T hope you enjoy some of ‘BeatNets hts /¥wn rcs el —smanerbeadret mt my favorite internet sites. © Haines Gallery: tp hooked net —chpizawr nn ~ Sy at sree att — [MOGNDANCE — My freotorm peyote necklace has an amber tabachan and nuggets, an opal cabochon, freshwater pearls, moonstone rondeles, a dragon charm, woster tlaw, Japanese cinder and round seed beads size L1° and 15%, and 2-cuts. It won best in shew et the Glenn County Fairin May 1998. The freeform peyote ides came from the cover of A Sculptural Peyote Projects Primer by Jeannette ‘Coik, Freeform peyote has become my favorite form of sell exgression’—Pat ngraham, Orland, CA RAPUNZEL — Let Down Your Guden Hairs unique bacause itis. fee standing sculpture and also wearable 25.2 fin.) used tubular pete stitch, lat peyote, and rght-anele ‘weave inthis 6%In.-tal(16.Scm) 3-dimensional piece. tt was in the 1998 Coming New Giass Review, at the Signature Galley in Atlanta, in an ad forthe Atiante Galley and Museum Guide, ae at Beads and Beyond in Bllewe, Wastington,— Jo Aan Feher, Seattle, WA ‘THESE ARE YOUR PAGES When you make something our pecially preud of, send ws.a picture so we can consider Including thee, We may have o borrow the pice to pho- toraph it but please don't send it unt we ask, Write tous at Your War, Beed&Button, 21027 Crossroads Circle, PO Bex 1612, Waukesha, Wi 53187-1612 att ‘BEADED VICTORIAN TAPESTRY —| used deubed thread and square stitch for strength and also to support the weigit of the tapesty and fringe. For a. united lok, | painted the stic’s bark areas with the ‘ame colors as some ofthe beads in the fringe. The piece has about 4,700 sie 11° beads and approximately 80 hours of work, ~ David. Farnsworte, Rochester. NY CRYSTAL CLOSURE ~ | ove ihis amulet bog using my own variation of flat peyote stitch, Working without a ferm, ft begins at @ bottom comer lass Srystals hematite, 280 a quartz cystal | started the Louisville Bead ty and The Las Vegas Bead Society, | kind of fee he Johnny Appleseed. nate Ait Beadsociey, ~ Andy Mucky, Las Wegas, NY ‘nd has no seams. The materials ae size 14° Czech seed VICTORIAN LACE CHOKER — This choker is @ culmination of my two assios, Vietotian and Middie Eastern ethnic uci, The center. Fieceis 4 1920s Crechosloakian 185s Egptian cabochon mounted leather and surounded by beads. I chose 8 modified heiccom Jace pater, using ize 9° Czech 5p tke the centerpiece, ~ Sandra Prescot, Glendate, AZ © ‘3-cuts, | beaded theo pa tterns These are your designs. When you design a charted pat tern that you's especially proud of, send us the gra ay for any pattern that we pub sh. Write tous at Patton Galion, Bead Button PO Box 1812. Wauicesha, WI 53107-1612. Mardi Gras Mardi Gras is worked in peyote (gourd) stitch using Japanese cylinder group of us design cel tive patterns on th As I worked on one with a Celtic theme, the centers of the kanots and most of the pattern was done in minutes. She just ree = ise sort of app Dogwood Tapestry This elegant asymmetrical pattern uses Japanese cli: der beads. The main body is worked in peyote stiteh, and the unusual shapes at each end are separate brick stitch pieces tacked omto the body. More o seen in the new book Raided Obsessions (see p. 66 and 84) er Ase Fest Ch © woeue Contemporary Glassworks: Dichroic plase pendantalinks Contemporary Glassworks anet Wlery 1904 Ful Re, New Lebanon, OH 45345: (637) 687.9813 NEW BOOK RELEASED!) 'by Delinda Amora tom AIRY WING PRESS “The Uluminated Beading Manuscripts Book 15- DESIGN also availabe Book 2- THE LOOM, | Paccems, Kits, Sith Beading Thread 'W TOVIEWs oRDER llr. delingav-amura.net rout ire foeayese aces chic® easy Grandma's Bracelet by Randa Blake Using two boad ‘shapes for this easy nat makes it look ‘much more intricate than itrealy is, materials + 1 Spool of white asic tvead fabie stor) Twisted wie beading need = 803m Faux peas = 160 7mm Got tone ice-shaped beads + Clear nal polish 0¢ GS hypo tube coment Jook. She had been wearing it noticed that it didn’t cling 10 bracelet (at center), 1 decided beads; and for the one on the idle beads 8° seed beads, Just choose beads with good-sized holes and patiently unkink the tread before pulling it through the beads. stepbystep Grandma's bracelet is made wih a simple horizontal net tiiginitch that you work back and forth for atotal of 40 rows. it isabout 6 in (scm) long and én. (Gen) wide Deckiseyoe weave it on dastc thread yu need to choose beads with large enough holesto accommodate double thread. ‘Add or omit rows in twos s0 your bracelet isthe exact cit cumference of your wrist. It should ding without being stretched. As you weave pull the beads up snugly without stretching the coed “The bracelet will take about 2 yd. (1.8m) of elastic id. Ti astop bead 6 in, (1Ser) from one end, and seal the other end with light BEARCATS “Unive Syesoeti’ Man Onder Beds ‘Glass seed beads 11° t0 24" oe oa THE BEAD GOES ON HILLTRIBE SILVER FROM THAILAND HIMALAYAN ADORNMENTS AAILAGROS RECYCLED GLASS JAVANESE MANIK MANIK BEADS. SATIN POUCHES BAMBOO TOXES ARTIFACTS IMASHS utd oes 9 nespeonsoncon DP seein narocen nor BEADNIKS noncmanancassront errr er sae et ek ar eee Le Ae) Ke) “After trying them all, C-Flex is my wire of choice.” [Nancy Susineck, owner, Suex Bead Co., Sugarland, Texas 49-strand nylon-coated steel cable for bead stringing ‘Available in clear, black & bronze (same low price for calor), Two diameters: thin (015) and regular (018), both 49-strand. Mlexible, durble, Distribused only by Caravan Read. Ine ‘Coming in 1999: 130 colers of Miyuki 1510 seed beads color-matched to Delicts. 50 colon: of Miyuki 8/0 seed beads ‘New Miyuki eriareles fx 1010, 810 and 510 Many colors of Miyulei 3mm bryges 449 Forest Ave Pontand ME 04101 Caravan Beads 9001504981 fa 207-974-2664 info@earavanbeidscom_wwve.carwvanbeads.com ” ead@Button + coatof nal polish. Blot the potish so the thread doesn't thicken, When dry, thread the sealed end through a wire needle to weave with a sin strand of thread. Ifthe: wears off while weaving, tim the end and reseal Row I: String 1 gold bead and 1 peas four times 8 breads (figure 1) Row 2: Start by stringing 1 gold, 1 pearl, and 1 gol. Then go through the third peat strung on row 1, point- ing toward the stop bead. String | gold, | pearl and. gold and go through the first pearl of row 1 toward the stop bead (gure 2). Row 3: String I gold, 1 pearl, and | gold and go through the last pearl ofthe previous row away from the stop bead. String | gold, | peat, and I gold, and go through the first pearl of the previous row (figure 3). 13 18 more times, exch time going through the pearls on the previous row. There will be 39 rows. Last row: The last row is an even numbered row. String 1 gold, go through the peal on raw I farthest from the stop bead. String I gold and go through the lst pear fon the previous row (row Repeat rows 39). String 1 gold, go through the second peerl strung on row I, and string gold. Go though the frst pearl on row 39;then go through the first gold bead and pearl strung on row 1 away from the stop bead (Figure 4), Snug up row 1 and knot the final end between the frst pearl and the second gold bead of row 1 witha double half hitch (see “Basics,” p. 74)sppull the knot tight (photo at left). Remove the sop bead. Thread the start- ing end and bring it through the adjacent pearl on row 39 (igure 4). Tie it around the thread on row 39 the same ‘way, Seal both knots well, go through the nest bead, and trim when dry.@ Took shear gc hot: Jewelry fr ln fie eas She asian Ch Figure) DG We ~~ ews font Fe hows Finwes ae tow ie tow Sten nd on 9 {CT CZECH IMPORTERS ‘ EADS AND FINDINGS Grencrmmrcncmmd tenn § Ml cox ousea trae sens, Obi ian tare dake ef gC ACAI, perpen aun hed Feepalah, Seth Rounds, Cadcchonn PICOT PRESS na 296 ge 97 (097) 964700 tee 07) OATS ieoewaiog 448 West S7in St, Now York, NY 10015 212-695-1115 Fax 212-594-0071 BeADBRAING HANDMADE GLAsr BEADS Loore teAo; * FinssHeD Jeweiay Wroteiave & Reva. Vier cue nencere @ wav deantbaincom 2100 & fion.co ReAb Arcorrir Matas avAiiAtLE CATALGG Weert Avan ARE. Seno f taont/t 8235619810 emi S418 Careniwsno fb, Lor Ave Corporation sa eana oe carr CANTO OIE CONSENT SOM AMG TRE nae Os IMPORTERS OF TOP QUALITY STONE BEADS AND DESIGNER JEWELRY PARTS FRESHIVATER PEARLS, CLOISONNE, BONE, GLASS, M.0.P. STERLING, GOLDFILLED, 14 KARAT, BEADS AND FINDINGS. WHOLESALE ONLY ++++«: Monthly catalogs available only to retailers and designers \with tax identification who mention BEAD & BUTTON 800-521-6326 Royal Oak, Ml 48087 e-mail: abeada@aol.com fax: 248-399-1920 Netted Stone Necklace Catch chips and beads in a simple net by Rennie C. Weber { find myself seduced by brilliantly colored of it never fails. Every time I walk intova bead store, he prices are reasonable, course, Ibuy afew strands. How can Tresist? However, at home, whenever I tried to incorpo rate them into a design, wasnt happy with the results, But I'm persistent. Finally alter much trial fan error realize thot the varied sizes and shapes of chips don't allow them to meld together. ‘They have to be separated by «smaller bead to work. Now I love creating necklaces, bracelets lark dls, and even eyeglass chains with chips and smal heads in roughly equal proportions Tey 6°-8" seed beads, rondelles, small tubular beads, or 2mim gold beadsas separators. Chip designs work best when the separating beads are no larger than 4mm. You juste sure they aren't too small n use chips of any gem, stepbystep Place the tape measure around your ‘neck where you want the necklace to lie. Ifyou plan to wear your necklace over a turtle neck sweater or blouse allow 1-3 in, (2,5-8em), The necklace looks best when it lies at the hollow of your throat, Determine the measurement of your neck, Subtract i in, (1.3em) for your ‘clasp, ‘in. for the bead tips, and fs in, (8aim) fortwo 4mm beads. Be sure your measurements te accurate Row I: Thread your needle with 2yd. (1.8m) of thread. String one 4mm bead, ‘a bead tip (string from outside to inside) and a seed bead leaving an 8-0, (20m) tall Go back through the bead tip and the 4mm bead (photo a), knot, and seal with clear nail polish, ‘String 1 chip, a4mm bead, 1 chip, anda dinm beed. Continue this pater until yon reach the predetermined length. The toral number of 4mm beads in the first row must be a multiple of three plus two, String the last 4mm beady a bead tipy and wsced bead. Go ‘back through the bead tip and the 4mm bead. Check to be sure the strand is evenly strung and that no gaps show. Tie a half hitch knot (see “Basics,” p, 74) sndsca ‘Row 2: To start the loops, string a 4mm bead, chip,a 4mm, a chip, a 4mm, and chip. ike short loops. I ou prefer wide loops, add another ‘mm bead to ver loop. Go through the third 4mm bead from the end in row 1 (photo b). Knot with a half hitch. Continue this pattern through the end of the row. Knot the working thread and the il ogather and sal. Row 3: Go back through the chip, 4mm bead, and chip in the last loop and not String mm bead, chip, drum beak chip, mm bead, and chip. Go through the mide chip inthe next, loop (photo ¢). Knot. Continue this pattern through the last middle chi and knot. The last 4mm bead, chip, and ‘mm bead in the lst oop wil ol be used On every rom, stop making ops at the last middle chip of the previous row. Optional: To strengthen the neck- lace, after working each row, go through the unused fmm beads chip, sd on bead ofthe previous row. Tia half Pure hitch around all the threads and seal (igure 1). Go back through the beads and chip tothe lst loop made ahd start the next row. Roves, 3, and 6: Repeat row 3, String additional rows ifyoa want the necklace longer or fewer rows if you ‘want it shorter, Row 7: String four Amm beads, one chip, four 4mm beads, and go through the middle chip on the row above (photo d). Continue to the end of the row. Knot and seal. End: Go back through the loop you just completed. Knot and seal. Go through several beads. When dry, tren, ‘Weave the starting tail throgh several beadsand trim. Attach the clasp. @ ‘Rennie makes her home in New York. Co ‘uct her in care of Beade-Button, Bead@Hution + Eebronry 1999 materials #24 Strands of mediun-sted gem chips + 501-1000 dni Beads depends on chp sin) + 2Beadiips +2 beads ary oboe in (13cm clasp + Bonded yan thread Singh #0 + #12 Beading needle * Ch tape measure Clear nal ptish + Roundnse piers 3 ong before I got my hands on Polymer clay, they were into verything else. I've always col- lected beads, stones, feathers, and anything I could incorpo- ‘ate into jewelry. Pottery was my main focus during college it continued to be 0 until my first child was born. I need- ed something I canld do between moth éxing and household duties. n 1990 polymer clay filled my needs; it was love at firs: touch. I bought the book, The ‘New Clay by Nan Roche, Following its ‘examples I taught myself to make all sorts of canes, Atthe 1995 and 1996 Embellishments, took castes from Tory Hughes, Lindly Haunani, Pier Voulkos, and Kathlcen Dustin, all of whom expanded my knowledge of ind hhoned my skils with the medium. How- ver, it was Kathleen Dustin's "New Techniques” workshop (through the Houston Polymer Clay Guild) that got ‘me excited about using transhucent clay and color pencils. Translucent layering isa great way to sive the effect of being under water. My Ocean Fantasy Besds ate the result of ‘ny experiments. Isa lengthy pro- ess, but the results are worth it, stepbystep Since t don't record the recipes when I mix polymer clays together, you'll have to experiment with color mixes of your ‘own. The fish canes are primarily Fimo, butthe translucent canes, loaves, and ‘mokume gave are Sculpey Il materials © Scpeyi: 2 blocks of ratsacent, black each white, gold, green ® Fim: tes, back, and & calor forthe fish cares ‘ Prisma tor penis + Sobm glue or Liquid Sulpey * ltatin folate or gold © Fim gloss varniss © Pasta machine * Aangie ayer or smooth glass + Tissue blate = acto hfe Knitting edie, sim 1 or 0 or banbos skewer * Unotum cutter wh Vip ‘ Wet/y sanding paper (400,600, and rs) © Softcotto lath * Fine paint bash * Aluminum fi (optisna) Se Build an underwater world with Sculpey III and Fimo by Debbie Krueger canes, loaves, and mohume gane @ Fish canes): Draw a3-in, (7,6cm sircle on a piece of paper. Draw and color a fish within the circle. Build aloes ‘with many layers of 2 colors of Fimo, 2s follows: Roll 2 sheets atthe thickest se. ting (#1) on your pasta machine, stack, scutin half, and stack again, Redhice, cot imhalf, and stack. Repeat once more ‘The final loaf shoud be 1 in. tall x in wide x24 in. long (9.2 x 1.3 x6.30m) Cuts shown in figure 1 (p. 37) to ‘make the fins and tal. Set aside. Rolla thin sheet of colored Fimo around a log (of black to build the eye cane (Ggure2) Slice halfway through the new log. Insert a wedge shape of white Fimo into the slice. Roll to reduce. On top of the Picture, build a ¥-in-thick (1-3em) Bish sane with Fimo, matching the colors and shapes (photo a, p. 36). You might need to alter the fin shapes to fi Squeeze, cut, or trim the clay. Reduce the caneto one or more sizes, Set aside to cool and stiffen, @ Jellyrotl (photo b): Pur block of translucent through the pasta machine ‘on seting #1 and & block of a Sculpey color through on setting #5, Place the thick translucent sheet on top of the thin color sheet. Bevel both ends ofthe combined sheets with atissue blade and roll up. Reduce the cane to two sizes set {aside to cool and stiffen © Window (photoc): Alternate thick sheets (setting #2) of translucent with thin sheets (setting #5) of color (figure 3) Slice through the loaf, making even sections. Lay each Section on its side and _ top with another thin sheet (es) of. color. Put the slices back together. Wrap the whole loaf with a thin sheet of ‘color and reduce (figure 4, Set aside. @ Stripes (photo d): Makes loaf of white and translucent sheets of ‘equal thickness (3 of each). Compress to reduce and fatten and sot aside © Crackled sheet (photo ¢): Rol col- ‘ored clay through the #3 setting ofthe ‘pasta machine and cut into a 2x2in. F5cm) square. Lay fol shect on the ‘lay and run through the pasta machine netting #h and then again on seting $5, Turn the sheet a quarter turn and putt through on setting #6 to crackle the foil further, Set aside. @ Meoturne gone photo 0: Roll block of translucent through the pasta machine on setting #6, making 2 58x51 in. (14 14cm) sheet. Carefully ley 8 sheet of foil on top. Cat into six equal pieces and lye them fil side down, With a dull pencil, slawly press holes into the bottom of the loaf (the foil side). Fill each hole with translucent Say shaped ikea aquat carve. Put the Toaf on the table, carrot tips ap, and pres benweenthelitle mounds witha ‘knitting needle. Set aside. making the bead First decide on the size and shape of your bead. A-compacted aluminum foi Shape is 1 good core fora large bead Solid white day is good for smaller beads, Notesthesmoother the core's surface is, the easier it will be to add the tuanducent layer and to sand the bead in the final stages. f using a foil core, make the bead hole with 2 long knitting nee dle or skewer then work on the besd while i's on the needle @ Cover the foil bead with a thick stet (41) of Seulpey I white cay (phew). On top of the white aver indomnly add torn strips of the crackled Sheet, Using atssue blade, sice extremely thin slices from the fish ane(s) Lay these slices on the work Sarface and, using an X-acto knife, tim round the outline ofthe fish, removing the background color (photo h)- Lay the trimmed fish tices on your bead; some- times overlapping the crackled areas (photo i) Using an serylic brayer or smooth glass rod, rol across the beads Surface to smooth and level all the ded pieces. Bake suspended on the {astting needle for 30 minutes at 75°F (135*C), Leteool to room temperature. @ Using the linoleum cutter, carve seaweed shapes, For more dimension, fave seaweed appesr in front ofthe fish ing through the fish, Or carefully othe edge ofa fish and resume ‘Carving onthe opposite edge so the set- seced appears to be behing the fis {photo} Hace sot, gece Sevbpor Mis the grooves you've carved (photo) {Use the side ofa knitting needle or your fingernail to scrape off the extra cay Bake at273°F for 10:minutes and coo! Working under water, with 400 grit sand paper, sand all areassmooth except ‘ver the crackled foil. On the white teas ofthe bead, use the Prisma color pencils to draw bubbles and areas of fold calor (photo) © Lirmly press paper-thinsices from the jelyrll, window, and stripe canes and the mokiame gane onto the bead, ‘working out any trapped sir between the layers. It's important that each dice pe at thin as posible, Pot thicker slices through the pasta machine on #6 or #7 ‘The distortion from roling these slices ives the bead a uid look. Al less ‘must butt up against or overlap another slice in order to cover the bead com- pletely. Your hands eannot be sticky or the raw clay will pull away from the fired bead. so wipe them on a dry cloth frequently. Areas not covered by canes ‘or mokume gane can be covered in a plain, thin sheet of transtacent clay. Use ‘a brayer to smooth the surface. Bake at 275°F for 10 minutes Let cool @ In water, sand the entire bead, start- ing with 2400 grit paper and working ‘through 690 and 1000 or even finer. Buff the entire bead to a shine. Note: Since transtucent layers are thin, be careful not to sand or buif them off (photo m), This takes practice. 3-D elements (see p. 34) @ Mix gold Sculpey I and Fimo flesh for sand, The seaweed is sliced from a thin loaf of vatied green layers (photo 1). Paint Sobo'glue or Liquid Sculpey fon the areas where 3-D elements willbe attached. Add sand, seaweed, and shells to these areas. Texture sand by poking it with an old toothbrush. Let the bead sit for an hour or more to allow the clays to bond together, then bake at 275°F for 15 nutes. Cool slowly in the closed oven to avoid cracking. @ Paint the seaweed and shells with Fimo gloss lacquer and bake again for 10 minutes at 275°F. Baking smoothes ‘out brushstrokes in the lacquer. Cool before buffing with a soft cloth. Debbie is the president ofthe Houston Poly~ ‘mer Clay Guild. Contact her at Diriank@aol com: (281) 356-8541. Sead ation « February 1999 _ The Face in the ~ Needlecase Bead your own man about town s ‘ by Karen L. Whitney ‘photos by Bill Zuback and Sm Forbes bet cts splre new teh niques in 2 small way and sul havea wonderfal tea sure for yourself when you finish The following direc- Gatsby (far lef), The base is a wooden nvedlecase available at bead, ‘needlework, or tle paint stores, Ifyors have a hard time finding one, send 35 and aself-addressed stamped envelopeto me for akiteon- sisting of one 3isin. (8.9¢m| (Biitor’s note: For our Gatsby, we used Japanese ‘ylinder beads in the three ‘colors of s gentleman's ing suit) stepbystep you have trouble fellowing a graphy draw the body pattern on the needlecase dra folowing the chart on pl “Then pain te body to match the cit ays roses shirt bustons and ct merbund patterns, Although the paint only shows on the bottom: and face, it’) affect the look of the finished piece. the hody @ Paint the bottom of the case with 3 ‘lack permanent marker. With 36in. @tem) of waxed thread, sting 35 Japanese cylinder beads, following the ody graphon p- 41 and leaving a 6-in. (15 2em) tail. Tie ito a circle Slip the ring over the ease to check fit and adjust ss nceded. Peyote stitch (see “Basks,"P- 74), matching the pattern or following the graph. When finished, pass the nee- dle through the last row asecond time to strengthen it, Weave down through the beadwork, knot, weave, and tim. Puta needle on the beginning tal. pass through the first row, weave in, KNOt, weave and trim @ Following the graph for the collor repeat step 1, covering the sides ofthe Tid. Be sure the lid pattern fits into the top ofthe boiy. The beads should mesh Work 1-3 additional rows atthe top edge and cinch them in. They Weare over the edge. © With 36:n, of waxed thread, work two tuxedo tails in flat peyote following the graph. Place the tails on theback of the coat andstitch in place (photo a). @ With 24 in, (61cm) of waxed thread. work the bow ti in at peyote following the graph. Piace the tie a the center of the neck. Go through afew beads to secure and bring the needle out atthe fe'stop center edge. String beads to reac the bottom center edge and tack down (photo b), String 2 more rows of ipeads over the tie'scenter. Weave through the beadwork and secure. the head @ Draw faces on the head bead’s sur- face with a Micron Pigma Pen. Select thebest and paint therest ofthe bead ‘with the hair olor. Add « coat of clear pail polish on the face and case bottom. @ With 36 in. of doubled, waxed endeetunion * Februand 199% thread go through the head beads hole anid tien knot leaving 2 6-in. tal. “String enough beads to cover the ouside and top the bead but not the neck ares (photo), Go through the bead's hale. Repeat from * unt the hair areas cow ‘ered, Occasionally backstitch around the thread spokes emerging tthe neck tedge to hold the bar in pace. Fill in the tape between strands with partial rows, the hat @ With 24 in. of waxed thread, strmg 26 Japanese cylinder beads, leaving a4- in (10em) tail. Tie into circle, Place cover a pencil if desired and peyote stitch ‘tube of about 14 rows. @ Lace a row of beads around thebot tom of the tube. Peyote stitch outward 5-6 rows, increasing as needed (see 52) ta keep the brim flat (photo d). Go through the outer row again, drawing tp the tension to sbape the edge. Weave in, knot, and weave again. @ With 36in, of waxed thread, string 3 heads and tie nto a circle for the bat top. Step up through the tst bead String 2 beads, and go through the nest ead, Add 2 beads, go through the next bead, and add two beads (6 total). 2nd row: Go through th first bead added in the first row. Add I bead per stitch (6) Sed row: Add 2 beads perstiteh (12).4th ow. Add | bead per stitch (12), 5th 10%: ‘Ad 1 ead per stitch (12) Lay the dise ‘onthe hat (photoe). Add more rows if treeded. Lace the dise onto the ht. materials Woden neetlecase Wooden bead, 1omm fora shat case end 1mm jor atallease + Japanese cinder bends: B35 siner 108306 matte dark grey (08321 matte metalic sve 18711 opaque white 108723 opaque red 14" Dark go sd Deas #12 Beading need HymoB = Beeswax Thead Heaven ‘= £6000 gue oc Alena’ Dsiane Tacy ue «Fatcip permanent marking pens ot pat ‘= Micrn Pgma fie pin pes (otoral) Clean pols @ To add a square stitch hat band, siting 4 beads for the frst two rows. Ge through the beads again positioning two beads alongside two beads (Figure 1) String 2 beads and go through the2 beads from row two (Figure2).Go through the beads just added. Add 2 beads, go through the previous 2 beads and pass through the lat 2 beads a Continue until the band can encircle the hat. Weave the ends together, knot, seal, aand weave in, Place the trim on the hat and tack dawn in two or more places. Glue or stitch the hat to the head ata jaunty angle, © Contact Keren at 7954 El Capitan Des La Mesa, CA 91941; (619) 460-8545; silken salamander @netcentersnet, Complete kts for many eharacters are avilable from Karen or on the internet through wien: beadyeyedwomen com [ ‘oar raph Oe eee coe ee ee ee a | 22 eee ee eee ee 22sec ee ee ee ee Oo eee Cece eee eee Capture the Turn of Two Centuries Heirloom lace takes shape on memory wire by Diane Hyde aking memory wire bracelets has always driv- en me crazy. Threading all those beads round and round to makea wide enough and interesting ‘enough bracelet isso tedious. And they don't satisfy my creative urge. While looking through my old issues of ReadesBution for a new bead- ing project, I found a lovely, lacy seed bead necklace pattern that looked intricate but was actualy easy (#11. p. 7). practiced until it was second nature and did samples with different sizes, colors, and types of seed beads. What was I going to do with all these strips, and how could I close the side? There was the answer on my work table~ memory wire! stepbystep Memory wire is steel spring wire: It ‘comesiin different col ses (ring, ‘bracelet, and necklace) and different ‘gauges. The coarser gauges that are most ‘cally available wll xeenmunonate sizes 69,89, and 10° seed beads a8 well as large er-holed 11® seed beads, I'vealso had siaecess with Japanese 15* hex beads on finer-gauige memory wire. When choos- ing beads, make sure that the holes of the picot and spacer beads are lange ‘ough toaccommodite the wire with litte extra room, [Never se jewelry cutters on memory ‘wite: they will be ruined. Grasp the wire in Your pliers where you want it cut and bend it back and forth until it snaps. ‘Then fle the rough edge. bracelets © Cir two identical pieces of memory wite that ft your wrist comfortably with an overlap of ebout | in. (2.5em), Turn loop on the last in. (1.3crm) of one end of each wire (see “Basics” p.74).1F you would prefer to omit the end loops, include only half the overlap and glue a bead onto one end ofeach wire with, cyancacrylate (Zap-A-Gap) glue or jew cler's cement. Puta small amount of slue on the end of the wire and quickly slip 1-3 beads that jus. fitthe wire over the end (photo) @ Weave. stip of heitloon lace” as shown in figures 1 and 2 (p.44);weave the starting tail into the lace, Make the strip long enough to go around your wrist plas alittle more: measure it against the piece of memory wire. When the piece seems long enough, leave the needle and thread attached. © Fea the Gist pivot atthe startend onto one piece of memory wire. Then thread one spacer bead, a 6, 10°, or 118, onto the wire. Thread the next picot on thisside ofthe lace then another spacer bead. Repeat about six more times to see how the lace lies and whether you like this spacer bead choice (photo b). 1f the lace seems compacted, try using two spacer beads; ifit is too spread, asin photo b, use | spacer bead. When you like the look, tring the rest of this side in the same manner. @ Try the bracelet on after stringing the first side, Ifthe lace isthe right length and the braccet falls where you intended. unstring 3-4 picots and end the lace by running the needle back through 3-4 rows, tying and gluing half © Heirloom Lace Pere) fag mat ese) |. Tien tp baad abst Ie fo the endct 12 y8(9-18m) a head Sing beats 2 Gotoh ead #8 tomar he tt a ict ant stag 3 vents. 2. Gotoh bad AF 3 tae 4, athena te net-st bad et Fre? fy bet gure 2 1 Sing beets an ough wise ‘a nthe iran eon i fee ‘Shing ag trough netteist beat (eat. 2 Shing 3 and taupe mie bead ost 3 bend re srang inte 4, Sting Sanda et 4 Repeat figure 2 wat ez length hitch knots between beads 2-3 times (see “Basics"). String through 2-3 beads and cut the tail offclose. Ifthe lace is little short or long, unstring 3-4 picots angadjast the length, Then end the thread and restring the beads, Turn @ loop orghie-a head at thisene @ String the second wire through the ther edge ofthe lace so that it matches the first side, @ 1f you turned loops in the memory «wire, make head-pin dangles to hangon them, Pur small, simple dangles on the uunderlap and make longer, multiple dangles for the overlap end (photo c). If the beads are too tight when you're fin heel, crush 1-2 spacer beads, @ Optional: You can make double-oF triple-wide bracelets by cutting one ‘mote wite than the number of lace strips. Thread the outer edges of the jo-Bation + Febeuary 199 —_ materials + Nn BoD beating threes #12 Beating nese + Besswac or Tread Heaven + Char ral sh Tos; munenos ls, smal metafile += Options: 239-4 Gap cyanoacate lor bracelet © Z3 Lengths of raceet mamay wie tft our wit pls in. (2Sem) 14-3 Haxd ps fo canges ‘= 1 Pockor ube E-boods 6 ned heads 1 Pachor tebe 10 or 1" sed beats Cats oresmal sod beats 4-20 cert beads tnd chars fo dares hump ngs rst ings aitach charms necklace ‘Teng of netlace memory wie tof your reek pls Lin. 25cm) Tube or pack 1° seed beads, eystal shned 1 VTubwor pack 128 or 13" sat beads, bronze hes cut ‘= Bonae-finished glass accent beads: 6mm Rondeles an Rdotes 21mm Rendeles 18m Rodele 37 3.5x4nm faceted id teats ‘Hmm Beanes 27 x mn Faceted drops bracelet as described above, but alter nate the picot beads of two adjacent strips on the middle wire. Depending on the size ofthe beads, you probably ‘wont need spacer beads on the mille wire (photod). necklace {love the way great things come from nowhere sometimes, After experiment- ing with the bracelets, I remembered 1 had purchased some neck memory wire a year before and hedn't done thing ‘with it, Maybe this technique could be the basis ofa great choker. Originally, Id intended to use two pieces of neck Wire, just as forthe bracelet, but after | ‘mounted the lace piece on one neck wireand saw how beautifully i fanned ‘outs ran to the mirror and tried ito Allitneeded was lots of dangles. —— stepbystep Fons Prepare one piece of neck memory wire that fite comfortably around your neck with about an inch overlap for loops if desired. @ i chose gold-tined crystal size 11° seed bead forthe lace and the top-edge picotsand 12" bronze hex-cat seed beads forthe botiom-edge picots, Make sure that the beads you choose for the top picots will accommodate memory ee Necklace dangles seicc. Then make thelace, micas against the wire, and leave the needle and thread in place. © Repeat step 3 of the bracelet and end asin step 4, @ To begin stringing the dangles, find | is the center-front, outer-edge picot | ‘Weave about 2 yd. (1.8m) of condi- tioned Nymo (threaded single) through the lace in the middle portion of the necklace. Secure the thread asin the bracelet, exiting the bottom center picot, String the center darigle (right- hand side of figure 3), Skipping the last bead, go back through al the other dan tle beads and the picot bead, Pull the thread snug but not so tight that the dangle kinks. Then go through the four lace beads shown in figure 3 and exit the next picot othe left. ara Ging il eorsdangiceciionnts | figure3. You may need to adjust the a seed bead counts slighty. End the thread securely, Begin a new thread at the centes ofthe lace to string the 21 aff dangles on the other side @ Ifyou pat loops on the ends ofthe ‘memory wire, you can string back dan- Ble if desired. Weave about 18 in. (46cm) of conditioned thread into the lace atone end of the necklace. With the thread exiting the las spicer bed, wind it several times around the loop and ‘knot once. Then string the first back dangle as shown in figure 4. End the thread securely in the beadwork and repeat for the second back dangle. © Back dangles ‘aay Te A successful jeweltyland wearables artist since 1989, Diane suffered burnout. To eanpture the pleasure of her work, she now does things she realy loves, imrersing her- selfin their creation. Ske doesn't lt herself worry about the money se, which seems to be taking care of ite Newtemation» Febreary 1999 « x by Alice Korach Teed cenue For years I went tothe local clothing factories near my pound of gold, Rachel hhome in Jerusalem to cllect takes that sense ofthe pre- sweatshit-kait fabric scraps ciousness of small, worthless and free broken or ejected. thingseven astep fart buttons. I used to piece the her cherished buttons, sweatshirt fabricinto soft, raectedilenry. warm blankets for my ferily: — diskettes, esistors, and other fad Tyealway loved bute esorted juni” Al these its tons,s0 [just collected find a Ol QO ) | | them” These fabricand but- _ their way to some ql, a A Rachel Roggel. They told her light-hearted but profound stories of broken homesand comment on human eels: sent dichés like "you'renot tionships, politics, o worth abutton wo me" run- gion. For Rac ning through her head. Born small things of life that tll p) 4 in Israel in the late 1950s, she the big stories, but only if Zi +4 () HOY CV ested thrift and making do you can read them. rid Rachel’ life isa story of LD i ! things coming together in 4 port CJ Rachel Roggel’s art quilts surprising wa The Road to Jerusalem A bilan a few years of pies rom quilting, Besides, ym the sweatshirt, ps, she wanted more she adds. At about the same time she was writing curricu- lum for the stat attended « computer-o of Israel and inking Rachel and her son sharea love of Pa ae Simon quilt on Think Teo Nuch" for his tenth birthday. During the lass, as she doodled ideas about the quilt, she suddenly heard the instructor say, “To bbe creative you have to find solution in the same technol ogy.” "What is my technolo: gy?” she asked herself, and theanswer came back a hesi Rachel emibraced the ides, deciding that she could y idea with but result was her first Paul Simon quilt on which Think'Too Much" is spelled ut in 2,000 hand-sewn but wons. That was the beginning of Rachel's new career: She had tumed something that a trait chore into her awn voice The quilt was chosen for Quilts, Inc's 1994 European Quilt Expo in Karlsruhe Germany. Thenest year Quilts invited Rachel to exhibit her newest Paul Simon quilts atthe first pal woman's Embellishments hen, she has browght hee fas I Give You the End of the Golden String Poco 7 Seas * OO cele One of a Kind — Yet Not Worth a Button to Him ination with the internet into her work. tn 1995, she ‘organized a virtual pilgrim age to Jerusalem, incorporat ing buttons and signatures ‘on fabric that the pilgrims sent to her into a series of moving quilts. There are five so far with three more planned, They commemorate Jecusalem’s 3,000th anniver: sary since David made it his capital, She also organized an exhibit titled, “That's Not a Real Quilt? Ie premiered in France in porrors erent J toured Japan and the US, Most recently, she curated "The Kiss” exhibit inviting 50 nationally-known quilt artists to interpret a then by fiber artists, The exhibit premiered at the American Muscum of Quits and Tex- tile in San Jose, CA, in July 1998, and will travel for two years with Exhibit Touring Services of Eastern Washing: ton University. Rachel also. ly on buttons as an art language, -d hat is rarely exp internet addiction, ad her virtual pigeimage projec. She estimates that she ‘owns about 80,000 buttons but hastens to add more,” which is why she prefets to chargeadmission to her lectures in buttons She readily Volunteers that she never replaces buttons ‘on her clothing. After all, she has her priorities — and art comes before utility. Tosée more of Rachel's quilts or to contact her, visit her website at wowwecogge-com Alice is editor of BeadeButton About the quilts The Road to Jeruselem(p. 46) 1996, triptyeh 24x58 in. (188 x 137em) side pares 20 in, (Glem), center 34 in (85cm fram the “Piignmage to Jerusalem” series; seas! kit, cotton fabsics, tll, hand- ‘embroidered fabric, glass beads, buttons, faux gems, rhinestones, arthaeologcal fragments, machine pieced and hand qu through beads and buttons Since the 12th centur would-be pilgrims who ‘couldn't make an actual pil- grimage to Jerusalem, would make a symbolic pilgrimage by following the winding path of a maze called the Road to Jerusalem, often on their knees. One oft famous such mazes is built into the stone floor of Not Dame du Chartres Cathedral in France; this maze is depicted in white buttons on the central panel of Rachel's quilt, By internet, Rachel asked people who wanted to make the virtual pilgrim buttons or to send her their signature on a 34 in (Gem) square of blue fabric \with a button sewn into the center, 43 of these appear on each of the quilt’ side pan. els. The window on the right panel depicts a Crusaders’ map with Mt. Gaudii (moun- tain offo9) in the lower left. Glued-on fragments from the Mi. Gandii site ae dated 1099 AD. This is where and when Crusaders viewed Jerusalem fos the frst time. (Mt. Gaudi isalso a mile from Rachel's home.) The window on the left panel depicts the famous rose win dow of Chartres Cathedral. 1 Give You the End ofthe Boden ‘String, 9. 47) 1937, 72188, (183 173en); rom the “Pil- arimage to lerusslen” serie, sweatshirt feos, coton fabs, bias tape, rdbors, buttons; ‘machine pieced The ides for this virtua pilgrimage comes from William Blake's poem, “Jerusaiem” in which he sug- goa golden string that leads to Jerusalem's gate. That golden string also reminds Rachel ofthe Greek myth of Ariadne's thread Forthis quilt, Rachel asked internet pilgrims to cend her a button and a signed piece of white or blue fabric. Hun- dreds of participants, ged 5 10 92 from Alaska to MeMurdo hase in Antarctica, joined the journey. They ‘ame from all beliefs and all walls oflife and even includ- ed a7th grade dass in Nebraska, The spiral labyrinth, made up of seven windings, symbolic ofthe ‘windings oflif, i built with ‘0¥er 200 signatures ‘One ofa Kind Yot Not Worth a : ‘Button to Him, (9.48) 1998, 45 x | Btn. (214 155em); trom the “Dont Button Up Your Lips” sees: bridal fabri, 1,000 difer- ent buttons (many from the co- lectin of Wr. Sonsino), glass beads; machine pieved, sten= ciied, and hand quited through beads and buttons This is the only one of Rachel's quilts that hangs in hher home permanently. She designed it in response to the death of Princess Diana. She writes, “Inthe 1860s young women arranged one-of-a- kind buttons into ‘chacin strings’ (sce BebB #7, p.26) Legend had it that when the thousandth button was strung, Prince Charming would come to claim his Indy love. Diana married her prince. In her own wards, ‘One minute I wasa nobody. Thenest minute Iwas Princess of Wales and although everyone could see she was one-of-a-kind, to her prince, she was not worth x button, Sadly, Diana believed that che had a brain the size of apea'—s0 different from the princess and the pea fairy tale depicted here. Even more seal, inher feelings about herself, Diana is one of mil leanor Roasevet said “No one can make you fel inferior without 0" Daughters of Jerusalem, (ight) 1936, 18x24 in. (48x ‘lcm; dedicated to Rachel's ‘soulmate — Amir Rogeel,” from ‘The Kiss" exhibit: sweatshirt Ait, pass beads, charms, hole: ‘graphic eyes, buttons; machine pieced, hand quilted through brads, stenciled with silver pen A celebration of Rachel this quilt takes its inspiration from the Song of Songs. The verse in which the bride tells the Daughters of Jerusalem about her lore union sur- rounds the couple like the roof and floor of house: “Let him kiss me with the kisses of his mouth for thy Jove is better than wine / His left hand is under my head aand his tight arm embraces ime. This is my lovers this is my friend, O° Daughters of Jerusalem,” Amit and Rachel have changed physically dur- ing the 20 years oftheir union, as the figures reveal, but their fore protects them like the evil-eye armalets and the turquoise and coral pro- tective colors that surround them, The words that edge the quilt are from the Zohar, a medieval, mystica iter- pretation of the Song of Songs: “When mouth meets ‘mouth, spirits unite and become one. That spirit makes a mystic journey to the ‘palace of love, where all love is centered. The super nal kiss, uniting upper and Jower worlds, isthe ultimate principle ofall life and all ‘union. The effect of the kiss hetweenhumanlowrsisto O’Daughters produce an amatory response from the Deit of Jerusalem ender anton + February 1999 » neday my friend Legia Pate and I were laughing about all the things you could cover with beads. L mentioned a lightbulb, and she said "How about a rock?” 1 went home to figure it out. When I finished my rock, it was cute, but I remembered Marcie Stone's pine needle basket (BEB #15) with beading that looked like barnacles. | figured out how to make them and seaweed, and here you are. Peyote stitch a seashore by Ella Johnson-Bentley photos by Bill Zuback stepby Sep Design your emblishments before beginning. When planning the place iments ofthe barnacls, remember that bamackes lve in colonies, and an uneven nunber clustered together is more pleasing to the eye than two or four. But, [often place one by itself for fill To help the needle through the beadwork when making the embellish. mint base rows, pull up on the thread to pull the beadwork off the sock. OGive bottom of your rock with Goop or E 600, Let st for at Least 30 minutes, With 2y<. (1.8m) ofknowed and cd thread, go through tl fom the back close tothe rock. *String 3 size 11* beads and snug them up next tw the tock in a row. Sew through tothe back ofthe suede, come back up ¢ ultra suede of leather tothe we suede the last two beads, and go the last bead again. Repeat * around the rock. © Work peyote stitci to cover the rock .* p. 74 and phote-a), You'll need to increase and decreas times quickly, sometimes gradually (see p. 52)- Ifyou only need to change the circumference slightly, take advantage of the factthat Czech seed b irregular. Use smaller beads than aver- age to decrease orlarger beads to increase. Occasionally use a size 8 seed bead for more change in circumference and also to add texture. @ When the rock is covered, decide where you want the barnacles. To make se row for each, thread a needle with 1 yd. (91m) of Nymo and sew size 14° am beads onto the rock ina circle .ds.are (photo), The cirdes do nbthave tobe perfet Real barnacles aren't per~ fectly round, Makethe base row for the seaweed in ameandering line over the rock. Optional: make the base row with 11° @ Work peyote stitch off the base row circles to build bar (plot). On the tat row, decree ‘nce artiice to close the tops slightly Tack or glue a pearl or accent bead into the barnace’'s opening © With 1 yd. of waxed thread, peyote tte out fram the seaweed base row for 2.3 owe: At you work the next raw, inerease every 10 beads. On the next rowor two, increase on the increases fromthe lst row (photo a). This will ruffle the seaweed. For the final co make 4chead picots by stringing 3 bead instead of one at eich stitch (photo). @ ‘rim the suede close tothe rock of Jeave a rin. (Smim) edge and embellish it Tfdedired, glue piece 0 bottom to cover the th omc Ella at 3311 Nowell Ave, Jusew, AK 9801 (907) 463-3616. Fore Fem? TOR Tea Sekt Fores Fue 3 GE bs eke Hoe sek Set Fanelt Paw 12 materials Smal flat-bottom rock, rounded top Sie 11* Caech ste beads, soup mix of rays, o solid color + Sit 14 Cream, off-ite, gray for varnacles Sia 14" Yalow, orarge, rd, and green forseaweed * Optional: size 11° for seaweed base row «© Fresiater pears or surtable beads for bemacl openings ‘Size 8¥ beads in ek alos ‘1 Piece tra Suse o soft leather, larger than the bottom ofthe rok * Gop or E-6000 adhesive = Size B o 0 Nymoand beeswax « Size 13 beading seed 2 peyote stitch increasing and decreasing — by Barbara Grainger Don’t increase oF decrease atthe begin- ing oF a row because working with an rease or decrease and a “step down" together can be confusing. Increasing: It’s time to increase hen spaces between the beads are get- ting wider or when excessive thread starts showing, If your form billows out, use the rapid increase (figures I and 2) But ifithasa gradual dope, use the gradual increase (figures 36). Rapid increase (2 rows): Row |: At the point of the increase. pick up two thin beeds instead of one tegular bead, Pass the needle through the next bead in line as normal (figure 1), Continue nor- mal peyote stitch, Row 2: When you reach the double bead, pass the needle through the first bead, pick up @ bead, and pass the needle through the second ‘bead (igure 2). Gradval increase (4 rows): Row 1 At the point of the increase, pick up two thin beads and pass through the next bead as normal (figure 3). Row 2: When you get to the two thin beads, pass the needle through both af them as if they were asitigle bead (figure 4). Row 3: At the point of the increase pick up two regular beads and passthe needle through the nest bead in line (figure 5). Row 4 When you get to the double ‘beads, passthe needle through the fint Head&Bsttan + Februsey 1999 ‘one, pick up a bead, and pass the needle ‘through the second bead (figure 6), ‘Decreasing: It's ime to decrease when the beads start to pull away from the form or begin to take on a ruffed look. Use the rapid decrease (figures 7 and 8) if your form tapers sharply. Fit this a gradual dope, use the gradual decrease (figures 9-12). Rapid decrease (2 rows): Row |: At the point ofthe decrease, don't pick up bead. Instead, pass the necdle through two beads ofthe previous row (Bgure 7). Continue normal peyote stitch. Raw 2: Atthepoint ofthe decrease, pick up ‘one bead and pass the needle through the next available bead (figures), Gradual decrease (Arows): Row I: Atthe point ofthe decrease, do not pick up abead. Instead pass the needle through two beads of the previous row (gure 9). Row 2: At the decrease, pick Lup two beads and pass the needle through the next available bead (Figure 10), Row 3: Pass the needle throuigh the two beads picked up together on the previous row (figure 11), Row 4: At the dlecrease, pick up one bead and pass the ricedle through the next available bead (igure 12).0 Author of Peyote at Last, Barbara lives nr (Oregon City. OR. This information origi lly appeared in B&B #15. Witha Twist Brick-stitch fans spread the luxurious fringe of a lariat choker bby Louise Malcolm ecause its weightis evenly distributed on your shoul- ders, a short necklace isthe most comfortable if you have back or neck problems. | also find it com: forting to cradle my throat in beads Then there's the style issue: a neck sce that sits close to one’s face draws attention there, which is usw ally good. But the real reason 1 decided to recreate this 1951 Miriam, Haskell necklace idea was that 1 loved the elegance and femininity of the original and its clever way of spreading a bead tassel stepbystep The only trick to making this necklace is getting the length perfect 90 it rests at the hollow of your throat when tied You cansteuct two brick-stitch fans that serve as spreaders atthe ends of the necklace. Then, using a long doubled ‘cord, start with the shortest ringe loop on the white side, weaveto the top of the fam and string half the First strand in white beads and the other half in col red beads. Then weave the strand into the top of the other fan and bring the thread out the bottom to make the first colored-bead fringe loop, Make three more graduated loops on the colored cend. Then string the middle strand, all the tring the third strand, and comple last three colored loops. @ Measure the circumiere neck at the base of the hollow ‘comp oops on the white end, the of your Add 23 in. (6-8em) t0 allow ying the necklace with a half knot more if your beads are larger). This is the length of the necklace strands. For example, my neck measures 15 in. 38em), $0 thestrands of my necklace are 17-18 in. (44-46em) long. I had to restring once to get the length just right @ Mace two brick-titch fans with ‘6mm mother-of-pearl beads and single thread, The base row has 7 beads, and the top row has 3, (See “Basis,” p. 74.) Use the method of brick stiteh shown in Basics” 0 there are no threads on the outside edges of the fans (photo a) Weave the ends into the beadwork, going through 2-3 beads then tying them around the thread with a half hitch 2-3 times (see “Basies”). End by going through 2-3 beads before clipy the tails off. Te the knots as unobtru~ sively as possible and seal them seth glue, but donot pull them into a bead mg because you will have to go through the beads several more times, Securea 6-yd-long (5.5m) doubled thread inthe fan by weaving and knot- ting asin step 2. This cord should exit an end bead on the 7-bead row ofa fan. Make loop 1 with mother-o:peart sop) and gokl beads: String (1 gold, 1 mop) 13 times; end with 1 gold bead. Then bring the needle back through the first mop and the first gold bead strung and up the beads along this side of the fan (photo b). Exit the end bead at the top of the fan @ string szand 41, (mop, gold) 30 times then {chrysocolla, gold) 28 times; end with 1 more chrysocolla. Bring the needle into the top end bead on the other fan and down through the side beads to esit the end bead of the 7-bead row (photo ¢). Make anotherloop #1 step 3) but use chrysocolla beads. © When you come up through the end bead on the base row of the fan, go back dovn the next bead (photo d) and make loop #2. String (gold, chrysocolla) 15 times. Then go back through only the first gold bead strung, Come up base bead #2 and go down #3. For loop #3, string (gold. chrysocolla) 17 times, Complete as loop #2. Make loop #4 as the previous two loops, bat string the bead repeat 19 times, © When you finish the fourth loop and come up the fourth base bead, con- tinue weaving up the fan to exit the idle top-row bead. String strand #2, ‘chrysocolla, gold) 30 times. (mop, gold) 28 times, 1 mop. © Go down the middle top bead of the second far and weave through the fan to make oops #2, 3, and 4 asin step 5 but use gold and mop beads © Make loop #5 ~ (gold, mop) 2 times; loop #6-~ (gold, mop) 23 times: and loop #7~ (gold, mop) 25 times © Continue up the other side of the fan and string strand #3 assirand #1, Then completeloops #5-7 on th chryincolla end of the necklace. @ You will need to end and add cord: about halfway through the necklace. Do so in one of thefans, tying and weaving sccurely, Be careful not to block the holes of beads you will stil need to go through with knots or glue materials ‘500 (apne) Am Gol-platd tas ‘nnd (disk beads} 1° §16:n, (61cm) Strands 6mm mather-of- pear beats (0p) '=416:n. (em) Stands 6mm chrysoalla. beads o desire ein 1 Spolry-

    You might also like