i) projects * Easy crystal cuff * Wonder Beads » Lacy beaded egg April 2001 Issue #42 $4955. 95 Camda Creative Ideas for the Art of Beads and Jewelry Design affordable gemstone necklaces Create a 3D lariat =“ v sou bedanabton en Unleash your creativity | li with polymer clay mM)What’s your angle? Versatile right-angle weave bracelets go sleek or showy by Chris Ward Jmters provide ample reason to stay inside, and inspiration often kes in a stuig, toasty house while the wind blows outside. [ developed this right-angle weave variation bracclet on just such a winter's cay when I was bored with braclets Pd made using only ane row of ri le weave squares Toor ore substantial piece, [ackled another row onto the original cight and joined them. The t beads x Then I pinched th ar tube this creas makes an excellent base forall kinds af embellishment, Ne ok the design a step further, ad ish in any style to the sides af the triangular tube, Now I had four surfaces to cmb from fan or casual to tailored,contents 4) Cots & Domes | b Witehner 4 Stroud batons | for an elegant brace New Dimensions by Pat Chiowarie | jo het c 46 Make a three-sided edie yom; sve ohn saquate-sttch lariat aie vied, nak sae | Frills and Theil COVER 68 into tenty SG STOKN en Anabundance of fringe Beaded Epgstravagance | 2 simple ih ange weave 5 rakes an exciting necklace Kevin O'Grady by Janice Yankeo i cebelishing to you beats cotet bby Dan Adan Embelsh an egg 48 Master of color and form with New Ways to Think About 6 ll 7? Polymer Clay — by Carol Steinman Zillaens te Only Looks Expensive Wonder Beads Unveiled Tapestry techniques take clay by Sarah Lad Sue Hackson and into the realm of fine art Designing gemstone jewel dy Huck with seed beads Learn to design and embellish hollow S| cm 64 a Tapestry Techniques with Polymer Clay What's Your Angle? 76 by Carol Steinman Zillacus by Chis Ward Reversible Flower Earrings bracelets go sleck or showy by Georgia MeM Versatile right-angle to make sith peyote stteh see page T2 You ase frit You gt! Sue Jackson an Wendy Hatick share the special ehaiqus fo thet halon Weeder Beadsse page 56 Long kn fr is elegant. durable glass bung races Kev Grays chewon and qual none soe page a Carl iliac uses paler cay as Dain and ie to create one kind lapestiypantings and ey 5 a 4“ 8 2 % 2 33 departments From Alice's Desk Tips & Techniques Neelele bracelet, cleaning glass bead beads in bons, extra-long thea, pin less beading needles, comfortable cachet nok, better ops for button elasps Your Letters Origins Fabulous fakes Pattern Gallery Will, ite gi blue For Beginners Easy elegance with memary wire Your Work Chie & Easy Tie cut estalized Simply Earrings Twists and uns News & Reviews Books — jewelry designers, Precious Metal Clay, beaded cross ste; plies and cuter; earring fining: polymer clay transfer video Calendar Beada Button Show Classes Basics Right: angle weave, circlarright-angle weave, ever-coun cirelar pote sich, square kno, surgeon's knot, al Hitch knot, double half teh, making loogs a ees, crimping, wrapped loops 110 Ansthing Goes Sarah — my neighbor How to Reach BrastButor hen neg tn ee) 252116 87 ita Beatin OB to? Maes, sat6l2 Cony rect To Subscribe Aconunet saieagent le hg lp ju Te Adrentise Sin eau at 88) 58-15, ‘ows oat, On he coves Glossmaster Kevin O'Grady’s bracelets fs spill out of ts fevforay wes Phe by Bil ZahackOFQINs Fabulous Fakes by Alice Korach with Bill Boss Zi beads, sacred bead usualy pla agate beads with man made light and dark bands and eyes. Tabular lak mk ~ sheep eye), round, at sth id then pre have appeared abou th types. di beads are generally believed to thou realm of the gods, Tales of miraculous survivals by th protected by €Zi in deadly accidents abound. They are bring wood fortune, wealth, and se. To many older Tih manmade is offensive and incon litionally, dZi that are bands knovwn as chung dZi and are ess vahuable and less ccivable, T potent than those with eyes called “pure” isan oversimplification byt generally th 2 fect circles} adi has the more desirable itis. In today’s market a good two-eyed 4 sells for $1,800 the more eyes (ps t0 $4,000, and a good nitie-eyeel dZ double sky door dZi could sell for up t0 $100,000 o¢ more, Because of Tibetan culture and are still traded, particularly by Khampa Tibetans (the legendary om grassland steppes) the local value of dZi value of dZi common 1g those cultures them. Even broken ine dZi are valued. The broken Zi at top left was carefully mounted i hhonor it and make it w borate silver cap t0shape of the hole is often oval from years of string wear (one side of the bead is often heavier, causing uneven wear), You're s0 likey to see polished, dishing on the ends of the bread caused by neighboring beads over many generations, There may be some ch ind the hole, but hopefully the damage is old and has moath over the Zi beads, ike any x. But it was re scarce and valuable, have vely easy to tll a fake dZi rmically bleaching of staining the agate were guarded secrets that had been obscured throughout the ages; but persisteat U/i fakers have developed techniques that successfully mimic real Zi, sometimes making it difficult even for the trained eye to differentiate, Hand bow-d ts can be reproduced, string wear can be sim and “old” damages applied. Most ‘of today’s best stone fakes still come from Taiwan, but beaut white markings are said to come from China and are believed to be up to several hundred years old The strand of faux d7i beads on p. 18 contains one real dZi Can you find it? The ide ofthe following, raterials, and some he glass lampwound Sunwest Silver displays one of the largest selections of charms, Dreads where the breaks dnd chips have been worn senooth with age. Most of the stone fakes come from Taiwan and are con temporary. Some be weighted with a lead core 1 simulate ners are mete own bead across re. It lightweight resin. T a weighted lity ofeve on the strand is made from the knot isa broker shows ald wear, attesting to the des older fake One of the chung Zi fak Buying dZi these days isa risky business. It helps to know and trust the traders from; and they, in turn, should bye knowledgeable and able to trust their sources. Aceording 10 Bill it’s always a good idea to obtain a guarantee of authentici ty, Owning a dZ4 isa highly personal thing, and people often. feel a strong bo lucky enough to find fakes, some old and them. @ collectible, are accessible O47. findings, beads and cabs. P.0. BOX 25227 WHOLESALE SHOWROOM 324 LOMAS BLVD. NW ALBUQUERQUE, NM 87102 (505) 243-3781 FAX 843-6183 Pe/MB IMPORTS Sabweosir’ mnar40 pa trern willow Have blue Detft and willowwate ching patte aspired by these designs, I charted this pattern by hand and later transferred ito» Bead Pattern Designer. This is ny first attempt at pattern design and the first piece | have loomed. arate, asta FasPWhebod bs Walaa oh Mea A oss be AZ SEE 9 Mlrker Sao: gL WMINCMEL Teh’ Se, & ‘ell tee company Os : ih Little Girl Blue You Love T designe this pa ‘ouk sturcmiox ] | term with Bead OF stun peas. scape 200 maken tubular peyote anmulet bag. The pattern ses 11 Goeth 11/0 814/098 12/0, Japanese cylinder ITE IS es yb beads. The back o ‘Wialion “Hite” ty 14/022/0 Send Bos. Freche hs 8d ae cdo 11/0, 14/8 18/0 sali 5/0 1 10/0 us Kings msgs | Rachel Brn. ‘ang 93 Fenc Ceh nds eo Meroe ae, cxipe eri 0yer}bas | 1m a ny sigs ses pats cs] | ye esgn a canes —————— poten yu ae esi 5/08 Beod & Button Milwaukee Boch 602 | | rats seal vite 5/24 Bead Expo 2000 Mini foot 39 Visit our brand now scan ces incising ive Pease sod Na cy py br ators wpb sh. witetoes mui: infeGEmpyrounbocits.com || [er & W print catalog $2.00 FO, Box 46538 Seale, WA 98146 206) 937-4146.for beginne Easy clegance with memory wire by Mindy Brooks, The sheer ease of working with mem: ory wire isa compelling reason to give these projects try. But here are towo quick neckhices that keep their modest arigins a secret stepbystep crystal necklace Make triangular findings for the crys: tal dangles andl attach them to short lengths of chain, (Buy a few extra crystals in case of breakage.) Use seed breads or bugle beads to cover the © Determine the finished length of your necklaee, auld an inch (2 for finishing, and cut the memory wire with heavy-duty wire cutters (Memory wire will ruin ordinary wire cutters.) The necklace shown above was made on a 19-in. (48em) wite @ Make a total of 12 crystal dangles as fo a. Cuta Lin, (2.9m) length 22-gayge wire, Make the first bem in, (6mm) from the end of the wire using chainnose pliers (phote a). b, String a teardrop crystal onto the wite's longer side and slide it inst the bend. Grip the wire next tw the crystal with the tip of the pli- cers, Hold the pliers iemly and use triangle (photo b). The second bend ‘sabout in. (Sem) from the first «€. Use chainnose pliers to bend the wire above the triangle, centering it. String a bicone crystal ont the wire (photo). 4d. Approximately in. of wire will protrude from the bicone. Make loop (see “Basics.” p. 94) plane asthe triangle a sho inthe template at © Cutthe chain into 11 sec, tions as follows: four 3-link — 2S sections, four Stink, two 7-link, and ‘one 9ink. Open the loop on a dangle (photo d) and slip it onto a link atthe end of one ofthese chain sections, Close the loop tightly @ Side the top link ofthe 9-link dangle onto the memory wire. Add approximately % in, (em) of seed beads or bugle heads between dan ‘es. String the dangles for one side of the necklace as follows, adding beads beadendbotten.com between them: 5-link dangle, 7-link, 3ink,S-link, 3-link. Repeat on the opposite side. @ Make sute the dangles are tered and positioned to your ki along the front of the necklace. Add soed beads or bugles to within iin. {.3em) of the memory wire’s ends, Using roundnose piers. make a loop teach end ofthe wire (photo). Be careful as you work: memory wite is stil and can break its bent sharply ror rpeately @ Hiang the remaining d ‘one ofthe memory wiee loopshematite necktace This necklace features hematite accented with dangles of Czech window beadsand pevster charms © Cur the memory wire to size sep 10m p. 26 @ To assemble cach dangle, make small oop at one ond ofthe 22-8 wire (sve "Basics") and hang the charm. Steing.on a window bead, cut the wite in. (man) above the bead, and make another oop in the same cas the firs les on the memory tubes betsecen wire with 2 her «ach, Finish asin swps Sand 6, © Because the hematite is heavy and pulls the necklace forward, add a hook and eye clasp to the memory ‘wire loops (photo . Hang the angle ona loop if desired. @ th Mind Brooks isan associat BeadButton, edior of materials both necklaces Memory ite neelace diameter Tools: ound and chainose prs, Aiagonal we cules, heavy ty wie caters onpstalnecktate 1 1 Pig sed beads sie 9, 10%, 19, o sive bugle beads #126 10m Toacéop crystals © 124mm Crystal bicnes 1.3m) Golétiled 2.2m cable cain © 28 Gem) 22-gougo Gald-tied mie 012 Fine gauge pins hematite neckiace £1-2 16.0. (Atom) Stands 480m Pusnatite tubes + 9.6mm Czech gloss window beads = 9Penter feathers 1 22-gauge Seting iver wire ar Boye pins Hook ad ye clasp JOYCE ROOKS Iie She St = Chie, VA 2 Iau 2-5 dancer CATALOG Featuring: # eding Supplies and Toots * Jeweler’s Tools and Supplies * Books © Foredom Hand Power Tools for Crafters and Jewelers ‘# Tumblers and other Lapidary Equipment for Polishing and Carving your own Gemstones CALL 1.900.253.2088 On Wier FOR YOUR FREE COPY TODAY, FONT ACCCCS DIAMOND PACIFICGiralté Gems and Beads: chic@*casy The Cuff Crystallized by Pam O'Connor “Raining Boads onto Bead Deserts” Tania ale ap Oe A wT RTO Ts Swing enw Nowy - Pam NN SET ibe 0188 Ena SeadsiomnanalcoM Myculf'selegant shimmer pull it into a bead, belies itssimplicity. ness @ Thread ancedlcon the 7 than we hors, you canbe off longs cnd and continue The Beadin’ Path to the ball. A flash of your eoughn gfom, sng wrist and ne coach (or yellow gveen eryatal on the circle cab) could resi stopping for String blue a green, and a blue crystal Gio back through you. It's ‘quick rows of igh the last green crystal sewn. weave can do! The may through, Continue sven in the aueora borealis fire-pol- second stitch through ished erystalsthathavean andl a green crystal, St aqueous glam, suggesting blue, a green, anda blue ‘moonlight on water crystal and sew back through the last yecen crystal on the | stepbystep { Contive sing’ bead Vintoge Glass Beads, Old Swarovski 8 i re orgs Ces nate, Ot sor Srpateentauicue — mdstihecan Slope rang hetmecn Visit Our Online Bead Store: to stabilize the edg OC" yd.2.3m) o€Gos-—tolinkthee Inipy/Awwvebeadinpath.com Farge anes crystal ancl sow through the 4 last gyeen erysal inthe chain together samer Hoss Sting. crystals, (phetoa). el atemating blue and green. @ Tostat the second ro, 15 Main Street Leave a2%f1.(75een) lailand sew through the next 3 beads. Freeport, Maine 04032 oll Free: £ (877) 92-BEADS, tiethe crystals into.a snug.ir- of the connecting stitch, exit square knot (see inga blue erysal. String Glue the knotand green, a blue, and cle with Whose Reta - No Printed “Basics sen andMelissa Perry chic&easy Rosary Workshop.com beadsong@hotmail.com - online catalog only D rosaries & chaplets - religious jewelry medals - crucifixes & supplies ened eee te eae a ' {Gf TRI-CORD, INC 2625 Aubin Lane Baton Rouge, LA 70816 www.tricordinc.com % 800-726-0210 The TRI-CORD knotting toot inthe first stich, shown with the new station- spacing attachment for making “tin cup” necklaces. Call your dealer for details. Available December 2000.wow. bead!patierns.com Front ined Ss Onien Seiea Ony Sin Greer mised sizes of beads 2 noodles + naive: | SUOMI Zasde 5 $45.00 + $5.00 s/h May 12 &13, 2001 Spokane WA. 99203 1106 3) eat scammer com semange ee cam wal Koma gly Contoe Soames | [ez dt ¢ Gus) Se eet Bend merchants, arth, 005 W. 17 fo. juried sass Kmcre! ‘Soa 7038 To reseve a space 0 fr more hforcotact JAuaska Women’s Resource CENTER| (907) 279-6316 C WILD THINGS That Canadian $19.95 pus $3.20 portage Beed eriersova'er Valerie Hixson Like Animaler | | Zeedy-com Ssteee | This esi you ® Spe Miyuki Delica beads © and Fine Seed beads from Japa Featuring exchesive That Bead La ra 5 necklaces, and bracelets. Pls ‘selection of beading. Books, BEADWOVEN NECKLACES Loom Beading Techniques by Virginia Blakelock Loomwork requites a needle, thread, beads, and a simple frame loom. In this cours. you wil make a necklace. The design is cluded along with tps on constructing a simple frame foom. You lear about beads, needles, and thread selection as well asthe basic process for increasing, do creasing, folowing a pattern, and fishing options. 82min $30.95 plus $4.25 shipping. Ask for our free Video Catalog YARN BARN 930 Massachusetts Lawrence, KS 66044 CALL 1-800-848-0284 3 @ Swtheo the inside ofthe row. Tie two half-hitch knots (see “Basics”) close to a crystal and glue the knot. Pull the knot into the crystal After the glue dries, stretch out the tail and cut it so that the end pulls back into the crystals to the crystal @ Thread a needle on the long tail. Add a thied row on the other side as in steps 4-8 @ Tread a 10-in, 25cm) a blue crystal on the tall Stringa silver crystal. Sew the neat blue crystal und the entire edge When you have strung the last sdver crystal, knot the ends ily with a surgeon's knot © "Basics") (photo d) and Sew the thread tails a crystal on cach side throw and pull the knot into a crys tal. After the q dries the tails, Repeat on the oppo: site edge. © Pam O*Connor isan associate tito of Bead Button,i CHIMERA — GLASS WORKS re caritanin oF Tt simply earrings Mas. $2001 ‘Twists and turns Lampwork Beads by Ani Comebell “prison seraare a gly oe 6 $ 3 < ¥ Station by Wendy Witchner T= playful earrings are a great introduc wire. Using APMe Pacific Ave techniques, you can 1 bend wire into the dia- in, (10cm) mond or triangleshapes length of wire, Using shown hereorcome up roundnese pliers for softer nationally town | with your own desi bends.and chainnose piers Embellish your earrings for sharp bends, bend the le. eam (253) ey ¢ enjoy the compliments. on p. 39. Star with the < or 1-888-500-B1 : Ul loop at the center Wise mote site : stepbystep igure, point a) and work Sade now programe & around the diamond shape a show program, { Make these earrings til you reach po Aq including the post, usinga — @ Witheithe f single length of wire bent felt on your work surfaceand on your hammer, gen Hy tap the wire shape to Matten and strengthen it, Be ‘careful not to hit the remaining unbent wire. @ bsech bend the wireat a sharp, angle at point b so it passes in front of the center of the shape. bead, one dim erystal, and silver bead onto the wire and trim to in Sem) (photo a. ‘sin, (1.3em) from the cut end of the wire and bend it at 2 90° angle soit passes through the center of the earring and forms the earring post (photo b), © To make the dangles, ‘cut 3 lengths of wire rang. ing from 1 to 1 inches (2.9-3.8em). Use the ham- ‘mer (this time without felt or leather) to strike one nd of each piece sharply to flatten it (photo e) @ String silver beads and crystals onto each dangle as shown in the photo at lef. Use roundnose pliers to twist and bend the dangles neresting shapes. Finish the dangles with loops (see “asics,” p. 94), ‘open the loops, and hook the dangles onto the ear ring so they rest in the sharp angle made in step 3, @ Reverse the template when making the second earring so that it isa mirror image ofthe first. © nose pliers to Wendy sa contributing edi tor of Bade materials ‘+ 18in. (46cm) 20-gouge Ste Ving ive hall-hard wire rim Costa bicones + 25mm Cypstal cones + 26em Casta bicones + 18.2nim iver beads * 23m Sirer cists 1 Pat ear nuts eating bake) ‘Tools: round- and channose pliers, we cutters, hamster, ‘mall anil (or ote solid sur ace for hamming wie), ft or thick leather AO Unique beads from around the world ANI ‘The most comprehensive collection of quality beads & found underone roof! Specializing in vintage and new Caech aed German glass (Over 1500 colors of seed and bugle beads sizes 6/0 t0 14/0 & Deticas ‘tian and Caech ey Mealeasamns GP Sten iver and gos fl cha chain, wire and findings Wide selection of findings, toa, books and stinging supphies (Ot and rare wade beads Bone, horn, shell wood | Vinwage and new glass buttons CLASSES & WORKSHOPS! Inquire about our newsletter, iting lasses, new products and bes Ihappeniegs in the Pacific Northwest you ae coming tothe Seatle area visi¢ us! You willbe glad you did! Button newsletter &cataog~ $10 per year Sory, no ret bead earleg availabe but we would be happy to help you select your beads. © Store Hours: Mondy - Saturday: 10am. 6 p.m, Sunday iam -3 pm, 25 l02nd Ave, NE, Bellevue, WA 98004 (4259 462-8992Coils Domes Surround buttons with spiraled wire for an elegant bracelet by Wendy Witchner Mrssoom Poli jy wang he y jewelry without causing damage to th form. Im especially fond of vintage steel-cut b er ones, (0 in. (1.1.5) in diameter, are reasonably available in antiques stores, malls and flea markets, The bracelet also looks good made with beads or artists” glass buttons (dichroic glass buttons by Jeff Rogers ~ 650-326-3179 — were use in the process photos). stepbystep Choice of wire for this bracclet depends on the size ofthe buttons or beads and how large you want the dome to be, Normally L use 16- _gatige wire and coil it tightly with 22. uge wire. But butions with ‘mall shanks may require 18: gauge wite, I also recommend using buttons with metal shanks because glass shanks are likely to break when you'te winding the heavy wine around them. It's a good idea to make a sample piece with inexpensive copper wire 0 Figure out the size ofthe dome you want to make. This will save you from wasting precious metal Beade>tasion «Apt 2001 *© a a 18-in, (46cm) length oF 16 gauge copper wite and thread a button donto the center, Bend the wire so that both ends point in the same direction. Wind an insideout cele around the tbutton with the two wires held adiacent @ J normally make 2-3 spirals around the button with the wires ending oppo- site cath other (photo). When you're happy with your spirals, leave about a inch (2.Scm) at each end and trim off the excess wire. Sesghhten the wireand remove the button. Cut 5-6 pieces of Lo-gauge sterling silver or gold- filed wire the length of the sample piece: © Next coil 22-gauge sterling silver wirearound the straight length of silver Wie. estimate about eight times the length ofthe core wire when coiling gauge. Leave about 1 in, uncoiled on cach end (photo b) becau wind the dome, i il slide toward the end, anid if you coil too emuch, you'll have to ‘cut of the excess, Now isthe time t0 darken the wire with Black Max or liver of sulphur if you wish to do so. @ After coiling ll five or six wires, slide the coil halfway off each wire and uti i half, Slide a button ante the core wire and slide the second half of the col hack on the wire (photo) © Tura the button upside down and Pinch the uncoiled portion of core wire (a tight fold at the shank, Hod the core wire end with pliers and keep pushing the col toveard the buttam as you begin a small ight inside with one ofthe coiled wires. Follow it lonely with the ather wice (photo d). I pften helps to clamp the wire at the shank to keep it from moving Keep winding the cirele with both coiled wires, lining them up so the coiled wires end 180° apart. You may need to trim some e @ Leave enough uncoiled wire at each Wl Lo make an eye (see “Basics.” p. 94). Make one eye on cach button dome per ppendicular to the button’s face and the ‘other parallel toi (photoe) @ Link the perpendicular eye of one button dome to the parallel eye of the ‘next button dome (photo f. © Wien you's linked the five or six domed buttons, make 2 large, Koxauge rings with coundnose pli- xs, Make a hook that matches the template at right, Autoch the hook to one end of the bracelet ‘witha jmp sing photo g) and attach the other jump ving to the other cud of the bracelet i 22- gauge wite sround about 12 in (Stem) of 16-gauge wire. Leave shout a. (3.8m) uncoiled on one end and Zin, (Sem) uncoiled on the other. @ Make an eyein the short wire end that fits snugly aren the button shank and wrap the remaining uncoiled wire sighily around the shank. © Wind the button 2-3 times, Where the coil ends i the top ofthe cart @ Bees the wire up away from the button and curve it downward to form an earring hook. For balance the til of the hook should be longer than the front. (photo h). © ed wire around the Wendy isa contributing editor to Beade-Button. | materials | + 5-6 tions, 12-I6mm diam, preferably ‘ith tel sans (2-mare for eartngs) © 2-31 @1-Slom) 16-gavge Copper mie #23 yd. (1.8-2.75m) 16-gouge Sern silver | ie or gauge tof through shank | «17-286, 155-22) 22-gauge Sle silver wire Optional Liver of Suir or Black Mak Tous: und and chainnese plies, diagonal wie cutters Note ire amounts are appcoximate and wil vary depending on numberof buttons, their 1 sine, and numberof coi.Frills& 2 thrills g* a An abundance of fringe makes for “ ge! « an exciting oe necklace boy Ella Johnson-Bentley og:Hove embellishment andl am alvays inspired by onpanic shapes, After 1 learned to make branched fringe, [st cd incorporating it into mse oks ike coal much maven S beautiful matching beads that L owned They were lange almost fin, (2.5em) long. began to think about using then ina nechlive design, and the next thing | ‘knew I was busily beading this necklace pieces, It %0 ant One day [rediscovered stepbystep Strungon lexibe beading wire with nso evimps pe end thi necklace should ast litexime, Hive fan with the design, vary- the ngs and ype © Cura 1949, (48cm) fringes flexible scinp, and 46" eel bead Thread the wire though the hap on the lasp and ack throm the be «rip: Tightn the lap an rip the crimp bea (sc "Basics". 94. @ Suing 6, (16.3em) of 6" see beads. String decorative head an five inte 6 seed beads, Sting ? more deco rave bexus with five 6 sced beads between them, String 6 in. (16.5¢m) of 6" seed beads, materials = 1 Tube 6° sed beads #1 Tle 3° sel beads © 3ecaatiar nt hea + Buy ads (or 3 sizes) © Acotnt beads |stars, Hes, Sr ound, te, 90 0 mere ‘+1 Hank 11° sted beads, 2 1 more coors “Flexi beating wie, sive 019 += Beading nozdles, VID or 12 Nymo8 Hook and eye clasp 4 imps all polish or 6 Hypo-Tube cement about 1, long © Repeat the alternation of erimps.ane beads at the opposite end, Sting the ‘other end of lasp and go back through beads ‘ofease, crimp the crimp beads Qhread a needle with 3 ya. (2.7m Nymo, Knot an 11 se with a square knot (see “Hasies"), Ge the knot and trina the til. Sew through the first head after the second crimp, toward the clasp (photo a). The stopper bead will wedge between the beads ancl ‘won't show when the necklace is embel: ed with fringe. When your thread gets shor, tle it off with two ball-bitch knots and yo up through a fringe loop and Inack to the main strand belore cutting ‘olf the thread, Start all new threads with a stopper bead @ Embelish the necklace with fringes, Start each fringe witha 6° oF 8° sed bead sun! use 11° seed beads and bugles for fringe lengyhs. “Spike” and “loo” varia tions fr the fringe inthe figure, bu tions, For the fist in. (Sem), add only tone small [oop or spike between each bead (photo b). Gradually is length and number of fringes between the beads. You will need to backtrack between beads to acd more fringes, As you near the center, you will be aki three long fringes hetween the beads © Inthe space before the frst decora tive bead, sl three branched fringes made Suing of bread to the end feel free to ereate new varia ease the hy seed beads and accent beau Hy sees bead, an accent bead, 1 sood be skip ds the last bead, an go back th he accent bead and anather seed bed, String 7 seed beads, an accent bead, Int es, ane Js. Turn, skip the through the branch (photo). Sew up beads on tl 2 beads on the main branch, Adkd anoth bran their lengths, @ Bucktrsck one bead on the mi strand and add a fringe, Return to the space before the first decorative bead an makea slightly shorter branched fringe. Backtrack again to add a fringe and return to ada st third branched finge slightly shorter than the seeinel ne. Sew through the first decorative 13 more eanched fringes, going forward a bead to add the fringe h every 20F 3 beads varying 126" beads, Bracket the other 2 dee 3 long fringes between he tive beads with branched fring Aeps6-7, ad each ofthe 6 beads that separa decorative beads © Reverse the patera ss you continue \owand the othr side ofthe necklace, aeiding fewer and shorter fringe there anyone between each bead far the ast in. ofthe man strand. @ Conact Ella at 3311 Nowell Ave, June, AK 984, ellayeisiet oF (9073 468-366, Arse la wi teach ases:“Gtitey Freeform raed Cabo uae Brood” and "Hower Gaiden Mini Annies Bugpolymer clay Tapestry techniques take clay into the realm of fine art by Carol Steinman Zilliacus cand fiber have always bs apart of my. creative life, Asa child, | was surrounded by beautiful and exotic fabrics. Both my parents were involved in the garment industry in New York City. My mother was 4 dress desi i! my father was 2 cutter in a high- fashion firm. Thus, it was natural for me to gravita toward a carcer in art alter I retired from teaching ele mentary school. Since then, I've taught abstract compo- sition using watermed nd polymer clay techniques for the Corcoran School of Art/ Rockville Arts Place, t Maryland College of Art and Design, and other Mary land and Vi {nia art centers. My work is in many Washington, DC, metro-area galleries and art centers. AL first it consisted almost exclusively of painti My style is unusual, Hoften rotate the hot-pressed water color paper as I paint, which allows me to let my inner vision and feelings have free reign without being con strained by: the boundaries of wrdinary perception, such as directionality and spatial position In 1991, I took one of Nan Roche's classes and branched out into polymer clay, pioneering its t painting medium. | work with polymer clay as thant a Rael ee Cie ee i — i A HANH Ai wn { mT rich in form olor, and rhythm. in the National Polymer Clay ¢ the key features of all my a in ways that hay And tharTapestry techniques with polymer clay stepbystep My tapestry technique is based variation of the Skinner blend that allows me to mix and blend a wide range of colors and hues, starting with only three primary colors. Using the blended sheet and a hacking color or patterned sheet, Icut long, thin slices of blended color for my crewel tapestry cffects oF small blocks of blended! color fora needlepoint tapestry effec. You'll need a large, clean work area separate elements on bakery tissites. stack them face to keep € enough space to work. I's best if your workroom is relatively cool so the clay 1 the top of my work sur dito retain doesn’t stick to your knife blending the base sheet @ Condition the red, blue, yellow gold, silver, black, and white clays andl roll them into sheets on the #1 (thick W the pasta machine, Cut ach of the three primary ‘angles should be about 7 in. (18cm) long but should not be of uunifioem widl alternating the colors and push the ‘edges together. Ifthe edges overlap or at’ fine which you join them affects the blended red next to blue yields purples are crooked, t The order in and blue next to yellow yields greens (photo @ Cut the conditioned white clay inter triangles about a third as long as the pri ‘mary triangles and place them on the colored triangles (photo b). You ca place them either en the top or bottom, ly triangles, or asshown, OF out the colored elay under triangles in that space @ Fold the shee n half top to bottom and run it through the pasta machine fold first (photo ¢). If you fold side to side, you'll get mud @ Repeat this process several more times, At fit you'll cea variety of stripes. Sometimes I stop here and cut otf about third ofthe sheet to save for later use. [used cay at thisst blending to make the pin in photo d it you keep blending 2 ofInnes that go from very light to dark. The clay sheet now looks-as though it thas been aie brushed. In photo, I've placed the part ofthe sheet I cut off {step 4) below the blended sheet. @ Now cut the conditioned gold ckay into narrow strips (the width is up to you), usually cut my strips 4-4 in. (3- mm) wide and the same length as the Dlendled sheet. Fither insert them oc just place them on the sheet wherever you tsish. If you place them an the sheet, use a roller to seal them and avoid tapping air (photo 1) I use gold stripes as an accent color. Continue to fold the shect and run it through the pasta machine (1 fol asith the gold on the outside). Asa ‘variation, I sometimes cut stripes from cach color and insert them in another color. After 2-3 runs through the the gold is imegrated but still recognizable, Ifyou want it to disappear as adistinct element, keep running the sheet thre whine, but be aware that the more passes, th ‘muted the colors become. During this process, [often cut one ‘or more thirds off the sheet to preserve the varieties of blend. Even though each sheet looks different, they?re all derived from the same colorsso a work tl several of them has unity. When you're ished blending the gokl, reserve half the final sheet @ Aduling silver triangles not only changes the hue but also ads a shim= ‘mering quality. The bottom piece in photo g shows the effects of adding white triangles, then gold stripes, and finally silver triangles. Black stripes were aduled tothe sheet in the mide vetion, and they have been blended more fully in the top section, basic tapestry technique © Roll the section you plan 10 wse down to.a #4 setting on the pasta machine. Also rll outa #4 backing sheet of well-conditioned clay. Being right-handed, I place the backing sheet (on paper) on my right and the blended sheet on my left @ Like to use a silt NuBlade to cut thin horizontal slices from the blended sheet and place them on the backing. sheet because it’s longer and stiffer than a tissue blade and cuts with great tision, Place the index finger and thumb ‘of both hands on each end of the blade sand set the blade ins in, (3-1.6mm) from the bottom of the blended sheet Press down evenly. Then tilt the blade forward (toward yourself), backward, and forward again so the slice adheres to the edge ofthe bade © Bicing the blade with theslice attached to the backing sheet and place it gently on the sheet. By tilting the self, can get the slice off the blade in just the right place (photo h). De not press down too hard oor you might cut through the backing sheet. Ite slic sticks tothe blade, push t off gently with a needle tool which you can also use to help guide the slice to the exaet position. Ifthe slices continue to stick the blad, rub it witha litle cornstarch blade toward crewel tapestry Tall works with long vertical or hori ~ontal slices crewel tapestry @ we the gold lines on my blended sheet as guides to make geometric designs. Affer cutting and placing the firstslice on the backing, l cut another slice the same width as the first and place it nest tothe frst slice with the old slightly offset. This is how I build tep or flamestitch patterns. Before ‘cutting this pattern section offthe back- ing sheet, place a bakery tissue over it and rub gently (burns the strips are firmly adhered (photo i. @ This piece of crewel tapestry is for the center of pendant like the finished piece next to it (photo © Use a Zoom Finder, which has both square and rectangular moveable open ings that range ftom less than an inch to. more than 2 in, (2.5-Sem), to locate the ‘best design on the piece, Set one of the openings to about lin, (3.8em) and dust the back ightly with cornstarch, Then slide the Zoom Finder around on the piece, experimenting with the size and shape of the opening until you find the best looking area (photo ky) ) to make sureCarefully cut it out with your blade or an Xacto knife. Then decide whether rectangle ‘or change its shape. I work on clear Plexiglas placed over graph paper to haelp me cut straight lines. @ Place the piece on aarger sheer of the background eoloc, Whenever you sda layer, roll the neve layer in place slowly from bottom to top toavoid trapping ait. Then cover it with clean bakery tissue and burnish gently, Put this piece aside umtil you've completed the next step. As you can see, each fin- ished piece has many separate clements added to the original one. you want to leave the pices needlepoint tapestry Works with many small blocks of lay that look almost like mosaic [cll edlepoint tapestry. © Cut ices as for the crewel technique but set them on a background piece with a space between each slice th the same width as the slice, Don't offset the colors this time. Lay down 6 slices and cut tis section away from the remaining background sheet (photo D) Rell out another background sheet 25, Turn the 6-slice sheet so the slices are vertical and put it to yout left Place the crewel design eleme new background sheet with background onthe extending on all sides © During the next steps, you'll be materials + Premo Sculpey: scarlet ed, cadium yllon, ‘es peat, white, gle, sis, blak Pasta machine * Role = Nace (oth tif and Hebe biades) * Xactobile Hei tol ‘+ Kenper Lace Tool + Bakery oral tissue paper * Comstarch + Zou Finder (art Way (301) 482-0835, pojmer@erns com) * Wetlry sandpaper: 200,600 80,1000. 1500 and 2000- gt auto supp stored ' aking a lat of design decisions: How wide should your strips be and where do ant to place them? What color or should the strips be? You can eut horizantal strips from any part of the vertical strips (photo m), You can even cut diagonal strips. You might go back to the original blended sheet and use it. I frequently alternate crewel and need point elements and often use sections of ‘one color from the blended sheet (photo n). When you are experimenting with design elements, place them lightly on your work, Use your needle tool to help lift them if you want to try another arrangement, You ean also add texture with a needle tool, as.on the piece in Photo o, When vou're satisfied with the design, place a clean deli paper over the work and gently burnish it with your index ti finishing techniques @ 1 bake in a full-sized oven dedicated to polymer clay, but a convection oven also works well: I place my finished work on bakery paper on a cookie sheet and bake at 250°F (120°C) for 30 mins ues, While it's sil hog, [Moat the piece co the hakery tissue in a bowl of very cold witer, which gies ita convex shape, and leave it unt i's really coo. @ Next 1 sand all sides gently with vwetldry sandpaper, starting at 400 grt and working through 600-800, 1000-» 1300-, and 2000-grit. rinse between changing grits and do only 4-5 strokes per grit, except for 2000, which I stoke longer. Be gentle you dow't want to remove any parts of your work. Finally, 1 polish the piove with my Foredom buffer ora piece of old denim, © 1 like to use pin backs that include a bere, ohich I get fom Rio Grande (800-545-6866), and adhere them with Zap-A-Gap. Do not move the finding ‘when you hve placed it on the glue or the seal won't hold, © Carol is working to bring polymer clay into the mainstream art worid. Ske flo a ge cerous teacher. Look fo fatuce articles by her in BeadesButton. Contact her by e-mail at cnrolze@eoncentri.net ee write or eal Pat Branch Studio, 13303 Collingwood Ter Silver Spring, MD 20004; (301) 2386-4395mensions CLS aS aeons a amet ea maa bby Pat ChiovarieGn ae tering ead ihre Seok of threads to tie off and hide. Once you're donc, you are DONE arotind, I came up with this ‘square-stitch variation [ call “triangle square stitch.” Aft variety of necklace styles, I realized it ‘makes a wonderful choker lariat tha ina loose, open knot. Beaded-fringe tas sels made with cha finish the ends. You work triangle squae stitch in a pyramidical shape with 2-, 3, then 4 bead groups. The groups are stitched thrce toa row and develop into a trian gular rope. I ike to use a different color for each side to maximize the impact of the lariat. Covering the exposed seams with sced beads in a metallic or con: tuasting color completes the body of the necklace. Before you tie the lariat, rst ita bit, allowing the different colors to spiral around your neck. ngit fora mis anid glass beads stepbystep Use round ssl esds forthe cing because eyinder beads move off the nln and fay the theca. The ed also reeves the most we 0 choose nonegalvanized beads All th beads need to have hoes bi take several passes of thread. You will nce oad thread several ies in thi Projet. Here isthe best method Ive Found: Make half-hiteh knot (se asics.” p. 9) agains the fst bea ina att, go back theough 2 beadsin the tow, knot again, pull the thread tough the res ofthe sth, 1 color, 33-in, (Rem) bs nd clip. se instructions are for a three iat. Colors usec X process photos are specified. @© Ona 3-yd. (2.7m) length of Nymo, 1g2 violet, 2 aving a ti (oem) for the f a snug circle with a square knot (see Basics”) and glue the knot © Pick up 2 violet beads and sew back through the violet beads on the circle str and 2 green. and back again through the beads just added (Figure). Pick up 2 opalescent beads and sew back through the opal. 1 heads on the first rose and back agin through the heads just added, Add 2 green beads in same manner. Add another row of 2-bead © keepeat step 2 with 3b stich (photo a). Add thece rows of 5 bead square stitch @ keepeat step 3 with 4 beads im each roup {photo b). Add roves of 4-bead sqquate stitch until the hvit is about 32 ci) long © To uperthe other and Sia reverse, adding bread square stitch then thece rows of 2 bead square stitch. Knot the thread with a double half hitch knot (sce “Basics") and luc the knot, [Fpossible, lave a tal of 18 incor more on this en for the tas © To cover the exposed seams, back itch a gold seed bead at each row: Knot your thread onto the first oss and string a sced bead. Go under th thread of the firstand second rows. String a bead and go back under the scam thread for the second row, coming ‘up after the chied row's seam thread {photo ). Tie ahalE-hitch knot every 4 fr Sbeads to secure the edging. Angle your neclle in the same direction with cach stitch so that the beads are aligned, Add beads inthis manner until you complete the seam, Repeat on the other two seams, @ To make the fringe tassel end, thread a needle on the tal and string 3 large bes to plag the lariat end. String seco beads, decorative beads and charms toa length of 13 in, (2.5 se bea ups xlsin each work steps 2 7.6m), String a “stopper skip its and sew Fringe (photo a), the plug bead, and ‘one side of the first row of 2 seed beads. Go buck out the plug bead and make another fringe, varying the Fringe length. Repeat, Sew up a few rows into the lari with two halfhitch knots and glue, At the other end of the lariat, add 3 fringes in the same manner, © and knot your thread eff with Contact Put by mail a PO Bia 25297, ale, WA 98125 or by phone at (206) 168-5530. You can view be woeoremalolsccn ‘11° Seed beads in 3 colors, {hank or about 20¢. ofeach enor ‘+ 11° Se1d beats, gol or iver, 1 hank ot about 20 6-20 Decorative beads and charms for finge ‘2 Latge round beads (8mm oc arg) ' Namo B oc in matening cole * Boading needles, #12 © G-S Hypo-Tube cement or cleat mail plshGrady master o! by Dan Adams ‘You may have seen him, tall and lean with a battered leather cowboy hat, in front of a dazzling display of bracelets, marbles, and beads at any of the national bead shows. Perhaps he was selecting a bracelet ~ the perfect size and color — for a customer. “Usual- ly, if | pick a bracelet for a woman, it will be the one she falls in love with,” he says. Or, perhaps he was patiently explaining the technical intricacies of his craft Kevin O'Grady ie a speck 16, Kevin left home early and bracelets in his spare time. In kind ofartist~a master of color followed an equally meandering half year, people were buying unl form as well as a superb career path, in turn a college fiven day from Kevin. Soon, it ‘ralisman with an intricate feel staxlent, clectrician’s apprentice, reached ten, and he was able to for his material. And, unlike ‘construction worker, and {quit some of his part-time work most glass beadmakers, who use United States Mari and concentrate on glass sft soda-lime glass, Kevin relies He drifted to Santa Fe and [As Kevin’s ability grew, Ann ‘an borosilicate glass, which fell in with its vibrant art scene incorporated his pieces into her hot to work with and has colors and free-spirited lifestyle. In lin, bus it was time for hien to thal are difficult to control, That three years, while working sev- strike out on his own. In 1990, technical challenge informs eral part-time jobs, he learned under the aegis of Lewis Wilson, much of his work tmetalsmithing from Wayland Kevin participated in a lamp. Like most beadmakers and Peaker and ting from Wark glass show at Crystal Fox slassworkers, Kevin's path to Randy Iwanski gallery. There, Paul Troutman this art was circuitous, Born an ‘of Northstar glas offered army brat, he lived in 17 states bracelets ‘encouragement and praise. The and 2 countries was Healso worked for Ann Miller, floodgates opened. New ide local jeweler known forher constantly pushed Kevin’s work lass bracelets. He brought her the skills of a metalsmith and the enthusiasm man who had found his niche. In the beginning, he taped and sand: blasted pre-formed Pyrex bracelets bought from artisans around the country. Then he helped redesign the work. He taught himself to make the‘color & form Kevin's bracelet forms beg very simply. The freeform "C” shape he made possessed a cer tain irregularity that added to the sculptural nature of the piece but was not controlled 0 intentional. His metalworking ‘experience offered a solution that was as simple and eflective The bracelet mandrel, a around which the forms his or her silver, givesan artist the ability 10 make beacelets in exact sizes. Kevin warmed a large rod of lass in his torch and wound it partway around the form. 1g with this ad hoe glass tool immediately increased his speed and consistency. Mote over, itallowed him to concen trate rid ess on the form itself Thus was born his seem. ingly Nawless design control. Many of Kevin's simple explorations af color; their thin veneers of luminous ass, often dichroic (sce the spi ral ribbon bracelet at fr the cover) or metalic, are reflected and magnified by the thick layer of crystal clear glass This overglazing of clear orsubtly colored glass is one of Kevin's recurring themes and a yelets are technical strength. His “scale” bracelets (p. 58, left) are covered with hundreds of overlappin dots, often fumed with gold and reflecting many more layers of color beneath. The weater finds her wrist wrapped in a coil of Ay serpentine or shimmering like some brilliant topical fish, When Kevin draws a thin stringer of glass through these dots, transformed Into feathers (p. 56, top). new work Some of Kevin's most exciting isalso his newest, He hi nly fragile ly strong. There a also hirger more ambitious pieces: someuse Pyrex tubing to emease space and reduce wei Kevin’ beads like bracelets, have change from ‘one fori to another. His first slight and airy yet fall of were twist tubes, threads of different colored glass ‘wrapped around a smooth biconical ube. Very carly he began to use the tr quality of the glass, partic ‘ts ability to magaity and depth to an encased de clarity and visual dimension of hhis papeew left) belies the technical mastery they req) Kevin's respect for the ing work of Art Seymour, mas: yr art ss chevron, led him to try the contempor Ahoveon be blown cane beads, makin, chevrons multilayered gathers of that appear throughout the Americas de beads as early as the 16th century. Traditional Iy. these are formed in a glory hole (an open furnace) and molded into a twelve-posinted sta. They are cased to form 2 exterior and pulled oF eave into a long tube, This is ul Finally cur, faceted, and gr dlovwn to reveal the distinctive riggeg, pattern on the ends Kevin's chevrons (pp. 56, and 59}, however, are mace with his Delta Elite torch. ‘The combination of Kevin's lapichry skills (never totally abandoned for glass as those familiar with his mosaic jewelry know ~ p. top) with his creative glass tech: niques area match heaven. ‘The smooth li chevron Forms are simplicity itsel again belying his immense technical skill In Kevin's newest work ceanes also become cross-see tional designs, After he slices off a section of cane, he g smoath to avoid eapturin; later within the glass, Me melts umerns slices together onto the surface ofa bead. After the bead has annealed and cooled,Kevin hand grindsit to reveal the pattern more clearly. This series of sensuous, bulbous forms is reminiscent of barna. rocks at low tide of 1m p. 57, top p. 58, and top left p. 59). The beads’ matte finish is deli ded in tidal pools tactile. The canes that he uses for them have also found their way into bracelets. From sand plant-like shapes to faces, each receives the same attention to detail Kevin works in his Arizona studio jammed with tools, stacks ‘of glass, and 20 or more oxygen ers. Only a thread of a path winds throug Allaround him various stages of completio 1h colle fe projects in offers students and ss p explanations and suggestions ent, open about technical challenges and George, also a glass artist of considerable talent, and Linda Burnett, his partner and another glass bead ad is constantly artist, His he filled with new plans and possibilities. The beads have influenced by the bracelets, marbles, and pape Fach type of glass further the artist Wh talents take him? We can only wait and look forw anticipation. © antst (Be aleanad works collaboratively with his wife, polymer ari Toop Contact Dan 8540. Kevin can be r (480) 874-96 of the others. direction will Kevin's 6 1 (206) 522 ch 1), He lives i Sete uliaIt only looks expensive Designing gemstone jewelry with seed beads by Sarah Ladiges 1s a manager in abe exposed to all the things even more exciting and budget challenging, we have been building our inventory of top quality pearls and gemstones (especially the more expensive faceted stones). With such beautiful material, its easy to lesign fabulous necklaces, But ifyou're on a budget, Tike Tam, you need to think about how to get the best effect with a limited number of expensive beads. For me the answer is seed beads! In fact, I think that stringing, sections of seed beads between, groupings of gems and pearls makes the gems pop out more effectively than they would i the necklace was made ‘with only gems, The short rans of seed beads provide a brief rest for your eyes and move them around the necklace from gem group to m group. This allows to linger 0 mnstone grouping, ly, such diserete points create an elegance that is often lal stra gorgeous beads, And to make =. fica anecklace portant beads.stepbystep ‘Wher makinga seed bead and gemstone neck, start by choosing two oF thre colors of gemstones, pearls, and crystals and include at least (wo of them in. every grouping, Next, I choose seed bead color that tnutches the color of one ofthe major stones I've picked. For example on the citrine and peridot ‘necklace on p61, which also includes few pale champagne peat, {chose a matte ctrine-colored seed bead. Using subtly different finishes ~ sparkling gems and crystals with lustrous peas and sed beads ~ adds visual feature toa design that makes it more ik the beads shared lord Swarovski falson the necklace because | could find peridot beads that were the right shape, and I need {he sparkle of small faceted beads tote inthe peridxs. “The pearl and iolite necklace at left started with the nifty faceted iolte teardrops It seemed natural to thane them with the sof, classic look of white peal, Then I picked faceted lite butions to Complement the teardropsand small very pale lavender pears to complement the ote and pearl, The see! beads ae also very pa iv teth soft arora borealis finish, [used a tick peal ‘wth pointed ends on the pendant to ad shape ‘arition while subtly reinforcing the teardrps. I you look closely at all three of my necklaces, you'll alo notice that Fuse various sizes of metal pacers o separate the color ana give the important beads breathing room. These smal spaces are Jimportant because they separate the beads just enowgh to prevent a sense of clutter and allow the viewer's eye to reston each group. Talay space the bead groups with an odd cofsced beads. There are seven between groups perl and iolite necklace, five on the citrine and peridot necklac eh turquoise and amethyst necklace. Nine size 11 sed » nn length that 1 ind works wel if the bead groupsare long. Ifthe precious bead clusters are short separate them with fewer seed beads. ymber nthe