BONUS - More pages! Extra projects! Apel 2012 tsaue 108 Your complete beading resource Learnto make @aaueme these beautiful bracelets... and more! Great projects } for spring! vith bose Oral eat, py Tamara Scott. p36, e Make beaded daisies with Kathleen Burke, 9. 74, and Huib Petersen, p40. sone Danley Gruz; p62 © Crochet flower sequins into a bountiful necklace, p. 60. ® It’s easy! Stitch an elegant necklace with briolette dangles, o. 28. © Try chain mail with BOCES p86. www.BeadAndButton.com_Welcome ! April 2012 Issue 108 Websiie Access Code: BNB1204 Enter this code at: www.BoadAndButton.com/codo. to gain access to web-axclisive content Projects aii Mee thinking spring win some 54 Qe S | Belle of the ball vein oe Gorstvteystakandpoar rots rio beaded of comnponers ora stung necklace crngies bacast 21 | Chic & Easy by Cathy Lampalo Fail tesionst: Get ton he hotrow trond Glortenchrg tigeecorboronswmhes? | 68) Hogarth crystal curve suateeeregs Wark uss sr asa adatng rounds of Cysts to cea aneciase wit soto od feral esi, by venc Laer Elegant dangles: Nestio garsstone brsiotos into a chan of crossweave stitches for COVER STORY avrackacethtal bout ast ton, 62 | Cocktail cut ‘Add sparkle toa right-ange weave bracelet with Seicctmayana cys COVER STORY _ Some ‘ae Cour ee 36 | Fool for flowers \"* ‘ a Weave Howes, eaves, and vines to tack to 65 | Point of connection a toldleather cu, cating the look ofbead Emblish crystal Squares with bicone centers ‘errbrodny without al the backstehing. and seed bead cats fora pandant,bracoet, by Tarrara Sat! orpairol earings. bby Anca Bteabeth Croogor 20 | Daisy ch ‘payiote, hermngbone, anc 70 | Glassle contours fringe to ake dering datie, ane then rk Bers jepeuils, and even creste thet his a neckinccor other horse a closure wih fxive cubic coseweaveln ainecklace tat serves up shape and sie, by Hub Petersen sea betnevent arepaand ot 44 | Exploring the angles . A) Reblee ie aeS ane COVER STORY beads — Tas ard eongated magataras! square by Charl Encison Four ct anal, bscane-studdod boaded tact with eral pars to rake a strung 46 | Chinese cinnabar pendant (#7) bacsietor eartoas Gat the ook of tat erightreg mineral by Kato Bree nawerd wring payne dey pendent. fy dane We Vian 50 | Floral abundance Crochet your way toa bourttuineckiace ‘of lower sequins and seed beats, bby Uin-Roen MararataApril 2012) From the Editor ONE OF THE THINGS ILOVE MOST ABOUT BEADING is the fun problem solving opporruniris ear arise when I ge stuck. Iemay be frustrating ar the time, bat the sense of satisfaction that ‘eomes when I hit upoma good solution ean‘ be beat. These lise setbacks and challenges are really good for keeping us sharp mentally, and I beliewerhey improve our ability to solve problems ‘ereatively beyond the eealen of beading. My daughter had a chance to do some eraft-relared problem solving nor long ago. She began making her first knitted hae using circular needles — without a pattern, As she knitted, {suspected her hae might turn ‘out, wel, a bic big, When she finished, she discovered that i was indeed giganti! Having a perfectionist streak a mile wide, she was going.to take the whole thing apart, bue I encouraged her to look ather giant gray bag-like item with fesh eyes. What if she were to use some other techniques to customize it? It took her a while, bur she was so pleased when she realized she «could salvage all her work with some alterafions — and still have a hat, She made a few well-placed gathers, rolled up the edge, aelded a tassel, and wilat Ie may’ not have been exaetly what she had in mind, but sure is cate, And what a great lessen in thinking creatively! 1 believe that when we allow qurselves to play and experiment with our beads we improve oar problem-solving abilities and increase our enjoyment of beading, So delve into the magazine —we have a wonderful scletion of floral designs, denoted with a flower icon, plusa special section of six erystal projects,and much more. But don't be afraid to go off the map and experiment. See what you come up with. And if you don’ like it, don't rip it out Seeif you can tweak it to your liking or at last émbellish ituntil che parts you dont like are corally disguised! Happy beading! Editor, BeadeButton editor@beadandbutton.com. Coonaeee NEW! Find a rew ornament pioiect for se every rranth at BeadAndBution.com/projects. FREE for evenjone at BeadAndButton com/treeprojects “Buttery vine" bracelet by Slacey Gibson (sartng A@il 1) | BeagandButton.comvpattems, y | oreation ot Ader peyote FREE for subscibers \ bravelet pattem “Two step trinket” by Maria Boon at % by Fath Shea ‘BeadAndButton.com/eubscriber SS. (toring March 1) (ctartng March 1) arc “Seven eters rose” bracelet by Jane Danley Cruz s at ReadAndButton com/patterna ~~ (starting Apri ).LA) Seema ee Gomi epithe ker 1 oi tere cat ie a Bead S@u B&B’s 2 Handy- Dandy “Guide To Crystals by Stacy Warkteiser Ah, crystals! re heard more than one person compere themselves fo crows — shay hurting and pecking for bright, chr objects — because ofthe akieoction wat yale Alot of un get lott in thoes meerherzng foots wiht knowing much ebout ther, andi can be embarassing to ask, “So ust what exactly are these things?" 2s we shameless pil ther Into our shoacing fags, Invwhich case alow ms to preserve your cignty your ancrymity, ane your urtled dependency on these becutil reasure wlth he lowing: 7 Things You Always Wanted to Know About Crystals But Were Afraid to Ask How are crystals different from glass beads? Glass beats are composed of sand ‘stlca), soda ash (sodium carbonate), and limestone (calcurm cerbonate), and crystals are made of the same stu with tho addition of lead. Lead makes crystals, well, crystal clar and allows light to really eflect inside the beads (that wouid bs the spare facto) Lead iso mekes crystals heavier than glass heads. And for the record, crystal beads do nol come from naturaly occurring erystaline minerals; crystals are manulactured, not mined Sometimes | see crystals advertised as “lead crystal” — Isn't that redundant? Lead,” “leaded,” or “ul-lead” crystals must have a chemical makeup of at least 24 percent lead, while beads vith less lead are just called “crystals.” Cocacionaly, you wil soe load-free glass beads (ke the blue fre-polichod besd, below, lft) called crystals because they fare faceted lke their leaded counter- parts, but these are not trus eystals. 8 @ How to use beaded clasps in your designs What are some reasons for using a beaded clasp in place of a store-bought clasp, and how can | incorporate one into my beadwork? ‘A: When | design a piece of jewel, sometimes the ending is somewhat ofan efterthought: | got 60 caught up in the stitch or what boads to use that I dont think too much about how the clasp wil be integrated. This usally results in making beaded loops at the end of a bracelet or necklace and attaching a metal aso, which is practical and functional, but it can’ distract rom the look of an othenwise al-stitched piece of jewery. The simplest wey to incorporate 4 besded clasp is fo make ¢ loop of seed beads large enaugh to surTound a button or some other gocent bead. ‘This alows you to integrate tne beads die Aoni2o1 44Bead Soup’ Does the brand makea difference? It does wien It comes to bad content, cut quality and price. Let's survey the appr players: Swarovski: Swarovskils a huge hhame in the industry; you may hear their product referred to as Austion crystal, as i's made in Wattens, Austria. With a minimum of 82 percent lead and a ridiculous number of facets, Swarovski crystals are crisp, clear, and ultra- sparkly, You'l pay for the quality, but ‘or many beaders its a fairtrade-of Preciosa: Sased in Jablonecnad Nisou in Northem Bohemia, Preciosa is the premier manufacturer of Czech crystal. Their products contain asout 80 pervent iead and get kudos for cut and clarity. They're reffeshingy priced ‘or such afine product Chinese crystal: Artisens nave been making crystal in Austra and Bichemia ‘or centuries, sos not surprising that a few brands have uistrguistied thern- sees. In Cha, crystal producton is amore recent development, 90 there are many brands ovt there, such as ‘Thunder Polish, out more often than not you wll smply coe boads callod “Chinese crystal" Chinese crystals have considerably less lead and are the most cost-effective choios available, but youl notice a dfference in the consistency of the bead size and facets within the same strand. What exactly is a Xilion? ilon is a precise cut of facets from Swarovsk, offering even more spade than previous styles. “Xlion” often refers, eee aa) Pre is steel se erat to bicone-shaped crystals [ike the name suggests, bicones look Ike two Conical shapes attached at the base), but other Swerowski produsts feature the Xilon out, such as Hottx fat-backs and other stones. Across manufacturers, the bicone Is right up thee with round crystals 1 the most popular shape. You'l also find crystal cubes, teardrops, brictettes, ovals, and rondeles. Crystal pendanis come in all kinds of sneciaty shapes, tke hearts, butters, leaves, flowers, Tings, and abstrast shapes with whims: cal names. Also, crystal components (below) have burst onto the jewelry soene in the past few years; orsial buttons, sew-on stones, sequins, fet- backs, and orystal-studded beads as vweell as findings, Ike clasps, head pins, ‘and chain, Crystal products range from the miniscule 2 mm round crystal bead ‘to pencants neary 40 mm in tengtn, Ua re] ae What is a crystal pearl? ‘To make crystal pearls, menutactur- F5 take @ round crystal bead and bul up @ man-made pearlescent coating around i, The result is a perfectly ound faux pecs! with the weight of the real deal, The uniform sizes ranging from 3-14mm are wondertul to work vith ‘porting holes largar than the typically hand-dillod holes of natural pearl bbeads. Crystal pearis aleo core in shapes like twisted dsks and teardrops, I've seen rivolis called other ames like “dentelle” and “chaton.” Are they all the same thing? Those are all terms used to talk about coystal stones, which may also be called rhnastones, Strass (@ name borrowed ‘rom the original maker of rhinestones), pastes, or diamartes. Not familiar with those words? Thet's because crystal stones are mors frequently ferred to by ther shape, and that's where “iv” andl reated terms come in, A rivoli around crystal sions that is pointed on bath the ‘ont and the back. A dentelle (oelow, con the other hand, isa round crystal stone with a pointad back anda faceted ‘ront that does not cone 10 a point. A chaton (right) hes @ flat back and a faceted tront that, ike a dentelle, does not come to @ pont. Other crystal stone shapes include baguettes (rectangles) and navettes (ovals). Crystal stones LOVE that you highlight new produces. 1am always thrilled when L find ryself wishing for some item chat would make jewelry making easier and ‘then find ie in your magazine! ‘The Magie Findings erimp beads (December 2011 issue) are a clever invention — they work heantifully look geear, and make mul le strands so much easier. Thanks for telling me about them. Louise Edeiken New Rochelle, NY a9 9 ortete 12 Bead&Button | ww, BeadAncButton com,New at the Bookstore Button Holed ‘by Kyle Locan Is not often that buttons figure in a murder mystery, but with Kylie Logan's new novel Button Holed, button collectors who love good whodunit can indulge ewo passions at ‘nee. In this lively story, Ms. Logan expertly characterizes the button-obsessed in Josie Giancola, owner of Button Box, a Chicago button boutique. Josie’ life is tumed upside down when a famous actress is murdered in her store. An intially reluctant sleuth, Josie eventually solves the case through a combination of her burton knowledge, curiosity, and plucky determination. This is a fun read for anyone — you don’t have to bea burton collector to enjoy {his book. ~ Julla bP Graton Berkley ISBN: 978-0425243763 ‘nttp:/fus-penguingroup.com ‘treated. AB translates to Aurora Borealis, a roloctve iridescent finsh, while CAL stands for Comet Argent Light, asinery shoon. Not all fnishos are abbreviated (satin, vitrll, and unum to name a few), but you'll recognize ‘them because thay show up often in crystal color names, may be measured in milimeters or by stone size (8S). Type “crystal stone size To learn more, go online to conversion chart into a search engne _BeadAndBlutte sadBuzz for ‘or help determining the size of @ stone answers to three acktional FAQ): Are in $S, millmeters, and inches, crystals toxic? How D0 they make thoss tiny facets? and Do crystals shred Freie and thread’? And don't forget to page through our special section ot crystal projects, staring on p. 54, ‘And who said ignorance is bliss? What do those letters and numbers atter a crystal color mean? As i crystal color names weren't long encugh aleady, there's often an abbrevi- ¢ ation tacked onto the end to inckoale any epecil-eest fishes. Usualy only one hat of 2X means that koth halves have bean Oops ‘Our apologies to Gwen Fisher whose name we spéled wrong on p. 34 of the December 2011 issue. Sorry, Gwen! na ‘used n the desan throughout tne ‘whole piece, snaking i look wel thought out and ppalshed. A simole {oop is euticont, but toacd strength and a decorative touch, work a round of peyote sitch of that first oop, You can also ‘add loons, tings, oracvent beads, ‘making itJust as beausttul asthe jewely sett IF you preter a separate clasp, | you can stil make ‘out of beads. Apeyate stitch toggle can be stitched o almost | any size, and yyou can make itplain or you can embeish it wih your favoria acvent beads. To make tog rina, pick upabout 36-40 18 seed beads, and tia thern into aring with a square knot Basics, p. 104), eaving a 12-n (G0.om) tal. Werk a tound oftubuier peyote sitch (Basics) using 15's, and then work two rounds with 11° seed ‘beads, Using the tal, work a round LUshg 11s, and then ap up Basics) the two edge rounds to form a ting, Tomakee toggle ber work 12-16 rowe.of fat peyote (Basics), rol the stip nto a tube, and 2ip up the and rows, (Basies), For more ideas for beaded clasps, vist ‘BeaclAndButton.com/AskAma. Aoni2o1 13Bead Soup’ FINDINGS Cool stuff for beaders Monday mixes If you ever fnd yourself in color ut or just want someone else to pick ‘out harmonious colors for you, check out the unique Delica Monday Mixes at tedoendabeads,com, Owner Betsy Rarrsey releases a new mix every Monday, Each mix contains nine colors of 112 Delcas that range trom monochromatc (ike lish let) to vibrant uch as Masala, above right) and soothing (try Antique Rose, center), What ¢ fun way to take the fear out of combining colors! ~ Julia | Magnetic clasps Magnetic clasps are wonderul because ‘they’ so easy fo use. Unfortunately, the New glass spike beads rmegneti force can't always wihsiand You could say Ive got a penchant for edgy, quiky, and snags on stalionary vbjects, so one has eclectic designs, and for a long time have wanted to tobe careful to avoid the Disappearing find spike-shaped beads that | could sew into my jowely. Lleweiry Syndrome associated with Recertly, | discovered that Laura McCabe was looking clasp that como apert unexpectedly forthe seme thing, 60 we teamed up with our fiends Two new magnetic clasps have ben at York Baads, who worked with ther Czech suppliers réeased recently that not only have to create these new glass spikes. They are working strong magnets but they also interac, on producing a wide range of coloss including several making them harder to pull apart thet Icok lke rotted stone. 'm in spike-beed heaven’ The Hercules clasp, avaliable in siver- ‘Ask your local bead store to stock these, or goto and golc-plated finishes. hes a sleek bevondbeadery.com. - Maggie Roschyk, rectangular design. The ‘magnets lina up horizontally, making ft dificult to Ta, Twins simply pull the > The new Gzech Twin beads have arrived in the U.S! These two —_-helves apart. ole 2.5 x5 mm beads ate shaped ike & domed grain of rice Both platings ere nickel ree. Frid the ® With anowineachand. Weve sean then Ine cols and “Herel lap at ue-co.cam are told to expect ebout 20 more colors in the next fewr moms, “The Magsaie clasp also features 6s 645003 OBL @ Mises Boade 262-781.7670; kancneboadacom: horzontaly are tho pars "Yi Slane axandaniocs evhpiiseicos —_ecelgeharra > Thesenew boads sre ots of fun super-secure connection. to exparimert with. The camale Furthorrnora, the holes at tight is stitched with matte fare perpendicuiar to the A siky gold ris Twin beads and clasp, which is ical for =. 11° seed beads in wo roms integrating seamlessly into of fght-angle weave, - Jane beadwork. The Magsafe cleso is available at beadcats.com. - Anna 14 Bead&Button | win, BeadAneButton ctBakelite challenge In the February 2012 issue, we ran a story by Suzanne Branca ebout how she came Into a huge bounty of vintage Biskelte beads and components. The Beac&Butten staff was Inspired by these iong-lost treasures and decded to experience the joys of Bakelite ourselves. Thisis what we came up with, Aphteeight Bakelite stags place ox your wrist Jane ‘Tyically, a large focal pisos in a bracelets so heavy t natural fas to the underside of your vst. The lightweight nature of Bakelite, on the other hand, alows this focal to stay in pace when the bracelet is made to lust ft your wrist. | made e herringbone strap with 10° two-out seed beads and 11* seed beads. and then | spit the stacks to go through the hoes in the Bakelite component, | errbelished the straps wth 11! and 8° seed beads to give it more body end to balance out the size of the focal piece, | used ‘a Bakelite button and a beaded loop for the closure. © abuset ook lhe penstones Pied, t took'some mental gymnastics to envision plastic beads strung with precious metal spacers. But look how wel they complement each other! The matte Bakelite beads look almost ike gemstones next to the gold accents, And the piece is 80 Ight — defintely a good option # weightler bracelets drive you bonkers. peyote ‘eivets’ Une the apenings Julia Hove these bold yelow and black components and wented to find an interesting way ‘0 connect them that wouldn't cover them up too much. So | made peyote “tive's” to Ine the openings and then connected them with dark orange round beads. #e TIP~ Peyote perfection | wented to teach my 9-year. old niece peyote stitch, so Hoought two colors of pony beads and we made some easy coasters, The lessons ‘went wel, but the pony beads are somewhat cured so the coasters we made oid not ie fat. t was also hard ‘for my niece to contol the tension because ofthis Since our frst project, | discovered peror beads (ootorboade,com), which are pertocty cylindrical pastio ‘beads tha! work very well for peyote stitch. They are great for teaching e child since they are larger but not as large as the pony beads. (My riece was able to con- trol the tension much better, and we now have perfectly shaped coasters. Ste realy has enjoyed this experiance. We are on our way to practic- ing odd-count peyote and tnen on fo the Datioas, Gabrielle Wessendort Naperaile, I. Have a tip te share? Send it to editor® beadandbutton.com. We pay for the tips we publisht Magazine subscribers ‘can view more tips at BeadAndButton.comtips. nw BeadéndButton.com | April2012 48Your Work I Spring Flowers | oreated this necklace wit soring in rin. | started vith netted base and used 11° and 15* seed beads to create the crocus, daffodil and cherry blassoms with a combination of stitches and techniques. Jacquie Champion Your Work submissions: Lepette for new warks of beaded Cae phetogaph A Royal Bouquet | was inspired by the beautiful flower bouguet Kate Middleton cartied when she married Prince Wiliam last spring. | used peyote, herringbone, bick stich square stitch, and some wirework to make the flowers and floral wire, tape, and stems {arrange them into the bouquet Nancy Rocknich drocknich@yahoo.com Summer Garden Bracelet This bracelet reminds me of a garden with its ‘combinations of color and texture, and | made it with leaves and flowers left over from other projects. Created with seed beads and a variety of stitches, the brecelat measures 71 in, (18.1 or) long, Barbara Klein beadarella@amail.com noneybeehandmacejewetry.com 18 Bead&Button | wn. BeadAndButton comQueen of the Faeries Kathy's inspiration ‘or this necklace was the profuse fuchsias she saw in Ireland. Susan created the lamp- Worked beads to represent the parts of the fuchsia plant. The branch and clasp are made from PMC with an added patina, Fine-siver wire crochet forms the sies, ‘Susan Matych-Hager he kpetersendesians@aol.com Fuchsia Necklace Fuchsias are one of my favorite plants, but | can't seem to keep them alive, so | created my own flowers on this necklace. | used a combinaticn of stitches including brick stitch, herringbone, netting, and right-angle weave, The necklace is, finished with a lobster claw clasp and chain to make it adjustable. Jennifer Schwartzenberger stoneycreekbead@hoimail.com stoneycreekbead. blogspot.com wan BeadAndButton.com | Apri2012 4Chic & Easy | Embelishing fashionist Bust out your stash and strut your stuff! Add crystals and other beads to filigree components for a quick pair of earrings (or two!). by Jane Danley Cruz stepbystep through the next opening along the outer edge, and Round earrings bring the thread around [A] Arach 18 in. (46 om) the outer edge toward the of Fireline toa round filigree front of the component. component: Sew from back [3] Repeat step 2 to add to front through an opening a total of four Bs along the near the lower edge of the outer edge of the component. component, leaving a 6-in. [4] Sew through the compo- 15 em) tail, Sew through an nent o exit che inner edge. adjacent opening from front Using the Bsas.a guide, center to back, and tie the working and add seven color A’3 mm thread and tail with a square bicone crystals along the inner knot (Basics, p. 104). Retrace edge, End the threads (Basics). thethread pathyand sew" [B] Open 2-4 sm jump ring vkeousitbe opetege trthe’ (Rasen ard ach a ase Hligeecomponent toexitan’ nding to che top ofthe opening along the outer edge. filigree component. [2] Pick up acolorB 3mm [6] Make a second earring, icone crystal, sew down Filigree components are widely available. Use loftover beads from your stash to dress up any fiigree findings for runway-style earrings or a pendant. Flower earrings [1] Attach 18 i of Fireline to «floral filigeee component asin step 1 of “Round earrings." [2] Pick up an 8 « 9mm ‘mushroom button drop bead, and sew through an opening ton the other side of the center of the filigree component, Retrace the thread path several times to secure the drop bead. [3] Sew though che filigree component to exit the front next to the drop bead. Pick up a 3 mm bicone crystal and 15° seed bead, skip the 13%, and sew back through the 3 mann and the filigree compo- rent. Repeat this step to aed total of 10 3 mms around the drop head, and ead the theeads (Basics, p. 104). [4] Open the loop of an earring finding (Rasies), and attach it to an opening along the outer edge of the component, [5] Make a second earring, © materials oth projects: * Fins 61. test * beading needies, #12 * Zaks ofpiers ‘ound earrings 114 in. (88 om) + 2.28 min fligee clk (eve) #148 mmbiconocryctals, color A (Swarovel, crystal metalic be 29 © 831mm ticone crystals, cor 8 (Swarovsi, miby #24 mm jump rinas * par of caring firings flower earrngs 2% in, (64 cn) #217 120mm sicpstal ges flowers fentiqus brass) #259 nm gass mustroom barton drop beads (Czech, our) + 203 mmbicone crystals (Swarovst, ycieren opal AB 29) + 20157 seod Desats + pero brass earhnoops DD ve ormat materias {or this issue, go online to BeadAndButton.corvresources, ‘choose this issue, and click the Materials List downloadable file. EDITOR'S NOTES: * Using smoke-colored Fireline helps the thread blend into the filigree. * Try adding lots of tiny dan- gles along the outer edge of the components. - Jane Jane Danley Cruz is an associate editor at Bead8eButton, Contact her at jeruc@beadandbuttonccom. Aoni2012 21“Tatted ‘lace jewel Learn to knot beautiful ee lace jewelry with a ~ % convenient plastic shuttle. x x dy Marilee Rockley Tatting is a knotting tech- step nigue that originated in the 19th century and results, in beautiful, durable lace. Tatting consists of just one knot, called the double stitch (ds), which is formed into rings and chains that are joined with picots, creating a marvelous variety of patterns Tatting can be done with cither a shuttle or a tong, thin needle, This workshop explains shuttle ratting. Preparing the shuttle ‘To prepare the shuttle, hold it so the pointed tip faces up and to the left. Insert your thtead into the hole in the center of the shuttle, and wind the cord up and over toward the back. Bring it Uup toward the front, and continue winding until the shuttle is full, Don't tim the thread from the spool Whether you are making rings or chains, the doulsle stitch is made of two halves. The process for making the double stitch is the same for both rings and chains, but there isa difference in how you arrange the working thread. It is hest to practice ‘making rings, chains, and picots before trying a project. Fil explain the double stitch in the context of rings first Tatting a ring [A] To tata ving (RY, weap the thread coming from she shuttle (the “shuedle dhread”) Dela estaugeick hand to form the “working thread." Pinch the thread into ‘iting withyour thumb and forelinger (photo a), Leave about in, (13 cm) of thread between the pinch and the shuttle, which you will hold in the right hand. [2] To tat the first half of the double stitch, pass the shuttle under both the shuatle thread and the working thread ‘@hoto b), and then bring i back over the working thread and under the shut thread (ohoto c). Pull the shuttle thread tight with a quick jerk to the right, while closing the lefe hand slightly eo loosen the tension on the working thread (photo @), This action will eause the loop just formed to transfer or “flip” over to the working thread. ‘This flip is the key t0 successful tating and requires some practice to master, but when learned is rery easy to do and happens automaticaly, Pull the loop snug around the shuttle thread, which is now the core that slides inside the stitch, [8] To rarthe second half ‘of the double stitch, et the shuitle thread hang down 24 BeadBButlon | relax tettbbelow the shueele, and pass the shuttle over and then back under the working thread. and over the shuttle thread (photo e). Flip the Joop just formed to the working thread as you did in the first half. You now have acompleted double stitch (photo N. [4] Repeat steps 2 and 3 for the desired number of double stitches. As you tat, the circle of working thread around your left hand will become smaller because it is being used up to form the double stitches, Whenever necessary, pull che core thread below your thumb to make the circle of working theead bigger: When all the double stitches required for the ring are done, pull the shuttle thread (photo a) until the stitches meet to close the ring completely (photo F), Tatting a chain When tatting a chain (Chi, drape the thread from the spool over your left hand, and wrap it around your pinkie a few times to control the tension (photo This will be the working thread. The process of making the double stich isthe same es inaring. When the chain is completed, shde the stitches together to form a cure Picots To form a picot(-), pinch the working thread about 6-4 in, (3-6 mm) from the last dow- materials tatting samples * crochet coton, se 10 A.wide range of * tang shia designs can be achieved with ttting, “Foinsin te” earings; p.26 a5 seen in Nariee’s + 6" seed beads boautiful examples. ame er Cee eka ble stitch, Work the fiest halt of a double stitch, and hold it in place while making the second half. Slide the com- pleted double stitch next co the previous double stitch; the small loop created between them isthe picot (photo Bead picats To makea bead picor, slide ‘one or more beads adjacent to the previous double stitch, and work a double stitch. voining “To join (+),use the point of the shuttle or a small crochet hook co pull the working thread through the picor you are joining to. Continue palling she working thread through the picot until chere isa large enough loop for the shurtleto fir through, Pass the shuttle through this loop. (photo k), and then tighten the loop so that it lies around the core at the same tension wan BeadAndButton.com | Apr 2012 25 + 29 rrm jump rings *+ 24 rem jump rings * pair caring findings + 5/6, (4.5 m)crechet cotton, re 10 * tating shuts * ‘steel crochet hoa, .7'mm (ootiona + sewing neede * 2oais of pers Marilee Rodkley discouered tatting a8 agin when she found a needlework how-to guide stashed among ber mother’s art books. Bewween those sketchy instructions, library books, and trial and erron, she iaught herself and fell in love with the art. To see ‘more of ber work and watch her tatting videos, visit yarnplayertats. blogspot.com. Contact er vta email at amplayer@yahoo.com, 4s the first half of a double stitch (photo ). In my pac terns, Tusually complete the join with the second half of a double stitch and count the completed join as the first double stitch in the next part of the pattern,Technique Workshop | Reading a tatting pattern Many tating patterns Consist of tle mere tan tines of borevations, much Ike a crochet kntirg pattern. Each tne na tattng patter inaieates a new section, + Chains and ings wil be indicated by an abbreviation (Ch or Ri land a number. The number tols you how mary double stéches ta make In ‘hat patiular chain cr ring. For exams, R12 meane to make a sing with 12 double ettehse, Ch 9 means rake a chain with rine double etches «= Pieots ar inciested win a dash (). 28-2 means rrake-a rig starting with eight double stitches folowed by a pieot and two doutle stitches. * Joins are Incicated witha plus sign (+. R24+8 mears rake 2 fing starting with two double stitches, and then jin and make eight mare double stitches. n some pattems, the bection ofthe ;pin indicated wit text, otherwise itis often assumed thatthe clement should be jolred to the pict in the previous chan cr ring, Dierent actions within 2 section vill ie seperated ty comms For stance, F 249, bead pleot. 9-2 means: Begin a sing with two double stitches, jon tothe plcot of the previous ring, end then \work nine double stitches. Next, make 2 bead picat. Fnaly, work rine double stiches; make a picot, work two double stitches, and close the 1g, Many sections end with the abbreviation FW, which stands for “reverse work." This means ta tur the work unside dawn, 0 thatthe threads are in correct postion for the net part of the pattern, These are just the basic ters, though you can create many wonderful desions with these few techniques. “Points in time” earrings [A] String three 8° seed beads [3] You are now about to. work the bottom ring, Before you do, slide the three 8° onto the thread, and then wind about 1 ya. (.9 m) of thread onto the shuttle, Do not cut the thread from the spool. Slide the three 85 onto the shutde,and wind thom back a few turns to keep them out of your way tunel needed [photo m) [2] Begin tatcing the escring at the top. Close each ring aber iis finished + RID RW. +h 9. RW. R82. RW, *Ch3. RW, from the shuttle onto the working thread around your left hand before starting the ring. Keep the beads at the back of your hand until needed (photo n), + R 2-9 join to the last picor ‘ofthe previous ring), besd pieor, 9-2. RW, Ch 3. RW, © R268 |join to the last picot ‘of the previous ring). RW. # chs. [4] To finish the earring, sew the core thread through the base of the first ring (photo 0). 26 BeadBButlon | ww BeadAnéBuiton com Te the core thread and the shutdle thread with a square knot (Basics, p. 104), and hide the ends by sewing under the tops ofa few double stitches, Pull the theeeds tightly, and tim, [5] Open a.6 mm jump ring (Basics), and attach the top tated ring. Open a4 mm jump ring, and attach the 6 rnin jump ring to an ear ring finding. [6] Make ss nd earring. ©Quick Stitch Crossweave TechniqueIf you are using briolettes in graduated sizes, first select the largest one for the center of the necklace, and then sep: arate the test into two groups of 16 thar graduate symmet- ricaly from small to large. stepbystep [1] Cor ewo Lyd. (9m) pieces of Firdline or WildFire. Attach a needle and a stop head (Basics, p. 104) to each thread, leaving 6-in. (15 em) tails, With one needle, pick aap acolor A 11" seed bead (figure, a-b). With the other needle, sew through the A in the opposice direction (aa-bb). [2] Work crossweave stitch: With one needle, pick ap two As (b-c). With the other needle, pick up an A, andl cross through the second A picked up with the firs aceille (bb-c0), Continue working crossweave stitches with as until the step is about 3 in, (7.6 em long, (e-d and cc~deb, [B] With one needle, pick up two Acand a color B 112 seed head, sew hack through the second A picked up, and pick up two As (+e). With the other needle, pick up a DESIGNER'S NOTE: My green-and-gold necklace is great for dressy occasions. For everyday ‘wear, consider using bronze seed beads and briolettes in a single size. You can also substitute color A 15° seed beads for the color B 11's. briolette (if you are using ‘graduated sizes, pick up the smallest briolette from one side), and cross through the last A picked up with the other needle (Ad-20). [4] Work a cressweave stitch with As as in step 2 (e-fand cont [5] Repeat steps 3 and 4 {6g and fgg) unl all of the brioletees have been used (i sis, add them from smallest to largest for the first half and then langest to smallest for the other half [6] Work crossweave stitches with As until the strap on this ‘end isabout 3 in, (7.6 em) long. Remove the stop beads from the starting end and test the necklace for fi Aajust i needed, by adding ‘or removing an equal num beer of stitches on each end. [7] With one needle at one end, pick up an A and half ‘of the clasp. With the other needle on this end, pick wp an Ayand eross through the clasp half. With each thread, retrace the thread path through the clasp connection a few times, and end the threads (Basics). Repeat this step at the other end of the necklace. © ‘ou are using graduated emsione rile © we sed dea eon A @ reseed sea, coor B igure materials ‘necklace 16 in. (41 cm) '* 339-18 mmgemstone bblettes, in graduated sizes ifdested + 11" seed beads ‘B.g.color A (fone SSP permenent fish gol) ‘1g coor B (btw 78, renstarent emerait * close + Fiotne oF Wie Reacing ‘throad, 6b. tect * beading reediee, #12 DBD ve pct at ataite for this iseue, go online to BoadAndButton.com/ resouroes, choose this issue, andiclick the Materials List downloadable file. EDITOR’S NOTE: Make a matching pair of earrings with leftover briolettes: For each ear- ting, center a brioletie on 12 in. (80 cm) of thread, ‘ond pick up three 15's, an 11", and three 16°. Sew through the briolette and the next three 15's and 414” again. Pick up seven 45°s, and sew through the 14° again. Retrace the thread path through the entire earring, and end the thread. Attach the dangle to an earring finding. ~ Julia - Anu Rao isa demise and mother of three irks. She began beading just over a year ago. Contact Amu via email at anu?rao@yahoo,com, CcExpert Advice i The ca. SECret ingredients of unified design Have you ever looked at a piece of jewelry and felt that its elements just weren't working together? In part two of this year-long series, we see how repetition and variety create unity. by Margie Deeb ‘The successful unity ofthis design by Robin atkins hinges (8 repetition are variety ‘equally. Repeiiton ie found In colors ef simize intensity ‘and equal space belweon the large heads, Varoty lie in the beads: their shapes, sizes, 30 Design & Color Mastery masterfully designed piece of jewelry s one in which everything —color, texture, pattern, technique, materials, and components — exists in harmony. All the elements look as though they belong together, they are related to each other and to the whole, There isa conscious order to the piece, and it all “hangs together." In other words, the piece is unified, The big picture ‘The most important aspect of visual unity is the big picture: seeing the whole piece before noticing individual elements. Consider a musical analogy: You can’t fully understand a melody by simply examining its notes. You must also took at the placement of the noes in relation wo one another ax \well as the duration of each note. And yetya melody is much more than notes, their placement, or their duration. A melody is not just the sum ofits parts but a synergistic “whole effet.” "The same is tree of jewelry. ‘An exquisitely designed pair of earrings expresses far more than the beads and patterns that formed them. Because of the unity of their design, they are earrings first and then beads, colors, and patterns. ‘Achieving this level of unity is @ challenge for some headers, especially those who delight in making complex components, The tendency isto focus on the intricacy of each component, aot che aesthetics of the overall piece fr its visual unity If you Tooke ata beaded collar and see 2 collection of detailed elements sewn together rather than 2 beautiful necklace, the piece islacking unity of design. Wired tor unity Lucky for us designers, nature is on our side. Humans are always looking for coherent Nisutl relationships; chat is the way we are wired. Draw 4 short line on each side of 4 piece of paper, and the eye will try to connect them or otherwise figure out how they are related. ‘Whether we are viewing 4 painting, the interior of a room, ar a piece of iewelry, ‘our brain looks for similar elements. We don’t want to see confusion, We like unity, and we are drawn t0 acoher- ent pattern. If we can’t find it, we will likely ignore what ‘we see and move on. The fact that people innately seek visual unity makes our job of creating iveasier. Repetition and variety are ‘wo ways to achieve unity in 4 picee. You've probably used both techniques before but perhaps not with eenscious tribute to a unified design, Repetition Repeating elements within a design is one of the easiest ways to achieve unity, That's because there are so many elements available to repeat in beaded jewelry: # Size: Use the same size Dade oe bal comic «Shape: Repeat bead or corpenest Sap ronghost thepine * Color Seles colors dla aacte *Tewnure: Whether your Clemens are smth or nul, epee terre throoghour ae pec © Pattern: Try repeating patterns on both a small and large scale.Marcia DeCoster crestes tunity in har Victoria necklace: through repetition of curves, drops, crosses, and edging ‘She adds variety by rotating two curves and joining then {for an exquisite focal. ‘This bracelet (ight) demonstrates a of variety with very lito repetition, and the lack of unity cleatos visual confusion. + Monift Repeating a moti, such as a floral or peometric design, creates unity, + Materials: Use the same style beads throughout the piece, perhaps including different sizes of the same style, or combine wire, Jump rings, charms, or other findings in the same finish, Variety (On the other hail, too much repetition ean be visually boring. Ina strand of pears, the precise repetition of size, shape, and color makes the pisce totally unified bur also ‘oully predictable Surprisingly, variety is also 4 method for achieving unity Variety ereates intrigue and stitch the oral motif, ‘oreat deal ‘dynamism within a piece, and the eve delights in discover- ing relationships (unity) within the spice of variety. Variety is easy: Refer back to thelist of elements under “Repetition,” and change things up in any of the categories. The challenge is knowing how much variety to incorporate to achieve an exciting juxtaposition of variety and repetition without losing overall unity Here are two approaches: «= Slight wariations: A subrle bur unexpecred change within a piece composed of similar elements appeals to ns. In a necklace, create a focal that’s identical to other elements in the piece, but make itslightly larger (or smaller). Slight In May's Garden Necklace (rght, ‘Jeannette Cook varies the size and shape of her components as well as the colors, beads, textures, and 12d in each. Tho pioce is held together by the repetition of similar color intensities and variations invite the viewer to come closer and explore * Extreme contrast: You can push variety to the max with polar opposites: Combine deep dark colors and bright light hues, profuse textures and smooth surfaces, or curved shapes and straight edges. Contrasting elements are related in that they are ‘opposites and tempt the viewer to find that relation- ship. The pices is unified in the contrast it represents. ‘When designing, challenge yourself to create an inten tional balance of repetition and variation. You'll see how this not only brings moce Unity to your designs but also enlivens and elevates them to a new level of mastery, “AUTHOR'S NOTE: ‘Some material in this article Is taken from my upcoming book, The Beader’s Guide to Jewelry Design. I'd like to invite your participation in the book; join in by subscribing to my news- letter at margiedeeb.com. Artist, designer, and color expert & ‘Margie Deeb [am isthe author Fale ‘of the award- winning book The Beaders Color Palecte as well as “The Beader’s Guide to Coloe and munerous other publications. Find hor seasonal Color Report for Bead & Jewelry Artists, her “Margie’s Muse” cohamn, and much more on ber website, marsiedzeb.com. Aori2o1 31MULTIPLE STITCHES, Foo! for ii At first glance, this fetching floral cuff appears to be bead embroidery, but don’t be fooled designed by Tamara Scott 36 BeadABution | wwe BeadAndButlon cor‘The dramatic clements in this bracelet are stitched separately and then sewn to a suede or leather cuff and embellished with a few simple back-stitched swirls, stepbystep Vine [1] On 1 yd. (.9 m) of Fiteline, pick up a color B 15° seed bead and a color A 11° seed bead, and sew through the B again (figure 1, a-b), leaving, a 6-in, (15 em) tail. [2] Pick up aB andan A, sew down through the A added in the previous stitch (b-c), and sew up through the B added in the previous stitch end the B Just picked up (ed). Repeat this stitch fora total of 10 rows. The vine wall begin to curve, [3] Continuc co work the vine: Rows 11-27: Work asin step 2 using all As This will coven seruight section in the vite Rowe 20-34: Work asin step 2,but flip-flop the Ae and Ba to form w exe going in the opposite direction of the frst eurve Rows 35-48: Use all As. Rows 49-56: Work as instep 2. Rows 56-71: Use all As, @ Fr sedteat cue © Fr sedtead ate std teat rk 11 aed eat rd seb er 1 see teat er LY seed bead, color F see beater 15 sad bead cr 8 1 ae eal er) 1s seed teat ear 15 sed ead rt 15 se beat rt ©00007@80008 Rows 72-78: Work as in step 2, but flip-flop the As and Bs. Rows 79-85: Use all As Rows 96-102: Work as in step 2, nd end the threads (Basics. p. 104), Leaves [4] On 12 in. (30 cm) of nylon thread, pick up two Bs, and sew through the first B again (figure 2, ab), leaving a 6-in. (15 cm) tal. [2] Pick up two As, and sew through the Bs in the previous row and the first ‘Ajust added (0-0). [3] Pick up ewo As,and sew through the As in the previous rowand the first Ajust added (€d) [4] Pick up evo Bs, and sew throws the As in the previous row and the first B just added (2). [5] Pick up a B, and sew through the next Bin the previous row (of) and the rest of the heads in the colimin (9) [6] Pick up an A, and sew through the adjacent B (g-h). End the threads [7] Make a total of six leaves. oe" FIGURE 2 8, materials bracelet 7%in. (18.4 em) + 210% 2/en, 25 x84 on) sip of suede, eater, or Utrasveds + 241mm pearls (SwarovsH, amique cole ‘+ Simm pear (Swarovse, rtiaue gold = 7 Sinn icone cysts (werovskG, turgioie ABE) + 0° seod beads 24g eokr C Mut 1062, ganized abieh 1 @eoler H(Myulé 487, metalic it bronze) 4 g cole (Toho 1700, aided rable white) 1 color K Mik 2426, sverIned Mortara bie) * i fseed beace SB gcobor A(Ton $12F metalic rickel-pated sage! 2.g color D(Tono 1201, marbled opaque bet 9g cole (Toho 48, opequetera cata 8 gol (Toho 152F, ratte transparent grey AB) 6 g color HMyuie 457. metalic ight bronze) 2.goobor (jun 582, etaue Wary peat Ceylon + 15° seed bsacs 4 g color B (Miyuki 2008, matte metallo patna) 3.g.colecG (Miis429, aoacie skron) 5 gcolor H(Myuk A57L, meal int ‘onze 1 @ color J (yuki 2002, te metal sie orev) 3.9 calor M (Myukl 851, Cayon sive 2 gcolcrN (Miuki00S, sverined gc) * 1Ommenep + Firsine ib, test * nylon acing thread + beating nesdles, +12 * aloversnescles, #12 Complete kits are available in several color combinations at samerascatldesigns net Tamara Scott has been 4 professional artst and teacher for more than 20 years. Whew she's not teaching. Tamura is busy designing in hher studio in Atlanta, Georgia, To see more of her designs and to purchase kits, visit tamarascottdesigns.net, www BeadAndButton.com | Aprl2012 37Large flower [1] On 1 yd.i.9 m) of nylon thread. pick up a color E11" seed bead and a color C 8° seed bead, and sew through the E again, kavinga 6-in. (150m) wail. [2] Pick up an Eand ac, and sew down through the Cin the previous row, up through the E in che previous ox, and up through the F just added. Repeat this step for. total of 12 rows. [SB] oin the ends ta form a ring: Sew through the first swwo Esat ehe starting end of te strip (figure 8, a-b), and sew through the fist rwo Gs in the opposite direction (b-0). Sew through the last ‘wo Cs on the other end of the strip (ca, being careful ot to twist the strip, Sew back through the last two Es on this end of the strip (+e). Retrace the thread path co secure, anid sew through the beadwork to exit an Eon the inside of the ring, The Es will sit upon the Cs. [4] Pick up a 4 mm pearl and sew through an F on the opposive side ofthe ring. Sew back through the 4 me and the E your thread exited at the start of this step. Retrace FIGURE 4 the thread path, and sew through the beadwork toexiraC. [5] Pick up two color F 118 seed beads, and sew through the C your thread exited at the startof this step and the nest wo Ca in che ring {figure 4, 2-6). Repeat this step t6 complete the round, and step up dhrough the firs two Fe added inthis step 0) [6] Pick up two color G 18° seed beads, and sew thromgh the previous two beads and the frst G just added (¢-a). Repeat this step two more times (re). [7] Pick up a G and a color D 11" seed bead, and sew through the previous rwo beads and the G just added. Repeat this step four more times (9. [8] Pick up nwo Gs, and sew through the previous ewo beads and the frst G just adied, Repeat this step two more times (Fg). 38 BeadBButlen | ww BeadAndBuitton com [9] fo form a petal, sew through the next two Fs along the outer edge of the original ring (g-h) and the last nvo Gs added in step 8. Retrace the thread path, and exit the inside in the last stitch added in step 8 (tr. [10] Pick up three Gs, and sew through the correspon- ing G on the other side of the petal (igure 5, ab). Pick up three Ga, skip thenevt ewo Gs along the inside edge of the petal, and sew through the next G fO-d). Repeat this last stitch ewice, but in the First repeat skip three Gs (o-d), and in the second repeat skip two Gis,and then step up through the fiest nwo Gs added in this step (re). [111] Sew through the center Gin each set of three picked: up in step 10 (@-A, Retrace the thread path through all four center Gs, Sew through the beadwork to exit the next pair of Fs along the outer ‘edge of the original ring, [1] Repeat steps 6-11 five times, and end the threads. Medium flower [4] On 18 in, (46 em) of nylon thread, leaving a 6-i (15 ex) tail, work as in steps 1-4 of “Large flower” using color H 11° seed beads and color K 8° seed beads. [2] With the thread exiting 2K, pick up two color J 15% seed beads, and sew theough the K again and the first J just added (figure 6, a-b). [8] Pick up two color | 8° seed beads, and sew through the previens two Jsand the first | just added (b-c). Pick up an F, and sew through the twos added in this step (C2, [4] Pick up five Fs, and sew through the next (4-2), the following J, the K your thread exited in step 2, and the next two Ks in the origi- nal ring (9. [5] Repear steps 2-4 for a total of six petal, End the threads. [6] Repear stops 1-5 to make another median flower, bar substinate Gs for Js, Hs foe Ks, and a 3 mim pearl for the 4 mm pearlriaune 0 ‘Small flower [1] On 18 in, (46 em) of aylon thread, pick up 10 color B 15" seed beads, leaving a 6-in, (15 cm) ral. Tie the beads into a ring with a square knot (Basics), and sew through the next three Bs in the ring, cugging gently on the working thread to hide the knot in a bead [2] Pick up eworcolor H 11° seed beads, sew through the ext Bin the ring and the B your thread exited at the start of this step, and then sew through the first H just added (figure 7, a-b). [3] Pick up a cotorN 15° seed bead, and sew through the previous two Hs (b-c), [4] Pick up five Ns, sew through the adjacent H, the two Bs sewn through in step 2, and the next two Bs in the original ring (od). [5] Repeat steps 2-4 for a ‘oul of five petals. [6] With the thread exiting a Bin the original ring, pick up 4.3mm bicone erystal,sew through a B on the opposite side of the ring, and sew back through the 3 mum and the B your thread exited at the start of this sep, End the threads. [7] Repeat steps 1-6 fora total of three small flowers. [B] Repeat steps 1-6 ro make three more flowers, bat sub- stitute color M 15# seed beads for the center N in step 3 and color L 11" seed beads for the No in step 4 Band [A] Measure your wrist. Cur 1 2/in.(S.7 em) wide band ‘of suede, leather, or Ultrs~ suede that is equal to the length of your wrist plus 2 in, (S cm) If desired, round one cend by trimming the corners. [2] Gata second band exacty the same size for the backing. [3] Determine which side of the top band is the front, and place the vine in the desired position. Tie a knot at one fend of 12 in, (30 m) of nylon thread, and thread a #12 sglovers needle on the other end. Tack the vine co the top band by sewing from back to front through the band near the center of the vine Sew over the thread bridge between a 15% and an 11%, and then sew back down through the band. Repeat two or three times to secure the center of the vine, and end the theead by tying a Dre int an mato forthe isu, goto BeadAndButton.comlresources, choose this issue, and cick the Materiais List downloadable fi FlOURE 8 knot on the back side of the band. [4] Repeat step 3 for each of the curves in the vine. End Edging the thread alter each curve; [1] Position the top and do not unit across the back bottom bands back to back, of the band asthis will use marching the edges. Add 2 ye. ito pucker Make surethe (1.8m of nylon thread by vine lies flat on the band. sewing through the top band [5] Working in beaded back- from back to front and stitch (Basics), sew a swiel at making several amall stitches each end of the vine using As along the edge, leaving a 2n, and Bs, and end the theead (Som) tal after each one, [2] Pick up acolor E118 wed [6] Position the orher com- bead, a color H 15" seed bead, ponents as desired, and tack and an E,and sew down them down to the too hand, through both layers of the working from one end of the band from front to back. band to the other. Sew back through the last [7] Position the ballhalf of E added, and snug up the the snap atthe center of the beads figure 8, a-b). straightend on the top side [3] Pick up an Hand an E, i the band, approximately and sew through both layers ‘4 in, (1.3 cm) from the edge, of the band from front to and sew it in place securely. back about 3 mm from where [8] Determine the outer sur- your ehread exited. Sew back face of the backing band, throughs the last E (b-e), Mark the desired position of [4] Repeat step 3 forthe the socket half of the snap on entice edge of the bracelet: the outer surface of the back- End che thread, © ing in the oonter near the curved end, Align the back ing and the embroidered top band back to back, checking that dhe ball half of the snap lines up with the mark for the socket half [9] Sew the socket half of the snap in place securely, wun BeadAndButton.com | Apri 2012 38This necklace is made by working a herringbone stem off a daisy head and then splitting the stem. Connect the ends of the split around the to link them together. stepbystep Daisy Center [4] On 2 vd. (1.8 m) of thread, pick up four color A 15° seed beads, leaving a 24-in, (61 cm) tal, Sew through all the beads again to form a ring. 15° seed bead, color A 15" seed bead, color 8 15! seed bead color 11 seed bead OQoceo 40 BeadBBution | ww BeadAncBution com. stem of another daisy [2] Pick up an A, and sew through the next A. Repeat this stitch around the ring, and step up theotigh the First A picked up in this round (gure 1, a-b). 13] Work an increase rounds Pick up two As, skip the next A in che original ring, and sew through the following A added in step 2 (b-c). Repeat this stitch to complete the round, and step up through the fist A picked up in this round (e-d). [4] Work an increase round: Pick up an AA, and sew through the second A in the fica stitch of the previous round Pick up an A,and sew through he frse A of the next stitch, Repeat these ro stitches 10 complete the round, and step up through the first A picked up in this round (a) [5] Work a round by picking up an Abetween all the beeds added in the previous round, and step up (e-f).Cnal PEYOTE STITCH / HERRINGBONE STITCH / FRINGE designed by Huib Petersen [6] Work a gradual increase round by incteasing every other stitch: Pick up ‘ovo As, and sew through the next A in the previous round (Fg) Pick up an A, and sew through the following Ain the previous round (g-h). Repeat these ‘evo stitches to complete the round, and step up through the first A added sn this round (b-9) [7] Work an increase round: Pick up an A, and sew through the second A in the first stitch of the previous round. Pick up an A, and sew through the A of the nevt stitch. Pick up an A, and sew Faure 3 through the first A of the following. stiteh, Repeat chese three stitches to complete the round, and step up theough the frst picked up i dhis round (+). [8] Work theee rounds by picking wp an A between all che beads added in the previous round, and step up after each round (+4). [9] Work three rounds using a color B. 15® seed bead berween all the beads added in the previous round, and step up after each round (figure 2, e-b). FIGURES Connect one flower to the next to make anecklace as long as you like. [10] Work a decrease rounds Pick Lup a B, and sew through the next two “up-beads”(b-6)- Repeat this stitch © complete the round, and step up (e-c)- [14] Work a ound using Bs between all the beads added in the previous round, and step up (6-0) [42] Work a gradual decrease round: Pick ip 2 B, and sew throtigh the next rn00 up-beadls 9. Pick up a Band sew through the next up-bead fa). Repeat these two stitches to complete the round, and step up (@-H)- ‘Stem [4] Use the four up-bead Bs of the “Center? to work a round in tubular herringbone stitch (Basics, . 104|: With your thread exiting an up-bead, pick up {hwo Bs, and sew through the next two up-beads (igure 3, a-b). Repeat this stitch once, and step ap chrough the B added in this round (b-c). [2] Work in cubular herringbore ving Bstomake a rope that is 1% in, (4.4 em) long. 13] Work a split: Pick up two Bs, sew down through the next B, up through the B your thread exited at the start of this stitch, and up through the fies B iust picked up figure 4, a-b), Repeat this stitch (0-c) on one side of the rone eight times, wn BeadAndButton.com | Apri 2012 41materials necklace 15 in. (88 cm) + 1-2.011" seed beads white) + 19% eee0 beads 5 gesorA tysHow) 19-20 goolorB (green 2-8 gcdior 6 (wits) + toggle bar + nylon beading threed,eize D + beating noodles, #12 EDITOR'S NOTES: * Make as many daisies as desired to adjust the lenath of your necklace. * For a bracelet, make the stems about 1 in. (2.5 cm) long. * To make @ pair of earrings: Work as in “Center,” but sew through all the up-bead Bs in step 12, and end the thread. Work as in "Calyx and petals,” but for the last calyx, pick up 13 Bs, skip the last five Bs, sew through the next B, pick Up seven Bs, and sew through "Use a jump ring 104) to attach on ‘earring finding to the loop. made in the last calyx * To make a ring: Work a daisy, but make the stem long ‘enough to fit around your finger, and join the split after placing the head of the daisy ati through the y split. Tea os = "AN Huib Petersen got bit by the beading bug more than 14 years ago when be bead-embroidered a twodding dress for bis friond. He ‘works in a nariety of mediums, and be is well known for his beaded sculptures, See more of bis work at petersenarts.com, or contact im by ‘email at huib@petersenarts.com, a2 [4] Sew through the beadwork to exit the remaining side of the rope at the start of the split, and work asin step 3 forthe other half of the split [5] Join ehe split: With your thread exiting one column of a split, sew down: theouigh the Bin dhe adjacent column fof the same split Sew up through the corresponding B of the other split down through the B in the next column, aad up through the Bin the first side of the split your thread exited atthe start ofthis step. [6] Continue working in tubular her- ringbone for four rounds. [7] Close up the end of the tube: Pick up a B,and sew through the next two Bs (figure §, a-b), Sew through the B just added and the following two Bs (b-c), End the working thread (Basics). Calyx and petals 1] Using the ral, sew through the bead- ‘work to exit-2 Bin the first round of Bs, [2] Pick up nine Bs, skip the last B picked up,and sew back theough the next B figure 6, ab). Pick up sever Bs, and sew through the next B (b-e), Repeat this step t0 complete the round, aad step up through the adjacent A in the next round of the daisy center. 13] Pick up ewo 112 seed heads and seven color C 15 seed beads, skip the last C picked up,and sew hack through all the heads just added and the next A in the round (igure 7). Repeat this step to complete the round, and step up through the agjacentA in the next round. [4] Repeat step 3, and end the tal. oar re OURE 5 S8eeaq, Q0Oeo0° rouRE 6 Assembly [1] Make five daisies [2] Make ewo more daisies forthe clasp with the following changes ogale-bar daisy: * Make a stem 24 in, (64 em) fons without a spit. * With your ehread exiting an end col- umn, pick up seven Bs and a toggle bar, and Sew through the opposite column. Saw through the beadwork, retrace the thread path to reinforce the join, and end the thread “Toggle-loop di + Work three rounds of tubular herring bone at the start of the stem. += Wock a splieas in seeps 3-5 of “Stem.” + Work 1'4;n. (3.8 em) of ebulae hieeringbone, and then work a second split and end of the stem as in steps 3-7 of *Stem.? [3] String 2 daisy through the end of the stem ofthe toggleoop day (photo). [4] String. daisy stem through the last daisy strung, and repeat to string all the daisis, ending with the toggle- bar daisy. QD xs srr aimatois fortis issu, ae to BeadancEutton.comiesources, choose tisaeue ard ck the Nateris Ust downlcadable le. FIGURE?BEAD WEAVING Exploring Combine two-hole Tila beads with elongated magatamas and drop beads to make this fun geometric-yet-organic design, This bracelet goes together quickly so you can wear it right away: Before beginning this project, familiarize yourself with the elongated magaeamas. ‘The hele through each magatama is on an angle. On one side, the hole is near the center of the bead (photo, lett In this project, we'll refer to this side as the high side. On the other side, the hole is closer to the end of the bead 44 BeadBBution | ww BeadAndButton com (photo a, right). In chis project, we'll refer to this as the low side, IF you wish, separate the magatamas into two piles: turn all rhe magatamas in one pile so the high side is facing up, and turn all the magatamas in the other pile so the low side is facing up, can be a challenge to figure out what to do with beads in unusual shapes. This bracelet combines three bead shapes with fun results, stepbystep [1] On 2 yd, (1.8m) of Fireline, attach, a stop bead (Basics, p= 104), leaving an 8.in, (20 cm) tail [2] Pick upa repeating pattern of a 5 mm Tila bead, a high-side magatarma, and 2 low-side magaeama (igure 1) until you reach the desired lengeh. Allene for hour 10 percent shrinkage, and make sure you use an even number of Tilas. [3] Pick up a Tila, and then sew through the other hole of the same Tila,Sew through both holes again (figure 2 {0 lock the thread in place. [4] Pick up a high-side magatama, a Jow-side magatama, a Tilz,a high-side miagatama, and a low-side magatara, Skip five beads on the previous strand, and sew through the remaining hole of the nese Tila (figure 3). Repeat this step to the end ofthe strand. [5] Remove the stop bead, and, makeing sure bath sides are snug, te the working thread and ail with a square knot (Basics), Sew through the first hole of the first Tila, the next two magaramas, and the following Tila (gure 4, 2-b). [6] Pick up a 3.4 mm drop bead, and sew through the opposite Tila, going through the same hole you sewed through before (oc). Pck up a drop, sew through the opposite Til and the first drop added in this step (c-d), and pull tight. This will cause the Ties adja cent to the drops toangle upward like ‘wings. Sew through the nest sic beads fn this side of the bracelet (6-0). Repeat this step to the end of the band. [7] Pick up a deop bead, half of the clasp, and 4 deop bead, and sew through the other hole of the end Tila (photo b). Retrace the thread path through the clasp connection several times, and end the thread (Basics). Repeat this step with the tail at the other end of the bracelet. @ we ©& tie side @a Elosgatad magetama ial Simm Tia bead 3.4mm drop bead a of aly ae ya Vt 5 oy oh am PX Gj a bX ON we 1 SY "a % ir) we na ON FoUREs FIGURE 4 materials purple bracelot 7¥in, (19:1 en) © 28 5 im Tia beads (Miyuki 459, smu rs rane = 72 sovigated magatanas (MyuH 1854, five crystal with viet luster) ‘= 22.6.4 mmdrop beacs Miyuki 181, galvanized siver = das 1 Fireine lb, tact ‘= beading noscies, #10 ‘green bracelet colors: ‘© 5 mm Tila beads (Miyukl 458, ‘metalic green gold) ‘ elongated magatarnas (Miyukl 458, metalic othe) ‘+ 3.4 mm droo beads (Miyoki 27, spricotdined charveuse) bronze/biacl/pink bracelet colors: + Simm Tila beads (viyuki 401, opaque bik) + elongated egatamas (yh 457, metalic dak bronze) + 9.4 mm dhop toads Myo, Pinktned emoky erethyat) matte green/purple bracelet colors {shown in how-to photos} Sin Tia baad (Vuk 403FR, mate lack AB) '* elongated magatamias (Miyuki 2008, matte meal oatha is) ‘© 3.4 mm drop beads (Miyuki 454, purple ts) DB ve orn, at ates {or this issue, go oniine to Materials List downloadable file. Cheryl Erickson teaches beading classes and is the owner of ry Artistic Bead in West Des Moines, lott. She has kits nnd supplios available for these bracelens at artisticbead. com, Contact her at cheryI@aniistichead.com. wy BeadAndButton com | Apfl2012 45,Raho ecd s = ee CaeUsing an additive process, create a bead that mimics carved cinnabar, Make the core, and embellish it to create your own artistic vision. Then apply the finishing touches with antiquing medium and glaze. stepbystep Gore [1] Condition the clay (Basics, p. 194), Set the pasta machine to the thickest setting, and roll out a sheet of clay about 3 x3 in, (7.6.x 7.6 em). Place a piece of plastic wrap over the clays and cutout eno 1¥in. (3.8 em) diameter sircles (photo a). [2] Place the circles back to back, and ently press together so the rounded sclges are facing out (photo b). Pale the clay following the manuiuctucers instructions, and let it cool completely. Border [1] Set the pasta machine to 2 fairly thin setting, and roll asheet of chy about 15 in, (2.5 x 13 em). Trim the clay to in, (1.3 ¢m) wide, and wrap the strip evenly around the circum er- ‘ence ofthe core (ehoto 6). Trim the ‘excess length. [2] Smooth the scam of the steip, and shape the edges of the clay in toward the center iphoto d). [3] Trim the excess clay with the I-in. (2.5 em) diameter circle curcer centered ‘on the core (photo e). Repeat on the remaining side. Bake the clay following the manufacturers instructions, and let itcool completely. a rey materials perdant {Yin (@.8 en) chameter + 2c polymer olay Promo! Goubey pemeganste) + antiquing medum (eupey,chosotale brown) oF ane pant (own) * satin gaze (Sculpey, eptional * in (Gcmnphead pin * cic alle (ootiona) * cat knife + cil th bit same diameter as headin * needs tool * pasta machine: * plas wrap + assorted Yin. (6 mm) haps cuter * 2round shape cuters Hoin. Gem diameter tn. 25 on) diameter + sna tit panto + supergue > tissue Had + toaster over + chainose pore + rourdnase pers + vio cutters * Dasclcate tothe ute of polymer clay Dis vkisinsntirier es ee precy oni choose issue, and click the eee eerie Diane W. Villano’s 2009 Bead Dreams ‘Piece took five years to perfect; this pendant serves asa visual reminder to ber that persistence pays. Email Diane at diance_ sepes@-uhoo.com, and thw BeadAndButton com | Asnl2012 47Vell wey Yad DONO DS ——e amo: 77 \ fe: om Soo: ily yin b e a d k i t s b save a d s f i n d i n g s 1.888.616.BEAD 48 BeadBButlon | ww BeadAndBuiton com DESIGNER'S NOTES: ‘= Bake the pendant on a wire bread-baking ack to prevent flat spots on the piece. + Most of the intermediate baking periods can be shortened to 19 minutes, but the final curing must be at least 90 minute: ‘+ Try thie technique with other colors, like turquoise, black, cream, or brown, for gemstone, jot, bone, or wood effects. ‘+ Experiment with lighter antiquing colors for a whitewash look. ‘* Mix your own cinnabar color with 12 parts cadmium red and one part black. f Embollishmont [A] Ser the pasta machine toa fairly thin setting, and roll a sheet of clay ahout 2s 2 in, [§ x Sem), Place a piece of plastic wrap over the clay and cut out small, assorted shapes. [2] Place the shapes on the surface of the core, starting with the largest clements, and filling in with the smaller elements, Use the needle tool to create details and press the shapes to the surface (photo) Fill in as much of the design area as possible, Roll tiny balls of clay to fill inthe smallest spaces, Bake the clay following the manufacturer's instructions, and let i cool completely. [3] Repeat seeps 1 and 2 on the remaining side. 13] Apply-a light coat of satin glaze, if desired, and let it dry completely. Finishing [1] Drill a hole at che top of the pendant, about Yin, (13 em) deep (photo hi. [2] Cur the head off the head pin, and make a weapped loop (Basics) [3] Trim the remaining wire 10 Min. (1.3 em), and glue it into the hate Let the glue dey completely [4] String on cord as desired. @ Antiquing [A] Using a stiff paintbrush, apply antiquing medium over the entire pendant, making sure the paint goes into the indentations (photo 9). [2] Wipe off the excess antiquing medium with paper towels, Letit dry completely.Chain stitch seed beads and sequins into a bountiful necklace designed by Un-Roen Manarata An abundance of flower sequins float on airy strands of crocheted thread, creating a lovely, lightweight necklace with a bold but playful look. stepbystep [41] On full spool of thread, string nine 11" seed beads and one sequin. Repeat this pattern, varying the number of 11%sif desired (but always picking up 50 BeadBButlon | ww BeadAneButlon com a multiple of three), until you have strung all he heads and sequins [2] Leaving a 4-in. (10 em) tail, make a slip knot (Basics, p. 104), and insert the exochet hook into it, Crochet 20 chain stitches (Basics) without beads, [3] Slide three beads up to the hook, and work a chain stitch (photo a), and then work six to «ight chain sttches without beeds. Repeat this step three times or until you reach a sequin. [4] Slide a sequin up to the hook, ‘and work a chain stitch (photo b), and then work six to eight chain stitches without beads. [5] Repeat steps 3 and 4 (photo ¢), until the strand is about % in, (1.9 em) shortof the desired length, Work 20 stitches ovithout beads, and rim the thread, leaving a 4-in, (10 em) tail. Pall the tal through the last loop,and set the strand aside. [6] Repeat stops 2-5 to crochet a total ff 10-15 separace strands with the remaining beads and sequins strung instep 1. [7] Bundle the strands at one end, place them into a crimp end, dot them with Enjoy the soothing ‘hythm of crochet with thie multietrang ocklace featuring saad beads and sequins. G-S Hypo Cement, and use chainnose pliers to fold the sides over the cords (photo o). Trim the cords close to:the crimp endl, Repeat on the other end of the strands 18] Open « jump ring (Basics), and attach one crimp end and hal of the clasp. Repeat at the other end, attaching the other half of the clasp. © a .) materials oe necklace 17 in 49 om) 125-250 (2-4 g) 101mm fower sequins (greeevue anon; Cratarco, ratarco.com 10-14 11 seectbeads (Topo 412, pes turwucise) + 28 min fot-over cord cmp eds = 25 mmiunp ings += beter claw cls with ag or cclbred © C-Lon beading threes se D «= beating neacls, #12 © crochet hook. 1.25-1 5 mm + 2 ous of els, including chainrose *# GS Hyp0 Cemen: Kits for tis necktice are avalible at Ur-Ficen's webste, aten.be, @. piint ll materials ‘for this issue, go online to ‘BeadAndButton.comiresources, choose this issue, and cick the Materials List downloadable fle. EDITOR'S NOTES: + If you don't wont to string all the beads and sequins at once, string ‘enough for a single strand (about 16 sequins), and then crochet it to the desired length. * If desired, finish the necklace with cones instead of crimp ends: Cut 3 in. (7.6 cm) of 22-gauge wire, and make a wrapped loop (Basics, 104), Slide one end of each cord into the loop, and tie them all with a square knot (Basics). Trim the cords close to the knot, and dot the knot with glue. Slide a cone and an accent bead onto the wire, and make the first hatt of a wrapped loop. Attach half of the dasp, and complete the wraps. Repeat on the other end. ~ Julia ‘Un-Roen Manarata ‘of Belgivm is a Swarovski Elements ambassador and makes jewelry in several mediums, including ‘crochet, bead stitching, and metal lay, Contact her at. sn-roenGelfendbe, ‘yun BieadAndButton.com | April 2072 81ARTIST PROFILE From ye ISS to ga ‘ennifer Geldard loved beads so much thar she sold her bead shop for the opportunity to do lampworking and jewelry making full ime. 0 1993, T opened The Concord Bead Shop in Concord, Massachusetts, and discovered some really wonderful slass-bead makers," Jennifer says. Before Jong, she was working on a Hothead torch using Cindy Jenkins’ booklet You Can Make Glass Beads, as her “hile She spent as much time as she could perfecting her lampworking skills when she wasn’t running the store of caring for her young son, Max. By 1995, she was ready to sell the shop to the manager Although Jennifer had been design- ing strung jewelry for several years, as.a shop owner, spouse, and mother Re ckusiad Se ce Pees coe) Sei &_/ Jennifer Geldard left the world of retail to become a full-time lampworker. by Ann Dee Allen she didn’t have as much time to create her own work asshe would like. Now, after 10 years of making beads, she s earning a living selling lampworked pieves and teaching beat! making, create one large focal piece thet spans the wearer's chest, She then placed the necklace in a large found-object box for hhanging on the wall, The box is a deso- ration itself, complete with hammered metalwork, and the necklace is both a Think big, think birds part of the box design as well as 8 piece Jennifer is currently focused on blending of jewelry t0 be worn, lampwork with other media to create Among Jennifer's art objects are bird larger jewelry anid act objects. "Thad totems that are at on Ineen thinkingabout designing entire contemplative. The impworked hirds, pieces rather than one focal bead,” she perched on pieces of wood shaped by says. “Tlike the idea of constructions.” the elements, stem to share a private ‘Jennifer's recent Phoenix bead series joke. One wonders whether the birds involved lampwerking several beads to might be more amused by the viewer than the other way around. Additional bird-themed pieces include wire “nests” with speckled glass eges and birds with carts that have metal wheels. Jhimsical and Stories in glass Jennifer trolls nearby flea markets for ‘unusual objects to include in her jewelry and art, “T just started playing with some bracelet ideas using drawer hardware back plates,” she says, “They are often really orate and beautifulsT use themas part of a bracelet cuff and include riveting on that, hammer it, and then create lampworked beads that comple ment everything” Her Phoenix beads, framed necklaces, hardware bracelets, and other works evoke narrative, or more specifically, the magical realism that is often used in arrative. Magical realism calls on the imagination to aceepe seemingly incongruent ideas — like birds wearing, well, long polka der pants Not surprisingly, Jennifer wants people who appreciate her work to tell their own stories with it. “Beads can spark someone else's imagination if they pick one up and do something different with it” she says, “When I do a narra tive piece, I'd rather have someone have their ownstory about it.” No secrets here Archas led Jennifer toenter the field of reaching. “I've been teaching lamip- working for the past few years and Jove it. she says, Like art, teaching ' process-oriented, and that appeals greatly to Jemnifer. “Irs a very natural and easy thing for me to do," she says. “I'm not at al rigid as a teacher” None of her techniques are sacred, and she is happy to demonstrate her methods to anyone. Bec always trying something new, she has plenty of techniques to spare. “IF [rely too heavily on one style and I need it she to survive, that’s.a problem for me, she says. “Itmeans Pm not changing, Tm not growing,” Pushing the process Imagination and experimentation are interconnected for Jennifer, who 's conscanely trying out new ideas and is very forgiving about ideas that don’t evolve as planned. "That's something Teach all the time," she says.*People tend to get very attached to a procedure in making a piece. They'll just stop and try again instead of allowing themselves to make a mistake and still look at the bead as if it's a good piece” Jennifer's interest in the possibilities of glass are evident in her beads. Her “window” beads expose different colors under a center pane of transparent glass. In some beads, she melts canes us cen ed functions as botn pees ors pred and dots into the i surface, while in others she leaves dots raised to create texture, Her eleetro- formed heads have fanciful tendrils that avist and carn, If making beads is.a process for Jennifer, collecting chem is, too. She has collected beads since childhood, nor oly for their be aty but also for their history. “When I found out | could make the ‘she says. “It meant that someday the beads I make might still be around. Someone might find them years from now and wonder about th very exciting rom This June, Jennifer will be teaching the lampworking Master Class “Toe Art of Play: Surface design, form, and structure” at the 2012 Bead Button Show: Go to BeadAndButtonShoucomt to learn more. To wander through Jennifer's musings, read ber blog at glassgirl.com. You cant email her ai jennifer@xlasseirl.com, Ann Dee Allen is a former » editor of Bead&Button. 2: She can be reached at anndenallen@sbeglobal.net ‘iin the blanks.‘Aneclace, bracelet, or beaded bead: Co where your imagination takes you, 54° BeadBBution | ww BoadAndButton com NETTING / BEAD WEAVING Stitch a versatile beaded motif that exudes romantic sophistication designed by Cathy LampoteSpecial crystals section! We love crystals as much as you do, so we added the next six projects as a special bonus to brighten up your spring. Many of these projects also include Ccrystal pearls, and we think you'll love all the creative ways. ‘our designers have paired them. Made with pearls, crystals, and metallic seed beads, this rich embellishment makes any piece an instant classic. Attach two motifs for a beaded bead, line them up for a necklace center- picce, space them along a bracelet band, or invent your own ways to flaunt them in your jewelry. stepbystep Motif [1] On 1 yd.(.9 m) of thread, pick up four 8 mm pearl, leaving. a In 22.5 cm) tal, Tie the 8 mms into a ring with a square knot (Basics, p. 104), pull che thread through an adjacent § mm,and trm the tal [2] Pick up four 15* seed beads, a4 mm bicone erystal, and four 15%, and sew through the § mm your thread exited at the start ofthis step and the next $ mim in the ring (figure 1, a-b). [8] Pick up four 15°s,a-4mm, and 2.15%, and sew through the firse three 15% picked up in the previous step, the 8mm your thread exited at the start of this step, and the next 8 mm inthe ring (b-o). Repeat this step once (ech. [4] Sew through the adjacent theee 15% sn the first stitch, Pike up 2 152,a 4 mm, and a 15°, sew through the corresponding three 18% in the thied stitch, and continue through the $ mm your thread exited at the start of this step (4-e), [5] Sew through the beadwork 10 exit a4 mm, Pick upa 15°, and sew through the next 4 mm (gure 2, a-b), Repeat this seep three times (b-e), and then sew through the beadwork toe an 8mm (e-dh [6] Pick up a3 mm pearl, and sew through the next 8 mm (d-e). Repeat this step three times, and continue throagh the frst 3 mm picked up in this step (e. [7] Pick up-a 15%, 3 mma 15%2.4mm, 2 15,23 mm,and a 15%, and sew through the next 3 mm in the previous round (1g). Repeat this step three times, (6-1). Tie a hal-hitet knot (Basics) secure the thread, but do not trim, Beaded bead [1] 011% yo. (1.4 m) of thread, work ‘one motif. Sew through the beadwork to exit an outer edge 4 mm. [2] Pick up a 15546 mm pearl,and a 15°, and sew through the next outer edge 4 mm (figure 3, a-b). Repeat this step three times (0), and tie a half hitch knot, bur do not tim the thread. Set this motif aside. [3] On 1 yd. .9 m) of thread, work steps 1-6 of "Motif? [4] With the working thread exiting a 3mm from step 6, pick up 2 15%,2 3 mm, Q sem cyan © Ann diowinsa — © @_ 3mmenstal pear ° LU seed beat 15" seed bead FIGURE crystals® materials traced mot 2.em) dnote esa pews ta ears = 84 mmbicone crystals = 1 9 15teced bode ‘= nylon beading thread, cio 8 * beading nescls, #12 baled bead 14x 1 in. (22x 25m * crystal peas Swarovski, htt ood cr white aemm 48mm 243mm + 124mm Boone oystals Swarove, ght Cored topaz #8 2X) +* 1:9 15" seed beads (gold + mon bescng thread. size + beading neaces; #12 neoklace 17% In. (48.5 om) = Toeadded mots (Smaravai, bright goles peails enc ime AB 2X bleone cysts} + adalional exystal pears (Sweroveh’, brig gol) 488mm 426mm 265mm 12 4 mm boone eytals Saaravsks ime AB 2X) * asp ‘= Aormp beads * 4 cemp covers + 2 vie quads * fexise beating wie, 019 + chahnose ale’ (tonal * crimping piers we cutters bracelet 7 In. (19.1 om) + 5 beaded motls (Swirovek, ght gold ‘peas end ight Coloract topaz AB 2 bicene enya) ‘+ 100-120 3 mm eneial poate Swarcxshi, ight goth = 10¢ 11° ceed bectis Toho 1200, ‘rangperent aleve) '» 1 9 15? seecl beads (gol '» S.strand tube das ** nylon beading thread size 8 * beading nescles, #12 wy BeadAndButton.com | Apfl2012 85© anda 15°, and sew through an outer- edge 4 mm of the first motif previous set aside (igure 4, &-b). Pick up a 15%, a 3mm, anda 15*,and sew through the corresponding 3 mm of the second motif (o-e). Repeat this step three times to join the wo motifs, and end the threads. Necklace [A] Make seven motif, leaving the working theead on each motif [2] Sew through the beadwork of a motif to exita 15? next to an outeredge 4mm ffigure 5, point 2). [3] Pick up a 3 mm, and sew through 4 corresponding 15%, 4 mm, and 15° of another motif (@b). Pick up a 3 mm, 24mm, and a 3mm, and sew through the comesponding 15#,4 mm, and 15? of the previous motif (b-c). Retrace the thread path to reinforce the join, and end the thread. [4] Repeat step 3 to join all seven snotis, making all dhe connections along, the same edge, and end all the threads [5] On 8 in, (20-em) of beading wire, string a crimp bead and ewo 3 mms, Go through « corer 4 mm of an end motif, pick up two 3 mms, and go back throug) the crimp bead, Aljst che wire to leave a ¥4-in.(6 mm) tail, and crimp the crimp bead (Basics) 56 BeadBButien | ‘BeadAndBuiton com, oa, sis ia: [6] Over the wire and tal, string a 6 mim peat, three 8 mms, a 6 mm, and a4 mm. Repeat twice. String a crimp bead, half of a wire guard, and half of the layp. Feed the wire dhrough the ther half of the wire guard, the crimp Iheady and the nexe few beads strung. Adjust the wite for tension, crim the crimp bead, and trim the tal [7] Repear steps 5 and 6 on the other end of the motifs [8] Using chainnose or crimping pliers. close a crimp cover over each crimp, Bracelet [1] Make five motifs. [2] Ona comforcable length of thread, attach a stop bead (Basics), leaving 2 12-in, (30 em) tal. Pick up a 15°, 21 11° seed beads, a 15% a3 mm pearl,a 15%, and an 11° (figure 6, a-b). 13] Wocking in netting, skip the last five beads picked up, and sew back through the next 118 (O-¢) [4] Pick up chree 11%, skip the next three 11% in the previous row, and sew Inack through the following 11° (2). Repeat this step four times to the end of the row, but in the last repeat, sew through the end 159 (dee). [5] Pick up a 3 mma 15%, and an 11%, and sew through the middie 119 in the previous stitch (e-f), Work as in step 4 to the end of the row (Fa), DD soci st atria fr tis nse, 0 to BeadAndButton.conv/resources, choose this issue, and click on the Materials List downloadable fle. View a demonstration of netting technique at BeadAndButton.com/videos. 10: @:-:@;*, 07 ,0;>) G+ @* O° O 6-8-6 8 er FIGURE 7 [6] Pickupa 3 mm,a 15%,and an 11%, and sew through the middle 11° in the previous stich (g-h), Work as in step 4 to the end ofthe row (9. [7] Repeat step 6 for the desired lengch of the bracelet. [8] Sew half of the clasp to the backside of one end of the bracelet, and then sew pearls to fill in the gaps berween the ‘netted stitches at the end ofthe bracelet (gure 7, a-b) [9] Sew two rows of pearls hetween the netted stitches on the front ofthe brace- Jecat this end a. [10] Using the tail, repeat steps 8 and 9 onthe remaining end. [14] space the motis evenly on the front of che bracelet. Using the tail of a ‘moti, sew through the motif ro exit an outeredge 4 mm, Sew the motif to the netted band by stitching through 11'S in the band that align with the holes of the 4 mm, Repeat o attach all four 4 mms of the moti, and end the thread. Repeat this sep ro attach al five mot Cathy Lampole owns the bead shop That Boad Lady inn Newsnarket, Ontario, Canada. For store informa- tom of to read Cathy's blog, vist her website, thatbeadlady.com, o email her at catby@tbatheadlady.com.RUSSIAN SPIRAL A beading fluke turned into a twist of fate and a super-sparkly necklace designed by Wendy Lueder 58 BeadABution | ww BoadAneBution com© A vais csta cobra @ ‘ration cyst cain @ ‘ration cyst coin @ 11" seed bead © 15" seed bead FIGURE 2 I was creating a Russian spiral rope when I noticed that the beads made a pleasing flat spiral just before I pulled the thread tight to form the tube. As I connected multiple flat spirals for a necklace, a pattern of Hogarth Curves — gentle S-shapes common in floral arrangements — emerged at the intersection of the spirals. stepbystep Flat spi Ring of beads On 40in.(1 m) of Fireline, pick up the following beads, leaving a 10-in, (25 em) rail: 2 pattern of two 11! seed heads and a color & 4mm bicone crystal twice, pattern of two IIs and a color B 4 mm bicone crystal toviee, and a pattern of two 11's anda color € 4 mm bicone crystal ‘vice, Tie che beads into 2 ring with asquare knot (Basics, ps 104, Sew through all the beads in the ring again, and continue through the firse 11? picked up figure 1). Round 1 [1] Pick up an A, ewo 11s, and ewo 15® seed beads. Skip the next 11° and 4mm in the ring, and sew through the following 11° figure 2, this step once (b-). [2] Repeat step 1 substituting Bs for the As (ed), and then repeat step 1 substituting Cs for the As (d-e). Retrace the thread path through this round, and step up through the first A and two 11'sadded in step | (@-9. )- Repeat Round 2 [1] Pick up an A and four 11°, skip. the next 4 mm added in the previous ound, and sew theough the following wo 11° igure 3, a-b). [2] Repeat step 1 ewice substituting Bs for the As (b-e),and then repeat step 1 towice substieuting Cs for the As (e-d). Repeat step 1 once more using an A (2), Retrace the theead path through the round, and end the working thread (Basics) but not the tail. snake it ity crystals@ materials necklace (p.58) 18 in. (46 cm) Gr Sriroeaey ae sess So {20oer a urcer olen, sun) 103 color 6 (Thunder Polsh, ruby fade AB) 103 color G (Thunder Polsh, rec AB) = 28 11 seed beds eke FraTH, ie: ob toed base 1647, gabeniied gaia? eee oa yen ee * Freres tet © beara rend, #12 bracelet fp. 61) 7%in, 194 em) © 88 mmonstal pears (SvarevsH, white ‘4mm Bicone esas 37 color A Swarorski ight eniealch 37 color B Swarovsk, tanzanite| 36 color C Swarovsk, medium sapphire) ‘8g 11" seed bac iickel plated brass; Ectestioa, 252-647-0800)" + 2.9 18% seed beads ticket plated brats; Eclectica, 262-041-0055)" + toagle caso + Fron 6 tb, teat + beading nesdies, #12 ‘The grams ghen are for gaiverized select beads, which are heavie than non-gala- nized beads. fusing non-dalvanized beads, you may need fewer arams QD se vit ine materia for all projects in this issue, go online ‘to BeadAndButton.com/resources, ‘choose this issue, and click the Materials List downloadable file. Wendy Lueder tvesin [IP South Florida. She bolds Wes degrees in philosophy 3 and graphic desig tech nology, ad for 15 years she has rested custom jewelry under the initial inspiration of Carol Wileo Welle’ book Creative Read Weaving. Wendy's faith in God, love for her family and joy'n fash- icnineg jewelry are the preeminent delights of her life, Contact Wendy at wendv@captueredglimpse.com, on visit capiuredglimysEDITOR'S NOTE: In several steps of this project, you sew through the spiral in the ‘same direction it was worked. Ifyou can't tell which direction you worked it, identity the A bicones and then the B bicones. Sew through the beadwork in the direction of the As and Bs. - Stacy Bead Button | von BeadndButton com Pearl center [1] With the tail, sew tarough the fist (oo 11's in the initial ring of beads, exiting at figure 4, point a. [2] Add ehe pearl center using tight tension to avoid theead showings Pick Lup an 8 mm pead, and sew through the 11 opposite che 112 your thread is exiting (arb). Sew back through the pearl and the 11 on the fest side of the ring (b-c). Retrace the thread path, and end the ti Necklace [A] Make a total of 17 flat spirals, [2] Add 2 yd. (1.8 m) of Fireline (Basics) toa flat spiral, and exit the 11° before the first C in round 2. Pick up a Cand sew through one side of aire guard, half of the clasp, and the other side of the wire guard. Sew back through the C and the | 1” your thread exited a the start ofthis step (photo). Retrace the thread path though the clasp connection, and then sew through round 2 of the spiral in the same direc- ‘ion ie was worked to exit the second ‘Aadded in round 2, opposite the clasp connection (figure 5, point a). 13] Place a new flae spiral next to the first, and arrange them as shown in figure § so that the second A in round 2 Of the first spiral aligns with the first A in round 2 of the new spiral. Sew through the adjacent two 11% and A in the new spieal (a-b),and then sew through the adjacent two 11% and A in the frst spiral (6-) Retrace the thread path through the connection, and sew through round 2 of the new spiral in the same direction it was worked to exit the second B in round 2, opposite the connection (ed), [4] Place a new flat spiral next to the spiral just attached, aligning the first B in round 2 of the new spiral with the B your thread is exiting, Attach the spirals as in step 3, and sew through round 2 Of the new spiral in the same direction it was worked to exit the second C in round 2, opposite the connection (d-2). [6] Place a new flae spiral nest to the spical just attached, aligning the frst C in round 2 of the aew spieal with the your thread is exiting. Attach the spirals asin step 3, and sew through round 2 of the new spiral in the same direction it was worked to exit the second A in round 2, opposite the connection (ef),Imade a 7¥-in. (19:1 cm) bracelet (botow) with six flat spirals. For three of the spirals, omitted the pearl center by ‘ending the working thread and tail after step 2 of "Flat spiral Found 2." [6] Repeat steps 3,4, and 5 to attach 2 total of nine fla spirals ina staight line, After connecting the ninth spiral and sewing through round 2 to exit the C opposite the connection, continve through the next six 119s and 4 min to exit the first A in round 2. This mov paint will create the Vshape at the center of the necklace. [7] Attach the eight remaining flar spirals in a straight line, making sure that you're always attaching the first A,B, or C in round 2 ofthe first spiral to the second A,B, oF C in round 2 of dhe new spiral. After connecting the last spiral and sewing through round 2 ‘o exit the B opposite the connection, continve through the next 11°, [8] Pick up a B, and sew through one side ofa wire guard, half of the clasp, and the other side of the wire guard. Sew back through the B and the 11 your thread exited at the start of this step, Retrace the thread path through the clasp connection, and end the thread @ DESIGNER'S NOTE: ‘To increase or decrease the length of the neckiace by 2 In. (6 cm), add or omit one fat ‘spiral on each side. Another brilliant idea... Custorn Filigree Pleces by Leslee Frumin Adel new dimarsian ta SWAROVSKI ELEMENTS CUSTOM COATINGS + Visibility + Opportunity + Credibility see \D) ‘ot 46 «en oe Receive 15% off your order at INMCrystal.com NM ( rystal Coupon Code: BB4I2 For the latest news, tips, and special promotions! ne as @ “e: wivweBeadAndButton.com | Apri 2012 61What a Coneriaion! Take a classic pear! cuff and embellish it with sparkling margaritas to create this glamorous bracelet yy Jane Danley Cruz The origin of pearl bracelets ean be traced back to China. Today bracelats are more popular than ever and are enjoyed as a wardrobe staple. 62. BeadBution | ww BeadAndButon comFIGURE S Fioune2 FIGURE Stitch this fetching pearl band and nestle margaritas, within the right-angle weave stitches for an alluring L-could-have-danced-all-night accessory, stepbystep Pearl base [4] 01 a vomioctable lengeh of Fireline, pick up a repeating pattern of an 11° seed bead and a4 mm pearl four times, leaving a 6-in, (15 em) tail. Sew through all dhe beads again to form a ring, and [2] Working in right-angle weave {Pasies, p.104), pick up 2-4 mm, an 112, a4mm,an 11 anda 4 mm, sew ¢hrough the last three beads your thread exited in the previous stitch (fgure 1, a-b), and continue through the first four beads just added (b-<). [8] Repeat step 2 for the desired length. My 68-in, (17,1 em) bracelet is 27 zht-angle weave stitches long. [4] With your thread exiting the last 115, 4 mm, and 11 the end stitch, 1, Form the ring into 9 square sew through the next 4 mm in the stitch. [5] Pick up a repeating pattern of an 11 and a4 mm chee times, and then pick up an 11°, Sew thcough the 4 mm your theead exited at the start of eis seep and the firs chree beads added in this stitch figure 2). Continue work ing in right-angle weave to create a second row of right-angle weave [6] Repeat steps 4 and S to create a thied row of rightangle weave (figure 3), ending and adding thread Basics) as needed, Embellishment [1] Add 2 yd. (1.8 m) of thread to the base, exiting an inside 4 mm at fone end of the frst sow of right-angle weave (igure 4, point a) Pick ap a 6 aim a anda 15° seed bead, skip - and sew back through the margarita and the 4 mm in the nexe right-angle weave stitch (ab). Repeat to the end af the row [2] Sew through the end 119.4 mm, and 118, and continue through the next inside 4mm. Continue to adda second row of margaritas and 15° as instep 1, and end the thread. Clasp [1] Add 9 in. (23 cm) of thread to one end of the base, exiting the second 112 in the end right-angle weave stitch of the first row (igure 5, point al. [2] Pick up 1wo 11°s,a loop of the clasp, and two 11s,and sew through all the beads in the end right-angle weave stitch (@-b), Retrace the thread path through the loop of beads and the clasp. [3] Sew shrough the next end 11%, and repeat step 2 (0 attach the nevt loop of the asp. [Al Seve through the next end 4 min sand 11), and repeat steps 2 and 3. End the thread. [5] Repeat steps 1-4 on the other end of the hase, @ 6 mmerysal margarita 4 nim geal 1 se teat 11 snd toad @ ‘ materials bracelet 6% in. 17.1 em) ++ 52.6 mm margattas (Swaroveks, cesta Ight vital unfoied) ++ 1924 rim round peas (Swarovski, lati) + 34g 11" seed beads pMlyust 461, metalic Chocoiste, + 1-29 15° seed beads (Tebo 717, ickel plated silver) ‘+ A-strand box clasp (Eelecticn, 262.641-0061) ‘+ Fiine 3b, test beading nesdles, #13 BD ze crvt at ator forthe projects in thie issue, go online to BeadAndButton.comiresources, choose this issue, and click tha ‘Materials List downloadable file. Jane Danley Cruz is an associate editor ‘at Bead&Button, Contact her at jcrex@ beadandbutton.com, vwww:BeadAndButton.com | Apri 2012 63make iit crystals® = designed by Grace Nehlis You can use any one of these components separately to create variations that suit your style. Fer instance, ‘a shorter version of the focal bbar can be used as an eamting or pendant. 70 BeadABution | www Bead4n6Button contIntricate rings of cubic crossweave technique serve as bezels, a toggle clasp, and a curvy focal bar from which to suspend a pendant. Create a matching pair of earrings for an ensemble that is sure to please, stepbystep Bezeled rivolis [1] Thread a needle on each end of yd, (2.3 m) of Fireline, and center three color A 15? seed beads. With one neeille pick up an A, and eress the other needle through it. [2] With each needle, pick up an A. With one needle, pick up an A, and cross the other needle through it Repeat this stitch once (igure 1). [3] With cach needle, pick up an A. Cress hoth needles through the end A In the firs stitch figure 2) [4] With one needle, sew through a top on the adjacent side (figure 3, a-b). Sew through the ring of four Ason this side (bc). Repeat with the other needle on the opposite side [5] Gross both needles through a bor tom A on the adjacent side (figure 4). This complete weave unie and positions the thread £0 Fst cubic eros "2 8 XS FIGURE § FIGURE 6 “es a. build subsequent units. There are six sides per unit, which all look the same. The A your threads exit after comple ing cach unit determines the direction of the new unit, [6] Continue working in cubic eras weave technique to build a subsequent init off of a previous unit: With each needle, pick up an A. With one needle, pick up an A,and cross the other necdle through it. Repeat this stitch once (figure §). With each needle, pick up an A. Cross both needles through the top A in the previous unit opposite the bottom A your thread exited at the start of this step (figure 6). Repeat steps 4and 5, [7] Repeat step 6 to make.a total of 21 cubic crossweave units, [8] Join the end nics: With each needle, pick upan A. Cross both needles through the corresponding A in dhe firse unit and sew through the adjacent As (igure 7). Cross both needles through the next A. With each needle, pick up an A. Cross Sau: aS FiguRE RouRE « crystals materials necklace 17 in. (43 om = 614 mm hols (Swarovst, purple haze) = 208 mm pears (Swarovek), ream) + 6 5mm pears (Swarevsti, cream) + 84 mini pears (Swarovsti, crear) + 10 3 1 pears (Sivarovsh|, ream) = 24 mm bicone crystals (Gwerovol jt) = 5862 mm round eyetalo Gwarovelt jt) 2 7-8. 15¢ seed beads, calor oho 221, bronze, * 2-3 15% Cherlotes, color © Czech, bisa) © 2-3. 13° Charlottes, color 8 (Ceech, creain * Fieine 401 Bb test * beading nescles, #12 pair of earrings 1% in. (4.4 cm) + 2.8 mm pears (Swerwsk, crea) + 24 mm pears (Swarwsk, crear) + 2.3 mm pears (Swersk, crea) + 2.4 mm bicone cryotas (Swerovsk ) * 60.2 mm round crystals (Swarovski, jet) + 12g 15" seed beads, color (fot 221, ronal + 1-29 15" Charotes, color 6 (Czech, bisk} = 1-29 19" Oherlotise color (Czech, crea © 2:3 mm sober ump rings epiona) * pairof earring incings + Fine 4 ob. test * beading needles, #12 '* 2 pire of pliers (optional) Dro pint amare forthe projects in this issue, go online to ‘BeadAndButton.com/resources, choose this issue, and click the Matetials List downloadable file. Grace Nebls derives inspiration for her designs from textiles and everyday surroundings. She teaches classes at Baad Haven in Lae Vegas. Contact her at beadmearacefullyicox. wy BeadAndButton com | Aor 2012 71b ey both needles theough the corresponding Ain the lase unit. With each needle, sew through the side As to complete the join. [9] With one needle, exitan A along the inner edge of one side of the bezel. This will become the back of the bezel. Pick up accolor 8 13° Charlotte, and sew through the next A along the inner edge. Repeat this stitch around the ring, and step up through the first B picked up in this round. [10] Work a round of tubular peyote stitch (Basics, p. 104) off the previous round using color C 15® Charlottes. Sew through the beadwork to exit an along the outer edge ofthe same side of the bezel. [44] Place a 14 mu rivoli into the ring with the back of the rivol facing the rounds of beads just added. Gevtly push the rivoli into the bezel, allowing the front side of the berel to surround the sivoli (photo a). [412] Using the other needle, sew through the beadwork to exir an A along the inner edge of the front side of the bezel. Work 2 round as in step 9, and then sew through the beadwork to exitan A along the outer edge of the front of the bezel, EDITOR'S NOTES: + For a budget-triendly option, ‘substitute 11° seed beads for the 2 mm round crystals. * Create a bracelet by using a bezeled rivoll centered between two pearl components. Make the toggle clasp, and add straps in step 7 of "Assembly" to fit. + Ifyou profer using one needle: Instead of two, work the bezels: ‘and other components in cubic right-angle weave instead of ‘cubic crossweave. Anna 72 Bead&Button | wn, BeadAndButton con [13] Work ac in step 9 to embellish the outer edge using 2 mm round crystals, Ising either thread, add 2 mms to the other outer edge. Retrace the thread path through the outer edges, but do not end the threads. You will use them to join the components later [14] Make a total of six bezeled rivolis Bezeled pearls [1] Work as in steps 1-6 of “Bezcled fivolis,” making a total of 14 cubic crossweave units [2] Join che end units as in step 8 of “Bezeled rivol [3] With one needle, sew through the beadwork co exitan'A in the center of the inner edge of the bezel. Pick up an 8 mm pearl, and sew through the center A opposite the A your thread just exited (@hoto b). Reteace the theead path to secure the pearl, and then sew throvgh the headwork to exit an A along the inner edge on one side of the bezel. [4] With the same needle, pick up aC, and sew through the next A of the inner edge. Repeat this step to complete the round, and then retrace the thread path around the inner edge [5] With che same needle, sew theovigh the beadwork to exit an A along the cuter edge of the same side of the bezel Work a round as in step 4, bur use 2:mms instead of Cs, End this thread (Basics) [6] Using the other needle, sew through the beadwork ro exit an A along the inner edge of the re bevel, and theo repeat steps 4 and 5. End che chread, [7] Make a cotal of four bezeled pecrls, ng side of the Toggle ring Work as in steps 1-13 of "Rereled rvolis,” omitting the rivoli added in step 11. End the threads, Tog: [A] Work asin seeps 1-6 of “Bezeled rivolis,” making a total of rine cubic crossieave units [2] Exit the end A on one end of the bar Pick up a B, and sew through the next A along one edge of the bar, Repeat this stitch to the end of the row, exiting the A opposite the A your thread exited at the start af this step (photo 0). [3] Pick up.a.2 mm,and sew chrough the next A along the opposite edge. Repeat this stitch to the end of the row (photo d), and end the thread. [4] Using the remaining thread, repeat steps 2 and 3 on the opposite side of the coxgle bas Focal bar [A] Work asin steps 1-6 of *Bezeled rivols,” making a total of 41 eubic crossweave units [2] Sew through the beadwork to exit the second center A on one end of the focal bar, Pick up an 8 mm pearl, skip seven center As, and sew through the next center A (photo e). Reirace the thread path, and then sew through the next stitch in the bar, exiting the A opposite the A joining the pearl just added. Repeat this step, skigping seven center As for the next 8 mm, skipping six As for the center 8 mm,and skipping seven center As for the last two 8 mms. As you add the 8 mms, it will ereate the ccrves in the focal bar, and each 8 mm will si on the inner side of each curve don alternate sides of the focal bar [3] Work as in steps 2 and 3 of “Toggle bar” to embellish both edges of one side fof the bar, using Cs and 2 mm in the following pattern: nine stitches using Go, eight stitches using 2 mms (photo 9, eight stitches using Cs, eight stitches using 2 mms, and nine stitches using Cs Embellish the other edge on this side, but pick up 2-mms opposite the Cs, andd e pick up Cs opposite the 2 mms. Embel lish the remaining edges on the other side of the bar, matching the beads used for the corresponding edges on the first side, End the threads, Assembly [1] With the remaining thread from a bezeled rivoli, exit center A along the outer ede of the bezel. [2] Pick up an A,an 8mm, and an A, and sew through a corresponding center Aon another bezel. Sew back through the beads just added and retrace the thread path several times, End this thread. [3] Lay out wo more bezeled rivolis next to the previous oxo to forma dia mond shape,and using the remaining threads from one of the new bezels, exit a 2 mm on the frone surface. Sew through a corresponding 2 mm along the outer edge of the adjacent bezel and the next 2 mm in the new bevel. Repent to attach the 2 rams on the back surface of the bezels. Work in this manner to join the new bezel to the other bezel from step 2. Repeat this step to join the fourth bezel 1o the original two bezels. [4] Sew through the beadwork 10 exit the center A along the outer edge at the top of the berel in the diamond shape. Pick up an A,and sew through a corre. sponding A at the bottom of the ceater curve on the focal bar, Pick up an A, andl sew through the center & of the bezel your theead exited at the start of this stich, Retrace the thread path, and then repeat this join on the back of the bezel and focal bar [5] Position a bezeled rivoli beeween ‘wo bezeled pears. Using the remaining threads fram the bezeled rivoli, join [Cubic crossweave technique is a variation on cubic right-angle weavt the three bezels using the technique explained in step 3. Repeat this step. with the remaining beveled rivali and beveled pearls, [6] String the necklace: Lay out the focal bar and one rivoli-and-peadt unit. ‘Add 12 in, (30 cr) of Fireline to the focal bar, exiting an end A on the top of the bar Pick up a repeating pattern of an 8 mm pearl and an A four times, and then pick up an 8 mm pearl. Sew through a corresponding A on the onter edge of the rivoli-and-pear! unit,and sew back through all the beads just picked up. Sew through the A.on the focal bar opposite the A your dhread exited at che tart of this step, and sew theouigh the 8 mutas and As just picked Lup and the corresponding A of the voli-and-pearl unit. Bnd the thread, [7] Add 12 in, (30 em) of Fiectin ther end of the same rivoli-and-pesel tit, and exit the corresponding A along, the outer edge opposite the join. Pick up a repeating pattem of a 6 mim pearl and an A three times,a 4 mm bicane crystal, a repeating pattem of an A and 2 4mm pear four times, and a repeating pattern of an A and a3 mm pearl five times. Sew through 2 center A along the outer edge ofthe toggle ring, and sew back through al the beads just picked up. Sew through the A in the rvoli-and- peat! unit opposite the A your thread exited at the tart of this step, and reerace che thread path, sewing through the corresponding A on the toggle ring. End the thread, 18] Repeat steps 5-7 on the other side of the necklace, bur in step 7,add a repeating pattern ofan A anda 2mm four times, and then pick vp an A. Sew to the View a video demonstration of classic cubic right-angle weave at BeadAndButton.com/videos. through two center As along the inner curve of the toggle bar, and complete step 7 to eeinforce the join. End any remaining threads Earrings [1] Make a bezeled pearl, but don’t end the threads. [2] Exiran A slong the outer edge on cone side ofthe bezel. Pick up a4 mm pearl, an A,a4mm bicone,an A,33 mm pearl, and an A, Sew through a soldered jump ring or an earring finding, and sew tack through all the beads just picked up. Retrace the thread path, but sew through a corresponding A along the outer edge on the other side of the bezel. Retrace the thread path once more, and end the threads (Basics, p. 104), 13] If you sewed the carring to a soldered jump ring, open the loop of an eacring finding (Basics), and attach the soldered jump ring. [4] Make a second earring. © ‘These earrings complement the necklace, but they can easily be worn alone as everyday win BeadAndButton.com | Apri2012 73BEAD WEAVING / STRINGING Circle — square Forget round pegs and square holes — pearls are the perfect fit for these beaded cubes designed by Kathleen Burke Bead&Button | wuvn.BeadAndButton‘con :Square off a set of beaded beads with equally angular bicone crystals, and then soften the lines with round crystal pearls, These unique shapes require consideration: As you string your bracelet, check that it’s long enough to fit around your wrist, and form it into a circle before crimping to ensure there’s enough space between beads for a proper fit. stepbystep Beaded bead Work the following steps with tight tension, [4] On 2 yd. (1.8 m) of Fieoling, pick up a partern ‘of a 3 mum fire-polished bead anda 6 mm pearl four times, leaving a 6-in, (15 cm) ral Sew theough all the beads again to form a ring, and continue through the frst 3 mm and pearl (photo a). Place the ring of beads on 2.6mm drinking straw. EDITOR'S NOTE: [2] Pick up four 15° seed beads, an 11 cylinder bead, and four 15%, Sew through the pearl your thread exited a the start of this step to form a loop around the top of the pearl [photo b). Retrace the theead path through the loop and the pearl, and continue through the next 3 mm and pearl. Repeat this step to form a loop around the top of each pearl. [3] Work as in step 2toadd loop around the bottom ‘of each pearl (photo ©). Even if you don't normally work tubular beadwork around a form, you'll want to use one for these beaded beads. Without it, the ‘opening at the top and bottom of ‘the bead won't be circular. | found 2 drinking straw worke better than a dowel or other solid form; the straw is sturdy enough to support the bead, but its hollow core allows it to be compressed slightly as you ‘work with tight tension. ~ Stacy Sew through the frst four 15°sand cylinder of a loop around the top of a pearl [4] Pick up five 15% and sew through the eylinder above the next pearl (phote d). Repeat this step around the top of the pears, and then sew through all the 15% and eylinders om this step 10 teinforce the ring. [5] Sew through the bead- work to exit the frst Four inder of a loop around the bottom of a pearl Work as in step 4 around the mae it ity crystals: materials biue/gray bracelet with nine beaded beads 8769 in, (21.0-23.6m) +168 mmenstal pears (Crystaze, ont gray + 360 mmonstal peas (Crystez2, light gray) + 804 mmbicone onpia’ (Gharovee, herons) + 54.3 mm frepoiched beads (C20, sve} 22-4 mn reund metal beds (siven #20 11° ovinder Deeds (Miyuki 080146, sher-inec smoky amethyst + 5g 15° seed beads (Miyake 452, metallic dark bbe iis) + toggle clesp ++ 2onmp beads + 2onmp covers (optoneh + Fine 61. test + beading needles, #10 + mexble beacng wie 014-019 + crimping ples + we caters + denking ara, 6mm ameter + Baad Stopper ortapa rainbow bracelet colors: + Bmmensta’ pears (Crystaza, white + 6mm crystal pearls (Grystaza, wnite, + 4mm bieone crystals (Gaarovski fre opa ott ‘space, aethyst, ime, light Siar, bis zircon, ight amettivst, capri tue, rese, arc ight topaz) + 2mm mepalshed beads (C220; n colors tomatch the 4 mm Bicones) + 8-4 rm round metal beads (aoe + 8 coed beads n pace of the 4 mm biconee betwosn eau (gale) + 15 cylinder beac sive +15? sect beads (acid) Aor 2012 75pair of earrings + 48 mmerystal pears (Swarovek, wnte) + Bo mm crystal pets (Swvaroves, oni gcd + 204 nn bicone costs {Srvabvski igh F036) + 1201nm fr potaed beads (Czech, baht oe) #18 11" ofinder seoda (Mays 880079, pare ‘salmon-ned tat + 24 15" seed beads (Miu 429, opacus earnon) + 22-in (7.8 om) head pins ook + par of earina fangs (ok + Frelne €b.test + beading needles, #10 + chainoee pire + roundnose plies * wire cutters + dinkng straw, 6mm ameter DB ropum: ar marrats {oF this issue, go online to BeadAndButton.com/ ses, choose this issue, and click the Materials List downloadable file. Kathleen Burke took up beading after admiring handmade —and very blingy! — erystal bracelet at «party. She lives in Portage, Michigan, with ber busband, 4 dog, and «cat who enjoys knocking bead containers om the floor, You can email Kathleen at katbuarke2ue aahoo.com, DESIGNER'S NOTES: In steps 2 and 3 of “Beaded bead,” don't ‘ty 10 speed the process by working two loops around each 6 mm pearl before ‘moving on to the next pearl. The extra thread path created by working step 2 end then step 3 strengthens the inner core of the beaded bead. To make an earfing of a dangle for a clasp: Ona 2-3:in. (5-7.6 cm) head pin, string ¢ 4 mm bicone crystal, an 8 mm pearl, a beaded bead, two 8 mm fire-polished beads ((o sit inside the beaded bead), an 8 mm pearl, and a4 mm cone. Make a plain or wrapped loop (Basics, 'p. 104) to attach ta an earring finding or clasp. g bostom of the pearls, and then sew through the bead~ work to exit a 3 mm. [6] Pick up 15%,2 4mm bicone erystal, and a 15° Sew through the center 15° in the set of five 15% above the 3 mm (photo e). Pick up a. 15%,sew back theough the bicone, pick upa 15*,and sew through the 3 mm in the same direction your thread ested it atthe start ofthis step. (photo N, Reteace the thread path theough the erystal ‘embellishment, exiting the same 3 mim, Repeat this step, bur sew through the center I5* in the set of five 15% boolow the 3 nsmn (photo g). Sew through the next pearl and 3mm. [7] Repeat step 6 around the beaded bead. End the working thread and tail (Basics, p. 104), Bracelet [A] Make nine beaded beads, (or as many as desired, keep- ing in mind that their sguare shape means that the inside diameter of your bracelet will be smaller than the overall length of the piece. My bracelets have nine beaded beads and measure 815-9 in, (216-23 em) with an inside diameter 0f 615-7 in. (16.5-18 em) when clasped. [2] Cur 12 in. (30 em) of beading wire. Center the fol lowing beads: an $ mim pearl, a beaded bead, two 3 mms {to sit inside the beaded bead), an'$ mm, beaded bead, two 3 mms, an 8 mm, a beaded beads, two 3 mms, and an $ mm. On each end of the wire, string the following pattern three times: a 4 mm bicone,an 8 mm, a beaded head, two 3 mms, and an 8 mm, Temporarily seatire ‘oneend of the wire with 3 Bead Stopper or tape. [3] On the other end, string 24 mm,a3-t mm round bead, a crimp bead, and half ‘of the clasp. Go back through the crimp bead, the round bead, and the 4 mm, Crimp the crimp bead (Basics), and trim the excess wire. Form the strand into a ciecle, remove the Read Stopper or tape, and repeat this step on the other end, Close a erimp cover over cach crimp if desired. ©(@10) (eas Calera NC Maa Amd ad Power trio | Embellish a supple spine of cubic right-angle weave with sparkling seed beads bracelets to wear together. adAngBuatlon con@ & seers Dw opinterteas @ 15 ed beat FIGURE URE? Get ready to rock and roll! In rock music, a power trio features guitar, bass, and drums for maximum musical impact. This bracelet uses three types of beads to much the same effect. stepbystep Rope [1] On 2 comfortable length of Fireline, work a strip of three rightangle weave stitches (Basics, . 104) using 8° seed beads and leaving a Goi. 15 cm) til, Join the first and last stitehes to form 4 rings Exit an ene 8 the last stitch, Pick up an 8% sew through the end 8? in the first stitch figure 1, a-b), pick ‘up an 82, and sew through the end 8° in the last stitch (b-c), Sew throng the four §°s on the top and bottom of the cube to make it more stable. [2] Continue working in cubic right- angle weave, working off of the four top 8% in the previous cube: Exit a top 8, pick up three 8°, and sew through the top 8 your thread just exited and the first 8° just picked up. For the next stitch, pick up two 8's, sew through the nest top 8% the side 8° in the previ ous stitch, and the two 8°s just picked up, For the third stitch, sew through EDITOR’S NOTE: To go from racker to glamour girl, substitute 2mm round crystals for the cylinder beads. - Jane the next top 8°, and pick up two 8°, Sew through the side 8? in the previous stitch, the third top 8, and the first 8° just picked up. For the fourth stitch, pick up an 8, and sew chrough the side 8° in the first stitch, the fourth cop 8°, the side 8° the previous stitch, and the 8 just picked up. To complete the ceube, sew through the four new top 895 to stabilize the structure. [3] Repeat step 2 to make a rope the desired length, ending and adding thread (Basics) as necessary. When the rope is completed, end the working. thread and ail. Embellishment [A] Add 2 yd. (1.8 m) of Fireline to ‘one end of the rope, ewiting an end 8, Pick up an 11° cylinder bead, and sew through the next end 8 in the same round of the rope. Repeat this stitch three more times, and step up through the first cylinder picked up in this step (igure 2). materials pink bracelet (p. 79 8 n. (20 om) 7-8. 8 seed Deeds (Toho 2107, mily ctr pink) + 2439 11 cyte beads (amu! BECOSI0, mate blac = 250g 15" sped beads (Tebo 71 nick pated ove = 210% 11 rimend cane (iver = asp « Freine 81 fost * beading nesdies, #11 blue bracelet (p78) colors: * sae beads (Tono 51 1F, metalic. frosted Mediteranean bles) + 11 cylinder beads (Miyuki 080218, medium blue cpaque luster) 1+ 15% seed beacs (Toho 711, nickel -lated siver oid bracelet (0, 78) colors: ‘8% seed beads (Miyuki 651, gi-ined opan 1» 118 clei beads (Myubi DBOC2T, metalic davk green rs cs) "+ 15" seed boas (Mlyusl 1421, dyed sikerined golden cive) purple bracelet (p, 79) colors: ‘+ 8° goed bead (Toto 928, coor-ined purpleviosaline AB) '» 11 cylinder bears (Mayubd O80CO7. metalic dark ren is uN) 1» 15? seed beads (Miyuki 551, git-ined opal) pearl bracelet (p. 79) colors: * 8" seed beads (Toto £92, antique Nory peat Ceylon) ‘+ 11 cylinder bears (Muh DBOD42, sivectired gold) 1» 19 seed beacs (Mju 313, cranberry otc luster) Isabella Lam began beading in 2004 and now owns 3 bead store in Fsrael with her bse haved. Emaail Feshella at searlet@actcom.covil. ov visit her website, etsy.comibeadtme, www BeadAndButton.com | Aprl2012 78ORG ad tig ELEMENTS ee) jee eater eet eee ane beadaholique,com feed your need to bead Toho! Miyuki mistone Beads Czech Glass Beads Green Girl™ Studios Lucite Flowers & Cabochons Mixed Media * Resin Casting Wood seads Cultured Peat Ribbon * Cord # Chain * Wire Crystallized™ - Swarovski Elements Gold & Silver Filled, Sterting Sily Pewter, Copper, Steel & Brass Beads, Findings, Charms & Pendants Vintaj™ * Nunn Designs ast™ judikins™ © Plaid®™ # Aanraku™ © JBBI Metal Blanks « Metal Punches Tools * Supplies « Displays Beadalon™ Soft *Te Free Shipping in the USA on Orders of $25 or More! Visit our website for hundreds of tree videos & project instructions, 80, BeadBButlon | ww. BeadAndButlon com rcunes [2] Pick up four 15° seed beads, a cylin- der, and four 15%. Skip the next cylinder added in the previous round, and sew through the following cylinder (igure 3, arb). Repeat this stitch, and step up through the first four 15% and eylinder picked up at the start of this step (0-0). [3] Sew through the adjacent 8? in the next round of the rope that is parallel torthe hole in the cylinder your theead isexiting (c-d), Pick up a cylinder, and sewr through the next 8° in the same round (He), the center cylinder in the next stitch of the previous step (e-N), and the next 8° in the same round of the rope (). Pick up a eylinde, and sew through the next 8° in the same round of the rope, the center eplinclee added in the next stitch of the previous step, the following 8¢ in the same round of the rope, and the first cylinder picked up in this step (Q-h). This will ensure that the embellishment stitches line up, [4] Repeat steps 2 and 3 for the length of the rope, and end the thread. Clasp [4] Add 12 in, (30 em) of thread ro one end of the rope, and pick up an end cap, an 8%, three 15%, half ofthe clasp, and. three 15's, Sew back through the 8° and the end cap, and continue into the rope. Retrace the thread path several times co secure, and end the thread. [2] Repeat step 1 on the other end of the rope. @ Qo viet snmatiats for this issue, go online to ReadAndButton.com/resources, choose this issue, and click the Materials List downloadable file.aaa Combine bead embroidery with chunky vintage findings a ed aLightweight Bakelite is a perfect material to use for earring designs. You get a heavy-duty fashion statement without the weight while preserving a bit of the past. stepbystep Embroidered dangles IF desired, dye the beading foundation according to the dye manufacturer's inctructions to match your dominant color palette [A] Cox a piece of beadine foundation about ¥ in, (1.9 im) larger than the sew-on ervstal. [2] Pura dab of E6000 adhe- sive on the back of the crystal, and center it on the beading foundation. Let the glue dry. [3] On 1 yd.(.9 m) of Fire- line, tea knot atthe very end of the thread, and sev up throtigh the foundation from back to front, exiting 2 hole of the erystal. Pick up an 11° seed bead, and sew back through the erystal and the {photo a). found Retrace the thread path to secure the erystal, and then repeat for the other hole of the erystal. Sew up through the foundation to exit next to the edge of the erystal [4] Pick up two 11%, and lay them next to the edge of the crystal Sew down through the foundation after the second 11%, sew up through the foundation between the ‘wo 11's, and sew through the second I1® again, Repeat this step (photo b) to sur round the sew-on crystal. Sew through all the 1" to snug them up to one anther and the crystal, and then sew up through the foundation atone end of the crystal. [5] Pick upan 11%,23 mm rose montee, ane an 11% and lay them next to the round of seed beads. Sew down theough the foundation after the Tase 11 (photo €), and rerace the thread path, Sew through the foundation and the other hole of che rose montee to vecure it (photo d). Sew up through the founds- tion next to one of the 11% addled in this step. [6] Pick up two color A 15° Charlottes,and work as in step 4 (photo ) to surround the 11%s nd rose montee added in step 5. [7] Repeat steps § and 6 on the opposite end of the crystal (ahoto N [8] ‘Trim the foundation next to the outer edge of beadwork, making sure not to cat the thread. Trace the resulting shape ona piece of Ulea- suetde, and cut our the shape. Glue the Ultrasuede co the foundation. Let the glue dry. Paarl ea Cota ee eens See Cee geass De ea ace a ican eer ay () materials cleer-crystal earrings 4in. (10 em) * 21/40. (3,20n) square ‘Bakelte components ‘earanotsand com) #210 12 mm vintage sew-on ‘ysl moved ows (agrainofsand.com) + 43 mm 86 mentees Fed) + 34.911 coed bese (Toho, ever ned back + 29 19% Chatto, olor A ounmeteh + 3g 15? a2ed beads, coor 8 ‘(eho 250, sher- ned ruby) * air of oval lever back earrhng findings * Freire 4-6 lp test beadhg needles, #12 + 2paies of pers + E6000 achesve + fabrio dye optional + Laoy’ Sti Stt beading founceton + Utrasuece black-crystal earing colors * 95 mm stone rings, in place of Bakelte coxrponents (lank) + 140 mm sow on oytal inplace of 16 12 mm vintage ‘seu-on minerec ovals (SwarcvsB +11 seed beads Toho 711, ‘nicke-pleted sier) + 158 seed beads, In place of ‘Crarotes, color A Toto $29, ‘Afoan sunset golc-ustr) + 3 16" seed beads, color 8 (Toho 250, slverned ruby) Suzanne Branca ‘owns the online bead source Acute of Sand Wed Contact her via email at suzunne@ugnairofesrrd.com, or visit agiainofsared.cons to order most of the materiale used inthis project, Aoii2012 83Bakelite, the material of a thousand uses mnt sur when | becare obsessed with Bekelte, Out | can tell YOU wry, As a cotector ofthe suf, | must say there 6 nomning else gute tke genuine Bkelte. thas a wendertl fee, a deep, ‘ich soune! when you tap two pkoes togetter, and even a set that has a sor of zing" 10 True Batolte hes no sears, which isnot the case with modem plastos, Bakelite comes in awide variety cf adios, Including black, ane! range of transparencies from opaque to marbled. Orginal white Bhai hat turned a cream color us lo the aging process, and clea transparent Bakelite has turned yellow ard ie now krown as anol ice Bakelite. Bakelite was the fst completely sync psstic ever made. it as fivented by accident in 1907 by 3 Belolan chemist named Dy, Leo Baskeland, While trying fo develop an alternative for shalac, Dr Beekeland applied heat and pressure to create @ ‘compounc of phenol and formaldetyyle, When he tied to reheat the soled compound, he discovered that it would not met (which why Bakelite cannct be recycled), Bakelte was found to be fhe resistant as wel as electrically nonconductive, soit ‘became very useful as an insular ‘or electronics, ‘As the frst form of alasto, Bekelte changed haw peogle lived, ‘andi soon came to be known as “ihe material ofa thousand ses.” Durng wartime, Bakglite was ofler used toreplace metals ede forrikaryeflorts, Bakelte was used in the wall panels of mobile homes and to make adios, olay telephones, mecicine bots, clocks, avtomoble dashboards, comnb-ard-trush sets, Kitchen utensis, gare pees, and shldren's toys, too. Oh, and iewolry — # was Used in ote of norelocul ewer! |n 1007, the Baksltapatert expired, ancthe Catalin Comporatien ‘acquired the produet, Cataln developed rrany new and brillant colors of Bakelite, and Bakelte-Catain jewelry was sold to ‘Compenies tke Saks Fith Avenue as well 2s Woolworths Five ‘and Dine store, ‘As the Depression brought dificult ance ties, Bakelite Jewely became very popular for psople of alleconomic classes tent sett east to caring and rong to beauttul shapes, ‘AIG ILeOuld easly be emibeist ed ih Mnesiones. was Coro, ‘ersatle, and, best of al, afordable for rrost everyone, Even famous cesigners tke Coce Chanel and Yvos Saint Laurent fered jewelry andl accessories made of Bakelite By theend ef Word War I, now predusta such ae Lucite fiber ‘ks, vinyl, and acryic came on the market. They were cheaper to predice and easer to rroldand eet, hus making Bakelte ‘ard Catalin nearly obsolete. However, Bakelite is sti used today for electronics and the automative incusty because of tis heat resistance, durabilly, anc! ronconducive prooeries. The geod news is thet | found mountains of Bakelte — cuff bracelets, beads, rings, and jemelly components inal aferent shapes, sizes, and colo's — within a hoa cf vintage beac | recently acquired. See “Lrcoverng the bead hoard” in the February 2012 isaue of Baaci&Bution for the whole stony) Mary ‘ofthe Baie peces were used in Yves Sait Laurent's eaty 1960s accessory colections, These places were thought tobeost forever, but the everstock was put into storage and ‘vertcoked for many years. Now the secret is out: ABakelte treasure has been found, Let the collecting comhue! ‘Toleam more about Bali, check out these resources * “A new chemical substance” The New You Tes (February 6, 1908), + Balalite: An iluetrated guide to collectible Bakalte objects, by Patrick Cook and Catherine Slessor (1002), ‘The Plastics Age: From Bakelite to baanheass and beyond, cited by Penny Sparks (1998, For information sbout Bakelite authertiity testing visit AGOS Bead Unversity at agranctsand.com. ‘Sizanne's Bakelite discovery included several styles of beads and components like the cnes shown here.9 [0] Sew up theousgh the heading foundation only, exiting next to the edge of the beadwork. Pick u color B 18® sced beads, and sew down through both the beading foundation and Ulerasvede. Sew back up through the second B picked ap (photo 9). [10] Pick up a B, sew down through both layers, and sew back up through the B Just picked up. Repeat tis step around the edge of the embroidery. To complete the last stich, sew ehrough the first B picked up and the last B onee again, [14] Exie one of the edge two Beonone side of the crystal. Pick up a Ban 11°, and 2 B. Skip a B along the edge, and sew through the next nwo edge Bs (photo h). Repeat this step three times, and then sew through to the other side of the crystal and repeat these stitches asa mirror image. Sew through the beadwork toexit an edge Bat the top of the crystal. [42] Pick up 12 11%, and sew through the next edge B dered dangle Assembly to foem a loop (photo i. Retrace the thread path, and end the thread (Basics, p. 104), [13] Make a second embroi- [4] On 12 in. (30 em) of Fireline, eater 18 1%. Sew through a Bakelite component and the loop of 11% from an embroidered dangle. Tie the beads ino a ring with a square knot (Basies and photo j). [2] Sew through the ring of Uissagain, esting next to the ail. Tie another knot, ee beads, and end the dreads. [3] On 12 in, (30 om) of Fireline, center 18 11%, and fie them into a ring with 3 square knot. Work as in step 210 secure the ring. [4] Repeat step 1, but sew through the ring made in step 3 and the top ofthe Bakelite component before tying the knot. [5] Open the loop (Basics) of an earring finding, and attach the top ring of 11° [6] Assemble the second caring, © Ne a ey beautiful and just for you! Perea kee eo cer Pee Reatedst ee SUBSCRIBE TODAY! 1-800-533-6644 emai www.BeadStyleMag.com Bead Renaissance Shows Retail & Wholesale - Free Admission Dallas/Grapevine, TX May 18-20 Friday - Saturday 10- 6, Sunday 10-5 Grapevine Convention Canter 1209. Main Street Las Vegas, NV June 1-3) Friday - Saturday 10-6, Sunday 10-8 Palace Stetion Hotel Casino 2411 W. Sahara Ave, Denver, CO Sept. 13-1 ‘Thursday - Saturday 10 -6, Sunday 10-5 ‘Denver Merchandise Mart, Annex ASTE, 58th Ave, SU ae aoa Ee) re CCE RD Live Oak Civic Center Een) fare aine ee Getcena wunwBeadAndButton.com | April2012 85Darling daisy motifs dance along a netted base designed by Janice Chatham a Crossweave technique produces an even, fluid base for these pretty petals. 88 BeadBBution | ww BeadAndButon comBuild a base of lacy lattice with sparkling Charlottes, and then plor a path of colorful blooms. Two alternating colors make for a not-too-flower-child look, though a rainbow of fire-polished beads would do the trick, if that’s your thing! stepbystep Base [4] Thread a needle on each end of 1 yd. (9 m) of Fireline, and center three color A 15% Charlottes. Wieh one needle, pick up an A, and cross the other needle through it igure 1, a-b and aa-bb) [2] With each needle, pick up five As. With one needle, pick up an A,and ‘ross the other needle through it (b-c and bb-ce), [3] With each needle, pick up an A. With one needle, pick np an A, and cross the other needle through it (e-d and co-da). [4] Repeat steps 2 and 316 times {d-e and dd-ee). End both threads Bases, p. 108). [5] To begin the second row, repeat step 1 figure 2, ab and aa-bb). [6] With one needle, pick up ewo As, sew through the center A of the first set of fire As from the frst row (bb-cc}, and then pick up two As With the other needle, pick up five ‘As. With one needle, pick up an A, and cross the other needle through: it(b-c and ec-dd). [7] With each needle, pick up an A. With one needle pick up an A, and cross the other needle through it (c-dand dd-ee). 18] Repeat steps 6 and 7 16 times (d-e and ee-f)). End both threads. [9] To work the third row, repeat step 1, and then repeat steps 6-8, [10] Add 1 ya. (9m) of Fieline Basics) to one end ofthe base, exiting the first center A along one edge of the base with your thread pointing toward the other end of the base (figure 3, point a). nrounes materials pink/green bracelet 7 in. (18 em) * 44 mmround crystals n gach of2 colots: (© (Swarovski, pacharadschs AB}, E (Swaroves) turquoise) ‘= 40.3 mm round tre-polsned beeds fh eachat2 oars: 1 (Czeeh, pink, F (Qze0h, line green) ‘= 7-8 15° Charlot seed beads, color A (Grech, nickel acted) = 2-39 15* coed beads, calor {ahs 482A, pink gold ie) © asp © 22-6 mm pmo Hing + Firing 6 lb, test * beading ness, #12 * 2 pais of pers blue/gold bracelet colors: ‘© 4 mm round cwystals, color © Swarevshi, air bye ona), color E Swarask, crystal ‘tral meclu) ‘+ 3 mm mund fie-polished beads, color D (Czech, metalic ble ts), cobr F (Czech, ‘mate metalic 2014) ‘+ 15° Charote seed Dead, color (G2ech, nickel pated) ‘= 15° soed beach, color B [Foho 4524, pink god ies) greenforéam bracelet colors: 4 mm round onal, color C(Swaroves, pt), color E (Swarovski, crystal vtrail ‘mecium) + 3m rund he-poehed Beals, cob D (Czech, aren), coor F (Czech, cream) ‘18 Charlotte seed beads, color (Czech, anique aoc) + 16% seed beace, color B Toto 482A, pink gold irs), teal/red bracelet (p. 99 colors: ‘+ 4 mm round cvystals, color © Swarovsh, jpt,colocE (Swarovsk, crystal viral meaiur) ‘+ 8 mm round fre-polshed besds, color D (Czech, tea), color F Czech, red) + 16° Charolte seed beads, calor (Czech, nickel plated) ‘+ 15? 200d beach, color B (Toho 452A, pink gold ire) ContactJanice Chatham att bighib2@aol.com, \ www BeadAndButton.com | Apil2012 88FIGURE « FIGURES [11] To add a picot embellishment to the edge of the base, pick up three As, and sew through the A your thread exited at the start of this step (@-b). Sew through the next eight As along the edge of the base (b-0). [42] Repeat step 11, completing the picot embellishment on the last center \ on this edge (¢-d). Sew through the cnd stitches to reinforee the end picors, and exit the first center A on the other calge of the base (d-e). Repeat step 11 along this edge (©, and then sew through the remaining end stitches {-. End the thread, Daisies [4] On 1 ye (9 a) oF Fitelingy pick wp a color C4 mm round crystal, leaving a 12:in, (30cm) tal, Sew through the 4 mim again, creating a loop of thread around the outer edge of the bead (figure 4, a-b). Repeat to add a second loop of thread EDITOR'S NOTE: Make a matching pair of earrings with just two single flowers: Work stope 1-4 of “Daicios," but in ‘step 4, pick up a soldered jump ring at the end of the last petal, and sew bback through the B and D. Open the loop of an earring finding (Basics), and attach it to the soldered jump ting. ~ Anna 90 BeadBButlon | nwo BeadSndBustlon com. FIGURE6 (0-0), Retrace the thread path to create four loops of thread, and then position the patts of loops on opposite sides of the 4mm, [2] Pick up two color B 15° seed beads, sew under the pair of loops on one side of the 4 mi, and sew back through the second B picked up (figure 5, a-b). [3] Pick up a B, sew under the pair of loops nexe to the peevious B, and then sew back through the B just picked ap (O-c). Repeat this step around the 4mm, sewing throuch the other pair of loops when you get 10 that side of the bead, until you have 10 Bs surrounding the 4mm. To secure the first B added in this round, sew through the first B, sew under the pair of loops, ana sew back through the first B a [4] To make the petals, pick up 2 color 1D 3mm fire-polished bead and a B. Skip the B,and sew back through the 3mm and the B in the ring (figure 6, a-b), @ 3 mm mundi plished bad 15° Chariot seed trad, color A = 15° seed bead, color Sew through the next B in the ring (b-e). Repeat this step to add a petal to each Bin the cing. End the working thread ‘but not the tail [5] Make a toa of eight daisiss, four using Csand Ds, and four using color 4 mm round crystals and color F 3mm fise-polished beads. Assembly [4] Using the tail feo a daisy, sew through the second A your threads crossed through in the center row on fone end of the base. Sew back through the 4 mm in the daisy, and then sew through the opposite A between the next set of stitches in the base. Retra. the thread path several times, and end the thread. [2] Skip a set of stitches in the base, and repeat step | with the second calor daisy, Repeat this step until all the daisies have been added to the base, alternating between the to colors. 13] Open a jump ring (Basics), and ancach half of the clasp to the cenier picor on one end of the bracelet. Repeat on the other end. @ QD xe pine mata or a the projects in this issue, go online ‘to BeadAndButton.com/resources, choose thie ieeue, and click the Materials List downloadable filo.Queene. A regal but wearable chain offers a subtle nod to Macedonian majesty designed by Any Kohn Gold and sitver beads end rings frame colorful Tilas that almost look like gemstone tiles:10m twisted jump ing 5 nv Tl tad © imsicomenta @ 11 sond bead © 15nd en This necklace brings together an unlikely pair — the round, twisted jump ring and the smooth, square Tila bead. Choose 11° and 15° seed beads in a metallic hue to match your jump rings, lending the look of fine jewelry fit for an Egyptian queen, Long lines of Tila beads with glinting bicone crystals create a river of color that culminates in a delicate delta front and center. stepbystep Tila bead chain [4] On 2 ya. (1.8 m) of Fireline, attach a stop bead (Basics, p. 104), leaving an 3-in, (20 em) tal. [2] Pick up a $ mm Tila bead, 10 15# seed beads, and a 6 mm twisted jump ring, Sew back through the first 15° Just picked up and the same hole of the Tila bead, forming loop of beads around the jump ring figure 1, a-b), [8] Pick up four 11” seed beads, sew bac through the first 11° just picked up,and sew through the second hole of the Tils bead. Keep your tension tight, and position the loop of 11% ditecly above the second hole of the Tila head. Pick up eo 11° (ore) [4] Repeat steps 2 and 3 (ed) until you have a toral of 20 Tila beads, crating the first half of the chain, [5] To work the center of the chain: Pick upa ‘ila bead, 10 15's, and a 10 mm ewisted jump ring, and sew through the second hole of the Tila bead (figure 2, a+b). 16] Pick up two 11'S, a Til bead, and four 11's, Sew back through the first of the four 11°s ust picked up, and then sew through tie second bole of the Tila bead (b-c). Keep your tension tight, and position the loop Of 11° directly above the first hale of the Tila bead. [7] Pick up 10 15% and a 6 mm ewisted jump ring, and sew back ehrough the first 15° just picked up and the same hole of the'Tila bead (C-d), [8] Repeat steps 6 and 7 uneil you have total of 20 Tila beads in the second half of the chain, not counting the Tila bead at the center of the chain, End and add thread (Basics) as needed, materials sgold/white necklace 19% in, (48.5 cm) ‘= 41 5imm Tia beads (Miyuki 477, white ecu! AB) + 38 3 mm boone crystals Preciosa, ‘rysal damon god aur half coxec) + 8-100 11° seed beads (tac got) + 5-0 15" seed beads (retalic goid = elaso (gol = 18 10 mm twisted jump rings (aol Fie Meuntain Gems end Beads, fremauntaingemscem) ‘+ 52.6 mm twisted jump rings lao: Fe Mountain Gems arc Beads) + Firelne 6b. test * beating nescles, #10 + 2s of pers silveriblue neckiace colors: ‘+ 5 mm Tis beads (Miyuki 451, hernaite) = 8 mm boone crystals (Preciosa, Mortara AS} + 11 seed beads (metalic siver) + 15% seed bead (metalic siver) caso (sve + 10 mmtwisted jump tings (ever, Fire Mountain Gems end eas, ‘ftemexntaingerse.com) ‘+ Simm twited jump rings (alhon, Fire Mountain Gems end Sead) Dx pie mato or at projects in this issue, go online to ‘Materials List downloadable file. EDITOR'S NOTE: Make sure all the jump rings in “Tila bead chain” are completely closed (Basics, p. 104) before incorporating them into your beadwork. — Stacy Amy Kohn worked in graphics and desktop publishing for 15 years before transferring ber hills to wire and beadwork She has bees designing and teaching her creations for the past 10 years in Ise. Visit Ary’s website at ansykobdesigns.etsy.com, or email her at antykoladesigns@bezeaint.net, winuBeadAndButton.com | Apri2012 98FIGURE 8 [9] Pick up an 11°,and sew through the adjacent side 11 in the loop above the last ‘Tila bead added (figure 3, a-b). Pick up 10 15%and.a 10 mm twisted Jump ning, and sew back through the first 15° just picked up, the side 11° in the loop, and the first 11#adided inthis step (b-e). Sew through the next 5W0 11% in ehe loop (e-d. [10] Pick up 10 18%, sew through the 10 mon twisted jump sing added in step 9, and sew back through the fist 158 just picked up and the side 11 your thread exited atthe start of this step (d-e). Do not end the working thread [11] On the starting end of the chain, remove the stop bead, and repeat steps 9 and 10.End the til. Crystal embellishment Before adding the embellishment, lay the Tila bead chain flat on your work surface, arranging itso all the twisted Jump rings sit along the outer edge. Work the embellishment with mediam tension; palling too tight will make the sides banch up instead of lying flat, so adjust your tension as necessary. [A] Wieh the working thread, pick up two 15% a 3 mm bicone crystal, and «ovo 15%s, and sew through the top 11° in the loop of 11% above the nexe Tila bead (photo). Repeat this step until you exit the top 11 above the Tila bead just before the center Tila in the chain, [2] Pick up a 15%, 2 3 mm, and a 15°, and sew through the top 11 in the top 94 BeadBButlon | ww BeadAndButton com FIGURE « of 11°s above the corresponding Tila bead in the other half of the chain, [3] Pick up two 15%, a3 mm, and «wo 15%, and sew through the top 11! in the loop of 11s above the next Tila bead. Repeat this step to the end of the chain, and end the thread. [4] Add 10 in. (25 cm) of theead to the chain, exiting the inner hole of a Tita bead above the center Tila bead (figure 4, point a). [5] Pick up a 15%, and sew through the adjacent side 11” in the loop of 11% above the Tila bead. Pick up a 15%, and sew through the center 3 mm. Pick up a 15°, and sew through the adiacent side 11° in the loop of 11" above the corre- sponding Tila bead on the other side of the chain, Pick up a 15*,and sew through the adjacent hole of the Tila bead (a-b) Continue through the next two 11s, the center Tila bead, the 10 15% below it, the other hole of the center Tila bead, the following two 11s, and the next Tila bead (O-c). Retrace the thread path of this step, and end the thread. Neck straps ‘On onc end of the Tila bead chain, open 86 mm ewiseed jump ring (Basies), and attach the end 10 mm twisted jump ring to anew 10 mm jump ring. Repeat to actach 2 total of five new 10 mm twisted jump rings. Use a 6 mm ewisted jump ring to attach the end 10 mm to hal of the clasp. Repeat this step on the other end of the chain. DESIGNER’S NOTE: Roni Segal, a student of mine, prefers not to wear metal findings, so she replaced the twisted jump rings in my design with § mm fringe drops. I'm always learning from my students!Wire /_ Wire Expressions | chain Mei Chain Mail “Aantastic features Although sequins aren’t strong enough to hold up ina chain mail design on their own, it’s no reason to discount them as a design element. Enlarge the holes in the sequins, and pair each one with a closed ring to use them in this easy weave. Using a mix of sequin colors: allows the ight to dance Se aren designed by Amanda Shero Granstrom 96 BeadaBution | www BeadAndBution comstepbystep Base The base of the bracelet ses only Vein, ID jump rings, 0 steps 3-7 refer to jump rings without giving 2 size [1] Hold a. 12 mm sequin cup side up, and punch a hole in the center with a Vein. (6 mm) circle paper punch (photo a). Repeat for the remaining sequins. [2] Open 69 and close 96 Yin, jump rings (Basics, p. 104). [3] Determine your color pattern, and lay out a row of four Sequins on your work surface, cup side up. Place a closed jump ring on each sequin (photo b), Fach sequin andl jump ring pair will he called a “sequin unit” in sub- sequent steps. The side of the unit with the jump ring isthe bce of the tnt. The base will he worked with the back of the units facing up. Flip the finished beacelet over to hide the suppocting jump rings. [4] Working from one end of the row, slide un open jump ring through the fist sequin tant from back to front, and the second sequin uni from fant o back (photo e), and close the jump ring. [5] Slide an open jump ring through the second sequin unit from back to front, and the third sequin unie from frant o back, and close the jump ring, Repeat this step with the remaining sequin unit (photo a). [6] For each subsequent row: Lay out four sequin units in your desired color pattem as instep 3. Atach the sequin units as follows * Slide an open jump ring through the second new sequin uni from back to front, the fest aew sequia tie from front eo back, the first sequin unie in the previous row from front to back, and the second sequin tit in the previous row from back to front, Clove the jump ring (photo e). + Slide an open jump ring through the third new sequin une from back ¢o front, the second new sequin unit from front to back, the second sequin unit in the previous row from front to back, and the thied sequin unit in che previous row from back to front, Close the jump ring (photo f. «Slide an open jump cing through the fourth new sequin unit from back to front, the third new sequin mit from front to back, the thied sequin unit in the previous row from front to back, and the fourth sequin unit in the previous row from back (0 front. Close the jump ring (photo 9). [7] Repeat step 6 until you havea total of 24 rows of sequin units. materials bracelet 7% in. (19.1 cm) #96 12mm sequne n assorted coos + yetn. nner darreter (2) Jumping, 14-deuge 9173 Yin, (Ojump sings, 18-geue #9 Yin. Dump rings, 18-gov9e + 96 « 22 rm farge) anoslzed sluminur scale #222 x 14 mm (ama) anodized ‘aluminum scales * lopster claw clasp * 2oairs of pers + Yein.(6 rim) circle paper punch BD ro orn at mates {or this issue, go online resources, choose this issue, ‘and click the Materials List downloadable file, DESIGNER’S NOTES: + Tope the paper punch closed or empty it often to prevent unruly punched-out centers from flying all over as you work. + Save the punched-out centers for other projects using sequins. Amanda Shero Granstrom sells kits for the three bracelets shown on her website, Aori2012 97= Wire Expressions ° i] Clasp ends sequin units in the last row, [1] Open nine Yicin. 1D but attach the five Yen jump rings and eight Vein. jump rings from the top of jump rings,and-close one _the scales, making sure the ein. 1D jump ring. rounded side of the scales are [2] Slide a Yicin.jump ring on the same side as the front through a small scale,and” surface of the sequins before close the jump ring. Repeat closing the jump ring (photo teatiach a Yiein.jump ring Slide a4-in. jump ring The jump rings picked up tothe:remaining small scale through the thied and fourth in step 6 are both attached (photo 6). sequin units in the last row {through jump rings on the lide a Yoni 4s forthe fest jump ring in back surface of the base, (3) side for the ts For rig through the ¥6 this step, and close the jump but ave chown forthe toe and the large scale, Close the sing (photo m) ‘surface in photo n. jump ring @hoto i, [6] Slide s Vein. jump ring [4] Slide a ¥s-in.jump ring through the first rwo Vein. theough the Yoin, jump ring jump rings added in step 5, and large scale and through and close the jump cine. asmall scale. Make sure the Repeat to attacha Vin, jump jump ring previously attacked ring to the second and third to the small scale falls to the V-in. jump rings attached i outside edge and thar all the step 5 (photon). Slide a Yscin, scales are facing the same way. jump ring through the two, Close the jump ring. Repeat Y-in, jump rings added in to attach the remaining small this step, and close the jump scale (photo ). ring (photo 0). [5] Ontheend of the base [7] Repeat steps 5 and 6 on where the last row of sequins the other end of the bracelet, lays under the second-torlast with the following changes: row jon the workingside of + Instep S, omic the seales, the base), slide rin, jamp attaching the Yin. jamp ring ring through the endsequia to the second and third unit from front to bsckand sequin units. the second sequin unit from « Instep 6, use all De-in, back to front, and close the jump rings, and attach a jump ring @hotok). Repeat —_labster claw clasp to the toslidea Yin. jump ring last Yin, jump ring before through the second and third closing it (photo p). 98 BeadBButlon | yw BeadAndBuitton com* Basics | www.BeadAndButton.com/basics Go to Bead AndButton.com/videos to ‘watch demonstrations of techniques ‘with the® icon next to them, THREAD AND KNOTS __ © Adding thread ‘To edda thread, sew into the beadwork several rows or rounds prior to the point where the last bead was added, leaving a short tail. Follaw the thread path of the stitch, tying a few halFhitch knots (see “HalF-hitch knot”) between beads as you go.and exit where the last stitch ended. Trim the short tail, © Conditioning thread Use beeswax or microcrystalline wax {not candle wax or paraffin) or Thread Heaven to condition nylon beading thread and Fireline. Wax smooths nylon fibers and adds tackiness that will stiffen your beadwork slightly. Thread Heaven auld a static charge thar causes the thread to repel itself, sodon't use it with doubled thread. Both conditioners help thread resist wear "To condition, stretch nylon thread to remove the curl (you don't need to stretch Fireline). Lay the thread or Fire= linen top of the conditioner, hold it in place with your thumb or finger. and pull the thread through the conditioner, © Ending thread ‘Yo enda thread, sew back through the last few rows or rounds of beadwork, following the thread path of the stitch and tying two or three half-hitch knots {see “Half-hitch knot”) between beads 4s you go. Sew through a few beads atter ‘he last knot, and trim the thread © Half-hitch knot ass the needle under the ‘thread bridge between two beads, and pull gently until loop forms. Cross back cer the thread between thebeads, sew through theloog, and pull gently to draw the knotinto the >eadwork Q ? 104 Bead&Button | ww, BeadAncButton con © Overhand knot Makealoop with the thread. Pull the tail through the loop, and ughten, © Square knot If] Cross oncené off t the thread over and manaeet, YM Pullboth ends to , tighten the first half of the knot. { [2] Cross the first . end of the thread over ) andundertheother end. Pull bothends —/ to tighten the knot. © Surgeon’s knot [1] Cross oncend ofthe thread over and under the other twice. Pullboth ends to Lighten the first halt of the knot [2] Cross the first, end of the thread over and under the other end, Pull both ends to tighten the knot \/ © Attaching a stop bead Usea stop bead to secure beads temporarily when you begin stitching, Choose bea that is different from the beads in your project. Pick up the stop bead, leaving the desired length tail. Sew through the stop bead again in the same direction, making ure you don't splitthe thread, 1f desired, sew through {one more me for added security. STITCHES Beaded backstitch [A] To stitch a line of beaded backstitch, sew through the fabric from back to front, Pick up three beads, and lay them con the fabric as desired. [2] Sewthrough the fabric from front toback right after the third bead. Sew through the fabric from back to front between the second and third beads, dnl ew through the third bead again, [3] Pickup three more beads, lay them ‘on the fabric, and eepeat step 2. For a tighter stiteh, piek up only one or two beads ata time © Herringbone stitch Flat strip [A] Work the first row in ladder stitch (Gee “Ladder stitch: Makinga ladder”) tothe desired length, exiting the top of the last bead added. [2] Pick up two beads, and sew down, through the next bead in the previous row (2-b). Sew up through the following, bead in the previous row, pick up two beads, and sewdown through the next Deal (Oc). Repeat across the Mrs ow. GI62, Aes [3] To turnto start the next row, sew down through the end bead in the previ- ‘ous row and back through the last bead of the pair just added fab), Pick up two beads, sew down through the next bead inthe previous row, and sew up throu the fellowing bead (b-c). Continue adé- ing pairs of beads across the rov. WP). SONS [4] to turn without having thread show on the edge, pick up an accent or smaller bead before you sew back through thelast Dba ofthe pair you just added, ‘Tubular [1] Work a row of ladder stitch (600 “Ladder stitch: Making aladdes”) o the desired length using an even number of ‘beads. Form it into a sing to-create the first round (see “Ladder stitch: Forming a ring’). Your thread should exit the top of a bead,waw.BeadAndButton.com. [2] Pick uptwobeads, sew down through the ‘ cacti | OD round(@-by and gy cree. SE followingdead, §—§ Py Repeat to complete ie SY the round (b-¢), bs [3] You will need to step up to star the next round. Sew up through two heads — the next bead in the previous round and the first bead added in the new round (¢-d). [4] Continue adding two beads per stitch. As you work, snug up the beads to form a tube, and step up at the end of each round until your ropeis the desired length © Ladder stitch Making a ladder [M]Piccuptwo - beads, and sew | | shrough them bot UBREIEL again, positioning . the beads side by side so that theic holes are parallel (@-b) [2] Add subsequent beads by picking up iane bead, sewing through the previous ‘bead, and then sewing through the new ‘bead again (b-e). Continue forthe desired length ‘This technique produces uneven tension, which you can correct by zigeagging back through the beads in the opposite direction, Anarnen JRC © Peyote stitch Flat even-count [1] Pick up an even number of beads, Jeaving the cesired length ral (@-b) "These beads will shift to form the fi ‘wo rows as the third row is added. Sgegug [2] To begin row 3, pick up a besd, skip Soe vat acteetatent and sew back through the next bead, working toward the tail (b-¢). For each stitch, pick up a bead, skip a bead in the previous row, and sew through the next bead until you reach the first bead picked up instep | (C-d) ‘The beads added in this ow are higher than the previous rows and are referred to as “up-beads” [3] Foreach stitch in subsequent rows, pick upa bead, and sew through the next up-bead in the previous row (d-2), ‘To count peyote stitch rows, count the total number of heads along both straight edges. Flat odd-count Odd-count peyote isthe sameas even- count peyote, except for the turn on (odd-numbered rows, where the last bead ofthe row can't beattached in the sual way because there is no up-bead to sew through. ‘Work the traditional od-row turn as (allows: I] Begin as for fat even-count peyote, but pick upan odd numberof beads. ‘Work row 3asin even-count, stopping before adding the las bead [2] Work a Agure-8 turn al the end of| row 3: Sew through the firstbeod Picked up in step (bead #0, Picleup the last head othe row you're working con (bead #8), and sew through beads #2, 8.47.42. #1, and #8. You can work this turnat the end ofeach odd-numbered row but this edge will be stiffer than the other [3] in subsequent odd-numbered rows, pick up the last bead of the row, sew under the thread bridgebetween the last two edge beads, and sew Ick through the last bead added 10 begin the next row. Tubular ‘Tubular peyote stitch follows the same stitching pattern as flat peyote, but instead of sewing back and forth, you work in rounds. [1] stare with an even number of beads tied into a ring (Gee “Square knot” of "Surgeon's knot") and sew through the first bead in the ring, [2] Pick upa bead, skip a bead in the ring, and sew through the next bead. ‘Repeat this step to complete the round. [9] To step up to start the next round, sew through the first bead added in round 3 (@). Pick up a beac and sew through the next bead in round 3 (O-c). ¥ Repeat this stitch Ph evo to complete the | round. [4] Continue working rounds to achieve the desired length, stepping up after each round. | out 2 Zipping up or joining -ya§ (yy Thom tweens” Tg EI tnvisbly mate up the ae ae two pieces so the end rows fit together. “Zip up” the pieces by zig: zagging through the tup-beads on both ends. © Right-angle weave pate HM] To start the First row of right-angle mar. four beads, and tie them into a ring (see “Square knot” or “Surgeon's know”). Sew through the first three beads again, [2] Pickup three beads. Sew through 4 GQ thelastheadin ee the previous stitch (@-b),and continue through the fest two beads picked up {nth stich (Oc) . [3] continue ws 7B, aeding three beads) Ror. first rowis the desired length. You are stitching in a figure-8 patera,altemating the direc- per slitch until the tion of the thread path for each stitch. com) April2012 105CED "Business To Business" PT ed FT Ly > 2012 =" | ashevile, NC { Tucson, AZ. January 6-78 january 10-11 Jan28-Feb. 10 eT January 28- February 10 Holiday Inn-Palo Verde/Holidome Pa e ae) sf Minneapolis, MN i 4y Detroit, ML..March 30-31-Aprild " West Springfield, MA...Apil 13-14 Orlando, FL. aay 4-56 ;! 8 Franklin, NC.. May 11-12-13 & if detroit, mi. July 13-14-15 ‘ Franklin, NCosmodtly 25-27-28-29 i Spruce Pine, NC...August 23-45 4 Tucson AZ... September 67.89 Minneapolis, MN... Sept 30-ct.1 Detroit, MlawnnnCtObET 5-6-7 ‘West Springfield, MA....Oc, 12-13, Asheville, NC...Oetober 23-24 Orlando, F....October 26-27-28 | wunolesale ony, ‘Registration and Proof ‘of Business Required fl ae ASE 859 Petrified Forest Rd eee tary Phone Fax 6 406 Bead&Button | wun, BeadAneButton com Basics POLYMER CLAY © Conditioning polymer clay Conditioning softens clay, making it easy to rolland mold. Knead the clay In your hands or roll it through a pasta machine 10 times, The clay will be soft and lightly vrarm when conditioned. Slip knot and chain stitch [1] Make a stip knot: Leaving the desired length tail, make a loop in the cord, crossing the spool end over the tail. Insert the hook in the loop, yarn over, and pull the cond through the loop. [2] vam over the hook, and dray through the loop. Repeat thisstep J for the desired number of chain stitches STRINGING & WIREWORK © Crimping Use crimp beads to secure flexible beading wire, Slide the crimp bead into place, and squeeze it firmly with chainnose pliers to flatten it. Or, for a more finished look, use crimping plies [1] Position the crimp bead in the hole that is closest to the handle of the crimping pliers. [2] Holding the wires apart, aquecze the pliers to compress the crimp bead, making each side ofthe dent. [3] Place the crimp bead in the front hole ofthe pliers, and posi tion itso the dentis fA A ik facing the tips of the pliers. Squeeze the pliers to fold the crimp in halt [4] tug on the wires to ensure the crimp is secure © Opening and closing loops and jump rings [1] Hold a loop or a jump ring with two pairs of pliers, such as chain nose, flatnose, or bentnose pliers. [2] to open the loop or jump ring, bring. the tipsofone pair [1 of pliers toward you. ‘and push the tips of the other pairaway from you. Reverse the steps to clese theopen | loop or jump ring © Plain loop [1] Using chatnrose pliers, make a right-angle bend in the wire directly above a bead or other component or 9 least in, (6 mm) from the end ofa naked piece of wire. - For a larger loop, end the wire f her | in fram theend of the wit (2) Grip the end of the wire with round nose pliers so the wire isfush withthe jaws | 2 of the plies where they meet, The closer to the tip ofthe pliers that you work, the smaller the loop willbe.Pressdown- ward slightly,and rolate te wire toward the bend made instep 1 [3] Reposition the pliers i the loop to continue rotating the wire until the end of the wire touches the bend.wn. BeadAndButton.com. © Wrapped loop 4 4 [A] Using chainnose pliers, make right ange bend inthe ‘wire about 2 mm above a bead or ther component ort least Min. (32 sm) from the end of naked piece of wire {2} Position the jaws ofthe round- |» nose pliers inthe bend. Thecloser to the tip ofthe pliers that you work, the smaller the lop willbe ‘ [3] Curve the short end of the wire over the top jaw of the roundnose pliers [4] Keposttion the plieessoihelower — [ 4 theloop. Curve the wire downward —=~l ] round the bottom jaw of the pliers, ‘This isthe fist half ofa wrapped loop. [5] Tocompletethe [ ‘wraps, grasp the top ofthe loop with one pairof pliers. [6] Withanother [5 pair ofpliers, wrap the wire around the stem two.or thre times. Trim the excess wire and gently press the cut end close to the wraps with chainnose pliers. © Magnifiers at LOW PRICES * Hands Free * LED Lighta + Head or Desk Mounted + Free Shipping rrr ei 215-368-1736 poems Meee nemnee Real MYO SALE PAY) Ma S-1tHarborside cerer Fort Myers, FL Mar. 17-18 So. Florida Fair W. Palm Beach, FL Mar. 23-25 Municipal Auditorium Sarasota, FL Mar 30-4/1 Coliseum Balroom LON Sent meee nn &S = ~~ 1-800-786-6210 Pt www.glassgardenbeads.com|} rb Garde 107 ww BesdandButton com | Aan 2012Spotlight Grecian vessel Donna Mebnert started meking beads in 2001 alter being inspired by the lampiorked preces she ‘saw on Corina Tettinger’s website (corinabeads,com). in 2004, Donna began teaching locally in Austin, TToxas, and cho's also taught in Gormany. She stil takes classes, and she oven spont time in Murano, Italy, studying with a group at Lucio Bubacco's studio. Her inspiration for this bead was a technique for making off-mandrel pendants that she lsamed from Jennifer Galdard (soe Jennifer's prafila on p. 52) ‘combined with the process of enameling, which she picked up from a class with Andrea Guarino- Slemmons. She used Italian soft glass, enamels, and some reactive glass for the stringer decorations. ‘See more of Donna's designs at blackberrybeads.com. Necklace by Anna Elizabeth Drasger. 122 Bead&Button | wun BeadAndButton comrine AL ounTAIN GEMS! 72:2 “Friendly Service” Sire 1973 (One Fee Mountain Way, DEPT CO18 Grants ass, OR 975262375 1-800-355-2137 www.firemountaingems.com Request your Free 448 page America’s Favorite catalog online Beading and Jewelry Over 250 design ideas Supply Company® featured inside You supply the creativity, oe — we supply As fA everything ‘ y D4 else!® Lilian Chen, CA www facebook.com/goldgatsby Bronze Medal Prize Winner 2011 Wirework Jewelry-Making Contest CREATE UE iw