| 15 creative projects - A new stitch for an amulet purse Beac — Creative Ideas for the Art of Beads and Jewelry Make beads and / buttons with TiO Tver Ona i eee: @ Sisal ‘ oc ats | eran onc ‘o VM GRIN Ta eMcontents 32 Beads and Buttons from Your Garden by Nydia Merritt Cover paper beads orbutton forms with flower petals 36 Ring Bearer’ Pillow by Lyne Creed Easy embroidery stitches personalize your wedding 38 am ‘tering Polymer Clay with Inclusions by Lindly Haunani Make sand jade or crayon brights pendants soe page 62 Carefully placed inereases and decreases let you ‘roate a realistic fish in peyote stitch, 42 ‘Triangle-Weave Pouch by Tina Ceuba Bead an amulet purse witha new slant on right-angle weave COVER A6 ia Dan Adams, Glass Beadmaker by Alice Korach Capturing the perfection of pre form 30 Pebble Lariat by Chris Prussing Highlight a few sensational beads with a simple design a2 Off Cruisin’ by Alice Korach >4 Daisy Chains and Peyote Stitch Intertwine by Nadia Sererme ‘An elegant miter joss daisy. peyote sbbom 60) Mother-of-Peart Earrings by Carin Engen String playful earrings with 4 buttons and see page 46 Dan Adams crafts perfectly balanced lass beads to evoke the ancient beads a few beads ‘har inspie him Necklace photo by 6 2) Roger Schreiber eee Something Fishy by Theresa Biagio! Sculpt three-dimensonal fish in peyote stitch 1999 we Meek 3190 page 18 Hundreds of years of constant wear Dring out the green in Tibetan turquoise departments his summer permanence with your own flower-petal beads and buttons, 6 From Alice’s Desk 8 Tips & Techniques Stringing beads with large holes, protect polymer clay bead holes, shipping but- tons, textures for polymer clay, sate clay sanding, end a split lem necklace 14 Your Letters 18 Origins Tibetan Turquoise Computer Notes Your Work Chic & Easy Cap special beads with wire wraps. 30 Pattern Gallery 88. News & Reviews Sliver buttons, books on hemp jewelry ‘and arculet purses, lamp shade frames lendar ios Fancy nots; Peyote stitch, fat, tubular, Increasing, an¢ decreasing; 2-bead square stitch; halt hitch knot 90. Anything Goes Beadicisms How to Reach Bead Button: ‘coy ering to, Sacred to aed tocontoctas, call 1-414796:8775 or mito tor Besson Pot 1612 aera sa1e7-1612 Eee o Subscribe: ust eal ve at aa, custome serie agent ‘ob apy tof ye. To Advertise: Simo ca ws at (-886-991804 anda sis apr wil be elite answer weston ast On the caver Dan Adams’ glass beads balance ancient and mied- ern (approx. 26 times Uesice). Photo by Jim Forbesfrom alice’s desk Design ethics —rights ‘and responsibilities Ra one beader published an amulet purse pattern in a magazine, and another beader made minor modifications to the strap and fringe and offered the purse for sale on the internet. Needless to say, the original designer was upset that her creative work had been co-opted by someone else. When weasked you what buy the right to print it in our youthought in “Forum” on magazine for the first time. ‘our website, you allagreed After publication, we own the that taking credit for the version we printed. We do majority ofsomeone else's not own the piece, the artist's ddesign is stealing. One reader original idea. or the tech ‘commented that copying in nique. The author can do forderto learn isall right, as whatever she wants with the Jongas you don't take credit piece and the idea and should for the design, Another always receive credit for both, pointed out the inescapable Purchasers of Beade-Button fact that once you post some- can make the piece exactly as thing publicly, it wil not printed or with minor remain proprietary. Still oth- changes or can adapt the fers commented that there isa technique to a new use. difference between copying Copyright isa complicated or modifying slighty and. issue. You can't copyright beinginspired by the workof technique suchas peyote another. Ifyou develop adif- stitch or little purses made ferent design afer seeing with peyote stitch, but you someone else's work or ifyou can copyright a specific pey- adaptthat work toa different _cte stitch purse design. You form, medium, size, etc, you~ can copyright a photo that should give credit to the you take, but I can be source of your inspiration, inspired by that phototo but the new work isyours. design a charted beading pat Where is BeadéButton on tern or paint a button. | ill this issue? We try to stay in have to reemphasize and touch with who is doing what eliminate many aspects of the and who theinnovators of original to make the new specific techniques are; but design work ina different ‘we can't always know who medium and size, Cutting learned from whomor was through all therhetoric, the inspired by whom. Some- issue is really very simple. All times, in fac, different people _ we have to do is respect the ‘come up with the same ider rights ofeveryone else as ‘or technique independently, equal to our own. If you ‘When we sign a contract with would feel hurt by something an author, she states that she you're considering doing, is thecreator of herarticle don’t doit, and piece and has the right to 7 Offer it for publication, We Ag a Bead@nutton + Juve 1999 Bead®Button. Editor Alice Korach, Associate Editor Linda Salow tori Ast Sis Stach Costributing Editor Lasse Maken Ar Draco Ls M Sto Graph Desir P Kee ‘Staff Photographers fll Zoback, Jim Forbes ‘Stal tastrators ‘Terri Feld, Kelle Jacger seg tes ae i e, Cane erty See Man ra, Seve arene Jona Symmons rcenen tanger ‘sete Ste reste Sct isten Kg resien arate och Aes recon Hane owe Wal cures ‘Whe | Manas Peneet ellis Bort ee Pret, Avert Seo te, es rein, Martane Sepbens Poni xP tri Janes st Carport Revcar, Maen Shine eae tector a ie Te reeh end Baton aril ies: 414-796-8775 al aaeh@beodindbaton em ‘Word Wie Web Hee Page: psf eadodtn con Customer Sales ad Service 1100-46-5408 i custoereneeOtainbckcom Adverting Sole: 888-358-1543 648 Trade Sls 1-800 558-1546 ‘Tomer a subscription, call tl toe 446-548 NF, 80am,t0 580 pn. 05T etn see ores) USS 28) ‘etry by KalchPaing $fon? Cronread Casa, PO Hor 161 Wa ‘WL Sia? © 19, Kalbch abolng Ca Al ig ‘cred Tile ogee ot aden. Periods Fontage pid t Wats, Wier ed aoa ‘ces pubeaion may oat be eeedacd ‘itor in ale artemis e Fisher Please sen etna combtane te itor, Hee, PO. Box 3, Wau, WI Me scant aasine reporbllty or feunincips ‘or materiale submited hy Se ‘Scrip rte: $650 wl copy. $2820 ee yar {shen 62.95 pre ee tae S18 pet the ea (it i Cadman ol: 0 et yea 9 US, unis only Catan pie ces San 2371 a, anada Po Ghat ir $1004 Foreign Alr $20), SQL (SAL at yaa in Canc 2 oah. ‘Mure chnges to Beal ton, 21027 Cros ‘Gece PO nae zs Wane WHSSpecializing in Ges Tutructr Workbops with your forte artis Beaded Tassel with Sheree Wilcox June 27th, 1999 For mare information vit (ounsplaciabcd cm Came) 2557 os Romoe Vly Bd, 4103 Son men, CA 4583) Ph (935) 437 5544 Email badd arena om Arrow Springs meter o> 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! Phone: (530) 677-1400 flameon@innercite.com www.innercite.com/~flameon 4870 Tennessee Drive Shingle Springs, CA 96682 tups@techniques Hatch Re These to solt-loom —_Joom-waven necklace endings ‘& & rockice endings = When I finish weaving the ‘resultin a profes- ‘straps of a necklace, I end ‘sional look. them with one of two tech- niques. First remove the (Sem) from the desired fin- necklace from the loom. For version one take the warp thread ends and weave the straps together. To do this, pick up the inner warp thread from each side, and pling tightly so the beads from both sides meet, tie them together with a square knot. Secure the knot with a drop of clear nail polish. ished length. The warp ends should be 10 in, (25cm) long. Place a needle on each inner warp thread. String 2 in. of beads onto each thread. Continue asin ver~ sion one, going through a few ofthe beads just added ‘on the opposite thread and knotting several times. — Raymond Stillwell, With the right-Hand warp -ELCajon, CA thread, zigzag through sever- alrows of beads on the let trade beads with Farge holes side of the necklace, tie ahalf bitch (see “Basics,” p. 78) and go through several more beads (knot at lea Repeat with the left warp end ‘on the right-hand side of the necklace. Continue as above ‘with each pair of warp ends. ‘To give the back of the neck- facea little curve, add an extra bead to each warp thread, every third warp, For version two I string additional beads on each warp thread. To begin, stop weaving the straps 2 in. Thavea nifty trick for string- ing 12mm and larger trade beads with large or cone shaped holes. (They wobble con a headpin when used in aan carcing and swallow up any smaller beads next to them.) After stringing the trade bead, I fil the large hhole with seed beads or small tice-shaped beads, anything ‘that’s small enough to fit inside the hole but big enough to hold the bead steady, The seed beads are unnoticeable, Larger beads twice), BewerDation + Jar 1999‘Caech Seed Beads, Druks, Rondels, unusual Glass Beads and Trade Beads Extensive line of gold fled and sterling spacer beads and fedings at affordable prices + VISIT OUR RETAIL STORES - += Prescot, Az * Kiwoed MO. 20. 89204 314 9684022 612-858 8ote 152 $. MONTEZUMA - PRESCOTT ROO-65° E-mait mail@beadit com oa SILVER COMPANY PO Box 60 = Wost Newbury, MA 01985 800-543:7177 (“oll Free USA & Canada) 978.490.8203 » Fax 378.490.8208 for making my own cutters. Then I found some coo! white plastic textured sheets, about? x 12 in. (18x 30.Sem). | purchased one with a deep rocky shallower version ofa similar texture, and two that remind ime of tone walkways — one with round and oval shapes the other with more irregular stone shapes. suspect these are usually cut up, painted, and wsed in model trai lay outs. use textures & lot so iv's always exciting to find new ones. The store also has really cool tools that wanted to spend hours looking at and playing with. Irene Semanchuk Dean, Weaverville, NC saving skin I've found a way to save my skin when sanding polyme: clay beads. I put on a pair of latex rubber gloves, the kind that dentists wear, and now iy fingers don't suffer from abrasion. ~ Lorrie Amodio, Guilford, Cre Da you havea handy ay todo someting, a special solution,» eat itl techniua? Here'syourcharce toshareit wt ter Bead Beton ears, We'd tography tp and pay fe each one we pubis Sid your tips with ugh drawings, pets, sam pies to Tips Eto: Bead&Button, PO Ba 1612 Waukesha, m1 $3187-1612STRING-A-STRAND, + HAND CRAFTED SILVER JE + BEADS FROM AROUND THE Ree Wwonta | your letters + JAPANESE MIRACLEBEADS | | WHOLESALI/ RETAIL AUCH MORE! a Stay ‘April 1999 issue torial and advertising, Inever Wow! From ads to articles, want anyone to think that 1252 W. ADDISON ST. this is just the greatest issue, she/he can “buy” an article in CHICAGO, IL 60613 I'm pretty much a beginning BEB, ~ Alice | 773-404-0185 beader, doing simple neck- FAX 773-348-5929 laces, but I'm finally being —_Natworking ‘enticed to learn the needle Is there a way to find out Stuff-someday. Sooner, Ill who else subserbes to Be-B try the spring bracelets. With in the Appleton, WI area? I ‘April 1999, issue #90, two kids in diapers, don't ama lone beader and long features Nancy). have much time. for a group that’s closer than Your’ petrogyph Eastern ereanweancan 50-100 miles. Pisin, and spr guide etna fle ec wis: eckiaces. Big beads and businesses (20) 735598 Pm not a seed beader ~ never ‘will be, but luse them con Twant to form a polymer stantly as accents when Icre- clay guild in the Edmonton, ate jewelry or do an quilts. Albertaarea so us fanatics ‘Over the years I'veseen seed can share our knowledge and beading swel in popularity, meet with like-minded indi- and some stores that used to viduals. —anMaming, befavorite haunts of mine datas@eaolntnet 49 99-1608 have dropped much of the We can’t give out the BISB (bigger than seed names of our subscribers, but BOSTON BEAD beads. Isitjustme,ordol we've printed your contact COMPANY Ghoseca powing repon- information soathers can Acamaleenstoacea || Aerance of seed besding in reach you. ~ Alice “German glass beads. the eB arc count? Even ek caus though there are three arti- Contacting a Cintra les on “regular beads” inthe How can I purchase beads 5 Wholesale Catalog & Retal Catal February issue, they'ofien from the following people Fe ceacsin oo nhl. chess cater fn (refund ih frat purchase) efeaal wing ailes go. B&B daring the past year: errs ree ei dont lexre Lani Ching (23), Lary Scot Phone 617-332-6588 tis big beaders behind! Alo, (25), Sage (#28), and Bar- a ea or tein So mcciacuda.on bers Minor (29)t- Habe Newton. MA 02461 bead companies? -Luson Ut, msrinbe@eartonm arco arabesesrorat nt ‘Our goal is to have 35-40% May Thave a mailing address ofthe articles in each issue for Nancy J. Young (April {focus on big beads, There are 1999, £30)? ~Paticia Maan, four features and two depart- orond teach, ‘ments on BTSB inthe Febru- ops! Naney Young, 802 ary issue, almost 43% of the Martingale La, SE, Albu- articles. The relative length of querque, NM87123; Lani seed bead vs BTSBarticlesis Ching, 2014 SE Harney Sty Decause seed bead project Portland, OR 97202; (503) explanations need more space, 234-5049, jjl@teleport.com; Wedon’e plan to do features Larry Scott, 5729 Woodlawn cn bead businesses because it Ave. N, Seattle, WA 98103; creates a host of problems by (206) 632-7640, blurring the line between edi- Catshill@aol.om; Sage, PO 7) eide-Button + Jane 1999‘AYA aroUU A wonferil,urqueaeeton of findings ‘© Beautiful Cresh & German plas: beads © Ahuge work able wit ols provided for your convenience © Open daysa week “© Clases amiable ‘02 Comma St. ‘yoo, oat srra4 8 MPIOG S105, San. 124 Unique Original Designs owas Vegetable Buttons Visit my web site... * tary he soa mae: fer your ora ene \Gineatnrks Fi Great hinged-lid containers ferboadsondcthen 4 ‘St. Charles, TL 60174 Phone/Fax 630-443-0706 Email Neotriks1®@eolcom ttp://members.ool.com/neatniks1/ Jimmies min. pom as mu mh yor tt eran fo ur restora i i i t SBeulig 2 Aen Bations ay Sti he ebbgit, danignar, ellos, Woadertl vintage Inpoovie pried Bly beads. dancingrabbitdesigns.com Email me at... Della@dancingrabbitdesigns.com I Vis « Diser# Madera Make your own DE / the 1930's to today, © la ‘The Wire Wizard co Corrine Guiry "PO Dex 6032, Believe, Wh 9018-0312 (4a) a4 100 or 6e-eAt4007 raat: oh Twwthewirerizard.com fead@ button = June 1999 your lette Box 112, Mountain View, AR 72360; (870) 269-2231; Bar- bara Minor, PO Box 80455, Baton Rouge, LA 70898, Embetishment catalog ‘The Embellishment ad (p. 75) says that | should send $3 for a class catalog, but it doesn't say where to send the ‘money. Do Imail that to you at BeadesBution? Will it have information about cost and ‘where to stayin thearea, teary it Geta CA ‘Mail $3 te Quilts Inc. Embellishment, 7660 Wood ‘way Suite $50, Houston, TX 77063; and yes, the catalog has all the necessary information. ook reviews (Anril 1999) Talso like Catherine Cartwright-Jones' book. She hhas awebsite with @ beader’s favorite thing ~free pattems! www.tapdancinglizard.com then click on the kitty. ie ‘rand Stata Lespecially liked Alice's review of Design Language by ‘Tim MeCreight, but how about including ISBN num- bersfor the books that are reviewed. Sometimes we can find them on-line more ‘quickly with the ISBN Mar Taka, malate et ‘Trademarks Is Nymo a trademarked or registered name? - Mats th eis mateo [Nymo has been a registered trademark by Belding He inway Co. in New York since 1947, Here's the ur for a US trademark search: htip:/trademarkssuspto.gov! ‘access/search-mark.html = Susan Shanovich @Cord computer notes In up to 50 colors! se" SuppleMox”™ Beacalon & Tigertall Copyright aw for bead artists There are, however, cer~ Leather, 4 - 2mm, ‘With the art of beading tain advantages to registering Hemp, Natural & Colored becoming more popular, the work and providing 3 Waxed Linen & Cotton copyright and ethical issues copyright notice: Tobe able ‘Nymo & Sik Cord regarding original beadwork to sue for infringement, you Rottall, Elastic, are increasingly important, _need tohave your work reg- Memory Wre Acopyrightis aright of istered with the copyright intellectual property, where- office. You may register after Imitation Leather Do you have favorite by fora limited time (usually the infingement occurs as Imitation Sinew headrelatedinteret the duration ofthe artists Jong asit's before you file the Braided Nylon ‘tosortis musing life plus 50 years) theartist_ lawsuit. Prior registration Yodo CTinge favorite software? has certain exclusive rights to may also entitle you to more ‘Share your computer her work. In the simplest in a settlement should the ‘Send $5 or Whotale Catalog: ‘samy with readers, terms, holding a copyright matter go that far PO, Bax 450» Dep 4-9, ‘Senditto: means that you have the ‘To register a copyright, roan in Compute ets exclusive righ to copy tat alhe copyright oes oe oo ‘Bead & Button work. More explicitly, you recorded information line at POBOx 1812 have the right to distribute or (202) 707-3000 to determine Cosechlidiing 1 (@00) 966-2156 Waukesha, W'58187- sell copies of the work, dis- which forms you'll need. ee on IBZ play the ork (orcopies) Then order the forms from publicly, ‘make other works the Copyright Office Hotline adaptations of the (202)707-9100. Finally file oui ‘work, claim the forms with the U.S. oasing! * Outing Guthorship ofthe work, pre- Copyright Office and pay the vent the use of your name as’ filing fee. Further informa do... author ofsomething you did tion is available on the Copy- Tangles make you tense? not create, prevent the right Office’s website hi ee get you frantic? destruction of the work,and —_ lewebloe.gor/copyright/ Knots drive ee knuts? prevent someone from Bead artists’ ori claiming you as author ofa designs can be coy distorted version of the work. but not ideas or factual infor- ora ae “ranging e Noone has the right todo mation. For example, Tcan Reduce Hand Fatigue aay Work Faster, Easier, Longer * any of the aboye without copyright a design for an, ‘with your permission “amulet purse but not the way g Your original creative to construct the purse. * 2 work is automatically copy ‘An original design means righted to you when you cre- that the artist was the origi- * ateit (even ifit is adrawing nator of thework. The work con paper or a design digitally doesnot even have to be * Heaven g Stored on your hard drive), extremely different from x} ‘There are no formalities other beaded pieces, it on involved in obtaining acopy- needs to incorporate a mi right such as registering with mum level of creativity, and the copyright office oreven it must be created by the providing a copyright notice. artist claiming copyright. ‘Aeopyriaht notice consists of Emily Hackbarth at the three items: 1) a small circle Mining Company ith a “e" init, the word (tp://beadwork.miningco.< pyright.” or the abbrevia- om/ writes, “In relation to tion “Coprs” 2) the year of beadwork, copyright covers tion; and 3) the instructions, patterns, dia- * z fist publ isin Ze name of the copyright owner. grams, designs, photographs, yerty eaddbarnse «Jone i0i0 % | pratebe fom ceed, Craft,| * ‘Fabric and Needlework ‘Stores and Mall Order ‘Sources Everywhere : ‘Wholoania Orders Onive ‘Adam Beadworks PAneal Colourceatt= ‘Our parrnaneriy color copper wre a perfct for wre wrapping sexspIng, nd Bonding. Your can crosto Senaments, poRy 1 Sculptures, Yowaly and other designs with our specalty 1068 j {and variety Of popular wea gouges and Coors Beadalon” 19 & 40 Strand Boad Stringing Wires ‘Now Improved Beadaon" 19 & 49 Strand wrest are softer rd ‘even rrore exible than before —now tha safest. mast sunela ‘alts Gn ihe market Great fo sinngng gis, corns, mot and Stone boas, Sood boads and freshwater pearls. Avalable h the iergoet solocion of ameter, colors and spoct longi. Attach Softy eur igh quosly tinge and spociaty foo For the name ofthe Boadaloe" cistributor nearest 9 you, please ntact us at 9-800-824-0473, Send $2.00 for eatiog, cam —§ 1 ao Fal erat ‘company in the industry Corporation 23 YEARS OF PROMPT COURTEOUS SERVICE, CONSISTENT QUALITY AND UNBEATABLE PRICES IMPORTERS OF TOP QUALITY STONE BEADS AND DESIGNER JEWELRY PARTS FRESHWATER PEARLS, CLOISONNE, BONE, GLASS, M.0.P. ‘STERLING, GOLDFILLED, 14 KARAT, BEADS AND FINDINGS seeseeeeeee WHOLESALE ONLY +sseesseeee ‘Monthly catalogs available only to retailers and designers ‘with tax identification who mention BEAD & BUTTON 800-521-6326 1205 North Main, Royal Oak, Ml 48087 ‘e-mail; abeada @aol.com fax: 248-399-1920 2 Redé>Dutton + June 1999 computer notes : and finished work. It does not cover ideas, techniques, or ficts. Techniques (stitches, thread paths, etc) are con~ sidered processes; and to be protected, they would have tobe patented.” ‘What all this means to you isthat ifyou learn a technique from a book, mag- azine, website, or class, you have the legal right to pass on that information in your own words, There are some ethi- «al considerations thou; this an unpublished ori technique developed by your teacher? Are you taking potential customers away from your teacher? If proven in court, copy- tight violation can be consid- ered a felony, depending on the value of the copyright. Direct infringement doesn't require that you proveintent (such as to harm or to take away potential business). Asan initial mat ter, all that need be proven is the ownership of a valid copyright and that the orig nal work wascopied. Since March 1, 1989, almost everything created privately in the U.S. i eopy- righted and protected, Get in the habit of assuming other worksare copyright protect- ed. This goes for works in ‘magazines, on websites including web graphics), and work you see displayed. ‘Unauthorized copying isa risk you should not take. The joy of challenging yourself to creat is far more thrilling than copying some- ‘one elie’s work and does more for your self-esteem. and conscience. @ MoigeDeb, mded@rnindgeng conWERE KITTY, ITTY The Year ofthe Tiger prompted me to design and make this amulet bag. The bag is constructed in tubular peyote stitch with Delica beads. The fringe and strap include Austrian cystals, Cech fi polished beats and daggers, triangle beads, gold chaotes, and seed beads. Snce making this pouch, I've aso designed a white tiger, leopard, and black panther... o you see a theme? ~ Lisa Ring, La Habra, CA SIABABA India was the inspitation for his amet bag worked in even count tubular peyete. The design on the sides of the purse extends into the strap. {added the short fap last because | thought the purse needed closure The fringe consists of Astriancystals, 22 gold 2mm beads, freshwater peads, and charms. This was my fist attempt at twisted fringe; now is one of my favorites. Lisa Ann Claver, Mission Viejo, CA‘THESE ARE YOUR PAGES ‘When you make something you're especially proud of, send us picture so wecan consider including it here. We may have to borrow the piece to Dhotograph it, but please don't sené it until we ask. Write fo us at Your Work, Bead ‘Button, 21027 Crossroads Circle, PO Box 1612, Waukesha, W153187-1612, LAGOON AMULET BAG During a hot September vacation, | designed and beaded this bag witha cool color palette to give the piece an abstract underwater feeling. | sed soveral kinds of size 112 seed beads ~jned, matte, and pearlzed — and small bugles, a verity of Czech lass, and recyled Austrian crys {al or accent beads | planned the asymmetrcaltringe and ‘embellishment to suggest urderwater plant ife. To add dimension, lused peyote sts, bugle ladders, and ruffle stitches. Carol Wilcac Wells’ book Creative Beading inlu- enced my work, ~ Marorie Mitchel, Riverside, CA SenderBatton » June 1999 BEAD2Z22 | designed tis amulet patter with my bee-lving friend, fisten, in mind, After beading the base ofthe amulet bag with tubular peyote stitch, | extended the honeycomd abn the top and bottom edges using freefrm beading. A plete of sof opaque and frosted Delica beac helped to create @ natural-looking bag, Inside the amulet bag is» suprise bead string wit a ceramic bee attached toi ~ Carl Anne Bouchles, Greene, ME FULL MOON OVER Ful ‘The writings and philesopy of Nichiren Daishanin were the inspiration for this original desig, Traveling to Japan in 1983, was avestruck with Munt Fuji | drew the design on ‘raph paper with color pencils prior to beading the poe, The lettering on the strap, which eads Mato Renge Kj, Cause, Thought, Word, Action, Habit, Character, Destin Effet, and Moho Renge Ko, was designed by Ann Paxton used Delica beads forthe body and Austin crystals, lite, and pink tourmaline chs forthe fing to simulate chery Diossoms, ~ Susan Lambert, San Diego, CA @Cap special beads with wire wraps by Linda Salow April 9-10-11 Apel 16-17-18, Bloomington, IL. Minneapolis, M Franklin, NC. Orlando, FI une 456-7 Las Vegas, NV. Detroit, ME Jaly 9-10-11 Baltimore, Mt July 16-17-18, raat, NO nenaflly 2-23-2425, Spruce Pine, NC-Jaly 29-30-31-Aug. 1 Las Vegas, NVeoo-August [15-16-17 TUCSON, AZ.September 9-10-M1-12 nati, OFanSeptember 24-25-26| Bloomington, TL pir tomemorethan oth- wear astone but opens a Ss: things just appeal beads. Notice, that lets me Minneapolis, MN. cts. For example, ove whole new world for me with ethnic jewelry, beads made the pink bead. I'm learning Dey ae from natural materials, and to be flexible Bakimore, MD. unique artwork: My taste “Try putting together one runs toward the unusual but of your favorite things and ‘Ashediley None never escapes justa touch of one of your “detestables.” elegance; simple is always You might find, as I did, that better than complicated. you really don't hate “pink” On the other hand, I don't after al care for hearts, flowers (unless they're alive), and : pastels (especialy pink). stepbystep know plenty of people adore Working with wire can be a these things. So inan effort lot of fun, It can also be frus to.see their point of view and trating, especially when you ‘expand my horizons, leame find yourself wasting expen- up with this fashion necklace sive wire. Ifyou have litle and earrings. ‘experience, purchase some I've used waxed linen cord inexpensive copper wire and wire wrapping in these froma hardware store and pieces (that’s the traditional- practice before working with mri fohcyttd ONLY {st in me) and rove quarz. your good wire. Regirationand Proof of Business Required % Beadermunton + Tone 1999Se | attern Designer ls for the Bead Artist 2 or Higher Required 2nd other fine products available mciable on first order over $25.00 (607) 687-3201 beacibort@! | Phone :(607) 607-2793 y step beads “These instructions are for 8 % in, (2em) pansy-petal bugle bead, though most petals or leaves will work. You wind the petals around a paper bead made from graph or typing paper. Is easier to rake the beads the same size if you use graph paper because you can cut along the lines. However, ifyou have a light-colored petal, use typing paper. ‘he petal or leaf should be thin and flexible enough to roll, Ifa leafisa lite brittle, it will soften slightly when you apply glue for the rolling, process. Be careful when rolling because you cannot unwind the petal to straight- en it. Sometimes it's easier to if you follow the grain of the petal. When rolling the bead, keep a damp cloth Nydia’s button bracelets based on 1 design by Mala Gassner in The Bead & 1. “ nearby. Itis very important to keep your hands free of ‘excess glue @ Cut the wire into two 9- in, (23cm) lengths. If there are burrs on the ends, file them smooth with a finger- Gut the graph paperinto 4x 1 in, (2x2.Sem) rectan- gles. To make a shorter or longer bugle bead, adjust the length, The width should always be 1 in, © Place the X in, edge of ‘one piece of paper behind the vine with the paper facing toward you (Photo a), Hold- ing the paper with your thumbs and forefingers, begin rolling it around the ‘wire toward you. Make sure the paperstays straight and tight (photo b). Ifit begins to gocrooked, unrol a litte bit straighten it, and continue rolling. When itis about half rolled, use a toothpick to place a small amount of glue ‘on the inside of the paper (photo ¢). Finish rolling the bead, making sure that the edge is glued securely. Roll the finished bead between your thumb and forefinger to make sure the ghued edge is neaseBution + Jube 1999 h secure and that the bead does not stick to the wire. Wipe ‘your fingers on a damp cloth frequently to keep them free of glue. Continue to roll beads, Jeaving atleast in (@mm) af space herween cach bead (photo d). Let the beads dry for several hours and then remove them from the wire. @ 7o cover the paper bead, ‘cut a petal slightly longer than the length of the paper bead and at least in. (6mm) to Min, (Lem) wide (photo ¢€). The key to having beads that are the same diameter is to make sure you cut the petal as close to the same size xs possible @ Iiyour petal is uneven, ‘make sure the longest side will oll around the form and cover the entire bead. Ifthe petal is variegated, plan ‘which part ofthe petal you ‘want showing on the com: pleted bead before you begin rolling, Puta tiny amount of, glue on the long edge of the petal and place it under the paper bead (photo f), Roll the petal straight and tight, ‘voiding creases and being ‘careful not to tear it. Contin~ uc to place ue on the inside of the petal as you roll. @ After rolling the bead, puta small amount of glue ‘on your forefinger and while rolling the bead in the same direction you rolled the petal ‘over it with alight coat of fe. Take the bead and gen- tly roll it back and forth in the palm of your hand a cou: ple of times to smooth it out and secare the edge. When the glue dries, the bead will be secure and will have a pro- tective coating @ Cutoff the excess petal ‘on each end, being careful not to cut inte the edge of the paper. Let dry for 24 hours, making sure the beads do nottouch. © Optional: So the white paper doesn’t show on the end ofthe bead, place a very small amount of paint on a toothpick and barely touch it to the bead (photo g). Be careful not to get paint on the flower portion of the bead, Ifa little chip of petalshould come offthe bead lightly paint the area in the © [working on a large project, you may want to brush the beads lightly with a litte varnish. Flower petal buttons “To make an interesting but- ton (bractlet, far left), choose ‘petal that has some variega- tion, Set aside the back snap- on portion of a covered but- ton form. You'lluse it later. The easiest way to apply glue tothe petal or button form is with your finger. The key to success isto let each coat of glue or varnish dry complet ly before going on to the next step. Make sure thatthe rim of the button is covered with both glueand varnish as this protects the petal from dam: age and also protects the optional gold paint on the side of the button. These but- tons are durable but cannot be washed or dry cleaned. Use button pinsto apply them to clothing Cabochons can be covered the sameway (at right), © Optional: To brighten dull petals or leaves, apply gold leaf to the button form ‘Air bubbles may appear again with the second coat but should not appear after that, Ifyou cannot smooth a bubble out, usea very fine beading needle to poke a hole in it, then gently press the air out. Let the second coat of lue dry completely before applying the next. first following the manufic- @ Optional: Apply light turer's instructions, coat of gold acrylic paint to @ Cutapatal intoa circle the rimof the button, mak large enough to cover the top ing sure not to get it on the and tim of the button form, top of the button, Let dry. © Gently spread athin coat @ Cover the petal with a ofelic on thebackofthe total offive coats of glue. petal (photoh) and center After the fifth coat, allow the the petal onthe button form form to dry for 24 hours, {photo i). Gently pressthe _ @ If the button has « rough petal down, making sure surface, use 0000 steel wool, thereare no air bubbles. Fold tly damp, to smooth it the excess petal to the inside out. Re very careful and do of the button cover (photo). ~aot rub hard. Dust off the If necessary, apply more glue form and thenapply two tothe underside ofthe petal coats of clear varnish, allow- along the rim. ing the button to dry for 24 @ ‘To prevent problems ~~ hours berween Goats. Let the with air bubbles, immediate- finished butfon dry for 48-72 ly apply acoat of glue to the hours fora hard coat. top of the petal (photok). It @ Snap the back of the but is very important to put this ton in place. first coat of glue on the form just after you have glued the Carolyn Haley, Baton Rouge Bead ppetalto the cover. Wait at Company (ste a6. 11), beaded least an hour before applying ths fgove cabechon the next coat of glue. © Cover the top and the rim of the button form with 1 second light coat of glue eed@-atton + June 1999 | materials teas an buttons * Smalcaft sss + Decnupige glue, mato argos (matte leaves the petal color ooking tur) © Dried, pressed flowers orteaves + Rene pal, gid oro match ‘the petal/leaf color + Damp cath ‘beads only in Graph ping pape Scissors for cutting paper * Bin, (cm) 20-gauge Floral wire + Fingra fie oton ‘buttons only | © Dritz half-balt button forms, | Xin, em) | ‘ Clear varnish in desired finish *# 0000 Stee woo! optional) Drying petals and leaves Dry flowers with a manufac tured flower press silica gel and the microwave: or use a heavy book. For the latter, which I use most often, place the petals in a manila folder. ‘Then place the folder under a book or heavy box of photo- copy paper. Allow the petals to dry fora week. @ Contact Nydia at 12365 Gener- «Ott Ral, Haynmond, LA 704043; (504) 902-368}. x8Ring Bearer 's Pillow Easy embroidery stitches personalize your wedding {'s amazing how a few well placed beads can turn simple lace into a fabulous fabric. Bead embroidered lace yardage, trim, or appliqués will tirn a plain gown or ring bearer’s pillow into an elegant creation. When 1 start by deciding where we want the beads to be. Most brides want the front ‘of the bodice to be the most heavily adorned with beads. Next the edges such as the wrist, hem, and waistline are 6 rk with a bride, we usually by Lynne Creed highlighted. After that, a bride may choose appliqués to decorate the front of the skirt, sleeves, and train. Finally, ‘we decide an the amount of beading, ranging from a random sprinkling to very heavily beaded, On a gown, | often suggest using heavier beading at the neckline and front whereit can be most appreciated and less beading on the skirt or at the hem, which doesn't draw as much attention. The difference will produce dramatic results. ‘When I start a gown or a pillow, 1 place the beads on the lace, often fol- lowing the patter of the lace. Normally, use round pearl-type beads and sequins, though I try to vary the beads Ifyou have your dress already but ‘would like to personalize your wedding, ‘se simple bead embroidery to tran: form an inexpensive rng bearers pi ow, A purchased appliqué and a few beads later, and your pillow will be of designer quality.stepbystep In the detail photos at right, round faux white pearls (2.5mm), round silver ‘toned sequins, and faux freshwater pearls (rive peatis) were used. © Carefully remove any ribbons and other embellishment from the pillow before beginning. @ Examine the appliqué and decide on where you want the beading. The lov- crs and leaves in the appliqué area good guide forbead placement. © Dexermine which beads to use and ‘where to place each one. @ Sew the beads on the appliqué, using the stitches below. © Decide where the appliqué will be placed on the pillow. Remember to Jeave room for ribbons to hold the rings ‘and any flowers you'd like to add. @ Hand stitch the applique in place, ‘being careful to hide the thread (bottom photo at right). Add one or two ribbons forthe rings. stitches: Use the stitches below to sew the bends ‘orsequins on the appliqué. Figure 1. A single bead stitched in place: ‘Come up through the appliqué from the ‘wrong side at the place you want the bead to be. String the bead and go back through the appliqué. Knot to secure. Option: if you are adding single beads close together, work the thread over to the next bead location, making sure to keep it hidden, Figure 2. A bead placed over a sequin: ‘Come up through the appliqué from the ‘wrong side at the place where you want the sequin/bead, String the sequin, cup side up, and the bead, Go back through the sequin and the appliqué. Tie a knot to secure. Figure 3. line of beads (top photo): Come up through the applique from the ‘wrong side where you want the line of beads to begin. Siring three beads, Stretch the beaded thread along the line where the beads wll be and go back through the appliqué immediately after the third bead. Come back up through the applique just before the lst bead and go through the last bead again in the same direction. String three more fe eesees... ‘ane pillow with ite oF atcraft, party, ‘© Appliqué to ft pllow ‘© 2-51 Round faux pearls Rice faux pearls ‘© Smm Sequins White sewing thread 1 Sowing nsedle #19 “Sharp” beads and repeat: Continue until the line of beads is complete. Figure. A line of sequins: Come up through the applique from the wrong side where you want the line of sequins to begin, String a sequin and go through the appliqué against the far side of the sequin, being careful not to pull the thread too tight (the sequin could bend). Come back through the sequin’s hole and go through the appliqué against the opposite side of the sequin, Repeat for the entre line, keeping the sequins close together. Figure 5. A cluster of beads (middle photo): 1) Come up through the appliqué from the wrong side at the spot where you want the cluster. String three beads and go through the first ‘bead again from the same direction. 2) Go through theappliqué, pulling the ‘beads into a tight circle. 3) Come up through the appliqué between the first and second bead. Stitch over the thread ‘between the beads and back through the appliqué. 4) Repeat on the other side of the second bead, Knot to secure. © Contact Lynne in are ofBeadéButton, Neadeton 1989 ”Altering Polymer Clay with Inclusions polymer clay bead onto the floor, you are intimately familiar with the ‘concept of clay-body additives, especial- ly ifyou have a longhair cat. There are a wide range of possible materials that you can include in your polymer chy ‘mixes, Some ofthese materials radically alter the working characteristics of the ‘lay, and mn certain situations, this ann bea distinct advantage. Others can be ‘used to create stunning effects or pig- sent primaries for color palettes. | ee ever dropped an unbaked hase clays ‘Three major optionsin selecting a base clay are: ‘Opaque polymer clay ~ * Inclusions are less obvious, ‘but you can get some inter- esting changes in surface tex- ture oF differences in color. Special base clays -‘The Clay Factory ( makes a se base polymer. It’s similar toa soft bread dough that has room for more flour ‘Translucent polymer clay ~ Inclu- sions will be the most obvious, but they ‘may not be the best choice if you plan to cane the clay unless design areas are defined by contrasts of opacity or value inclusions Look for sparkly, glittery, matte, translucent, or opaque inclusions. Try ‘embroidery loss, thread, silt, mylars, holographic ribbon, play sand, best powder, kelp, spirila, dirt, clay, sand, x litter, mobsir, dog hair, Easter gras, or ribbons; the possibilities are endless. Shredded and flaked mylars make mar- yelous imitation opals. When mixing for color, think pigment primaries or tertiary mixes. Rather than buying a full range of colors, start by buying the pri- ‘maries and mixing your colors; this adds cohesion to your color palette ‘Cousidder color-fastnesoand UY pro: tection. Some materials such as dried hetbs, flowers, and spices are likely to fade over time, Golden Paints has a natte acrylic glaze that offers UV pro- tection (sunscreen for your jewelry). Remember, particle size isa crucial factor in determining whether there is the ilusion of even pigmentation or ‘optical color mixing. This contrast may be exploited to add interest to a color. For example orange and green sand make an olive green, (One teaspoon per ounce is a good starting point for your experiments. Different pigments have different tin tora strengths. For best results, make Bed@Bution + fune 1999 Make sand jade or crayon brights pendants by Lindly Haunani several test inixes to determine the con- ‘centration of the additive that will work best for your specific project. In general, have found the smaller the pigment sizeand the heavier it is, the lessis required ina mixture. [ron oxide affects pigmentation at I part to 1,011 parts translucent, Finely ground artists’ pig- ‘ments such as alizarin crimson ean make for dramatic pigmentation with as litte as Yo tsp. Heavy materials such as, the Eberhard Faber broming powders in concentrations greater than tsp. per ounce of clay have a tenden- oy to create cracks and fis- sures in cooled pieces. Lighter-weight materials such as rubber stamp embossing powders, chopped ylars, glitters, and sands seem to work better at con centrations of X-1 tsp. per ‘ounce, When using pigment primaries ofthe same catego= ry of material, you'll need ‘more yellow than red and blue to effect even pigmenta~ tion, Gradually fold in inclusions, 4 tsp. at a time. Trying to speed the process will result in a stringy mess. Experiment with sanding and buff- ing Many inclusions are highlighted by the enhanced translucency, others may ‘reate delightful craters in the surface, “These could be back filled and rebaked if you are looking for an ultra-smooth surface with added dimension, Test strength alterations if you plan to.use sheets oF slabs, A tablespoon of amnina needirt might make for a spectacular terra cotta that crumbles more easily than chocolate chip cook Experiment, have fun, play, and doc- uument your resulis. By taking the time to make color scales or samples of your experiments, you will have an invalu- able reference on hand. tepbystep To get you started, here are two recipes that feature inclusions, While the stack ing and cutting on the two pendants is. straightforward, they offer a myriad of possibilities, especially in terms of {incorporating patterned base colors into beads. The sand jade reminds me of a Mayan jade temple, and the crayon brights pendant suggests twisted metal andirons or candles, For a jade end cap, I blended together both colors of the jade, If you wish to add architectural interest to your pendant, stack discs or tabular shapes at the top, mixing crayon brights olay Brilliant, luscious, scrumptious bits of . ZSISTSZS ahs aad as aes ee JSINTAAS naa omic al Cahmade triangle 2 in the first flap row. To make triangle}, go through one more side of the new triangle. String I seed, 1 bugle, 2seeds, 1 bugle, and I seed. Go through the adjacent side of triangle 2 (igure 10), Go through the next side of triangle 2, Add | seed, | bugle, 2 seeds, 1 bugle, and 1 seed. Go through the side of tian- fle 2 where you started to make triangle 43.Go through the next side of triangle 3 (Ggure11), The thread path is reversed. from tubular triangle weave. © Triangle 4 already has 2 sides, so just add 1 seed, 1 bugle, 1 seed and go. through the top side ofthe triangle below and the third side of triangle 3. Make 7 more triangles for a total of 1. © Go through the top side of triangle 11 and complete the first triangle for row two. The thread path goes in the ‘opposite direction from row 1 (figure 12). Make 10 more triangles fora total ‘of.11. Repeat steps 12 through 15 once. © On row 5, count the first triangle made as triangle number 1. Do not work backward to add an eatlier tran leas in step 12. This decreases the ‘number of triangles in the row to a total of 9. Weave the ends into the beadwork, pouch bottom @ Notice thatthe triangles atthe bot- om form a long rectangular shape, with the fap, weave 3 fe tothe beadwork atthe bot- ide of the frst back triangle going away from the side (igure 13), String 1 seed, 1 bugle, and 1 seed, Go through the ide directly opposite the side you just went through. Go through the bottom of the side triangle, the side in which you start- ‘d and the side added (figure 14). Note: this will form a square. ® Gothrough the next sideto begin the second square on the bottom. Add 1 seed, 1 bugle, and 1 seed. Continue around to finish the square. Repeat across the bottom. Weave into the bead- work securely. Trim. ® Attach a split ringto each side of the purse. Attach one end ofa ball chain to cach split ring. © Contact Tina at 10 S, Walkup Ave, Crys ‘al Lake, IL 60014. 4 = ey \ZAZNIZN7 Gea as as eins e PR eS pa =D = 2 PITY Figure 10 materials 191 Hank bugle beads, size 1or2 © T Hank ound seed teads, 11° or smaler (the sing 15%) Nyo treat, size 8 #13 Beading needle ‘© 256mm Spt ings. ‘26mm Ballchain eade>Buston «June 1999 77 fs ARE enim teeCapturing the perfection of pu re ) an Adams, Glass Beadmaker Soin 1999, Dan and Until the fall of 1998, Dan thia tooka glass class with took no more classes, merely Seattle artist John Farrell that “practicing” 30-50 hours a was supposed to heon lamp- week in addition to holding a working goblets and sculp- full-time job. “inthe fall, 1 ture, According to Dan, satin on a weekend work- “Halfthe class wanted to shop with Jim Smircich, For by Alice Korach Jearnabout beads, 0 John me, the most interesting ‘photos by Jim Forbes. talked to other artists to find thing was how he shapes his cout how to do beads. also beads. Most students want to “That's Adams with one'é,” — lotteried into a 2-day glass hurry up and get on to the Dan joked when we metin class with Jenny Pohlmann _ fancy decorating part, but \ 1994. At that time, Iwas vis- and SabrinaKnowles.”"In _ shape is really the key. When iting him and hiswife Cyn-thosedays, there were very _Ispend an hour on.a bead, at this Toopsto photograph few glass beadmakers, and _least 4 minutes is devoted to her first article (Beade-Button knowledge was hard to come shape. Decorating is the 4#6).1've been following by, it Dan alwayspives quick part.” The result of Dan’s career (and buying his credit tothese artist who Dan's eght years of practice beads) ever since gave him a good foundation. is that at least two authori Dan's interest in beads Dan continues, “We could on contemporary glass beads began in 1986 when heand ~ onlyafford one Minor Bench consider him one of the best Cynthia siarted playing with Burner (thebeadmaking American glass beadmakers. polymer clay. “Then wesaw ~ torch), so we coulda’t both Lois Dubin's The History of make glass beads atthe same bead aesthetics Beads in the U Bookstore time, Cynthia was also beter ‘Dan and Cynthia work (University of Washington), at polymer clay and was their garage stu and we walked pasta bead working on intense projects, I've observed many store called Monsoon every Thave warm, large hands able silences and day.” Soon Dan and Cynthia (Dan,a former high school even more facinating discus- stopped walking past. They football player, is 6-3) that sions about aesthetics as they were hooked on beads and fort details, I still do occa- work to produce polymer were making and selling sional canes or her, but Iwas and glass beads that wil har ‘ necklaces that combined much better at glass because | monizeinto their signature , their polymer clay beads with practiced a lot.” necklaces (pp. 47, 48), But at purchased beads, Dan adds, shows people also come to “People kept telling us we'd them for beads. “We've never like glass. Back then, you been great sellers of loose heard a lot of, “Oh, that’s just beads, but I do sell lots of i Fimo, That's realy nice, but ile ones,” Dan says. He also wow! If itwere glass sells the beads that don't « eadeetutton + fune 1999make it into necklaces because they're the wrong size, shape, or color. Explaining why he makes the kinds of beads he does, Dan says, “Cynthia and 1 were interested in beads before glass and in old beads before anything. Some of our ‘original polymer beads were imitations of old beads, espe- cially eye beads. | don’t know why they'te sucha powerful form. Obviously, I don’t believe they protect from the evil eye: but the dot form is so wonderfully versatile that I keep playing with it.” The sray bead on p. 48 is one of Dan's early eye beads Dan goes on, “Cynthia and I discussed the virtues of glass, especial pareney, and we talked about pputting that to work in the form of a colored, transpar- ent core for our double- transparent Warzing States beads (the horned, transpar- ‘ent beads on all pages). Depending on how thick the Jyers are, the colors change.” (The Warring States was a petiod in Chinese history from about 400-200 BC. During and after this time, bbeadmaking in China wasrelatively primitive, but sud- denly, large, complex horned eye beads appeared. Scholars speculate that they were made by Middle-Eastern beadmak- cers who entered China along the silk routes.) Dan some- times uses enamel on his ‘Warring States beads (blue and yellow beads, p. 46). beadmaking “We started selling, beadsin 1991 at the North west Bead Society bazaar. That frst year they put us next to Michael Max, one of the most innovative bead: makers, and he shared lotsof tips and information. His beads were so wonderful that we didn't expect much, but We did OK with our small $2 beads” which Dan stil makes. He explains, “love doing $2 beads. Lots of peo- pe cas affonl ern and they're lightand easy to wear. They're also great for pr ing new techniques such as combing.” The vine bead (p. 49, bottom) isa sophisticated ample of combing from about Dan dragged ast through a ring of puired dots. ‘What makes this bead so spe- cialis that he dragged the rings in opposite directions. “Soon we started etching cour beads. The first year we sold beads at the Portland Bead Society baraar, they put us next to Jim Jones (BB #19), who was tumbling his beads. When we got back to Seattle, Nicky iessin, the ‘owner of Beadworld, intro duced usto Jack Frost (a solution of hydrofluoric acid used to etch glass). Etching softens the color and gives the beads a smooth, silky feel and an old look that goe well with polymer clay.” anew bead But it was only when Dan developed his most recent bead style in the fll of 1998 that he felt he was finally doing something worthy of snention. He had become extremely skiled at dot and eye bead techniques and excelled in creating perfectly formed and balanced beads, bbut he didn’t feet that they ‘were truly special. Now he says happily, “I really love my new engraved ‘enamel beads, (necklace on p47). I worked the tech: nique out on my own, but ve been told it’s a really ‘common technique in glass blowing,” he shrugs. “It's fun andl easy to roll hot glass in enamel powder and then decorate over it. But | wanted to try something different, s0 I pressed a metal stamp into the hot bead. Wherever you have a recessed area, it's hot- ter than the raised surface of the bead because it’s closer to thecore. Ifthe bead is too hot the e ete to produce a uni form coverages but ifthe bead is just right, the enamel will stick better in the recessed areas. Then wh you reheat the head, the mel will stickrecessed areas protect the beads and life ‘enamel from burning off Dan isa man whois thor- while the raisedareas lose oughly comfortable with most of it, Another technique himself, radiating an aura of, Tuse is todraw meandering tranquility. He confesses that lines on the bead with a as alittle kid he took a lot of stringer (a very thin glass drawing clases, but at the rod) to make raised areas. _age of seven, he never took ‘Then L apply enamel that any more art, And he would sticks to the now recessed never havedone anything _things we make go. All parts of the bead (Sth bead at with art aguin ifhe hadn't know is that some of my right). Finally, a combination met Cynthia. He says, “I vas beads have been taken to bead canbe engraved and intothe male utlity/tool China, Taiwan, India, Nepal, stringered so ithas two dif- thing. Meeting Cynthia and Japan, Europe, and Canada. ferent levels of enameling. doing beads with her made Much of out work issold in *Mostof my engraved me open up tothe world of __ galleries, but we still make beads are spindle whodt beauty, form, and color and the small sampler necklaces shapes modeled after those the idea that things have a _that we sell directly to the great African clay spindle value outside mere utility. public." Dan and Cynthia's ‘whorls. The designs are sim- ‘There's virture in the shape “small necklaces” are about ple geometric forms, and the of things. 30 in. (76cm) long and con shapes resonate so wonder- “ifyou do something you tain about 100 handmade fully. Isa case of wanting to really love, maybe it will sell, beads as well aga few com- update some great old beads. and maybeit won't. [think mercial beads My medium for this isglass." in terms of our jewelry more Lest you think that Dan is Many of Dan's engraved than in terms of gliss or all work and no play, he and enamel beads are also hallow! polymer beads. We make Cynthia passionately pursue to lighten the load. things welove, and we've one other hobby besides ‘been lucky that they sell. But beads. They love to eat and I've found that being creative _arean outstanding source of makes youn morecomplete information about Seattle person. Making glass beads is restaurants that specialize in a technically oriented activity Asian food. Dan is also an = you need to know the flame ~ excellent cook and makes all anduse tools: But working the dinners.at home. @ with the design challenges your creativity. Somaking Alice iseditor ef Beadé Button. beads putsme in touch'with Contact Dan at CD Beads, 2514 both sides of my brain. E Spring Sts Seattle, WA Forthelastfouryears, 98122; (206) 325-4035; or meet Dan has been working 80 him af Embellishment’99. hours a week as a full-time Round beads range in sz from pares and stains tissue taken 15-30mm: lozenge beads are 30- in biopsies) and abeadmak- 40mm lng, er. In both jobs, he concen- trates on tiny things, working up close with great precision. Fortunately, he loves both jobsand finds both relaxing, “Every once in awhile,” he says, "you save someone's life by doing alittle bit extra. "Making beads gives me time to be calm, and people love them. The hard partis not knowing where the endo Batton + June 1999 ~Pebble Lariat Highlight a few sensational beads with a simple design by Chris Prussing think of “Africa John” Paulas’ hand-crafted stone beads as. dialects, Work in desert control involves a lot of digging and “barbaric beads for the untamed.” While these beads are le-_earthmoving, bu, curiously, John and his co-workers never gant and versatile enough to be worn with asilkjacketor __tumed upany ofthe ite Neolithic stone donut-shaped beads ashi n an essence of primiti that have ren Jined popular in North Africa for many thou desire ~ that impulse we experience upon findin, sands of years. Instead, John would seek out and purchase pebble to fondle and admire it, to keep it as an amulet, 10 these old stone beads from African bead dealers in local mar- ‘wear it somehow and beautify ourselves. kets across North Africa ~ Nouakchott, Agadez, Timbuctow John spent nearly 20 years working for the United Nations EI Obed (Sudan), and Bosasso (Somalia). in North Africa to assist the area’s residents with de John’s father is an amateur lapidary. While visiting his par trol projects. He speaks French and at least three Ai cents during a break from his work for the U.N., it occurred toJohn to try using some of his father’s rough (chunks of tunworked stone) to make contemporary versions of his ‘treasured Neolithic ring- shaped beads. Thus began an artistic adventure of discov- ering how to use modern equipment to create some- thing as lovingly hand-craft- ‘edas theancient beads Stoneis very hard stuff. We tend to forget about that and take for granted all the lovely stone carvings and ‘beads that are now available But even with modern tools, itstll takes lots of time, patience, dust, oil, metal, agri, strength, and all-too-fre- ‘quently bleeding fingers to carve stone. John’s beads are worth al oft. They invite touching and rolling about between one’s fingers as one inspects their colors, pat- tems, and surface. Joh selects his rough with the same eye as a Neolithic hunter spotting a pretty peb- ble in the sandand carves the beads so that they retain the imatrix, veins, and inclusions typical ofthe rock from which they were formed. Like the ancient lapidarists, he doesn't waste nice rock by only using “the best parts.” designing a pebble lariat Two ofthe difficulties in designing with stone beads are their expense and weight Long strands ofbig stone beads are costly and heavy, but small designs featuring one or two beads tend to look puny. So rather than stringing my collection of John’s beads together into some huge necklace or mak- ing dozens of macramé chok- «rs; mysolation was the “Pebble Lariat." It's graceful, swingy, and eye-catching; but itdocan’t require lots of beads to create an effect (photo c), Nor is it dificult to make. Thus, one can have the fan of designing a neck- lace to complement almost any mood oF color. For me, the pebble hit solves most of the other problems I have experienced in working with stone beads: production beads are boring, heishi pinch the hairs on the back of your neck, and large stone beads can be cold and heavy. Best of all, the design highlights the nifty features of each individual stone. Syn- exgy is the word here, That’s why selecting the beads and pendants isthe most difficult part: one has to form. little team of objects that look bet- ter together than they do-sep- arately, Thanks to John’s craitsmanship, every piece you make will be unique, and no one else on the planet will have one just like. The only drawback is having strangers reach for your chest to inspect your jewelry. stepbystep more is the theme of iat. Because you are dealing with an apparent ly simple design, you must introduce some subtle com- plesities so that it isn’t hor- ing, The stones should vary in shape, color, texture, and size. You need toadjust asymmetry and balance care fully. Anda repertoire of about sixto seven knots is handy (see “Basics,” p. 78). @ For me, selecting the stones is the most difficult part, Arrange them into three ‘groups: one for the center pendant and two for the tails, @ Once past that hurdle, ‘measure 2 yards (1.8m) of 1.5mm (or thinner) strong, ‘even lacing. I prefer Greek ‘cowhide lacing, because I find it more even and stronger than goat leather from India, @ Fold the lacing double and string your center arrangement of pendant and/or beads s0 that it lies at the fold, Make one end about 4 in. (10cm) shorter than the other to start the asymmetry, @ Ifyou need to tie knot above the center pendant, tse the Matthew Walker knot (photo a). It will let the pen- dant hang st hand knot would make it hang sideways). the strands together with a square knot or carrick bend s0 the pendant hangs at the length you want. © String the two tail arrangements onto the ends, ‘and adjust their postions so that one hangs just above the ‘center pendant and the other hangsjust above the first. Good knote for securing the tail groupings include a dou- ble overhand or a blood knot, a multiple overhand sliding knot (photob), or 3 figure-8 stopper knot. Make sure the beads don’t clack on: ‘each other and avoid placing the last pendant too high. @ Tighten all knots, then clip the ends, @ further reading ‘malin Te Eset int Bo Conde, ME erator sie. 186 om, Pr he Bo of cre Ht. Nene Bar 198 Chris owns The Bead Gallery in Junea, AK, where she sells Africa John’s beads. E-mail her ‘at beadgal@ptialaskucnet or write her at 201 Sewerd, Juneats, AK 99801. ‘Seed ot se tn ie tre te bas yesh. ‘ap Meadow nah ue. 88 cea Mt rchan et ay tat Bead@eButton * fone 1999 materials © 5-13 Large-hled pebble beads or oer varied, interesting beads ~ stone, bone, lass, horn, meta, eo; several shouldbe donut shaped © 2ye (1.8m) Greek coubide lacing, 1.20(1.5mm diam,WOW! secsmene all for the fist BeadesButton Beading Buddies Cruise last January. During that magical week, time seemed to stand still. Linda Salow explains, “Everything we did was so different from our normal lives that there just wasn’t any context for it, except that itwas wonderful.” But in the months leading up to the I didn’t know what to expect, In fact, | was pretty nervous, What if the Thay att unravishd bead £69. 1 fow why he caged bead sings situa ait. ner, Handel, Bach, all those | 12 tik araing bad tess an sow tine 70, Beading Thee dead white European men. | 15 yar to bedlone 48, TheBartied Beaé 71. Spin the ramet tends Sometimes, 1 sing along, pala palit 14, Thisisthestuf hat beotsawe 44, Cast tybonds un he water 72 1. gia-bad hard ve sede: anid even tthere Lesoid 45. as tise. 72, Oli ox of Beton aren't any words. Mainly, | iamgat mtn mone ee 7, Ad ites tg belo bead however, my mind wan- i edocs thousand ships? 75, Anos ie beading nove ders and from themurky |" o 46 Friends, Romans, 76. Price random actsot Kindness depths of what was once « Countymen ed ad senseless bade promising intellect, come | 18 Gadioxts andtte tre neats ee 77. Shall we beat? musings ofsuch piercing | 19 Beads ne ito temptation 7s a 78 Delight sting Time ambiguity that they cry out | 20. Whatdid te bead and when it 48, Wher’ the bad? babeshareds hbead it? Sen. Howard dhe 49 Beageate Ty. TANS Be 80, Tocata an fugue inbeadminae Sollike Luther, who 21, Bandon, Moet 50, When asin beads Jule eS ay Thy Bands nailed the 95 Beadeses on | 22. nr Riuy, weg bead tat 9 511 hav i busines side and oe the church door in Witten- Jeeps inajarythe dre pesigirohrin 182, The Beads o Wrath bead, I present these beadi- | 23, Castthebead rom out ine 9 83. Bead Ey 52. work and no ply Jack makes @ cisms. May they stir your | 24 Bsn bake beads ‘ileal 84, Beating fr Gado own murky mindsto even | 25 miteenwaystlokingat aback 53 Tosi the ways beadstoman 85. Gat Beads? greater depths of hyperbole. ra) Sh Aivesteguetaniseal 1, Te Bead Lara/twerk appeared in A eee $5, Gt eto atest Ohad BoB Az Contact him at | OWNETHT CEES 55, yan Dad tty Ga 5729 Woodlawn Ave. N, Seat- B eee 7. For oth bending red tle, WA 98103; be m free ‘58, Treason, beadery, and other high 76:40; Catshill@aol.com ies and misdemeanors suanen t *” fead@oatton «Jane 1999