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Quick

+ Easy

p. Q+E 16
Making Tracks
by Gina Cooper

p. Q+E 12
Petite Charm Pendant
by Nancy Zellers

p. Q+E 30
Crossover Bracelet
by Phyllis Dintenfass

p. Q+E 3
Gateways Bracelet
by Phyllis Dintenfass

p. Q+E 28
Lucky Clovers
by Rachel McEnroe

APRIL/M AY 2011
SUBSCRIBER BONUS PROJEC T DOWNLOADS

GATEWAYS BRACELET Phyllis Dintenfass

Q+E 28

SPARKLING MEDALLIONS Amy Haftkowycz

Q+E 30

Q+E 8

CATCH ME A CATERPILLAR Doris Coghill

Q+E 34

Q+E 12

PETITE CHARM PENDANT Nancy Zellers

Q+E 38

Q+E 16

MAKING TRACKS Gina Cooper

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Q+E 6

Q+E 19

Create this intriguing textured cuff using peyote stitch,


cylinder beads, and twisted bugles
These classic earrings are easy to make using simple fringe
and netting techniques
Combine tubular herringbone stitch and embellished
fringe to create this fabulously fun bracelet
Embellish a crystal rivoli with right-angle weave and peyote
stitch for a simply elegant necklace
String together tubular beaded beads in several colors for
a fantastic casual look

SPECIAL ADVERTISING SECTION

Q+E 42
Q+E 46
Q+E 48

2011 Interweave Press LLC. Not to be reprinted. All rights reserved.

Hybrid SectionOpener_download.indd 1

LUCKY CLOVERS Rachel McEnroe

Wear a little Irish luck with sets of four emerald crystals


embellished on a right-angle-weave base of pearls

CROSSOVER BRACELET Phyllis Dintenfass

Construct this intricately patterned bracelet by linking


multiple herringbone-stitched components

VICTORIAN PEARL MEDALLION Barbara Falkowitz

Channel the elegance of another era with a beadembroidered medallion in pearl and gold

STAR-CROSSED BRACELET Laina Goodman

Defy the fashion fates with a bracelet featuring


herringbone-stitched petals crossed under a faceted
crystal stone

CLASSIC QUARTET Roxanne Rogers

Use peyote stitch and picots to form the simple band and
stylish focal of this charming ring

GATHERINGS: Portland Bead Society


MORE TECHNIQUES

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gateways
bracelet
Phyllis Dintenfass

TECHNIQUES
odd-count peyote stitch
two-drop peyote stitch
ladder stitch
See pp. Q+E 48 and 94 for helpful
technique information.

BEADWORK QUICK+EASY

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ENVISION PEEKING THROUGH A GATED window as

you create this modern cuff with twisted bugles and cylinder
beads. Alternate rows of one- and two-count peyote stitch to
make the beading interesting and provide rich texture.

MATERIALS
10 g matte black size 11 cylinder
beads (A)
1 g each size 11 cylinder beads in
gold-lined clear (B), brown luster
(C), bronze luster (D), terracotta (E),
matte salmon metallic (F), antique
gold luster (G), transparent brown
matte (H), gray opal (I), silver (J)
1 g bronze matte size 11 seed
beads (K)
1 g gray luster size 8 seed beads (L)
1 g bronze matte sparkle size 2 (6mm)
twisted bugle beads (M)
1 bronze 20mm decorative button
with shank
White size D nylon beading thread

TOOLS
Scissors
Size 12 beading needle
FINISHED SIZE: 7"

1) CLOSED SECTION. Peyote-stitch the

ARTISTS TIPS
If youre using similar colors
for the dots, lay them out in
a row to keep track.
Be sure that the beads snap
into place in each peyotestitched row.
Its best to end and begin new
threads in a closed section
rather than in an open one.
To shorten the bracelet, add
fewer rows of dots in the first
section. To lengthen, add
more rows of the background
color on the button end.
I use contrasting-color thread
to accentuate the pixilated
nature of this design.

Q+E 4

first portion of the cuff:


Use 6' of thread to string
14A, leaving a 2' tail.
Row 3: String 2A, skip the 2A previously
strung, and pass through 1A; repeat
three times to add a total of 8A.
String 2A and tie a knot with the working and tail threads to secure the beads.
Pass back through the last 2A added.
Row 4: String 1B and pass back through
the next 2A from the previous row;
repeat three times to add a total of 4B.
Row 5: String 2A and pass back through
the nearest bead added from the previous row; repeat to add a total of 10A.
Form a turnaround to step up for the
next and subsequent rows by looping
the thread around the exposed thread
between beads from the previous two
rows and passing back through the
final 2A added in the current row.
Rows 1 and 2:

Repeat Row 4, substituting A


for B.
Row 7: Repeat Row 5.
Rows 839: Repeat Rows 46, substituting the next cylinder-bead color in the
materials list for the B in Rows 8, 12,
16, 20, 24, 28, 32, and 36.
Rows 4043: Repeat Rows 47 (Fig. 1).
Row 6:

2) OPEN SECTION. Form an opening

in the base:
String 2A; pass through the last
2A exited in the previous row and the
2A just added; repeat seven times,
using tight tension to form a ladderstitched strip 8 pairs long (Fig. 2
green thread).
Connector: String 12A (Fig. 2blue thread).
Strip 2: String 2A; pass through the last
2A exited on the connector and the
2A just added; repeat six times to
form a matching ladder-stitched strip
Strip 1:

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Fig. 1: Finishing the first closed section

Fig. 3: Adding the posts

Fig. 2: Adding the strips and connector

Fig. 4: Attaching the button and forming


the decreases

to Strip 1. Stitch the last pair of 2A to


the first 2A in Row 43. Repeat the
entire thread path to reinforce. Weave
through beads to exit from the last
pair of 2A added, toward the inside of
the opening (Fig. 2red thread).

added in the Step 1, Row 4 repeats.


Repeat Step 1, Rows 343, through Step 3
again, then repeat Step 1, Rows 343,
reversing the order of the colored beads
in the Step 1, Row 4 repeats.
4) CLASP LOOP. Ladder-stitch an

3) POSTS. Add bugle and seed-bead

strands inside the opening:


Post 1: String 1K, 1L, 1M, 1L, and 1K;
pass through the mirror 2A directly
across the opening. Weave through
beads, forming a hidden turnaround,
skip the next 2A, and pass through
the next 2A, toward the inside of
the opening.
Posts 24: Repeat Post 1 three times to
add a total of 4 posts. Weave through
beads to exit from the nearest end 2A
of the connector (Fig. 3).
Repeat Step 1, Rows 343, through Step 3,
reversing the order of the colored beads

opening for the button by repeating


Step 2 and adding enough pairs of 2A to
each strip so the opening is large enough
to accept the button. Repeat Step 1,
Rows 6, 5, and 4, to finish the square. If
the space is too large, repeat Step 3, Post
1, to close the openings size. Repeat the
entire thread path again to reinforce.
Secure the thread and trim.
5) BUTTON. Use the tail thread and
A to peyote-stitch 2 rows or enough to
adjust for size, working in the same
two-drop/one-drop pattern. Work another row, stringing the shank of the

button to form the center stitch instead


of using 2A. Work 2 more rows of peyote
stitch in the same fashion, incorporating the button shank into the rows.
Once the button is fully incorporated
into the beadwork, work rows of peyote
stitch with one decrease at the beginning of each row (Fig. 4). Secure the
thread and trim.
PHYLLIS DINTENFASS designs jewelry, publishes
patterns, and teaches beadweaving throughout
the United States. Her work has appeared in
numerous magazines and books and in juried
exhibits internationally. For other available
patterns and kits, visit www.phylart.com.
RESOURCES Check your local bead shop or
contact: Japanese cylinder beads: Joan Painter
Gallery, (360) 569-2644, www.painterartbeads
.com. All other seed beads and Nymo or One-G
beading thread: Whim Beads, (800) 232-3111,
www.whimbeads.com. Buttons: Jo-Ann Fabric and
Craft Stores, (888) 739-4120, www.joann.com.

BEADWORK QUICK+EASY

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sparkling medallions
Amy Haftkowycz

ARTISTS TIPS
TECHNIQUES
fringe
netting
See pp. Q+E 48 and 94 for helpful
technique information.

These beaded components work


wonderfully when stitched together
for bracelets and necklaces.
Replace the 3mm crystal bicones and
3mm rounds with 3mm crystal pearls
for a different look.

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THESE EASY EARRINGS are a beautiful

nod to vintage sparkle.


1) DANGLE. Use tight thread tension

String 1 pearl; pass


through the B directly across from
the last B exited and the nearest D
in Round 2, toward the outside edge
of the bead disc (Fig. 2red thread).
Netting: String 2A, 1E, and 2A; working
counterclockwise, pass through the
next D in Round 2, toward the outside edge of the beaded disc (Fig. 3).
Repeat around to add a total of
7 strands. Working clockwise, string
2A, pass up through the nearest E,
string 2A, and pass down through the
next D in Round 2 (Fig. 4). Repeat
around to complete the netted crosses
between each D. Weave through beads
to exit from 1C of Round 1.
Hanging loop: String 6A; pass through
the last C exited to form a loop (Fig 5).
Repeat the thread path several
times to reinforce. Secure the thread
and trim.
Adding the pearl:

to stitch a beaded disc:


Use 3' of thread to string {1A,
1C, 1A, and 1B} seven times, leaving
a 6" tail. Pass through the beads again
to form a circle, tie a square knot with
the working and tail threads, and
weave through beads to exit the
second A added (Fig. 1blue thread).
Trim the tail.
Round 2: String 1D and 1B, pass back
through the D, skip the next B of
Round 1, and pass through the following A/C/A of Round 1, pulling tight to
form a fringe; repeat to form a total of
7 fringes. Weave through beads to exit
the B at the tip of the first fringe
(Fig. 1red thread).
Joining fringe: Pass through the B at the
tip of the next fringe; repeat around
to connect the fringe tips into a circle,
pulling tightly to form a dome (Fig. 2
blue thread). Repeat the thread path
several times to reinforce.
Round 1:

MATERIALS
1 g silver-lined brown size 15 seed
beads (A)
1 g soft goldlined clear size 11 seed
beads (B)
14 antique rose gold luster 3mm
fire-polished rounds (C)
14 beige gold luster 4mm fire-polished
rounds (D)
14 padparadscha satin 3mm crystal
bicones (E)
2 cream 3mm glass pearls
2 brass 818mm swirl links
2 brass " lever-back ear wires
Smoke 4 lb braided beading thread

TOOLS
Scissors
Size 12 beading needles
Flat-nose or chain-nose pliers
FINISHED SIZE: 218"

2) ASSEMBLY. Use 1 jump ring


to attach the beaded disc to one end
of the swirl connector. Attach 1 ear
wire to the other end of the swirl
connector.
Repeat Steps 1 and 2 to form the
second earring.

Fig.1: Stitching Rounds 1 and 2

Fig. 2: Joining Round 2 and


adding the center pearl

Fig. 4: Adding the second layer of netting

Fig. 3: Stitching the first


layer of netting

Fig. 5: Forming the beaded loop

Co-owner of Artful Beads Studio and Workshop


in Pennington, New Jersey, AMY HAFTKOWYCZ
is a self-taught lampworker as well as a certified
PMC artisan. Amy has enjoyed reaching out in
many new directions since opening Artful Beads
in 2006. Developing class projects, learning
countless techniques, and forging new friendships
have made the Artful Beads experience truly one
of a kind. She lives in Pennington with her
husband and six cats.
RESOURCES: Check your local bead shop or
contact: Braided beading thread and all beads and
findings: Artful Beads Studio and Workshop,
(609) 737-1077, www.artfulbeadstudio.com.

BEADWORK QUICK+EASY

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catch me a
caterpillar
Doris Coghill

TECHNIQUES
tubular herringbone stitch
ladder stitch
fringe
square stitch
See pp. Q+E 48 and 94 for helpful
technique information.

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A SLITHERY HERRINGBONE BRACELET gets its playful

appeal from lush, leggy fringes embellished with drops.

MATERIALS
2 g light brown luster size 11 seed beads (A)
20 g forest green size 11 seed beads (B)
28 g transparent matte olive size 8 seed
beads (C)
85 light amber 46mm teardrops (D)
85 black 46mm teardrops (E)
Khaki size B nylon beading thread
Beading wax

TOOLS
Scissors
Size 10 beading needle
FINISHED SIZE: 7"

1) TUBE. Form a herringbone-stitched


and embellished tube:
Round 1: Use 7' of thread to string 2C,
leaving a 10" tail; pass through both
beads and manipulate them to sit side
by side, forming a ladder stitch.
Repeat to form a strip 4C long.
Ladder-stitch the last C to the first C
to form a ring (Fig. 1). Lightly wax
the thread.

Fig. 1: Forming
Round 1

String 1C, 1A, and 1C; pass


down through the next C in the
previous round and up through
the following C; repeat once. Step
up for the current and subsequent
rounds by passing up through the
first C added in this round (Fig. 2).
Round 3: String 1C, 1A, and 1C; pass
down through the next C in the
previous round, string 1D, and pass
up through the following C in the
previous round; repeat once (Fig. 3).
Round 2:

Fig. 2: Working Round 2

OP TION S
Use a mix of matte and shiny beads
to enhance the design.
Contrasting colors enrich the
layered textures.

Fig. 3: Stitching
Round 3

BEADWORK QUICK+EASY

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Fig. 4: Working
Round 4

String 1C, 1A, and 1C; pass


down through the next C in the previous round; string 10A, 1E, and 10A;
pass up through the following C in
the previous round; repeat once
(Fig. 4blue thread). Repeat the thread
path again to secure the round, this
time omitting the fringe loops (Fig. 4
red thread).
Rounds 562: Repeat Rounds 3 and 4
thirty times or to the desired length.
Note: The clasp adds " to the length.
Round 4:

Fig. 5: Stitching

Fig. 6: Forming

the strip

2) FINISHING. Close the tube and add

the closure:
Close tube: Work a ladder-stitched thread
path on the last Cs added to pull the
tube together. Exit up through 1C.
Beaded button closure: String 1C, 1A, and
1C and pass down through the next C
in the round, making sure the fringe
loops sit on each side of the stitch.
Catch the thread between beads and
pass back up through the last C added
(Fig. 5); working with loose tension,

Q+E 10

the button

repeat six times for a total of 7 rows.


Stitch the last row to the first row
added in this section to form a thick
loop (Fig. 6). Stitch 1C to each of the
open sides of the loop to close the loop
into a beaded bead. Secure the working thread and trim.
Loop: Thread a needle on the tail thread
and weave through beads to exit out
from a C in Round 1. String 12C and
pass down through the next C in the
round so the loop has one fringe on

Fig. 7: Adding
the loop

each side (Fig. 7). Repeat the thread


path several times to reinforce.
Secure the thread and trim.

DORIS COGHILL left the corporate world in


2000 to pursue beading full time. She keeps busy
with her website (www.beadsbydee.com),
designing, and teaching.
RESOURCES: Check your local bead shop or
contact: Teardrop beads: Shipwreck Beads,
(800) 950-4232, www.shipwreckbeads.com.

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petite
charm
pendant
Nancy Zellers

TECHNIQUES
flat and circular right-angle weave
tubular peyote stitch
See pp. Q+E 48 and 94 for helpful
technique information.

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THE PEARLY CROWN OF SEED BEADS framing the

pendant, along with the delicate look of the chain, create a


very wearable, feminine piece of jewelry with a Victorian feel.

MATERIALS
g smoky gold bronze metallic size 15
seed beads (A)
2 g smoky gold bronze metallic size 11 seed
beads (B)
1 g pearl size 11 seed beads (C)
1 amethyst 14mm crystal rivoli
2 brass 4mm jump rings
1 brass 713mm filigree oval box clasp
Gold size D nylon beading thread

TOOLS
Scissors
2 size 12 beading needles
Chain- or flat-nose pliers
FINISHED SIZE: 20" (necklace);

1" (pendant)

1) PENDANT. Use right-angle weave to

form the back of the beaded bezel and


secure with peyote stitch:
Round 1: Use 4' of thread to string 6B,
leaving a short tail. Pass through all
the beads again and exit from the first
B strung (Fig. 1blue thread).
Round 2, Units 16: String 4B; pass
through the last B exited and the first
B just added to form the first rightangle-weave unit. *String 3B; pass
back through the next B of Round 1,
through the side B of the previous
unit, the 3B just added, and the following B of Round 1. String 3B, pass
through the side B of the previous
unit, the last B just exited in Round 1,
and the first B just added. Repeat
from * twice to add a total of 5 units.
To form the last unit, string 2B, pass

through the side B of the first unit,


the next B of Round 1, the side B of
the previous unit, and the first of the
2B just added (Fig. 1red thread).
Round 3: String 3B; pass through the last
B exited and the first B just added to
create the first right-angle-weave unit.
*String 3B; pass back through the
next B of Round 2 and pass through
the side B of the previous unit, the 3B
just added, and the next B of Round 2.
String 2B; pass through the side B of
the previous unit, the last B exited in
Round 2, and the first B just added.
Note: The right-angle-weave units in
Round 3 will alternate between
regular and increase units. Repeat
from * four times for a total of 11
units. To form the last unit, string 2B,
pass through the side B of the first unit,

Fig. 1: Working Rounds 1 and 2

BEADWORK QUICK+EASY

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back through the next B of Round 2,


and through the side and top B of the
previous unit (Fig. 2green thread).
Round 4: Use A to work 1 unit of circular
right-angle weave off each top B in
each unit of Round 3 for a total of
18 units. Note: Every other unit in
Round 3 has 2 beads; weave 1 unit
into each of them (Fig. 2blue thread).
Round 5: Use A to work 1 unit of circular
right-angle weave off each top A of
Round 4 for a total of 18 units (Fig. 2
red thread).
Round 6: Insert the rivoli face up in the
beadwork. Work tubular peyote stitch
with 1A in each stitch between each
top A of Round 5 for a total of 18A.
Pass through all the beads in Round 6
again to reinforce (Fig. 3blue thread).
Weave through beads to exit a top A in
Round 4.
Embellishment: Work tubular peyote stitch
with 1C for a total of 18C. Weave
through beads to exit the next A in
Round 4 (Fig. 3red thread).
Bail: Use B to work a strip of right-angle
weave 5 units long. String 1B; pass
through the bottom A of the last rightangle-weave unit exited in Round 4
(Fig. 4). String 1B and pass through the
end bead of the final unit just formed.
Add C in some of the gaps between
units if desired. Secure the threads
and trim. Set the pendant aside.

Fig. 2: Adding Rounds 35

Fig. 3: Securing the rivoli and


embellishing the pendant

Fig. 4: Forming and


attaching the bail

Fig. 5: Making the six-bead loop and


embellishing with C

2) CHAIN. Form the chain using right-

angle weave:
Chain: Use 4' of thread to work a strip of
right-angle weave about 19" long or to
the desired length. String 6B; pass
through the last B exited to form a
loop (Fig. 5blue thread).
Embellishment: Working back along the
length of the chain, add 1C between
every other right-angle-weave unit,
alternating sides (Fig. 5red thread).
Q+E 14

String 6B; pass through the last B


exited to form a loop. Secure the
thread and trim.
3) FINISHING. String the pendant on
the chain using the bail. Use 1 jump
ring to connect one loop at the end of
the chain to one half of the clasp. Repeat
at the other end of the necklace using
the other half of the clasp.

NANCY ZELLERS has been designing bead


jewelry and teaching for about fifteen years.
See more of her jewelry designs at
www.nzbeads.com or in her recent book,
Bead Tube Jewelry (Kalmbach, 2011). Nancy
lives in Aurora, Colorado, where she has a
studio decorated in hot pink and lime green.

RESOURCES Check your local bead shop or


contact: All materials: Beyond Beadery,
(800) 840-5548, www.beyondbeadery.com.

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making tracks
Gina Cooper

TECHINQUES
ladder stitch
herringbone stitch
See pp. Q+E 48 and 94 for helpful
technique information.

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CONNECT EASY HERRINGBONE-STITCHED

tubes with crystals for a quick and casual bracelet.

MATERIALS
6 g opaque dark lavender 11 cylinder
beads (A)
5 g opaque matte blue rainbow 11 cylinder
beads (B)
4 g opaque black luster size 11 cylinder
beads (C)
30 jet black 4mm round or bicone beads (D)
1 silver 315mm 2-to-1 etched connector
2 silver 4mm jump rings
1 silver 520mm floral toggle bar
1 silver 15mm floral toggle ring
Smoke 6 lb braided beading thread

TOOLS
Scissors
Size 10 or 12 beading needles
Flat- or chain-nose pliers
FINISHED SIZE: 7"

1) BEADED TUBES. Herringbone-

stitch beaded tube beads:


Round 1: Use 3' of thread to string 2C,
leaving a 4" tail. Pass through the
beads again. String 1C and pass
through the last bead exited and the
one just strung; repeat three times to
form a ladder-stitched strip 6C long
(Fig. 1). Pass up through the first bead
added, down through the last bead

Fig. 1: Ladder-stitching Round 1

added, and up through the first bead


again to form a ring (Fig. 2).
Round 2: String 4A, pass down through
the next C in Round 1, and up
through the following C; repeat twice
to add a total of 12A. Step up for the
next and subsequent rounds by passing up through the first 2A added in
the current round (Fig. 3).

Fig. 2: Joining the bead

ARTISTS TIP
If youre new to herringbone stitch,
it may help to insert a thin straw,
wooden skewer, or rolled-up piece
of paper into the beadwork. This
internal base gives you something
to hang onto as you form
additional rounds.

Fig. 3: Working Round 2

ladder in a circle

BEADWORK QUICK+EASY

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String 4A, pass down through


the next top A from the previous
round, and up through the following
top A; repeat twice to add a total of
12A (Fig. 4).
Round 4: String 2C, pass down through
the next top A from the previous
round, and up through the following
top A; repeat around to add a total
of 6C.
Round 3:

Fig. 4: Adding Round 3

Repeat Rounds 24, using


B in place of A for Rounds 5 and 6.
Weave through the final round in a
ladder-stitched thread path. Secure
the thread and trim.
Repeat entire step 13 times for a total
of 14 beaded beads. To add variation
between beads, switch the sections
in which A and B are used.

Rounds 510:

2) ASSEMBLY. Begin a new 2' thread


on a beaded bead that exits up through
a bottom bead in Round 3. String 1D
and one loop of the 2-to-1 connector;
pass back through the D just strung and
the tube bead just exited, then weave
through beads to exit down through the
top bead in the same Round 3 stack. Pass
through the D and connector, then back
through the D and through the side of
the beaded tube to exit between the top
and bottom beads of Round 3 on the opposite side of the tube (Fig. 5blue thread).
*String 1D, pass down through a bottom
bead in Round 3 of another beaded
tube, and weave through beads to exit
down through the top bead in the same
Round 3 stack. Pass back through the D
just added and pass up through the mirror top bead of the first beaded tube.

Q+E 18

Fig. 5: Attaching the connector and


beaded beads with jet beads

ARTISTS TIP
You can also create the bracelet using
single-drop tubular herringbone stitch
for all the rows. Just pick up 2 cylinder
beads instead of 4.

Weave through beads to exit up through


the nearest bottom bead of the same
stack, then pass through the last D added
and through the side of the second
beaded tube (Fig. 5 red thread). Repeat
from * to connect the remaining beaded
beads, finishing with 1D and the other
connector. Repeat entire step, incorporating the other side of each connector
and weaving between the top and bottom beads in Round 8.
3) FINISHING. Use 1 jump ring to

attach one connector to the toggle bar.


Repeat with the remaining jump ring
and toggle ring.

GINA COOPER is a mostly self-taught artisan


beader who specializes in free-form beadwoven
peyote jewelry and bead embroidery. Originally
from Blackpool, England, she now resides in
Florida, perfecting beach beading, where she
hosts a local beading group and teaches for local
bead stores. Gina also creates stained-glass
mosaics and life-casting sculptures. See more of
her work at www.creationsbygina.weebly.com.
RESOURCES Check your local bead shop
or contact: Seed beads: Fusion Beads,
(888) 781-3559, www.fusionbeads.com. All other
materials: Fire Mountain Gems and Beads,
(800) 355-2137, www.firemountaingems.com.

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presents

the Inspired

BeadersStudio
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PF Beads
ELIMINATE PROBLEMS
WITH FADING OR
FLAKING
Mix It Up with
GEMSTONES, PEARLS,
GEMSTONES
PEARLS
WOOD, AND SHELLS
Share your love of Mother Nature by mixing gemstone
chips, nuggets, and simple cuts with earthy beads and
pendants made of wood, freshwater pearls, and shells.
Knot these gorgeous gemstones onto silk or cord or
string them on beading wire for an elegant multistrand
necklace or a bold, chunky bracelet.
Try these combinations for spring:
Embrace the lushness of a forest by pairing wood
beads with red creek jasper, African turquoise, labradorite, or crazy lace agate.
Evoke a cool ocean breeze by combining silver leaf,
picture jasper, or amazonite with freshwater pearls
and natural shells.
Mimic bright, floral gardens by choosing rose quartz,
amethyst, olive jade, or yellow jade paired with colorful pearls.

As most beaders know, those pretty galvanized and


Ceylon silver-lined finishes on seed beads eventually
fade or flake over time. Its frustrating to put hours (or
months) into a project only to have the beads fail. Luckily, Toho has created a seed bead with a new durable
finish. If youve been avoiding those seed-bead finishes
because you want to create lasting, heirloom-quality
jewelry, youll want to try Tohos PF beads.
This durable finish is available in eighteen galvanized
colors and fourteen matte-galvanized. Shades such
as aluminum, silver gray, and rose gold are perfect for
beaders who love the look of metals in their jewelry.
This same durable finish is also available for more than
two dozen colors of silver-lined beads. Choose soft
pinks, lavenders, and mint greens for sweet spring
bracelets, earrings, and necklaces. Selected PF beads
are available in a variety of shapes, including rounds,
triangles, cubes, magatamas, 3-cuts, bugles, charlottes,
and more. For a full list of available colors and shapes
of PF beads, visit www.tohobeads.net.

In addition to its huge selection of semiprecious gemstones, FusionBeads.com offers the best online selection of Swarovski Elements products, charms, sterling
and Thai hill tribe silver, artisan-handcrafted beads,
seed beads, glass beads, and much more. Be inspired
by new jewelry designs each week and enjoy free standard shipping on all U.S. orders.

Q+E 20

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Select the BEST


BEADING WIRE for
Your Jewelry
The number of beading wire options can seem overwhelming, but theres a simple trick to choosing the
right spool: the larger number of strands, the more
flexible the wire will be. A long elegant crystal necklace
may require maximum flexibility for it to drape correctly
when worn, while a short choker with chunky gemstones may require less.

Create a
Stunning BEADED
CUFF BRACELET
Begin your unique cuff bracelet with Lacys Stiff Stuff,
a washable, shrink-resistant material that feels like
stiff felt. If you like, you can dye it and then cut out
the shape you need. You can also sketch your design
on it or just go with your creative flow. Next, choose
a lightweight aluminum cuff, from a sweet " band to a
bold 2" statement. Finally, select your focal pieces from
a huge range of options. Choose a brilliant Swarovski
rivoli or a handful of dramatic rhinestones. Or follow
one of the biggest jewelry trends by selecting resin and
glass cabochons and cameos. Small resin flowers and
vintage-style cameos provide color and class without
weighing down your designs. Finish your piece by
embroidering Toho and Delica seed beads around your
focals and attaching Lacys Stiff Stuff
to the cuff with a jewelry adhesive.

U.S.-made Beadalon offers three choices of strong


nylon-coated wire. Beadalon 49, the choice of professional jewelry designers, has the most flexibility, while
economically priced Beadalon 7 has the least. If youre
not sure how much flexibility your design needs, Beadalon 19 is a good choice with its perfect combination of
strength, flexibility, and affordability. Once youve chosen the type of wire, choose the largest diameter wire
possible that will fit through the smallest bead hole in
your design. Try .010 beading wire for tiny, lightweight
seed beads and .036 for heavy gemstones and large
glass beads.
For more beading wire tips, including how to use findings such as EZ-Crimps, Wire Guardians, and Bead
Bumpers, visit www.beadalon.com.

Visit Artbeads.com today and turn your imaginative


ideas into a gorgeous reality. With free shipping on
qualifying orders and hundreds of free design ideas,
Artbeads.com is your source for colorful seed beads,
unique focal pieces, and inspiration.

Q+E 22

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Indulge in Everyday
Luxury with 100%
PURE SILK CORDS
Pearl knotting on silk is a classic jewelry-making technique thats often reserved for special occasions. Why
limit yourself? Try knotting this durable and stretchresistant 100% pure silk cord in between small gemstones or delicate crystals for everyday bracelets or
necklaces. Snug the beads against the knots or leave
longer gaps between the knots to show off the vibrant
colors of these twisted three-ply cords.
Choose from classic black and white cords in ten sizes
(00, 0, A, B, C, D, E, F, FF, FFF) or sixteen colors in sizes
E, F, FF, and FFF. The cord comes in ounce spools or
on cards. Colors include a range of gemstone-inspired
tones including amethyst, turquoise, and jade. Match
the silk cord to your favorite beads for a unified look
or choose a contrasting hue to add an unexpected
pop of color.
This luxuriously smooth pure silk cord feels lightweight
and comfortable, making it the perfect base for warmweather jewelry. Find a bead shop near you at
www.beadsmith.com.

Introducing 22 New
Colors of GALVANIZED
ROUND ROCAILLES
AND DELICAS
If you love the metallic look of galvanized seed beads,
youll be delighted to learn that round rocailles (sizes
6, 8, and 11) and size 11 Delicas now come in twenty-two colors. For pretty spring necklaces, bracelets,
and earrings, choose shades such as pink blush, sea
foam, and dusty orchid. If the mixed metal or steampunk jewelry trends are more your style, take note
of the silver, gold, and pewter shades now available.
Miyukis Duracoat Galvanized beads solve that
annoying problem of a finish that quickly wears off
or fades. Duracoat is an extra-durable coating on the
beads surface. As with any delicate glass beads, these
beads still require gentle care, but now they are suitable for use in jewelry that is worn, not only museumquality pieces that must be admired from afar.
Delicas in size 8 and 10 with the Duracoat finish will
be available this spring. Additional bead shapes such
as magatamas, drops, and squares will be added in
the future. Keep up with the latest news at
www.miyuki-beads.co.jp/english.

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Discover MUST-HAVE
HOW-TO resources
The best companion to your beading and jewelrymaking adventures? Beautifully illustrated instructional
books, of course.
Interweave is happy to offer a wide variety of books
that are packed with fun projects and helpful tips. Filled
with step-by-step photography and gorgeous designs,
each book will educate and inspire you. Plus, theres
something for every skill level. Try your hand at metal
clay with Kate McKinnon, take a 101 through wire with
Denise Peck, perfect your copper work with Sharilyn
Miller, personalize your metal jewelry with Lisa Niven
Kelly, or discover the beauty of glass beads with
Stephanie Sersich. Interweaves expert authors will
teach you everything you need to know to make
beautiful handcrafted jewelry.

Add Drama to
Your Jewelry with
SWAROVSKI FLAT
BACKS
With the touch of an iron or heat-setting tool, you can
affix Swarovski Flat Back Hotfix onto many different
types of fabric, including wool, cotton, linen, Lycra, silk,
and denim. The flat back of the crystal has a layer of
hot-melt adhesive that bonds with the fabric. Its easy
to add crystals to ribbons for springtime bracelets and
necklaces, but dont stop there. Using a two-part epoxy
for the best bond, glue Swarovski Flat Back No Hotfix
to metal pendants, flat-glass cabochons, shell discs,
wooden pendants, resin beads, or almost any other
surface you desire. You could attach individual Flat
Backs in Capri Blue to a metal cuff for an oceaninspired bracelet or add tiny SWAROVSKI ELEMENTS
in Sunflower inside earring bezels. Another idea is to
attach a large Flat Back to ultrasuede and surround
it with brick stitch to create a dramatic custom focal.
Swarovski Flat Backs come in a huge range of colors,
sizes, and cuts, including a beautiful butterfly perfect
for spring jewelry. For more inspiration, visit
www.CREATE-YOUR-STYLE.com.

Q+E 26

Build a library that you can reference time and


time again with Interweaves outstanding books.
For more information, visit www.interweavestore.com/
Beading-Jewelry/Books.

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lucky clovers
Rachel McEnroe

ARTISTS TIPS
Select a similar color for the pearls
and size 11 beads to make the
crystal flowers appear more vibrant.
To strengthen the bracelet, pass back
through the base a second time.

TECHNIQUES
right-angle weave
netting
See pp. Q+E 48 and 94 for helpful
technique information

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02102011120506

CRYSTAL FLOWERS appear to float across

this elegant right-angle-weave bracelet.

MATERIALS

1) BASE. Right-angle weave a base of

pearls and seed beads:


Unit 1: Use 6' of thread to string {1D and
1A} four times, leaving a 3" tail. Pass
through all again to form a circle and
tie a square knot. Weave through
beads to exit from the third D (Fig. 1
blue thread).
Unit 2: String {1A and 1D} three times,
then string 1A; pass through the last D
exited from Unit 1 and the first four
beads added in this unit (Fig. 1
red thread).
Units 315: Repeat Unit 2 thirteen times.
Dont trim the thread.
2) EMBELLISH. Add a layer of bicone

flowers to the base:


String {1A and 1B} twice, then
string 1A; pass through the last D
exited to form a loop. Weave through

Flower 1:

the next A/D/A/D in the base unit


(Fig. 2blue thread). String 1A and 1B,
pass through the middle A of the loop
just added, then string 1B and 1A and
pass through the last D exited (Fig. 2
red thread).
Flower 2: Repeat Flower 1 to embellish
the next base unit, this time using C
instead of B.
Flowers 315: Repeat Flowers 1 and 2 to
embellish the entire base. Finish with
a Flower 1 embellishment.
3) CLASP. Form a button/loop clasp:

String 5A, the button, and 5A;


pass through the last D exited (Fig. 3).
Repeat the thread path to reinforce.
Secure the working thread and trim.
Loop: Start a new 8" thread that exits
from the D at the other end of the
bracelet. String 26A or enough to
Button:

3 g clear silver-lined crystal size 11 Japanese


seed beads (A)
32 Indian sapphire 4mm crystal bicones (B)
28 emerald 4mm crystal bicones (C)
46 light gray 6mm crystal pearls (D)
1 clear 13mm glass faceted button
Crystal 6 lb braided beading thread

TOOLS
Scissors
Size 10 beading needle
FINISHED SIZE: 7"

loop snugly around the button; pass


through the last D exited (Fig. 4).
Repeat the thread path to reinforce.
Secure the tail thread and trim.
RACHEL McENROE, a senior in high school, has
been beading for three years. Besides beading,
Rachels other hobbies include language lessons
(Russian, Arabic, and Chinese), pottery, and
spending time with her many pets. Rachel lives in
central New Jersey with her parents, one brother,
and one sister.
RESOURCES Check your local bead shop or
contact: Swarovski pearls and crystals, seed
beads, and FireLine braided beading thread:
Fusionbeads.com, (888) 781-3559, and Beadaholique,
www.beadaholique.com.

Fig. 1: Stitching Units 1 and 2 of the base

Fig. 3: Adding the button

Fig. 2: Stitching the first flower

Fig. 4: Forming the loop


BEADWORK QUICK+EASY

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crossover bracelet
Phyllis Dintenfass

TECHNIQUES
herringbone stitch
See pp. Q+E 48 and 94 for helpful
technique information.

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HERRINGBONE-STITCHED COMPONENTS line

up to form this bracelet. Stitch two extra components


and youve got a cute pair of earrings to complete your
ensemble.

1) FIRST COMPONENT. Use tight

tension to herringbone-stitch a slightly


domed component:
Round 1: Use 2' of thread to string 4A,
pass through all the beads again to
form a circle, and exit through the
second A strung, leaving a 4" tail to
weave in later.
Round 2: String 2A and pass through the
next A from the previous round;
repeat three times. Step up for the
next and subsequent rounds by passing up through the first A added in
the round. Adjust the beads so the
holes sit above the ones below to begin
the herringbone-stitched rib (Fig. 1).
Round 3: String 2A, pass down through
the next A from the previous round,
and pass up through the following A;
repeat three times (Fig. 2blue thread).

String 2A, pass down through


the next A from the previous round,
then string 2B, and pass up through
the following A; repeat three times
(Fig. 2red thread).
Round 5: String 2A, pass down through
the next A from the previous round,
through the nearest 2B, and up
through the following A; repeat three
times (Fig. 3blue thread).
Round 6: String 2A, pass down through
the next A from the previous round,
then string 4B, and pass up through
the following A; repeat three times
(Fig. 3red thread).
Round 7: String 1A, 1C, and 1A; pass
down through the next A from the
previous round, through the nearest
4B, and up through the following 2A;
repeat three times (Fig. 4). Dont trim
the thread. Set aside.
Round 4:

MATERIALS
5 g each size 11 seed beads in mixed matte
olive (A) and metallic peacock (B)
1 g mixed matte olive size 8 seed beads (C)
1 brass 15mm button with shank
Black size D nylon or smoke 6 lb braided
beading thread

TOOLS
Scissors
Size 10 beading needle
FINISHED SIZE: 7"

ARTISTS TIP
Passing through beads a second time
and keeping your stitching tight will
help form the subtle domed shapes
of the components in this project.

Fig. 1: Adding Round 2

Fig. 4: Stitching
Round 7

Fig. 2: Stitching
Rounds 3 and 4

Fig. 3: Forming
Rounds 5 and 6

BEADWORK QUICK+EASY

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02102011122730

2) SUBSEQUENT COMPONENTS.

Repeat Step 1, Rounds 16. Repeat


R d 7 for
f r three of the points only
Round
only,
then work the final point by stringing
1A, passing through 1C from the previous component, stringing 1A, and passing down through the next A in the
current component. Weave through the
herringbone-stitched rib to form a
turnaround (Fig. 5). Repeat the thread
path to reinforce. Secure the thread and
trim. Repeat the entire step five more
times to form a total of 7 components or
enough to fit the wrist minus the width
of the button.

Fig. 5: Connecting
components

3) CLASP. Stitch a button/loop clasp:

Begin a new 1' thread that exits


from 1C at the other end of the bracelet. String 6A, the button, and 6A,
then pass through the last C exited to
form a loop (Fig. 6); repeat the thread
path several times to reinforce. Secure
the thread and trim.
Loop: Begin a new 1' thread that exits 1C
at the other end of the bracelet. String
26A or enough to fit snugly around
the button, then pass through the last
C exited to form a loop (Fig. 7); repeat
the thread path several times to reinforce. Secure the thread and trim.
Button:

ARTISTS TIP
It helps make cleaner beadwork
if you put the tip of your nail
between each herringbone stitch
as you work it, manipulating it
into its classic V shape.

PHYLLIS DINTENFASS designs jewelry and


publishes her patterns in magazines and books
as well as teaches nationwide. Her work has
been juried into numerous competitions, and
she welcomes individual commissions. Check
her website for current kit information:
www.phylart.com.
RESOURCES Check your local bead shop
or contact: Button: Joann Fabrics and Crafts,
(888) 739-4120, www.joann.com. All other
materials: Beyond Beadery, (800) 840-5548,
www.beyondbeadery.com.

Q+E 32

Fig. 6: Adding
the button

Fig. 7:
Forming
the loop

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Make it easy for you


to makeGreat Jewelry

We

NEW!
Shaped Wire for
Wire Wrapping
Round
Fancy Round
Half-Round
Square

Create Something Great


www.beadalon.com
J[^

To nd a Beadalon retailer near you, please visit


www.beadalon.com/locatewheretobuy.asp

BW QE33 beadalon ad_QE.indd 33

Fancy Square
Available in Non-Tarnish Brass (Gold Color),
Non-Tarnish Silver, and T316L Stainless Steel.

Helpful Wire Wrapping Instructions are printed on the backs of the


wire packages, and complete instructions in two new booklets:
Beginning Wire Wrapping and Component & Stone Setting.

2/10/11 12:09 PM

02102011120923

victorian pearl
medallion

IN

th
th

Barbara Falkowitz

TECHNIQUES
bead embroidery
stringing
wirework
See pp. Q+E 48 and 94 for helpful
technique information.

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INSPIRED BY MIRIAM HASKELLS UNIQUE WORK,

this bead-embroidered necklace features modern components


that capture the essence of her jewelry designs.
1) MEDALLION TOP. Stitch the small

filigree to Ultrasuede and embellish it:


Attach: Layer the 30mm filigree flower,
a 4040mm piece of Ultrasuede, and
the beading foundation, taking care to
center all three. Tie a thick knot at the
end of 3' of thread and place a needle
at the other end. Pass up through the
foundation, Ultrasuede, and inside
one of the edges of the flower. Pass
over the edge of the flower and pass
down through the Ultrasuede and
foundation. Continue around the
flower, and pass down tacking the
filigree edges to the Ultrasuede and
foundation. Stitch through the foundation to exit up through an opening
in the filigree near its center.
Center embellishment: String 2I and slide
them to the flower; lay the beads down
so they fill the filigree opening and
stitch down through the fabric layers.
Pass up through the layers to exit up
through another opening in the filigree. Continue to fill the center
openings of the flower with I. Repeat
with C and A to fill the outer petals of
the flower in a pleasing design (Fig. 1).

Fig. 1: Embellishing the filigree center

ARTISTS TIP
If you have trouble stitching the
medallion to the large filigree, try
using a short beading needle. It may
help you get closer to the opening in
the filigree. If you have trouble getting
through the seed pearls, use a smaller
needle, such as a size 12 or 13.

Note: Use less, rather than more, beads


so they lie flat in the given space.
Stitch through the foundation to exit
from the outside edge of the filigree.
Outline: String 4I, slide them to the fabric, and lay them along the filigrees
edge. Pass down through the layers
next to the last I strung. Pass up
through the layers between the second
and third beads just added, then pass
through the third and fourth I just
added. String 2I, slide them to the
fabric, lay them along the filigree
edge, pass down through the layers
next to the last I strung, and up
through the 2I just added (Fig. 2);
repeat, working backstitch bead
embroidery with I around three petals
of the flower. On the fourth petal,
work backstitch bead embroidery with
C. Continue using I on petals 57,
then C on the eighth petal. Stitch
through the foundation to exit
between a C and an I on the fourth
petal.
Fringe: String 1D and 1A, then pass back
through the D to form a fringe; repeat
on the other side of the fourth petal
and on each side of the eighth petal

MATERIALS
1 g matte silver-lined amber 15 seed
beads (A)
1 g gold luster red size 15 seed beads (B)
2 g rose luster size 11 cylinder beads (C)
4 topaz AB 3mm bicones (D)
12 Montana blue AB 4mm fire-polished
rounds (E)
16 melon crystal luster 5mm rounds (F)
12 opaline pink 5mm rondelles (G)
12 amber 9mm rondelles with diffusion
ends (H)
2 g white 2mm seed pearls (I)
14 cream 6mm glass pearls (J)
8 brass 3mm large-hole beads
8 brass 41mm spacers
20 brass 6mm scalloped bead caps
1 brass 30mm 8-petal filigree flower
1 brass 50mm round filigree with 13mm
center opening
2 brass 23mm 12mm filigree connectors
6 gold 3mm crimp tubes
1 brass 25mm square floral toggle ring
1 brass 530mm floral toggle bar
1 brass 1" head pin
4 brass 4.5mm jump rings
4" of brass 3.54mm flat cable chain
4080mm piece of periwinkle Ultrasuede
40mm square piece of beading foundation
Smoke 6 lb braided beading thread
40" of gray .014 beading wire
4" of bronze 22-gauge craft wire

TOOLS
Scissors
Size 10 beading needle
Round-nose pliers
Flat- or chain-nose pliers
Wire cutters
Crimping pliers
FINISHED SIZE: 14"

Fig. 2: Working backstitch bead embroidery

BEADWORK QUICK+EASY

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ARTISTS TIP
Different styles of filigree can
be substituted for the ones
listed. You need the smaller
filigree to be approximately
two-thirds the size of the
larger one to accommodate the
embroidery and picot edging.

Fig. 3: Stitching the outline

for a total of 4 fringes (Fig. 3). Secure


and trim the thread on the
fabric back.
2) FOCAL ASSEMBLY. Finish the

necklaces centerpiece:
Prepare backing: Carefully trim the Ultrasuede to " from the pearl outline on
the medallion top. Take care to avoid
clipping any stitches. Turn the piece
over and trim the beading foundation
to 18" inside the Ultrasuedes edge.
Trace the outline of the Ultrasuede
onto another 4040mm piece of
Ultrasuede and trim along the line.
This is the medallions backing.
Picot edging: Place the medallion top, filigree side up, on top of the backing.
Secure a 3' thread onto the backing
and sew through the medallion top,
very near the edge. String 3B; pass
through the backing and medallion
top, one beads width from the last
stitch. Pass back through the last bead
strung. String 2B, pass through the
backing and medallion top (one beads
width from the last stitch), and back
through the last B added; repeat
around the backing to finish the
medallion (Fig. 4). For the last stitch,

Fig. 4: Adding the picot edging


Q+E 36

Fig. 5: Forming the final picot-edging stitch

add 1B, pass down through the first B


added in this section, and weave
through the backing (Fig. 5). Secure
the thread and trim.
Finishing: Secure a 3' thread onto the
back of the medallion near the center.
Tack the medallion to the 50mm filigree through the middle opening in
several places, reinforcing the stitches.
Secure the thread and trim.
3) NECKLACE ASSEMBLY. Form a

chain to hang the focal piece:


Connectors: Use 2" of craft wire to form a
wrapped loop that attaches to the
upper-left side of the large filigree.
String 1G, 1 bead cap (narrow end
first), 1J, 1 bead cap (wide end first),
and 1G; form a wrapped loop that
connects to the narrow end of 1 filigree connector. Repeat this section to
add the other filigree connector to the
upper-right side of the large filigree.
Decorative chain: Use 1 jump ring to
attach 2" of chain to the large filigree
in the opening just below the wrapped
loop on the upper-left side. Use 1 jump
ring to connect the other end of the
chain to the upper-left side of the filigree connector. Repeat this section to
add another 2" chain to the upperright side of the large filigree and filigree connector. Set the assembly aside.
Toggle bar: Use the head pin to string

1A and the toggle bar (front to back);


form a wrapped loop. Set aside.
Bead chain: Use 10" of beading wire to
string 1 crimp tube; pass through the
upper-left side of one filigree connector, then pass back through the tube
and crimp. Repeat to attach a second
10" piece of beading wire to the
upper-right side of the same filigree
connector. Use the left beading wire
to string 2 brass 3mm beads (to cover
crimps), {1H, 1 bead cap (narrow end
first), 1J, 1 bead cap (wide end first),
1F, 1E, 1F} twice using G in place of F
the second time, and 3A; repeat with
the right beading wire. Use both
strands to string {1H, 1 spacer, 1J,
1 spacer, 1F, 1E, 1F} twice. Use both
wires to string 1 crimp tube and the
wrapped loop of the toggle bar; pass
back through the tube and crimp.
Repeat entire section using the right
filigree connector and toggle ring.
BARBARA FALKOWITZ is co-owner of Artful
Beads Studio and Workshop in Pennington, New
Jersey, where she designs and teaches original
work. A trip to Prague and Jablonex served as a
great source of inspiration, and Barbara feels lucky
to be a part of the bead world.
RESOURCES Check your local bead shop or
contact: Fireline beading thread, Soft Flex beading
wire, Delicas, and all other beads and findings:
Artful Beads Studio and Workshop,
(609) 737-1077, www.artfulbeadstudio.com.

beadworkmagazine.com

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star-crossed
bracelet

Laina Goodman

LAYERS OF HERRINGBONESTITCHED PETALS surround

a ruby crystal in this antiqueinspired bracelet. The floral


centerpiece can also become
the focal piece for a necklace.
1) BEZEL. Work tubular peyote stitch to

bezel the square stone:


Rounds 1 and 2: Use 3' of thread to string
32F, leaving a 6" tail. Tie a square knot
to form a circle and pass through the
first 2F to clear the knot. Pass the tail
through a few beads and trim it close to
the work (Fig. 1black thread).
Round 3: String 1F, skip the 1F previously
added, and pass through the following
F; continue to work tubular peyote
stitch with 1F in each stitch for a total
of 16F. Step up for the next round by
passing through the first bead added
in this round (Fig. 1purple thread).
Round 4: Work tubular peyote stitch with
1F in each stitch for a total of 16F
(Fig. 1green thread).
Round 5: Work tubular peyote stitch with
1A in each stitch (Fig. 1blue thread). Pass
through the 16A just added to tighten
(Fig. 1red thread). Weave through beads
to exit from Round 1.

ARTISTS TIP
TECHNIQUES
tubular peyote stitch
herringbone stitch
fringe
stringing
crimping
See pp. Q+E 48 and 94 for helpful
technique information.

This bracelet should fit snugly,


so include the clasp when you
measure the length of the
band. For example, the clasp
and crimp covers take up about
1", so the band should measure
5" for a 6" bracelet.

BW QE38-40 Goodman.indd 38

Fig. 1: Working Rounds 15 and tightening Round 5

Work tubular peyote with 1A in each


stitch. Place the square stone into the beadwork faceup, then pass through all the As
just added to tighten. Weave through beads to

Round 6:

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Fig. 2: Securing the stone

Fig. 3: Stitching Row 1 of the large petal

MATERIALS

exit from Round 3 (Fig. 2). Note: These


rounds are worked out of order, with
Round 6 attached to Round 1. Take
care when setting up for the petals to
exit the correct round.
2) OUTER PETAL BASE. Work tubular
herringbone stitch to set up a base for
the petals:
Round 1: String 2B and pass through the
next F in Round 3; repeat fifteen
times to add 32B. Step up for the next
and subsequent rounds by passing up
through the first B added in the
current round.
Round 2: String 2B, pass down through
the next B of the previous round and
up through the following B; repeat
fifteen times to add a total of 32B.
Round 3: Repeat Round 2.

Fig. 4: Stitching Row 2 of the large petal

String 1C and pass down through


the next B/I/B of Row 10; repeat
twice. String 1C and pass down
through the next B in Row 10. Weave
through beads to exit the first B of
the next herringbone-stitched stack in
Round 3 of the petal base (Fig. 5).
Repeat this section three more times to
create 4 petals around the base. Weave
through beads to exit the bezels Round 2
from a bead thats centered over a large petal.

Picots:

3) OUTER PETALS. Work flat herringbone stitch to form individual petals:


Row 1: String 2B, pass down through the
next B of Round 3 in Step 2, then
string 1C and pass up through the following B of Round 3; repeat twice.
String 2B and pass down through the
next B in Round 3. To step up for the
next and subsequent rows, loop the
thread between beads of the previous
rounds and pass back up through the
last 2 beads exited (Fig. 3).
Row 2: String 2B and pass down through
the next B, C, and B of Row 1; repeat
twice. String 2B and pass down
through the next B of Row 1; step
up (Fig. 4).
Rows 310: Repeat Rows 1 and 2 eight
times, substituting G for C in Row 3,
D for C in Row 5, H for C in Row 7,
and I for C in Row 9.

1 g sparkling silver size 15 seed beads (A)


3 g gray gold luster size 15 seed beads (B)
1 g metallic copper size 15 seed beads (C)
1 g turquoise bronze luster size 11 seed
beads (D)
1 g beige bronze luster size 11 seed
beads (E)
1 g steel blue size 11 cylinder beads (F)
1 g dusty rose size 11 cylinder beads (G)
57 crystal 2.5mm crystal bicones (H)
20 indigo 2.5mm crystal bicones (I)
15 champagne 3mm crystal bicones (J)
46 crystal gold luster 4mm fire-polished
rounds (K)
75 antique cream 4mm pearls (L)
1 ruby 1010mm faceted, foil back, square
crystal stone
1 sterling 1510mm 2-strand filigree bow
clasp
4 sterling 23mm spiral crimp tubes
4 sterling silver 4mm crimp covers
Smoke 4 lb braided beading thread
36" of nylon .014 braided beading wire
Transparent tape

TOOLS
Size 12 beading needle
Scissors
Chain- or flat-nose pliers
Wire cutters
Crimping pliers
FINISHED SIZE: 6"

BEADWORK QUICK+EASY

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4) INNER PETALS. Herringbone-stitch


the small petals:
Row 1: String 2A, pass through the next
F of the bezels Round 2; repeat once.
String 2A and pass through the following F of Round 2. Form a hidden
turnaround at the end of this and
subsequent rows as with the large
petals.
Row 2: String 2A, pass down through the
next A of Row 1, string 1C, and pass
up through the following A; repeat
once. String 2A and pass down
through the next A of Row 1.
Row 3: String 2A, pass down through the
next A/C/A of Row 2; repeat once.
String 2A and pass down through the
next A of Row 1.
Rows 49: Repeat Rows 2 and 3 three
times, substituting F for C in Row 4,
E for C in Row 6, and I for C in Row 8.
Picots: String 1C, pass down through the
next A/I/A of Round 9; repeat once.
String 1C and pass down through the
next B in Row 9. Weave through beads
to exit the nearest F on Round 2 of
the bezel.
Repeat this section three times to form
4 inner petals. Weave through beads to
exit from Round 1 of the bezel.
5) CENTER EMBELLISHMENT. String

1C, 1H, and 1C; pass back through the


H. String 1C and pass through the next
F in Round 1 of the bezel. String 1A, 1C,
and 1A; pass through the next F in
Round 1 (Fig. 6). Repeat this section
around the bezel for a total of 8 fringes
and 8 picots. Weave through beads to
exit 1A in Round 5.

ARTISTS TIP
If you dont want to string the
beads for the band in a random
order, make up two patterns and
alternate them when you put them
through the bail of the flower.

Q+E 40

Fig. 5: Adding Rows 310 and

Fig. 6: Embellishing the flowers center

the picot of the large petal

Fig. 7: Forming the bail

6) BAIL. Peyote-stitch a bail to the back

of the flower:
String 1B and pass through the
next A in Round 5 of the bezel; repeat
three times (Fig. 7green thread).
Row 2: String 1B and pass back through
the last A added in Row 1 of the bail;
repeat three times (Fig. 7blue thread).
Rows 316: Repeat Row 2 fourteen times
(Fig. 7red thread).
Zip: Lay the beadworked strip across the
back of the stone. Match the beads of
Row 16 to those of the bezels Round 5
so they interlock like a zipper. Weave
through the beads of both Row 16 and
Round 5 to form a seamless join
(Fig. 8). Pass through all the beads
added in this step again to reinforce.
Secure the thread and trim.
Row 1:

7) FINISHING. Cut a 9" length of wire

and place a piece of tape 1" from the tip;


repeat three times. On each wire, string
H, J, K, and L in random patterns using
half of the beads needed for the desired
length of the band, then string 12B on

Fig. 8: Attaching the bail

each wire. Gather the open wire ends


and string the flowers bail, centering it
on the Bs just strung. Separate the wires
again and string H, J, K, and L in random order on each wire to form the
other half of the band. Use 1 crimp tube
to connect each wire end to half of the
clasp; repeat with the remaining 3 wires,
placing 2 wires on each clasp loop.
Remove the tape from the other wire
ends and use crimp tubes to connect to
the other clasp half. Add the crimp
covers to every 2 crimps.
With a background in fashion design, LAINA
GOODMAN has a passion for all media, including
beadweaving, metalwork, metal clay, sewing,
felting, and more. As co-owner of Artful Beads
Studio and Workshop in Pennington, New Jersey,
she has the opportunity to teach classes and share
her enthusiasm for everything artistic. Laina lives
in Hillsborough, New Jersey, with her husband
and their cat.
RESOURCES Check your local bead shop or contact:
Braided beading thread, Delicas, and all beads and
findings: Artful Beads Studio and Workshop,
(609) 737-1077, www.artfulbeadstudio.com.

beadworkmagazine.com

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BEADWORK

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w
p

classic quartet
Roxanne Rogers

TECHNIQUES
odd-count peyote stitch
picot
See pp Q+E 48 and 94 for helpful
technique information.

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ACCENT A FOUR-CRYSTAL CENTERPIECE

with a sparkling margarite, then finish it with an odd-count


peyote-stitched band to create a beautiful vintage-style ring.
MATERIALS
2 g antique gold size 15 seed beads (A)
4 Indian pink 3mm crystal bicones (B)
4 burgundy 6mm crystal bicones (C)
1 foil-backed volcano 5mm margarite
Smoke 6 lb braided beading thread

TOOLS
Scissors
2 size 12 beading needles
FINISHED SIZE: 22mm (ring top)

1) RING TOP. Stitch the crystal and

seed-bead ring top:


Use 4' of thread to string {1A
and 1C} four times, leaving an 8" tail.
Tie a knot to form a circle and pass
through beads to exit from the first C
added (Fig. 1blue thread).
Round 2: String 9A and pass through the
last C exited to form a loop, then pass
through the next A and C; repeat
three times to form a total of 4 loops.
Weave through beads to exit from the
first 5A added in this round (Fig. 1
red thread).
Round 3: String 3A and pass through the
last A exited and the next 4A added
in the previous round to form a picot.
String 1B and pass through the following 5A from the previous round.
Repeat to add a total of 12A and 4B.
Weave through beads to exit from
the first B added in this round (Fig. 2).
Round 4: String 5A, pass through the last
B added, and weave through beads to
exit from the following B added in the
previous round; repeat to add a total
of 20A (Fig. 3). Secure the thread
and trim.
Round 1:

Fig. 1: Stitching
Rounds 1 and 2

Fig. 2: Adding
Round 3

ARTISTS TIP
Use firm tension
when working the
band so the ring
holds a tight shape.
Fig. 3: Forming
Round 4

BEADWORK QUICK+EASY

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ARTISTS TIP
Add or subtract 2 beads in the band
length for each half-size adjustment.
For example, 41 beads would make
a size 8 ring; 43 beads would make
a size 9.

Place a needle on the tail thread


and pass through the nearest C.
String 4A, the margarite, and 1A;
pass back through the margarite.
String 4A; pass through the C opposite the last one exited (Fig. 4). String
4A; pass through the margarite and
1A and pass back through the margarite. String 4A; pass through the
C adjacent to the last one exited (Fig. 5
blue thread). Repeat the thread path on
the opposite side to reinforce and center the beads (Fig. 5red thread). Secure
the tail thread and trim. Set aside.

Center:

2) BAND. Work odd-count peyote stitch

to form the ring band:


Strip: Use 5' of thread to peyote-stitch a
strip 31A wide (or an odd number of
A long enought to fit around the back
of the finger) and 7 rows long, leaving
a 6" tail. Weave through beads to exit
from an end A in Row 3.
Connection: String 4A, pass back through
the first A of one picot of the ring tops
Round 3, the nearest A from Round
2, and the third A from the same
picot. String 3A, pass back through
the first A added in this section, and
pass through the end A in Row 5 of
the strip. Repeat the thread path to
reinforce and weave through beads to
exit up through the end A of Row 1
(Fig. 6).
Picots: String 3A and pass back through
the last A exited on the strip to form a
picot. Weave through beads to exit
from the end A in Row 7. String 3A
and pass back through the last A
exited (Fig. 7).
Repeat the Connection and Picots sections to connect the other end of the
strip to the ring top.

Q+E 44

Fig. 4: Stitching the

Fig. 5: Finishing

first strands onto


the center

and reinforcing
the ring top

Fig. 6: Connecting

Fig. 7: Adding

the strip to the


ring top

the picots to
the band

ROXANNE ROGERS is a self-taught beader


and has been beading for about four years.
Her inspiration comes from her son and
daughter-in-law.
RESOURCES Check your local bead shop
or contact: All materials: FusionBeads.com,
(888) 781-3559.

beadworkmagazine.com

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BEADWORK

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YOUR BEADING COMMUNITY

gatherings
Michelle Mach

PORTLAND BEAD SOCIETY

ongtime Portland Bead Society member Carol Perrenoud


recalls the groups first meeting
back in 1988. It was standing
room only. We didnt know so many
people cared about beads. Now that
this Oregon group has grown to about
400 members, she says that its unusual
to have fewer than 100 people at their
meetings, most of which feature nationally recognized speakers, such as Valerie
Hector, Gail Crosman Moore, and
Sharilyn Miller.

To raise money for its activities,


the organization hosts a two-day bead
show each November, attracting more
than 75 vendors and 1,200 shoppers.
A second annual show, Art and Elegance in Beads, gives members a venue
for selling their finished work. This
show is held jointly with other guilds in
the area, but the societys support for
the creative community doesnt stop
there. They also purchase beadwork for
Portlands Museum of Contemporary
Craft and the Bead Museum in
Glendale, Arizona.
Not surprisingly, members generously share their beading skills. One
member, Bobbye Brown, aka The Bead
Lady, regularly visits schools, shelters,
and childrens groups, using beads as a
way to educate people about history and
geography. Others volunteer to teach
classes at the childrens hospital and
homeless shelters.

From her booth at the societys annual


bead show, Bobbye Brown shows off
a colorful display of beadwork from
around the world.

Access to inspiring speakers is just


one benefit. Members can apply for
education grants to fund bead classes
or borrow from a library of 1,300 books,
magazines, videos, and DVDs housed
at a local bead shop. They can attend
the groups annual retreat or compete
in its bead challenge. Last year, the
society sponsored a traveling display
of its members beadwork that rotated
to area libraries.

Q+E 46

Carol Perrenoud took first place


with her whimsical purse in the
2010 Margaret Scovil beaded bag
competition held at the societys
annual retreat.

The society purchased Jennifer Gallaghers


Sweet Glass Basket through funds raised
for its museum gift program. The piece
will go to the Bead Museum in Glendale,
Arizona. (You can see more of Jennifers
work on page 40.)

For one member joining the Portland Bead Society was a life-changing
event. When Teresa Sullivan joined
nearly twenty years ago, she was mainly
interested in trade beads and their history. But exposure to seed-bead artists,
such as David Chatt and Joyce Scott
helped develop her interest in beadweaving. Now, Teresa teaches and
exhibits internationally, her interest in
beads transformed from a sideline to a
full-time career.
Society President Karen Bettin notes
that with so much going on the challenge for members is keeping a balance
between helping out with these wonderful activities and still having time to do
what we love: bead.
Learn more about the Portland Bead Society at
www.beadport.com.

beadworkmagazine.com

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What If Your
Workbench Could Talk?
From setting up your workspace and selecting proper tools and materials to mastering techniques and exhibiting your
work, The Workbench Guide to Jewelry Techniques is your trusted companion for all your creative jewelry projects.
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Interweave products at your local bead shop or independent craft retailer.

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more techniques
B E A D E M B RO I D E RY

For single stitch embroidery, begin by passing


the needle through the fabric, from wrong side to
right side, at the place where the first bead is to go.
String a bead and pass the needle back through the
fabric right next to the bead. Pass the needle back
through the fabric where the next bead is to go,
string 1 bead and pass back down through the
fabric. Continue. Note: Use bugle beads between
2 seed beads to protect the thread from the sharp
edges on bugle beads and single-stitch as one bead.
TENSION BEAD

A tension bead (or stopper bead) holds your work


in place. To make one, string a bead larger than
those you are working with, then pass through the
bead one or more times,
making sure not to split the
thread. The bead will be able to
slide along but will still provide
tension to work against when
beading the first two rows.

WIREWORKING

To form a simple loop, use flat-nose pliers to make a 90 bend at least " from
the end of the wire. Use round-nose pliers to grasp the wire at the tip; roll the pliers toward the bend, but not past it, to
preserve the 90 bend. Adjust the pliers as
needed to continue the wrap around the nose of the
pliers. Trim the wire next to the bend. Open a simple loop just as you would a jump ring (see below).

The overhand knot is the basic knot for tying


off thread. Make a loop with the stringing
material. Pass the cord that lies behind the loop
over the front cord and through the loop.
Pull tight.
S Q U A R E K N OT

To form a wrapped loop, begin with a 90 bend


at least 2" from the end of the wire. Use roundnose pliers to form a simple loop with a tail overlapping the bend. Wrap the tail tightly down the
neck of the wire two or three times. Trim the
excess wire to finish. Make a thicker, heavierlooking wrapped loop by wrapping the wire back
up over the coils, toward the loop, and trimming
at the loop.

The square knot is the classic sturdy knot for


securing most stringing materials. First make an
overhand knot, passing the right end over the left
end. Next, make another overhand knot, this time
passing the left end over the right end. Pull tight.
S U R G E O N S K N OT

The surgeons knot is very secure and therefore


good for finishing off most stringing materials.
Tie an overhand knot, right over left, but instead
of one twist over the left cord, make at least two.
Tie another overhand knot, left over right, and
pull tight.

FRINGE

Exit from the foundation row of beads or fabric.


String a length of beads plus 1 bead. Skipping the
last bead, pass back through all the beads just
strung to create a fringe leg. Pass back into the
foundation row or fabric.

O V E R H A N D K N OT

To open a jump ring, grasp each side of its opening with a pair of pliers. Dont pull apart. Instead,
twist in opposite directions so that you can open
and close without distorting the shape.
H A L F - H I TC H K N OT

Half-hitch knots may be worked with two or more


strandsone strand is knotted over one or more
other strands. Form a loop around the cord(s),
pull the end through the loop just formed, and
pull tight. Repeat for the length of cord you want
to cover.

G LU I N G

Place a sparing amount of glue on knots to secure


them (we recommend G-S Hypo Cement or clear
nail polish) or use enough glue to completely
secure beads to a surface (E6000, Terrifically
Tacky Tape). Allow any glue to dry thoroughly
before continuing. Seal large glue-beaded surfaces
with Mod Podge.

These basic instructions are for techniques used in this issues projects and are from The Beaders Companion (Interweave, 2005).
Dont have this popular book? Call (800) 272-2193 or visit interweavestore.com.
Q+E 48

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