Pree een tad Perera MW16 Tucson Shopping 424 Ginger Sanders: Lampwork’ Art 1 » and Sou! Royalty Be tatacl came 7 38 Vessels of Spirit, the Artwork of Stevi Belle and Heather Trimlet John Davison Ina Golub: Embellishing an Ancient Tradition Diane Fitegerald oe S Orbe Cover Can er Crysialsby Pot Mayer7 30 36 42 43 46 48 52 54 56 (Onthe Web ot ‘eww inferweave com/beadtwork: Beoded Bells Elizabeth Noe! Spiral on @ Swirl Janine Wood Bokman Crocheted Bead “Ropes”: Bracelets cond Beyond ‘Marth Forsyth ard Paterson Waterfall Beaded Scarf Jane Davis Knitfing Spirals Mory libby Neiman Jewels for the Diva Chris Prussing Simple Tossel Lindo Gevtngs Crazy for Crystals For Mayer Crystal Cuff Nency Zellers Flag Bracelet Catherine L. Tessier Dancer Earrings Sharon Bateman =I Passing Through Project Contributors Calendar Letters Bead Buzz Up Close Sampler Iydie Borin Glass Doctor Ginay Speure Beod Boy Dustin Wedekind Stitches Abbreviations Cool Stuff Reviews Stringing Along Judith Durantae V Bead It, Specializing in Japanese Secd AVORITE palette? o on over 900 colors in size 11's 400 colors in size 14 ao sice @sand 5's warwubeaditencramente.com Ls 488-2323 _— . Lowest Prices ~ Largest Selection i yy | eS ee | dabeadbabe.com || | New Shipments In Every Month! _ Come See!ees PRINCESS ing advantage of eheit hard-won lection is amazing, 1 freedoms. Anyone who waitson choose a simple pattern for my L received my latest Beadwork onchand and foot does so for the ist pice, and I know it wok aloe thisafiernoon and, asustal, [had privilege of being near a strong, more work on hee part to help me. to rea it cover to cover right away, selFassured woman, rather than Frieda has several people sl picking out what projects I want because the giel is too weak of currently working with and takes to try first. As always, Iwas not body and feeble of mind to take personal pride in seeing that we all disappointed! Those extra pages care of herself do wel, were packed fllofheautiful idea? Being a Twenty-First Century —Suri Fiyne My only problem came on page Princess isa conceps thar should Romell, New Mexico 88. [ usually love that last page, be embraced, nor spurned! And bur this issue was diferent. In her we should al thank the women's «essay, Judith Durant talks about movement for allowing us to be — the latest crend for young gisls— princesses, We've earned it Whar a terrific article on alivcry “Princess” merchandise —colleea Pathe Melanie Doermar's fabulous ‘She talks about lle gils with the feaverton, Orggon Beaded vessels! I had the privilege idea of fairy-tale girls, living hap- of sig all eweng-vo vets ply everafter, and “all ‘exhibited along wich Coni Bald- pretty and pink” being a “good LOBNCANGEL win's surrealist paintings of the thing.” She says they are missing I revently received my issue of same tarot cards It was a fa the point of their foremothers Beadwork (October/November, nating display of talent and arts fighting forthe freedoms the girls 2001) with the areleabout Frieda visions. Mel isa very gifed artist. now take for granted, Bates ane want co add something. who is more than generous with Buc I think Judith is the one I have just stareed beading, and _ her time and expertise. She aught who's missed the point. ‘These under the instruction of Frieda, several beadwork classes at the art young girl-—young women, last night | completed my first center in Middletown, and has teally—aren't thinking Snow spli-loom nocklace. This was my started many of us on lifelong White or Sleeping Beauty... first beading experienceand Frieda passion for beads. “Princess isacitude. Nor the lit- gave most frcely of er time and Thanksso much or sharing Mes tle-goody-two-shoes atinade, but knowledge so Ican be very proud achievement with your readers. the haughty. demanding, never- of my necklace —Anne Frimarke pleased ypeaniiue. ts definitely She is one person who cruly uel snot prety and pinky all covered in shares and helps everyone. Her bows! These gil are certainly ak work is outstanding and her col- inal arin iia na HAT OUR SEKDERE DID) | Rvencieea rt cea tovelend, CO swasa reason [saved that box of old fishing 80537-5655 or lures from the trash man (my husband eden inter threw them cut). Himmediatey covered one sae cm Fase eam nade swith beads. Irs wonderfl Linda MeGil via e-mail pases Nel aang adebead buzz ternational group of headworkers has come together to express gre hope for healing through craft. nizers ofthis collaboration invite you to join the effort by submitting a 3" x 3” beaded square expressing your thoughts and feel- ings on the events of September 11th, 2001. ‘These will be assembled into a beaded quilt, mounted, and presented to the District of Columbia. Ifenough panels are submitted, | response to the recent tragedies, an in- Solidarity Ring JEAN CAMPBELL In Tribute a second quilt will be given to the city of New York. Deadline for subs is Jan- wary 5, 2002. For more information, please visit the website: hutp:/www.beadquilt.org orsend a SASE to: Andrea Adams PO Box 55937 Shoreline, WA 98155, I: s0 helpless as [sat in froneof the television forts, but Lalso found fn September L1th. I wanted 1o make somecon- myself designing this mution, so { donated moncy to the relicfef ring. I hope it can be wns nfaor oft people who didn Now ke To sng ns he malcclord cr See peace, tlcgstesiapebehis mal ws Das Serius oom ball Say Rs wie scrcre down, ; Sip 2 Weck de oie Cena ace es ae, wich Ge “ices” page 72) 6b wide ep Siow. for each color. Sup 2 hen yo ach el gen ied in Sep [hp up theca ofthe ey. trench jp. Bow by locking he ade Forederd bw ecktineacdignetre feng tt ents eproneiiicws fae 12 wuminterweare comBeads for Relief wk thes, ane Sle Ba wat tesponse, she donated the use of her equestrian acility for a hunter/jumper horse show to benefit the Red Cross Disaster Relief Fund. Some quick thinking helped her realize char she could raise ever ‘more money by making and selling red, white, and bhlue beadwork. The estrings feature glass by Paula Rader the brooches feature glass by Moontide (Nikki Blanchard), Nancy Gedales, and Carolyn Beebe and the necklace features a heart by Cathi Milligan of Beadbrains Bead Museum 400 7h Suse NW Wtingon DC 2004 (ao 0-500 ipa an onc pg the wos fhe Venice Beadmaer the orl ea shone epee wdc esd Macon i Uatingtn DC Measuting 6 inches fog BY 17 inches rasan white esta for ccs Herod ul srde Venice andistepitofDr James ani fist iim tbeSscam no areca Seow ao dopo ny milhued Vereen wed swede around, ar parterns at bead chat are hardly big clan in Marano small for the average person to thread. This was the BeADWORK Orc 7001 /Jenvary 2002wr up closeNeting Block Bute by Yuriko K. Benson of Salida, Colorado. Seed beads, hematite, ond jet 12 18", Noting Herringbone ‘Autumn Joy by Yoriko K. Benson. Size 11° seed beads ond pressed ¢gloss. 21°. Tobular herringbone sth BEADWON December 2001/Jrsry 200215a ut PS Ml l BARBARA L. GRAINGER he-feisty redhead sitting across the / TV table threw her head back and laughed exuberantly as we shared bead-related stories. This is Beadmom! (a.k.a. Ginger Sanders), Everything about her is life and energy wrapped in an amazingly conta- gious sense of humor. Ifyou've ever seen a small ghtly colored hummingbird or dolphin bead, chances are it was Ginger’ work. She’ been blowing glass since she was about ten, after Ruben Ducheny. “I made lo of pengains for his shop at Sea Weld. They ae stil not my ivorite ere tures!” she laughs ‘Asayoung member of one of the original group of glass blowing families, Ginger was taught in the “old school of glass blowing” where the family kept their secrets and members risked being ostracized if adi, When most i girls were playing dells, swimming in lazy summer lakes, or {going toghe movies, Ginger was leaing the at of ‘ass sculpring ac her uncle side. Recognizing her talent, both sets of Ginger’s grandparents Livingston and Waite, bought all her inal lampworking equipment for her, some of which she sill uses today. As Ginger learned the craft and perfected her techniques, she began to artcu- late er artistic voice, infusing her own inner beaury ino her work. Just lookingat one of Ginger’ Var Vine or Wie ofthe Future pieces evokes the grace and charm that this artist puts into her every piece. “The incredible color blends or hine of golden glaze coupled with the sinuous grace pulls you into her ‘creative world and inspires any beadworker t reach higher in their own work. Although Ginger can_make marbles thar rll rue without amo she prefers ro work freeform. “Lam very whimsical,” she muses, “I love to make one-of-a- kind stuff and the colored glass fish beads.” If youre lucky enough 6 ‘own one of her whimsicalfiog heads, a downright guffaw ofien ‘escapes you when you look at your For Ginger the change fiom large glasswork to beads was a natural evolution, “At the time, I was moving fom large sculptures into small bead like charms, Thad them on some earings and my daugh- ter Cassie dragged Donna Balmer over my booth ar the Aclars Avene sretfirin San Diego, California, to assure het that, ‘My mom could make beads for you!’ Donna saw them and said they'd be really grea if they huad holes dhiough them. Ie was one ofthe wors shows Iever did, and one ofthe best Ginger reminisces. “It was the only show that I ever left caddy. Gangs were roving around and got into a fight and knocked over the guy's display next, to me. So | packed up thar night and did oe ‘come back, The next night someone got shot where my booth had been, But I fiet Donna and she got me back into beading and became one ‘of my best fiends. ‘That made i the best show ever!” “The week afer tha fateful shows.” Ginger con- tines, “called my uncle and asked ifhe knew a thing about bead making, He sid yes, you make beads on a copper wite and then soak them in ‘white acid’ until the acid eats out the wire. So I wene all cover town asking plies what white acid was and no fone knew. Finally one of the welders supply guys said he thought it was pool acid, So 1 bought this ‘copper wire. made some really ugly beads (that are probably still in a cup with dried acid somewhere), and pur chem in dhe acid. Then Hocked them in my hhenyy lidded BBQ where no kid could get hold of them and there they sa, and sat, and sat, and the site did not go away! One day I wasat The Glass Menagerie talking to Heather Irimiet and told her “about the beads in the BBQ. She looked at me like Twas fom another plnet and said, “You abvays have ‘mess around with that rxiestuff. Why don't you eat use bead release [a chemical we on lampworking wires to make the glass release ‘elf from the metal] like every- ‘ene die does?” Bead rele? They sake such a thing? My life was ‘much easier fiom then on,” Ginger la Her Wave of the Future beads. stared one night when I was playing with some broken pieces. I just heated them up and started smooshing them around. My fiend Wege was over and she is very creative and inspiring, The Picces tumed out so neat chat she ran all around the house look ing for pieces thac I had set aside for “repaicing someday’ Any lampworker will now be rlling on the floor laughing when they recognize-this ‘repair pile’ Everything wvas fair game... « Wege and Jerry (Ginger’s tnusband) wanted to know what I could do with half a dolphin. “Last January I got a chance to really play fora month.” she continues. “I was blesed every day with new ideas. I would just lie in bed thinking, "WOW— is could work. ‘Thank Ged” And then I would get up areund 8:30 (which, for chose who rally know ig, isstunning in itself—Lama night person), then make beads until 1:00 or 2:00 am! Then ic would start all over again the next morning, All the new series were horn that way. The Wave of the Future beads were first, I think. Then the fishes, hoeses. tc. The flower vines came somehow out of the abstract ‘space beads series. One day 1 looked at the wists and thought, “Those ced flowers!" Besides her Ware of the Faeureand Ver= ‘ons Vine pieces, and her if SEADWORME —ewrber 2001 Jenny 2002 25dolphin, Ministry in Lakeside, California, which taches cil hhorse, dren horsemanship ina Bible-based format and res- frog, and cues horses that need ove and care, other whimsical “I havea domestic god fora husband,” she beams. beads and finish beads. “He does the cooking. cleaning, laundry. carpool- Ginger abo creates beautiful ing, and sill doesall te painting on the beads chat hase ‘salts’ (ltle dishes com- are not fumed, | am so blessed to be able co do whar plete with miniature spoons Don't get me wrong. wed to hold and sprinkle salt, a a ['O°B, but aficr precursor of salt shakers). * When I cars, itsstil the bestone was a kid, my best friend Hedi God loves me” @ Yamada gave me a set of salt dishes from Japan,” she reminisces. “They were blue enamel with red flowers and gold trim and hael fice abalone spoons. 1 was smared by the detail and I loved the litle spoons. When | was an exchange srudent in Japan many years later, I got another set. | ran actoss them both one day not 100 long back. I thought, ‘Himmm, I ean make some ‘out of glass’ I pura few on auction asa lark and they went so well that I just kepe ie up. Same with the litle perfiame bortles for Gene Dolls.” (Ginger sells some of her work on ebay as “Beadmomn.” Theres: Anronelis distributes the rest of her work.) “Theresa Antonellis, dsiributor for Gingers beads: Ginger’s fifteen-year-old daughter Cassic also (760) 749-7660. makes heads and sells them on ebay. ‘She has been the most productive of Ginger’s kids, but all seven haye given lampwork a shor and still fire up occasionally, especially when they make silts for friends Ginger says she decided con Beadmom as an Internet screen name because ‘head” and ‘Monn ae the most spo- ken words in her house, “I thought ‘Whatsfordinner’ mighe be too long,” she chuckles. “My only domestic quality i that Hive in « house, 1 do slave over a hot fie all day, but no, ‘one wants to eat beads for din although the dencis did ind a eal si verlined seed head in the hale he was about co fill in Cassis rooth!” Tn her spare time, Ginger is occupied with the other great passion inher lifs— horses. She helps with the Christian Horse CONTACT INFORMATION Ginger Sanders hup://ontw.myplanct.ned/beadmom. Berhors L Granger ban Pmemationall regsord Ieaduort cuthor ari, end marae,and beadwork. I bought a key ring, which held a small ample of an intricate beaded tubular pater. 1 as enthralled with i asked the woman who sold ie to:me how ie was made, and she told me it was a spiral stitch, in which the beads are put on one ata time in a circular fashion. In the last five years, Ihave become an ardent header who always wants to learn new stitches. | ‘ame tothe realization that the eason my cylindsi- Figue | cal weavings didnt look the same asthe powwow key chain was because they were indeed different stitch- «s, [earned that there was another method called three-drop peyote or gourd stitch. With no formal teacher of hook about this method. I decided co figure out how todo iton my own. After ask- ing lots of questions and much practice, the following method isthe result. ‘The pattems are always staggered in one direction and the angle ofthe spiralis more cextieme than in regular peyote stitch, SPIRAL COLLAR Delicas or other size 11° seed beads Size B beading thread Size 12° beading nevdle Hypo-cube® cement Cylindrical object — Step 1: To determine the number of heads to use string beads and pull tightly around the cylin out ceal object you select as a form, I especially like ? ee, plastic cubing that you get at the hardware store. (The collars shown here were woven around a base % and are separate from the pests, Adjust che num- 0,90) ber of heads tobe divisible by the number three. ‘When you bead, err on the skimpy side so the bbcads will fe tightly. Take one third ofthe beads off of the thread. Example: if rwenty- seven beads is your toral for encir- $6) 2: Ths lea poor ich yin d %e, Rnd 1:PT the first ovo beads co form a fing (Figure 1). Don’t knot the chr. Hald the pag flr beracen pourthuab. ote pe and fingers.Rad 2:*Stting \ bead and PT the next two beads Figure 2) Rep from * to almost the end of the md. On the last stitch, PT only one bead (instead of two) to complete the rnd (Figure 3). Rud 3: Rep Raid 2 (Figures 4 and 0. Sup 3: Afiet completing the shitd row pul the thread tight ro form the start of the cylinder and place ion the eylindrical form. Work to desired length. Tie a knot and weave through several beads, Put a dab of cement on the knot, PT more beads, and trim close co work. PEARL STRANDS, Suop 1: Use the bead reamer to enlarge the holes of pearls of each strand of pearls (12 pearls total). Set aside all buc two reamed pearls. Seep 2 Cua piece of sill cond dhe times longer than the length of the finished necklace, The cord can be doubled. IF that is the ‘ease, cut the cord six times longer than the finishes! necklace. String the two peas with larger holes and one silver accent bead leaving a 4" one of the soldered rings. PBT the accent bead and the peal next tothe ring and tie an ovethand knot. PBT ‘Three 16" strands of 3~4mm potato-shaped fresh water pearls Two 16" strands of 4~Smmn rice-shaped fresh water pearls 20mm Denier silk cond or other stringing mate- tial such as Silkian 2 silver accent beads with large smooth holes. Silver S-clasp with soldered rings Tiicord Knoter* Fleaible needles Peat! reamer “Hypo-tube® cement the neat pearl and tie another oveshand knot. Pat ‘cement on the knots and trim the cal thread. Scring the remainder of tie pears, tying a knot berwen exch using a Tiicord Knorter. Leave the last pearl unknovted. Step 3: Finish the other end of the strand of peacls by stringing two reamed peas, an accent bead, and the other ring. PBT the accent bead and the next peal and dea knot and glue it, PBT the next pearl ie a knot, and glue it. Tim the rem cord, Stop 4: Rep for two more strands of pears attached ‘o the same soldered ring and accent bead, rermeny bering co use the other enlarged:-hole pearls on theends Step 5: When all the strands are finished, ‘wise them and string the beaded collar ‘embellishment eylinder and attach the ‘Scdasp to the soldered tings. @ [Janine Wied Bolen sa esekoouleed adalah cr rently Eves i wcthee Califor, In adlion to dering and ‘olin beaded jew shea jes weming She he rached sr szzoombonic nce, —_tb—_——__ With mos: weaving projects, the first ovo rounds are the mest difficak | make (wo dammy rounds, which I usually incorporate into the pattern but which you can discard. I use one color for the ist round of beads and another color for the second ‘This makes sarcing out much easier because you «can tll which row is which,ropes encrusted with beads. More pat terns than you dreamed possible. Tex. ‘ure spirals in all sizes and shapes of beads. Bracelets that roll conto your arm and fc comfortably without a clasp. --- In recent years, spiral crocheted headwork has enjoyed an almost explosive return to popularity in the United States, We were fortunate to learn this ancient technique from a young, girl in Bulgaria, in whose village “everybody knows how to do, it” From that mind-bogsling blitz lesson in 1994 that barely acquainted us with the essentials (a lesson given ina foreign language, mind you!), we have tefined our understanding of the technique by crocheting many miles of beads and teach: ing hundreds of students, aa supple, seemingly seamless QUICK OVERVIEW ‘The description ofthe work is deceptively simple: You pre string your beads, and then crochet a long, thin tube or rope, leaving a bead in every stitch. The erochet hook never passes db instead picks up the thread that holds the e actually crocheting a ltd fabric tube and the beads are merely along for the ride. You crochet in a spiral (counterclockwise for right-handers) using slipstitch, work- ing from the inside out. When your tube is ong enough, bind iol sw the ends together, and yout done. The technique i easy once you know it, but mos: people Find ic tricky co learn, Be patiene wich yourself fic does nox ‘come easily on your First try. Once you can make bracelets, you can make necklaces, earings. et ‘Nore: If you work lefi-handed, mirror-image these ditec- tions. You will work clockwise and your patcrns will spiral in MARTHA FORSYTH AND AT IVERSON the opposite direction, but everything else in the directions remains the same. STRINGING Insructions are gi worked on a base of 6 beads. 6 beads, and sting i of beads on your spool of thread. Some sugge ABC CBB: erAAB BCG; or ABBAC EE Be sure wo end with a complete sequence. Hine-Crocheting a sequence of 6 beads on a hace of 6 beads helps you keep your place because, as youl notice later, when you pat your hook under a bead, the new bead you crochet down isthe sume color. But when you do other patterns this will nor always be true. “Tivo t six color ofsize 10° or 11° opaque shiny oF matte beads (about 42” toral when strung) ‘White or ecru DMC #30 “Coronet” crochet cotion, or 100% polyester Topstitching (Buttonhole) thread (Giter- mann or Metrosene)—at east 9 yards Stringing needle (Big Eye fine sewing needle, or twisted wire needle) Size 12 oF 13 crochet hook #26 or #28 tapestry needle (optional) ota spiral-patterned brace ‘one of the following sequences ofFigure | HOW TO CROCHET Wedd like to make a couple of suggestions about how to hold your crochet hook and your work. I'you are already an ‘experienced erocheter, you may find chat modifying your technique in the ways suggested makes it casir to handle the beads. ‘When working with beads, hold your _/ crochet hook as shown in Figure 2. This. position leaves fingers fee to manipur late che beads and lezep them in place Ieako seems 10 be less tring forthe vst (something co keep in mind ae right from the beginning). = ‘Wrap the thread several times around your left index finger, enough to pre- ‘vent it from slipping. Hold the work between your thumb and middle finger. and use your index finger co cof your stitches. Keep a few beads (" or _ yeu pall ie throngh, } ent sie o enbat otek at ee | This hese mas coramor misatke beginners ihe, and «ofen they do not reoguic has hss wha is making hr tube er Tams Meak sr nic pet ed dee fms eset bee esha no oat Wee the new bead denn, yeu should be able them, but the old bead should be dewn ous of ight. the so) between your finger and the work, but dont jam your thread tight with beads because you will be using thread faster than beads, ‘Step I: Makea slip knot (Figute 1). Then chain 6, leaving bead in each stitch. Do cis by sliding the bead down close tothe hook, then grasping the thread on the far side of the bead and drawing it through the loop on the hook. win is the foundation for your piece: Step 2+ Arrange the chain—which should be worked snug ‘enough to lie curled-up—in a counterclockwise spiral, with the tail hanging down. Insert your hook into the fist stitch (Figure 3). ‘You want to pic up the tiny loop of thread. ‘coming out of the left side of the hole in bead #1. The easiest way to do this is to slide the hook under the bead (making sure you have not spic the thread), and Figue3 << ee pour efi index oe bok rad and ase the hicks of che sank ‘Fis, ty living with chat miscake, le might be delghfil, or signee be strung. bead, stick) into its hole, ream “pte broken gas cu "ne lp ee eed belong On the next rows spite a ead ine ‘smash the bead becante fl et Caen et geen id a ip te bed putin the wabeuded stitch itl bead-shaped bole call pac inte whe you ca ter fe fg to eep the new bead pin ple until ouve ee inte Efe male oct cy ad fp wrk the misatke aed jo the thread back on as described on page 32. “Tension? In genenah you. work right enough that the beads Dede ee bus loose enough that you dont 10 fig ein th hk Yc he toon pr AEADWORK —Dacanbwe 2001/lensaty 200231then flip the bead over to the right-hand side of the hook. Push bead #1 down firmly, and slide a new bead (bead #7) close ro the hook. “Then, making sure bead #7 says ahonebead #1.(87 may try to slip down below #1, ‘but dort le it), make slipsirch by palling loop of thread ehrough both the loops on your hook (one at a time is okay, or both at once). As you work row . careflly preserve your lie circle of beads so you know where you'e going. Continue working beaded slipstitches (Fig- ‘ure 4) until you've reached your desired length. Figure 4 HOW TO JOIN ON THREAD Prepanaton: First bind off the work by mak- ing a chain sticch, cutting the thread, then pulling the new tail through the loop. Leave a least of thread. Siep 1: Put your crochet hook into the lat place you made a stitch, Be sure thar all your already-crocheted heads tay oriented correctly s you do this. Grab loop of the new thread about 2" from the end, and pull ie eheough. Sep 2:Holding on to both the long and the short rails, make a chain sticch (without a bead) by grabbing both tails of the new thread and pulling them | through the loop on your hook (Figure 5. ‘See 3: Pll uns the shore til ofthe new thread ‘comes through the old loop, and then snug. up the stitch, You now have a secure knot witha sliding loop exactly where you need / fone, and a tail sicking out next to it. ‘Step 4: Pll on the long chread from the ball ease your loop down to 4 normal size, firm up the knot by tugging gently ‘on the newly added ail, and just keep on crocheting. ‘Work around the tails so heyire hidden in the middle of the tube foran inch oso (do norcut them of right lose to the knot!, or stick them out the sides and bury them. ec eS later, oelSaee LACING THE ENDS TOGETHER We pride ourselves on perfect, invisible joins, Our “secret?” Making sure that all beads ate aligned prop erly, and taking care that each bead in the first and last rows is securely fastened down on both sides. This ‘means that, in addition to ing the 6 beads in the eRSSe first row to the 6 in the last, you must continue your | stitching to involve at least one more bead at each end. 32 wwwinerweave.com Figure 5 of the work, o the fie and last heads are fastened down on. both sides. ‘There is more than one way to make a good join. Please note that Figure 6 isa schematic diagram showing you more bbeads than can be seen at one time when yout looking at a real piece of work, The beads in Figute 6 ae nurnbered from teach end (#1-from-the-end, #2-from-the-end, etc). In the dlagram, the sewing thread is colored blue where you stat the join, and red where you end ic “The beads in the fist row of your work should already be Iying with their hols aligned vertically. Icey aren, carefully pat chem into position. The beads in the last row you ero- ccheced must be Aipped into position as you join the ends. IF ‘you filp them the wrong way, they will not ine up like brick- ‘work, but will sc drcetly above the beads inthe previous row and lock slightly wrong. ‘As you lace back and forth from one end of the bracelet to the other, your sewing thread will follow a zigeag pater, But ‘when you pull it tight, it should gp straight, never bop sgaround a bead, never crossing back on itselé: MAKING A GOOD JOIN Preparation: Bevermine your length (6/-7" long for most women). How long a bracelee needs to he will depend con both the length of the piece at rest, and how much ic sircrches. Hine: Before sowing your bracelet together stretch and ewist ita bie, chen le it ela. Isreal length may surprise ‘Siep 1: Before binding off and eusting the thread, make sure you have both begun and ended with a complete pattern Sequence (otherwise the partera will not march up). Work the asc row good and saug, then bind off 2s described shove, leaving about a 6" tail. Tighten. ‘Sep 2:Use either a tapestry needle or your crochet hook ro lace che ends together. Whichever tool you uses the thread ‘continues to go around the bracelet in the same direction as when you were crocheting. Start by getting the tal at the beginning of your work out oF the way. Using ether too, pull it inside the bracelet for atleast “", and cut i oft Siep 3: Use the 6 tail fom the end of your bracelet to sew with, Take ie under the lst thread into which you crocheted (the seventh bead, counting inward from the end of your work). As you pal dhe dead igh, be sare it doesnt wrap around the last bead. Now you ate eady to start sewing Figuie 6Ac this point, con- sir how rach wists inthe bracelet. You may need to twist the rope in ‘one direction or the other in order to show your pattern off to its best advantage. Siep 4 Locate the firs bead you worked (bead #1 atthe begin ‘ing Pik it up by ps tiny bit of thread sticking out of the bead atthe very begin- ning of the work. Doni bother pull ti theres not enough fition to make it say. Sigp 5: Then go back to the other end and pick up the next bead you would have crocheted into (#6 from the end). Make sure that your thread goes from inside to out, and that you flip the bead the same way you would have lipped rocheting. As you pull dhe thread through, ara atthe bead stays Ripped properly Step 6: Go back to the beginning and pick up bead #2 (the next unsewn bead), Step 7: Now stig up the thread and check to be sure every thing ines up right. Keep on weaving back and forth bewecn the ovo ends of the work, tightening as you go, until you've gone all the way around. Dont miss the la: bead you crocheted (it may uy wslip inside the bracelet). After you have picked it up, you must attach it to bead #7 fiom the beginning. Ifs usually obvious which bea needs to be tugged toward, bur if not, Toole co sce which bead isthe next one as you continue to follow the row around the bracelet. Ac this point you're recunically done, buc we ree fecamend continuing a few more stitches in the sme yet because pattem to even out any differences in rension between the beginning and the end of your work. Step &: Finally, anchor the thread by sewing back and forth across the bracelet a good half-doren or more times, Then ‘tun the thread down che middle of your lite tube as far as you can, and out the side, and cut the el off Now, put your new bracelet on! ‘One you are familiar withthe werk, you ean vary the sizes andlor shapes of your beads. Be warned that mixed sizes are harder to handle and may cause you to mis stitches. You can also work on diffeceat numbers of stitches. Try working a sequence of 6 beads on 5 stitches. Dotted Spiral “To make a dotted line, string that color every other row (making your pattern 1wo rows long). 2A2BCB, 2A 4B Zigags “To make the Spiral go the other way you nced a seventh bead in every “ow.” A2BA3C (Grimes) A2BA2C times) Diamond ‘One of many diamond pattems. [esa mote advanced pat- tern—be sure you're comfortable with the technique before you try it The 36-bead scringing sequence i: A2BA2B,2A4B,ACA3B,A2CA3B,ACA4B, 2A 2B z WOR canbe 7001 onary 2002 38- CTEDTCAOUUE Settee ‘Size 10” or 11° seed beads—b 100% polyester Topstitching (Buttonhole) thread in a color that complements the beads 2 head pins Dear wires 2 beads (approx. size 6 oF 8), or small attractive bead caps (optional) Stringing needle (Big Eye fine sewing needle, or twisted wire needle) Size 12 oF 13 crochet hook #26 oF #28 tapestry needle (optional) HUE crocheted rope ing another bend work rechnique: pur the ends ofa rope beside each other and crochet them together, decreasing fora graceful shape and adjusting the sesinging sequence o keep the partern bea ful. Here are directions for lovely loops you can crochet with- cut adjusting the stinging sequence. INSTRUCTIONS Siep I:Sising 216 beads (about 16"), alternating 1 large and 1 small bead (A.b.A.b). End your stringing with a small bead (b)—this is the first bead youl crochet. Seep 2: ork this pattern on 4 beads around. Stating with a Small b bead, chain 4 beaded stitches join with a beaded, sliptzch, and continue working beaded sipsich for a tora (of 80 beads (20 rows including the chain). End with an A. Step 3: Put the two ends next co each other, and adjust the Amount of wise so thatthe loop is attractive. Nove Let the tail hang outside the piece, and work ti later. Sep 4:The beads a the beginning ofthe rope already sit prop- ely, so dont disturb their positions. To crochet into the stitches a the beginning of the rope, you insert the hook, differently than you do in the normal course of crochet-ing. Starting with the first bead at the beginning of the rope, pick up that beads stich by inserting the hook along what is naw the top of the bead, from right co lei, and make a beaded slipstitch. (Youve just erocheted b into b.) In a similar manner, crochet beads into the next three stitches in the beginning of che rope, ending with an A stitched inco an A. tp 5:Go back 10 the other end and do unbeaded slipstitches in the next wo stitches (b then A). ‘Step 6:Slipsttch beads, one at atime, ino the next 6 beaded stitches (b,A.bA,BA), then skip the two unbeaded slip- setches, thus decreasing co 6 around. Continuing 0 work. 6 around, crochet 18 more beads, ending with an A. This isthe stem section, ice thatthe rop row of beads sts differendy than the others. Fix chis by crocheting one round of unbeaded. Alipttch, Bind offand leave abou a half-inch tail. Using your erochet hook ora tapestry needle, carefully hide both tails by running them down the stem section and into one of the sides of the loop. Sep 8: Make a second teardrop loop to match the frst one. Nore thar the wo sides of teardrop are different from cach other: you may have to turn the first teardrop over 10 see if it matches the second. ‘Siep 9: Put ab bead on a head pin and carefully work the pin tp the stem of the teardrop. Tag genely but firmly on the pin to secure tin the stem. Check that the two earrings still match; if nos, adjust the pins unl they do, Sep 10 (optional): Ceown each teardrop with a bead from your stash, or a small actractive bead cap—experiment until youre happy. Step Hs Make a wrapped wire loop with the head pin, and attach an ear wire. Variations: Tiy making the loop longet or shortce before joining che two ends, or varying the length of the stem see- tion, @ ‘Martha Foyt aed Pe Teron of Nowon ad Somerville Manachct) eared the bei of i Badin echniguein th amet of 12 in the small ‘Baler town of Sra, rb ley pon lifes o hors with a jong Mem gi named ebro Shldngen. Laer inpiraton came rom “Minsam Mil of New York. rom hit um tres experimencation vith ‘he cdnigue, rom examples ofthe work fm many arom ofthe world the ‘Blban coun Toke Gre, Albans, FR Macedon —Cen- el Aa fi, Conta Arriah Unite Ste, ae rom tera gues nd salen Pat Fveson ered Merb Fors work ax be een at tenn Bead Withoutnd com feADWORE Drcenber2001/fowory 2002 35.fren most beaders think of knitting with beads, they ing projects, with lethakweapon steel knit ting needles, pearl cotton instead and size 11° or smaller beads. I have enjoyed ly been exploring the m lenitting with larger heads and “normal” sized yam and knitting needles, I've found that this ca of beadwork offers more g jon than I had frse thought several such projects, but have late ay possibilities of hands for explo- Here isa simple evist on the swag. or Happer, purse of the 1910s and 1920s. Those purses were made by slic ing groups of heads between garter stitch, causing each lice swag oF be This technique cre ated a double thickness of beads as each row placed beads on opposite sides of the fabric Bee gaps berween the rowsif made in the same way s these swag purses. To get exch row of beads (0 lie on top of each other, rather than pushing to the front or back of the fabri after cach bead section and kniteed on the wrong side. This led right inco.a knit 1wo, purl ewo rib, with to hang atthe back of the knit ve the beade I chose for this scarf are not much larger chan the yarn thickness, they would leave | purled on the right side before and breads sitting neatly heeween the ribs. The other cha sctetistic of the swag purses that the swag sways down from your knitting, so chat you need co begin atthe end of the searf and work roward the midalle ro have the bead sections hang down in 1 graceful arch, IFyou don't, the arches will ery to curve up, and the weight of the beads will give an awk- wand look to the finished exlge. To make the swag when casting on, you need 10 a stizches from both ends of the ya tail cast-on method so you can slide the beads berween your « This cast-on method (sce “Stitches,” page 72) is illustrated from the glossary section of Interweave Knits Finished size: 6" wide by 47" long,Tuo skeins of Brown Sheep's Cotton Fleece (80% a theme tassel by using all scars or moons or “hearts or any charm with meaning. UNDA GETTINGS st the bottom of the tasel neck. PT the first bead and do two rounds of peyote stitch (see “Stitch- ss" page 72). If you wish to doa design, string CC beads either tandomly or creating a patter. After you have completed about 7 oF 8 rounds, PF the back of your work and exit through one of the beads in Rad 1. NeT Siep 2: Consider the number of beads you tied around the neck of your tassel and divide as close to equal at possible. The results the number of triangle nets you will do—ie. 24 beads to start divided by 6 = 4 beads you will skip each time you pick up to go around the neck. ing 3 MC, ICC, and 3 MC beads. Skipping cover 4 beads, PT che fifth bead and rep around the tassel. When you getall che way around, PT the frst 3.MC and I CC beads ofthe fist nd, Sting 3 MC, 1.CG, and 3 MC beads and PT the next CC bead. Rep from * all around. Do as many rounds as you like by PT the CC. 3 MC. and 1 CC of the beg of each row to create the length of net you desire. ‘Sep 3: Use the weight of the bugle beads and charms to pall down the net to hug. your fringe corect- |v, Exiting fiom a bottom CC bead, string 3 MC, 1 BB, 3 MC, and a charm. String another 3 MC beads and PBT the bugle bead and first 3 seed beads over to the next accent bead. Continue around your net, coming out each accent bead 10 hang your bugle and charm uni you are finished. ‘Weave back through the net and into the neck 19 bury the dhread and snip it off. @ “Tanda Ging Es in Cater Vey Pew, ada ‘and breathes beads! Thanks to the ippert snd ercouragenens of ‘er od inde Jor Reni Sich and Wendy Eliverth her caer in beading has tae off hs yur nich ov pieces exhibited in Endelisoment® 2001 and feral in Beadwork magzin Linda cache clas ae My Bath Baadsin Coopecburg, Pann “plvania, You cen find move injormation an the shops webte, sesen mfahebeadscom. seADWORK December 2001/iary 200267Wo summers ago my husband and took a cat trip from Denver to Niagara Falls, cher down the East Coast o Florida. My hus- band drove, and I wis the spotter, sighting bead stores, secondhand stores. consignment shops, antique stores, all the while asking him to stop, which hhe wouldnt do. He kept promising ‘nest one” and Tepe asking him to let me drive, which he also ‘wouldnt do, I was reduced to taking snapshots out the back window to see where we had been. ‘When we were leaving the coast of North Car- colina, we decided 1o have one last feast of their great seafood for lunch. He drank rwo beers with all the crabmeat and luckily asked me to drive. I headed inland and within the frst rwenty milese fll asleep aad I found an antique stor. I asked the proprictor “Got head?” He barely lifted his head from the far= ‘inure he was refinishing co say there was a box some- where in the second aisle. Ik was quite a large box, with lors of junky plastie, bur for every handful or so I sified chrough, I found a nice crystal. So | dug anc dug, occasionally bavinga fceing fecling of eon- cern for my husband sleeping inthe car for 0 long. [asked the proprictorif people die from being in a car with the engine running, and he said nor if the ioning was running, too. So I conti xcivating. di start to Worry afer about three hours ify husband had aewully dicd, but realized that if fhe was tnly dead I could nor do a ching about it, so PAT MAYER it would be better for me not to find out uni got all the erystals. and if he wasnt dead. [coud keep digging. (Of course [ never really wanted hit: to di, ceven though he had passed up all those places) ‘Afr about fou hours | hit bottom with 650 erys= tals 10 cents each, some of them vintage and beau- tifull As I was paying, the owner remarked that he Jad bought our 3 third-generation bead store in New ‘York City thar went bankrupt, Then he rook me over to a closet and opened the door to reveel Bead Heaven! Floor co ceiling hooks with strands of beads, and boxes piled in the center halfway up to the cc ing, At chat moment my slepy eyed husband walled in and said, “Are we in Atanea yee” When Ltokd we were just across the bridge from where we'd had lunch he said "Lets go!” and he meant it. So, sor- wear co Adana, with me ambivalenty happy about the 650 erystals, but also wounded and wond about lost loves in the form of closeted treasures OF course I should give my husband credit for ‘ovo things 1) The reason he was concemed abour Adantais hie had promised to get me there in time fora bead show the following day. and 2) The next summer he took me back 1o the same shop. parked our RV outside, and let me shop to my hhcart’ content. Everything in the closer had cither been sold or dumped in the big box. This ime | dug ng Decenter 200) /prcry 2002‘ou sich pil of eystas the saleslady took a look and said “You're nuts if you think I'm going to councall those—youl ust hare vo pay by he pound. I readily agreed and ended up with five and half pounds of beautiful crystals for '$55,00, When I counted them, 1 had over 2,800, so they were les chan two cents 2 bead! I hope I ive long enough to have such an exciting day again! Here isa crystal neelsace | made from my DIAMONDS AND PICOTS ‘This is 1 double needle process. You start by making the back loop chip. Siep 1: Ca three threads, 4 yards cach, thread 5 geedle at each end / ‘with all three threads. Wax the threads heay- Figure 1 ily, then remove excess wax with your thumb: String enough sce 8° beads to makea clasp loop the correct size to pass over ane hold your round faceted crystal. This loop and crys- tal create your clasp. Siting 2 mote beads. Slide to the ‘enter of the threads, leav- ing approximately 2 yards of thiead on either sc, which you will genely pall hack Sh reeds oor Size 8° beads with large holes Wet enh side! Wah one yard on each side. With one FS eet Eintee from sue "eee, PBT Zend beads to ough crystals to string U1 inges (Go es clse the lop (Figure 1). ¢ ao 18 x 9mm erystal drop MEE Step 2: Make diamonds and sun ol Gm oc bm cel By sng en SS - . bead strung with the le nce- ae. Wik te leh needle, ee tscring GsizeS* and PT they y Soe third bead and string 2 more ‘beac Rep from * for the right Figure 2 52 swe: intrwanve.comnce, adding another ross bead at the enc PBT this lst bead with the left needle (Figure 2). Rep Step 2 co desired length 0 she necklace comfortably fits your neck like a choker; leave approximately /* for the crystal faceted bead ro ‘complete the clasp. The whole necklace will be approximately 23 to 25 large squares with picots ‘on the outside comers, and small squares in between cach large square. Step 3: Swing 3 sie 8° with both threads. String 4 size 8° on each nevdle. String ‘one 6mm of 8mm round faceted crystal ead on one needleand PBT with the ‘other needle (Figure 3) With both needles. PBT the beads and weave through the last small square. ‘Shep : Weave your way back a j Figure to the loop end; inserting mmm round fuceted crys } tal beads in the center of cach large square. This is done by continuing the two-ncedle process and ‘working in opposite direc tions. Fring crass bead string a Gmmn"erystal on both threads and then ‘weave the needles through the next cross (Figure 4). FRINGE At this point, it is no longer necessary to work with bboth needles simuktancousy, Figue4 ‘use them independently for the fringe. Before beginning the fringe, secure the threads with a couple of hid- den overhand loop knots. ‘Now determine the front center of your necklace and whether you have an even or uneven number of Fringe strands. Ifyou have an even numberof squares in your choker section, the two center fringes will be equal in length; if you haye an uneven number ‘of squares in your choker section, your single center fringe will be longer than the others. Tip: Tie a contrasting colored thread to mack the center square (oF squares) asa reference point for designing your fringe. These threads can be removed later Step 5: Work a needle, with three threads, around the squares until you reach the area where you ‘wish your finge wo beg. Exc ot of the bortom bread om the poinc of the square. sign your Fiinge by aranging your crystals in 4 pleasing patter. This is creativity ime, so have fun with it always insert one of more ofthe size 8° seed beads used in the choker so the fringe and choker scons ar ele. Abo consider your height cleavage, and what dresses you may wear with your necklace to help determine fringe length. My center fvinge is usually 6" long with each side gradually Accreasing down to outside fringes of 3". Sigp 6 Once you are aistied with your rystal fing ‘arrangement, sting each strand down wo the end, ‘ad stopper bead (ee “Abbreviations.” page 73), and PBT to the top.Tie a couple of overhand now vo secure that strand of finge, shew work your way over to the next square and continue tun you have the desired numberof strands, Step 7: Sohen you ate finished, examine your for aesthetic balance. any ares looks dim simple to add more strane of finge. Ive done this on each side of the center strand co bring _ntcotion eo that area and make ic ook aller and ficher. New stands canbe added from any'of the size 8° beads in the choker section as long as they ae well atached and secured. “This necklace is very dramatic and sparkly ideal forthe holidays or any other special ecason, Ie wans- formsa simple des. Enjoy! @ —_hia— ‘Add more thread by tying two or three hidden tight knots, Ie’ easy ro hide knors and thread in the lags-holed size 8" seed beads. Then continue adding the crystals until you teach the loop end. Icisimportanc to tie knows securely because the choker seetion must bestrong enough to support the fringed section, Tar Maye worked ar ck and sant ofc mage fr 1 jr nfo tir foe ears ofr uit bre t v9 happy barf: leer eases didi sent cower panghoe anymore. BEADWORK December 2001/lonvay 200251lust before the holidays, | had a lot of crystal beads left over from another project. They were so pretty I hated to let them languish in the box. My last project involved right-angle weave stitch, so I thought “Why not combine the crystals and tight angle? They should make a pretty sparkly bracelet to wear to holiday parties.” So I did, and here’ the result. Coseleup BRAC 1 usa the fll 20 fet of Stretch Magic® from the beginning, It does make a lor of thread ro pull through the beads, and you end up with only one kknor. However, you can also work the bcelet from the middle, toward each end, so that you have only 10 feecof Stcich Magic co work with in cach diree- tion and sill end up with only one knot. 330 4mm Czech cut round clear AB crystals 20" Smm diameter Seerch Magic jewelry cord 1 Big.Eye? ncedle, short or long Clear nal polish Seiscors Step 1: Use tight-angle weave (see “Stitches,” page 72) to make the first row five stitches wide, posi- tioning your tal thread so that it comes out of the top bead ofthe first stitch and trails outro the Jefe. Continue with rightangle weave until youre ready to join the beg and end of the bracelet ro make a continuous cuff. Hint: | usually think of the right-angle weave NANCY ZELLERS stitches as going clockwise, then counterclockwise, ‘continuing to alternate all dhrough the piece. That way if jus Bnished a clockwise stitch, the nest one is counterclockwise, whether it ison the sime tow ora new row. | keep going around until the needle is positioned to star the next stitch ina counter- dloclewise direction. Step 2: When you teach the last row before you join the ends, check where the thread is. You will ced 10 bridge the gap between the first and last rows ‘with beads. You do ic just likea normal rightangle ‘weave, except some of the beads are already in place for you. Continue the clockvise, couter- clockwise patter of the stitch. You should end up with the tail ofthe thread and the working thread side-by-side, Tie a square knot and dab on abit of nal polish, When itis dry cur the Sterch ‘Magic about 4" from the knot, or even berter sce if you can bury the tails in ewo or thece beads (heeping co the rght-angle weave turns, ofcourse) before cutting the cord. ‘Step 3 Slip the cuff over your hand and adiive che ‘sparkle on your wrist! @ [Nay eles lives Aaron, Clr, with ber babe, ‘a, and wy t00 many beads You may. conser ber at ‘pnec2276@eolcom BEADWORK Dacenter 2001/lonvry 2002 537 ttt have long played an important role in shaping Jour identity asa councry. The American fag itself prouely staces wo the whole world the American val tues of freedom and democracy This past summer I created a peyote stitch flag ‘bracelet co wear on July 4th. It caught quite a bic of arention at that time, but not nearly as much arten- tion as now, during this tragic time of siness to al Americans, With the current flag fever that is swexp- Size 11° red, white, blue, and silver sed beads Size B beading thread Ife inthe US.A. Made for the US.A. Symbols ae t i CATHERINE |. TESSIER ing our nation | have ereated many fag items using the same basic partern. Make it narrow, wide, long, or short. Use your imagination and vary your bead selec tion, Line them in silver or gold, use matte o descent, add USA letters etc Believe me, the simplest item will aeact lots of attention. Make them, and wear them proudly. Let every one know you are proud to be an American. Seep 1: Using 1 yard of waxed thrcad and leaving « ‘9° eal, work peyote stitch (see “ 72) to make the pattern at right, Inc at the beg and dec on the end toaccoramodate the width of your clap, ‘Step 2: Use the rail threads 1 atach the clasp. Weave the ends into the beads, te a knot, PT afew beads and trim dlose to work. ® Carine Taser il en rw arbre beading fr abot (one year. Se comes frm a ne of earaveses wh aay consi ed bea stander mation forse ewig bake ne ae me ore ieee seAowomK Si eqeeeooeooss eeceed eccced: ooeeeoe eed sos peeeeees) eceeees eee eeeoueoosors sees ttt peqeeceoeses eeeqeceoress ooqeees eqeeeoueres ioaadadananas eta teed cadet Boocoe ecenber 2001 /Jemty 2002 "58Dancer Carrings heresa Grout gave me these earrings as a gift. She claimed they were inspired by a pair of earrings that | did. Bur frankly, I thought they were much better than mine were. They are so simple and fun that I could not help but convince her to let me write them up. She deserves the kudos but refuses to do the writing herself, I hope others find as much delight in the earrings as I have. 2 lange kidney casting wires 4 head pins 2eye pins “Ten 4mm square beads “Two 7mm round beads Eight 13mm x 6mm pressed glass beads Eight size 11° beads 4 leaf beads Round-nose pliers Wire cutters Siep 1, Leg Suingone of the 13mm beads onto an eye pin. Use the pli Figure 1 crs f0 are the wire into place for the second leg. Add the second bead, make P a loop in the end, and trim the wire (Figure 1). SHARON BATEMAN Step 2, Feet Susing | leaf, 1 seed bead, and 1 square ‘bead onto an ee pin, Make sloop and trim the swite. Artach the loop t the loop 2 he end of one leg, Rep for the second foos. Step 3: lang che paic of legs on the ‘bottom loop of a kidney wire Finch the loop dos ro ecuein place (Figure 2) \ Piro Mis.) and one 13mm onto a head. = Bend a small loop in the wise cone 13mm and 1 square Figure 2 bead: Make loop ontheend and teim the wire (Figure 3). Sup 5 Sting seed, 1 eathedeal, 1 square, the arms, 1 seed, and 1 cathedral bead onto che eating wire. Rep for che second earring, @ ‘Shar Exorcn s ea fr Pr may atc incline "Morning Rose Rett She invented and mansficures the Sharondisiry Tae Loon For more information, you can rach ‘her ar hernatercncom: Therese Grow and ber lampworked (ads a be fn a bade come BEADWORE Decanter 200m 2002 9Mt aT UH NAGE Jor Ina Golub, ie seems Fe beads patiently waited in the wings before they appeared center scage and she began to apply her artistry wo making beaded ‘objects. One event that raised the curtain was a visit to Jerusalem’ Israel Museum in 1993 where several small ancient beaded ritual objects caught her attention. This ‘isi inspired Ina eventually to create a small spice container inthe form of a fish. « popu- har form for the Havdalah spice container used in the ceremony that concludes the ‘weekly Jewish Sabbath, Her delicate object, just six inches ual, represents Leviathan, a mythical sea creature men tioned in the Bible. He rises ‘out of the sea with mouth ‘open to hold the sweet Sabbath spices. Ina's entry ‘won first prize in the prestigious 1998 Philip and Sylvia Spertus Judaica Price Competition held at the Spertus Museum in Chicago. The award was a $10,000 check! Having exhibited her fiber work widely and won ‘many award, Ina wasalready a well-stablished fiber artist when she began working seriously with beads. She had abo completed many successfl fiber comn- ‘Miriam's Vessel. Mixed stiches over glass 9° x5" x 5% lo, detcl | Iu DIANE FITZGERALD __missions for synagogues and ‘vate individual around the county. Although she aways sed accent beads to embel- fish be tual textes, making objects comply with bral began to inrigue her only as recently as the mid-1990s. As a kid, T did Indian loom bead-weaving, beaded sweaters, and such things,” ssid In, “I had a case box of beads and jewelry «. dida’t we all” Ina’s father, who taught her co knie when she wat siz years old and hhome with the chicken pox, 3 was a fine amateur craftsman who made beaded flowers in the 1960s, In graduate acho Ina was inp by 8 fiber arx profesor to begin calecing beads to adorn her work. When her father died some year lier, she inherited his stath—boxes and hhanks of Czech seed beads. Another opportunity 0 acquire considerable bead clleion ocautred when hh graduate school profesor retired. The legacy included several varieties of beads, large and small, also a lage selection of real Vieworian jet and ever some steel cut beads in several colors. “I consistendy ‘used eas from these collections on my fiber work,” ‘33 Ina, “and continued to build my own collection BeA0WOR, — Dxcember 2001/nery 2002 5°ceremonial objects in the Judaica cot lection of the Israel Museum in Jerusalem, Tivo objects tha particu lary caught her eye were a Hanukkah lamp and an Etrog container. The Hanukkah lamp, used during the Jewish festival of lights, was crafted almost entirely of Coech glass beads, “The Etog container, made to hold the fngrane citron fruit used on the Festival of Sukor that celebrates the fall harvest, was made of silver with ppands beaded on cardboard ina technique resembling needlepoint “Taking the trip seemed the prece- dent in my own herieage that riceded to join the curent eadhwork boforeshe became fille renaissance, and inspired me 10 time antic and now con- develop a seties of Jewish ceremonial siders the possibility of | Spice Comainer IV, Med objects in beadwork, series chat on teaching beading inthe ches over Lucte fin. 8" x tinues to inspire my new wotk,” Ina future. Although Ina 2°%2'.Pivote collecfon, observes. was raised in a family Ina’ frst beaded pieces were wo that practiced minimal observance of Torah poincers, objects used to fllow the reading of Jewish caditions she Flea pull toward che Tora inthe synagogue. They are beaded in pey~ her roots. With the help of Rabbi ote stich over ued wooden forms, one with apat- Reuben Levine then che spiritual leader tern of color gradations and another wih a parte of Temple Beth Ahm in Springfield, of Hebrew leters which state, “This is the Torah.” ‘New Jerse, she began an enlightening The silver pointer hands were mad by Ina col- journey ino the depths of her heritage, league, master silversmith Kurt Matador A jourey that continues co this day. Ina akes her inspiration not only from Jewish tra- ‘Sometime inthe winter of 1989, Int dition bur aso from life itself. "The exquisi for- vas reading am'ssue of Threads maga- mations of nature, particulaly sea forms, are a Zine and came across an article about constan reference, a6 are those aris throughout Virginia Blakelock’s history suchas the French Impres- bead loom weaving ists, who were preoccupied Poin: Pee sich ot “The detail and a th the effects fii” aie turned wood, soling vor by ee P : Kncdonsratsrke” sre. of Virginie ‘hat elect is one ofthe things eee incredible work blew which intrigues me about beads— mea.” said Ina, “T the sparkle and refletive qual knew I had co explore beadwork of all those tiny molecules of ax an art form.” She began nocic- lil.” Ina docs limit herself co ing beadwork, especialy inthe any one technique in beadwork, ular crafe community: Familiar bur uses whatever stiches or com- ‘with the work of Viginia Blake- bination of stitches bes serve het lock, Joyce Seat, William Hodge needs in 4 particular piece. and others, and with a deepening Tn addition 1 the prize- Iinowledge of Jewish trains, Ina winning Leviathan spice container made a tip to Israel in 1993. It Spice ContoinerV. Bod weaving made in peyote sich, Ina has svas here hac ll the bits and pieces on wire wasp. 7" x2" x 2". Perme- completed more than twelve other of her arc work came together. She ort collection, Yeshiva University pieces and several more are in recalls the impact of the beaded Museum, New York. progress, inckading a whole school whenever I had the opportunity. ‘Today [have a growing stash. Ifa shape or color appeals ro me, I buy som, and then of course, if lam ‘working on 2 particular piece, | buy some more.” Ins strong background in art began with a major in art education at Montclair State University in New Jersey where she eamed a bachelor's “degree in 1960. In 1965, at Indiana ‘Univers she earned a maser of arts for teachers degree. During these years she was painting and creating, wonderful hand-woven secular textiles, She abo taught art for ten years This isthe ovoh, Torch wewiatersaveicommi A Honulloh lamp. 1900 eclem, Glass beads coon frecd end kon wir, Pernanet ccllckon, The Ie! Mazeun, real, Ee of fish spice bones. Another series of spice cone cers resemble tiny architectural models or fanciful buildings with pointed or domed rool. Either woven ‘ona bead loor of peyote stitched over a Lucite form, these litte gems follow a strong tradition in Jewish artof spice boxes in the shapes of medieval rowers and buildings. They arc rarely taller than seven inches. Miriam’ Dance, Torah shied, depicts Miriam, the frst female prophet, who led the women of Israel to fcedom. ln tis pice, bead embroidergis applied to fabric primarily with backsttch. Another piece devoxed to Miriam is Miriam’ Vase, nas rendition often uses the product Varaform® to cre- ature for her figures. Irisa mesh fab- ric treated with thermoplastic resin and i's used in theater costuming and other venus. Ina cuts the Varaform, hea it in warm water using an old cdectic frying pan, and molds it, sometimes over another form that is later removed. Sometimes she covers the form with polyester bawing and fabric ro make something like a stuffed muslin form, She may use the fabric, often silk a a back- ground for beads; at other times she lets the fab ‘Fic show to provide a contrast of texture and color with beads. She usually beads around the form but sometimes sews the beads directly to the YVaraform, Heer most recent source for this prod uct is Douglass 8 Sturgess in San Francisco (415) 896-6283. of a special goblet used during Passover to hold water; es both the prophet Miriam as well as ens roles in the exodus from Egypt. "In Mirianes Vessel” says Ina, “I attempt to suggest the power of the Biblical wacers thar symbolize Miriam’ life: She is shown with her timbrel a the Sea of Reeds; her ss water which breaks into droplets that feed the earth; and her baby brother, Moses, rests in his basket amid the bulrushes on the banks ofthe Nile.” There isa lifetime of experience chat Ina creates. She combines media and dreaming, techniques which, she sas, make images happen in her brain, She then tran laces these images into objects sometimes direcly to heads andl sometimes into drawings and metic~ ulous studies fra particular pice. Inher Jewish r= itags, Ina has tapped arch source of imagery for her work and has combined ie with the wonder of nac- aril forms, “The book of Exodus dloquenily describes the accoutrements ofthe sanctuat) allo be made by the artis Bezald in che shadow of God,” says Ina, ach time I read these pages my inner voice peaks, compel ceremonial form, Avan ard lpg ce ate in the shadow of God.” @ me to pursue the creation of yet anoxh Dien Pegi a fal wh Be Seo Swat Hows Boo Sty becom at dif hi Yonu may reach ina at wc inagoludscom seaowone Dreenby 2001/2002 6po {bo knoven as shading, tapestry shading, Irish, phinge leaf satin, opus plumarium, and feather-works stitch, long, ind short stitches are a variation of the satin stitch, The stitches are ofien uscd for florals, scenes, and as filler for ie- regular and large shapes. STITCH NOTES Fourteen-coun fabric works well with size 11° seed beads and Delias; however, bead size variations requite some adap tation to the stitches. The edges ofthe fabric should be whip- stitched, ‘While knots are not used in mos thread embroidery, bead stitching requires knots at the beginning and end of each row 10 keep the beads from pulling loos. For the bargello sumpler, use the smooth side of counted fabric. Plan for 29 rows down and 27 rows across forthe em- broideted ares, Use 40" of beading thread and double it. Make a knot in the end and cut off the thread ends. BARGELLO MOTIF “The first row akernates across with shore and long sitch~ «5, Cl for the shor stitches and C2 for the long stizches. All subsequent rows are long stitches and alternate colors start- ing with C3. There are 6 rows down, The frst row of shorts has 5 stitches in lengih and the longs have 10 stitches in length, Long in rows 2 through 5 also have 10 stitches in lengeh. The sixth cow, 5 stitches, isa short and fills the lst portion of the LYDIA BORIN Bead Embroidery—Long and Short Stitches motif, Even-numbered rows have 14 stitches across and add ‘numbered rows have 13 stitches across. Begin in the top cor- ‘er stitch, start a row across from one direction, and then work back from the opposite direction. Stiing the number of beads that lie flac between the beginning and ending stitch hole. Each new row shares the last stitch hole ofthe prev row. PALMS MOTIF ‘Seep 1: Begin with an irregular line of C3 beads co make the ‘ree trunks, back-stitching the beads. String 5 beads, PT the fabric, and bring the needle back up through the fab- tic and the last 2 beads prev added. Rep for desired tree trunk length. ‘Siep 2: Use the basic long and shore stitch concepe for the tree branches by making one branch on the ree short and the next long, Put C3 beads next co the tree trunk, thea C2 and C1 on the branch ends. The beads forthe branches do not need back stitching. Sup 3: For the island, bring the needle through to the front, ‘string one bead and take the needle through the fabric to the back. Rep for an regular layer ofthe three colo along the tree trunk base. @ pls Barn oe Badal Secor po ma onl 0 rake bok ‘fuanyles for youre, ut denate evo oa lcd muscu mired he tov indo mor boat the Beaded Sampler Projecto Lyi mse fier tebe wachThe Glass Doctor: Ginny Sycuro hve clever litle Christmas tees can be made —— CORON es — T in many different sizes for focal beads in neck- laces, earrings, a Chis orto decorate holiday packages. A small bead can be at- tached to the top and hortom of the tree when you. are stringing it. Green. white, and assorted colors of Moretti glass Goldstone avencurine ‘Mandrels prepared with bead release Marvering paddle Fye protection Anmealer i decoratio Step: Make a grcn (pastel or dark ransparceghas ‘works very well cone-shaped bead. The eset way todo this s to make large round bead thea veriton your torch-mounted graphite pad. Step 2: (Optional) Add some goldsone averturine stringer in a wave pattern. This will look like 2 garland when the ec is finished. Mele the aren- turine inco the green bead, ‘Step 3: Place white dots in a random pattern all ‘over your green bead. Step 4: Place dots of colored rransparent glass over cach dot of white glass. $tep 5: Anncal the bead inyourkiln. @ Gog rn bs open Cs Scop rg heck tol eating babar ones te Vel Ste. Cote: Sto onsabepemeaten Goldstone aventurine will ada a lor of sparkle and holiday appeal to your line ree beads. Using sgoldscone can be tricky because i’ a very “shocky” ‘ype of glas, one that tends to sputter and shatter while you heat it. A simple and effective way co ‘prevent the glass from doing this is to preheat it. Take one long piece of aventurine glass and ‘carefully place one end in the kiln, My kiln came swith a glass red holder but for other models you ‘ean prop one end ofthe lass ico the heated area. ‘Afiet about ren minutes, the end of the glass rod “should be hot enough to prevent it from break- ing when you pur it into the torch flame, Care fully hold onto the unheated end of glass and ‘slowly add heat to the preheated end until you havea large glob of hor glass. Use a pair of blunt- end tweerers to pull out the glob into a long stringer of sparkly gold gla. tabsbead DOY sana Bead Something SL Inna pein) Ge Sematnngiceud A usual, shooting fora metaphorical sant on the projet J sought shang iar deen epic | bead boy sidekicks As feet. Colakcicnaheel decided co go with a cold shoul- READERS’ WORK ‘det, Using bluc beads, embroidered a portion of an anatomical sketch and filled the rest of the figure with warmer colored se- ‘Snowman by Elaine quins and embroidery floss. The result is a Hammer of Fruit Heights, lite muddy (especially after I tried co gael Utah, uses mostly peyote “fix” the sequins with some acrylic ’ stitch and is @ reminder of or a topographical map, so I call ic Blue Pennsyhrania: Secking something a little ‘mote literal, was draven to a borosilicace glass bead given to ime by Jim Stone, of Boulder, Col- corado, It is clear, but has swirls sg | of blue and gold within. Iclooks ial like a frozen universe. | combined it with some cube-shaped recycled glass beads for an fee Bracees, like the ida of the incense heat required for glass work being used to repre- sent cold. Fora final sensation of chilly times, I couldat esse making a Candy Gane. used a spiral stitch with red and white beads, chen threaded through a paper clip and bent i into shape, A little dab of glue on the cds keeps the wire in place. lacklace by Dulcey Heller St Lovie Paik, Mianesota, is boted on Anne fletcher Kelp" technique in he Spring 1999 ise of Beadwork Challenge for February (due December 1): “Bead Love.” Challenge for March (due February 1): “Bead a Song.” Denn Weld oa ea Bo Baeocke paeene 4 pre ep le Srowoles by Mery Tine of Aura, Cals, jase Baty Cling 4 4 tnmode wh tod Dod, bl eral du Tree 21 Fr , a he knows wha da erbodeed on toca CO 8337565. end t So posrey nn Basa Snowman by lynn Larson from Huron, South Dokate, where one kn whe odiestitches \O & TUBULAR PEYOTE STITCH ‘Sagan even uf bee wo Bs inaciek arund ate, Makes our ten cele by psig cheraphall he ee re oes cing fo he fw bead siren sing bead and pss thnagh she ed ben the fndaion leks Song bel en pw trough be fithbead of ihe ounditon cle Cone tinue adding | be 33 tne shipping cnet Bead fhe Get rund unl yt Ave abc half the amber of eds the fine ound. Ex fim the ie bead tlhe esd und. Side fe work ono he bers Seng {Bad eth he Second tead adda in he cond rund and pl hea i, Sting bead and isthe che tid bead adn he Tere nnd Conca lb ine "pect I boa ta eve. Et Sater head alto ach ound 2», ag ap NETTING (SINGLE THREAD) gin by sringing a base row of 13 beads, String > beads and. go back through dhe ith bead from the end of the base row StringanotherS beads. skip beads of the base tows and go back through the next. Rep end of te. FT thefith, fourth, and thie beads of those just trang. exiting from the hi the work over and go back actos the sme wy. RIGHT-ANGLE WEAVE [SINGLE-NEEDLE) The iusuatonrefersto bend potion, rotbead numbers. ew I: Sing forked. PT beak {in potions 1, 2,and 3. The bead in por ‘Thase bosic insrucons a for siches wed in hi seve’ projects and ore excorped from The Beccles Companion, iterweave Press, 1998. Don'thave his popular bool? Call (800) 645-3675, Depr AB1 teal in positon 3 ef as group (row po of thi group), bea ia pesiion 2 fac bead in potion 3 (now position Vf ‘et group). String 3 beads. Continue ‘woking in hispattern anil the row is flee lenge In she last group. PT and. PT beadin pas on of pre group an bead ia postion Tot tis group Siting 2 beads PT bead ‘in postion 2 of Row 1, bea i position of pre group and he beads jus ae. [PT bead in positon 4 of Row 1 Sting? tea. PT bead tn postion 2 of prey soup and bead in position 4 of Ro 1, FF fr bead as aed. Sing ? hex FFT bead in ponion 2 of Row I, bea in posion 1 of rev group and the fn ba hus Ra 3: Rep Raw 2 CONTINENTAL (LONG-TAIL) CAST-ON Lenin slong cll about V2" co 1” [1310258 em] foreach ich o be cst on), make asp kor and place on right ‘eel, Pace thumb and index finger of {of hand ferween the yarn ends 0th the working ym around inde finger an the tl end ie around thumb. Secure ‘he enh wih our oer Singer and hl your palm upwares, making x V of yam {pure 1). Beng reall up theoagh bop fom thuenb (Figere 2). guab fe steand ‘round index ges with nee, nd go ‘ck dow throgph lop on hur (Fig- tte 3). Drop lop of thumb and. place ing thumb badein Vcogaration, tight ‘resulting stch on needle (Figure). Se BEAD EMBROIDERY [gin by paning thence theough the fai, rom wong sie to right side. Swing 3 heads and ass back through the are Lf of whe then beading nade back hough theism eho the Bad, Wk hte Yo on op tots bop wich by ig ond tckechig ough etd FLAT PEYOTE STITCH This ch san so be refer 0 as “gourd stitch.” Oned pi ty sir ance number of beaters crete he Fico ne, Begin she hid row by ‘ign onc bead and pasing through theseeondtnat bea ofthe previo tout Sing another bead an pss thrnugh the Fourche ead ofthe presi es, Cann aig oe bead Sine ping er ey hr otibepertins oor poe svete he ame abore but gg bea mei soalfore.abbreviations The Shor! of lt =e: dsslde the nurnber of beads indicated 1320) upto the needle acces come seg: begin, beginning (0) 91-42 bypt:slip one bead ew ktm COseas: on (eartter) dec: decrease Bea Gown at eats Tax oosots sorubeptcom ye previciss ‘ey 23072 eepurl Beads Bex PBT: pass hack through; pass needle sentealiteaicon through in the opposite direction Mess PT; pass throughs pass needle through one in the same direction ae sem: remain, remaining ssterhceal com arn easee rep: repeat sds) round) scans com al:slip stitch (61 st pwsise unless oth- (7) s728337 cenwise indicated) ae, Sc right side Sg aans SS: square sticch Empyrean at(s): stitch, stitches ‘Goa og: vogethier Fire Design, ne. ns ee {(Jxc rep the sequence in parenthesis the ‘ite Mouniaia Gems ‘number of imesinicaed afer he? a 2 Secuennc iiss) 972 See Crk Cra LE [S41 97-010 Gin 2 Peal a beter com (9) 88-2825 Bed Ey March 6-10, soe kina NM. (on tae oud Renae veel com (30s) 230-7147 Imerralactic Read Sows "evraendehomscom 85) 728.008 ‘Recky Mountain Beal Sovity “on 3 ‘Aro Spr. {stot hag Lady Pres sora "922808 ewe swyetenal-cm Yeon mae Fea. sora oes oe Fam 9383839 2 Bead oc Not? Bend wor Sheomothead cont (€66) RED JADE. Tobeadeom swwtnteteadcom (77) 418BEAD BEADWORE —Orcembe2001/Joneny 2002 73e cool stuff a “THE ULTIMATE" GLUE OTT-UGHT* LAMP (One-Light has come out with a new floor lamp. Actually its their same old good lamp with oui- door-light accursey but in a new color. This graphite gray will fic in with most decors and is just, well, more hip! The lamp also has a new swiveling head, and a magnifier attachment is avail- able, Costs $199 95 and the lamp may be found at your local beadshop or by contacting Ott-Lite “Technology at (800) 842-8848, Here’ a high-per formance glue that not only adheres plastic, vinyl, fiberglass, wood, fabric, ceramicgglas, leather. paper, and etal, but its also non-toxic and water based! Ie dries fast and clear and gives a flexible, water-resiseant bond, You can see Dustin use of it on page 6—he glued the ends of his candy cane with it. The slue comes in 4, 8, and 16-ounce hordes and can be found at your local craft store ot by calling The ‘Adhesive Product, Ine-|Crafte’s Pick, (510) 526-7616 JOHN JAMES NEEDLES ‘You know, John James is one of those needle manufacturers that makes a handrater like you cor me sand in awe, Their United States representative, The Colo- nial Needle Company. carries an unimaginable array of just beading neediest They have « 74" long onc, a curved one, and ven blunt ones that go up to size 16°, So when Colonial recently ent us a sample oftheir Millenium Collection of nec- des, we thought youd like to know about it. This limiced edition folder of needles contains 100 stitchery needles, including sharps, rilliners, apestry, chenille, embroidery, darning, and quilting needle. The collection is $6.30. All needles are handcrafted in England andl are double eopper-plus nickel plate for tarnish prevent the collection at fine needlework and craft stores or contact ‘The Colonial Needle Company a (914) 946-7474, 80 www intrwaove.comFr reviews BRACELET © BEADS ‘va Forrington ‘Amity, Oregon: Sel-publshed ‘Sprelbound, $24.95, 74 pages, color, 2001 Bracelets ate hot Theyre fashionable and quick 0 work up. Bracelet O Beudh is 2 great book to get you going on the brac srrington offers 3 teen different patterns thar range in techniques— square stitch, ladder stitch, netting, daisy chain, ighi-angle weave, peyote stitch, and herringbone. ‘The book is generous with digital photographic luscraions so there’ no question about where you ate ina pater. Get this book through your local bead shop or contact Ava Farrington, Avs Beading Galore, PO Box 760, Amity, OR 97101; avasbead@viclink.co wwwangelfire.com/biz/AvasBeadingGalore. THE WEEKEND CRAFTER: \WIREWORK: 20 WON. DERFUL WIRE PROJECTS TO COL, BEND, TWIST & SmTCH Ellen W ISBN 1-57990-190-5 Sohtbourd, $14.95. 80 pages, calor, 2001 You know, this book has only a handful of beads in it, buc | sill recommend ic for beadworkers asa means of inspiration. lesa creative addition to the wireworking fare already available, Wieske begins with a complete desi of various wires, and gocs on to describe tools—plic (she shows you how to make meting surfaces, and shaping, holding, and The book inseeucts you in several wireworking techniques and offers twenty project varying in degrees of difficulty. The final section isa gallery of work from contemporary wirework artists, Get this book ae your local bead or bookshop oF con tact Lark Books ar ($00) 805-5489, 6 wwoninterweove.con Bracelet O Bewa JEAN CAMPBELL ONG MAY SHE WAVE ISBN 1-58008-240-8 Herdbound, $60, 223 poges, 2001, Caught up in flag fever? Then youll wane ro gee this book fll of hundreds of images of Old Glory | | from 1777 on. There's nice for | ward by Gerard Wer | tor of the Museum of American J Folk Ar, and a preface by author in, Ditec= prowty much a feast of rd, white, 1g lags made of paper, doth, paine, evetal surprising materials. A section of par- ticular interest ro beadworkers, “The F Features beaded whimsies, moccasins, and even a violin case. Get this book at your local bookshop. @(pe ston cong __-= along [= yet The year 2001 will undoubtedly look beticr once it’s behind me, buc Il still want co make believe ic never happened. Just about every turn taker during this pas: year has led me straight into a hassle. ‘The latest fight was about tees. Philippe and I re- ccencly bought a neat old house on a quiet, tree-lined street. You know, one of those with a beautiful canopy. Before we even finished unpacking, someone came along and tacked a notice ro the 10-year-old Norway maple in front of our property. Ic was an announce- ‘ment of a public hearing about removing the tree. A quick glance up and down the block revealed notices ‘on every tree that stood on city property. The Depart- ment of Public Works said that the city planned co repave the street and build six-foot sidewalks down both sides. The trees posed an engineering problem, s0 they hal to go. ‘What century is thie? Don't we know any better in this day and age thar trees are better for us than crete? Stepping way out of character and feeling like 1 ‘was back in the 1970s, | drew up a petition to save the tices and set off with my clipboard 10 knock on strangers’ doors. Fun. It turns out that 99 percent of the neighbors had already signed a pection in favor of having the super highway-like sidewalks installed and to hell with the res, “Sidewalks ill prorect our chil- dren and senior citizens from the traffic. They need safe place w walk. They dont need trees.” ‘Was | caught in the middle of a really bad of The Twilight Zone? Pethaps was not realy living in the same neighborhood as these people. Just to be suite I sat out front from 6:30 a.m. until 8330 a.m. to ob- serve the rush hour. Two school children, one jogger, twelve cars, and one school bus passed during those two hours. Not exactly life im the fase lane, school let out that afiernoon, children were out inthe street talking, rossing balls, riding bicycles. They were not seeking the higher ground of a sidewalk for prorec- tion from the onslaught of cai. ‘Am I really having this fight? I made fast friends with a couple of editors a che local newspaper, and the issue got low of print. During the next wo weeks, 1 at tended several melees masquerading as pul JUDITH DURANT Time to Grow and wrote more leurs andl made more phone calls than Tcan remember. A stream of politicians showed up on ny doorstep. All to no avail. The tees are gone. Our neighborhood is called the Highlands; now ic would better be described as the Wastelands. We used to look ‘out our front window and see a line of lovely foliage: now we sce a canning salon and a laundry. Early morn ing used to bring songs from the birds; now it brings roar from the traffic of 2 not-so-nearby high. “The city offered to plant a tree on the private prop- cety of residents who want one. Heck, they'll give us ‘wo trees to compensate for our loss. Unfortunately, ‘well be long dead by the time any saplings planted dhis year reach maturity Te occurs to me that 1 could bead a fifty-foot tree faster than one could grow. Think about it. During the past sic wedks of tre trouble, I have naturally and fre- ‘quently retreated to my beading table to escape the in= sanity, [ve done all the loom work for a six-sided piece thac has a surface arca of approximately 90 squate inches. Ive beaded wo chokers (28 inches), one bracelet (7 inches), and one pair of earrings (3 inches) for my niece. Two prized lampwork beads finally found their way into necklaces (60 inches). The dozen American flag pins that my friends and family want are still only in my head, but I can probably knock them ‘ou in one and one-half hours each (36 square inches). And if Td spene the time it took to knit «wo pillow covers doing beadwork instead, l eould have produced another 120 square inches. Adding the time I've spent carning a living fighting City Hall, and tending to fa- and domestic duties, and [ could bead, say, an other 120 inches. Thats 309 inches per month, 3,708. inches per year. At that rae, the trunk and branches of 2 fiy-foor by fify-foor tree could be done in eight years. OF course a naked tre would look ridiculous, 50 'd need 1 figure on beading some leaves. How many. would 1 need? 20,0002 120,000? Nothing fancy, just simple oblong. The eslculacor says they would rake about another... thirty-one years. Add a ltd time for finishing and I've just beaded a forty-year ere. Willie bea tic! Ready, set, grow!rie AAoUNTAIN) ; EMS" “Friendly Service™ Since 1973