SPECIAL SECTION Gallery of Artisans Easy wire cuff e Fast chain earrings Oct. 2006 * Issue 75 Peer SBUTTON. ae Stittha 69% gemstone pendant with freshwater pearls Surround a stone ‘ cabochon with peyote stitch p.76 § ROJECTS Make a scallop- edged bracelet in right-angle f weave p.cs Create charming herringbone flowers p.so PLUS Bead-embroidered cuff p.ss Embellished ladder stitch necklace p. 124 Snowflake ornament p. 128 BONUS! 12 pages of inspiring bead artistry from | our 7th annual Bead Dreams competition p.30 of Presete7 7. beadandbutton.com 95 Canada | J}oe TO _ Welcome 8 | From the Editor 10) Letters, ete. 16 | Tips & Techniques A beader's guide ta ergonomics 22) Patterns 30 | Your Work 2006 Bead Dreams exhibit | For Beginnors il beacelet Jo Graves Chic & Easy Lampwork and-gaingitones doy Naxc Sunt Pine Quick Stitch Brioletwe bracelet by Tot TavLon G4) Clearly Crystals Gircula rightangle sweave pendant fy Banu Serre 70) Wire Expressions Wire-wrapped braceler by Mure PIANO front and center on a spiral rope neckstrap by Lavna MoCape Dectightful lower charms dangle froma right-angle weave base by Bosca O'Doswen.-Punnen 84 | Seed bead 4 loops add drama to a right-angle weave band Create a scalloped edge change the shape of by Come Baacnin 88 | Surround a glass cabochon with Seed beads and dichroic glass pair up ina a dy Lune Mancust $2| Accent your wardrobe with a macramé belt Macramé knots make fashion ‘accessories that get noticed by Iniwn Senna96 | Make an elegant impression with a two-needle technique Stitch a necklace with pearl and crystal motifs by? 100 | Lea Zinke embraces. the creative life Her plas beads portray nature's bounty in glorious derail by Pas O'CONNOR 106 | Make an ‘eye-catching chain with beaded wire bezels Bereled coin-shaped beads and seklered jump rings paie up in a modern necklace by Viexy Neuren 110 | Add an unexpected ‘element to bead crochet Accent rows of single crochet to make a casual, loopy bracelet by Tenrsa Konart 114 | Natural treasure ‘With a background in borany, artist Karen Paust set out 1 bead every plant that erassed her path by Pare O°Co: insect 118 | Frame freshwater pearls with lacy ruffles Pinch beads stitched in Fightangle weave form the hase ofthis bracelet by Dorrie Horscurs. 24 | Bugle beads: ‘embellish a square stitch necklace: A square snc band ic thesfyting point foe x lowelyypecklace in foe Warsesi9s decorating with easy beaxfod sxowflakes by Sanna D, HaureNny 138 | Glaymaker ‘Metal clay pendant with cals by Her Roses 144 | Bead Soup 150 | Calendar 156 | Basics 202 | Spaitignt sae ‘ Peael sevens enhance a cabochon peeslant, ps 76. Project by Laura McCabe, Photo by Bill Zuback. STHFCH GUIDE, crochet 110 embroidery 76, 88, 138 herringbone 80 ladder stitch 46 rmacramé 2 netting Rs ne rangle weave 64, 80, 4,118 spiralrope 76. square stitch 124 ONLINE ‘Visit our websice at headandburton.comFrom the Editor Here’s something [ believe most Beade Button readers have in common: we were very young when we picked up our first craft skills. T asked about this in a recent : ign Rina er Oo poll on our website and learned that most (Gok Perma, Wendy Winker of you were preteens or younger when you Saige got hooked. (See the chart, p. 10.) roles i aati I was particularly interested in your comments that ype te accompanied the poll, One person said she learned to weave with palmetto from a swamp. Several pcople a EE Tee recalled fothes for their dolls, A few men- toe ng crafts as Brownie scouts, But most of your stories described a first craft experience with eet Mateo j either a mother or grandmother at your i even Aaarmng Manage My story isn’t muchidifferent. When Was eight“) = yearstsidand living HMB Jersey, niieeeendmorher Doct te an feSSS 1884" 468 took) Phebus From New York to spend a few days with ‘Spastiod nereriing Sain To SELL us Dring her visit, she produced a skein of thick int artes merino: Beapaaurron cotton yarn and a hook from her bag. “Come aes | Gusntmuge. | sit by me,” she said, “and I'll reach you how to crochet —o«_ Canes 22796076 The pink por holders we made that afternoon were ston nage HOS lopsided and stiff, but I learned to do chain stitches and. single erochets before she headed back to the city that oem evening. And crochet was just the beginning. ove previ Ore rice tha SA T've been making things with my hands for years, Fcaclass wane Caran 202-736-6776 | and the pleasure I get from a skein of waol, a yard ene Wal oe of cloth, ora hank of beads still hasn't diminished. I eine heen Se bet most Bead&Button readers feel the same. We're saertaac com connected by a lifelong passion for making t piety ( Frere rar When we run out of time or get sidetracked, we might Soeriee Shu Suman” | neglect chat side of ourselves, but it doesn’t go away. ‘ne sce arg aetna ‘The pot holders are long gone, but that afternoon, he BACK ISSUES my grandmother gave me an unexpected gift that I Ser mosses enjoyed throughout my life. I wonder if Freme Im Recerca ‘Giraca 260-7oG-e7ve | tO Say thanks. sie pte ena 2 sihknsesiee ania, —y BPN yobystig ey fw retin epctan ee ae Sena mearo emotes Teint megeenenaernt Sieea cto. Sei Editor, Beade>Button editor@beadandbutton.comACU RS eres __Letters, ¢ MAD hig” ‘beads, “ es ys) Web poll: firuostiy weag 0m, sso Aypenise 23058 stuns. i oy ay tas pue 300} 438092 © 4001 1 2paM EaMOgY spon o4p Jo 924.01 PorayIOG 29421 | pure ‘Sunsasanu1 9 yInoys | *983009 J, 1 pay04S 2g read Ayponst | ry TEMPE eu A2uoUu $83) enw snes 0) pq ae goss Sut Su 290 sqses pom Pi “uoHeULIEyUT sour puP todnoa junoostp 105 WOD*MOTEQ MALE ALAN, HSI, way wap, atk 9002 ‘¢ soquraaoyy ‘Aepung, “J ‘uorsueagy JD1USD AUOD ® [sI0}] Nady ‘Sys 4 25, 9007 “ez 4290170 ‘Aepung HO ‘snquinjog uosay suosreg neg 9002 ‘be B oz qQuadag Avpung g ‘Aupanmeg TH ‘meyy ‘ware ny Parjq sussos> 9002 ‘a1 29quedog “Cupung TW ‘spidey puvary sreezeg prog [| YyS919%8 w ope - woo rgenspes mau ‘Ree -oNdu jo UoERU DOU och IBMBED PPPrices and Servece! Largest Selection of Tools 4 Supplies ‘av Ay Woabonavelstensand Designerlaceounts Weselltalcernineclanisang) l Register enlusr! eo) ; COCA ons eae) Tips & Techniques Working with Power Pro took me a while to figuee out how work with Power Pro without frustration. Inever gave up-en it, however, because in my opinion, its the best product available for bead. Weaving with abrasive materials such tals, metal, bugle beads, ete y hardware neckiace that appeared in the August 2006 issue, Here are some tips on how te use Power Pro successfully © Holes id under tonsion, for Kids scissors (other scissors and cutters may or may not work, but the * For easier neecie threading, ‘concition oF wax the a abrasive beads. 8 ay expeised cord ing permanent markers t match your beads. Caren 8, Mass Stiffened felt If you enjoy doing bead ‘embroidery, try stiffened felt as your base. Sold as Friendly Felt and Eazy Felt, i's easy to draw on and cut, it stays stiff white being stitched, and it's very inexpensive (usually less than $1 per 12 x 18-in/30 x 46em sheet), It's available in several colors and can be found in most craft stores, ~ Rhonda M. Guy, Lexington, KentuckyTips & Techniques rs guide tc CFGONOMICS jomeics (noun): an applied science concerned with designing and arranging ple use so that the people and things interact most efficiently and safely im- Webster's Collegiate Dictionary, 1 1th edition) Beaders, tke other people who engage in repetitive ‘The following guidelines may help prevent the ‘activities for long periods of time, are at risk of devel- development of an RSI or other injury: oping repetitive strain injuries (RSIs), such as carpal _* do not hold a position for too long — interrupt tunnel syndrome and tendinitis. Because many of us your work. least once every 30 minutes to work in hunched positions and in bad fight, we are ‘release tension ‘also prone tn an assortment of back, neck, and vision _* mave with smoot, fluid motions ~ sharp, jerking problems (see our “Bead Healthy” exercises in the rovemients can couse injury or damage August 2006 issue). ‘+ dont everest - if you're doing something that Etgonomics, often referred to as “fitting the task _ takes too much effort, iy acifferent position to the person,” siterpts o reduce the occurrence of workin neutral positions — holding your joints at Sis and clvonic pain while Increasing efficiency with sharp angles apples undesired pressure correctly designed tools and work envionment. wary Your tools to force you to use efferent hand Manufacturers of products as varied a cals, tools, “/possuons and postures Jind household equipajent have taken noice, test toot pri to purchasing them to make sure Wile we can al Berit rom improved products, they feel comfortable ARS important totncerstand that no single tool is * take the time to set up your work station for com elect for every jb or for every person, The Key is and efficiency Bad ergonomic _'o-choose items tat fit you comfortably and help you posture work mare efficiently, ‘Our thanks to Br, Colleen McDonough of ergasew.ca j or her information and assistance. helpful products E lighting & magnification posture aids Ss, [000 ihing 2nd Mary beadessloch o hunch rer ‘magnification can help shoulders. 2 they work. The following eave oye strain, xoonenon posted can ep you dovlon complaint among beaders. better pasture ése the Mstratons For good oye Beat, flow these above for exams of goed anid guidelines: ba posture) and promote * choosea flexible ful-spectrizn light heathy beating: ‘heat ilurinates your work area evenly Uy a posture brace ke tha ‘use magnification if necessary Posture Pleaser or Posture ‘every 20 minutes, look 20 eet away Perfect to prevent for 20 seconds yourself from bunching your shoulders * ston an exercise bal eroonemic chair, ar Dyna to develop core strength © use a ist brace ta maintain a nevral postion in your wristsGood ergonomic & posture 4 Me: hee Hetil hand tools fron nt a es ice tie ruzodott efit and oes eres Spt gets ard rk. ae following features when chaasing egaaomically \Sesigned naned tools: Sere genes 0 n/Ten one a ‘echo tna megan een ans (ert tanta can rn ne. cy fae vg tir fo Tick orcas coined at reacate pp stag equet bs Sea Caer oa oda eae Pees Call Toll Free E<¥ (877) 696-9490 ed ee CEO Ce ay| _ Patterns » patterns, pendant, 22 Mew Motton | onal. Picture frame pendant Hold your loved anes close to. stitch, begin hand comer and G separately, then as shown. When the en complete, fold it in half, and ste the sides together with a decors tive edging, Add fringe between the beads of the bottom row, and string or stitch a neckstrap. = Jennifer Creasey, Alekmagik, Alaska; creasey@starband net or olarbeadsscom151 -Resme 719s 109 04 Tegrgyreeg comea's arsary mero Suc lo susned aig o8049 peojunop uimgpHEpeeG NSIA eo~syardssAuapics3, PEW “Panqpunrg "wosuWyOf PSSH/2}y — Siurtiucy ype a0 asind s9ymtue we pONSop st 31 ys pa “ys p03 SEUSS yew ood ut yaony “I Sry Un yp ye 1940] Paigy UAOYORIO & JUEM Allod a © Mi © - -_ - = om =o aid a4 = a “apis soqpio op yoans pur ‘x m3s ‘9prs 9140 poysialy 24,0 uDyA “to sepeiea8ngpeoag “opmyuay ‘wosSuxy + duty 10 junaeas ays 02 ypompeog 247 yoy DIP URES 24) Sy s0. Siuiauo> pu ‘mos roms. ojppiu 1ayp0 ayp Yous aueMbs “seu jeris98 S|PPHU OM a4): fo aM0 Yai UIRDG “yaIES ares UN Ay: 3p om “sapis ayn Suoje BuLMoys peasya iaoysis aadep ayURA OY “suze appoeag uuws jo s1ed 2}qeIopw UP macrame ee Sn ‘Tie series of simple square knots using le; on ds to ere belt with ; al diamond Aecent the fringe with wood, stone! iN one beads for | stepbystep ane side is § f. (1.5m) longer than the other [4] Cur Five 79d (6.4m) pieces of leather cord. Cut 8m) piece of cord, [2] Fold the 7-y<, cord [3] Using the longer end of { the belrring witha lark’. the sith head knot (Basics, p. 156), cord, cover Attach the sixth cord to the the ring with ring (phote a), folding itso [a] 92 Reade Psttont | ecardlark’s head knots (Basics and figure 1). Pull the cord snug around the ring as you tie yee [4] Number the cords 1-12. from left to right. Tie cords $ and 8 in'a square knot (Basics and figures 2 and 3) around cords 6 and 7, Tig a second square knot with the same cords (photo b), £5) Tic two square knots with cords 3 and 6 around cords 4 and 5 (phota c). elds etaocckar with cords 7 and 10 around cords 8 and 9 (phote a). [7] Tic ewo square knots: See areal cords 2 and 3 (photo e). [8] Tie two square knots, with cords 9 and 12 around cords 10 and 11 (photo f). [9] To form the decorative center detail, cross sords 7 and 5 er cords Sand 6 {Photo g). Pin the cxpKed Balin posiion! © [1 OF Tie we oqidee esos with the new cords and 6 around the new cords 4'and 5 (photo by, [11] Tie two square kone with cords 7 and 10 around cords 8 and 9 (photo). 142] Nereceduce bane with cords S and § around cords 6 and 7. the diamond (photo j). [13] Repeat steps 5-12, tying two more diamond patterns «0 form a cluster of three diamonds, [44] Leave a 1¥sin, (3.8em) space, and start the next diamond cluster, Repeat the completes diamond cluster three times. [15] Trim any cords thar are Significantly longer than the ‘others, Embellish the cord ends with beads, tying an overhand nos (Basics and Photo k) next to each bead. @ Contact Irina Serbia at irinat@macrmeboutique com. To see her macrané designs and kits, visit macremeboutique.com, MATERIALS: bot 2 ye, (1.8m) * 12-28 wood er bone beads wth ke arnoter to cond tceness * 44 yc, (40m) Mein. (mm) leather cord (Sew ‘What?! Suppiies inc., 800-390-9503) + 3:8, metal cx paste bat ng + gulerspis + macnn board oaMake an _ elegant impression with a two-needle Teen elite oF Stitch a necklace with pearl and crystal motifs Vy, a — aeadjusts well to a variety of bead choi Is for an elegant, spc 2, OF USE f Splurge on erysta occasion necklac | MATERIALS: 7 in. 6m pears, of 2g cin 11° goed bonds stepbystep [4] Center a 4mm bead, erystal, af pegel on a 2-yil (18m) length of beading cord. Thread aire on cach eft a 6mm bead, and am 11° (figure 1, a-b). Using the right, or boctom, needle, pick up two 11's, a 6mm, and an 11° (-e) [9] Cross the needles theough a 3mm (o-e and ef, [4] Consinve working both needles as follows: Top need: Pick up an 11", a 3mm bead,and an 11° (figure 2, ab). Bortoe needle: Pick upan 11%, 3mm,an 11%,a 6mm, an 11", 4mm, an 11°, 6mm, and an 11° (ed), Sew through the 3mm again in the same direction (6-e}, Keep the tension ti so the beads flip and form a loop next to the previows loop. [6] Pick up an 11° with the bortom needle, and cross both cele through a Sim (Bgure 3, a-b and c=<) p needle: Pick up an 11°, a 6mm, and an 11* (igure 4, a-b). Bottom needte: Pick up an 11%, 6mam, and two 11% (Hi Both needles: Cross through a 4mm (b=¢ and jk). This completes one motif oune 3, POURE « er[6] Pick up rwo 11°s on each needle, Hold the needles together, and pick up a 4mm (o-d and kf). Pick up two 11*s on cach needle (dee and ben). Cross through a 4mm (e-f and =n). [?] Repeat steps 2-6 three imes. Then repeat steps 2-5 for a coral of five merits, [8] Using che bortom needle, sew through the two 1i%s and the 6mm_of the last motif (figure §, a-b). Pick up an 11°, and sew though the 6mm, the 11", the 4mm, the 11°, and the next ‘6mm (b-¢). Pick up an 11", and sew through the 6mm, two 11°, and the 4mm (6-d). Sew through two 11°, he Gram, two 11°s, and the next 4mm (bo). [9] Repeat step 8 across the remaining four motifs. End with your needle exiting the end 4mm on the first motif, [10] Working on one end of the necklace at a time, pick up two 11's and a mm the following pattern wnt the necklace is 1-12 ) shorter than the desired length: String an 11°, a 4am, . a 3mm, an 11%,a.émm, an 11*,and a 3mm. Tape or clamp the needle on the right side ‘of the necklace so the beads don’t fall off. [11] Using the needle on the left side of the necklace, pick up two 11%, 3mm, and three 11°. Sew through the loop or jump ring ona clasp half, pick up theee 11s, and sew through the 3mm in the same dircetion to form a loop (Ggure 6, @-b). 8B Htomldtintey | leprae Reinforce the loop with a second thread path. Pick up two. Li's, and sew through the last bead strung sn step 10 (&¢). (412) Keep the tension fairly tight so the beads are snug. but not stiff, and tie a halfshirch knot (Basics, p. 156). Sew back through the remaining strung beads to the first 3mm (figure 7, point a), tying a few half-hitch knots between beads. Pick up: two 11%, and sew through the 4mm (figure 7, ab). Sew through the top two 11% (b-c). Tie a half-hitch knot, and sew back through the two now 11% and the 4mm (ed). [13] Using the necdle om the right, repeat steps 10-12. [14] To reinforce the top edge of the motifs, continue sewing through the beads as shown (figure 8, a-b). Then sew through the bottom I1"s and the émm to-the next 4mm (be). Repeat across the remaining moti [18] Secure the threads in the beadwork, ancl trim the tails. @ Noriko Ramanko teaches at 3 Beads & A Button in Cupertino, California, Visit 3beads.comn for her teaching schedule or contact her ai noriko.r@sbcglolal.net. Kits arc available for purchase at tobead.com._ Lea Zinke embraces the creative life Bead&Button readers will recognize Lea Zinke’s name and work from the many Bead Dreams awards she won the years, in plac for her Just Blooming beads in the 2006 competition, p. 40. Lea’s exubera inall her ce is evident ive endeavors. un, howeve: tested her op! or poresant 100 esi aston | boat(pete ene thon some ey _J difficult times recently, How has it affected you? { Pood ely ough yar in 2008, 3d [found myself staggering through life with grief. Iwas going 10 iy studio, but my heart waste in it. 1 bogan to miss the jor in life. Bat t's fanny the way the universe ‘works; things happened thar helped me And I can remember the moment n the change happened. magnificent mother tree by ry old dd look up into chis huge, beautiful rec every morning. She just made you want 16 lift up your arms +. One day, after all the loss and ief, | looked up at the tree, heavy of heart, and realized it was time to reclaim the joy. Aad tl it. felt. an immediate change in the way I everything (Timber res fs atconeea the joy of beadmaking. Twent t0 a and happened upon a booth with beadmaking “Ina creative busi- ness you have to do what you love. Don’t follow what is popular, If you try to please a generic consumer, you are neve going to get it right. 1 do what I love, and I've alw found an aucdien for my work. The love I have for what I do is evident in my work.” demos, I was mesmerized. | kept con back and buying as many beads as fford, After that, | became a lector of lampworked beads, but | realized thar if I loved it so much I should learn how to-do it, It from Marilyn Jobe and learned make precise beads with a Hot Head torch. I credit her with igniting my passion for this. doing before that? Tworked as a paralegal for twenty- four years, Once I started selling ny beads at weekend shows, life became really hectic, I took early tetire= site that I could focus on my bead: eel like the luckiest person in the world to be able to de something | Jove full rime, is Hind of work were you ~ (Ret ethieata loc of bead shows: Do you like the traveling ‘You know, | really do, Traveling city to city and getting co the unique characteristics of s0 many places in the United Séates.—ie' one of the things I love most, This year, I purchased a metor boese to see this beautiful country of ours up slose and person: traveling with (pense sl nd te ser ake a class or two? My resolution has heen to take two 85€5 a Year. Sometimes it's a beading class, sometimes a silver cass, and sometimes a glass class. I recently took lass with Paul Stankard at Urban Glass in Brooklyn, New York. He's world renowned is boranical paperweights and incredibly talented, People ask if | wa start making paper weights because I've taken his class. But, ro, {just wanted to see how this worked,Of course, I'm applying some of his techniques in my beads; for example, in my Glass Garden cabochon (p. 100, and p, 103, right), e's interesting: how things I learn from others are transformed when E apply them to my own work. ( Sy Lonilto mie besdeeaving in your 2 work, right? ‘My interest in beads started with stringing. Then, before I took up slays, [earned beadweaving. When | ‘was working in high-powered corpo- rate setting, the stresses cof my day would be tovally forgotten as focused om the beadwork. Now, | say that T know just ough about beadweaving to: be “I feel like the luckiest person in the world to be able to do something I love full time.” dangerous, bur ic helps when I'm thinking of the best wa to present my beads in a shed piece of jewelry, (Op itaabent she meateack you 2 combine with your beads? Iwas curious about incorporating, metalwork. So, I found a new way to use sterling silver cubing to line my beads, ancl it gives me a rolled cdge around the rim instead of the traditional flaredge rivet. I's almostlike frarning 4 painting, Valways want my beads to be distinct. () Rete ites ads opposite, center) are beautiful. What's the story behind them? Hydrangeas are very sensitive, Th fluenced by the weather as well as soil conditions. I was doing a show on Cape Cod in a year that was extremely unusual for hydrangeas an the Cape. Every single yard was full of these intensely blue hydrangeas. I was looking at them and almost hyperventilating. I wouldn't wait sovimerpret that in plas. The next year, conditions were different, and the hydrangeas were pinkish and lavender blue, If hada’t been there the year before, | don’t chink I would have noticed them. Somehow, | ‘was supposed to see and be inspired by those amazing blee hydrangeas. | still get orders from wer the world, and know they've been worn by brides in at least three weddings. (Dtnaiton co nature, where do your ideas come from? ‘Most of itis from my imagination, EXMy beads aren't exact represent tions of a certain flower; they are fantasy flowers that I create at the torch. Other concepts come from things {learn taking classes and letting ideas come together in my head. () Stn yor gies an crane a 2 concept that originated that wa“LT run out of hours in the day, days in the week, and weeks in the year trying all the ideas running around in my head.” ell you abonit Loren St disorganized table sur- an weeks in the year trying all tke The man isa genius ~ the most 1¢a big problem. Once Iset ideas running around in my head, f love incredibly talented glass person I Up the new studio, I promised my son ng abous the best way to present ever met that I'd clean my tabletop every night ny beads. It's a constant game He would work us from nine inthe when Tfinished working. In Keeping of “What would happen if. ..2° Of morning until two in the morning. | 1 decided to use an ancient was exhausted but so exhilarated that ering up all the scraps much fun Iconlda’t sleep. [learned about making to make end-ofday beads. These are making Wood Nymph beads | should imurrini fassembled glass canes that highly collectible since no two pieces ereate a picture]. Lused them to make are ever the same. And beads I call Window Gardens (p. 101, fun to do, You can see mare of Lea Zinke’s work top left, and above left). Each bead has ravebsite, leaciuke.com a window thar looks into a flowre x works, re lots of rein a new studio, Ose sgarden. But [recently had the ide what's next Contributing editor Pam O'Connor ean porting my face murrini in a garden, ‘My new studio space is much, be reached at pampal@msn.com, Tm embedding face cane slices into my 2 \Ubigger than the little cottage I I Hlown-glass beads, and Tcontinueto worked in before, My stud a huge blow so thar the faces diffuse. Then! cl my office embellish the bead with flowers and and a break an s. I'm going leaves so it looks like little faces are ses in beadweaving and have : peeking out fromthe foliage. Is my wisteach fibers ctl ch Wood Nymph series (top, right). other interesting new technique Whar other things are you ()iettscenites bar dere working on? ever un aut of ideas? ‘My Bndl-of-Day beads (p. 101, Funny you should ask. Ian out of When I moved top right) are new.cn ve erie lreaT Lege be ALN with e beaded wire is Means IsVicky Nguyen e-tune your wire-wrapping skills with this charming necklace. Use the same technique to make the matching sir of dangling earrings on p. 108 Dangles Fold a head pin in the fold (photo a). Wrap ¢ the he so the ends. rections (photo b), String a ¢ ad on the head pin (photo). a tal [1 tel | & i | [er ids cone | (9) 107Assembly [1] Cur a 6-in, (15cm) piece of wire, and make the first half of a wrapped Joop 2 in. from one end. Attach the Joop ro.a soldered jump ring (photo p, and finish the wraps (photo k}. Do not trim the wire. [2] String a coin bead on the long. wire cnd, and make the first half of a wrapped loop (photo A. Artach tlieloop toa soldered jump sng and init wraps (phota m). Ms [3} String ten 2mms om ome wire end, ‘and secure the tail with a few wraps (hata), [4] On the orker wire end, string five 2nums, the longest dangle, and five mms. Secure the tail with a few wraps, and trim (phote 0). [5] On each soldered jump ring, repeat steps 1-4, attaching the rem oe from longest to shortest. [6] Repeat steps 1-4 five times on cach side without adding dangles. In step 2 of the lst repeat, attach an end link of the heavier gauge chain instead of a soldered jump ring on one end. Attach the clasp on the other end. {7} Ateach the remaining bezeled coin to the available end link of the extender Earrings [4] Cue a tin, (2.Scm) Piece of chain and a 4-in. (10cm) picce of wire, [2] Make a thezeled coin as in steps 3-5 ‘of “Dangles.” Attack the loop to an end fink of chain, and finish the wraps. [3] Open a 3mni jump ring (Basics), and attach it fo the top fi the dangle. Close the jump ris [4] Open the loop af an carci and attach the 3mm jump ring. the loop, [5] Make a second earring tormatch the first. @ Contact Vicky New ytaesih (650) 383°) HOBpproductbyadstop.com. |! pn EDITOR'S NOTE: This bezeling technique also works with beads of other shapos and sizes. Ty round or oval beads, and be sure to. ‘umber of 2mms you use for bezoling to suit the beads in your. MATERIALS © 6 2-n, (Bem) storing shver or goes ect bath projects \econatve head pins «© channose phors © 44 10mm storing siver or got tlc * roundose pers Spidered jump rings fbeacshop. cam) © Wire cuttrs ‘earrings ‘nocklace 18 in. (#em) © 210mm coin-shapos boas: 21 10mm cain-shaped beads (e0adshop.com) (chalcedony beads avaiable at + 40 2irm round stering sive or Tha Bead Shop, besdshop.com) (904 fed boads + 420 2mm round stering aver or ** Bin, 20cm) 26-gouge steting siver or |90iC-ted teats (9000-faod wire * clasp * 2in, Gor) steting sver or goid-fad © BR. (2.4mm) 26-gauge storing wher or rob chan, 2mm inks; or fancy barand gObilod wees * in. (7.60) stoning ser or gois-flad link chain, 1.demen fos ‘+ 22:n. storing siver or gokd ed cable chan, Brim Inks ‘decorative head pins © 10'n. (250m) storing siver or gotd-filed + 23mm stering siker or gold-fod ole chain, 2mm inks: or fancy barand- —_jumpeings fk chain, 13mm links * aie of ear incingsTT [errs ee gen an ie a ee CEG: eT | Add an unexpected element to bead crochet Accent rows of single crochet with assorted Shapes and sizes of Seed beads and art-glass drops to make a casual, loopy bracelet designed by Teresa Kodatt Crocheted projects are usually work For this bracelet, you'star and add colorful laps to thet brings all the elements together, making br mple bead ideas, but you and yet subst assorted cube and 10° or 11" seed beads on the spaol of thread. Then string an act- sass drop bead. Repeat until you havea total length of 3 yd. (2.7m). Do mot cu the thread. Slide the beads approximately 12 in. (30cm) from the end of the spool. [2] Leaving a 4-in, (10cm) tail loosely crochet a row of chain sithes (Basics, p. 156) that is Tin. (25cm) longer than the desired length of your bracelet. 110 difteircular rounds. wild row offehain stitche asp idea upple, soft, selet. We've given you h 's are unlimited, [3] Te make the first bead Toop, insert the erochet hook \ into the second chain stitch fom the hook (phato a). Slide about 1 in, of beads ext to the crocher hook, work a single erochet sti (Basics) to hold the loop in place (phat b). [4] Continie t6 add one loop in cach chain stitch across the row. When you some toa drop, you can either use it in place of the Joop or incorporate it into the loop. If you need to add mare beads while working, ompletea stich, pull the thread through, and trim,MATERIALS: + 40 art-glass drop beads (Pamplin Giass, 209-2 + faggle claop or 20mm button, © 2crimp beads = fexbie beading Wa, 018 * Big Eye neodie * crochet hook, sine 8 or © G-S Hypo Comont + crimping plers leaving a short rail. String more beads on the spool. Tie the end of the spool and the short tail together right next to the last stitch, and dor with gle, Continue crocheting as before. [5] when you reach the first chain pitch, turnsnatwork fr Single cracher fox/Atiother FoF loops (phOto c}. [6] Work one more row of loops, bur use slip stitch (Basics) instead of single 2s crochet, For the last stiteb, work one chain stitch. Pull the thread through the chain stiteh, leaving a in, tail Toggle clasp [1] Cencer an 8-in, (20cm) length of flexible beading wire through the ond seroshet stitches on one end of the bracelet (photo a). [2] Over both ends, string a crimp bead, ‘On one end, sting half the clasp (hota e). Pac the end the clasp is on back through the crimp bead (photo f), and crimp the crimp bead (Basics), Trim both wire ends [3] Repeat on the other end of the bracelet 2 te bracelet 7 in. (18em) without clasp 7884, pumpkingiass corr) '* 20g 4 x dmm Jopanese cube, rangle, o Fringe beads '* 209 sie 10" or 11° Japanese seed beads | > spool of fon or podvester thread, size 2 Button clasp [1] Center an 8 flexible beading wire through the end crochet stitches on one end of the bracelet. [2] On one wire end, stcing 12 11%s, the burton d 12 11s. On the other wire end, string a crimp bead. Cross the first end through the crimp bead (photo g), and crimp the erimp bead (Basics). Trim the extra wire. F3] Repeat on the other end of the bracelet, omitting the button. Make sure to string enough 11's to fit over the burton. @ Contact Teresa Koda for ‘kits ausilable at Pumipkire Glass, 316 South Main, Morton, illinois 61550, or call (309) 266-7884. Email ber at teresa@pumpkinglass -com, or visit ber website pimpkinglass.com.by Pam O'Connor Ii this brooeh, Paust was