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    Bead and Button 2000 02 Nr-035 PDF

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    camicarmella

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    © All Rights Reserved
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    of 50
    6 projects * Enter our un-BEAD-lievable sweepstakes er Pa Sey pret Beier) @ String a Victorian crystal necklace nee CUCU Bead a button brooch contents 34 ‘What to do with Leftover Beads by Nancy Alden Head pins turn mixed pearls into fine jewelry 36 Make Your Own Tennis Bracelet bby Judi Mullins Right-angle weave and crys. tals fulfil your dreams. 38 Button & Bead Brooches by Joanne Strehle Bast Capture a great button in a fabric of beads seo page 52 Make a pretty ribbon into an amulet purse with bead edging and imaginative fringe 44 Kicoy horas wm LACIS sr Bag eR SS Ee bimensor Ee | 5G ively | Puget Ll Cee SU [arate Mies Et Seat xeke id rats Pare bead play stepbystep © Cura 34in. (86cm) length of wire, Being carefal not to kink the wie, string a {uanine, sugar, phosphate, sugar, thymine, adenine, sugar, phosphate, sugar, and ‘ytosne, Slide the beads to the center of the wire and place on the work surface withthe ends of the wi pointing up. @ With the guanine wire end, go through the cytosine and the fist sugar (photo a). With the cytosine end, go through the guanine and sugar (photo). Tighten © String a phosphate anda sugar on each wire. Now string your choice of nucleotide base onthe lef wire end and string molecular mate (see. 20) on the other wi that adenine pairs with thymine and guanine pairs with cytosine, Take cach end through the nucleotide base and the sugaron the other ‘wie. Pull up the lack @ Repeat step 3 eight more times. The order of nicleotde basepairs is up to you: DNA has an infinite ‘number of possible combina- tions s0 be creative. materials ~ color key ‘+ F3 Bugle beads, blue {quanine); god (adenine) 1 #2 Bugle beads, geen (cytosine): ed thymine) ‘Sze 6 crystal AB seed beads (Gecxyibose sugar) + Size 6" gold sed beats {obesphate) + 28-gaugeWie Tools: wire cuter and round ose piers sion = Febrvery 2000 Remember © Repeat sep 3 once mo but do not pull up the slack entirely Allow in. (10mm) ‘af wire between the base pars. With he roundnose pliers, form stall lop in this wire (photo ). Twist the lop twice to secure, @ Thread the remaining ‘wire through the phosphates (photo d). Pull tight. Trim the wie i. (3mm) above the bottom ofthe ladder. @ Make sure all the beads ae in position and twist the ladder one fll turn counter- clockwise, Add an ear wie 10 the loop atthe top. Make another easing. @ Contact Thomas and Joyce at 7019 N. Tellman, cA 98711: (559) 435-4291; a0 Gesufresno.ed your work ENCRUSTACEAN The title i a play on the word crustacean. | saw @ PBS special in which a crab used pices from is environment as ‘camouflage on its shell. This is what a era who lives in my studio would lok like. | used sie 11° seed beads, botn Czech and Japanese, with some 8° and 6° beads inthe fringe and on the edging The body also has stone cabochons, shells, ribbon embr- ery, turquoise, and pears. | used sculptural peyote and Carol Wile Wels’ stepped-decrease technique for the claws. Bead embroidery and fringe techniques make most of the main body. - Andrea Stern, Chauncey, OH ‘BUTTON NECKLACE |used the button brooch instructions fom the April 1997 ‘B&B, issue #18, for my Carmen Miranda necklace | suounded a 1940s clllod button with a variety of matte Finish and copper-coloed Seed beads as well as larger Fimo and glass beads forthe edging and the drops. | peyote stitched the wings that radiate out from the centerpiece Them | wove in oops of seed beads and larger glass and Fimo pieces. The chain is finished with twe-bead-wide peyote stitch. — Ellen Lodge, Van Nuys, CA ‘DON'T BE SHY! These pages ae yours for displaying your best head 2nd button work Su send usa picture. We may have to borrow the piece to photograph it but please ont send it until we ask. Write to us at Your Work, Bead & Button, 21027 Crossroads Circle, PO Box 1612, Waukesha, WI 53187-1612 WINTER'S PANSY Cheerful pansies brighten our backyard al winter long, When | saw iia Met's lower-petal necklace and butions inthe Baton Rouge Bead Company store and in ‘BAB hun 1999, #31, | new | neded to create a necklace with one of het pansies. The flome-peal button is backed with Utrasuede and then beaded ikea cabochon. | eended the Urasuede pat the pendant to form a oop that allows the pendant to side on and ff the nerkiace ‘The necklace i spiral ope design adaptation by Diane Fitgerald using 11° seed beads forthe back and ‘embelishng the front with teardrops for added dimension. ~ Susie Blyskal, Baton Rouge, A FLIGHT OF FANCY My Fascination with art nowveau design inspired this agony nechee. It took moe than 200 hours to com plete and incorporates several techniques, including bead ‘embroidery on leather, peyote stitch, 4-strand braid, lay stitch flames, and embelishment. Materials include glass seed beads labradoite, mother-of-pearl esh water peal Caech glass beads, and Austrian crystal The counterweight vith vine fringe is opinal. It canbe wor atthe back of the neck o removed ~ Laura Jean Hee, Pawcatuck, CT pattern gallery unicorn A group of us on Prodigy, inspired by Chris Philip, decided to doa pamphlet of holiday designs. MayDay was one of my submissions. The amulet bug was designed for circular brick tte, using Delica forthe bag and fringe. ‘Then I covered cach flower onthe begs front with a ‘medium-size fve-petal glass flower ora smaller cherry blossom in matching colors yellow bead atthe center holds each flower in place ko incorporated leaves and flowers into the fringe. Tuo eat bee 04 fay in blue Using Paint Shop Pro 5,1 designed Lady Blue from piece of Clip Art. Then I ‘made it into a peyote- stitched armlet bag with cas. Ria in, Sectn, MO 6265 lined aalopore 602 Sia ine es © 08.206 Opaque satnon ‘Share some of your best charted patterns with other beaders, Wel pay for any pattem that we pubis, Write tous at: Pattern Galley, Bead&Button, PO Box 1612, Wavkesha, W 83187-1612. eae 1401 § Miltary Teil, Suite] Were Palme Beach, FL 33415 (561) 357-0230 Fa (561) 357-0299 WebSite wusirionoon.com Emil irionoonpb@aolcom Japanese seed bende ab Inarelibhy low prionse TAI Fulecoreeion ‘werw.callamer.com/~kandras a 115 do be wd ee "00-54-7079 eg pe de) Tia Se es, cS Sk howe he mo ed The Bead Spinner Lady BATS 2aeiog nevilaher String inches of Sen nts od Scere al nena fot Se a ees fecse Teh Toe. sto ah "005 17 ave Sechane WA 99208 1108 ‘one 7938 al 31 chic@easy 2 Hair jewels by Nicolette Stessin ith beaded bobby pins all the rage, {found myself showing everyone haw to make them. Each pin only tses 2 few heads so lft lover pearls, crystals, and Czech glass beads are perfect. ‘Wealso made dozens of sin- ale-peatl hair pins so Sara who was getting married, could dress her hairdo like (Queen Elizabeth stepbystep try pin @oidan 5-24 n (46-6em) piece of wire in hal and wrap atthe fold2-3 times around th top of the bobby pins bend. Bead button + Februey @With the ends together on string length of the pin — almost. When the beads reach almost tothe tip of the top bar, cross the wires under the tip and wrap each around the tip 1-2 times, ending with materials | = Orirary bobby pins Hains 2d 32-34-gauge Craft wire ‘+ Assrtad beads such as: “48m freshwater peat, re- polished cnstals, pressed sass, siz 8 or 6 seed beads, to qual the length of the top of the pi, ess in. 3mm) ‘Wrecuter 5 Avsny & Sax Avrox1o ‘TEXas, Mempins, Texvesse ay cases inde Avp Now @ — WWW.Nomapic rectus, Yon sc NOTIONS.com | sone Seb TABLE COVERS” Ove 7/000 types of beads es irene ant doh payee books, tools, fi ings, hemp, - alg valle and other beading accessories | | __., COLLECTORS HOUSE from around the world. 1739 HIGHWAY 9 N. HOWELL. NU 07781 800-448-9298 512-472-4490 both wires under the bar (photo a) @Cross the wires under the bar below the frst bead, then «ross them over the bar vex photo). Puan beste dot sho yout tok he palate hard) The bor beeen beads Pl i 1239 CORP. ie 1239 BROADWAY 2/F., NEW YORK. NY 10001 fier crossing between the 212-880.08 7 725-0498 last 2 beads, cross under the se Exquisite a Bhads & Buttons Oy eB dapanese pressed & * Buttons from th 1930's fo today. © ar, ty) Visiting Sue Joell Call ahead fara elas seh As. real beads and while our unusal selection wil delight you, what ‘makes us diferent isthe way you are trealed—with enchantment. CCome in and Work a Spell {55 Cat Vile Bd Cato Vly A 0) Orvis ow webs worw.beaulyandihebeads.com Speciahzing sm Guest Intractor Worksop, th your favorite args Monet Garden Necklace Cynthia Rutledge Former informs ‘eune plavtbe Esl beadladyplcrbcndcom Your Source For tne ote Bee Lampshade Frames for Beading Lande Cig pes CATALOG AVAILABLE. $3.00 Wholesale Inquiries Welcome o0r) PW aig Tce rence dct enpertrof SHO x 70. Spanes Tiers Tad Begs Prone las fr boedrdany, Real and Designer Pce Lt on ft oder COPPER R BEADS AND FINDINGS. Glass Seed Beads 80-180, French Brass, Copper & Nickel Beas. ‘Arizona Turquie, American Ian Catt Supply Trade Beads of the World Phone: (520) 318-9512 Fax: (520) 318.0023, PO Bex 13345 + Dey. Bae Tucson, AZ 85732 Email infosbovisbeadco.com wonw-bovisbeadco.com ey eae +85,11,15° kits & Graphs] +33 Cylinders Transparencies + + CATALOG $2 - Love to Bead, nc POBox 8492, Asheville, NC2BB14. 828-252-0274 Fax 825-254-1486. last bead and wrap each wire around the pin bend 1-2 times (photo ¢). If possible, feed the ends through the first bead(s) then cut close (photo d) hairpin string | pearl on a 12-14 in, (30-36cm) piece of wite Move the pearl to the centr ofthe wire and carefully twist the wire together tice just below the pearl QWrap both ends ofthe Wire together around the bend ofthe air pin twice Wrap 1 wite twice around the wie's stem beneath the wrap the second wwice around the stem in the other direction (photo ). Carefully tist the wires together, cutoff and tuck theends under. @ Contact Ni ite at her store Beadsvorld, 9520 Roosevelt NE Seattle, WA 98115; 206) 523-0530. What to do with leftover bead Head pins turn mixed pearls into fine jewelry by Nanoy Alden boxes and tubes with six pearls Tetover from that necklace, four gray ones from another piece, a dozen mauve ones from still another project, and on and on. Then, of course there are all the leftover spacers, bead ‘aps, and semi-precious stones ~ all sill and all much too good to-waste. If you've been making jewelry fora while you probably won't need to buya thing to make your version of my leftover pearls necklace, but you may want to add a few stones or some new vermeil spacers. (Bead shopping is always fun.) L ike me, you probably have little stepbystep My 16-in, (Alem) necklace has 67 dan- gles, but the numberof dangles on your necklace may be different, either byecauce you change the length oF bpecause the pearls on your necklace strand ate different size. When you stcing the necklace alternate a pearl and a dangle, beginning and ending witha pearl It’s important that you use thin or ultra-thin head pias; standard head pins won't fit through the pears. @ Decide om the length you want the finished necklace to be and subtract 1 Sem) for the clasp, Start by mak- ing about 10 dangles of varying lengths To makea dangle, string a pleasing arrangement of beads (spacers, bead aps, gold beads, stone beads or stone rondelles) and pearls on a head pin. (See Ey the photo to gt ideas for your dangles. “They should vary ia length from i-% (1-2cm), including the oop.) Then make a medium-sized wrapped loop above the beads, leaving enough space for 1-5 wraps (see “Basics,” p. 76). The ‘namber of wraps should vary. @ Then string the dangles alternately with the pearls, Measure to find out how many pearls and dangles occupy an inch, You will need approximately 13 times this number of pearls and dangles. Now make all the dangles you'll ned. @ Arcange your dangles in pleasing ‘order staggering them so the large beads are at different levels. @ To stsing the necklace, start with a 2i-in, (Lem) length of flexible beading wire. On one end, stringa flat spacer, a 3mm gold bead, a crimp bead, and one end of the clasp. Leave everything at this end ofthe wire. Bring the 2-3-in. tail of wire (5-8em) back through the crimp, the gold bead, and the spacer (igure) and use the crimping pliers (or chain- nose pliers) to crimp the crimp bead Sib conipeorttlot ah ee ee “pa ‘ering pearl then adangle ee rae @ End with a pearl, Then string a spac~ ete pad aig a bead. Now until the necklace is 15%in. (39cm) the other half of the clasp. Bring the tail sesd&-Botion + February 2008 materials ‘© 116:in, 40cm) Strand 4.5-Smm nearly round freshwater pears (approx. 68) © 28in. (Som) 014 Fecble beading wire ‘© 2Gold crimp beads ‘+ 23m Gold-filled beads ‘1 Gold sping ring clasp with a seldered gold jun rng Dangle supplies: "67 (approx) Gold-filed thin” head pins ‘50-60 Gol-filed beads, sizes 2.2 5mm ‘© 50-60 4mm Vermeil spacers + 6-10 4-5mm Vermeil beads and bead caps © 15-2045 Gold-filled bead caps += 50-75 Assrtd leftover pearls, 2-8mm 50-60 Assrtd semi-precious stone beads (game ict, moonstone, quartz, tourmaline et) 24mm 1 40-50 Assorted semi-precious stone tondeles, pain and faceted, 3-5mm “Tals: rundnose, chainnose, and crimping Dies; wire cutters back through the crimp, the gold bead, and the spacer. Tighten the beads, Feaving just enough slack to allow the necklace to hang gracefully, and crimp the crimp bead. Cut off the tail of wire flush with the spacer. @ Nancy isa jewelry designer, living in CT. Yous can contact her in care of Beadworks, 149 Water St Norwalk, CT 06854. Virtue ally all the beads she used inthis necklace fre shown inthe Beadworks catalog ($5) ‘readers com: (800) i | EL CRYOTmOya A tennis bracelet Right-angle weave and crystals fullfill your dreams by Judi Mullins perfect spacer bead — some 14kt gold- seepbystep Fit kee ight angle mene fab forthe bracelet Then embalistwith ted bead pce © With 8 yd. (7.3m) of heavily waxed tod doubled thread, sting 2 main-color cra bal he clasp, and 2 more crys tevin ai. (Sr) tal Ten. ace withthe tal (photo a). Apply clear nail polish to the knot and let dry. Jodi made the tanzanite” bracelet just as insted. Optionally, add seed beads between allthecstals along the centr. @ Work right-angle weave (sce “Basics” p. 76), following the pattern at far right. After adding the eighth set of accent crystals, string 2:main-color ery tas the clasp, and I main-color crystal Make sure the bracelet is not twisted and the clasp is oriented correctly. © To start the second row and complete the clasp attachment, string 1 ‘main color crystal the second ting on the clasp and 2 crystals (gure L/photo >. Finish the stitch. Continue working inright-angle weave. For the lasstitch, string one crystal, the second ring on the clasp, and 1 cystal (photo ¢). Finish the stitch © Go back through the bracelet, reinforcing with a3-bead zigng thread path (figure), adding a seed bead in the center ofeach group of four accent beads. Go down one side ofthe bracelet (red) and up the other side (blue). © After reinforcing, start at one comer and add a seed bead between each crystal on the outer edge. If the seed breads choose a smaller sed bead. Tusn at the ‘orn (go through the clasp to reinforce it) and add seed beads down the other side ofthe bracelet. @ Jui ives in Tigard, OR. Contact her via e-mail ar winterain@enrrlink net materials (7-inJ17.8cm bracelet) + 14 4mm tcone estas, main color © 324mm ental, accent cole Sie LI o 14” Coch eed beads, accent calor ‘*Nyn 8 beadng thread ‘+ Sue 12013 beading needle 1 Beeswax 1+ 125mm 2-Strand ound igre clasp Choral polish Button bead br | ‘ong before Iwas Gobiretgrn: tosmared by bea button ina worked in a varity of ; fiber arts including fabric of beads yesitelaceand neil wer ing When I became a beader, these techniques opened my by Joanne Strele Bast mind to the possiblity of enclosing focal elements into the fabric of beads have always loved but- tons, When I stated seing all the wonderful new Czech pressed-lass buttons made in vintage molds and acent- ed with gold iver, and aurora borealis coatings, 1 had to have them, and began designing pieces to showcase them. There are slmast as many ways to cteatea button-captured brooch as there are buttons. ake you step by step through the construction ofa shank bation brooch in peyote tite, but labo ‘explain how to do the same thing with brick stitch stepbystep My button brooches start ‘with a small base of peyote Sitch. A few ros after start ing the bas, weave the shank of thebston into it, eating the shank ikea bead, Next embellish around the button with ringe and loops as desired. Finaly attach the pinback ‘When choosing bead col- corsa finishes and accent bends think about the mat rial and finish of the buton, ifitis metal incorporating small beads or eishi ofthe same color meta inthe fringes wil help te the bend work to the button. If the button is made of dichroic or iridescent las, use beads with peulizd, iridescent, tutors borealis or opaline finishes. If your button is stone oF another natu material look for tiny sparks of odd colors and repet cnes them as accents in the beads. Using size 14" seed beads at the ends of fringes isa good ‘way to add subile traces of unusual colors. attaching the button @ Establish several rows of flat peyote sitching (see “Basics,” p. 76) allitle wider than the button’s diameter. Use size 6 or 8° beads because their holes are large enough for several thread passes, which is necessary 10 provide enough rigidity to support the button. @ When you're ready to set the button, bring the needle through the shank as fit wer «bead and go through the next bead (figure I, p.40)- © Go through the shank again on the next row (photo a). Add beads on each side of it ifthey'l fc (Figure 2, line A) or on one side only (line B). Ifthe shank is large ‘enough, go through it again fon the next faw rows to secure the button. © Optional: Ifthe platform is brik tteh, go through the shank then under the tread betwren the next to heads (figure 3). Go through the shank again and under the thread bette the next par offbeads (figure). If the shank is thick, it will com pletely replace the two beads on the rove, bur fits thin youll also have to add beads in each stitch, possibly using asoaller size figure 3) © Kecp working peyote stitch unt the bead platform isthe desired size. © Trace around the ed the platform onto the plastic canvas and eat it out, creating a pleasing design Additional beadwork is nec- essary to meld the button and beadwork into a cober- ent design. One approach is to surround the button par tially or completely with short loops andior fringes that bring the beadwork up to the level ofthe button. Short fringes should stick out from the side and up from the surface ofthe beadwork ‘You may also choose to leave some part of the platform free of fring @ 7 control the position of the fringes, set them on legs.” String a short line of beads of varying sizes. Skip the end bead, which may bea 14° seed bead or an accent bead, and go back through all the beads except the first one strang Sing one more bead (figure 6) and go through bead on te peyote sich base or under a thread between beads on the base (photo b) Togon the end bead as You tighten the threa 0 {en the tension on the legs. O Tip the ring nity in a desired direction, by gving them uneven legs (figure Tohanglongdangine fringes from the bottom of peyote sich sce igure 8 Figure9 shows you hove 0 hang fringe from the bottom of brick stitch or the sie of peyote stich @ Another way to bring the button and beadwork togeth more def cris to interlace strands of beads across the top of the button before fringing, Bring the needle out ofthe base ‘against the button and string enough small beads ta cross the button. Go into a bead or around a thread on the base and come back partway through the strand. String ote stitch two strips from the more beads to reach another top corners of the beadwork point at the button’s edge, base. Bring them around a and soon (figure 10).Go bead necklace ora bead: through each strand at least woven chain and weave the twice. you can't go through ends back into the same bead in astrand again, skip places on the base. Alterna itjadd another bead and tively, youcan have both a reenter the nest bead. pin anda pendant in one if you attach a pin back with a finishing large bail as high as possible © Trim the plastic canvas a__on the back of the beadwork. hair smaller than thebackof ‘The bil must be lrge the beadwork base. Then sew enough thatthe Dected thepin backlit below the neskace can ft trough it @ ! top edge ofthe plastic eamat, (photoe) Cont oun 162 Scho © Fora professional finish, House Ral, Littlestown, PA d fies tigre | thinleaherthe sic and Qe J shape ofthe canvas. Cat | ¥¥ ‘malas intheleather and | materials | > ® ee poke the pn and catch 1 aterce sank ton > i GS? YP SD | through. Overcast or tack 1 Size or 3 seed beads in > | 2 ® stich itaround the edgeot | eamdaagentr, i> @ @ the plastic (photo d). “Various sed beads, sites 8 x | fees Qi Finally, sew the pin back 18.9% 12° 2-or cuts: 8 G 2 y Piece to the back ofthe bead- | 139 chartes 1 ® @ % work Sew through edge | Sie 1t am eats hinge yg beods wound read nis) 2 & figure $ ‘© 15-25 Accent beads, 6mm a9 or smaler | Fringes (photoe). Dont pull | yma Ow 3eSmice i thethrea too ight itcould | ©2015 exng ete catthewot pate * Past eet cons, Tor © Options fyou'd her | "Tome make your beaded bution” | »Snatpintck ino pendant, don't backit | « Sat pceal taser I reece. | mace * Febewary 20 ne day a good friend, Carol Kaplan (BEB asked whether Td like to try some- thing new — beading. I'd been an avid needlepointer but was looking for a change, so I said, “Sure, what do I need, and. how dol do it?” That die © She had me started before 1 knew what had happened, Carol also introduced me to her beading circle, twelve ‘wonderful women who took sme in and made me feel like fone of them (B&B #10, p39), ‘Theecrcle includes sisters Sue Jackson and Wendy Hubick, who teach beading all over the United States and abroad (B&B #28, p. 62), In the bead circle, everyone shares ideas, techniques, and problem solving. Each person brings something special that she's willing to share. There is warmth and openness that I've never experienced in any other group. 1 got the idea for my faux coral necklace when I traveled to Hawaii for a wedding, I was {na shop looking at some real coral jewelry, and realized that I could imitate the coral in a ‘much more delicate way with beads as a gift forthe bride. She is very small-honed and delicate and wouldn’t have cartied the genuine coral well, bbut my beads were perfect. stepbystep Start by making a spiral rope chain, which I learned on Ann Havey’s website, hitpy/roguesnorthwest.com/ hawley/spiralrope:htm. Next, attach a togele clasp to the ends. Finally, add branched fringe between each core bead spiral rope chain “Make the spiral rope the length ofthe desired finished necklace minus the clasp. The spiral rope has two parts, the core and the outside beads that spiral around it. The thread goes through each core bead five times but only once through the outside beads, Use the cream mix for the core beads and a pink or coral ‘mix for the outside beads. When you add or end threat place knots in the outside beads, Start with 1-2 ye. (9+ 1.8m) of thread, @ Pick up 4 core beads (cream) and 3 outside beads (pink). Pull down to about 8 in, (20cm) from the end of the thread. The thread tal is at the bottom of the chain, and you add beads to the top of, the chain (figure 1). @ Go back through the + core beads, bottom to top, and pall the thread smug, forming an iregular loop of outside beads around the core (figure). © Pick up 1 core and 3 out- side beads and pull them down to the work. Go through the last 3 core beads added in step | (Figure 3). @ Continue through the core bead added in step 3 and pull the thread saug (igure 4). a A|\ klace © Move the outside beads you added so they sit right against the first group of 0 side beads. (As you become ‘comfortable with this chain, you'll work steps 3 and 4 a single step.) Repeat steps 3-5 ‘until the chain is Jong enough. Iewill take 8-9 repetitions before the outside beads begin to spiral around the core. branched fringe faux coral @ First, add the clasp. Start ing with the final end of the chain, pick up a gold-filled bead, 4 pink or coral seed beads (the lead) and the bar ced ofthe clasp. Go back through the 4 lead beads, the gold bead, and the first 3 core beads (photo a) @ Pick up 3 pink or coral beads and stitch up through the gold bead, the lead, and the bar. Go back through the lead, the gold bead, and the first 2 core beads. Pick up 2 pink or coral beads, go up through the gold bead, the lead, ani the bar (photo b). © Goback down the lead, the gold bead, and the frst core bea. Pick up 1 pink oF ‘oral bead and go up through the go ead, the lad, and the bar. Go back down the and the god bead. Weave through the chain and tie and end the thread @ Aa the rng end of the clasp atthe other end of the ‘hain sing the lon starting tail of thread. Workin the same manner, but don't add a bead lad. @ Adda branched fringe beteen each core bead. Tie and weave long thread into the chain at one end and go through the frst core bead, hneading toward the other end ‘ofthe necklace. © Pick up 9 pinkorconl beads, Skip the end bead and a0 back through the next 2 © Adda branch of 3 beads Skip the end bead and go back through the other 2and 2 more beads on the main branch, Repeat step 7 twice riore, Make the ist 0 Trim a spiral rope chain with branched fringe for a classic look branches with pink bends and the thd with cream beads (gure 5, photo 0) © Go through the next core bead. Repeat steps 6-8 for the length of the necklace. © Mary brought her fou coral necklace to her bead cre fembers Wendy Hubick and Sue fackson ike to much that they ask ud it hei curriculum, Mary was happy 19 say yes Contact her in are of Beads Button. materials fapanese sed beads large hls) siz 11 1° 5.10g Mad cream colors (2 or mare cols) 40-5 Mie sal snk or coral elas (3 or mae) 1 Smal gle or vrmei togzeclasp + 25-Bmm Gliiled teads ‘#120 13 Beading nates + NymoB bead thread, match pink real beads ‘Thad Heaven or beeswax SOCCEOO— by Mary R. Littman d, oe ex figwel fiw? figue3——figuet Polymer clay lockets Create a pin back hinge for a polymer clay pendant ‘hile playing around with some clay pendant ideas, I found | myself cutting holes in them } and inserting small landscape canes, eads, or other treasures. It was only a matter of time until it occurred to meto add a hinged lid over the hole to produce a locket. The frst one went to iy wife for Valentine’s Day ‘These lockets can be made of any brand or type of polymer lay, but all the examples shown here were made with metallic or pearlescent Premo Sculpey, which produces the special shimmering effects. ‘The general construction of the not particulary difficult or unique, except for the hinge, which L adapted from a hi lockets ality pin back. stepbystep making a metallic faced locket Choose ro coordinated colors of metallic clay. Using a pasta mac makea Skinner blend (see BEB #25, 42), Cutand construct the riangelee pieces fora Skinner blend, but make them narrower to keep the total width around 2, (Sem). Asyou make the blend, place one edge ofthe sheet you by Mike Buesseler are blending against the edge of the pasta machine between the rollers. Use a tool or your thumbnail against the other edge to keep the width around 2 in, ‘Once you have the sheet well: blended, thin it with the pasta machine and cut a piece to lay on the face of your locket before you cut the hole, step 3 below. Press oF roll the sheet onto the locket to make sure it adheres and to remove air bubbles trapped under it. Because sheets of clay produced this way almost always bubble, texture the sur- face ofthe blended sheet before baking. This hides any bubbles and can add a nice effect to the finished piece. One of my favorite texturing tools isa piece of scouring pad, such as Scotch Brite. Coarse sand paper, screen, or coarse fabrics area few other possibilities, constructing the locket © Afr conditioning the dayand making the Skinner blend, roll sheet of plain clay on the thickest seting of the pasta machine. Cut the sheet into to Pieces and stack them. The stack should bea little less than % in. (6mm) tick. If desired, texture or embellish the stack’s surface. Cut the stack into a rectangle about Ix 2 in, (2.5 xem, figure 1), shape. Shapes or design your own © Using Vin. (1.9m) Kemper Kater circle of similar tool, cuta hole in the loser half ofthe locket body. Remove the ely (figure 3) O snip portion ofthe pin back figure 4), Then Cat ff the clasp end of the pin back, leaving the tang es than tang mast be shorter than the dian ofthe lcket hoe. this rectangle, cut out a locket re shows three possible offabout a third of the pin in. long. The materials 12-4 (56) Blok Prem if dasied, 2 or ‘more metalic clas for bending ‘Pasta machine Tissue slicing bade = Neale tol © Xin. em) Kemper utter ice cutter and one sity saler = Good quality pn back in. (2Sem) or shoter Quay metat-cuting pos 1 Zap-aGap gle = THead pin ‘© 14.5 Glass bend ‘Smal dil and bt. /in-(Lm) diameter «Toaster or convection oven © With «needle tool, make small, Shallow hole in the locket body, just below the top ege ofthe inside ofthe hole to mark where the hinge wil atach to the locket. Then push the remaining pin portion ofthe pin back into this hole (it wil slide into the lay even ‘without the point.) Push it in until the hinge is fash with the locket body (fig- ture), Then remove the pin back from the locket © Mark and remove a small amount of clay with an xacto knife equal tothe dimensions ofthe hinge itself When you push the pin back into the locket, the hinge willbe flush withthe inside of the hole in the body, and the tang will rotate up. Cut the hinge space out and reinsert the pin back to check the ft (Gigures 6a and 6b). © Make ald from a circular piece of clay, about in. 3mm) tick with the ‘cin. Kemper Kutter. Most of my lids are spirals, but many other designs are possible, Just make sure the lid fits inside the locket hole. Bake the lid and the locket pieces with the pin back in place in the locket, according to manu- facturer’s instructions. @ After baking, check that the id fits into the hole on top ofthe tang part of. the pin back. Bend the tang and sand the ld if necessary to ensure a good ft Place some Zap-4-Gap or similar glue oom the tang and press the lid into the hole on top ofthe tang until the gine sets. Then remove the lid and the attached pin back/hinge from the locket (Gigure 7). © Cutout athin piece of cay with the simalier Kemper Kutter. Press it over the tang ofthe pin back where itis glied to the lid and rebake. This finishing touch conceals the pin back when the lid is open figure 8) @ Toattach a bead or other handle to the ld, drill small hole through th near its edge. Then insert ahead pin through thishole from the underside (the side that willbe inside the locket) and glue it in place. When the glue is dry, snip off most of the protruding end ‘of the head pin, dab some glue on it, and slid a bead over it (igure 9). @ Add finishing trim and findings 10 the locket. Since this may require ad: tional bakings, do not gue the fd and “ hinge into the locket body unt all other steps are complete For the back ofthe locket, simply add thin sheet in. (3mm) or thinner) of a coordinated color over the back. This sheet wil become the inside ofthe locket hole. Put an interesting cane slice of other embelishment in the hole if you wish. ‘Add thin slices of tim around the edges ofthe locket. @ When ging the i with its attached hinge to the locket take care ‘otto use too much glue, or your hinge will freeze. et justa litle Zap-a-Gap get into the hinge, enough to make the lid open smoothly, but not too tight. ‘This trick takes practice. Ifyou get t ‘much glue in the hinge, you can pull it ‘out and reglue it, but it won't be easy. @ Contact Mike at 2312 50th St. Ct. NW, Gig Harbor, WA 98335; me@narrows oF visit his website ar worm narrows.com/~Busseler Fgwe2 Figwe’3 Pe ‘. cathe dn | Figures 2 ry Fgwe Figure 63 Figue 6b Figue7 Figure 8 — =: i ead | Bead@maton + February 2000 creates car mea ug ala DeLcicc) love ieaTauiat Oem STOLE aN 3 aa ra The choice to become an artist was ‘went ytling I hae! been aught hard for me,” says Laura Lisa, ind had struggled to become, And it explore everything about nyse, including 2 marriage that wasn’t made n working. Although it hasn't always been easy, I'm so grateful that | turned off conto a completely different track. Now | fee! like passenger on a train: I don’t know where the loving every stop along the way ck I'm going, but 'm Latra considers herself an arts, rather than a polymer clay artist.“ slymer clay because it introduced me to @ whole clay got me color, and appreciate the medium new life. Working With th in touch with my passion it made being creative easy. But it's cennbazzassing in classes when students ask me about the properties ofthe vari ous clays and powders. I don't know those things, and I don’t really care. I use Fimo day, not for its awn sake, but because it enables me to turn my vision also allow myself t exp other media — like weaving an becoming an artist Laura’s background is in computer pro- gramming. She comments, “Only some- one as meticulous and crazy as 8 ke the kind of o." Back inthe early 80s, she immer would n eads | a pioneer desktop-publshing pro: phic ind started her own busines. am, taught herself to bea She was intimidated by color and was appy to work in black and white. She and her husband moved frequently, wher was transferred to Texas, she While Laura was trying to decide vshat she wanted to do, she Brobst (Be who lived in Florida, decid tise friend Jan $30, .25) ced to make their watches for Christmas. Unfortunately the only beads they could find were even sisters beaded store.” At Jane took a polymer clay class and Laura discovered Nan Roche's book, The New When ay plastic things from a local chain almost exactly the same time Clay (lower Valley Pres they discovered the Nat Cay Guild, they were scared but deci: ed to goto the 1994 conference, “We had the best time! Polymer people are so ‘open and sharing!” Laura exclaims. that time Laura didn't have to ‘work, so she began to experiment with polymer clay and discovered she was, Ab olutely enamored with and ese of color Sud ddenly, a whole new life opened up for ime. All of who Iam today came from tuying ‘this att thing’ and exploring the tase of color. It seems like such a tiny thing, Twas just playing with a friend Laura's style When she started working with polyme sand mad clay, Laura di simple ca id pins inthe forms she was makin; asin th lock she was trying to produce. Laura has always been in lave with textiles and textural fabrics so when she got into clay and color, she became obsessed with creatingan optical illusion ~the Took of a woven surface without actually weaving. “For months, | obsessively sued color mixing and the T ‘book about bargello quilting, and those flowin; vision. At the time, Iwas making tube beads, so I started pl he pattern around the eylinder (see her early pl as easly have been la but my bargello beads could jus f that had been what | foam dicn’t matter all | eared about wa love the feeling of fulfillment that comes ffom being a facilitator of the creative process.” She goes on, "Matt and I have ec ded to open our studios so we can the creative process with others, We feel very good about that being our neat tep as well as something we can share with each other. Our overall Philosophies on life and art are the same, even though we rarely agree on things like color and design!” I've been asking Laura to explain her lo technique for years. She “Tim always happy to tell people how I do bargello polymer cay hen they ask. I's nota secret. I know thatthe bargello beads | make will alvays be uniquely mine, but I want the some tobe true for my students. It's a lotharder to teach someone how to adapta technique to her own vision than it isto teach a concept lke color. tis just such thoughtful answers that tharacterize Laura, She is one of the most open, genuine, loving people 1 haveever met. “I'ma deeply spiritual Persone shesays. “As an ats day at atime. Thete are no rules for how to be, s0 you have to make it up as You go. Every minute isa choice. This oes make if thesoul-searching and the choosing vith imteprity.” @ though I'm not religious,” You craft your lfe Alves litorof BeadeButton, See Laura's fad p. 14, fr contac informa aD ,o @ ° 6 G Bargello Polymer Clay My technique of bargello polymer cay isnt difficult; it's just tedious and time consumin @ Polymer clayis pigmented, @ Next, alice the colo sheet Bike paints use only three into uniform, natn srps colors re, yellow and blue to @ Now I make the bso reat al the colors in my pattern by placing the strips on Pieces. Fist mixdorens of base shee. Teut ou tv colors, making about fi pieces, matching the pattern as ions ofeach colorthat use Closely as poses ina piece, @ Next place the two pieces @ Nest, {atten each ball of back to back with paterne wuspon» Febuary 2000 the inner necklace circle or oval. The diameter shouldbe sbout 7in. (18cm). Youcan alo trace the shape ofan exist ing comfortable ring necklace for the basic shape. @ Nove draw a second fee lowing ne vsin. (1.3-3.8em) outside the inner shape. Connect the outer edge of the stones with his line (photo). (Eilts note the proces photos show the construction ofthe ators necklace) @ Finaly, cut out the sketch and ty it ‘on, Does fit ie at? please the ee? IF aot go back othe drawing bourd. @ Once you're happy with thetem- plate, make fina lean copy that will heyour reference as you work bead for each right-angle weave stitch willbe the horizanta-hole bead on the edging «photo b) © Join the frst and last right-angle weave stitches with 1 bead (photo c). One row of right-angle weave in triangle beads should be enough. If you're using thicker stones or size I1® beads, you ‘may need two oF moze rows. @ Run the thread through all the top beads (horizontal hoes) inthe last right-angle weave ro, but kep it loose, bezel the stones @ Place the stone in the center and Before starting to bead, mix the related pul the thread tight ro see how it colors of triangle heads together so that (photo d). Hint to avoid thread gaps, you can ase them randomly you may need to palthe thread out and © Ulrasuedehss aright ands wrong string bead here an there between the Fiewe 1 side, Cut apiece foreach stone less than beads in the lst ow. ao like to pata ‘rin, (about Imm) larger than the dab of glue onthe back of the stone for stone, counting the outline a part of extra security before placing it onthe a the ease. Thread beading needle with suede and tightening the thread, dd about 2 yd. (1.8m) ofdoubled thread. @ If you like the fitof the stone, run Grekecontamened — ietmadiiecun we orteakaph jos bent rood Guede fa he ‘Then abe the ead shrough he ea awe gdacereiccg main sabia endy a iicib dou tars x tac few a Arcos © For the first stitch, string3 triangle @ Work one row of circular brick ‘ne Feld ede ibs fete, ik SoeSeoachickonsAlbeats apthc teal ome beveeatie Pu tei) Natt tom your istic xi atiches Ae bee for Bek © Goback up the lst bend (gure 1). stitches gare), Yul ned to work or © suigz teow endgp tovagh Be ihe an inerease (put a second stitch suede as in step 3. Go ack through the same thread loop — figure 6) whenever a Figwe3 second bead (figure 2). {gap starts to open berween brick stitches © Repeat steps4and 5 until you've (photo). Increases wll be most fe gone sll the way around the edge ofthe quent when going around curves. Join Ultrasuede piece the brick stitch into circle Figure), @ When you'rea bead’s width from the starting point, string 1 bead and go join the stones down through the first head strung. Go Reposition the bezced and brick- through the suede and comeback up stitched stones on the reference tem- the same bead. Continue through the plate. This is your Iss chance to make edging next horizontal bead (figure) changes in the necklace design. Ifthe rik tte @ Now complete one round of right- stones fits planned, you are ready to Fiewe 4 Angle weave (see "Basies"). The bottom connect them. Ifnot, go back to the Geese! * sing Ls and the templar aking process and redesign the template until you have one that will carry you through to compl © With the stones on the temp study the spaces between them. Note hhow some ofthe edges touch. Also note the sizeof the spaces ta be filled with brick stitch and some larger beads, With freeform brick stitch, you can work in any direction that feels comfortable. Try not to bead yourself nto a corner that will prevent secure joining @ Attach a doubled thread through the back edge of pair of touching stores and come out through the first brick stitched bead around the stone where it touches the other stone, Weave the thread back and forth between the touching brick-stitched beads and pull the stones together tightly (photo ff the beads have large holes, go back through this join again. © Position the thid stone, but before y0U join it to either stone #1 or #2, fillin any gaps with freeform brick stitch, You work freeform brick stitch off the loops atop the previous rove. Or you «an connect it to loops or beads at the of the piece being joined (photog). To connect brick stitch to the edge of a stone that’s perpendicular to the direction ofthe row, you have to attach the loops on the edge of the stone to the threads between rows ofthe brick stitch, When a row starts next to the perpen dicular stone, don't attach to it. When et hack to this edge, attach at the top of the return row, go back down the last bead, and attach again atthe bottoms ‘of the row (photo h). Then come back "up the last bead to begin the next row. To eflect a significant change in direction, you can make a brick stitch ladder and attach the end of the ladder farther along the edge ofthe adjacent od Brick stitch s 1a ing joining a brick stitch circle i, Figure 5: After attaching the last G9VQQQ000 Figure 6: To increase in the middle a0 keene = SSG00 | brick stitch, begin the row as tre 11 (“Basics”), except bring the VOOC089 ‘needle under the loop between the first two beads on the previous row. Fewe7 Ferctiniomnteian SHPO, ning of a row, weave the thread 5 through the last 2 rows to ext the a bead on the last row where you want Pures the new row to begin, Stop before the end to decrease atthe end of a row. Figure 9: To decrease in the middle ‘fa row, skip a loop on the previous row and attach the next bead to the next loop. ewe —— a materials ‘© 40-50g Size 8 triangle beads (bp. 12), assorted coors fr monochromatic pate 15, 7, or 8 Flat oval stones (not eabochons) vaning sizes 1x in (25 xem) to2x 1H in. x32) Xk 4-6, square (11 Aem or 10-15em) Utrasuede or ightweight suede lathes, corto harmonize wth stones + Assorted medium-size beads, vaious finishes, 2-Bmm, including eed beads and rallheads if possible 1 #10 or #12 Beading needles «Sitamide or Nyo bead thread, match triangle beads 1 ein. (L.6em) Round, lat button wth deep, smooth shank 1°35 Sheets heavy- weight tracing paper (approt. 12x 12 in/30x 306m) o¢ 6-10 sheets copier pape and tape « Papercuting scissors © Optional tacky give or E6000; beeswax ot head Heaven Figue 10 stone than brick stitch would have allowed (photo i). Fill the hole with an accent bead. In order to fill irregular shapes or create outwardly curved edges, you increase frequently, sometimes more than once in given loop (figure 6). For ‘edge increases, see figure 7. To create flow lines, stack inereases on subsequent rows in the same area (Photo) ‘Make inward curves at an edge by stopping bead short or working the thread along the row tothe desired position (figure). For interior inward Curves, decrease by Skipping sloop (photo k, Figure 9) Remember, large bead isa perfect filler for hard-to-reach spots oF places where thread shows. Using different Sizes and finishes of beads, increasing, and working in diferent directions ere- ates interesting texture inthe spaces between the stones. @ Keep refering to the reference tem: plate as you jin the stones. When all the stones have been joined, work a tow or two of additional brick stitch as needed to add symmetry and smooth rough edges (photo) complete the circle @ Use triangle and accent beads to ‘work the sides of the necklace in freeform brick stitch. Follow the pattern shape on the reference template. Try on the necklace frequently to make sure it conforms to the contour of your neck and shoulders and is comfortable. @ When the ends meet at the back, nd one side by atleast an inch for the burton and loop closure. © Use a fancy button or bead over a %- in, (1.6em) flat shank button (Figure 10): a. Make a 5-bead ladder and join it into a circle, The bottoms of the beads will be dose, but the tops (Weave inthe ti later.) bh Work cncuar brick stitch around the ladder, puting 3 beads inthe fst Joop and 3 in each ofthe other loops. On the next row, alternate 2 bead in the first loop and 1 in the nest around the circle For the fourth row, switch to bead eg ttc (used to stat the bezels) except place the vertical beads close together by making 2 edging Stitches in every third or fourth loop End the row asin step 7 of the bezel. iL Worka row of right-angle weave. «Pass the needle through al the top bea inthe rightangle weave circle, Set the button face down into the cupped button coverand pull the thread tight. (ifthe beads don't come together tightly enough, redo the right-ange weave rove svth few evenly spaced decreases —see “asies”) Go through all the edge beads again and end the thread @ Sew the button /- in. (6-13mm) from the end ofthe short side ofthe necklace, weaving the thread in securely @ On the long end ofthe necklace, exit acenter bead | in (2.5cm) ftom the end nd string loop long enough to go dover the button. Connect tothe adja- ent bead (photo m). Go through the Joop as many times as possible. Weave in the thread and tit of Having read the directions, put them. aside and just enjoy the process. Bick Stitch should lw from your fingers ike sand. Don't take oo seriously. © Art has been a part of Diane's entire life ‘anal she has bee interested in beads since childhood. She used to vst her millner ‘aunt, who woud occasionally let her play ‘wih the trimmings, Comtact Diane in care ‘of Beade-Button. Crystals are a girl’s best friend by Cheryl Assemi String a Victorian necklace with your favorite beads love movies, especially those that @ String a size 11° seed bea rnd an 11° seed on ea beads. Pass through the second 4mm feature lavish period costumes.'m crystal, bead afer the rondele and sting the original, but that doesn’t take any- ‘crystal, a 14° seed bead, and a 3mm. © On each side. string an 11° seed creative, use your favorite color of @ On each side, string a 3mm crystal, a 4mm beads. Go through the second stepbystep Goncrnsin.wiogmtitees @ sing? mnmsbearwliee esl © Puta needle on each end of 4 yd. through the first 4mm bead before the @® On cach side, string an 11° seed seed bead, a drop from the wide end, an @ String an 11" seed bead, 7 3mm. side. Take the second needle through ewe 6 materials (16-in/41em necklace) 15 14° Gald seed beads = 50 11° God seed beads #161 Smm Crystals, any color #131 14° Seed beads, match 3mm entals #32 4mm Crystals, mach 3mm crystals 5 aS Teardrops, match eystals 36mm Roneles, match estas 1 0asp ‘= 2Baset bead tips 1 Silamide, size A, mateh estas + 2Sue 13 boating needles ‘+ Beeswax or Thread Heaven eadertatvon + Februtry 2000 beads with a 14” seed bead between them, an 11" seed bead and 3 3mm beads with a 14* seed bead between them (figure 5), @ Now passthrough the 11° seed bead and follow the path through the base of the necklace and the two 4mm beads on the opposite side. String 3 3mm beads with 14" seed beads between them, an 11® seed bead, and a 3mm bead, Pass through the 11" seed bead on the scallop above (figure 6). Repeat on other side @ String 2 3mm beads with a 14° seed ‘bead between them and an 11° seed bbead on each strand. Cross needles through a 4mm bead. Stringan 11° seed bead, a 3mm bead, an I1* seed bead, and 3 3mm beads with 14® sed beads between them. Pass through the 11° seed bead on the scallop above (igure 7), Repeat on other side. ® Oneach side, pass back through the beads through the fist 11° seed bead in the scallop. String 2 3mm beads with a 14° seed bead between them. Cross nee ales through a 14 seed bead. Take both threads through an 11° seed bead, a 3mm bead, an 11° seed bead, and a teardrop from the narrow end, Cross needles through a gold 14 seed bead. Carefully following the same thread path, pass back through all the beads ‘until you ae through the 11° seed bead on the scallop. Pass through one more ‘3mm bead and one 14 seed bead (gure 8) © On each side, sting an 11° seed bead, a 3mm bead, an 11° seed bead, a teardrop from the narrow end, and a 14° gold seed bead (figure 9). Pass back through the teardrop and carefully ‘weave the threads all the way back to the necklace base. Pass through all the beads inthe necklace base through the 1° bead inthe bead tip. Go back through the bead tip and about Lin. (2.5em) of beads. Trim. ® Place half the clasp on each bead tp. ‘Close the tip. © ‘Chery is the author of Beaded Elegance ad co-author of Beaded Obsessions and “Another Beaded Obsessions. Contact her in clo The Beadgang, 1677 W. Shaw #101, Fresno, CA 93711; (559) 431-7782; Deadgang@aol.com or vst The Beadgane’s website: hap/fwwwbeadgang com Hot new bracelets String color-family bracelet sets ty Louise Malcolm Vacations are so rejuvenating, My friend, Nicky, and I both enjoy keeping up with the latest in bead fashion, and. vwellsit for hours in her store, Beadworld in Seattle, WA, playing with beads, working out construction problems, and designing jewelry (One of the hottest fashions this id assortment of delicate ghe- color family. Most ofthe sets we saw in the store used only one type of bead per strand foreach of the 10 simple, elastic bracelets, But we're beaders, so we increased the visual appeal and stringing fun by stringing some of the strands ‘vith simple, repeating patterns. We also preferred using Japanese seed beads Se they have larger holes than Czech seed beads. winter isa 10-stra clastic bracelets in asi stepbystep © Measure your wrist circumfer An average-sze bracelet takes 6 (17-17 4em) of beads @ Without cutting the thread from the spool, string 10 groups of beads each the length determined instep 1, Sting one larger-holed bead (6) atthe endef cach group. @ Side the beads down the elastic um Sin, 20cm) or more of unstretched thread shows atthe needle end, Leaving about 6 in (15cm) of ease between the frst and second group, cut off he frst group. Tia surgeon's knot 2 follows (igure): Plling the elastics ile so there will be no slack, begin asa

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