SPECIAL SECTION \y’ OF = earring Styles for f every day of the week! ‘August 2008 Issue 86 Your complete beading resource DTA ( y NG Create a beautiful wirework pendant , «: Learn 13 techniques! ° Fringing, right-angle weave, , crossweave, metal clay oe stamping, Russian spiral e@e netting, and more Make this s fiery summer § necklace ,..: Combine St. Petersburg chain and twisted OF odd-count tubular herringbone stitch to make this sy Have fun with necklace p. 44 PES) ami: Part 2 Jewelry findings | °e crystal rings ».2: Japanese loomwork Tubular peyote stitch | lantern patterns ». 80 Tricks for patinas 112286772! www-BeadAndButton.comWelcome August 2008 Issue 86 Cover story 44 | Swirling sun Learn new techniques to make a circular bezel and a feathery rope. by Harsumi OsHrrant ON THE COVE! and twisted odd- this necklace, p. 44. Designe Hatsumi Oshitani. Photo by Jim Forbes.ARTICLE 66 | Sure fire At the torch, glass artist Pamela Wolfersberger takes on delicate shapes, brilliant colors, and classroom questions. by Marie Lee FEATURED PROJECTS 72 | Drawn to nature A necklace inspired by sea fan coral can be stitched freeform or from a paper template. by Linda Rettich 80 | Loominosity: Part 2 The last part of this series includes patterns and instructions for two Joomwork lantern panels, plus step- by-step instructions to finish the lantern. The first part of the series was published in the June issue of Bead&Button. by Naomi Sakuma ‘STITCH GUIDE ‘rossweave technique 38, 80 treetorm, 72 fringing 55 etINABONE eer ennnrnnnn loomwork 80 netting = peyote in 24, 90, 62 Bicot 60 Fight-ange weave 55 St. Petersburg chain ren 2, 44 SPECIAL SECTION: EVERYDAY EARRING: 62 | Holler for hoops Perfect your peyote skills with quick-to-stitch earrings. by Jonna Holston 54 | Pearl on a wire Enjoy the subtle glow of pearls perched in a simple wire frame. by Melanie Hazen 55 | Touch of paradise Embellish curving earrings with graduated accent bead spikes. by Glenda Paunonen 56 | Ruffled rings Create coloriul dangling jewelry from layered jump ring clusters. by Sandy Amazeen 58 | Moment in time Use minimum materials, including filigree components, for maximum impact. by Kathy Budda 59 | Double up Daggers and crystals pair beautifully in figure 8 earrings. by Gloria Farver 60 | Rivoli dangles Stitch delicate crystal bezels for brilliant rivolis. by Gail Damm BeadAndButton.com fy) ‘Watch our online video of techniques for the “Loominosity” lantern. Videos of more \ef jewelry-making techniques are a click away. Learn how to tie knots, wrap wire, and work in herringbone and peyote stitches. Click on Videos, and select a series to see your options. ~ “Oo ea Free online: ‘Make earring findings and dangles! IN EVERY ISSUE 8| From the Editor 42 | Letters, ete. 14| Bead Soup 48 | Expert Advice Metal clay and patinas by Jackie Truty 20 | Tips & Techniques All about findings 24 | Patterns A garden fairy and a ‘medical alert symbol 26 | Your Work Bead embroidery, peyote bezels, and loomwork 30 | Stitch Workshop Tubular and circular peyote stitch by Anna Elizabeth Draeger 34| Chic & Easy A Russian spiral netting rope necklace by Julie Riggs 38 | Clearly Crystals Colorful crossweave rings by May Brisebois 88 | Wire Expressions A-curvy crystal pendant by Wendy Hunt 92 | Claymaker Stamped bracelet charms by Jessica Fehrmann 98 | Basics A guide to techniques 130 | Spotlight A necklace with Terri Caspary Schmidt's painted- fish lampworked bead by Lesley Weiss1 August 2008 From the Editor YOU CAN NEVER HAVE TOO MANY EARRINGS! And DIY jewelry makers have an edge on stocking up on a variety of fun and fancy ear adornments. can only imagine how many beads and components you have in your stash after making bracelets and necklaces in many different styles. Now is the perfect time to make earrings that match your finished pieces by combining your extra beads in a novel way. That’s why we've included seven earring styles in this issue. Have fun making projects that fill your jewelry box and add techniques to your skill base. You might just be inspired to stitch a necklace or bracelet to go with your earrings. As always, we include how-to information from expert contributors. In this issue, Jackie Truty, president of Art Clay World, USA, offers technical and design advice about working with patinas, p. 18. We also show you how to stitch an intricate collar using a paper template — of no template at all, p. 72. You'll be inspired on another level when you read about Pamela Wolfersberger, p. 66, a gifted glass-bead maker who has worked at the torch through years of health challenges. Her story demonstrates, once again, the healing power of art. haba Editor, Bead&Button editor@beadandbutton.com Coming this falll te aeader's Handbook Everything you need to bead — all in one resource — including a listing of bead shops that offer classes! * Eight exclusive projects * Graph paper for five techniques * Designing jewelry to scale * Diane Fitzgerald: Take a beadwork class * What to look for ina lampworked bead * How to submit a project to Bead&Button © Tips & Techniques * Stitch Workshops * Expert Advice * Basic techniques Ss eigen eta aoa Soa How to Reach Us ‘cal 2607958778 vet: Ex Beaten PO Boxeia aden vO 5867-52 ‘To SUBSCRIBE a B04 ‘TO ADVERTISE (G88 566-1584 688 MAGAZINE OR PRODUCTS MAGAZINE OR INYOUR STORE ‘Phone: (800) 558-1544 x 818 Stes is na Case (aro srrox018 Foc cua eosae ‘Ect eaten ‘bean wera CUSTOMER SALES ‘SERVICE fon sa844 (lie Sa Cam eae arre Foe a 7-618 Coorerarcntaac com Pee nto nana ake, Srdererorsrir aha consoorsnan ‘To PURCHASE BACK ISSUES 00 509.2044 Se ne Sad Care ea nares Sow Smee con Solve your storage problems Whether you are just starting to collect Bead&Button issues or have a stack saved, you'll want to pick up our exclusive Bead&Button binders. They're the same binders we use at the office, and they last for years. You can find the binders and other great products under BeadAndButton.com’s Store tab.eEeEeeee dakotastones for designs that ROOK www.dakotastones.com 42 Bead&Button | wivBeadAndButton.com Letters, etc. Expert Advice columns point to new horizons Tabsolutely love the April issue of Bead&Button, it has all kinds of patterns that 'm enjoying. I've been beading for a year or so, and I like the Stitch Workshop and Expert ‘Advice columns best. In her June Expert Advice column, Linda Hartung mentions using putty to hold an item in place when apply- ing epoxy. Is a tiny bit of putty used? I've always shied away from setting stones, but I might try it after reading Linda's article Thave also ordered Beading Basics: Right-Angle Weave and look forward to its treasures. Jill Schneider Manteca, Calif, US. EDITOR'S NOTE: Linda Hartung answers fils ‘question in the Resource Guide dat BeadAndButton.com under the Magazines tab. Take a look! ‘Accident’ leads to new world of beading T accidentally picked up a copy of your fantastic magazine about nine months ago. Why didn’t I know about this form of addiction before? Thank you, thank you. Tam a deputy head teacher in a special school in Norfolk, England, and need to unwind in the evenings and cn weekends, Thanks to you I have square stitched, peyote stitched, ladder stitched, crimped, wrapped, herringboned, and spiralled out of control. Bead Web sites are like sweetie shops to me —Iam awake at night thinking up my next new design. Carol Evans Aylsham, United Kingdom For the love of lampwork Could you write more about Jampwork beads and lampwork bead projects in Bead&Button magazine? Thanks! Nancy Feterson Ann Arbor, Mich. US. Spratt se Thanks for survey results took the reader survey covered in the June editor’s column, It was nice to see the results and learn that Beadé-Button is always concerned about its customers. I's great to see that che results will be used Molly Lawhead Monticello, Il, US. Help us celebrate! Bead&Button’s 1Sth anni coming up in 2009, and we can't wait! We're starting our celebration early with a series of monthly reader polls that you ean take. See the home page of BeadAndBurtton.com starting Aug. 29, 2008. Our polls will run ehrough August 2009, and well publish the results in a variety of ways April correction To make “Crystal blooms” on p.46 of the April issue, you will treed t0 use 10 4 mam erystals in each of 10 bright colors: D-1 rather than two 4 mms. We are sorry for 2 the error! aeBead Soup Remarkable exhibit travels to four Scandinavian museums by Larry Scott Torben Sode is a man of multiple beads, which make up much of the talents, many of them unrecognized. __ clothing for Bondo women. Hie isa conservator of ceramics and For me, one of the most interesting glass with a degree from the Danish items in the exhibit isthe bead box that School of Conservation. He isa bead belonged to Lise Benzon Sievert. Lise researcher who lectures on the history (1905-2005) was one of a few serious of glass technology and bead making. Danish beadworkers in the mid-20th He has a business that produces muse- century. Her box contains many samples um replicas of historic glassware and of her work, each with meticulous notes Viking-era glass beads. He plays the on the beads used. Paper pill boxes from L&fty Scott and Torben Sode examine musical saw and has been known to the family-owned apothecary hold Bondo beads in Torben's Copenhagen Play the spoons in otherwise-respectable beads Lise purchased on her travels _ti @8 Torben packs his collection restaurants. One thing he says he is not around Europe. Marked on each box is fF exhibition. isa collector. a description of the beads, plus the city The thousands of loose beads, and date of purchase ‘enjoy an espresso and, of course, a strands of beads, and beaded objects Rounding out the exhibit are exotic cheese Danish stored in Torben’s attic bead room are beads and necklaces from many Dates for the exhibits are: Finnish only for research, he claims. Such is the cultures, ancient and modern. Torben's Glass Museum in Rihimaki, Sept. 3~ power of denial among bead lovers. fine collection of contemporary Dec. 12, 2008, finnishglassmuseumafi This fall, the best of Torben’s American and European art-glass Smilands Museum in Vixj6, Sweden, “research” collection will begin a nearly beads is also showcased. Jan. 16-April 14, 2008, smalandsmase- two-year tour of four Scandinavian If you plan to be in Scandinavia in _um.se; Moesgird Museum in Arhus, ‘museums. The exhibit will includea __the next few months, be sure to include Denmark, May 7-October 2009, beaded fireplace screen, dresses from a visit to this exhibition. The beads are___moesmus dk; and the Bornholms Greenland, a robe for a Yoruba king, exceptional, and most Scandinavian _Kunstimuseum in Ro, Denmark, Winter and a complete set of Indian Bondo museums have cafes where youcan __-.008-10, bornholms-kunstmuseum dl. SS Inspired by science fiction Swarovski Melanie Brooks Lukacs and Chuck Lukacs* highlights g earth tones Earthenwood Studios has come up with a series of handmade porcelain components inspired by the fantasy-fition genre steampunk. The new Steam Stones charms evoke an alternative furure universe where machines are powered by steam, ‘Crystallized ~ Swarovski Elements has added the colors Macca, ‘Sand Opal, and Crystal Deep Brown Pearl to its palette. A faceted round crystal catches the chocolate tones in Mocca, in subtle contrast to the deeper hue of the Crystal Deep Brown Pearl crystal pearls. Sand Opal gives beige a new look in a briolette pendant, round crystal, 14 Bead&Button | ww BeadAndButton.comAnew twist in design Glass-bead artist Kevin Siggins crafts beads for pendants, necklaces, and bracelets. Through his company, Kevin Mark Designs in San Francisco, Kevin specializes in making torch-fired, hand-sculpced, Cabinets waiting to be filled We saw bead-show attendees mingling around a Collectors Cabinets exhibit recently and took a look for ourselves. ‘We found these craft-supply cabinets to he well made and fitced with an enviable amount of storage space, Two sizes are available, measuring 33 x 13 x 33 in, (84 x 33 x 84 em) and 37 x 22 x 33 in, (94 x 56 x 84 cm). Two 28-tray cabinets, can be stacked. Collectors Cabinets, based in White Lake, Wis, in the U.S., makes unfinished pieces in addition to four wood finishes, plus white and black painted finishes. Seven cabinet styles freeform Murano glass jewelry. Each piece is finished with a Kevin's sculptural handmade sterling silver clasp pera of Kevin's design. Each pendant otis puzzle Smoned nsstsingsiver Penni and Youny havesten Keen's Tulticolored twist ring. You may have seen Kevin's Mucor neptey pendants worn by the actresses.on his signature the Gilmore Girls TV show. Visit freeform style. Kevin's Web site, kevinmarkdesigns ‘Two stacked pieces from com, for more information about Collectors Cabinets provide his glasswork. space for organizing beads and supplies. Katerina Musetti, Schiffer Publishing Led. 2008, 224p.s hardcover; $59.95, ISBN-13: 978-0-7643-2911-1 For costume jewelry lovers, Schiffer Publishing has a new title dedicared to the lavish designs of Juliana jewelry. ‘More than 400 color photographs provide ample eye candy and design inspiration, while the descriptions and price guide aid in identification and valuation of your collection. The Beader’s Color Palette Margie Deeb, Watson Guptill Books, 2008, 192p.; $24.95, ISBN-13: 978- 0-8230-0474-4 Color expert Margie Deeb has written a comprehensive guide to selecting beading materials for high aesthetic impact. This beautifully photographed book has 20 projects and 220 jewelry designs made with beads and gemstones. Contributing artists include Marcia DeCoster, Lisa Niven Kelly, Heidi Kumi, Sherry Serafini, and 23 others. 16 Bead&Button | www.BeadAndButton com range from $415 to $1,796. | Pull-out desktops, file draw- ers, shelves, trays, tins, and plastic compartmentalized boxes can be added. The cabinets can be found online at collectors-cabinetscom. Glass Bead Workshop Jeri L. Warbaftig, Sterling Publishing Co. Tnc., 2008, 144p,; hardcover; $24.95, ISBN-13: 978-1-60059-13-5 ‘Lampworkers-to-be can learn how t0 ‘make glass beads in 10 skill-building ‘workshops, complete with illustrations, tools, materials, techniques, and tips. Each workshop culminates ina finished project presented by longtime bead maker Jeri L. Warhaftig. Masters: Glass Beads Larry Scott, Sterling Publishing Co. Inc, 2008, 336p.3 $24.95, ISBN-13: 978- 1-57990-924-6 BeadésBution's occasional columnist Larry Scott — no slouch when it comes to bead artistry himself — selected works by 40 of the world’s most accomplished ‘lass-bead makers to include in this handsome collection. Norikazu Kogure, Bronwen Heilman, and Gail Crosman Moore are among those represented. ‘Words of wisdom from the artists accom- pany their work, presented with informa- tion about the glass and techniques used. |Expert Advice Metal clay meets the bright side of patinas by Jackie Truty eral clay is easy to jump right into sand succeed at with minimal instruction — just rol, stamp, and fire. But once a piece is fired, what do you do with it? More often than not, the piece is dipped in a patina solution of liver of sulfur or rmuriatic acid. This darkens the pure silver to a brownish, grayish, or blackish hue, ‘What happens next, in my opinion, is the crux of a hhuge problem. After Jackie Trity saw a demonstration of Art Clay Silver in 2000, she twas hooked on metal lay. She is certified as a Master Instructor of Art Clay, and is now the president of Art Clay World, USA in Oak Lawn Il Jackie is the author of three books, Dichroics: Art Glass All Dressed Up, Art Clay Silver & Gold, and Metal Clay: The Com- plete Guide. You cart contact her at jackie@ ariclayworld.com or visit artclayworld.com. Patinate for contrast We've al seen metal clay pieces that look like they were dug up out of the ground, all dark, rough, and dirty. These pieces may be called “antiqued,” *navural,” (or (my favorite) “primitive.” Why someone would want to rake fine silver look lke i sat atthe bottom of a peat bog for 5,000 years is beyond me, My guess is that it has something to do with the sim- plicity of using the medium. Keep in mind that I'm not talking about the beautifully patinated work that exists in the metal clay community — pieces with darkly derailed crevices contrasted with brightly shining surfaces. Smooth or rough, the work hhas a finished look that speaks to the time taken to patinate and polish after firing. ‘What F'm concerned with are pieces where the patina ‘wasn’t removed after it was applied. The pieve was simply dipped, rinsed, and rubbed dry. P've seen pieces where some of the patina was removed, but they still retain ‘way too much of the stuff, concealing any essence of the pure silver. ‘The purpose of patina is to highlight the texture, pat- tern, or detail of a piece Highlight, not overpower. Patina should provide a con- trast of dark agains light, so ‘we can see the pattern or tex- ture more readily. Without that contrast, most pieces ‘appear monochromatic. 48 BeacBBiuton | www BeadAndButton.com Removing patina ‘There ace times when you want to show off the beauti- ful colors that liver of sulfur can produce when it comes into contact with silver In those instances, the liver of sulfur is the stat. The gor- geous colors appear like a faux raku on the surface of the silver, and the las ching, you want to do is remove those colors But on the whole, when 1 see metal clay pieces, the first thing I want to do is, take a polishing cloth and silver polish to them, so that more of the silver is allowed. to shine through. To do this in your own work, start by brushing the piece with a stainless steel brush against the grain of the texture. Then, apply a generous amount of silver polish to a soft cloth. I's easy to pol ish the piece because you only apply polish to the surface, notin the crevices. The patina will come off swith the polish. Next, buff the piece lightly and quickly with a polishing cloth Finally, remove the last vestiges of patina and polish ‘with a paste made from bak: ing soda and water. Make a paste of the two in the palm ‘of one hand, rub the paste into the piece, and rinse it ‘with warm water Pat dry, and you're done. This paste will also remove extra patina from your hands. eed taney polished gauze bead eee eT) cas rs ° right nee Sree sy pours! Shiny rere agate burnisher, make the liver of sulfur color eee cr liver of sulfur around the eee oat Consider customers Antiquing jewelry has been ‘ popular technique for a long time, But metal clay ‘would appeal to a wider audience (especially tradi tional metalsmiths) ifthe end result could be identified as fine silver. With the cost of precious metals so high, why have potential customers think that what they're look- ing at is anything less than pure silver? ©Tips & Techniques All about findings {In our April 2008 issue, we continued our review of beading terminology, and started a series on findings. In April we covered design components — findings that splay and connect beads. This month we take a look at functional findings — pieces that allow us o form and assemble our jewelry creations 4 ‘ \] ~ HEAD PINS are often used to make dangles. EYE PINS are —o used to make links. JUMP RINGS link components together and can \ be used to make chain mail. ey pare Ne SOLDERED JUMP RING SPLIT RING 20 BeadRButton | wn BeadanaButton.com Part Two: Form and function Two types of findings are essential for making almost any typeof wey: wire ‘components — used to make both simple and decorative links and dangles — and finishing components — used to end or attach theads, cords, and wires, Both are avaible in a wie range of tyes, metals, ‘oor, and fishes. Wire components Wire components are described in the same terms as the wie used to make them: gauge ‘and size. Gauge refers to the thickness of ‘the wire, The higher the gauge, the thinner the wire; 20-gauge wie is.032 in. (8 mm) thick, while 2-gauge wire is.10 in (25 mm) thick. Size is measured in several diferent ways: Head pins and eye pins are measured by loath, while jump rings ae measured by inside or outside ceameter. * Head pins and eye pins each have ball, ap, loop, or decorative element on one end ‘to keep the beads trom sliding off. Head pins are most often used to make dangles, while ‘eye pins are used to make inks. Both are usually available in 1~3-in, (2.5~7.6 cm) lengths. The standard thickness Is usually 22- or 24-gauge. You can make your own head pins by hammering the end of a wire to form a paddle, or by turing the end to make 8 closed hook or spiral. t's easy to make your own eye pins — just make a pain loop (Gasies,p. 98) atthe end ofa wire, ifyou are ‘making a project that requires many inks, itcan be a great time-saver to purchase ye pins instead of making them. Jump rings are tiny crces of wire, preferably with fush ends that close securely. They are used to link components, Including clasps and strands, and to make 4. BULLION conceals and protects thread, WIRE GUARDS protect beading wire from wear. chain mail jewelry (se p. 56). Most jump Fings are round, but oval and square jump rings are aso avaible ump rings can be found in an increible variety of gauges and clameters, whichis a great advantage in chain mai designs. Jump ‘ings are messured by gauge and by the inside cfameter (D) or outside clameter (00) of the rng. The ratio ofthe oiameter ofthe ring tothe gauge ofthe ring (te aspect ratio) determines how th chain mai fis together ‘and how the fished piece drapes. When using jump rings with dangles of clesps, round jump rings can turn, andthe ‘stresson the ends can cause a gap, leading to lost dangle, or worse, a lst neckiace or bracelet. Oval ump rings can be particularly Useful for connecting dangles, since the eton- (gated shape ensures thatthe dangles hang below the opening in the rin, Soldered jump rings are permanently ‘closed, making them ideal for use with lobster claw and sping clasps. Split rings ook ike tiny keyrings, Made from fine-gauge wie, spit rings offer the security of soldered jump rings, but are more flexible in thelr use, since closed loops can be attached to them. Finishing components Finishing components are usad at the ends of strands and bands and on ciasps and earring findings to fnsh and connect pieces. * Thread and wire protectors safeguard thread, cord, or flexible beading wire from friction and wear at clasp connections Bullion isa fine col of very thn wire, usually gold or sive, that sides over the thread! to ‘conceal and protect it. Wire guards are U-shaped metal plates used to protect beading wire from wear.) BEAD TPs Aes knots or beads “2997 on strung and stitched pieces. ad tips are used to finish projects strung or stitened with thread, Firline, or cord, A knot or bead sits inside the basket or clamshel ofthe bead tip, and the nook Lampworked Glass Beads closes around the cas op. 7 «crip bentsaevsetwihteberes. | WWWw.Unicornebeads.com ing wie, When used to end a project, macro mee te ee 800-833-2095 heavier gauge beading wire, suchas 024. : Regular crimps can be used with beading sales@unicornebeads.com wire 012-019, while micro crimps work only wth 010 beading wire, uniess they are being used on each side ofa bea to hold it in pace. Crimps are available in round, tube, and twisted shapes, and can be closed with chainnase or crimping pliers (Basics). Crimp covers close oer crimps to hide them, and look ike beads. ‘Crimp ends are used to finish cord and ribbon strands. They compress or fld over the ends ofthe strands to hold them in place and provide laops for attaching clasps or other components > CRIMP BEADS are compressed onto flexible oO Seman e neh Ze Halo Heaven, Double Raindrop in place, 5 & Caterpillar hide crimp beads. ‘CRIMP COVERS SS y ‘CRIMP ENDS ish cord & ab = Sa) wo. BeadAndButton.com | August 2008 242 ‘Boad8Button | wir:.BeadAndButton.com Tips & Techniques A travel spool of thread if you peter to work wit big spools of Nymo thread, but dont want o travel wth them, consider tis tterative to bobbin: Tape the endo a length of thread onta an empty flexible beading wire spool, and wind the thread onto ‘The plastic cover keeps the thread in place, and the ‘thread stays nice and neat until you need it. Plus, the thin ire spoosfitinto many carrying cases, ~ Jennifer Howe, Reno, Nets, US. | Strong earring loops ‘My friend Faye Smith came up with 2 reat way to put a sturdy loop at the top of an eating by using @ Wire Guardian. It works with a variety of threads or wires, and, it needed, you can push the ends closer together with your pies. You can retraoe the thread path through the Coordinated combinations To help me tind good color ‘combinations for my bead- work, browse though fashion magazines and cata- logs. when | se an cuit wit a color combination ike, eat outa smal square ‘from the picture, and place itin an envelope. | match e ‘my beads to these color g St. Petersburg Chain ‘swatches for great-looking ‘loved Hatsumi Oshitani's double Pieces every time St Petersburg chan lara inthe Apri ~ Erika Malitzky, 2007 Issue, and thought it would look Spokane, Wash., U.S. nice as @ short necklace. | wanted the ; cain to curve around my neck, 0 j used two diferent ypes of 1" seed Safe needle ofa beads, ane on ach Side of the Bsn disposal the center ofthe chain, The Japanese A sharps disposal container ‘Matsuno Dynamites | used on the isa safe and secure way to S outside are longer than the Czach corral and dispose of dull or SigesMPsS© © ——-Omellas | used on the inside, creating broken needles and stray bits the very curve | envisioned. of wie, These containers are Catharina Thomas, easily purchased at pharma- Gland, Switzerland cies, and may lst for years. When you finaly fil one, lock the seal and tekeittoa pharmacy that. © EDITORS NOTE: Find accepts sharps containers. Hatsumi Oshitani’s project = Chris Zahn, online at BeadAndButton.com. Greenfield, Wis., US. eeBeads can be used for designs that are either fanciful or functional. These patterns of a pensive fairy and a medical alert symbol exemplify how designers express different artistic visions and purposes. Garden fairy A fairy at rest in a garden is a rare sight. Worked in flat odd-count peyote stitch (Basics, p. 98), the picrure measures approximately 2% x 314 in. (7 x 8.9 cm), = Robin Griffes Grand Rapids, Micka, BS. robin200-griffes62@yahoo.com d, Calif, in the US., Enlarged versions of Patterns, Bead&Button, RO. Box 1612, Waukesha, wisa1e7-1612. Medical alert symbol I designed a medical alert bracelet because I never liked the look of the usual ID bracelet. The medallions are worked in flat odé-coune peyote stirch. I incorporated them into a bracelet using bicone crystals and round silver beads. ~ Dona Anderson Salem, Wis., U.S. donandersonbeads.com Sete Orato ‘ete ee een 24 BeadaButton | wuw.BleadAndButton.comYour Work Phoenix Reborn Winner of the Gold Medal Prize in the Freefocm Expression Jewelry category in Fire Mountain Gems’ 2007-2008 contest. Bead embroidery using seed beads, beak and talons made from Friendly Plastic, and twisted chain made from gold embroidery floss. ‘The phoenix measures 11 x 9Y%4 in. (28 x 24.1 em). Vanessa Walilko Dragon tapestry panel In 1999, I visited South Korea to meet my pen pal of 25 years for the first time. This design was inspired by a dragon image in a temple I visited. Bead embroidery using seed beads, pearls, and sequins, Measures 8% x 134 in, (21.6 x 34.3 cm). Uz Thompson Dearborn Heights, Mich, U.S. ‘ethomps1@gmailcom 26 Bead&Button | wwww.BeadAndButton.comWoodland scene The unusual coloring and impression of a rushing mountain stream in this flat stone bead inspired the surrounding land- scape. Bead embroidery using seed beads, glass beads, drops, and 8 mm agate beads. Measures 5 x S in. (13 x 13 em) and, hangs from a 13-in. (33 cm) multistrand necklace. Ariene Butterworth Taylor Euless, Texas, U.S. arlenezartetsy.com ‘Cabochon necklace An experiment in bezeled mother-of-pearl cabochons led me to incorporate Swarovski crystal clusters into the final design. Circular peyote using mother-of-pearl cabochons, sced beads, rocailles, Swarovski 4 mm bicones and Strass crystals, and fire-polished beads. Measures approximately 19 in. (48 cm). Guinevere Collar Twas inspired to design this necklace after reading articles about Sherry Serafini’ embroidered projects and stitching techniques in past issues of BeadéButton. Bead embroidery using seed beads, glass beads, crystals, pearls, pieves of mirror, and gemstone cabochons. Measures 17 in. (43 cr). ‘Marianne Donovan Peryville, Md, U:S. ‘mariannecioerendonovan.com Loomwork purse A nature-inspired design of oak leaves is subtly detailed with veining and mottled coloring. Loomwork using Japanese cylinder beads mounted on a purse frame. Measures approximately $x 6 in, (13 x 15 em). ‘Naomi Sakuma Tokyo, Japan ‘metiers.biz ww BeadAndButton.com | August 2008 27Stitch Workshop ¢ Peyote Stitch Tubular and circular peyote by Anna Elizabeth Draeger A favorite stitch among beaders, peyote stitch worked in the round offers a wide variety of options for your beadwork. Whether you want to give your beadwork sculptural dimension or supple softness, you'll find peyote stitch has the qualities you need. Peyote stitch: tubular Tubular peyote stitch follows the same stitching pattern as Since you started with an even number of beads, you need flac peyote (Basics, p. 98), but instead of sewing back and _to step up to be in position forthe next round. Sew through the forth, you work in rounds to form a tube first bead added in round 3 (figure 3, a-b and photo ¢). Pick Pick up an even numberof beads to equal the desired up a bead, and sew through the second bead in round 3 (b-c). circumference, Tie a knot to forma ring, leaving some slack __Repeat to achieve the desired length. (figure 1 and photo a) FIOURE 1 c ut the ring over a form if desired. Sew through the first Ifyou begin with an odd number bead after the knot. Pick up a bead, skip a bead in the previous ‘of beads, you won't need to step up: : round, and sew through the next bead (figure 2 and photo b). the beads will automatically form a Repeat until you're back atthe start. continuous spiral (igure 4). } icune « kon 3. After trying these peyote basics, Fe go to BeadAndButton.com to find instructions to make the bracelet Fiaune 2 b pictured above, which uses a variety of bead sizes stitched in tubular peyote to create the spiral. 30 BeadBButton | www BeadAndButton.comPeyote stitch: pattern variations Create stripes by alternating two colors in the original ring of beads. | «+ For spiral stripes, pick up a bead of the ‘opposite color as the bead directly below it for each stitch in the round. + For vertical stripes, pick up a bead of the same color as the bead directly below it for cach stitch in the round. + For horizontal stripes, start with a ring of the same color. Work two or more rounds depending on the width ofthe desired stripe, and switch to a second color for the next ‘two or more rounds. Alternate colors for the desired length, Circular peyote stitch is worked in rounds like tubular peyote, but the rounds stay flat and radiate ourward from the center as a result of increases (igure § and photo d) or using larger beads (igure 6 and photo o). © FiQUREs Arma Elizabeth Draeger is an associate editor at Bead&Button. Contact her at anna@beadand button.com, or visit her Web site, URE 6 e swoh.mac.comibeadbie. SWAEOWSH CHISTALS. | SWAROUSIFEARLS | EAIRING COMPONENTS | WATCHFACES BEADS UNUSUAL FINDINGS 20-50 new items added daily! 30 years of excellent customer service riage dass + 10% OFF YOUR ORDER ‘+ charms pendents « re © ‘encod beads» copper ® ‘wownwiembeliishmentsine.com BEADS | SEMFREGOUS | NATURALAROOUCTS | CHAINS | BRACELETS &NEGKVEAR wwwiBeadAndButton.com | August 2008 $4Change of focus Beaded ropes often play supporting roles in jewelry. Give a Russian spiral center stage by stringing it between chunky accent beads. designed by Julie Riggs MATERIALS: necklace 17% in. (45.1 em) + assorted 6-15 mm beads to equal 10in. (25 em) + 4.5 mm round beads + sod beads 18 g size 6°, mixof colors 18g sizes + toggle clasp * 2.cones, up to 18 x 30 mn * Gin, (150m) 22-gauge wie + dorimp beads = A.ctimo covers * Freline 6b. test * flexible beading wie, 024 * beading needles, #10 oF #12 * chainnose pliers * crimping pers * roundinose pliers + wie cutters stepbystep Russian spiral tube [1] On 2 yd. (1.8 m) of Fireline, pick up 4 repeating pattern of two 8! seed beads and a 6? seed bead three times. Tie the beads into a ring with a square knot (Basics, p. 98), leaving at least an 8-in, (20 cm) tail, and sew through the frst 8 (igure, 2-b). [2] Pick up a 6° and two 8%, and sew through the 8° after the next 6° (b-c). Repeat twice, but after the second stitch, sew through the first 8° added in this round (4) [3] Continue as follows: Pick up a 6 and two 85, and sew through the 8° after the next 6%. Repest until the tube measures about 54 in. (14 cm). [4] For the final round, pick up only one 8° in each stitch. Sew through the ‘three 8% just added, and pull to tighten. ‘Do not secure or trim the working thread. [5] Repeat step 4 at the other end of the tube. Do not secure or trim the tail. Necklace assembly [4] Cur a 3in. (7.6 cm) piece of wire, and make a wrapped loop (Basic). [2] Using the thread at one end of the tube, sew through the wrapped loop | and the end round of $s (photo) Retrace the thread path through the loop a few times. : Julie Riggs lives in Tampa, Fla. in the US., ‘and gives her mother the credit for introducing her to beading, starting with peyote tubes Julie likes t0 use crystals and seed beads in ‘almost everything she creates. Contact Julie at judielriggs@yahoo.com. 34 Bead&Button | wuw.BeadAndButton.comA te ae MONTHLY online Spotlight Specials at: www.fetpak.com eae ee a eT * We Will Beat Any Advertised Price * Orders Shipped Same or Next Day For an elegant Se ee look, substitute SS Rewines 6 seed beads, as shown here, [3] Sew into the beadwork, secure with a few half-hiteh knots [4] Repeat steps 1-3 at the other end of the tube [5] On one end of the tube, string a make a wrapped loop (Basics) [6] On $ in, (20 cm) of beading | Wite, string a crimp bead and the wrapped loop made in step 5. back through the crimp crimp it (Basics). Use cha pliers to lose a crimp cove the crimp bea [7] String 5 in. (13 em) of 6-15 mm For All Your Beading & Packaging Needs ata ane cn) SHRINK WRAP BAGS beads, and then string a 5 mm bead. per be igaaes ollie [8] String a crimp bead and half of Tie peras ees Peeeen: oe Ty the clasp. Go back through the eximp WateT igo cian PT asor rea Rea bead and the next three o four Sade lag ity gna Daa ala a Vena Me asl =o} beads. Crimp the erimp bead, and mete For quality, service and lowest pricing close a crimp [8] Repeat steps 5-8 onthe other Prone Yur Ore Tl re 1-800-889-2872 or nie Org see Wete end of the tube. @ Fet ak in 70 Austin Blvd Commack, NY 11725 . pn shay

“WORLD OF BEADS. Bead Show Grand Rapids, Michigan Sunday, August 24, 2008 The Crowne Plaza 5700 28th Street SE Grand Rapids, MI FREE Admission FREE Parking Door Prizes! www.awwbshow.com Questions? Call 877°328-AYLA www BeadAndButton.ccm | August 2008 87WIREWORK Moment IN time Use minimal materials for maximum impact designed by Kathy Budda The beauty of making earrings is that you get your beading fix with time to spare. In this MATERIALS Pais, shimmering crystal buttons peck through | ps tetas * crystals components that evoke the past. oor buttons 015) stepbystep Slide the jump ring through 2.4-6 mm saucers or corresponding openings on rondetes [4] On an eye pin, string a one side of che fiigrees, and 18.4 rmbicones 4-6 mm saucer or rondelle close the jump ring (photo d). |» 4 Yin. (1.6m) scvere and a4 mm bicone crystal. Repeat on the other side of ‘domed filgroe compo: = Make a wrapped loop the filigree ents (vinta. com) (Basics, p. 98) (photo a). [5] Slide the crystal button © 6 2-in, (5m) head pins [2] To make a dangle, string between the two filigrees. + 424, 6am) evens three bicones on a head pin, [6] On an eye pin, string a #4 4mm jump rings: and make a wrapped loop. icone, and make the first + pair of earring findings Repeat to make a second half of a wrapped loop. ‘© chainnose pliers. dangle. Make a third dangle Attach the bottom openings |» roundnose pers using one bicone (photo b). of the filigrees (photo e), and © wire cutters [3] Open the bottom loop complete the wraps. b (Basics) ofthe bead unit from [7] Open the loop of the eye step 1. Hold two filigree pin attached in the previous 4 components together so the step, and attach the single- right sides face out. This will crystal dangle (photo 1). make a space in which the Close the loop. Open the crystal button will sit. Slide loop of an earring finding, the filigree’ top openings into attach the wrapped loop at the loop of the bead unit. the top of the earring, and ‘Close the loop (photo c). close the loop. [4] Open a jump ring, and [8] Make a second earring, 2 si attach a three-crystal dangle. e f 5B Bead&Button | wun.BleadArdButton comBEAD WEAVING Double up Daggers and crystals pair beautifully in figure 8 earrings designed by Gloria Farver The workplace isn’t always the easiest place to wear intricately embellished bracelets, which can interfere with your work. Earrings, however, lend a little glamour to your workday, without getting in the way. stepbystep 215% even cach pi of ‘mms in the bottom ring [1] On 1 yd.(.9 m) of Fire- (igure 2, a-b). line, center two 15° seed [4] Sew through the next 10 beads, a repeating pattern of beads on the outer edge of 3mm bicone crystal and the bottom ring (o-e). Pick three 15% five times,a 3mm, up three 15%, dagger bead, and a 15%, Sew through the and three 15. Sew back first 15* again, forming the through the 15* your thread bottom ring (igure 1, a-b). just exited, and the next 15° [2] Pick up a 15°, repeating 3 mm, and two 15% on the pattern of a3 mm and three outer edge of the bottom ring 15% seven times,a 3mm, —_(¢-€). Secure the working and a 15*.Sew through the thread in the beadwork with firsttwo 15% and 3mm ina few half-hitch knots the bottom ring (0-6) (Basies, p98), and trim, [3] Pick up a 15°,and sew [5] Thread a needle on the through the next 3 mm in the tail,and sew through the bottom ring, Repeat, adding next 15% and 3 mm in the top ring (e-9. Pick up a 15°, and sew through the next 3mm in the top ring, Repeat around the ring (Hg). [6] Sew through the next 14 beads on the outer edge of the top ring (@-h), Pick up 13 15%, and sew back through the 15* your thread just exited and the next four beads (b+). Secure the tail, and trim. [7] Open the loop (Basics) of an earring finding, attach the dangle, and close the loop. [8] Make a second earring. @ MATERIALS. pair of earings © 2 16x5mm dagger beads + 283 mm bicone crystals #29 Sze 15° Japanese seed beads + pair of earing ndings “ Fireine 6 Ib. test + beading needies, #12 hainnose pliers Gloria Farver has been creating cand designing jewelry for years and likes incorporating different ‘media — such as beads, crystals, fiber, wire, and chain — into her designs, See an additional earring broject from Gloria online at BeadAndButton.com. Contact her directly at rfarver@wi.rr.com, vu:BeadAndButton.com | August 2008B PICOT STITCH Rivoli dangles Stitch delicate crystal bezels for brilliant rivolis designed by Gail Damm Trendy Swarovski rivolis meet vintage-style findings and chain in these colorful earrings. Chain and two-to-one connectors add swing to the sparkle. stepbystep [4] Ona comfortable lengch of Fireline, attach a stop bead (Basics, p. 98), leaving a 6-in. (15 em) tail. Pick up a 3 mm bicone crystal and four 15° seed beads. Sew through the first 15® again, making a picot (igure 1, a-b). Repeat nine times, and sew through the first 3 mm and three 13° to form a ring (b-). [2] Pick up three 15%, and sew through the 15° your thread exited atthe stare of this step and the first two 15% just picked up (-d). [3] Pick up an alternating pattern of a 33mm and a 15" nine times. Pickup a 3 mm, and sew through the 15° your thread exited at the start of this step and the frst 3 mm and 15" just picked up to form a ring (de). [4] Pick up a 15%, sew through the point 15° of the next picot on the first ring, pick up a 15%, and sew through the 15* your thread 60 Bead&Button | www BeadAndButton com exited at the start of this step and the next 3 mm and 15° (e-f) Fold the rings together, and repeat around, sandwiching the rivoli between the two rings after ‘two or three stitches, Exit the center bead of the first join {figure 2, point a). [5] Pick up a 15%a3 mm, and a 15*, and sew through the next center 15% (@-b). Repeat around the sing. [6] sew through the bead- work to exita 3 mm on the back of the rivoli figure 3, point a). Pick up five 15%, sew through the 3 mm again, and continue through the next 15° and 3 mm in the ring (a-b). [7] Pick up thece 15%, sew through the first wo 15% of the previous loop, che 3 mm your thread exited at che stare of this step, and the next 152 ‘and 3 mm in the ring (b-o). Repeat seven times (é-d). MATERIALS pair of earrings 214mm Swerovek thiols + 62.9 mmbicone crystals + 3gsize 15" seed beads ++ 2two-to-one connectors * 3i8in. (en) chain, 2-4 mmlins + 83-4 mminside-ciameter jump tings * pat of earing ndings ‘ Freina 6b. test * beading needles, #12 * bentnoso ers + chainose pliers = wie outers [8] Sew through the nexe ‘two 15% ofthe first loop, pick up a 15%, sew through ‘the last rwo 15° of the last Joop, and continue through the next 3mm and three 15% of the loop (4-0). Sew through all the center 15% ff the loops (e-f, [B] Pickup 23mm, skip five 415% in the inner ring, and sew through the next 15° (-g) Retrace the thread path through the erystal, secure the working thread and til ‘with a few half-hitch knots (Basics), and trim,[10] Cur wo %-in (1.9 em) pieces of chain. Open a jump ring (Basics), slide it between the rivoli and a seed bead in the outer ring, attach the end link of a chain, and close the jump ring (photo a). [141] Open a jump ring, attach the other end link of the chain and a loop of a tworto-one connector, and close the jump ring. Open another jump ring, attach the end link of the second chain and the other loop of the connector, and close the jump ring. [12] Decide where to attach the second chain to the tivoli 0 it will hang evenly. Open a fourth jump ting, attach the end link of the chain and the outer ring of erystals, and close the jump ring (photo b). [13] Open the loop of an ‘earring finding, attach the top loop of the connector, and close the loop. [14] Make a second carting. © EDITOR'S NOTE: Gail used 15° Japanese seed beads for her earrings, while | used 15° Charlottes. Both will work, but if you use Charlottes, leave a little slack in the two rings as you stitch the bezel. If the rings are too tight, it's difficult to fit them around the rivoli. You can use the starting tail and working thread to tighten the rings after the rivoli is in place, if necessary. ~ Lesley 5430 Wescheimer Road Beadweaving with Jewelry Designer Stephanie Eddy For vendor and general ‘information Shirley Nowlin shirley@houstonbeadsociety.org 409-938-0393, For class information ‘ish Reed tishreed58@yahoo.com Discount: 25% of no min off $500 50% off $1500 1551 MeCarthy Blvd Suite 111 Milpitas, CA 95035 Tel: 408-806-1788 www-houstonbeadsociety.org, Fax: 866-504-7023 EES Sth ee Ca ae eee Fa a rer oe ec aes a wets eee ed ey mee y rece ai ee Pee ce Sur) = onsite i en Cea ee eats eet wow BeadAndButton.com | August 2008 64ARTIST PROFILEWhen Pamela Wolfersberger was in the sixth grade, she put sand, silica, and lime — the ingredients for glass — into little vials and entered them in her school’s science fair. She didn’t know it then, but it was her first foray into an artistic medium that would transform her life. No doubr, Pamela has glass in her blood. Her father and grandfather ‘were both employed at fiberglass manufacturer Owens Corning. Her husband, Stan, is a chemist there. Stil, it wasn’t until decades after the science fair that Pamela, whose previous occu- pations include singing in a rock band, teaching college math, and raising two children, gravitated back to glass. An investment in vessels “I just love the shapes and styles of teapots and was finding all sorts of ‘ways to incorporate them inta various creative ventures,” Pamela says, “Then Isaw an ad for a Hot Head torch and thought, ‘Ian use that to make tele sglass teapot beads for my projects!” ‘When Pamela got che torch, she bypassed forming the round beads that most novices start with. Instead, she attacked che asymmetcical nature of the teapot with its tricky handles and spouts. “Once I mastered the art of keeping the handles from flying off, Icame to believe you can do anything with glass that you want,” she says, Pamela soon moved beyond teapots Cnet Se Cee Ly Pn Pamela Wolfersberger. Photo by Marie Lee. and began sculpting the vessels she has become known for: maltitiered, miniature masterpieces combining bold colors, shapes, and decorations and topped with elaborate attacino stoppers. “Every time I make proportionate, balanced handles, it just sends me,” shesays. “Vessels give me so much room for exploration because there's such a iad of different forms and shapes Tan put together” Pamela’s vessels quickly gained attention and acclaim by beaders and galleries alike. In 2000, her work appeared at the International Exposition of Sculpture Objects and Functional Art (SOFA) in Chicago. Two. years lates, she received the Dominic Labino Award for Excellence in Glass from the Glass Art Society The chemist of color Pamela found that creating her intricate vessels also fed her long-standing fascination with color. Like a child with a giant box of crayons, she experiments with every hue available, ‘often mixing her own, “When I see a pile of color, I just ‘want to organize it,” she explains “I think every color has its own 68 Bead8Button | ww BeadAndButton.com personality based on how it reacts to heat and to other colors. I've spent years figuring out how the colors work over ‘one another. In glass, it’s nor mixing pigment, i's chemistry, You have to know what you aze going to get.” Color’s pull on Pamela began when, she was a college student majoring in textiles. She continued to study the history and science of color even after she left school ‘One reason why Pamela appreciates color so much is that creating colors has been a struggle for humanity ven though it was extremely dangerous, people once used lead to make white,” she says. “Mauve was the result of a 17-year-old chemist’ attempts to develop a cure for malaria Can you imagine way back in the day staring ata plant and wondering how you were going to gee that pigment? Or squishing cochineal beetles to get the perfect shade of red?” Pamela's passion for color is evident her home and studio on the outskirts of Columbus, Ohio, in the U.S. Each room is a gentle explosion of color — yellow, sunrise orange, purple, and Nile green. Even her convertible is a notable shade of turquoise. So many people are chromo- phobes, they're afraid of color, afraid to express themselves with color, afraid of whar their neighbors might think,” “Bur I say if you love it, use it.” she notes, Creating through the pain More than offering a decorating palette, color has given Pamela a bright sanctuary during her lifelong battle with clinical depression, “People have cold me chat I must be the happiest person in the world because ‘of the colors I choose,” she says. “I think when you have depression you seek out something beautiful to balance the dark.” we, wy et oadIt isn't depression, however, that has handed Pamela her greatest challenge Five years after launching her career as 4 glass artist, she began suffering from unbearable pain and fatigue. “Tcouldn’t lie down, sit, or even stand,” Pamela says, recalling the years in which she could barely function. “Thurt too mach and was too tired to work at the torch. I¢ was devastating, Tthought I was going to have to give up creating beads.” She was diagnosed with fibromyalgia, painful, chronic condition that attacks ‘muscles, ligaments, and tendons, An autoimmune disorder, the disease is not easily treated, That's when her husband, Stan, did a little creating of his own. Years before, during one of Pamela’s dark times, he lovingly crafted his wife a “new” brain made of clay, complete with battery power, on/off switch, and owner's manual. it made her laugh. Now, to help her cope with fibromyalgia, Stan used his ingenuity and power tools to design a work station that would allow Pamela to be at the torch in a standing position with minimal pain, Growing by teaching Pamela has slowly gotten the disease under control, and is able to create again. Bur even the obstacles that fibromyalgia presented weren't enough to keep her from discovering a facet of glass art that motivates her even more: teaching, Almost entirely self aught, Pamela began conducting classes at a local glass shop and giving private lessons in the sunny studio that overlooks her living oom. She has become a popular instructors, with students traveling from around the U.S. to learn her techniques. In addition, she has taught at the Carlisle School of Glass Art and the International Society of Glass Beadiakers’ Gathering. Ths pase June, she taught two lampworking courses —- including one on her unique vessel. making techniques — at the Bead8Burton Showin Milwaukee, Wis, in the US “Tcould do nothing but teach and be quite happy,” she says. “Teaching pushes me. It keeps me challenged to continue learning so Ican answer any question thrown at me.I find energy in how happy someone gets when they use the skills taught them to create a piece they consider realy good. “There's nothing more powerful or wonderful than seeing yourself erow.” © You can find a colorful gallery of Pamela's vessels, teapot beads, and other glass creations at Pamelakaydesigns.com. Marie Lee is a freelance writer and editor tbo has been lampworking for nearly 10 years. She currently teaches at the School of Communication at Western Michigan University in Kalamazoo, Mich, in the US, wrwBeadAncBution.com | August 2008 69FREEFORM STITCHING rawnhe O natureg One design, two stitching methods, no rules designed by Linda Rettich Alayer of freshwater pearls is embroidered on ‘the seed bead base. 72 Bead&Button | waw.BeadAndButton.comDesigner Linda Rettich created her necklace (left) using a paper template imprinted with the image of a piece of sea fan coral as a stitching guide and base, a technique she learned from bead artist Sherry Serafini. Beadé-Button Associate Editor Lynne Soto made her version of Linda’s design using the same template as a guide, but stitched the necklace freeform without a paper base. Study both methods and use the one that fits your beading style to make your necklace. stepbystep Stitching methods Stich the sea fan collar onto a paper base, or work it as a freeform stitching project. Ifyou use the paper base, keep the necklace attached to the base until you reinforce the neckline with a row of freshwater pearls, Then remove the paper, and embellish the necklace with more freshwater pearls, seed beads, and ‘small shells. If you work freeform, partially stitch layer 1, then pin it to a work surface before connecting the sea fan stems and reinforcing the neckline with a row of freshwater pearls, Paper template You will need a paper template for either stitching method, but use it differently for each method. To make a personalized template, follow the measurements provided in yaw BeadAndButton.com | August 2008, 73Ve Ra near led Linda Rettich to eae eT CT Lee eT aS acne figure 1. Cut out the template to check if it fits around your neck. Adjust the template as needed. An enlarged drawing of sea fan coral figure 2) is available from the Resource Guide at BeadAndButton.com. Print this image con cardstock, and trace the outline of your template on the cardstock. A full-size premade template (figure 3) is also available from the Resource Guide at BeadAndButton.com, Print the template on cardstock. Allow a 1-in. (2.5 em) opening for the clasp, or an opening the appropriate size to accommodate your clasp. 74 BeadBButton | www.BeadAndButton.com Layer 1 Paper-based stitching [1] On a comfortable length of Fireline, attach a stop bead (Basics, p. 98), leaving a 6-in. (15 em) tail. Sew down through the paper 1-2 in. (2.5-5 em) from the inner edge of the template, and up through the paper along the back inner neckline at a point where a sea fan stem meets the inner collar line the template (photo a). [2] Pick up enough 15° seed beads to reach the outer edge of the template, matching the length of the sea fan stem. Sew a tiny stitch through the paper at the end of the row (photo b). Skip the last 15°, and sew back through four to six 15%. [3] Following the branching pattern of the sea fan, pick up enough 15° to match the engeh of the nearest branch. Do not stitch into the paper unless necessary. Skip the last 15°, and sew back through the remaining beads to the sea fan stem (photo ¢). Sew back through two or three stem 15%. Repeat, following adjacent branches until you return to the base of the first stem. [4] Pick up enough 15% to reach the base of the next stom that meets theMinimal embellish- ment allows the network of seed beads to show through under the second layer. inner collar line ofthe template. Sew a tiny stitch through the paper at this point (photo d). [5] Repeat steps 24 to fill in the ourlne of the sea fan. Vary the lengeh of the stems as you work toward the center to mimic the uneven edge of the sea fan coral. End and add Fireline (Basics) as needed. [6] Sew thcough the beadwork to connect the branches and stems, adding 15% where needed to allow for the ccurve of the necklace (photo e). [7] To reinforce the inner edge of the necklace, attach a row of freshwater pearls and 11° and 15° seed beads in ‘random pattern along the neckline, sewing through the seed bead base to anchor the stitches (photo ). [8] Cot or gently tear the excess paper away from the edges of the necklace, Gently pull the necklace off the tem- plate. After removing the backing, you may need to sew through the beadwork to reinforce or snug up the beads where the Fireline was attached to the paper. Freeform stitching [1] On a comfortable length of Fizeline, attach a stop bead (Basics, p. 98), leaving a 6-in. (15 em) tail. Pick up 417 in, (43 em) of 15* seed beads and a small freshwater pearl. This will allow for a 1-in. (2.5 em) opening for the clasp atthe back of the necklace. [2] Pick up 1 in. (2.5 em) of 15%, Skip the last 15* in the row, and sew back through five 154%. [3] Pick up six 15°s, skip the last 15° in the row, and sew back through the 415% just picked up. Sew back through three 15% in the stem, Repeat to add small branches along the stem until you reach the base row of 15% (photo 9). vw: BladAndButton.com | August 2008 75[4] Using the sea fan template as a ide, decide where you will place the next stem, sewing through 15-20 15% in the base row. [5] Repeat steps 2-4 to stich stems and branches along the length of the 17-in. (43 em) row of beads. Vary the lengeh of the stems and branches as you work around the necklace to mimic the uneven edge of the sea fan coral (photo h). End and add Fireline as needed (Basics) [6] You may find it helpful to use size 13 beading needles to pin the stems to your work surface to hold the necklace in position (photo 9. Follow steps 6 and 7 of *Paper-based stitching” to connect the branches and stems, and reinforce the inner edge. 76 Bead&Button | www BeadAndButton.com Layer 2 ‘You will embellish the collar in the same manner for either stitching method Secure a comfortable length of Fireline in the beadwork with a few half-hitch knots (Basics). Attach freshwater pearls, 11% and 15? seed beads, and small shells, randomly sewing through the seed bead base to anchor the stitches (photo j). End and add Fireline as needed. Secure the working threads and tails, and trim. Do not add too many pearls to the collar ‘edge or it will curl Clasp Embellish a box clasp to match the necklace’s design (photo k). Or you can ‘create your own beaded clasp. Attach it by sewing through the beadwork and cach half of the clasp. MATERIALS necklace 18 in. (46 em) * freshwater pears, varying sizes * seed beads 4.gsize 11%, white or cream peat Ceylon 259 size 15° ‘= mal shel (optional) * box clasp (optional * Freie 4b. test * beading needles, #13 * cardstock paper, 8/8 x 11 in. (21.6 x28em) * pinable work eurface (optional)il a eM < 4 ia ee / | Ce ene ee Cera Ty In the June 2008 issue, Rec y EOE Semen etal eee nts two panel patterns. Petree ttm Ree Reman Pet eat ead Soe eet) Peete tes to attach the panels onay A ~~ Loomwork Complete a second set of loom panels to construct a beaded lantern depicting the four seasons COTTA SITY step/ystep Loom setup ‘The beading loom we used to make the panels is 24 x 8 in, (61 x20 cm), The beaded panels measure 13% x 6% in, (34.3 x 16.5 em). The bugle beads at the top and bostom of each pattern are prestrung as you warp the loom. [1] Make a loop at the cen- ter of 8 yd. (7.3 m) of thread, and tie it around the first pin, screw, or hook on the loom. [2] Awach a needle tothe end of one ofthe 4-yd. (3.7 m) theeads. Place the thread in the first slot ofthe warp suide, pick up two bugle beads, and place the thread in the fist slo on the oppo- site side, Wrap the thread around the pin on this side of the loom, place the thread in the second slot of the warp guide, and sew back through the bugles. Place the thread in the second slot of the warp aide on the frst side, and ‘wrap the thread around the first pin. Repeat for a second set of warp threads. Tie the thread to the pin (igure 1). [3] Repeat step 2 to add two more sets of warp threads withthe remaining 4-yd, (3.7 m) thread. Maintaining even tension, repeat steps 1 and 2 until you have 116 warp threads, switching to the pin, screw, or hook that lines up best with the area of the loom as you work across the loom. Patterns Work the panels using the color keys provided or the colors of your choice. [1] Tie a comfortable len of thread to the top of the left-most warp thread. Using matte opaque dark cream cylinders, work five rows of loomwork (Basics, p. 98) about 6 in. (15 cm) from the top of the loom so that you will have short lengths of warp threads to attach che panel to the frame. The first five rows will weap around and sit on the inside of the frame when the panel is attached. [2] Following the pattern in figure 2, work the frst 18 rows (beginning with the top border of the pattern, above the bugles). Slide the bugles up to the 18th row (photo a), and resume the pattern below the bugles (photo b) End and add thread as necd- ced (Basics). When you've fin ished the body of the pattern, slide the second set of bugles up to the last row worked, a * nylon beading treed * 600 of metalic read MATERIALS. two loomwork panels 18% x6%4in. (94.3165 om) + 464 6 mm Japenese bugle beads #18. 4 mm icone crystals + 28 colors Japanese cylinder beads, approximately 2.9 per ladybug color 15-20 g per season and ‘sun color {50-75 g per border color ‘+ 1 yd. (91m) 28-geuge craft + extra long beacing needles, a2 + soving needles * large beading loom '* %yd. (23 em) medium- weight interfacing for ining the panels * lantern frame (der through mmetiers.bi) + wie cutters ww.BeadAndButton.com | August 2008 81FIGURES FIGURES: and finish the last 18 rows path, but do not trim the of the border. Work five working thread or tail. ‘more rows in matte [4] Using the working ‘opaque dark cream eylin- _¢hread and tal, attach the ders. Secure the working snowflake to the circle of thread in the beadwork, clear beads in the upper weaving back through leftchand comer of the sec- several rows, and tying ond panel (photo c). Secure halt-hitch knots (Basics) the working thread and between a few beads. tail with a few half-hitch [3] Remove the pane! knots (Basics), and trim. from the loom by carefully cutting the warp threads as Finishing close to the pins, screws, or [4] Measure the body of hooks as possible. Set this the panels between the two panel aside. ows of bugle beads, and [4] Repear steps 1-3 cur two pieces of interfac- following the pattern ining to fi ust inside those figure ‘measurements. Align each piece of interfacing with ‘Snowflake the surface of the panc! [1] On 1 yd. (.9 m) of that will face the inside of thread, pick up six 4mm the lantern, Whip stitch bicone crystals, leaving a (Basics) the interfacing to 6, (15 em) tail. Sew the edge warp thread. through the fist 4mm [2] Use comfortable } again to form a ring figure lengths of metalic thread 4,a-b). Pick upa4mm, and sewing needles to top- and sew through the oppo- stitch along the outlines of site 4mm in the ring (b-c). the borders, leaves, and [2] Pick up two cylinders, other points of interest on a4mm,andacylinde. the panels (photo ¢).. Sew back through the first oylinder and the next 4mm Frame in the ring (igure 5). [4] Lay the first panel on Repeat around the ring. a flat surface, with the IQURE 2 [3] Retrace the thread interfacing facing up. Lay 82 Bead&Button | www BeadAndButton.comEDITOR'S NOTES: *To view and print larger ver- sions of the loom patterns and Naomi's exact color chart, go to the Resource Guide at BeadAndButton. com. While there, you can also watch videos showing how to assemble ‘the lantern. + Use dowels to. hang all four. panels for a wall decoration. = Anna B-O111 Transparent blue gray rainbow gold luster the frame on its side on top 08-0608 Dyed siberined bricked of the panel, Fold the first few rows of the panel over the top bar of the frame, and using the warp threads and a square stitch thread path (Basics), stitch the first row of matte opaque dark cream eylinders to the third row of the border pattern (photo e). [2] Work in all the warp threads, securing the panel to the frame. Be careful not to fill up the cylinders with thread before using all the ‘warp tails. Secure the warp ing and choosing col- tails, and trim, ors for her lantern. [3] Repeat on the other end E-mail ber at of the panel, attaching it to metiers@n4.dion, the bottom bar of the frame. ne.ip, or visit ber [4] Repeat steps 1-3 with Web site, metiers.biz. the remaining panels, Border 18-0762 Matte opaque dark cream ©) ‘08-0042 Transparent silver lined gold @ DB-0115 Dark topaz gold luster ©) ‘08-0227 Matte metalic dark gren sw Winter 8.0113 Transparent blue luster ‘06-0312 Matte metalic copper 8-0378 Matis metalic brick red ‘08-0915 Sparle ginger lined crystal a ‘06-0101 Light smoky topaz luster el Spring 6-0706 Transparent aqua © B-0312 Matte metalic copper B-0052 Light cranberry ine topaz luster mt B-0803 Sparkle celery fined crystal 8-152 Transparent geen AB i Summer 08-0109 Coystal voy god luster 3 08-0174 Transparent chartreuse A 08-0152 Transparent geen AB B-0175 Transparent emerald AB i 106-0022L Light bronze 1B-0327 Matte metalic dark green iis ‘08-0312 Matte metalic copper Autumn 8-0109 Crystal ivory god luster 18-0852 Matte cantaloupe AB 6 ‘08-0272 Goldenrod lined topaz AB 1B-0913 Spare salmon lined top 18-0022 Light bron B-0312 Matte metalic copper B-0059 Amethyst ined crystal ‘0601 Dyed silver ined burnt oan B-0242 Silver gray Ceylon) Sun 0762 Matte opaque dark cream © 08-0075 Dak coral lined crystal AB B-0043Siver lined lame red ‘B-0295 Lined red AB FIGURE wow.BeadAndButton.com | August 2008 83Ladybug [2] Refer to figure 7 to make [4] Cura 12-in. (30 em) two wings, attach them to piece of 28-gauge craft wire, cach other (photo g), and and work in crossweave then to the body with a pair technique (Basics), following of wires (photo h). Weave figure 6 co make the body of that set of wires along the the ladybug, starting with the edge of the wings, and trim antennae (photof).Do not [3] Use the two wire tails ‘rim the wire ails from the body and the two wires from the wings to artach the ladybug to the f lantern frame (photo }). © O00; esses. ouee seas eeeeeee sesseces SSsEsees, Sssasees “egegee “saeeees, sseess 000 ~saen- FIGURE 6 916-941-1104 www.accentbead.com FIGURE 7 ce ae Beads Hand Blown Glass Beads Designed to Spark the Imagination Volume Pricing Made in the USA Manage Your Account Online Visit Kalmbach Publishing Co.'s Online Customer Service Center BEAD} muri * Change Address or # Subscribe * Check Payment Ermail Address « Renew Subscription STohs ‘+ Report Damaged or» Check Expiration of Missing lasves Sucpen + Poy Bill + Email Newsletter Menagement ted Acs ond menage your cco ening www. kalmbach.com/help 84 Bead&Button | wnw:BeadAndButton.comWire Expressions ¢ Wire Wrapping and Shaping Sitting pretty Beads suspended on gently curved wire make an eye- catching pendant. designed by Wendy Hunt [eae MATERIALS Peondant 2 in (Sem) + 10mm fro-potehed toarckop bead + 86mmire-polshed beads + 4 sine 6" seed beads + Bin. (15 on) round 18-g2ug0 wie, ha hare + 28in. (71cm square 21-gauge wire eed-2ot * in. (15.cm) haltround 23-gauge wie, hal-hars * head pin + 5.25mminse sneer jump tng 2092 (optional + 3mm dowel * Mini Quick Clamp * painters tape, Tin. 8.6m) wide + chainnose pers + rounchnose pliers + wee cuters Lies stepbystep [4] Cur seven 4-in, (10 em) Pieces of 21-gauge wire. Set aside six of the wires, [2] Wrap the remaining wire loosely around the dowel six times (photo a). Remove the coil from the dowel, and adjust the wraps soa 6° seed bead wil fie berween each pair of wraps, [3] Cue a 6-in, (15 cm) piece of 18-gauge wire (the core wire) Place a 6* between the first ewo wraps ofthe coil, and slide the core wire through it. Continue, adding 26" between the next three ‘wraps. Trim any excess wire from the coil, and wrap the ends loosely around the core wire (photo b) [4] Make a plain loop (Basics, p. 98) at the top of the core wire. Align the top ends of three 21-gauge wires, 188 BeadiAButon | voww.BeadAndButton.com Se cs Doe fer aes Ug cd Er cs Cee tis re ety Magazines tab. bottom of the coil. Cross the two wires around the core wire just below the col Wrap each around the core wire once, and trim (photo d). [7] String a 6 mm onto each of the next two wires, align ing them just above the 6 mms added in step 6 Gross the wires beneath the the core wire, and the remaining theee 21-gauge wires, Keeping the wires flat and in orden rap them in painters tape. Genty spread the wires apart (Ghote ¢). Place the clamp cover the tape [5] Slide the coil to about ‘Ain (1.3 em) below the tape. [6] string a 6 mm fire- polished bead onto each of the inner 21-gauge wires, aligning them withtheprevious wires, Wrap each one around the core wire one, but do not trim, [B] String a 6 mm onto one of the remaining wires. Wrap the wire around the adjacent wir, right below the bead added in step 7, and trim. Repeat with che Jase wire (phot o). [9] Remove the clamp. Make sure the loop ofthe core wie is resting on the top edge ofthe tape. [10] Cura 6-in. (15 cm) piece of 23-gauge half- round wire. Holding the bundle of wices securely, carefully remove the tape, and wrap the wire ends as many times as needed to secure them (photo). Trim the wrapping wire on one side of the pendant to establish the front and back [11] Spread the top wire nds apart. With roundnose pliers, make a simple loop ar the end of one wire. Holding the loop with chainnose plirs, rotate the Wire a few times to make a small spical Photo g). Repeat with the rest oF the wiees, and arrange them as desired. [12] Trim the core wire so there is about ¥ in (1.3 em) below the bottom wraps, and make 2 plain loop. [13] Make spicals with the remaining wire ends, and position them to cover the wraps at the bottom of the pendant, [44] Open the jump ring (asics) attach the loop at the top of the pendant, and close the jump ring, [18] On a head pin, string 10 mm fire-polished teardrop bead, and make 1 wrapped loop (Basics). Open the loop at the bottom of the pendant (Basics), attach the dangle, and close the loop. @ r Wendy Hunt began designing jewelry four years ago. She is from Ontario, Canada. Visit Wendy’s Web sit, bttp:Atbaublesnbeads. atspace.com, or e-mail her at hunt7897@ rogers.com. _3rd Annual Fall Tucson ‘Bost Bead Show , ee SEPTEMBER 5,687, 2008 Friday 10am - 6pm Saturday 10am-—6pm_ Sunday 10am-5pm “- TUCSON CONVENTION CENTER EXHIBIT HALLS A,B&C i i APPROXIMATELY 100 VENDORS ‘OPEN TO THE PUBLIC. es ~ FREE ADMISSION __ * WHOLESALE/RETAIL IVE GLASSWORKING DEMONSTRATIONS. PART OF THE FALL TUCSON, IND MINERAL SHOWS: visit our website: www.crystaimyths.com We have rooms for our buyers and students Come and find out wi Ce" Sur EXHIBITORS COO Kee aC OE Lem ey eure [Tom Cer Re eee WU vars wwnuBeadAndButton.com | August 2008 89Claymaker * Metal Clay MATERIALS bracelet 7 in. (18 em) ‘= 35-50 assorted accent beads + lobster claw clasp with soldered jump ring ‘© 16in, (38 cm) 22-gauge wire, hat hare + 25-90 1-in. (2.5 om) 22- gauge head pins 18g metal clay acrylic roller chainnose pliers ‘ein, (1.9 om) diameter circle cutter: + cocktall straw or coffee stirer copper tongs: emery board finishing tems: tumble polisher and burishing ‘compound, or bress brush, bburnishing compound or dish soap, burisher, fine agfitjewely-grade sanding ‘ads, set of fishing papers, and polishing pad food dehydrator (optional) 2 glass bows jeweler’ fies, hatround ‘and round kin Iver of sufur nonstick work surface ‘lve oll or nonpetroleum hand salve, such as Badger Balm * paper towels * 8 playing cards + roundnose pliers * sandpaper + Yin. 1.8.6m) diameter stampis) with seasonal image * ire cutters stepbystep Links [1] Lightly grease the work surface, roller, circle cutter, stamps, cocktail straw, and your hands with olive oil or hand salve. Roll out the metal clay between two four- card stacks of playing cards. Using the circle cutter, cut four circles from the clay. [2] Stamp an image in the center of each circle. Gently rocking the stamp on the surface of the clay helps to impress the image. Use the cocktail straw to punch a ‘small hole on opposite sides of each circle (photo a). Immediately rewrap and store any leftover metal clay. [3] Dry the links in a food. dehydrator, or allow them to dry overnight. [4] Once the links are dry, 92 Bead&Button | wwrw.BeadAndButton.com use the files and emery board to refine the shape of the links and the holes, Lightly sand the top and bottom surfaces of the links, taking care not to destroy the stamped images. [5] Fire the links in a kiln, following the manufacturer's instructions, Let cool eom- pletely before removing. [6] Tumble the links in a pol- isher, or finish them manually Brush the circles with a brass brush and burnishing com- pound or soapy water. Rinse and dry each piece, then rub them with a burnisher. Use the sanding pads and papers, graduating from the roughest grit ro the smoothest, to remove any irregularities from the surfaces Patina Patination is an imprecise science, but it is possible to patinate your pieces to the shade you desire. The tem- perature of the liver of sulfur solution and the texture of ‘your stamped image both impact the final result. Shallow images with more texture show color best, and cooler temperatures allow the colors to change more gradually. For more on pati- nation, see Jackie Truty’s Expert Advice on p. 18. [4] In aglass bowl, prepare a liver of sulfur solution according to the manufact- urer’s instructions. Fill the ‘other glass bowl with water.[2] Holding a link with tongs, quickly dip it ino the liver of sulfur solution, and remove. Dip it in the water, Check the color of the patina, and repeat until you reach the color desired (photo b). If you continne dipping, ot let the link sit inthe liver of sulfur solution, the patina will be black [3] After the final rinse, blot the link with paper towels, and use a polishing cloth to remove the patina from the surface areas, The patina will remain in the recessed image. [4] Repeat steps 1-3 with the remaining links. If desired, use the same process to patinate the head pins and wire to match the links Assembly [4] On ahead pin, string one or two accent beads, and make a wrapped loop (Basics, p. 98). Repeat to make a total of 25 dangles [2] Cut a 2. (5 em) piece of wire, and make the first half of a wrapped loop. Slide a lobster claw clasp into the loop, and complete the wraps. String a bead, and make the first half of a wrapped loop. Slide two or tree dangles into the loop, and complete the wraps (Photo ¢) [3] Cura 2-in. (5 cm) piece of wire and make the fist half of a wrapped loop. Slide the wrapped loop from the previous unit into the loop, add two or three dangles, and complete the wraps. ‘String an accent bead, and make the first half of a wrapped loop. Slide one hole of a link into the loop, and complete the wraps (photo d). Jessica Febrmann lives in West Bend, Wis, in the US. Contact Jessica via e-mail at jessyemt@ yahoo.com, oF visit ber Web site, sparklinge.com, 10 see more of her work, [4] Repeat steps 2 and 3 four times, substituting the second hole of a link for the clasp. Attach the soldered jump ring to the last wrapped loop. © ‘Se DUPER Nea cov as CONT ern Te CIN em acento Lf Ug ta Ce Ee eran OT Og all Sosy Any See Oras CO ae eee cy ORE ere aT ey eee 303 818.999.6671 ww: BeadAndButton com | August 2008 98“Friendly Service” Since 1973 ‘One Fire Mountain Way, DEPT CO18 Grants Pass, OR 97526-2973 America’s Favorite You supply the creativity, we supply everything else!® Request your Free 448 page Jewelry Stoo Maker’s Catalog of Best Sellers 2 oo Call 1.800.355.2137 or go online 7) rxuainancers www firemountaingems.com/freecatalog % Kink