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July/August 2000

Volume 3 Number 4

16 Large Scale with Small Beads Denise Perreault

19 Klew! Making a Business with her Art Bette Abdu
26 Boost Your Calor Creativity Mary Tafoya
38 On the Road Again . .. Beadwork Gathering Stories Jean Campbe/1
42 Jeonne Boardmon Bard: The Original Bard Don Pierce
45 Developing an Artist Statement Dione Fitzgerald




Dragonflies Nancy Zellers

2 Passing Through

24 Blocks and Bars

David Farnswarth

5 Project Contributors

30 Stained Gloss Screen Beading

Sandie Abet

7 Letters

33 Crochet Star Bag Bonnie Brooks

36 Fanciful Fern Frond Laurie Nelson
4 8 Picot Lace Sandy Forrington

M icro Macrame Watchbands

Brenda Whitehead

6 Calendar

10 Bead Buzz


1 1 Up Close
39 Samplers
Lydia Borin
54 Special Beads
Marion Agnew
56 Bead Boy NEWI
Duslin Wedekind
58 Stitches

59 Abbreviations
62 Cool Stuff
63 Reviews

O n the Cover

Blocks and Bars Necklace

by Dovid Fornsworth

72 Stringing Along
Judith Durant

, --

ummer's here and it's time tO show a litde

skin. At least you'll see some in dlis issue of
Beadwotk. l figure we wear bcadwork on
, our skin, so why not photograph it thar way?
\ We found various shades of skin-ivory,
chocolate, mocha, and olive. lt was an inrcresring feat 10 <:xplain to our models what we
were up 0. Here's one conversation I overheard. "lli, Dale? This is Amy. Did you
- ___.;' know J work for a magazine? Yeah. it's
about beading. No, beadWORKing-making sruff
wirh beads. Ye::th. Anyway, we were wondering if
we could use your skin as a backdrop for a photo."
I'm sure Dale will chalk rh is one up as one of che
strangest things he's ever done.


What's cooking in the Beaclwork oHice

We' re sod to soy good-bye" to Mono Pompili, our trusty production
ond technical editor. She's run off to Michigan to work for our
printer, Guebecor-Pendell. Stay worm, Monol
We still hove copies of the Beadwork 1: Up Close slide show available for rent. The program lasts about on hour. Call Holly Doughty at
(800) 272-2193 to schedule a dote.
The Bead Boy Challenge for our August/September issue: Bead
something that doesn't/oak beaded. Deadline: June 1, 2000.

And maybe not. Maybe,

as Dale lay chere on Joc
Coca's phoro table, his
back Iirtered wi rh beads,
he began m feel rhc power.
You know d1e power T'm talking about-beads do
have a mysrical force. Take the whole "power
bracelet" rhing, For instance-the f.'ld popularized
by stars like Madonna and Kurt Russell. Bracelcrs
of srone or crysr:~ l in which the inherent qualiries
of d1e beads emir a strong aura for healing and
balance. Turquoise aligns the chakras. Lapis lawli
promotes friendship. Etcetera.
But heck, we don't need scars tO show us rhe
suengd1 robe found in beads. We've known it all
along. Thar's why we drain our checking accounts,
amass enormous stashes, disappe-ar at bead bazaars,
and stop by every thrift store we sec, just in case
we srumble across that one find in a million-an
amique C1.cch 20" seed bead collection or a minrcondilion Victorian sted-cm purse.
Ycp, rhere's power there all righr. lrr fuct, I won't
be surprised if l hear Amy on d1e phone with Dale
one d ay: "Now, Dal e, " says Amy, "srnng
rh ree
beads and tie a k.nor. ... "
Bead-crazed like you,


I"RI A 11Vf OIRI ( . I'UR I.ind
A"I\TANT Wfl OR Amy C. Clarke

C. [ igun

E011\lRIAI OIRELI"OR Marilyn Murphy

Ell I I'OR}em Drnpbcll
1tTHNILAti-Jlll OR M.11'iUH Agne\\'

<Xll'\ Hlii'OR S1cphcn Boot



Altdcrson AOI'~R"IISINC 'li!Tan) Ball, Marityn Kol'""""

K:trbow<ki Cli\CUI.A I"ION MAI'JIG~Rjenny Fish SUIJSCRWIION SIRVIt"F.s t)onna Mdron

I'UULISiif.R C<ri



llll""r\A noN Jc:m Dmpbdl. Gaylc Ford. r\nn Swan<cm, Andy Wtbbcr. Ouscin Wookind
I'Hlll\X.RAI'HY Joe C<>c:l
l)~SI(;I'. Elizabeth R. Mrofka
I'ROUll( 11()1\ MANA(:I.R jell' I irrJtr
I'ROIWCriON rOOllOINArOR Andy Webl>er
I'Rl'< I txlORilii'.A I OR Nancy Amdt
['hi~tu m thiJ.

tJru4' 11j lk-;nlwork nrr for insptrJrum JJ!Itfp~11iJnn/u$~ on~

Ex.w r~pmlucttOII for tVflH!IMi,tJ ptl'fltn'l'J. h r1J11Muy ttJ t/}( spint ofgood tr11fom111ti!Jip.




(ISS'< I SUI-IG.\4) u pubBhcd b"'ooonhty bytnc""c""' I~"' Inc., 201 I l'Ounh >.. '"' CO 80537-5655. (970) 669-7(,?2. USPS o'O 1835 1.
PaMid1ah ~ugc I>Jid .u ll)\'t'l.~nd. C() 80,38 .md matling ufi'ioco. All content. of eh is ~.uc of &aJu'Urk art' ropyri&l11td hy lnrt'rwc-.t\'t' (llas; Ietc.. 2000. All ri~b~ RC'Jlroducrion in wl16l.e or in r;ln i.~ prohlhired. cuqn by perroi<siun of t.hc publhher. Sub-.cription lilt(' i.s .$24.95/unc }~Jf in the U.S., S3l.9'i/one )TJI u.s. }und\ in
c......,L. ;UwlliliC:lg.n t:uunrric:-. (surf.lCX' ddi\-try). 1-.,.jnt(tl in rhc U.S.A. ll()ST\1ASTF.It: l'te..!ie stmllddfdS: c.h.UljSt IO &Tdwtrrlr, PO &x 'i27, Mt.. Morris. ll (i IOs-40~27.
Vim cht' Jmcrwc:we i'l'C\\ Y.'th~i rc :u \VWW,inrerwc:;l\'1:',00111

www interweave com

May 13: Suond Amu111l IJMd
811.uwr ar rhe llandlcr) l lnrcl & Re
sort, San Diego. Californta. ( 1
llcarh<r lrimlcu .11 the lk1d \ml<l)' of
Sn Diego Counry. (61?) ~61 9168;


@ Jun~

2-4: BMd Rm11iwwu Show:

/ V<"gns ar rhr liopi<.lfiJ ( .1\ino/
I lord. 1...1> Vrgas. Conrau J&J l'romo
fiOII>, LLC.. (303) l.H-7147; fax (]03)
232-5263: bc-d,how~bcad,;

@ June 2-4: G~o.,-posirions Lns V~gns
Mimrrnl, Fossil, Gem, jew,lry Show .11
the Tropicana Rc,on .mll Ca~ino. Lt>
Veg-.;. Comacr GcoFxposirions. (303)
278-1 218: gcoexpo@aol.cum.

June 2-4:

s~nd nnd Bullon Show at

1hr o~gon Convention <.curer. Port

lnd. Conrau rhe lkd and Buuon
Show, (~40) 452-4')41; fax (740) 452
lS52: bcadandbunune;oflingcr.<om:

June 3-4: Samn Monirn lndi11n Art

Show & Sal~ ar 1hc Civic i\udiwrium,
Santa Monica, Califon11a. Con1."1 KR
Marrindale, (505) 747-0611; w.lltwrilc.,~l

@ June ll - 15: 1Jifi.2K: B.ntllllcflvtn

2000 Rctrt'nl in Johmrown, Penn,ylvania. Conracr Raven. (814) 5J6-8804;
bw2k@'lenzl ink. net; htt p:l/hulllc)Mgc.
lcr11l ink. ncr/users/raven .

Knlispe/4 Momnnn Brntl Stnmpcde .u

1he Flathead Counry F.1irgroumb, Fair
Kitchen Building. Com.1<1 1.. llobson,
Ziuyz.u.a Reads. (208) 664-9552.;

June 24-25: TIJird Annual 1/igblnnd f>ark Fmirnl of Finr Craft 111
dmmrown H1ghland I'Jrk. IllinOIS
Conr:l<'t tht Suburban hne Arh Cenrcr.

November 3-5: CtoE>:posirions

f>honrix Trrnsurr Mnrlrrt ~ rhc Phoenix
Ciic l'laza, Phoenix, An1on Conrac1
GeoExposirions. (303) 278 1218; gco

(847) 432-1888.

June 24 - 25: f>ugrt Sound Btnd

Frstiwd ar rhe Unum Sration, 1:1eomJ,
Wa;hingl<1n. Com:ou l'hc lkull'.t.:rory.
(253) ~72-5529 or (888) 500 IWAD;
f..x (253) 874-(>~%: www.rhchcad

July 7-9: Forty t'igbth Amlltfl/2000

Four Cornen Cf/11 and A1incrnl Club
SIJow ar rhe l..l l'lara ( 'oumv F.1ir
ground~. Durango. r olorJdo. ( :ont.ICI
Donna Hanna, (970) 38~ 5HS
July 14- 16: t'mbcllislmmrt Jl rhc
Oregon Comcmion Ccnr<r, l'orrl.tntl.
(~ntaa Embellishmem, (713} 781 {>864;
fx (713) 781-6!1!19; show\~~quiltMom;


July 28-30: Thr Wbolr Bctul Shotu

Jl the San l'ranci"o War Memorial Jnd
Performing Am Building. Con t."' rhc
Whole Bead Show, (800) 292-2577; fax

(530) 265-2776; info~l>whnldl<';

rh, \d11>nlnl \'i"r..J \rrs announces a new Master of

Professional Slvdies Program in c\rt I hc"'PY ro
begin I 311 2001 h " rwo-yur. 'ixrycrcdir curnw
lum f01 1he \tP' m \rr Therapy. For applk.uinn
intorm.uiun, call S\ -\s An fherapl' Dcpanmenr .11
(212) ~>2.-.!<>IU. Or vtsir the School's \\cbs11e .n
"ww. '<h<>lllof\;, IS.ctlu.

June 8- J J: 111~ (;lnss Art Soricty't

30rb Ammnl Conftrma: Bridg~ ro rl1r
Fnmrr at rh~ UrbanCia" Contcmpo (; Ccntcr .1nd J,l.uul
l:ni\'ersit). Br0<1klyn, ~"" York. Con
IJ<I (.;.A.$.. (206) J82-l,l0~; f.IX (206}
382- 2630; glassanm.: enhlink.ncr;

Jwe 9-11: First A1111111tl Billings,

1>-/ontana B.nd Sramprdr 2000 .lt 1hc
Merra Park-Sage Ccnrer. Cont.lCl L.
llobson, Ziup.1la Bc:l<l,, (2.08) G64
1)~~2.; lin;y@micrtiii.IICI.

www inlerweove. eo m
August 4-6: Tlu \l?hol~ Bt11d Shoru
u rhe Doubl~rr"" '\lanJ \X'aikikt !lord,
Honolulu. Hawau. C<onucr rhe \lt:'hole
Bead Show. (800) 292-2577; f,. ('BOl
265-2776; inf~holcbc-; www.

August 25-26: Cnpr Cotli Fourth

llnnual Bend 1111d Brt~dmork Shotu .11
the Unitarian Meeting llou~e. Ease
Falmouth, Mnssnchuscm. C.tll (50!!)

August 25-27: Fim Amu111! Mitsouln. Monfllllll B"rd Surmprdr .11

Ruby';, Inn wd Convention Lc1llcr.
( o111.1ct I Hobson, /in)'l.ll.l BtJd\,

(208} 664-?552; ZIU)~OIIctOil


September 14-17: lkad Rm11mmru

Sllotu: Dmv ar rhc llolid.l)' Inn,

Nonhglcnn, Colorado ( :onr.lll J&J

Promotions, LL.C., (30.3) 2.32 "11"';
liox (303) 232 526.3; bcJd\how~
berd,; W\\w,bc.J<I-huw.wnl.
@ September 15- 17: Srrond tltll/11111

Ongoing: Glnss, jrwelry, 1111d l.nmp
working Counrs ar rhc Mendodno Arr
Ccnrcr, Mcndocino. C.tlifomiu. (707)

?375818; fax (707} 9.l7 1764; (800)

653-3328;; www.
me 11. org1 a/mcndo.r rrl

Ongoing: Polymer Cltty, Brnduorkiug, nnd Glass Works/,ops Jtrhc Brook

lidd Ct2ti Cenrcr, 1\rooklidd, \ia<s
achustll'>. (20J) 775--1~16; f.u (203)
740-7815: brktldcrti~; '"''"'

Ongoing: CIIISS 8/owwg. n.lldwork,

L11mpworking rourus .11 llt,rit.on;,
Sunderland, Mas>.~chucm. {413) 6650300; faJ< (413} 665 4 141; horitom@ www.hori1ons ;
Ongoing: Clms nnd Fibu Rlnud
Courses a1 the Coupc'Villc Ar.- Ccmer.
Coup<-sille, Wa,hingrun. (.160) 678 H?6;
f:rx (3(.0} 678. .,420: .:.><~' wlucll>c).nec;

www.coupet. illc.1 TC'\. nrg.

March- June: Spring Br~~d jru~lry

Design and Consrrurtion Courus r
Studio Baboo, ChJrlotte>\llle, \ rgnr.
Cont:lct Studio B.1boo, (8CH) 111 2?05.

June 9-ll: Early Srmrmn lmm1ves

.rr Sndios: Snow Farm in William,burg,
M"sso~chu>cm. Conr.t<r "aren l<nm.mGalc, (4 13) 66S-0300; www.hori'
June 17: l11dimrn Otnd Sority 3rt!
Amuml Workshop .11 Spcetlway United
Mc'l:hodist C.hurch. lndi.m.lpoli>, lnd1
ana. C..tlntacr I.B.~ .. 1'0 1\ox ')1602.
Indin.tpolis. I:--.1 4625 t 0602.

June 24-25: A lkadU'CIIIImg

Wnltmd at lane ( nllcge ).l< k.son. Ten
nc,.cc Comae< Ill> Dc"gn ( cnrer &

Gallcr}. (630) 96V>Sn: ramm~'


i\uguSl I0-13:

/ .11U

Summ.r bum-

Exbibition .11 the Tcxcile Are. C.<.:ncre.

Chicago. lllanui,, hup:/kollaboratOr)

Jc.on ( ..&mpbdl dt>igned a shoe for BeoJworlc 11:

The Embellished Shoe jw.t tor kicks (son"). bd
pun) I IJve you Ulrted yours yer? f-or more
mfornwion .obmu thi; crvding juried

nuncr.nct tc:-x.tilc:.t h.

411 Jul,- 7 Augu>t 12: MIU. l'rojut

Brad l:x1Jibirio11 Jt 1he L1 Jolla Fiberans
Gllcr). I J lull.t, CJiifornia. Contacc
l.ynn Nohd. I .o Julla FibcrArts. 7644
Cirard Ave.. I .1 lulla, <..A \12037.
l'ibcr .orclQ".ool.<nm.

exhibit, \CC or

send an .SASP cu llcadwork 11:

'I he Fmbcll"hcd %ne,
lntclwC.Ivc.. Pres.\,

411 T hrou11h ScJ>Ccmber: Paduka: Fut

20 I E. l'ou rth !>t..

I ovd.1nd, ( '0

1111d J.'oottv~ar



Indian Trmlition
at chc II.IIJ Shoe Mu,euru. 327 Bluor
St. W.. fi>ronw. Onc.~rio, .\155 IW7,
C.tnddd. (416)97\l ~799.

411 September 10 No>embcr 5: Mm

of tbe Cloth .c the Ohio Craftsmen

\1u<cum (Oh10 l>c>OIIncr Cnnsmcn).

Columbu,, Ohio. ContaCt lktty Talbott.
(614)4!1(> dOl.

411 Through 2000: Nmirr Parhs at the

Mttl'(> Mu,eum. 1000 Finh
Ave.. New York. (212) 879-5500:
WWW,ItlCt tl\U~CU III,Ufg.

sitw .u .Studins: Snow I'JrOl in \'<lilliams-

:>end \A SI ao lcxtilc Am C:emre, 916

burg, M,l\\.odo"'cm. Concact Karcn

' lotmn <;le. (413) 665-0300: www.

W. l>ivcrscy. Choc.ogo, IL 60614.1mp://

wll.thm .llc>r). nu net. ncc/ccxrilcarn.


Deadline July 31: Roots of RAcism:

lgnomnu mu/ Frnr Ml quih exhibitoon
" \'enigo '>cudio,, Memphis, lcnnc~$. Send Si\SI to Rebel Quilter,
\us;~n I e>lie lum,dcn, 221 :-.J. Third
St.. !'haver. MO 65791. (417) 2643282: RchclquiltcrVt'andr:.n.oom.

411 Augu;c 11 13: Adlllt/Child PolymnCiily Clms. August 20 25: Brick-stirch

B~11dwork. Dian~ Fing~rilld. August

25 27: (,mgko l~af Nuklnc~. Dinn~

Fitzgmtltl Jl Soevcr> School of Fibcr
An,. ~a,hmgcon lsl.tml, Wisconsin.
(920) 847 226-l.

411 Sepcembcr 8-15: 1/otiztms in France

ot Studoos: Snow brm on \'<lilli:umburg.

Cone act Karen 1(nm:m

Gak (413) GG'i 0.300: www.horil.()n>


411 September 9 16: (be American

Fall i11 N~w Mexico Jt Sm
dam: ~no" I Jrm 111 William>burg,

411 Deadline Scpcember 13: Tile EmbtlliJbed SbM juried rraveling ahibit.
Send SASE 10 'I he Embdli>hed Shoe,
Bcadwork M.oguine, Interweave l'ress,
20 I E. hnnrh St.. I ovcl:and, CO 80537
S6SS. (!lOll) 272-2193: bc:tdwork@


M.a\\ ( .omact K.ucn ToLman-

411 lbrough May 21: joyu J. &on:

Gale, (ll I) 66S 0300; www.horizons

Kidri11' it \'(/itb The Old Master< at the

Balumore 1\fu,cum of An, 10 Art 1\fueum Dr., B.ahimurc, MD 21218-3898.
(41 0l V>6-63tl:
(4H>> 39-7153.


411 Deadline June I: Uncommon



Rulltllfly FaJbion Sbow at the

Fine lone (rc.Hivc i\rr; Cctltcr, Se.
Charb, lllinol\, Send I.SASF eo Dcnise
K.ov.m.ogh, l'hr hnc Line, 6N 158
Crane Rd .. St. Charle>, 11 60175. (708)
';1!4 9-14 .l: lindincCM1'

411 Dcdline June 15: luaedible Cf,tyF~"ts

of Polymer at tht Bead Mui<'um.

t;lcnd.tlr, \romna. Send S~E 10 The 1\fu,cum ~.,~4 \~. C.lrnn Dr.,
Glcnd.ale. AZ 8S.\Cil (623) 931-2737:
<hcryl~ thebeJ<Imu\Cum .com.

411 June 16 July 30: Cbaiu Rrnction

hll'illlfionlll mu/jt1ri~d ~:.:bibitiou at thl."

IC\Iilc Am ( entre, Chicago, Illinois.


(.all'ndur t'lltlll' of spf'l'in/ int~rnt to

be11dw11rkrn 11rr primul fru of cf>arg~
m 11 strt,irt' to our rt11drrs. Plcau und
infornmlloll rwtll't u~tks zn adv.1nrr of'
puhlit,JIIon lufiiiKJ 'I" matk on a sptlrt
.mtilrble I.JJts. \Htil~ u .. mdude as llllliiJ
nt/111 a,

pcnublr, U't' r.umol guaranur

rh.u 'f<Jilr luttnK wtll.rppe.rr. Smd t'll!tn

dar rtlln~ to lkadwork. /mrru-c<~t~ Prm,
lO I I Fourth V, I {Jr ..Lmd, CO 8053 75655. /(t., ('.Jl()) 669-6111: b~atlwork@
1lllrrUif'll11r, rom.

Check out this website-
Whether )<>U'rc looking for ani~t pruhlc\. e<hibiu.
proje<l\, bead technology. or maybe you're jmt uri
ou .tbouc b.:.oding tips and faccoids-)<lu'll find it

411 Moy 27 -Sepcember 3: B~nd /mer

lllltiollnllOOO .u the Oairy Barn Cld
turJI Am C~nccr, Athens, Ohio. Contact the D.tiry Barn, (740) 592-4981;
f.tx (7~0) 5'>2- 5090;
www.daoo yh.oroo.orglbeadinc. hrmL
M.oy J I .September 3: }11dy Chi~ago
Rc.olutioon: !\ Sticch in Time Jt the
Amcr~<.tll Cr.tli Me"-"'"' 40 \'1/. 53nl St.,
New York. ( onl.l<l Bt:cka Mdchione,
(lll) ')% J">.Vi.

411 June I 10: Mm of the Cloth at the

Lccdr \uulkm An C.encer, Kan=
Cit) Mi~'><>Un. Concact Mi<helc 1-ricke,
(1!16)1!22-8044: mithelefr@'aol.wm.

411 June 16 July JO:

Cl~t~in R~ncti(Jrl


July/AII(lu.t 2000


1 received rhe May/June i~ue

of Bfndwork ar mv Boulder. Col
orado home on March 22. and a
friend rold me 'he saw the ~.une
issu<: ar a bookstore around
March 15. It's alway~ J plea~ure
ro receive my next 8Mdwork
is~ue, but why is it distributed so
fir in advance of its dates?
- Dcni\c Pcrrc.tult

cominuously-running thre;~d or
requires the interaction of many
threads that carry beads. (,enerally. these networks have a struc
ture in which the thrc:adv, he.1d~.
or parrerns develop daagonally in
rdarionship ro one ;motlwr.
- j.m1k D. Alien


Ro~.1, lalilornin


Bou Ider, Colnr.1do


I just received the M.1y/junc

issue of Bl'tttlwork and had to
thank you for the: Mt idc on
beaded fan pulls! I hvc: you considered rhar, scaled down a bit,
they would make pcndanrs? Jusr use .1 s11ung or pcy
OLe neckband instc.JJ of the bead
chain, perhaps u~t a '>mallerholed head, and go CI'M)'! ln
facr, I'm having some trouble
deciding what tO dcc.:omu: firsrffi)' ceiling fans or nw neck

Your magazine continue:~ to

Good qumion! And shhh this improve with each i!>Sue! Thanks
is d publishing St'crt'f: \t'~ tftttt' t!Jt' for doing a great job and focus- Linda ( \~heercn
mng11zi111' nlmtd to I'Xtmd its s!Jt/f ing arrenrion on some rruly Hund.t
lift nt bookstorl's. \\7( don'r uttlll inspirational and awe-ampiring
thl' folks who stock t!JI' shl'lr'I'S to arrisrs. I would love to sec: at
/bank for rlu frY'tl it/m, l.inda!
least one article per issue focm- Ut liS St't' wbttt _you C011/t' up witiJ.
rhink wl'i"l' out-dated!
ing on lampworkcd beads
cirher an arrisan spod ight or a
W'to ittttt' to hr1tr
how-eo arriclc. Thanks!
from ytm' pf,.,nr
Irish l.iulc
l 'm wnnng in respomc to
Jflul )'fiur frllt>n to
Gallarin Gateway. Mont;tn.t
Oavid Dean~ provocative article
llc.nlwork. 'OJ f
hmrth St.. /.oN
"b it Peyote or Beadwcaving?"
~~ lovf! !tt mpwork, too! A eo 1105} 7(Summer 1999). With all due tton nil lampworkers: Bcadwork
5ft iS "' bt.ulu:orlt
re~pecr ro Mr. Oean, who Is a
would LOV/; to publish !ttmp
~lnttrur,tl't rom.
ralentcd and creauve ani.,t of rht work hou1-to nrtidn Pll'llsr sub- /'lasr bt surr to mdudr )'I'" 11.1mr '"'"
firsr caliber, rhe amwer 10 rhc mit! St't pttgr 38 tu find out how.
mailiflg adtims.
question is a resounding "NO!
'hcr. "
I r's near
The technique that i~ now
\\rrlr sorry lilt' 11/tlde tbi'St! misMkrs!
co rn monly called "peyote" work
is not a kind of "bcadweaving."
May/June 2000
lr is a nened rcchn iqut. The
~ On page 36 we mi\bbclcd the Victorian fan pull. The:
term "beadweaving" should be
antique one is at rhe Id(.
limited ro techniques in which
e On page 28 Diane ht~gc:rald's necklace w,,, mislabdcd.
the fundamenral struuurt: of the
lr is titled Autu11m l.l'gttq 11: Collagl' Nt'cklilft'.
piece invohcs rhc:. lnttrauions
e On page 47. undea jc.1nne l.cffingwell's "Small Box"
of warps and weft.,, which arc:
diagram, it should read "Load bobbin from bonom up.
generally perpendiual;~r w each
alway~ from the same side" (not "back and forrh'').
other. The strucltl re of nc:ncd
beadwork has <:idwr a single


www. lntorweovo eo m

What's Popular in your Area?
''Our cusromcrs are srill wild for clastic ~nap
br.tccler~. fhq're using Austrian crystals or firepolished Czech gl.tss in feminine colors-pasrcl
pinks, greens, yellowb, .md purples."

Worn alone or in scads, [hese lirrlc sn.tppcrs

arc the most popular bl-ad11 ork I've seen in
yc.m. Make rhem plain or max them up. Share
rhem with friends or hoard rh em. Bm know
rh.u if you wear them, you'll be in 1hc grouve.

~ l ~idi

Core, Bead Cache

Fon Collins, Colomdo

"l"he d.t\lil br.~~:der~ are still very popular

"irh seed hl.tds or Czech glass. In general. our
besHclling heads ,tre pearls, crv\tals. and Bali
nesl <1'"Y sp.tnrs.
Ayla Phillips, Ayl.l'> Origin.tls
Ev:mswn. Illinois

Seed bead~. Del icas, 4 m m fi re-pol isiKd

C1c:th glass, 4 mm Ausrrian crystal,, or
;~ny \mall
Crimp head
.S mm clc:Jr el~ric
I .tpe

Meas uling t;tpc

Crimping p lier~

"Anything rhat can be strung on clastic!

Austrian crystals have been popular, but
now I see an intcrnt an rhc beautiful finishes of orher beads, like C~t:ch fire-polished
glas.. rhe "' mm have been popular
for bracelets, but I rhink there's a gravitation row,ud l.trger beads now. Jewel tones
trc sllllan Jeep pinks and purplcs hm unmual bead finishes
.trc wh.a's hot.'
C:~role rripp. Creative Casrlc
Ncwhnry 1'.1rk, California


is rhc calor a la mode rh is season,

hm don't imagine just any old green. "Thinking green~ goes beyond the familiar kelly and
hunter to ccladon. mint, J.tdc, and avocado.


www tnletweavo com

Sup 1: Mea~urc your wrist. Add 2" eo the

mca\uremcm and cut thar length of da,tic.

Srt>p 2: Tie a loose overhand knot I" I rom one
51t'p t: String the crimp bead and enough
other beads to reach I" from rhe other end.
Sup I: Securely tape one end to the r.1ble and
untie the loose knor ar the other end.
Sup 5: PI3T rhe crimp bead so that rhc ends
crosb dtrough iL Pull the ends so the beads
~ n ug up tighL
Sup 6: Clamp the crimp bead with the pliers
so 1hat the dasric is firmly sccu red. Re
move t.tpc: and trim off
cl.t\tlc tail~.

M.1k111g a memory-wire bracelet is about as close to insranr gratific.Hion as

be.1dwurk gees. Memory wire is a product chn1 retnim irs Slinky-like shape even
when it's srrcrchcd or twisted. The stuff is so cough that you shouldn't use your
jcwclry ~nip~> w cut it because you' ll damage them. lnm:ad, bend the wire back
and fonh several times uruil it brc.>aks.
I made one of rhcsc lirrlc bracelets with silvt:r
spacers. turquoise chips, and blue Indonesian rc:cyclt:d glas.\. The mher employs si1c 6" mixed marre
seed beads and 6 mm yellow jasper beads. I u~d enough
wir( to let rhe bracelet wrap Jround Ill) wri\t three times.
Before srringing, use a round nose pliers to coil one end of the
wire ro acr as a stopper. Do rhe \ame ;u the otht:r end to fasten oA:

Passion for Fashion

Use this cool embroidered motif to odd

some pizzozz to a summer linen outfit.

Sup 1: Transfer chc scroll motif (below) eo

the tank rop and pants. Cenrer one
scroll juM below the tank's fronr neck
scoop. Transfer a row of scrolls I " above
the pams' hc.mlinc.
Stt!p 2: Attach hoop around parccrn and
ht':ld cmbro1der (sec "Stitches," page 58)
scroll p.mern on tank top.
Sup 3: Attac.h hoop around one panern on
pants. embroider one scroll pattern
at a 11me, moving rhe hoop as necessary.

-:: -~
--. !

I 0 grams Ddicas
~i~c "B" Nymo thread
I incn tank mp
I inen drawsrring pants
I rJnsfa paper or pencil

Size 12" beadmg nec:dlc

Embroidery hoop


July/August 2000


"Up Close" showcmes your work nnd uisunlly

tlesrribes the technique employed 7o bt' comidered
for rime pnges. smd slides lab(/td with the title
of rhe piea, your 111111/t', address, terlmiques, 1111d
dimmsiom tO Bend work, lntrrwl'tltll' Prm, 20 I E.
Fourtb St., Lot)(!/tmd. CO 80537-5655.

Sculptural peyote

Wild Woman in Green by Wendy Seaward,

Knoxville, Tennessee.
Sculptural peyote. 6"

a X 3".


Dragon Mat by Jelfrey Fishman, Middletown, New York. loomwork. 4' >< 6'.


www.inlerwoove corn

Garden of Earthly Delights by Jockie Hirsh, Highland Pork, Illinois.

Flat ond tubular peyote stitch. 5" x 4 '/e" x 6 %".

Flat peyote stitch

Tubular peyote stitch

Garden of Earthly Delights (detaill.


July/Augu~l 2000



Medieval Villoge, 25"

hen I was cighr years old, I swung

my mother's mu lri-srra nd Au~ r ri,m
cry~ral necklace in a sunny window
so often th.u I fin~lly broke ir. T hat early
experience of refracted lighr left me uucrly
Years later, whi le serving in rhe Pc:acc Corps
in lunisia, my lcuc:rs home to friends .md
famtly ret]Uesrcd things I didn't w,mr ro live
without. buner. Oil of Olav. Mormng
l"hundn tea. And crvsral sun catchers w
refract the heady African sun rhat Aoodcd

www lnletweove com

Medieval Village (detoil).


48", 2000.

through rhc glassless wi n dow-hole~ of my

cement hovel. Whenever rhe sun caught
those crystals and dre nched my ruo rn wirh
minhows. my spirirs wo uld ~oar, no maHcr
how homesick I w<!l>.
' I hesc days, my small houw near the
foothills in Boulder, Colorado, has sun
~;uchcrs hanging in every sunny\\ indow. On
sunny afrernoons you can Cilfch m~ toddler
and me lying on rhc rug in my studio,
watching the prisms dance across the ceiling.
am king u~ smile with their silent >plcndor.

'-teems I can't ger enough of rhM refracted light. For me,

~uch er he real bur~ts of prismatic color arc rhc most capcivatingly beautiful phenomena o n the phtncr. Nothing compares
tO rhc tr.tmluccnt glint and sparkle of sun light through
Llcctcd and colorcd glass, and norhing rra nsforms it~clf so
dra maric.dly through the changes oflighr from day to dark.
My beadcd curtains, or glass curtains. a; I've begun ro
c:tll dH.:m. arc an an empt to crc:u c a functi o nal fabric that
c:t n capture and manipulate light by hanging in a window.
Nc:vcr in my sixtee n years as a weaver have I produced f~ b
rk of such stmualiry.
With my history of refracted enchantme nt in mind,
you'll understand why I think little of the months of work I
de\'Ote to ~tch new curtain. T he way I see it, aJI I really
want to do is bt>ad anyway. So why nor spend my ri me be-adrng one piece instead of many small. less insptred pieces?

My impiratio n usualJy co mes from an image thm I want

10 rramfcr in to beads. Sometimes an unusual pole or currai n rod im pircs an idea.
Once I ha\e .111 image in mind. l spend a lot of rim e at
the lihrary looking tor details. I ma ke color copies of the
ptctures th.u ~.tpwre the colors and forms I wanr to incorpor.u~ into rhc wnain; then I rake rhc copies ro my local store. whe re I buy o ne hank of ~ced be.tds in each of
the tolor' I wanr ro rry.
Bet.mse CKh curtain is an experiment for me, I use a differem ~tirdt for t';lch ~o that I can judge the ~!itch's strengths
and we.tkne\sc~ under the srrcsses ol' t'xtremc weight, sunlight, age .111d deterio ration ro bead compo~ition and thread ti ci I)'.
Ontc l'w cho,cn a stitch that is appropriate for my design. I 'ketch .1 rough composite drawing o n graph
paper. and then experiment by beading rwo or more vessels
ro ensure th.u rhc image in my m ind will tr.tnsl.ue inro
beads. l'hc s.tmplc vessels also allow me to resr my color
~thcme, proportions. stitch choices, and other ideas, such as
using l.trgcr bead~ or open areas in rhe bead fabric. This
step t;tkcs some time, bur sampling gives me the courage ro
wcklc rite idea o n a grand scale.
l also plan lor a width 2'~6" beyo nd my cunain rod. I
W,lll ( the piece tO gather like true CUrtain fabric inStc:td of just
looking like a fh t beadt-d piece auachcd ro a cun.tin rod.
With my beaded vessels as a guide. I buy rhe thousands of
'~cd' I'll need ro complete the piece. I prefer siLe 11o
Ctcth stcd beads because they have a marvclous folk-an
qu.1liry, and because they offer a wide color 'elc"ion ar a rclari\'d}' IO\\ price. When I'm choosi ng seed bead!,, I strive for
a mix of rr.tnsparem, faceted, o paq ue, matte, .md color-lined

Tips for Working


If you're: inspired to finally tackle htg bc.tdtd proJ

cct you've been drc;tming about, here Me some tip, I vc
learned for wo tk111g large-scale.
lr is paramoum rlt ar you bead a few s<tmplcs bdorc btginni ng ~ Ltrgc sc.tle piece so you can avoid I'Xpcri
men ring with rhc final product. -rest diOC:rcm ~tndtcs,
including two , rhrce . and four-drop versiom of the
rcchntquc. umil you find one rhar suirs your dnign.
si1c. and pl.tcemenr.
Don"t create .1 tfl...,ign with large ;tR"a\ of rhc s.tme Lolor
or tm.tge. or you'll bead yourself into im.tniry. I'hc
more dct:tils your ptece includes, the more .:h.tllenging
and intcreHing it will be for you ro wmplctc.
There\ no nted to cull beads for uniformity. <;m.tllcr
bead, fill in dtt' inevitable dips rhar occur in the head
fabric as you wMk large-scale. l.arger he.Jd\ come in
handy fm dw very top of rhe curtain where yntt Sl'cure
the rabs.
Decide on the curtain's from and back .11 rltl' >tart.
Having .1 back ro the curtain allow' you to replace
broken beads .tnd hide threads withom m.trring the

Expccr. ami learn from, mistakes. lix them .tnd
move on.
Keep your blads and materials closc :a hand so you
can work in ~p.trc: momcnrs witholll having w w,t~tc
time sening up. I use rhc wide top drawer nr my Mudio dc~k to whisk 111)' work our of the way as needed.
Don't se rimp ott bt-';lds. The time invested on big
pieces dem,rnd\ the best beads you can find ItM all
beads for colnrfa,tncss hefore using them.
Place a wwcl or clmh under the piece .ts you work.
The con\lanr ahrasion from flipping .tnd pulling rhc
piece b;ttk .tnd forth a~ \'OU work will \ rhc finish
oiT copper colnrcd .tnd other bt-ath. And don't lcr your
toddler drag the piel'e through the house!
Keep rhc wp row of your curtain as rh read ftl'e as pm
sihlc, s.tving thc sp,~ee for running the t;lb rhreads
When you Me designing your curtain. keep tn mind
that the top .r'- 'i" will be backed b\ d1< wtndow
frame .md won'r tc~ci\'e direct lighr. Plan vour hl"Jd
chotccs a'wrdingly.
\X'ork f.t\r wnh latex finger shcarh~. Avail.tbll" .11 mosr
drug \tore\, sht.trh~ provide excellent grab whcn you're
pushing or pulling ntcdb rhrough multiple hc.ttk




nation of how to hang the piece. If the curtain rings arc too
spars~. the r.1bric may eventually droop between them.
Bead weight seems to handle itself muth the way warps do
on a loom .1dd enough supporting clement~ and each one
helps to minimize stress ;tnd wcighr. This is wll\' my curtain
mbs are usually less than " ap.trt. lt'~ the one aspecr of my
gl.tss currains thar I'm nor yet willing to experiment wirh.

Since each glass curtain takes months tO complete, I set

my work up robe as portable as possible. I mix the beads for
each brgc image into separate tins. I use sm:tll clear bead
boxes for rhc tiny mixed quamiries. f ust anothc:r tin ro hold
fold1ng scis~or~. a ftw extra needle:.. a ~pool of Nymo "J)"
thread, and a ~mall ball of beeswax. This way, cart rnv
work our eo the porch. rhe patiO, a camp~ire, or an)'\vhererhc only othlr rhings I need is a flat ~urr.tce and decent light.
Changes in environment keep me from bouncing ofT my
~rudio walls while lwnrinuc m work on chc s;tmc piece.

Tvnision Carpet (detail),

18" x 60", 1998.

be-.!<h. I he ,,metr adth depth .md complexiry w the image.

;tnd .tssure~ .1 wmpdling negativc/po~nive effect when the
light shines thruugh.

A bc:adcd curram shuuld he suspendc:d from m rod by

beaded tabs. In my opinion, l.trgc-scak pieces tkscrvc these
kind of rab~. lhey .tdd Interest and bt'.tury and prove the
1mprubable strwgrh of such ddic.ue construcLions.
rwn riny lw.tds earn consido.:r;tblc weighr when workc:d
rogerhc:r by rhc thous.tnd\, so this is a fa~ tor in nn dcrc:rm1-

Denise working large scole.

After exclaiming over the ume invested, VIewers of my
gla~, cunains invari.tbly marvel that I haven't yet lost my
cye,ighr. lor the remrd, only ;tge diminishes the strength of
our eyesight, nor looking aJ things do~e up. !Icy! I'm only
4 I! I have plcnry of eyesight for beading glas:. wrra in~. And
when my eyes do start ro fJd, I'll invest 111 J magnifying
gl.1ss and bigger head., bccamc it's enormously ~atisfying to
have found the per feu arristic expression for my eye~ most
bn-;uhraking vision. I just can't get enough oft hat spectacular refracted light. @
R, .td\' ork. Shr utrlt'omrJ .rour
rommrms l1f btr muu! '"ldrm, dl>oult!. r~"f!rllrtlmt'l. rut.
lJcmH'' f'rrrrtlllltu a JTrtfllrltl tonrril111ror to

Leaf Me Alone,


www nlerweove .com

14" >< 28", 1997.



friendly, ea~y-going woman, K.trtn l.t,, i~. <tka
Klew, is also a skilled polj mer clav .trust whose
work is well known in rhe bcadtng wmmunity.
She's been working with polymer clay fur .tbom twelve
years now .tnd her p.1ssion for rhc medium h.ts not ~ub
sidcd. Her bc:tds ;m: pan oF the pcrmantnt wllct:lion in
Arizona's Bead Mu~cum and her work h.1~ appcan:d in rhe
Smithsonian "Arurain". This year Klcw w.ts mmmissioned
ro create the 2St h Anniversary Bead for t ht l.os Angeles
Bc.~d Society.
Klcw got st.trted when she discovered
rh:u there was colored oven-baked clay.
Mostl} sclf:taught, she continued ro
experiment until she realized that she
could cre.m: wearable and functional
arr. She fiHmdcd Klcw Expressions in
1988 and sold polymer clay jcwclry at
local arr and era (( shows. When she juimd
a bead :-ociety and particip:ued as a wndor at
their biannual bt\td bazaars, Kh:w found she bead
lovers seeking her out.
In 1996 she moved her home sLUdio tnro a tommerci<tl
location to a studio and gallery. To .Kcommodat( the
constant stream of vtsttors asking for je\\clry-n1.1king .tdvit:e
and supplies, she opened a b~d store in an adj.lCelll space
I:ISt year. In audition to beads and supplic:,, the store offers
classes in rr;tditional beading techniques, wire work, polymer
clay, and Silver An Clay. Klew is certified w tc,Kh Silver
Art Clay classes and wa~ the first aut hori tcd
Silver Art Clay dealer in Ctliforni:t.
Kbv's work makes extemivt use of "can
ing," a technique borroweJ from Venctian
gla.\s bcadrnakers that d:ucs back hundreds
of year~. In caning, different colorcd chtp are
formed together like a thick puulc. Once the desired d~ign
is achieved, the "cane" is compressed, rolled. stretlhed.
pulled, squecteJ, and smoothed. This process reduces rhc
diameter of the cane while preserving it~ dt:,\lgn. Result:
each cross section cut from the cane has rhe same pattern.


JulyI August 2000


1\ bnv of Klew's signaturt bt<!ds, such as her Drum Bl'nds

and 11'11/ Pods. emplov cant slit:e~ widt a wonderful ~culp

tural quality. She often mcs uny cane slices ro embellish a
bead ;ts wdl. Her GitlrtX)' Hrrrds have a fascinating tr:tnslucence. These she creates from layers of gold leaf t:mbellished with raised cane. Alrhough prim.trily a bead
maker, 1-.:lcw also makes boxc'> and has reccndy
imroduced a line of buttons. ller finished jcwdry
include,. necklaces, pend.mts, earrings, broo<.he.~.
and kc\' t.hains.
Klew's beads and finished jewclry arc availnblt: 111 numerous shops and galleries, and she
mainrnins :1 significant wholesale business by
mail. Be(ause much of her work is one-of-akind or limited edition. she\ developed an

www 1nterweove corn

approval package S)'Stcm for wholesalen.

In the first package she includes color
photocopies tllill show finished jewelry
using her beads. The retailer can show tht.:
photocopies to bead designers ro spark interest
in Klew's beads. Each quarter she sends a bead approval
package to wholesale customers who have signed a contract.
Customers agree ro review the package contents, wlecr
beads to meet the minimum purchas~.: requirement ($250),
and return the remainder via imured carrier within 10-14
days of receipt.
This system works well for both the artist and the wholesale customer. Many artists ncglecr ro protect themselves
from lo~c~ bur Klew's system a\Sures her of a minimum sale
(she keeps a current credit-card number on file in case a
customer fads to meet dte terms of the agreement). Cus
tomcrs benefit by getting an ;Hitomaric shipment and the
opporrunity to select i.n per~on from the most recent of
Klcw's unique cr~.:ations. If a mcrcham is not s~.:ll ing enough
ro mcer the mi11 imurns, Klew offers suggestions on how to
merchandise and display her beads. Sometimes .1
simple sugge~tion like displaying a few beads
in a bowl of rock salt or black beans or providing a Plexiglas box for individual signalUre bt'"Jds will improve sales signifitanrly.
Teaching also enriches Klew's life. She
offers very small classes in her swdio, teaches
nationwide, and presents slide lectures for
bead societies and polymer clay guilcls. This
year she'll be reaching all three dap ar the Polymer Clay llaven 2000 in Louisville, KY. Last year
she made two videos that art.: part of bmovatiom: A
Polymrr Clay Vidro produced by abba dabba Productions.
Tn Klew's Ammnllmagery (PI'troglyplr Crming), vicw~.:rs l~.:arn
how ro build a stylized animal figure remir1iscenr of ancient
rock art (pctroglyphs). In the other video, Bead SIJtZpes mu!
Dl'sign, she reaches the.: techniques ,ltld b~.:ad srylcs rhat she
has developed in her rwclve years of work. Klew agrees that
for those who'r arrend a class in person, dte videos provide a good alternative.
This 2000 Memorial Day weekend, Klew's Raising Cane
Stud ios will sponsor the 2nd Annual Polymer Clay Retreat.
This weekend getaway is being hdd at Mountain Park in
the Tehachapi Mountains two hours northeast of Los
Angeles. Ncsrled in rhe range that separates the
desert from the San Joaqurn Valley of Central California, rhe pine and oak setting feeds rhe creative
soul. There are numerous demonstrations planned
but the rime is quite unMrucrured. Klew's husband
Carl will prepare the meals, served family style. lli~
8" [hick lasagna from la~t year got rave review\ and i'
promisd again for this year.

Klc:11 worked with Bc:n.: ro make two
villco~ for bmot'fltiom: A Po(ymrr ("f,ly Videv
Sems. I lcn:'s a Stmpling of whar you'll Sl'C.
Order the videos from abba Jahb:t produl
tions for $29.95 each.

Hmr Alultt 11 cll-1111'1/rf of,tbbn dnbbn l'rodumom, If ( wuh !Jrr hUJband.

,\ trw. \ltr
. tlillfll'rml pu~rmrr tfaJ 11 frw Jrlll"> 1111.11 1111d tlrndrtllll rombin~
hrr 11/t'llltnnrttl 111 thr polymu rhiJ ro/111111/llil)' wuh /m 11idrt1 production
s~ills. 1\lrw and Hrur siJfll"( 11 passitm for pofymrr mu/ dmr I'" AtwirJ
(AIISitdliltll Shrphrrt!r). /Jru r can {!r m rdm/ ,u 11/J{!,t d11M111 Produrrioru,

learning to make and shape uniform base beads

I/.(., "/111/,tkr 1/iff IM.. Nrwlfnmpton, Nil ()J256; (603)., 1'1-0002:

lmlu/nlt!'/ R.11r1: ur "'"'"''tbbadabb~tllulrtt.rttm,
Gnllll"l 1\lru 111 1\lrw Expmsions/ flu Spirtrd llr.ul. 135 \\11-st) St..
/ih,u/l,tp1. Cl 9.1561 ({,(i/) 823 1930; klrw~klm'Prr>>IDIIS.riJIII: "''"'"


M.oy I \, 2000: ~.on I)io:go Bead Ba.zaJo, l l.ll1dl,ry ll111dll lord
<:irdt, S,m I>trgo. Calitorni~
lunc l I , 1000: Am & <.:rorr fair~. MotHro,c. CJitf<orni.o
Scpr 1 I, ~0(10: I.Jlxlr O.o)" l'e ;dY:ll, M.umnoLh l ..ok<'' C olili>rnia
n,wl><:r I'i, 2000: L~ntr.J C olifom ia B<-ad ~O<IC!y, I "''" "
( ),whcr .!.!, .WOO: Lo> Angdn lk.od lt11ur, Vcrcr.on' 1\.lcmonJI
lluoldon~. { ul,cr CitY CaliforniJ
Dtxcml><:r .! I . .!IKIO. ~anws An Shoppc. n,....,n hn1>orc bort;tunnt!-, Ridge. re.'' CalifomiJ

Applying cane slices to base beads.

lul y !I <), 21100: .\ 1unrrcal Bead lmporiurn , Mon trtJI, C.macb
luly 1.\ l 'i, 21100: l'ol)'merCiay ll.ovcn l O()(l, IAJuiwillc, Kentucky
Au!\"'' <> 9.l000: R.JVcnsd:~lc Polymer Clay Cnnfcrcntc. Olympia,
W.l\h inl\tou

Making beads consistent

Creatong complex beads with sculptural elements.




ra~onflies fascinate me.
now, so I fi~ured, "Hey,

Moreover, they' re avery popular motif ri~ht

why not make adra~onfly out of heads that
shimmer and flash the same way the insect does?"

Use transparent or iridescent bead~ for rhc wings and a

compatible opaque bc;Ld for 1he body. Japanese or Czech
>ic 11 seed beads make '' J -ind1 wing- a good size m suspend from a necklace.
I employ rhc sritch ued for the dragonfly's body to make
a m;uching bead chain, bm you could also suspend the
dragon Ay from a metal <;h;un or .1 \inglc suand of seed
strung on Aexible wire. Or \CW a pin back to the body to
make a brooch, glue it 10 .111 ornamental hair comb. or add
loops to rwo dragonRic\ and auac:h car wires.




Sue.> I I o iridc.>scem Czech seed beads

!>tre 11 opaque C1ech seed beads in complememary

color LO irids
One: 6 mm bl:'dd in calor ro complement th e: ~cc.>d beads
One 1\ mm bead in color to complement the: seed beads
Size "[)'' Nymo thread in calor ro match beads


Si1e 12 or beading needle

Clear n.1il polish

sure the core bead~ and spiral beads are a good lit for each
other so rhe core b~"ads form a fairly srraight column and
the spiral bead~ he neady around them.
St(p 1: Using a yard of single thread, ming 4 opaqU<: and 3
irid~. 'lie intO a loose foundation circle.
Sup 2: P'L once again the 4 opaque just ~tntng, H;ming
from the: knot. Pw,h rhe irids ro the left.
Stl'p 3: String I opaque :tnd 3 irids.
Step 4: PT the la~L three opaqucs pi u~ the opaque just
strung. Push the ~p iral beads to rhe left.
Step 5 nnd on: Rep Steps 3 and 4 unril you reach the dc;ircd
length. I like to k!.!ep my dragonfly's body t I '" ro I ",
depending on the: wing width.



Follow the main directions for the big wing and thl!
changes in parentheses fo r the small wing.
Row 1: Use 2 yards of thread and double ic. Leaving a 6"
tail, srring 48 (42) irids.
Row 2: String 3 irids, skip 3, PT 3. Rep fro m ' O end
working in 3-drop peyore srirch (sec "Stitches," page 58).
At end of the row, suing 3 irids and PB'I' the last 3
addt:d in rh is row.
Row 3. Work 3-drops ro the end of the row using irids.
Row 4 P'l the first 3-bead set of Row I, 'ming 3 irids, skip
3 beads, PT rhe nexr 3-bcad set. Rep from twice. 'PT
the next two 3-bead sers without adding beads. String 3
irids, PT 3. Rep from " !'\vice (once). PT the last 3-bead
Row 5: PT rhe first 3-bead ser of Row 3, wing 3 irids, skip
3 beads, PT 3 beads. Rep from !'\vice. 'PT the next rwo
3-bl!ad sets withouc adding beads. String 3 irids, skip 3
bt"ads, PT 3. Rep from !'\vice (once). PT the l:tsr 3-head
set. (The small wing is finished.)
Row 6: p-J rhe first 1'\vo 3-bead sets (one ser is on Row I
and the other is on Row 4). String 3 irids, skip 3 beads,
P l 3. Rep from once. PT the next 4 sers of beads without adding any beads. *String 3 irid~. skip 3 beads, PT 3.
Rep from once. PT the last rwo 3-bead sets.
Row 7: PT rhe first two 3-bead sets: one set is on Row 3
and the other is on Row 5. 'String 3 irids, skip 3 beads,
PT 3. Rep from once. PT rhe next four 3-bead sers
wirhour add ing beads. srring 3 beads, skip :I beads. PT
3. Rep from ' once. PT rhe last two 3-bcad ~ecs.
Srabili1c the wings by weaving working and mil th reads
through all. Trim threads close to work.

String I 0 opaque ro form the rail. Skip the tc.>nth bead,

PBT the rest jusr strung, and pull up snug. P'l scvcrallK"ads
eo slifle n ,IJld secure the body and rail.

PT bead~ and exit from the first body beJd worked.

Knot rhc working and rail threads rogcrhcr.
Srring a 6mm. a 4 mm, and an irid. PB 1 the.> 4 llllll .111d
the 6 mm. W!.!.IVt thread through core bead~ Jnd hack IntO
head if possibl!.! ro mengrhen. Exit from a bead directly behind the 6mm.

Sew o n rht large wing by PT rhe wing ;tnd body several

times. Do the same: with the ~ mall wing.
Weave working and rail threads through sevcr.ll be.uls ro
secure. Knot if desired and rrim threads dose to work.
Straighten the wing~ by coating any visible chrc.1ds on the
underside with de.u nail polish. This will blc.>nd them in.
strengthen thl! rhre;ld, .md stiffen rhe lxxly and wings. When
dry, rum over and do the same for rhc top of the wing~.

Make a beaded chain for your dragonfly by rcpt:::tting the

body instruction~ until you reach rhc desired length. Fin
ish the chain otr u~ing wnes and a cl.lSp. '>~:w the dragon
Ay h!.!ad to a b.:ad in the center of the necklace.


Notr: U)t: large-holed beads for the core because the

thread will be going through each bead several rimes. Make

A formno s.v>tmu .uwlyil, /Jrm-rr. Co/or.ulo midmt N.wq /rllrrs l111s brm
muring srulp11mtllmui11V>rlt rxhibit> for thr P"'' rhru )'r.tN. \hr filii l>r
rMrhd "' >pmou2 .,M 1<ml.wm.


July/Augusl 2000


hi~ vcr~arile

design is composed of blo..:k~ ~.:para red by

b.m. I"he blocks arc square-stitched (~cc "Stirchcs, ~
p.tgc 58), and can be wide or thin, ~quare or rectangular, plain or p<Htcrncd. The bars arc simply modified daisies
on a ch.tin (\CC "Stitches," page 58).


www in terweavo ,eom

Sup 1: u~ing a )'trd of rhrcad and leaving a i" tall, WC,\\'( a

squ.m:-Mitchcd block with size 11 colorcd head~ 8 beatb
wide and 7 rows long. Nou: You may want to have 9
rows on the first block so that clw clo~ure huuon wall
look more ro scale. E.xir from the last head addtd.

\ut 11" sc:nl beads of various c:olor~ (for c.:olor blo(ks)

\11.(: 11" whirc: seed beads
, " two-hok button
I 3 mm "pc;lrl~ bead


Si1e 12" heading neecUe

Nymu "H'' thread

\up 2 'ming I whirc, 2 of the ncxr block color, and I

whue. pJ the second-m-the l:m bead .tddcd in Step I.
Stnng I wlllfc. Pl the second color bead .tnd the second
white head added in this step (see Figure I). Cominue to
follow Figure I making a daisy-chain bar 10 set up the

next color block.

Bor of pearls .....__,.,_


!-\ -

DtWid 1-Jnuu.orth u '' profn;or of tmlllumatit"' ,uu/ JIIIIJIU1 111 /(o,hnur.

Nrw }ork. IJ.nidi jim lkJdwurk anirlr apprtiTCd itt our \\711fn }(KJ(J iur.


~ _r,


lost row of o block

' __,



-r ,

from '. \X'cave rhe working and tail rh reads through

several beads in rhc body of the bracelet 10 sct:ure. l1e a
knot if de~ired .md trim thread close ro the work.
Step 8: Using 2' of thread, make a double knot at one end
and cur ofT 1he ra i I.
Step 9: PT 1he second through sevenrh beads of the seventh
row from 1he bu11on end, pulling the kno1 inw a bead.
PT 1he second through scvenrh beads of tht six rh row
and the Sl'Cond, third, and fourth beads of 1ht fifrh row.
Step 10: String 2 color-block beads. PT the burcon's first
hole. S1ring I color-block bead and PBT tht butronhole
and the 2 beads jusr mung. PT the fifth, sixth, .tnd seventh bead~ of rhe fifth row and the second, third, and
founh beads of rhe founh row. S1ring l color-hlock
beads. P'l the second buttonhole. Suing I color block
and PBT the same buttonhole and the 2 btads just
strung. J>"J the fifth, ~ixth. and scvc111h heads of the
fourrh row.
Stn:ngthen the buuon connection by PT through these
six new bead., again. Weave the working d1read 1hrough
several beads ro secure and tie a knot if desired. !rim thread
close to the work.

lost row of the next block

Figure 1

'iup 3: ~1.1ke as many 8-bead by 7-row bead blocks and

whue bars as needed for rhe length of your braceler. A

,ho ter or longer final block works aesthetically if it

doesn't have roo few or coo many row~.
Stl'p 1: At tht end of rhe final block dcc (set "Stitches," page
S8) to a row of 6 beads.
St<'p 5: P'T the second through seventh beads of the last
8-btad row ;md the first 3 beads of rhe 6-bead row.
:Jup 6: Add the 3 mm and 23 size I I beads, and PBT the
J mm.
'iup 7: 'PT the founh, fifth, and sixth beads of rhe 6-bead
row, the sewnd through sevemh be.tds of the final
8 hc:.ld row, and the fim. second, and third beads of the
Cl bc:ad row. PT rhe 3 mm bead and the 23 beads in the
loop. Plrt the .3 m m bead. For strength and rigidiry, rep

The necklace that David made for our tovcr i~

simply the block~ and bars technique, but with strips
rwo beads wide imread of eight.
To begin, weave two 3" lengths of lht blocks ilnd
b.trs strip dc::.tribcJ above. Increase the width of each
strip by one each row to cn:ate
suips. \et one strip aside. On the other smp, weave
2-bead-widt blocks and bars strands ofF of evnv 1hird
bead. The top strand should measure I 0", rlw next
\trand 11". thl' nexr 12", and so on. so rha1 rour
Strand JllC,ISIIr~ 17''.
C.onnett and \e.:ure the strands to the other 2lbcad-widc 'trip ae;u.:d earlier. Add a cl.t~p.

To va ry the dc, gn. us~: square, mangle. or m.gat.lma

bc.tds in dw blocks or in the bars.
This rech niqut i, appropriarc for d10ker,, necklaces.
or pu rsc ~ traps.
When bsrening 1he closure, don't support the hunon
by looping arou nd the th read. sine~: th.u will cause


July/Augu>t 2000



rea lVI

o or

The tang ble treoretrca

and s rent he aspects of
color a re doorways to the
secrets and mysler ies of
color The more I explore
and drve nto color, the
more secrets ana myslerres
there are- 'o- -- r 1 I
-Margic: Oeeb, Georgia

ever underestimate the power oF color. lr is primal, instantaneous,

and, come ro think of it, cxrremcly difficult to get away from.
Given a wee bit ol light, our world is illuminated with at le.t~t one
million perceptible hues. The human brain i~ programmed to process color information before anything else it encounters. When people look ar your beadwork, 1hey have already n:sponded ro the colors beforl' they have deciphered the
design, dte materials, or the function of the piece. To increase the: impact of
your work, make friends wi1h color.
Thl following activities will help you do just rha1. Exercises I and 2 help
aHirm your personal color preferences. Exercises 3 and 4 help you hone your
color observation skills. Exerciscl> 5 and 6 move: into a study of color theory,
while rxen.:ise 7 offers suggestions for exploring color with a group. Do these
acrivi1ics alone (except 7). with a parmer, an e-mail buddy, or your beading
group. [f you're new to color play, try ro avoid the notion that other people
know more about color than you do. There are as many palettes as there arc
bcadworkers, and as many ways ro pur colors LOgc:ther as there are bead projects!

C >L

2. Bead Soup


rhe firsr column wirh as man) color name~ as you

c.m identifY. In the \econd column, write down

1. Color list


rhe name of a food you associate with each color.

If you can't think of a food, jot down a general
" or " vcgeta bl c." l n rhc t I11rt
. I
term sueh as "rrruu,
column, write rhe n;tme of a place you've alway~
wanted ro visit or one th.u holds strong memork..,.
I in.tlly. in me founh wlumn, write the name of a
li:ding or mood vou .t\sociatc wirh cat.h color.
When you choose beads for your ncx1 project, Lhink about what you want w express in
the pic.:ce, rhcn choose your colors according to rhc evocations in your list.


A grc:u source of fresh col or combinations is right

inside your bead stash. Put a needle on a long piece
of thread and sec it aside. Unload your bags and
rubcs of beads inro the biggest por you can find.
Swirl 1he beads around. Keep stirring until
something in that mixrurc catche~ your eye.
Now, pull our rhose beads. I recommend groups of three and five colors.
String a few beads of each color on
the thread and tie them in a circle.
Sdr the pot again. When the: next
eye-catching combination present~ irsclf, string those beads a
little further down the thread and
ric them on. The final step, of course:,
is to use one of rhosc color combina. .
ttons 1n your next proJect.

www '

3. Daily Observation

Choose an outdoor view that you sec every dayperhaps the scenc from your patio door, the world outside your office window, the park
where you walk, or the vista beyond that long ~roplight on
thc way home from work.
l.ook carefully :u the colors the re and jot down
the main hues of rhcse
three things: the ~ky, the
ground, and something
in berween. I his excrcise
works best if you commit to a
year or more and write down the
colors at least once a month. Your
color perception will gradually improve as you observe
the seasonal shifts in your environment.

4. World Traditions

One approach to choosing colors is to explore them in a culwral concext. Ancient

Egyptian jewelry relied heavily on gold, l.1pis,
carnelian and turquoise. In libetan Buddhi\m,
each Buddha is associ:ued with a specific color
and gemstone. In the Middlc East, rhe color
blue helps to ward ofT the evil eye; ro C:nholics, it is rhe starry robe of the Blessed
Morher; while to rhe
Huichol of Mexico,
blue flowers symboliu the wisdom of
the ancestors. Swdy
traditional arts to
learn the sign ifica nee
of colors in various
cultures across time.

S. The Col or Wheel and Col or Relationships

An inexpensive color wheel from an art supply house, hobby shop, or fabric store b a valuable aid for choming
colors. Here arc '>Qme basic terms associ.Lred with the color wheel.
Pl'imary: The three irreducible colors of pigment-red, yellow, and blue.
Secondary. The three colors made by combining two primaries--orange, green, and violet.
Intermediate: !'he six hues located halfway between each primary and secondary color. They are formed by
combining rwo primaries in unequal ;unounrs. On the color wheel, they arc called red-orange, yellow-orange,
yellow-green, blue green, blue-violet and red-violet.
Teniary: The~c colors are nor usually shown on a calor wheel. They are formed by combining rwo secondaries,
and they are ~omcrimes called rllSSCt, citrine and olive. They are b.lSically earthy, brownish hues containing mixed
amounts of all rhrcc primaries.
Tint: Pastel hue~. or colors ro which white has been added .
Shade: Colors to which black has been added. Maroon and midnight blue are examples.
Tone: Desaturated colots to which gray has been added.
Western ideas about harmonious color combinations are based pardy on science and partly on che inAucncc of
European paiming traditions. As you play with your beads, you'll find exciting combinations
nor explicitly illumaccd on your color wheel. Use them! But you can <tlso lean on the following favoritc combinations which arc guaranteed ro bring out rhc best of each color.
Complcmenrary.l\vo colors located at opposite sides of the c::olor wheel.
Analogous: Colors that are adjacem on the wheel.
Monochromatic: lints, shades and wnes of a single hue.
Triads: Any three colors located equal distances apan on rhc calor wheel.
Tetrads: Any four colors located equal distances apart on the wheel.
For more information on color harmony, consulr the boob in the resources lisr.


July/Augull 2000


6. Art Lessons : ~ 7. Grot Acfvi

Vi-;u ,\ must:um or study your
f.wornt oHtists in books. Pay dose:
.luc:mion w the way they plll colors
toget her. Ceurgia O'Kceffc's pailll
ing' provide excellent information
abour co lor proportions. Analy.:c
the percentage of canva.\ she allots
to strong. vibrant colors comp.m:d
w neutral hues. :-loricc how Scurat
juxr.1pmn small areas of pure colors
to acate the illusion of other coloh.
Ohstrvt the Renaissance m~ters'
use: of prim,\ I)' and secondary colors
in l.1rgc, c:nclosed areas. Be inspirc:d
by l lm kncy, Klinu, and Van Cogh.
.md look for their colors in your
bead tray.

The Orange Swap

It's morivacing and enjoyable: to explore color

with other beadworkcrs. Additional exercises for
your group to cons ider arc swaps, c hallenge.~. and
bead excha nges. For a swap, choose . t rhcme and set
a dead line, then exchange items between partners or via
a random drawing. ln a challenge. the group sets up
guidelines, such a!> whkh he-ad colors to use, or which pattern to colori7e. Then the panicipams ead1 make ;tn item and come wgc:thcr to
di,play rhem. Bead exchange\ ~re ;l fun way tO round our each mhd~
bead palettes. Try a swap h.tsed on randomly selccrcd colors, complemcmary colors, or a column from the Color List in Exercise l.
Selecing appropriate colors is vital to the success of d piece, yet
iti. often a neglected sk1ll. Perhaps some bcadworkers arc intimidattxl
by color theory rerms, or wary of straying from their habitual
palcues. Bur with a little pracricc, choosing colors can be as c;\\y as
choosing needles a nd thread.

~I ha,e so man) or.mge beads that

they have a bead box of their 0\\11. l entered the swap because I thought it might
Ella Bentley. Alosko
be nice to have an orJngc lover joinwww 1nto1 weove .com

Mary litfoyu is u bMd 11rtiSI rtnd J(l'<lf'hit ilm.~n IIIJ/rttl'lor in Albuquuqut, Ntw Mt.~
tto. S/Jr ,t/so nutintams tht populttr btlltlu-orJ: rrlaui/ ut~bsitt, Aum Mollyi (Jr.lll \rrat

(t~tlmjfa,J,, TWI mjtafo.~.JI).


\]be.,., Josd: f111rra<tio11 oJC~Ior. New I IJ, en, Conna.ticur. Yal~ Univcl'\ity I'""'' 1987.

lucn, Johannes and bhu 1\~rr~n. l11t Fltmmt ofColor. :-.lcw York: John \~'ilcr &

Sons, 1970.

n,foya, Mary. "Dcmy;dfying 1hc Ucadcr' Palcuc", &ndworlt, Winter I ')99.

There i\ more to orange than meet\ the eye literally.

Orange can c;lUsc agicarion and an inuca~e in appetite.
Despite the fact that it once symbolited cour.1ge. orange
usually end., up on roday's Least f'avorite Color lists. So
why did an onlinc: group of bead worker<, decide ro hold
an orange ;wap? Simple: ro expand their palerrcs. T hese
folk., ft1und out that orange i~ not just a hright round
fruit it's also salmon. peach, apricot, coral, I'USt, radiam
dawn, a blazing sunset, pumpkin, terra cotta, and
;111 .tuwmn leaf. Hert:'s what a few of the ~wap
per~ to say about why thry p.micipated
and whar they learned.



Bev Herman, Louisiana

a friend of or;mgc, so to speak, rather rhan

someone who w.IS m.1dc ro use it kicking and
Janct francis, Connecticut
"Orange has alway~ been a color rhat I don~ wear.
I participated because: it was the right rime for me to do
someth ing diiTcrcnt. I used orange and bright yellow for
an amu let bag and named ir Tequila Sunrisl'."
-Judith Ward. 'texas

"! saw Van Gogh's paintings lasr wincer and my color

ideas have tot.11ly ch.mgcd. When the orange swap wa~ dis
cussed. I kept thinking of my rube of mixed orange Odk:t\.
I was going to use turl[UOise and orange, kind of the oppo
sire color thing. Bur l had a rubc of copper loho Anriqut"'
and tried them wirh rhe orange--wow! I think rhc swap
helped me fed more comfortable adding bright comra\ls
to my work.~
-Susan Lambert, Michigan




"'"' f>r9'esrained ghtss, but I have an

Si1e 11 white ctc.:hcd. ydlow <:tthcd,light iri~ clc:ar

blue. light ami dark crchc:d turquohe, light blue
etcht'd, dark wh.tlt maue, d.trk clear kclly green,
dear kdly green, hl.Kk lined olive, olive foil-lined,
etched medium hruwn, .md wpper \ecd beads
8 green leaf-shaped head\ ( ', " long)
7 yards si1.c 8 black perle wuon or crochet thread
One 8" X 8" piece of fihcrglass window screen
White quihirtg thread
White u:mpcr.t paim

Si,,e 1r bc.tding nccdk
Tapestry needle

Bc.:-eswax or Thre,td Heaven


www ntetweove com

unfonunatc tendency m
things. A few year\ ago I got .an ide.t. What if I
could capture the lovely, glowing hues of tut and leaded
glass with lx'<lds?
1 envisioned a stained gla~s Aphrodite and drew her on
needlepoint canvas. Bur it w;t~n't long before I realiLcd that
needlepoinr canvas ha~ serious drawbacks .1~ a light-catching medium. Aphrodite ended up lx-autiful anyway, bur I
put the idea of stained glm beading aside for a while.
Then two things happened together: One friend gave
me a long piece of libcrglass window ~creen .tnd another
!Tiend encouraged me to try more bcadwork. Success!
Fiberglass window scr<:cn allow\ light to shine through. lr
drapes like a medium-weight denim, ir's hard to fray, ir's
cheap and easily obrainablc at hardware stores, and it's versatile and srrong.

Seed beads combined with larger beads provide 1he most

spectacular results. Varyi ng rhc color of the rhread used m
sew rhe beads results in dramatic color differences.
rhere are a huge number of design possibilities for beading on screen. I've made lampshades, bracelets, badges,
bags. and trims wirh ir. Cabochons of glass or semiprecious
stones can be set on screen wirh shisha mirror stitch (see
Thr Brave Unit! Damse/fly. below) or wire. Because ir's
lighrer in weight and more Aexible rh:m needlepoint canvas,
the screen is suirable for small items such as amuler bags
and holiday ornamenrs.
The variery of beads you can use for srained glass beadwork on screen is enormous. Clear, translucent, etched, iris,
color-coatcd, color-li ncd, and foil-lined are some of rhc
possibilities. Screen also works nicely for embroidery. Size 5
or 8 perle coHon works best for the embroidery parr. I call
the projecrs I've designed here "srained-glass embroidery"
because rhe glowing colors are ser off by borders of streamlined rent srirching.
Screen has exactly the right rh read coum for working
rent srirch in size 14 or 15 beads. These small beads
work great for irems the Lighr doesn't shine rhrough and
for oudining. They also work well embroidered on screen
Dragon Scroll
in parallel lines to resemble woven work (see Cloud
I use quilting thread for bcadworking on screen unless
I'm using extremely tiny beads. Quildng rhread doesn't
"relax~ between srirchcs, so I can concentrate on sewing
the beads instead of maintaining rcnsion. Quilting
thread also holds :1 knor well and allows for a great variUsing rhe rem plate on page 32, copy the flower onto the
ety of colors.
The work goes quickly and easily if you have somerhing screen with tempera and a paintbrush.
ro anchor rhe screen wirh. I have borh a freestanding frame
and a rabic frame, bur you can pin your work to a rowel, rig
up a way ro get your work to a convenient heighr, and anWork the embroidered oudincs firM (including rhe cenchor it wirh something heavy. This way, you have both
h:~nds free ro attach beads instead of having ro pick your ter) using streamlined tent stitch. Then work rhc blue
Aower perals (and all other seed bead work) in back stitch.
work up, lay ir down, ere.
Start wirh a row of light iris blue at the edge:. of rhc petals,
carefully aligning the beads with rhe inner t-dges of rhc black
The Brave Little Damselfly.
stitching. Don't worry if they encroach on rhc slirching.
Then work a line oflight turquoise juM inside the iris blue.
Starring at the ccnter of the flower, work a straight line
of cobalt beads up rhe middle of rhe petal to the line of
light turquoise bead~. Continue the cobalt line up each
side of the petal edge to form a Y.
Line the undersides of rhe Y with a line of light blue
etched, then add another line of dark cobalt below the
liglll blue. Fill in rhe rem space with dark turquoise. Finish
rhe cenrer using 2 yellow erched and 2 white erchcd beads
per stitch, radiating ourward from rhe black stitching.




Cloud Bracelet.

The leaves are worked in rwo different sets of colors. For

the fi rsr set of colors, stan at rhc ourer edge of the Aower
petals and work a V of dark kelly green. Line rhis wirh
black-Jint.:d olive. Concinue tO the leaf tip, alternating rows
of d,uk kelly green and olive. On alccrnacing leaves, work a
V of clear kdly green starting ar the petal edge, and alternate wirh rows of foil-lined olive.

Sew a green leaf bead inro ~lch notch between the leaves.
Line rhe Iear beads with 2 rows of etched wnite. Alternate
rows of ctd1ed brown beads wirh copper beads ro fill in the
Using a toothbrush and some soapy water, remove any
visible tempera paint.

Abrl [h,.s in Madison, \'(/isconsin nwl becnmt n jiber flrrisl

of agr. Sbrs brm uwing



showing rv" simc. Sht workrd two

rmbroidrml pim:>forjudy Cbimgoi Birtb Projm nnd iJ no1wdays n higbly
emlmsinstic bradworkcr.

Enlarge 150 percent.


- - -- - - - Genera/Information
Use white tempera paint to tra nsfer the outline to
the screen. If the paint is scill visible afrer rhc beading,
soak the piece for a few nours in warm water and dish
soap, then scrub gently wirh a toothbrush.
I do my embroidered ourlines using size 8 black perlc
cotton in streamlined rent
sritch (see Figure I ) . Tent
sdtch is usually worked with
all the stitches slanting in the
same direction, but this
leaves half the oudine looking cigh r and crisp while the
orher half looks sketchy. So
vary the clireccion of rhe
Figure I
stitching as needed ro mainrain a continuous line.
Sew on che beads with back srirch.
l don't like too much symmetry in my designs, so I
go our of my way ro be sure it never happens! T his
gives a lively, less "mechanical" quali ty ro the work. J
also cry ro employ "surprise" colors-rhose with a
pearly or iridescent surface rhac causes them ro appea r
one calor when lit from the front, and a whole new
calor when lie from behind.
h doesn't hurc rhe
result if beads encroach on the lines of
stitching, but you can
help prevent this by
couching rhe beads
(see Figure 2) after
you've sewn them
along rhe sti rching.
Couching keeps rhem
firmly in place.
Figure 2

lompworked bead by
Bernodelle Fuente,, polo de
verre beod by Moll Bezok

July/ Aogul2000


here has been a needle of one kind or another in my

hands most of my life. My mother was a fine needleworker/ and she taught me all the basics. Recently my
lifelong love of beads and needlework was brought
together by bead crochet.
Six- or make the beginnings of
round-bonomed purse~ wuh straight sides and
drawstring closures. Fight petal ~tars make beautiful Aat round purses. When the beads arc strung in
color panerns, rhc patLern appears in rhc body of
rhc purse. Many .uui~1ue beaded purses use this
star technique as their base.
13ead crochet adds just .mother seep to thread
crochet. To chain with a be.1d. you slide a bead
down next ro your hook, thread over the hook,
and pull a loop through.

120 yds. si~:e 8 pcrlc corron or cqui,ah:nt

in each of the next 2 st~. scb rwice

in the next sr. rep from '. 24 m with a bead in
this rnd.
Rnd 5: Scb in each of rbe next 3 sts, scb twice
in the nex1 sr, rep from . 30 sts with a bead in
this rnd.
Rnd 6: 'Scb in each of the ncxr 4 sls, scb nvicc
in the next st, rep from. 36 st~ with ;t bc.1d in
this rnd.
Rl/(1 -= 'Scb in each of the next S sts, \Cb twice
in the ncxr sr, rep from . 42 sts wu h a bead 111
this rnd.
Rnd 8: Scb in each of the next 6 sts. scb twice
in the next st, rep from . 48 m With a bead in
rhis rnd.


1: Scb

(I love WildAowers b) Caron and Elegance

Silk Pearl #8)

.~0 gr of size I I0 seed bt:.tds

Size 9 crochet hook


d1 -chain
se single croche1
stb-single crochet with a bc.1d
tit. -double crochet
si slip sritch


lo beg, eh 4. Join "ith si 'ot to form a ring.

Rnd /: Scb 6 times 111 the beg ring. 6 sts with a
bead in the first rnd.
Rnd 2: Scb twice in each st of the prev rnd. 12 srs
wirh a bead in th1s rnd.
Rnd 3: 'Scb in the mxt sr, sch rwicc in the next sr,
rep from . 18 sts with a bead in this rnd.


www 1nterweove eom

!'his pattc.;rn .tssume~ that you h.tVl' an un

dcNanding basic crochet.
All s1ngle crochc.:ts will be done onh throu~h
lht b.1ek loop of each stitch on the previous
row. lo 'mgle crochet wirh a pull up a
loop duough rhc back loop of tlw stitch,
shdl a down next to the hook. thread
over the hook and through both loops.
Maintaining an accura te count of stirchcs
and beads in each round will keep your sl;tr
ne.11 and even. Place a marker in the lim
Hitc..h of each round. either a small .s.tfcty pi n
or a small loop of contrasting thread under
both threads.
1 highh recommend Carol l>errenoud's flr,ul
GrodJtf v1dco to anyone who needs morl'
inlorm.Hion on the basics of the technique.
The v1deo cerrainly cur some of the experimcm.uion our of my journc) with head
crochcr. Order ir from Beadca1s ;H ('iiH)
625 2323.


Rml 9: Scb in cacb of the next 7 m, sc;h twice Rnd 22: 'Scb in each of the next 2 srs, se in each
in rht: next \t, rep from . 54 st~ with a head in
of rhe next I 0 srs, rep from '.
Rnt/23: ~scb in the nexr sr, se in each of the next
this rnd.
Rnd /{}. ''-,eh 1n each of rhe next 8 srs, scb twice
I I srs, rep from .
10 the nt'Xt st, rep from . 60 s1s with a bead in
Rnds 24-27: Se four rounds plain.
Rnds 28-50: Using the diagram below, crochet in
tillS rnd.
1?7/fl /I: Sch in cach of the next 9 m. scb twice
the Aowcr partcrn.
in tl1t' nt:XI st, rep from . 66 sts with a hc;ld in Rnrls 51-58: Se 8 round~ pbin.
this rnd.
Rnt! 12: 'Sd> in each of the next 10 srs, sch twice
in the mxr sr, rep from . 72 sts wirh .1 head in
this rnd.
SI 1 st ro join. Ch 3, de in each of the next 3
Rnt! /3: t\t 1his poinr, work your hag \lraight; no sts, eh 2, 'skip 2 sts, de in each of the next 4 sts,
'Scb in each of 1he eh 2; rep from '. SI sr into the rop of the eh 3 that
morl' inaea,es :tre necessary.

next 11 sh. se (without a bead) 111 the nexr sr, began this rnd.
rep from . 72 srs in this rnd. The pattern is 11
Se 3 rows plain.
m with a be;u.l followed by I st without a bead.
Rnd 11: 'Sch in each of1he next 10 sts, se in e<lCh
of rht next 2 sr~. rep from . 60 srs in this rnd.
'Se 1 st, eh with a b~.:ad 3 rimes; rcp from 1 SI
The ptnern is 8 srs with a bead fo llowed by 2
srs wirhotH a bead.
SI to )0111.
Rnd /5: Scb 1n each of the nt:xt 9 \ts, se in c;lch
Finish off and bury your rh read rails.
of till lli:Xt 3 srs, rep from .
Make or purchase cording eo thread through
Rnd 16: <.,,b in each of the next 8 sts, se in each rhc casing. This is the closure and handle for
of th~ next I si\, rep from .
your bag.
R11tl I"' ..,,b in t:ach of the next 7 sts, se in each
Embellish the bottom of your bag as )'OU like.
Add a decorative bead or burron, some fringe, or a
of the: next ) sr~. rep from .
Rnd 18: Sch 10 each of the next 6 srs, se in each beaded or fibcr tassel.
of the next 6 sts, rep from .
R11fl 19: Sch in each of d1e next 5 srs. se in each !Jo111zit Brooks is 11 bmtl 11rtw 1111d tmrhrr who ln'f'S in Rirhttrd
son, U.'<lli. SIJt is currmtly working 1111 tmtulnting pllltmll from
of the ncx1 7 sts, rep from '.
tl/ltiqt" books into works lhtu lflf cOI/fl'lllpnrnry componmts. Yon
Rnd 2(}. Scb in each of rhc ncxr 4 m, se in each ""'Y ronltlrt Bonmr Ill bomu'tbr<f1>1nnn~.llt't.
oft he llt'Xt 8 Ms, rep from '.
Rnrl 21: 'Scb in each of the next 3 HS, se; in each
of the next 9 sts, rep from '.

stngle crochet with beod

0 single crochet wilh no beod





www Interweave com

got the idea for this fern frond after experimenting with various minianue Rowers. After
all, what's a bouquet of Rowers or a forest
floor without ferns?
T his scirch may best be described as a variation
on branched fringe. Once you get com1orrable
with the basic construction there are endless variations you can create depending upon rhc size and
fullness you wanr.
Nom: The Jark green beads are used for the
fern leaflets and rhe light green beads for the srem.
The color v:1riacion gives a narural look (and
makes i r easy ro keep track or where you are).
Don't ric off your rhread within the stem. You
won't be able ro ger your needle back through that
bead again.

Size I 1 dark green Czech seed beads

Size 11" light green Cwch seed beads
Green Nymo "B" dlJ'ead

Size 12" sharps or beading needle



Step 1: Using a yard of thread with a tension bead

ar rhc end (see "Abbreviations," page 59) string
10 Iight green to beg the srem.
Stllp 2: String 12 dark green ro create a leafier.
PBT rhe eleventh and tenth beads just srrung.
String 1 dark green and PBT rhe renrh, ninth,
and eighth beads ro go back towards rhe stem.
Step 3: String 2 dark green. PBT the first bead just
strung (closesr to rhc fro nd). PBT rhe eig)uh,
seventh, and sixth beads of rhe srem.
Srep 4: String 2 dark green. PBT the first bead just
strung. PBT the sixth, fifth, and fourth beads of
the stem.
Sup 5: String 2 dark green. PBT the first bead jusr
strung. PBT 1he fourth, third, and second beads
of the stem.
Srep 6: String 2 dark green. PBT the first bead jusr
smmg. PBT the second and first beads of d1t':
srcm. PT rhe twelfth bead of the stem going
away from the tension bead. This makes rhe
leaflet stand our perpendicular re rhe srem. PT
aU L2 srcm beads.

Step 7: Repeat Steps 2-6

create the marching

leaflet for the one created on rhc fim pass.
Tighten any gaps that may have appeared in rhe
frond. PBT frond so that needle is at stem again.
Step 8: Rep Srcps 1-7 to make a second pair of
leaflets, srringing only 2 light green stem beads.
Steps 9-oll: Continue adding stem beads and
leaflet pairs until you reach your desired lcngrh.
You can use rhe progression I've used (see Figure L), or you can rry variations to get difTer..:nt
shapes of ferns.


Step 1: When you finish the progression from Figure l , string 6 dark green. PBT the fifrh bead
JUSt strung.
Step 2: String 3 dark green. PBT the first bcaJ in
rh is leaf. PT rhe last stem bead.
Step 3: Srring 1 light green. Rep Steps I and 2 to
create the matcning leafier.
Step 4: String S dark green. PBT the fourth bead
)liSt strung.
Step 5: String 2 dark green. PBT the first bead in
this leaf PT the lasr stem bead.
Step 6: Rep Steps 4 and 5 to create the marching
Step 7: String 7 dark green. J>BT rhc six rh and fifth
beads just strung.
Step 8: String 3 dark green. PBT rhe hrsr bead in
this leaf. PBT all stem beads.
Number of Frond Beads

12 12 11 11 9

Number of Stem Beods

Figure 1

PBT aU stem beads once a1,rain to tighten any

gaps. Weave you r thread through several beads ro
secure and into the beads of one ot rhe leaflets.
Knot the working rh read inside the leaflet and trim
close ro work. Remove your tension bead. Weave
rhc rail thread through to the second bead of rhc
stem and into the first leaflet. Knot the thread inside the lea fler and rrim close to work.
Lnuri~ Nrls~11

is a bmd tmist tmd uaclur m KaltmtnZI/11, /v/ulugmt whPr' shr livts nud plays wtdJ IJtr two !OilS. Hn WOI'N is
ort t'X!Jibit at Cristnll.o An n11d Glass Studio in Willimmburg.


July/August 2000


_ On the Road Agt!i_n ...


Gat ering Stories


he beadworking q101mun iry il> very gen1-=J.i~

crous abour ~hari ng its kl\owledge, bur
rhc Brtrdwork \GJfr' srill ha> to n.Kh out ro
ger the great projcc~d profiles fc.trurcd on
our page~. We ga ther srorie~ in several ways:
~n sehmooztn
. 9 with Don Pierce,
I . Anim send m unsolicired proposal~.
F. Mountatn
2. \VIe: set ~omething cool and beg ro have it.
Cindi Wilcox nom tre . .
nd Jean's evtl twtn
3. (Thi~ i~ rhe mo~r fun.) We hir the road to
G ems, O
meet people and see projects ar bead ~hows.
bazaar~. and conference~.
Amy Clarke, Judith Dur~m. and I recently
travelcd ro Santa Fe, New Mexico, to anend
the Recursos de Santa Fe's Bead Expo 2000.
This i~ a lovely, down-home rype of conference rhat auracrs bead researchers, designers,

teachers, and an isrs from all over rhe world.

There were symposiums on lhe sacred and
The lovely RecursO$ lodie$
secular u~es of beads, a m yri:~d of cbsscs, a
twenry-(ifrh anniversary gala for the Los
Angclc5 lk-:~d Socicl), and a bead bataar rhat
5panned two buildings.
Amy .111d I didn'r ger our cheap. Thank
goodm:~s we drove down and didn'r have ro
bring all our purchases on an airplanc! We rclllrned wirh lots of beads, bur best of all, we
also have rhifl")-three new smries ju\r waiting
ro inspire you on the pages of Beo~buork.
Wild Things Vi ond J-Me od~ire
U.K er Stefony Tomalin's creahons.

Buddies Amy and 1eon.

"What did you geH

from th b
or me
e eod conference, Mom?

Thinking about Submitting to Beadwork?

~ 'lo rcqu~'\t our writer's guiddincl>, call u~ ar

(970) 669-7672. ~:n1.1il us at bc.ldwork@, or read the guidelines .11 www.incerweavl'.tom.

~ F-mail a scan and ,1 brief dcscript ion of your work to
~ Snail-mail a snapshot and .l brief dcscript ion of your work to &oduork. lnrcrwc.tvc
Press, 201 1.. Founh Sr., Lowland, CO 80537-5655.
~ Check out what Je:tn look.!> like above and int roduce yourself at rh~: next lwad
~ Howewr you submit your proposal h~: sure to fill us in wuh A1.1 your informarion- n:une, telephone numhc:r, address, and c-mail add1css.



If we accept your proposal, we'll schc:dulc it imo our ednnrial calendar. But llt:
warned: \VIe schedule .1 year in .tdvance, \O you may have to wait a bn eo sec ynur
project or an icle in pl'inr.


L-----------------------------------------------------~ ~

Bead Crochet

The word crochet comes from the hench word

rrorhl' or rror meaning "ro hook". Annic Louise
Poncr cires in her book A LIVing Mysury: Tlu lntl'motiono/ Art and History of Crochet char thread
crochet as we know ir may have existed as early as
1500 A.D. and may have been parr of Catholic
nuns' needlepoint and bobbin laccwork for church
accourremems. She notes that thread lace has been
found in Egyptian rombs; it was crochered by
twisting pieces of corron between rhe fingers and
making the loops by hand.

Size 11 Czech seed bc.tds: ruby irid (Color I);

brown opaque (C'..olor 2); topaz irid (Color 3)
Delicas: opaque red lu~ter #214 (Color 1);
transparent lusrer mewllic red # 116 (Color
2); transparenr lustcr memllic roscgold #115
(Color 3)
Off white #23 YLI denim ~titch thread (substitute DMC Cebelia #30 or 1112 Pearl Cotton)

Medium sized twisted Acxible wire needle

Size 8 or 9 sreel hook ( 1.30 mm)
Sewing or embroidery needle

eh-eh stitch
si st-slip sritch
se-single crochet
yo-yarn over
rep- repear
bsc-bead single crochet
bsc (blp)-bead single crochet stitch with a
loop of beads


www lnlorweove com


Along widt other elaborate needlework. lavish

bead and thread crochet emerged in the nineteemh century. Bead crocheted bag~ and wc.trables
grew in popularity and continued through rhc
1950s. !'here were bead crochet fa.,hion trends in
the I ??O~. 1980s. and 1990s, but nothing ro equal
the ntneteemh-cemury craze. With the turn of the
millenium, bead crochet has taken on a new twist,
i111 roducing sculptural, free-form clemenrs.

For a single crochet, place rhc hook in 1he

stitch. Pull up a strung bead next eo the hook, and
pur the yarn over the hook, pulling up a loop and
ca~ru.ring the bead. Then pur the yarn over .tgam,
bnngmg the hook lhrough both loop' on tht hook
to complete the se stitch.
For a bead loop, follow rhe in~truuiom for a
single crochet, pulling many beads up to the hook
instead or just one. T he samplers hclow ~how 9-,
15-, and 2 1-bead loops.
You ea n M ring beads direcdy from .1 twisted
wire needle 10 crochet thread; the eye collaJhl'~ as
the beads pass through.
When beginning and fasrening off, leave 3"
rh read taih to ~titch in or carry begmnmg rh read.
Block flat samples ro prevent curling. Set the:
iron for ml'dium weight fabrics (polyester). L.1y
the sample on an ironing board with the beads
f:tce down. Place a damp cloth over rhe sample.
~et the hot iron on the cloth and gen tly pre~s rhe
1ron a couple of times. Remove the iron ;lnd clmh
~nd let rhc sample dry. Once it is dry, move the
1ron over the back of the sample again to Aatten
rhe thread edges.

This sampler comains bead loops crochered in

9 flat rounds. \'((hen crocheting thread-only rows,
place rhc hook under both sritch halves: for the
beaded rows, place the hook undt:r just rhc back
half of 1he M itch.


2.040 Color 3 beads (again, only 3

yards ar a rime).
Ch 6 ;lnd join eo form a ring (6 m).
Row I: Ch I, work 12 se into ring and join with si
SI (

12 m).

Row2: Ch I. 2 bsc in each st around, join wirh si

st to beg eh I (24 sts).
Row 3: Ch I I bsc (9 blp) in each se around, join
with si s1 to beg eh I (24 sts).
Row 'l: Ch I. l se in each sr around, join with si sr
eo beg eh I (24 stS).
Rou 5: Ch I, 2 se in each sr around, join with si sr
ro bq~ eh I (48 stS).


For this sampler. you'll crocher loops of beads

in rows-19 rows of 20 stitches each.
Each row alternates beaded single crochet loops
widl ordinary rh read-only single crochet stitches.
Pte-suing a mix1ure of 3 bead colors. Of the 19
rows, 9 will be dmad-only crochet and I 0 will
have bead loops. At 300 beads per row, you'll need
to pre-srring 3.000 beads for the whole sample;
however, string only 3 yards of beads at a rime.
Ch 21, T, begin in second eh from hook.

Row 1: I bsc ( I 5 blp) in each srirch ro end.

Bead crochet in rounds.

Bead crochet in rows.

- '
'" . .

< r .


' -

.' . ,.,


-.~ . . .





'"' ....

r ...
"~~>----':\ ..:.. .

. .' . '
-~ ~ :.. ' ..'..~.\\'. ~. ~ . , .
. .. .f.... .... .. ..., ,,..... --~-. ........

!r .._ --''.
. ... ..,-: ..:

...., ..........





h.' '.

Row 6: Ch I, l bsc (I 5 blp) in each sr around, join

with \I st to beg eh I {48 srs).
Row -: C h I, I se in each st around, join wirh si sr
to beg eh I (48 srs).
Row 8: Ch I. 2 se in each sr around, join with si se
to beg eh I (96 srs).
Row 9: Ch I, I bsc (21 blps) in each st :~round,
join with,] se ro beg eh l (96 sts).

Row 2: Ch l, T, I se in each st to end.

Row 3: Ch I, T, I bsc( 15 blp) in each sr m end.
Rows 4-19: Rep Rows 2 and 3, alrcrnating, ending
wit:h rep of Row 3.
/.,din Borin is tlu B~ttdwr.m,(lu. Find 0111 mou about Bead
works and tlu /Jtttdumtngf,. s Snmpltr Projw by rb~rkmg
Lydin"r monsur jibrr w~bsit~ ruum. /







n downtown Newport, Oregon there's a happening neighborhood called Nye Beach. lr

offers visual and performing arr~ cemers,
small bookstores, boutiques, galleries, and several
excellenr resrauranrs. Right in rhe cenrcr
of thi~ mecca of cool, you'll find a
great bead store, a Gallery of Contemporary Bead Arr, and a Museum of
Amique and Collectable Beadwork.
All three go under the name Original Bard, owned and operared by
Jeannc Boardman Bard.
Jeannc is an accomplished beadwork artist who uses single- and doubleneedle applique in her own beadwork. She
started beading nearly 35 years ago, learning
techniques from several elder women of the local
W<trm Springs tribe. Jeanne did a lot of work on
Native American regalia using vintage and amique
beads and over time developed her own distinctive
style. She has done a great deal of cusrom design
work. Jcanne says she rhoughr she had developed
an original technique for single needle applique,
then was ddighrcd and .unned m find her technique described in a 1913 bead book. Her singleneedle technique is an adaptarion of rhe twoneedle technique and allows the use of a variety of sizes and types in one piece. Because she has
collected beads for thirty years, she is able ro exhibit a wide variety of beads in her work.
Most of Jeannc's designs have an antique look,

www ~nterweove

and they arc Faultle~sly constructed using interesting

combinations of color and rcxrure, often cemered
on an object like an Art Deco stone calxx:hon. Her
pieces will f:tscinate most bead enrhusiasts because
of the variety of antique and vintage beads that arc
typical of her work.
Originally an antiques collectOr and antique
stOre picker, Jeanne started her bead bu~iness in
1986. She had $3,000, some beads, and .L dream.
Having a bead store was one way ro support her
addiction-she could have her
beads and make a living at
what she loved. Her recenr
move ro Nye Beach
allowed her an excellent space for
her very eclectic
shop. Jeanne say~.
"I specialize in the
old and rhe rare."
And ir's true. She has
an excellent selection
of European seed and
cur beads, a great variety
of other beads, including
many unusual sew-on
beads and cabochons,
and many wonderful
antique beads and
bead-related items.
Jeanne's is an ever-

changing inventory, and she seems to be plugged

inro many sources for rhese treasures. Many people in the trade know her as "that woman in Oregon who buys old sruff."
Jean ne is a very charming and gracious woman.
She is one of those people whom you instantly like,
and she i:. generous with her knowledge of beads
and beadwork. She counts many of her customers
as friends. Customers arc asked to sign a guest
book before rhey leave and Jeanne will usually give
rhem a small present.
The Original Bard is not a place where you can
shop quickly. You have to dig and ferret around in
rhc many drawers, bowls, and trays that line the
shelves in the store. When you think you have
looked at everything, Jeanne will say, "Have you

find a broad-based display of old beadwork of

every sryle. Wonderful old clothing, including my
favorite, Sonja Henic's Tu-Tu (beaded, of course).
T here is a magical gold ven, circa 1910, woven
with gold metallic thread incorporating 24k goldlined seed beads and designs in pale pink, green,
blue, and purple cur beads. lr's nothing shorr of
spectacular. Shelves of beaded purses in several
sryles occupy one display case, while other cases

ost of Jeanne's designs

have an antique look, and they
are faultlessly constructed
using interesting combinations
of color and texture.
seen rhese?" and you're off on the hunt agai n.
Jean ne also carries an impressive number of books
that cover the full range of beadwork sryles. Be
warned, you can easily go into this shop looking
for just one lirde bead and come our with a depleted checking account and a pocket full of wonderful treasure.
As you emer the shop yo u will be drawn to the
display of contemporary bcadwork that includes
work.~ by several arristS, including work by
Madame Bard. One piece is particularly striking.
It's a black soft-sculpture hand embellished with
beaded applique. ul don't know if I'll finish it or
not!" Jeanne quips. Time will tell. Also included is
a beaded portrait of Marilyn Monroe ala And)'
Warhol and many works by students, friends, and
At rhe back of the shop in a small alcove is
Mme. Bard's uDen of Anriquiry." Here you will

display a broad variety of both Native American

and Victorian through early rwcnticth century
beadwork. There is a large library of old and rare
books about beads and beadwork. Then ... quiet
my soul . . . there arc the sample cards, thousands
of them. An insranr "Bead Idemificarion Class:
101," the cards date from rhe late 1880s through
the 1960s.
Because of Jean ne's long involvement in the
bead working community, people have brought her
their treasures to display, and she has documented
rhe history of many of these gifts. Jcanne has

July/Augu" 2000



mm~. San\.:~


28 Coast St.,

(541) 265



hopes of expanding rhe Den of AnriquiC)' into a

full-scale beadwork museum with in rhe next few
ye.m. Behind all rhc material on display is a treasure trove of material that is packed away, waiting
for its day ro come out and be admired.
ln the middle of the shop is a table. Nothing
fancy, just a basic table ,,bout ten feet long. This
is really the hean of the shop. lr's a garhering
plale, the sire of" I"he World's Oldest Revolving
Beau Class," and it holds fifty or so in-progress
color palettes. E.ICh of these palcnes (don't call
rhcm paper plates) con tains groups of
beads comprising :1 colorway of beads from
the shop. Most have wi rh
one spenacular bead or object,
or a group of bt:ads. Man) arc
works in progress. Any one of
these palel!cs could be a project in
any bcadwork ~tyle. Jmt sining
down and looking at them wi ll
spawn more ideas than rh ere is rime
to execute in anyone's liferirne.
You will always find one or more
people at the rabic, perhaps working
on a project, asking questions, or just
enjoying rhe company. Somewhere
near the cash regiHer is a c:~ rdboard
sign rhat reads "Creation, not
Competition." r his is the abiding
philosophy of Jeannc's shop.
1-rcquendy Jeanne will put rogethcr small packages of beads rhat
feature a parricular colorway. These
pack.lges resemble miniature~ of the
color palette~ from rhe rabic. Anyone
inreresred can buy one, then execute a

usi ng rhe beads represented in rhc sample

bag, along with other bc:tds of their own choice.
The result~ arc posred fo1 everyone ro admire. lr is
amazing eo see the diversity chat srems from these
theme projects.
Twice :1 year Jcanne hosts a gathering called
"The Many Facers of Beads." The February show
is held inside the ~hop and is rather intimate. A
larger gathering on rhe fourth weekend of July
rakes place borh inside and out\ide rhe shop and
includes thirry or more vendors offering beads,
beadwork, ethnic ircms, and artwork. Many participants come every year w share, have fun, rcm:w
old acquainrances, and make new friends. jeannc
often includes enrcrrainmenr, like poetry readings
and wandering musicians. Sever.ll years .1go, when
the shop was on the second Aoor of .1 downrown
building, a group of Siletl. tribal dancers in full
regalia accompanied by five or six local drummers
and singer~ came ro perform. They were jusr st:ming cheir first dance when the lady from rhe bridal
shop downsrairs appeared covered in plaster dust,
most upset rh at the dancing had dislodged her
ceiling. So the group moved outside m the street
ro complete the dancing. But the ~srrect" is Highway l 01. ;~nd rhe police were not pleased with the
resulting traffic tic-up ''hen hundred\ of folks
stOpped to rake in the dancing. So there was a
swifr conclusion.
If you find yourself on the Oregon Coasr, make
it a point eo srop and visit Jeanm:, check out rhe
beadwork, the Den of Antiquity, and purchase a
few rreasu res. And hey, tell her I se m you, and
maybe I'11 get a discount on my nexr visit.
Don Pirru is 11 brad111ork 11rti<t, tmd1rr. 1111(1 <llltllllr. Hi.< boo~.!ing On 1\ loom
mond prmtmg.


l'ms. 1999) Jll'l


mto 11>


~ 7J;

J Statement


riting .m arrisr's sraremenr n1Jy be easy

for some people, bur it's not for me.
Actually, I rhink it's difficult for .1 lor of
p<-'Opll'. That doesn't mean you shouldn't put rhe effort into your ,miJ.r's sraremem or that it isn'r worrhwhile. An ;lrti\t's statemenr articulates your he:mfclt
thoughts, your go:~ ls, your dcsirl!S, and you r belief
smtcwrc. lr relays what makes you different.
Most artist's sraremenrs are two ro three parngraphs long. le's a good idea ro encapsulate your
entire sr~ttcmenr in a single senrence or quot.Hion
and sec it off ;lt the beginning of the statement in a
different rypcf:lCe. \'qrirc when you're not hurried.
Get lors of feedback from rhose who ~ue supporrive and kno\\ your work well. Don't forger ro include your name, address, telephone, and f.1x
and/ore-mail if you have them. Include a photo of
yourself if you wish. Dare your Statement so that,
a few yc;us down rhe road, you can dcterm ine
whet her you have changed.
Who reads an artist's statement? Those who sec
your work, either in person or in publications.
The sr:uemcnr will verbalize for them they
mav not be able ro understand in your work. lr
may help them ro connect with you and share
your li:clings or know rheir own feelings in a new
way. If you arc entering your work in exhibits you
should provide a general artist's statement, but you
may want m provide a statement abour an individual piece as well.
Trouble.: getting starred? Lay out several pieces
of your work eo see the cohesiveness or any commonalitics among rhcm. Look for themes such as
the use of bold or muted color~. textures, or
humor. lo help you in this process, \ee if you can
\J\' what your work is not about. For example, you
may not he concerned wirh frivoliry, politics, or
high r.c.hion. but by understanding that your work
doe~n't trear 1hese subjects. you will have an easier
time writing what your work does do.
Writl' down any thoughts you have as you look
at your work. It doesn't maner what ord~:r rhey're



in. Just start getting word~ on

paper. You may need to do rhis
more than once. Think abom it
again just before you fall .t~lcep so
your brain can process your thoughts while you
Then jor down answers O rhe following lluesrions. At this poim, don't worry if your responses
are polished. T hat can come brer.

1. What arc you trying ro express?

2. How h<c. your be.tdwork evolved?
3. What new c;hnllcngcs ~1re you meeting?
4. What is your b~tckground?
5. Dcscrihc your work in gcnc.:ral.
6. How do you appro,tdl color?
7. How do you ch.tracrcrize your work? (abscract, rc.tli,til,
whimsical, beautiful)
8. Whm kind of a visual, emotional, racrile, or n.trr.uivl'
statement .lfl' you trying ro make wirh your work?
9. 11ow has your work ;tffccced other areas of your life?
10. Where do you get your ideas?
Let your notes sit for a day or so, then read
rhem again, possibly our loud ro yourself or to
someone who supports your work. Read anisr's
statements in maga~inl's \Uch as Ornament and
American Crnji. Add new ideas, then rewrite and
remove anything that isn't important. Try ro single
our an imponant idea for the first sentence and pm
it in a form that will grab the reader's attention.
Finally, rcwrirc again, maybe even a few more
times. ln rhis process you will come ro know yourself better and your work will become stronger for
your self-knowledge.
Hmmmm ... Now if I could just follow my
own advice.

Fitzgmdd is 11 11111i01ml(ylmown rmch~r mu/ ,:rtisr

who fil,rs in Mitmrttpulu whrrr shr runs hrr srorr, B~aurifid
Btttds. Sbe is rurrmtly worlun,~ Olltl ln10k 11/Jour /Jrirk smrh for
hurrwttwr Pn:ts.

July/Augut 2000


fter five years of beadworking and copyrighting 125 mosrly brickstitched designs, I found thar second earring of each pair increasingly
difficult eo make. A friend dared me co try something differenr with my
beadwork. "I don't know," he said, "something like beaded lace coll ars." I scoffed,
thinking that no type ofbeadwork reaLly looked like lace. But his words haunted
me, and finally [ pulled out an old caning book and gave myself rhree months to
make something out of beads that looked like the ratted designs in the book.
What I stumbled on afrer much trial and error struck me as not only incredibly
simple bur extremely versatile. In fact, the technique 1 discovered has applications
far beyond lace collars. The key ro this technique, and its versatility, is the picot.
In earring, the picot is the loop that sirs up above the base of the lace. In picot
lace, rhe picor acts as a bridge between sections or elements of the lace.
The rhrce basic elemems of picot lace are the ring, the loop, and rhe chain. This
design will teach you the loop and the chain: the ring is simply a loop from which
no chain emerges.



Etl11or 1 Nou. Be especially mindful abouc the

m~aning ofpJ ~ when yourc working this bt.':tutiful picot I;Ke. Just think. uMy needle is always
going forward. I'm always advancing ro rhc next
bead. I'm nevc.:r moving backwards."


'i11e I I o Cte<.:h se~d beads in two colorson~ fur b;tsc .tnd one for picms
'iit~ "B 'lymo b.:.tding thread

Site 12" he.u..ling needle


Sup 1: Using a yard of thread and leaving a 6" tail,

string 12 base beads. Make a foundation circle
by PT all beads twice more to secure. Exit from
the first bead of the foundation circle.
Step 2: PT the sc:vc:nrh bt.':td of rhc foundarion circle. String 1 picot bead and PT the sevenrh
bead again. PT the cighrh, ninth, and tenth
beads of the foundn 1ion circle.
Step 3: Srring I picot bead and PT rhc rcnch bead
again. PT rhe eleventh. twelfth, and first beads
of rhc foundation cirde. This complctel> the
firsr loop.
Step 4: Now start the chain by ~cringing I base and
I picot bead. (YI the base bead again. Snug the
beads rightl) ag;tinst the loop. Notr: The picot
beads arc anached as you go.
Step 5: String 5 base and I picot bead. 1o moum
rhe picot, PT the fifrh base bead strung again
(Figure 1).

July/ Augut 2000




-- -~-Y

Figure 1

Sup 6: Srring 17 base beads. PT the sixth bead ju~r

strung ro close rhe second loop (Figure 2).
Step 7: PT rhe second through sevemh beads of
rhi~ new loop (you PT the first in Srep 6).
String 1 picm bead and PT rhc scventh bead
.tgain ro moum the picor. PT rhe eighth, ninrh,
and tenth beads or this loop.
Srep 8: String I picot bead. PT rhe tenth bead
again w mount the picot. PT the eleventh,
rwcl(th, and first beads of this loop. This compk:tes rhc second loop (Figure 3).
Step 9: Srring I base bl-ad and PT rhe second picot
of the original loop. PT the base bead jusr
strung. This locks the loop and rhe first chai n
to one another.
Sups 10-13: Rep Sreps 5-8 for .tnorher chain and
loop (Figure 4).
Sup 14: String I base bead and PT the second
picot of the prev chain. PT the base bead just
Steps I 5 nnd on: Rep the chaim as in Su:ps I 0-14
w 1he desired lengd1. To end, crenrt anorhcr
loop as in Step I (Figure 5). Weave working .md
rail rhreads imo several beads w ~ecure. Tie
knot~ if desired. Trim threads close ro work.


,. , .:. {. {} ~ tf


Figure 2

Figure 4


- ..


/1 ~


Figure 3

Figure 5

Hmt do I tightt!11 tt chain pi<'oti'

Wriggle 11 down imo pn~ition holdi11g the
bc:olds tigh tl y wirh I he rhumb and lnrefingtr or
one hand "hi le you pull the thread gently but
firmly with the other. Avmd splitung your
thread as you stitch through rhc: beJ.d~-splir
ring makes u difficult to ughten your chaim.
Which way tlo I go rh rough the picot of the loop
whm joining n~y chttin ro ir!

l.ay rhc piece our and line it up w that the

side without picms i~ next to the prev chain.
The join ~hould look like all the other mounted
picot~. rr you go through thr wrong way, your
thrc:ad will c:ross.

Smui.Y Forringtoll liz~s iu Fort Br,rgg. Cdifomuz. H" nmi<TIIU

with pitor l11rr Jtllrttd rrgln ;wm "~" 1111d sl1r 111111 boml.< thr(t
piwt lt1u books-Picot LKc: lnnuv.uivc lk.ulwork, ~f'O's
l'i<nt I ~~c De\lgns I, .uu/SfO's l'i<ur U<c llc\lgos 11 md
200 piwr flirt d~.1igm! Stwdy will br tmrhing "Nirr.ttiow 1-hl/s"
ill l:mbrlliJhmrlllthisju~~


was always unhappy with any

watch band I ever had. They would
pinch, be too large (I have a tiny
wrist), or wear out too fast. A macrame warchband seemed the perfect
answer-fun and functional. But
could I work the knots small enough?

July/ Augu>l 2000


This is where "Micro M.tcranu.!

came in. Nor only have I renewed
my love for knotting, this rime on a
much smaller scale, bur I now have a
warchband thar firs.
Not!!: I credit rhc hnernct's White
Swan School of Beading run by
Janer Tierney Wall for some of these
wonderful finishing rcchn iq ue~.
Visit them at www.2Jsrcenturyman.


Cur 12 srrands of ducad 36"

long. Remove old band from w:uch,
being careful not w lose the smal l
spring post. Clip or pin the wateh
f:tcc down securely while you work.



Nylon 'in: 18 bead rhrt:ad, sizt:

I I 0 Nu BonJ, or Beadsmith FJ #6
(you nenl 1he approximate size of #8
perle ~.;ouon. bur don't use pcrlc cotmn lx<.;,tusc it\ too soft)
r;,, o 6-8 mm ghtss beads
'ltzt I I ' stcJ bead' or Dclicas
Si7c 8 nr ~mm beads
One "sh.tnk button
Wat<:h with I" fac~

l.ighrcr or matches
Clipho.trd or fo,tmboard and T-pins

Lll I .trk's hc.tJ knot

SK ~qu.m knm
DHH Double: half-hitch
DOK Double overhand knor


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!:Jtl'p 1: I 1-1 6 (doubled) m;utds

around the posr of the wat<:h,
"bumps" on rhe right hand side.
SK the 4 lefr-mosr threads. SK
with the next (cenrer) -1 threads.
SK wilh the lasr 4 threads. You
should have 3 SKs.
Step 2: Pur the 2 outermost threads
aside, rake up the next 4 .tnd SK.
Use the next 4 ro SK. You ~hould
have 2 SKs.
Stt>p 3: Use the cemer 4 thread\ to
Sll'p 4: Divide the 12 threads so there
arc 6 on each side. Taking 1he left
outermost thread as the holding
thread, bring it over the other 5
threads. OHH ro rhe center with
rhe 5 threads. Do the same on the
right ha If (see Figure I).
Strp 5: With the cemer 2 threads, tie
an overhand knot (sec Hgurc 2).
Pull up and adjust.
S!t'p 6: SK with the cenrer 4 thread~.
String 3 or 4 size I I or Dclica
beads onto the outermo~t lefthand thread. String a Jmm or
size 8 bead on rhe third thread
from the left (sec Figure 3). 'litkc

rhc left-hand I threads .tnd SK.

Do the ~ame on th~: mhcr side.
There are now 3 SKs rhe
row (sec Figure 4). Note: Your
goal is lO have the .} SKs even
across rl1e row, so it may 1ake
fewer or more heads to .tccomplish this.
Step 7: Putting aside tht: first two
1h reads, ma kc 2 S Ks auoss rhe
Strp 8: SK with the ccnter 4 threads
(see Figtue 5).
Step 9: Divide the 12 threads so there
arc 6 on each side. I aking the left
outermost thread as the holding
rh read, bring it over the other 5
threads. Dill I to the ccmer (with
5 threads). Do the same on the
right half. Tic an overhand knot
with the 2 cenrcr thrc.1ds. Pull up
and adjusr.
Sti!p 10: String a 6 or 8 mm onto the
cenrer 2 rhreads. 'ltring seed or
Dclica beads onto the outside
rwo threads of the inner 4
threads, or enough beads to fir
comfortably around 1he large
bead. SK with rhe centcr 4
threads (set: Figurt 6).
Step 11: String seed or Delica beads
onro the outermmt left-hand
Lhrcad and the third tlm.:ad from
rhe left. SK with tht left most 4
threads. String on enough beads
ro make the SKs even. Rep on the
other side. You should have 3 S Ks
across rh is row.
Stt>p I2: Rep Steps 2 ;tnd 3 (sec Figure 7).
Step 13: Make rwo rows of DIIH
(sec Figure 8).
5itp 14: Work 2 SKs wirh rhe outer
4 threads on each \ide and I SK
in the cenrer (see Figure 9). Now
begin the srraight pan of the map
by making rows of 3 SKs and 2
SKs. The length of thi\ area will
be determined by wri\r measurements. Note: The goal here i~ ro
have rhe burronhole (Step 15)
reach ro rhe centc.:r of the under-

wrist area so rhe button will be

cenrercd when the band is worn.

Step 15: Divide the threads in half (6

on each side). String a seed or Dclica bead on the lefr-mosr thread of
the lefr-hand group. SK with the 4
cenrer threads. Rep 5 or 6 rimes eo
make rh is area a li ttle longer than
the width of your burton. Rep on
rhe orher side.
Step 16: Push up both sides to Form a
curved area for rhe butron m go
through. SK with the 4 center
threads. Make 2 SKs for the nex:r
row. Make 3 SKs for the next row.
Make 2 SKs and then 1 SK for the
Step 17: Rep Steps 4 and 5.
Step 18: Leave om the two left-most
threads and DH H to the cenrer
over 3 threads. Do the same for
rhc orher side. DOK with rhe cenrer 2 rh reads.

( t


To end, trim the threads one at

a rime for safery. Mclr rhe nylon
thread wirh the lighrcr or matches.
Melting should be done very careful ly and slowly. lf you melt coo
much your knots will come undone
or will rurn dark.

Rep a11 rhe steps above for d1e

orher half of rhe wacchband, omitring rhe buttonhole. Instead, continue alternating SK~ and fin ish in
rhe same way. Try on rhe band ro
find the proper butron placemenr
and sew on the burron.
Br(lldn Whiulmtd is tm nrtist, drsigJm; n11d the
muhor of Heirloom Peyote, Cuprivating Pe)'otc 1md F.'""'-'Y Bendwork. SIJt lhn ;, ctrttrnl
Ttxt/S mtd is hard at work 011 lut/1 t.ksigm. Visit
btr w~bsitt at



Square knot.

Double overhand knot.





Hubbell Beads
cad trading has forged unlikely
connccrion~ be[\vcen different culwrc~. as the hiscory of Hubbcll
beads show~.
In the ~our.hwcsrern Unircd Scare\,
the early years of rh~: twentieth cemury
weren't too different from rhc Old Wc~t
thar movie\ haw made famous. At
tr.tding posts, NatiVl' traded
their cr,tfts for manuf.-.crurcd goods,
including cooking urensils, food,
bl.tnkcts. and f.-.bric. As the population in the Wesr and Southwest grew,
these rrading posts became community meeung place~. often incorporating banks and post offices.
Juan I orcnzo llubbell was a
tr;tder who believed in treating the
native population fairly. Raised in
che late 1800s in New Mexico
Territory by his Yankec lather and
Spanish mother, he became inJignam ;tc the greed and corruption he saw ar some rr,tding
pe>sts. As a young m.m, he tr:tvcled rhc weMern United Statt:s on
horseb.tck and landed in the
Pueblo Colorado Wash (now called
G.tnado) in Arizona. ln 1878, he
openeJ his first rrading post .tnd became
\O successful that hl' eventually had a large
portion of the exclusive trading rights with the
Navajos. lksides encouraging rug makers, Hubbcll
csrablishtd a metalsmithing workshop on the
reservation, where arrisans from Mexico taughr the
Navajos to make \ilver jewclry.
Meanwhile, in post-World-War-1 Czechoslov:tkia, bead maker~ were facing incn:ascd compel ition from lraly Jnd France. Taking .tdvancagc of
their advJnccd technology Jnd long hiswq, the
Ctcch beadmakers branched our from their u~ual
~tylcs. From thcir cxpcriments came parrcrns,
shapes. and textures in glass thar closely resem54

www ttlterweove com


bled African, Chmc~c, and North

American trade beads-including
.. rurquutse
. ,. bea ds.
Some of rhe new Czech "experimental~ beads found rhctr w:ty eo
llubbcll in Arizona ;tnd he successfully used them for trade with rhe
Navajos. Now known as llubbell
beads, they come in rwo varieties.
One is a vibrant, dear tUrlluoise
color, often shaped tn Aar diamonds
with a hole .tt one point. The other is
the same beautiful lllrquoise color,
bur rhis ofren-sphencal bead ts organically vcincd wirh brown, orange,
and black. Native Americam readily
traded their rough 111rquoisc \tones
for these fi ncly shapeJ bcad~.
Today, Hubbcll beads arc very
mre-in fa~,;t, r.hey're now more v,tluable than the stone they were meant
to imitate. .Strands of Hubbell heads
can cost $50. bur experrs w;trn rhat
n's someumes diniwlt ro est;tblish
their :lllthcnticity.
llubbell\ trading post, now operated by the Southwest P.ub and
Monuments Association, is Mill open
for business Ganado, Arizona. For
more information aboUI the trading post,
sec hrrp:/ I.

Oci.JUcr, MJrjcl. "A Cenrury

nr 'I r.1dcrs m1 '1 rading

l'tr.t>," AriUJIM fliglm.~~. ~ IJrx.h I ?..,S pp. 6- U.

l.iu, Robert K. Coll~ctiUr Hr.uh: -1 l./n11 m11l Amhmr. $.111
M.trws, C;~lirornia: Ornamcm. Ine .. 199~.
Witll<k. Ben. " !'he Endurinj; lmnguc of the G1.1" !i-Jd~
lkJd: Arwnm llighul)' jul> 1971, pp. I 0-.H.

M11Tion llgnm\ lk.tdwork s trdmua/ rd1111r. is ,,IJo ''

wntrr ll'h() /il't'J 111 li. Collm>. ('AJ/omdo,

Bead the Wind


hen I wa' lim a~kcd to "head the

wind," I 1hought the ra~k was pretry
ob~cure. \Vhik- t;llking with Jean and
Amy at BMdtuork. I ",,, reminded of a yoga asana
known as ~rdievmg thl' wind." This was funny,
hut I forgor about it whik I considered or:her
01specr. of wind.
Since wind is baskallr t"aused by the warm air
.u the equator moving into the cooler air towards
rhc poles of our planet, I 1hought I could bead a
wtnd chime or mobile. Thtn I thought, what is air
made of? Mosrly nitrogtn (.lbout 80 percent) and
oxygen (about 20 pcrct'IH). I >truggled wir:h a way
to make this strucrure inw ,, dtstinn beadwork,
but ~incc the difli:rence between nitrogen and
oxygen is one electron. the structure

seemttl too subrle

to make apparenr
in a whole mtss of

bead~ .
Si nee science was

not oOering a viable

~ J
ttlca. I thought I
would look imo
~ ..
mythology. Odys\eu~ had a bag
gtven ro him by
~1!:.-~'"""---~-King At-olus, keeper
Dustin's design sketches.
of the winds. Inside
the hag were all the
\totm winds that cc>uld drive sailors off course.
But Odysscus' men rho ugiH rhe bag contained
gold, opened it, and unleashed a fury thar swept
them our eo sea.
A~ I cominucd my windy thoughts 1 thought,
~He~. Odysseus's hag of wind \till exists-What
.tbout whoopee cushions? And that wa.~ ir! Funny
how our first idL'lls tend 10 lx the one~ r:har work.
To make rhis kind of cu~l11on I cmulared the shape and spiral motif of an ancienr
NJLive American Mimbres design for its circular
sh,tpc and spiral morif.s. The spiral points ro rhc


www 1n1erweove com

four winds, ;lnd creates
mowmcnt like a propeller. AJso within dm design
1\ something of a jester's cap and bells, \\ luch adds
ro the trickster clement of the gag-gift.
I bc.tdcd wirh site 11 o seed bt:ads on fJke suede
ro simulate an ancient bag. (A piece rh.u firs a
tcn-tnch embroidery hoop will cover .t whoopee
cushion.) After embroidering the design, I stwctl it
to a scwnd, slightl y larger piece of f.1bric, so thar
when rhc Lmhion is inAarcd the bcadnl picct
doesn't pucker. I left <In opening through whilh to
fir rhl.' rolled-up latex (I don't recommend be.tding
\\ith rht bl.tdder inside because it would no longer
hold the wind). Then J bkw ir up. \X'hoopcc:!
Dustm Wrdtlwu/, aim Br11d Boy, u UcJd"mk ; suprrhrm
muri -l'.mi11g Illrough .. to find olfl ll'h,u IJmfTIIJ
llr.\1 dulllmgr will br. lfyou 'rr up for tht thilllm.(r. 1110, mu!
ltllpJhols oj .~our crr.uirm to Bmd 8~}' CIMIImgr, l11trrunwr


Pw,, 201 F FouniJ St.. I.Ot'rlillld,

htr,ulwmk(fl inft'l'lt1/l'~. rom.

eo. 8053~. '" srtlll

l<'lll/j IO

Dustin 1n o yogo position coiled "relieving the wind "

Tht'st' b11S1c instructions art' for stitciJI'> IISt'd 111 tlm

iSStlt'S prOJI'cts and art' t'Xrerpud froml he B~:adcr'~
Companion, fntawt'llvt' Prro, 1998. Doni !Jilt'/' this
popu/,zr book? Call (800) 645-3675. Dt'pt A /U.

Beg.n by pas~ing the needle through
th<" fabnc, from wrong 'ide to nglu \ide.
'nring ~ b<,ad, and pa." ha<k through

in regular brick smch. Begin tht next

row in regular brick sucd1. When you're
Jdding rhe lasc be-ad, p2's through tht
fi~c b<,ad of the prcviou row (rJchcr
than the exposM loop). P.m chruugf
che fim .10d second head, of chc row
before thac. Pass back through che lim
bt"d of the previous ruw, then p.t\'
back through the l:ur b<,a.! ju\1 .aldetl.

the f.1bric 10 the left of where the tlurd lie,. Bring the needle hack through
the f.obrit to rhe right of the 1><.-:ad, P"'-'
bJck through the be;od. You c.m \CW up
to th'C beads per >titch by mingmg
thrtt be-ads and bat~tirching thmugh
the rhord as \hown.

Begin by stringing a >nmll nu ut her of

beads and forming a circle by p.l>smg
back through che liro.c bcad 111ung.

v)3 :J___;
Q ':)~
~ \

Begin by creating o found:niou row
in l:~dder scirch (sec below). Se ring one
hc.od and pass chrough 1he clo'c'c ex-



001$)' cho.n

pmed loop of the found.uion row. 1'.1\'

hJck throttgh the same .tnd wncinuc, .odding one bc-.1d ;u .1 rime.
lo 11111kr 11 row-md derrrnst, string
two bc;cds to start off chc mw. Skip the
first exposed loop and p:tss through chc
econd lt>op. Continue acros the row

>tnnging one bt"d .md p.l\;ingchrough

rhc se<ond-ro-la.\1 bc.od nf the prcviom
rows. String another bc;ld .111<1 I'"'
through rhe fourth rol.~>c hcil<l of tloc
prcvinus row\. Continue .1dding Hilt*
bead at a cimc, P"'<ing over every other
head of the previous rcw>.
Tiuo-drop pt)oce is worked 1he \Jillt
'~'above, bur wich two l>eJd\ at cirnr
omcead of one.

;\) '




Begin by strongmg J row of,.
lor che second row, \tring rwu bc.l<b,
P'"" through the secondw-l.m bc.1d uf



dcusy chon

String one bead and pa>s through che

be:td opposite the first bead of the <irdc, forming the "daisy". lor <tn opeu
daisy chain, se ring a few bend~ :t111l clocn
make a new daisy. For ,, dt1scd d.ti,y
chain, make daisit:l> wichouc extra;
bcc:wccn them.

che first row, and bck through che

1ccond b<,ad of rho~e ju;c strung. Con
tinue by ><ringing one bead , pJing
through the chird-to l;bt beJel of chc
firsc row, and back through the bead
JUSt strung. Rept-ar thos looping tcch
niquc .tcross eo the end of the row.
7o mak~ 11 durmst, we.wc ci1Cc.od
chrnugh the pr<-vious row .llld exit rrcmt


..t ~~ a o a Q)




/his sriuiJ Cltll 11/so b~ rrfr""d ID 11s

f.ourd flitch.
Ouc-drop peyote begins by mingmg
.111 even number of bead' 10 crc.uc chc
first rwo rows. Begin chc third row by


www .1nterweove com

the bcdd adjacent w chc pl.l(c you

w de<:rcase. Continue worknog in



New 8" LANJ Loom for small bead projects $135.
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Supplies for all your bead projects: Japanese seed bead~. hex.
triangles. books. videos. wire, fringe beads & more!
Catalog on line:
Ja.n.e. '~

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beg: begin, beginning
dec: decrease

. .

P.O. Box 427 New York. New York 10l l6-0427

prev: previous

212-59 1- 1127
West 27"' Street Between 7 & 8" Avenues. New York City

me: 1ncrease

PBT: pass back rh rough; pass needle

rh rough in rhe opposite direcrion
PT: pass through; pass needle: rhrough
in rhe same direction

rem: remam, remammg

rep: repeat


RS: righ c side

st{s): stitch, sci cches
tog: mgecl1cr
WS: wrong side

A tension bead {or stopper bead)
holds yo ur work in place. To make
one, string a bead larger than
those yo u o re working with, then
pass through the bead again,
making sure not to split your
th read. The bead w ill be able to
slide along, but will still provide
tension to work against when
you' re beading the first two rows.

Importing Japanee;e
Twie;ted Hex. Triangle.
Magata ma & Square

Desie n ing /Producing

Fine Square Braid Cords
ana Ral<u Be;1ds

By Appointment. Retail. Wholesale LSASE for flyer
2713 Loch Haven Drive. IJamsville. MD 2 1754
(30 I) 865 5047


July/August 2000



Isn't thi~ aromarherapy be;td a novel idea? .1-ollow gla~workc:r Ki m

Mites's ~uggestion and "place a few drops of your f.woritc: essential oil
inro the cotton core of tht" bead and \Vl'ar it close eo your heart, where
the warmth of your body will help to release the: oil's scent and therapeutic qualities." Sound good? You could also decorate rh is bead with a
pretry ncr of size 14 seed beads and a little fringe. Sound even better?
Conrac.t Kim Mib in Scattlc, WashingtOn, at (206) 528-1170.


Not only does Bronwen Heilman make beautifullampwork<"d bead\, she also ha.s
.L grea1 line of sterling silver bead posts, ~rirrups, and now ji'llmes. )uM open up rhe
bead frame, choose the beads you wan t to display, dose the pin, and wing the frame
onto your favorite chain or cord. The silver frame comes in 'piral, scroll, plain, 'hiny,
and brushed designs and retails for $50. Bromven also carries plain fr,lmes in 24k
gold pi are over sterling for $60. Couwct Ghosr Cow Glassworks, 603 N. 3rd Ave.,
11.1CSon, AZ 85705; (520) 622-7199;


Here's a clever way 10 show off your

hcfry, works-of-an beads. Display rhem
on Martin Amhrose Mayer's st.tnds.
Cool and unusually smrdy. the stands
arc designed in solid steel. Available in
two si7es ( l ~" high X I'/." \quare and 2"
high x I ll" square} in solid black, textured black, and nickel pl.ttc.:. Prices swrt
at $18 a piece. Mayer also has a line of
aluminum block~ and is open lO working with client~ on custom display ~olu
rions. Contact Marrin Ambrose Mayer,
40 I Mountain Rd. NW, t\lbuquerque,
NM 87102, (505} 247-6709.
}Mll Cnmpbr/1

www mterweovo com

Bloomm' Bt'ads caught my eye when I was visiting Gwenn Yapple's Copper Coyote offices in
Tucson. I had to have a copy because the book's
floral p.uterm are so fresh. colorful. and innovatiVe: that they make me smile. Valene starts our
with a very informative instructional section,
rhcn provides rhree variations of each of the
seven patterns- a necklace, bracelet, and amulet
bag. Buy Bloomin' Bends ar yo ur local bead ~hop;
rh rough Copper Coyote,;
or check our Valeric's website www. valeric

Volerie Hixson
Gross Volley, California: Hixson
Studios, 1999. Paperback,
$19.95. 34 poges, color.

The Exquisite Art
Jill Alden
ISBN: 0967004(}0-4
New York: Dolph Publishing,
1999. Paperback, $29.95.
1 12 poges, color.







Comrmpomry Amrrican Indian BMdwork: Thr

Exquisitf Art is a simple overview of the modern
Native American beadwork movement. Author
)ill Alden begins rh is cleanly designed book with
an easy-to-follow historical outline and a good
expla nation of the Native American Church. The
book continues wirh grear examples of old bc:Jdwork and interviews and pholographs of che
work of several modern N:Jtivc bead artists
including Richard Airson, Marcus Amerman, Pam
Close. Teri Greeves, and ]amie Okuma. Order
G(mtt'mporttry Amt'rican Bt'adwork by calling
Dolph Publishing at (877) 947-9156.

Dono Anderson
ISBN: 189298001 0
Los Vegos, Nevada: Buckoroo
Press, 2000. Paperback,
$22.00. 34 poges, color.


www .tnterweove .com

Dona's done ir again! Let's Fau ft is her second

a m u l et-p~tTcrn book in as many years. This version has everyone's favorirc faces- portraits of
Liza Minclli, Carmen M iranda, Billic lloliday,
Boris Karloff, Liz Taylor, John Waync. and Marilyn Monroe. One of my favorire~ portrays rara
burning while Scarier and Rherr kiss p;Js~ionarcly.
Don a is donari ng SI from the sale of each book
ro the La) Vcgas Affiliate of The Susan G. Komen
Breast Cancer foundation. Buy l.n's lwa !t at
your local bead shop, or e-mai I Don a at bead
hea n (!t) rn.
- }filii Crunpbt'/1

Ideas Are a D1 me a Dozen

y friend Ralph, with whom I worked for
ren years in New York, had rh is incredible
knack for coming up with brillianr ideas.
Like rhe noodle shops. Recendy returned from
Asia, Ralph mused thar what our office neighborhood needed was a good noocUe shop. An easy place
to stop for lunch or a snack; healrhy, light, and
quick. Within months. noodle shops appeared .111
over the ciry-uprown, downtown, l::.a~r Side and
West. In rhcsc: shops you could get rice noodles,
wheat noodle~. or vegerablc noodles,
all 111 wonderful brorhs and ropp~-d
with various legumes, mears, and seafood. Unforrun:uely, Ralph wasn't rhe
one who opened the shops. lr seems
chat cnrrepreneurial gremlins had gotten IntO his mind and srolcn his idea.
llow many times has this happened? On rhis very page a few issues
back, I complained about the lack of
crc:niviry displayed in mass-produced
bc;tded lampsh:tdes. Of course, I have no business
complaining Jbout anything unless I have a good
idea myself. Which I do. I envision gathering
thousands of beads, ranging in size from 14" to 8",
in a complex yet studied palette. I'll combine
tr,msparem, mtnslucent, and opaque beads in a
variery of finishes. With these beads, I'll embroider
a rich and elaborate pattern, seemingly random
but ;\Ctually well planned. The embroidery will be
done on transparent mesh so the light can shine
through, emiu ing a soft glow and forming subtle
pauerns on walls and ceiling. Yep, I tell mysell: As
soon as I get to this project, it will be fabulous.
Or so l thought umil a recent visit ro rhe Btndll'ork office. Jean Campbell stopped what she was
doing to show me some amazing bead embroidery
that she was ~ure I'd love. She whipped our a series
of incredible pieces beaded on window screen.
Among Sandie Abel's delectable work, some of
which can be seen on pages 30-32, was my lampsh:tde. Not exactly mine. but you know what I
mt."an. And while 1 was delighted tO see that my

www interweave com


idea had indeed been a good one, I was disappointed with my~clf for not having acted on it as
soon as it was born.
This experience led me down a familiar philosophical path, the one that follows rhe question.
"Where do ideas come from?" I used eo rhi nk chat
since we're all influenced by what we sec, hear.
taste, and smell, it's only nJtural that contemporaries will have similar ideas and create similar art
and crafrwo rk. Now I know tl1.1t's not true. Now I
know chat these seemingly coincidental creations arc nor the effect of
influence or rime, bm the work of
idea gremlins. If only I could get to
know the gremlins' modus op~randi, I
though r, I cou Id rh wart their fu rure
raids and keep my ideas tO myself.
Then I learned the awful trmh.
While in Santt Fe for Bead Expo.
my buddy Don Pierce related a difficult experience he'd had. Don's wife is
a knitter, so Don spends a lot of rime hanging
around yarn srores while Janet shops. On one of
these outings Don discovered a basket full of roving-fibcr that's been washed and combed bur nor
yet spun. Fingering the fuzzy fibers, Don came up
with rhc brilliant idea of making beads out of the
stuff. If you rear ofT a small amoum of fiber and
roll it around in sweaty palms, it begins to srick together. Keep rolling and swearing and the sticky
mass begins ro harden. Roll and sweat with finesse
and you can control the shape. forming spheres,
ovals, or cylinders. Wow!
Excited abom his idea, Don immediately called
&adwork. \Vhcn Jean direcrcd him to the Summer 1998 issue tha t features Amy Cl:.trkc's article
about fclred beads, Don was first bewildered, rhen
genuinely annoyed that someone bad stolen his
idea before he'd even had it.
So what arc you waiting for? Take that brilliant
idea you're about eo have and act yesterday!

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