FA) projects * Easy crystal cuff * Wonder Beads » Lacy beaded egg | Bead®Buttgn. Creative Ideas for the Art of Beads and Jewelry Design affordable gemstone necklaces Create a 3D lariat Pe naee Unleash your creativity | | | | with polymer clay acontents 4? Coils & Domes by Wendy Witchner Surround butions with spiraled wire for an elegant bracelet ‘New Dimensions: est Shaun Tee ae eae Leste tones 4 6 See Sa Sores Frills and Thrills: COVER 6 8 ‘see page 64 by Fila Johnson-Bentley ») 6 STORY ‘Make 2 fabulows teacelet, starting with An abundance of fringe Pee Beaded Eggstravagance: a simple right-angle weave sinp and makes an exciting necklace Kevin O'Grady by Janice Yanks eee aces ouiles Paes 48 Master of color and form with heirloom lace New Ways to Think About 6l ip) Polymer Clay bby Carol Steinman Zilliacus Only Looks Expensive Wonder Beads Unveiled Tapestry techniques take clay by Saralr Ladies boy Sue Jackson and ito the realm of fine art Design with seed beads S| 64 boned bo Tapestry Techniques with Polymer Clay What's Your Angle? y/ remstone jewelry by Carol Steinman Zilliacus by Chris Ward Versatile right-angle weave Reversible Flower Earrings bracelets go sleek or showy Georgia McMillan Delicate petals are easy to make with peyote stitch ‘& see page 72 You ashd fort You got it! Sue Jackson and Wendy Hobick share the special techiques fx their alow Wood Beadssre page 6 Long kann fortis slogan. durable lass ale bac. Kevin Gray's thew and came beads ar equaly unique and wont How to Reach Beaduuton ee being te ct aes. yn red vocal cal departments a 5 From Alice's Desk 8 Tips & Techniques Nebel baci Sen aning glass beads, saab beads in bons, estra-long thread, pain " less beading needles, comfortable crochet books, etter loops for button clasps. To Subscrbn: 14 Your Letters wu call est 18 Origins (6 50, Fabulous fakes Acastmer sie sgt 22 Pattern Gallery ws 970 see pear 49 Will, ite gil blue Carol Zlacus uss poner clay 2s 28 For Beginners, To nwerise ant and fiero create ne---kind Easy elegance with memory wire Sing caw tapestry paintings and el 28 Your Work tt 32 Chic & Easy aes ag The cuff enstalized 38 Simply Earrings ‘weston crassa, Twists and turns 80. News & Reviews Books jewelry designers, Precious Metal Clay, beaded cross stich piles and cutters earring finding polymer clay transfer video 86 Calendar 88 Bead&Button Show Classes 94 Basics Righl-angle weave cirrlarright-angle “= weave, even-count circular peyote On the cover slit, square knot, surgeon's kat, al Glassmnaster Kevin hitch knot, double half fitch, making O°Grady’s bracelets oops or ees, crimping, wrapped loops sand bends spill out 110 Anything Goes of his fresform: vessel Sarah my neighbor Phouo ty Bill ZubackOFg1Ns Fabulous Fakes by Alice Korach with Bill Boss Zi beads, sacred beads from Tibet, are usually plump, ovoid agate beads with man made light and datk bands and eyes, Tabular etched eye beads (luk rik sh sp eye), round, at agates with rings that create an eye pattern, are alo considered Zi, Academies debate the actual origins and dates of di beads, but etched carnelians (bleached with white lead or natron and then fired 2,000 to 4,500 years sidered their prototypes. dZi beads are gi bout a thou: 10) are often con: erally believed to have appeared pd years ago. Tibetans consider dZi living entities empowered with protective attributes and believe they come from the realm of th protected by dZi in deadly accidents abound. They are believed to bri and many aspects of abundance. To many older Tibetans, the i. Tales of miraculous survivals by those 1g good fortune, wealt notion that dZi ar eis offensive and incon. ceivable. Traditionally, 42i that a known as chung dZi and are less valuable potent than those with eyes called “pure” Zi, Itisan oversimplification but generally the case that ore eyes (perfect circles) a d/i has the more desirable the itis. In today’s market a good two-eyed Zi sells for $1,800 to $4,000, and a good nine-eyed dZi or rare double sky door dZi could sell for ‘up to $100,000 or more. Becaus Zi ace an active part of Tibetan cnltuce and ace still teaded particularly by Khampa Tibetans (the legendary nomads ofthe grassland steppes), the local value of Zi has remained high; and mal: ern global communications have made the international ket value of dZi common those cultures wledge amor that treasure them. Even broken ine dZi broken chung dZi at top left was carefully mounted in an elaborate silver cap to ibe There are certain charact xe valued. T honor ie and make it we will almost always find in a genuine dZi: The w dark markings on the agate will penetrate its surface n etched on the bead and the s value, It should be deep and dis iscritical to the bea tinct with a soft patina from centuries of continual wear. Theeins shape of the hole is often oval from years of string wear (one beads where the breaks and chips have been worn smooth with side ofthe’ fren heavier, causing uneven wear). You're age, Most ofthe stone fa 3¢ from Taiwan and are con: also likely to see polished, concave dishing on the ends of the temporary. Some beads are plastic and were weighted with a bead caused by neighboring beads over many generations, lead core to simulate the heaviness of stone; others are merely There may be some chipping arourtd the hole, but hopefully lightweight resin. The old plastic, reddish-brown bead across the damage is old and has rubbed smooth over the centuries, from the knot isa broken 12-eye with a weighted core. It €4Zi beads, like anything that is scarce and valuable, have __ shows old wear, attesting to the desirability of eyen obvious always been copied. But it was relatively easy to ella fake dZi older fakes. One of the chung dZi fakes on the strand is made from a real one until recently. The ancient techniques for of shell from the Philippin chemically bleaching or staining the agate were guarded secrets Buying dZi these days i a risky business. It helps to know that had been obscured throughout the ages; but persistent dZi and trust the traders you buy from; and they, in turn, should fakers have developed techniques that successfully mimic real__be knowledgeable and able to trust their sources. According to 4dZi, sometimes making it difficult even for the trained eye to Bill i's always a good idea to obtain a guarantee of authentici in. (Sem), add only ‘one small loop or sp each bead (photo b). Gradually inerease the length and number of fringes between the beads. You will nced to backtrack betwveen beads to add more fringes, AS you near the center, you will be tree long fringes between the beads © Inthe space before the first decora tive bead, add th made with seed beads and accent beads. String 22 11° seed bead, I bead, ‘more 11” sced beads. Turn, skip ither end of elas 1) of nched fringes the last bead, and go back through seed beads, the accent bead seed bead. String 7 seed beads, ana id, bead, and go back through the nd 2 seed beads, Turn, sk beads on this branch (photo), Sew up 2 beads on the ach. Add anoth: er branch every 2 oF 3 be their lengths. @O buck strand andadda fringe. Return to the space before the first decorative bead and make a slightly shorter br again to add a fringe and ret third branched fringe slightly shorter than the second, ‘one, Sew through the first decorative bead. String 3 more branched fringes, forward a bead to add the fringe that anchors ack one bead on the 1 © Add ston the next five 6" beads. 2 decora tive beads with b csasin 6-7, adding ong fringes between cachof theo beads the decorative beads, © Reverse the patera a you continue toward the other side of the necklace, auing fewerand shorter fringes until theres only one betwen each bead for thelat in of the main strand. Contact Ella at 3311 Nowell Ave, Jueate, AK 9980, elladiyc. net, oF (907) 463-3616. At the BeadeButton Show, Ella will each ‘suo dase: "Glity Frexform Bended Cab ‘hon Broach” ant “Flower Gaiden Mini Annet Bagpolymer clay Tapestry techniques take clay into the realm of fine art by Carol Steinman Zilliacus Fabric nd fiber have always been a part of my creative life. As. child, I was surrounded by beautiful andl exotic fabrics. Both my parents were involved in the guirment industry in New York City. My mother was a id my f dress desi er was a cutter in a high- fashion firm. Thus, it was natural for me to gravitate toward a career in art after I retired from teaching ele- mentary school, Since then, I've taught abstract compo- sition using watermedia and polymer clay techniques for the Corcoran School of Art/ Rockville Arts Place, the Maryland College of Art and Design, and other Mary- land and Virginia art centers. My work is in many Washington, DC, netro-area galleries and art centers. At first, it consisted almost exclusively of paintings, My style is unusual, | often rotate the hot-pressed water color paper as I paint, which allows me to let my inner ngs have free reign without being con- ned by the boundaries of ordinary perception, such as directionality and spatial positioning, In 1991, | took one of Nan Roche's classes and branched out into pol r clay, pioncering its use as a painting medium. I work with polymer clay as though itTapestry techniques with polymer clay stepbystep My tapestry technique is based on a othe Skinner blend that allows me to mix da wide range ofcolorsand hues, starting with only thee primary colors. Using the blended sheet and a backing color or Patterned sheet cut long thin slices of Blended color for my crewel tapestry «fects or small blocks of blended color for a needlepoint tapestry effect. You'l needa larg, clean work area because as you go, youl x separate elements on bakery tissues. stack them atthe top of my work sur face to keep them clean and to retain enough space to work. I's bes if your workroom is relatively cool so the clay doesn’t stick to your knife blending the base sheet © Condition the red, blue, yellow, gold, silver, black, and white clays and roll them into sheets on the #1 (thick: est) setting of the pasta machine, Cut ‘veo triangles each of the three primary colors. These triangles should be about in, (18cm) long but should not be of uniform width. Place them tip to base, alternating cedges together. Ifthe edges overlap or are crooked, that’s fine. The ord which you join them affects the blended colors: red next to blue yiekls purples while red next to yellow yields oranges, the colors and push the and blue next to yellow yields g (photo a) @ Cur the conditioned white clay into. triangles about a thisd as long as the pri ‘mary triangles and place them on the colored triangles (photo). You can place them either on the top or bottom, ‘on only a few triangles, or as shown, Or ‘you can cut out the colored clay under the white triangles and insert the whi Jes in that space rote inhalftop to bottom nd run it through the fold first (photo). Ifyou fold side to side, you'll gt md Repeat this process several more times. At first you'll see a variety of stripes. Sometimes I stop here and cut ‘off about a third ofthe sheet to save for later use. I used clay at thiss blending to make the pin in photo d. © you keep blending, you'll have hinefrom very light to dark ‘The clay sheet now looks as though it has been air brushed. In photoe, 've placed the part ofthe sheet I cut off (step 4) below the blended sheet. © Now cut the conditioned gold clay into narrow strips (the width is up to you), T usually cut my strips #4 in. {mm) wide and the same length as the ‘blended sheet. Fither insert them ot just place them on the sheet wherever you wish. Ifyou place them on the sheet, use a roller to seal them and avoid trapping air (photo f. | use gold stripes as an ntinue to fold the sheet and run it through the pasta machine (1 fold with the gold on the outside). As a variation, I cometimes cut stripes fram nd insert them in anoth color. After 2-3 runs through the machine, the gold is integrated but still recognizable. Ifyou want it to disappear as adistinet element, keep running the sheet through the machine, but be aware that the more passes, the more muted the colors become. During this process, I offen cut one ‘or more thirds off the sheet to preserve accent color. C the varieties of blend. Even though each sheet looks different, they'reall derived several of them has unity. W1 finished blending the gold, the final sheet. © Adding silver triangles not only changes the hue but also adds sh ering quality. The bottom piece in photo g shows the effects of adding ‘white triangles, then gold stripes, and finaly silver triangles. Black stripes we added to the sheet in the middle section, and they have been blended more fully in the top section. basic tapestry technique @ Roll the section you plan to use down to a #4 setting om the pasta machine. Also roll out a #4 backing sheet of well-conditioned clay. Being, right-handed, I place the backing sheet (on paper) on my right and the blended sheet on my left. @ 1 like to use stiff NuBlade to cut from the bl sheet and place them on the backing sheet because it's longer and stiffer than thin horizontal slic led beadandbetton.com a tissue blade and cuts with greater pre cision. Place the index finger andl thumb of both hands on each end ofthe blade and set the blade Jin, (3-1.6mm) from the hottom of the blended sheet. ly. Then tilt the blade forward (toward yourself), backward, and forward again so the slice adheres to the edge of the blade. © Biring the blade with the slice attached to the backing sheet and place it gently on the sheet. By tilting the blade toward myself, can get the sli offthe blade in just the right place (photoh). Do not press down too hard ‘or you might cat through the backing sheet. Ifthe slice sticks to the blade, push it off g b ancedle tool, ‘which you can also use to help guide the slice to the exact position. If the slices continue to stick to the blade, rub it with alittle cornstarch, Press down e1 crewel tapestry Tall works with long vertical or hori- tal slices erewel tapestry. @ 1 use the gold lines on my blended sheet as guides to make geomettic designs. After cutting and placing the first slice on the backing, I cut another slice the same width asthe frst and place ic next tothe frst slice withthe gold slightly’ offset. This is how I build Stairstep or flamestitch patterns. Before cctting this pattern section off the back~ ing sheet, place a bakery tissue over it xl rub gently (burnish) to make sure the strips are firmly adhered (photo i}. @ This piece of crewel tapestry is for the center ofa pendant like the finished piece next to it (photo j. © Use Zoom Finder, which has both square and rectangular moveable open- ings that range from less than an inch to more than 2 in. (2.5-5em) to locate the best design on the piece, Set one of the ‘openings to about 1 in, (3.8m) and dust the back lightly with cornstarch Then side the Zoom Finder a ating with the size and shape of the opening until you find the best looking area (photo ki) ind on the piece, experimCarefully cut it out with your blade or an X-acto knife. Then decide whether you want to leave the piece a rectangle ‘or change its shape. 1 work on clear Plexiglas placed over graph paper to hrelp:me cut straight lines Pace the piece on a larger sheet of the background color. Whenever you add a layer, roll the new layerin place slowly from bottom to top to avoid trapping air. Then cover it with clean bakery tse and burnish gently. Put this piece aside until you've completed the next step. As you can sce, each fin ished picce has many separate elements added to the original one. needlepoint tapestry Works with many small blocks of cay that look almost like mosaic {call needlepoine tapestry slices 35 for the erewel technique at set them on a background piece with a space betwgen each slice that's the same width as the slic. Don’t oft the colors this ime Lay down 6 slices and cut this section away from the remaining background shect (photo @ Rollout another background sheet (on #5. Turn the slice sheet so the tical and putt to your let Place the crewel design clement on the new background shect with background extending on all sides © During the next steps, you'll be materials + Prem Sculpey: scarlet ed, cadmium ye, Dine pearl, white, gold ier, black '* Pasta machine Roller ‘Nae (bth tif and lesb blades) = Yeacto nite * Need too © Romper Lace Tool + Bakery or Dol tissue paper * Corastarch * Zoom Finder (ht Way (301) 482-0435, palmer @erolscom) ‘= Weld sandpaper: 400, 600, 00., 1000, 1500-, and 2000-grit auto suppl store) 1 making alot of design decisions: How wide should your strips be and where do you want to place them? What color or colors should the strips be? You ean eut horizontal strips from any part of the al strips (photo m). You can even cut diagonal strips. You might go back to the original blended sheet and use it. 1 frequently alternate crewel and needle: point elements and! often use sections of ‘one color from the blended sheet (Photo m). When you are experimenting with design elements, place them li ‘on your work. Use your needle tool to help lft them if you want to try another arrangement. You can also add texture with a needle tool, as on the piece in photo o, When you're satisfied with the design, place a clean deli paper over the ‘work and gently burnish it with your index finger. finishing techniques @ [bake ina full-sized oven dedicated to polymer clay, but a convection oven. also works well. I place my finished work on bakery paper on a cookie sheet and bake at 20°F (120°C) for 30 min- tutes. While it’s still hot, float the piece con the bakery tissue in a bowl of very cold water, which gives ita convex shape, and leave it until it's really coo @ Next, sand all sides gently with sandpaper, starting at 400-grit and working through 600- 800-, 1000: 1500-,and 2000-grit. [rinse between changing grits and do only 4-5 strokes per grit, except for 2000, which I stroke longer. Be gentle; you don't want to remove any parts of your work. Finally, polish the piece with my Foredom bute or a piece of old denim. © Like to use pin backs that includ bezel, which I get from Rio Grande (800-545-6566), and adhere them with Zap-A-Gap. Do not move the finding when you have placed it on the glue or the seal won't hold, Carol is working to bring polymer clay into the mainstream art world. She i also a ge erous teacher. Look for ature articles by her in Beade-Button, Contact her by e-mail at carole@conceniric net or write call Pat Branch Studi, 13303 Col Silver Spring. MD 2090.NY CR MES cc RS ce eta Cad Rm M ge a a PCMheaders havea favorite beading A tsvtsmess = me again, especially after a long bout of “free” (and sometimes chaotic) beading Hove that, unlike loomed beadwork, a square-stitched piece doesn't have alot of threads to tie off and hide. Once you're done, you are DONE Playing around, I square-stitch variat square stitch.” After using it fora ety of necklace styles, realized i makes wonderful choker lariat th ina loose, open knot, Beaded-fring tas sels made with charms and glass beads finish the ends ‘You work triangle square stitch ina pyramidical shape with 2-5, then 4 bead groups. The groups are stitched three to a row and develop into a trian gular rope. ike to use a different color for each side to maximize the impact of the lariat. Covering the exposed seams with seed beads in a metallic or eon trasting color completes the body of the necklace. Before you tie the lariat twist ita bit, allowing the different colors to spiral around your neck stepbystep Use round sce beads for the edging because cylinder beads move off the scamline and fray the thread. The ed- ing also receives the most wear so choose non-galvanized beads. All the beads need to have hoes big enough to take several passes of thread. You will nnced to add thread several times inthis project. Here isthe best method I've found: Make a half-hitch knot (sce “Basics,” p. 98) agains the las bead in a o back through 2 beads in the tow, knot again, pll the thread through the rest ofthe stitch, and clip. “These instructions are fora three color, 33-a, (88m) lariat. Co in the process photos are specified. @ Ona 5-yd. 2.7m) ength of Nymo, iting declare beads, leaving a tal ofa lest 18 in. (46cm) for the finge. Te the beads into a snug circle with a square k “Rasics") and glue the knot © Pick up 2 violet beads and sew back through the violet beads on the circle and back again through the beads just added (figure). Pick wp 2 opalescent beads andl sew back through the opales beads on the first row and back through the beads just added. ‘Add 2 green beads in same manner. {Add another row of 2-bead groups. © Repeat step 2 with 3 beads in each stitch (photo a). Add three rovs of 3. bead square stitch, @ Repeat step 3 with 4 beads in each troup (photo b). Add rovvs of bead sqquare stitch until the lariat is about 32 in. (Bem) lon © To taper the otherend, work steps 2 and 3 in reverse, adding three rows of bead square stitch then three rows of 2 bead square stitch. Knot the thread wi double half hitch knot (se "Basis" and sl the knot. I possible, eave tal of 18 ‘n n this nel forthe asc © To cover the exposed seams, back- stitch a gold seed bead at each row: Knot your thread onto the first row and siringa seed head. Go under the seam thread ofthe first and second rows. Stringa bead and go back under the seam thread forthe second row, coming up after the thitd row's sam thread (photo ¢). Tie a half-hitch knot every 4 or Sbeads to secure the edging, Angle your needle inthe same direction with each stitch so that the beads are aligned ‘Ada beads in tis m you complete the sear, Repeat on the other @ To make the 3: thread large bead to pli the lariat end, String seed beads, decorative beads and charms to a length of 1-3 in. (25° 7.6em). String a “stopper” seed bead skip it, and sew back up through the fringe (photo d), the plig bead, and row of 2 seed beads ge tassel end, rows into the lariat and knot your thread off with: with two half hitch knots and glue. At the other end of the lariat, add 3 fringes in the same manner, © ‘Contact Pat by mail at PO Box 25297, Seattle, WA 98125 or by phone at (206) 68-5530, You cau view her work at ww.toremdaliscom, on + Apel 2001 materials 11" Seed beads in 3 colors, 1 hank or about 20g. each calor ‘= 11° Seed beads, gold or sive, I hank or about 20g + 6-20 Decorative beads and charms for fringe ‘ 2 Large round beads (8mm o larger) Nimo B oc in matching color ‘= Beading needles, #12 © GS Hypo-Tube cement er lear nail palishby Dan Adams Yo! have seen him, tall and lean with a battered leather cowboy hat, in front of a dazzling display of bracelets, marbles, and beads at any of the national bead shows. Perhaps he was selecting a bracelet — the perfect size and color — for a customer. “Usual- ly, if | pick a bracelet fora woman, it will be the one she falls in love with,” he says. Or, perhaps he was patiently explaining the techni Kevin O'Grady isa special kind of artist ~a master of and form as well as a superb» craftsman with an intricate feel for his material. And, ‘most glass beadmakers, who use soft soda-lime glass, Kevin relies ‘om borusilicate glass, which is hot to work with and has c that ate difficult to con technical challenge in ‘much of his work Like most be makers and slassworkers, Kevin's path to, this art was circuitous. Born an. army brat, he lived in and 2 countries before he was 17 states 16, Kevin left home ¢ followed n equally meandering ceateer path, in turn a college student, elect construction worker, and United States Marine He drifted to Santa Fe and fell in with its vibrant art scene ‘and free-spirited lifestyle. In three years, while working sev part-time jobs, he learned metalsmithing from Wayland Peaker and stone cutting from Randy Iwanski fan's apprentice, bracelets He also worked for Ann Miller, ‘local jeweler known for her glass bracelets. He brought her the skills of a metalsmit the enthustasm ofa man who had found his niche. In the beginning, he taped and sand. blasted pre-formed Pyrex bracelets bo around the country. Then he helped redesign the work. He taught himself to make the from artisans tricacies of his craft. bracelets in his spare time. In halfa year, people were buying five a day from Kevin. Soon, it reached ten, and he was able to quit some of his part-time work and conce As Kevin's ability grew, Ann incorporated his pieces into her line, but it was time for him to strike out on his own. In 1990, under the aegis of Lewis Wilson, Kevin participated in a lamp: work glass show at Crystal Fox galery. There, Paul Troutman of Northstar glass offered ‘encouragement and praise. The flood) ‘constantly pushed Kevin's work into untied avenues. ies opened. New ideas‘color & form Kevin's bracelet forms began technical ste { very simply. The freeform "C” __bracdets (p. 58, left) are covered shapele made possessed a cer- with hundreds of overlappi tain imregulaity that added to dots, often fumed with gold and the sculptural nature of the reflect piece but was not controlled or color beneath, The wea intentional. His metalworking her wrist wrapped in a coil of experience offered a solution lass, vaguely serpentine or { that was as simple and effective shimmering like some brilliant as it was revolutionary. tropical fish, When Kevin draws } ‘The bracelet mandrel, large a thin stringer of glass through , cone of steel around which the these dots, th smith forms his or her silver, into feathers (p. 5 gives an artist the ability to make bracelets in exact size ‘new work Kevin warmed a large rod of Some of Kevin's most exc glascimhistorch and wound it work is also his newest. He bias partway around the form, begun to sculpt the clear, thick Working with thisad hoc glass _glass frechanul (top right, p. 59). tool immediately speed and consistency. More over, it allowed him to con trate more on the decorative niore ambitious pieces: possibilities and less on the form itself, Thus was bort his seem ngly flaless design control, 4 Many of Kevin's bracelets are simple explorations of color, their thin veneers of luminous glass, often dichroic (sce the spi — zal ribbon bracelet at far left on the caver) ar metallic, are reflected and magnified by the thick layer of erystal clear glass ahove. This overglazing of clear or subtly colored glass is one of Kevin's recurring themes and ause Pyrex tubing to enease space and reduce weight. one form beads, light and airy yet full of were twist Cu threads of different colored glass wrapped around a biconical tube. Very early to use the transparent ‘quality of the glass, particularly its abilit depth to an encased des Kev joms tyand visu beads ike his bracelets, have changed from other. His first smoothly dimension of his paperweight-style beads (top Jeft) belies the technical mastery Kevin's respect for the amar: jing work of Art Seymour, mas- ter of the cont ass chevroy nporary art- led him to try making chevron beads. Most chevrons are blown cane beads, ‘multilayered gathers of glass that appear throughout the Americas as trade beads a5 early as the 16th century. Traditional Iy, these are formed in a glory hole (an open furnace) and molded into a twelve-pointed star. They are cased (o form a smooth exterior and pulled or drawn into a long tube, This is finally cut, faceted, and down to reveal the dist zigaag pattern on the ends. Kevin's chevions (pp-56, 58, and 59), however, are made with his Delta Elite torch. The combination of Kevin’s lapidary Skills (never totally abandoned for glass, as those familiar with, hhis mosaic jewelry know p. 57, top) with his ereative lass tech niques are a match made in heaven, The smooth lines in his chevron forms are simplicity tech In Kevin's newest work, ceanes also become eross-see mal designs, After be slices off a section of cane, he grinds it ‘smooth to avoid capturing air la numerous sl the surface of a bead. After the bead has annealed and cooled, er within the glass. Hee melts es together ontoKevin hand grinds it to reveal the pattern more clearly. This series of sensuans, bulhons forms is reminiscent of barns: cles on rocks at low tide or ded in tidal pools (bottom p. 57, tap p. 58, and top left p. $9). The beads’ matte finish is deliciously tactile. The canes that he uses for them have also found their way into bracelets. From abstract stars and plant- shapes to faces, each receives the mato detail. ks in his Arizona studio jammed with tools, stacks of glass, and 20 or more oxygen cylinders. Only a thread of a path winds through this space, All around him Fe projects in ous stages of completion. He offers students and colleagues patient, open explanations and su about technical challenges: artistic directions. Mis life is filled with family and friends, includ is brother George also a glass artist of considerable talent, and Linda Burnett, his partner and another glass bead artist. His head is constantly filled with new plans and possibilities. The beads have Each type d What direc talents take! influence and be influenced by the bracelets, marbles, and paperweights, sswork helps on will Kevin's jim? We can only wait and look forward with anticipation. © Dan is also a artist (BEB a 1), He lives in Se ther the artistry of the others, a glass bend tle and works collaboratively with his wife, po Toops. Conta 8540. Kevin 480) 874-96 n be ist Cynthia Daa at (206) 522. wcheid atIt only looks expensive Designing genistone jewelry with seed beads by Sarah Ladiges Wor expo taal ene gorgeous bea, And to make thing even more exciting and budget halen Tv Dec bull aye a AB peal est and gemstones (especialy theme expensive faceted Stone, With such Beautfl material is cay to Gksign ibulons vectlaces, Baty ona bude Hike am, yor ned think about bow Wo ge thes effect witha Limited nomber af expensive bea Inc hink tht stringing sections of seed beads between roping of ye and pearls makes the gems pop out more effectively than they wouldifthe neckace w wath only gems, The aio ana of seed Chie weenie rea for your eyes and move them around the neckla fongengoupto Co udinee ae teak genaone gong Paradoxically, sch dice fal pins create an lgtnce that often licking ina nee stung entirely with important beads, g.as.a manager in a bead store, I'm constantly mo rads! madebbeadandbutton.com stepbystep ‘When making a seed bead and gemstone necklace, 1 start by choosing two or three colors of gemstones, peatls, and crystals and include atleast to of them in every grouping, Next, I choose a seed bead color that matches the color of one of the major stones I've picked. For example, on the citrine and peridot necklace on p61, which also includes a few pale champagne pearls, Ichose a matt citrne-colored seed bead, Using subtly different finishes ~ sparkling gens and crystals with lustrous pearls and seed beads = adds visual texture toa design that makes it more imeresting than i would be fal the beads shared a common texture | Used peridot-colored Swarovski crystalson the necklace because I couldn't find any peridot beads that were the right shape, and I needed the sparkle of small faceted beads to tie in the peridot, ‘The pearl and iolite necklace at left started with the nity clrops It seemed natal 10 tehance them sith the soft, classic look of w peatls, Then I picked faceted jolite buttons to nplement the teardrops and small very pale Tavender pearl to complement the iolite and the large pearls, The sed beads are also avery pale lavender ‘with a soft aurora borealis finish. [used a stick pearl ‘rth pointed ends on the pendant to add shape Cariation while subily reinforcing the teardrops Te you look closely at all three of my necklaces, you'll also notice that I use various sizes of metal pacers to separate the colors and give the important ‘eas breathing room. These smal spaces are important Because they separate the beads just enough toprevent sense ofcluticr aid allow the viewer's eye toreston each group. Talways space the bead groups with an odd number of seed beads. 1 on the pearl and iolite necklace, five on t peridot necklace, and nine between groupson the turquoise and amethyst necklace. Nine size 1 seed beads is the maximum length that I find works well if the bead groups are long. Ifthe precious bead clusters fare short [separate them with fewer seed beads ed iolWhat’s your angle? Versatile right-angle weave bracelets go sleek or showy by Chris Ward right-angle weave variation bracelet on just such a winter's day when [was pored with bracelets ’d made using only one row of right-angle weave squares. To ereate a more substantial piece, Iadded another row onto the original eight bead-square base. Then I pinched the two rows together and joined them. The trian ular tube this creates makes an excellent base for all kinds of embellishment. Next took the design a step further, adding what I call “win weave joined to the sides of the triangular tube. Now I had four surfaces to embellish im any style from fun or casual to tailored, elegant pieces