Bead & Button - February 2015 PDF

FEBRUARY 2015 Issue 125
NEW SERIES Expert advice for your designs p. 24
SHAPED BEAD MANIA! Usher in a new year

of beading with a
4 projects scarab pendant p. 47
to make with
2-hole beads
Learn a slick
shaping technique
in brick stitch p. 68
Make a bracelet with
interchangeable bands
p. 31
Discover a Native
American artist taking
tradition high end p. 42
Bead studs and SuperDuos get
cozy in this classic bracelet by
Plus!
Svetlana Chernitsky, p. 31.
Enamel and stringer magic with JC Herrell p. 90 BONUS ONLINE

Design contest favorites p. 16
Make a bracelet with new mosaic beads p.22
CONTENT PG. 4
www.BeadAndButton.com
February 2015 3
WELCOME! February 2015 Issue 125
Website Access Code: BNB1502 Enter this code at:
www.BeadAndButton.com/code to gain access to web-exclusive content
PROJECTS
22 Charming WireLace
bracelet
by Linda Hartung
34 Discs & drops

by Janice Chatham
40 Metallic cuff bracelet

31
by Marla Salezze
ON OUR COVER
44 Two-hole rickrack bracelet Pearly studded
by Karen Bruns
bracelet
by Svetlana Chernitsky
47 Egyptian scarab
necklace by Meg Mullen
61 Interchangeable bangle
by Gabi Gueck
IN EVERY ISSUE
64 Sparkling necklace 6 From the Editor
by Shae Wilhite
11 Bead Soup
68 Stacking multistrand
bracelet
Beading trends, tips, news, reviews,
projects, and more
34
by Eleanna Zegkinoglou 16 Your Work
72 Edgy triangle bangle 24 Second Look
NEW
by Penny Dixon SERIES!
77 Basics
SPECIAL FEATURE 90 Spotlight

JC Herrell
by Lori Ann White
42 ARTIST PROFILE
Jamie Okuma
by Ann Dee Allen
44
72 We fully
Bead&Button (ISSN1072-4931, USPS 012-039) is published bimonthly by Kalmbach Publishing Co., 21027 Crossroads Circle, P.O. Box 1612,
Waukesha, WI 53187-1612. Periodicals postage paid at Waukesha, Wisconsin, and additional ofces. Postmaster: Send address changes
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projects
Interchangeable
bangle!
42
Technique Guide 47 61
bead weaving .................... 31, 34, 44, 64, 72
bead embroidery .................................40, 47
brick stitch ...........................................40, 68
90
ladder stitch.............................................. 68
peyote stitch ............................ 34, 47, 68, 72
right-angle weav ....................................... 61
stringing ..............................................22, 61
22 64
40
68
FROM THE EDITOR
New year, new beads Bead

Over the past couple of years, the beading community has seen a tidal
giveaway!
wave of new bead shapes. Two-hole beads have been particularly popular
and designers have really embraced them, developing great new techniques
and looks. This issue includes four projects that feature two-hole beads. We
love the classic elegance of Svetlana Chernitskys cover piece, Pearly studded
bracelet (p. 31). Karen Bruns dished up the texture in her Two-hole rickrack
bracelet (p. 44). Shae Wilhite summons a wintery look with SuperDuos in her
Sparkling snowflake necklace (p. 64). And glass beads exude attitude in See p. 79
Penny Dixons Edgy triangle bangle (p. 72). to learn
As we kick off 2015, Im excited to introduce a new column that is unlike any how you
weve run before. Starting with this issue, design diva Margie Deeb brings her could win
expert advice to Second Look, a new feature that shows the impact of subtle a kit to
changes in color and composition. Check out her column on p. 24. make a
Enjoy all the great beady stuff in this issue, and keep an eye out for the scarab
hidden bead strand, which will look like the one at right. When you find it, email necklace!
me by March 8 at editor@beadandbutton.com and tell me where you found it
(please use the subject line Find the bead strand) to be entered to win a free
copy of Anna Draegers Great Designs for Shaped Beads. A winner will be
selected from all the correct responses the week of March 9. Congratulations
to Carol Moss who found the strand on p. 54 of the October issue! Fitnhed
d
beand!
str a
for your
chance
to in !
Editor, Bead&Button
editor@beadandbutton.com
Editor Julia Gerlach ADVERTISING HOW TO REACH US

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Find everything
you need...
Rings by Kelli Burns October 2010
400+ FREE
SUBSCRIBER PROJECTS & PATTERNS
FREE
E-NEWSLETTER
SHOP
BACK ISSUES & 1,000+ PROJECTS
SUBSCRIPTIONS
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P23205
Beading trends, tips, news, reviews, projects, and more!
Handy Dandy
B&Bs Guide to rows

of beadwork per inch
Its one thing to know
how many beads there
are in an inch of strung
beads but do you know
how many rows of beadwork
are in an inch? If you can
figure that out, youll be able PEYOTE LOOM/ BRICK HERRINGBONE BEAD
to tell the length of a finished SQUARE CROCHET
project just by looking at the
150 seed 32 17 20 22 20
graph if the bead pattern beads
is fairly straight-forward. Heres
a chart showing approxi- 110 30 15 19 18 18
cylinders
mately how many rows there
are in an inch of beadwork, 110 seed 23 11 17 15 15
beads
listed by stitch and bead size.
(Note: This is a general guide- 80 seed 16 9 12 12 13
beads
line as bead sizes vary some-
what by manufacturer.) 60 seed 11 6 8 8 8
beads
Bead Happenings
360 Degrees Vanishing
In December, Houston artist Selven OKeef Jarmon
(bottom row, center) covered the Art League of Houston
building with large-scale tapestries made of more than
350,000 beads. The installation, 360 Degrees Vanishing,
calls attention to the fading interest in
traditional beading techniques
in South Africa. Jarmon designed
the panels and enlisted the help
of local volunteers and more
than a dozen skilled beaders
from South Africa to bead and
assemble the panels. The exhibit
will be on display throughout
most of 2015. Learn more at
www.artleaguehouston.org.
February 2015 11
BEAD SOUP
Inviting controversy Findings

Museum of Arts & Design
Photos courtesy of
Long known for tackling contentious themes like race,

hunger, and politics in her beadwork, Joyce Scott
continues her tradition of social commentary in her new
exhibit, Maryland to Murano: Neckpieces and Sculptures by
Joyce J. Scott, which runs at New Yorks Museum of Arts &
Design through March 15, 2015. The exhibit features her
stitched beadwork alongside new blown-glass sculptures
that are the result of a two-year
collaboration with the
Berengo Studios in
Murano, Italy. The exhibit
includes 39 neckpieces, Lazy Girl neckpiece, New bead shape
many of which tran- 2007 The new two-hole triangular Kheops bead
Buddha (Fire scend the customary Woven glass beads by Puca measures 6 mm on each side.
and Water), 2013 nature of jewelry, plus Ask for it at your local bead shop.
Hand-blown Murano three beaded wall
glass processes with hangings and 13 glass
beads, wire, thread sculptures. Learn more at
Photo by Michael Korya
www.madmuseum.org.
Swarovski
Bead-It-forward 2015 If its gotta be purple, youll love the
A gem of For the past three years, Bead&Button new colors from Swarovski, including
a show facilitated the Bead-It-Forward project, iridescent purple pearls, paradise shine
started in 2006 by Jeannette Shanigan crystals, and smoky mauve crystals.
Prospectors, the reality show to benefit breast cancer research. Were
that pits man against nature in delighted that Massachusetts beader
the hunt for riches buried high Amy Severino is continuing the legacy.
in the Colorado mountains, is Please visit the projects
back for a third season. With new website at www.
gorgeous scenery, extreme bead-it-forward.com to
weather, big payoffs, and total get involved and check
busts,Prospectors will give you out the patterns that Vintage button lookalikes
a peek into the life of the rock are already available! Add dazzle to your jeweley with
hound and the origins of some Deadline to send in drops and pendant sets made from
of the planets most precious squares is March 6, 2015. molds of vintage Czech buttons.
gems. Be sure to tune in at Plus, click on Auction to Several designs are available and
9 p.m. EST on Sunday nights on bid on some remaining come in antique silver or gold at
The Weather Channel. To learn squares and pieces from www.firemountaingems.com
more, go to www.weather.com. 2014. All proceeds still go
to breast cancer research.
Tucson bound
Every February, beaders flock to Tucson, Arizona and not just to escape
the winter weather. At about 40 sites around town, vendors affiliated with
the Tucson Gem and Mineral Shows peddle everything from gemstone rough, Guitar picks
fossils, and meteors to beads and jewelry. There is much more to see, but to Make a musician happy with guitar-
be sure you get to the bead shows, visit the following websites: pick jewelry. These are suitable for
www.tucsonglassartshow.com (new show this year!) jewelry making and many come
www.tobeadtrueblue.com undrilled to allow custom hole
www.bestbeadshow.com size and placement. Available
www.tucsonbeadshow.com at www.firemountaingems.com
www.wholebead.com
Interchangeable jewelry
Klik interchangeable components just snap into place to
quickly change the looks of your jewelry. Snap sets come
in an assortment of themes as well as blank bezel bases
to create your own look. Some of the components
available include pendants, earrings, rings, sliders,
leather bracelets, clasps, and toggles. Look for
them in your favorite craft, hobby, or bead store.
Learn more at www.metalcomplex.com.
We x findings
Share the love with heart-shaped charms from
www.nunndesign.com.
TierraCasts
Celtic collec-
tion features
designs that
symbolize love,
interconnectedness, loyalty, and friendship.
CzechMates Look for them at your favorite bead store.
Discover more design
potential with the Let the love last all year with these beautiful
latest additions to new ear wire designs from www.ninadesigns.com.
the CzechMates bead
collection, including the
two-hole bar and the
QuadraTile bead.
Kumihimo stand
Maggie T Designs new My Kumi Stand
brings flexibility to kumihimo. A tangle-free,
compact, and portable station for all your
kumihimo needs, the stand allows you to
work kumihimo with both hands as you
would on a full-size marudai but also lets
you use a disk for tracking your moves.
Velcro allows users to easily switch disks.
The stand includes a removable storage
container for your tools and supplies, a ruler
running along the edge, and a handy dowel
where you can stack your bobbins (not
included). It even comes in its own carrying
case! Visit www.maggietdesigns.etsy.com
or email maggie.t.designs@gmail.com.
February 2015 13
BEAD SOUP
On the Web New on the

A DIGITAL SUPPLEMENT TO BEAD&BUTTON MAGAZINE
B&B Extra cr
ibers
bookshelf
s
S ub
& SUBSCR
IBER
Subscribers download
Plus!
IVE
EXCLUS y 2015
Februar
Your complete beading resource

your February issue of High Strung,
B&B Extra on February 1 at A Glass Bead Mystery
www.BeadAndButton.com/extra! by Janice Peacock
Cobblestone bangle Take a break from beading with
Craft a cobblestone
Stitching with
shaped beads
bangle with two-
hole lentil beads, p. 4
by Nichole Starman this bead-shop murder mystery!
Make a casual bracelet
with baby spikes, p. 14
Two-hole daggers
make a playful
necklace, p. 7
Author Janice Peacock
Stitch a pretty
(Bead&Button, December 2010)
tiled bracelet
is an award-winning glass-bead artist who has

with SuperDuos,
p. 11
been honing her craft since 1992, and has been

Earthy girl exhibited internationally. This is her first book in a
necklace new series, with a second coming out soon.
by Peggy Melton Vetrai press ISBN: 978-0-9905705-0-9
Tuscan tiles bracelet www.glassbeadmystery.com
by Sandie Bachand
Bead crochet books
Two new bead crochet
books which is right
Smooth spikes for you?
bracelet
by Gail Wing Bead Crochet Basics
by Candice Sexton
This one is aimed squarely
at anyone new to bead
crochet. A full 14 pages,
complete with photos, are
Free Projects dedicated to explaining
the basic techniques and
concepts of the slip-stitch
The 2015 method of bead crochet.
Bead&Button Show is Five additional pages
just around the corner! explain other techniques, such as the
invisible join and tips for crocheting with crystals.
Go to www.BeadAndButton.com/ Twenty-two projects, ranging from beginner to
freeprojects to download instructions to advanced-intermediate, give you lots of options
make a necklace (by Connie Whittaker) for creating once you get the hang of the tech-
or bracelet (by Cassie Donlen) with this nique. The bonus DVD rounds out the instruction.
years commemorative bead by Andrea Kalmbach Publishing ISBN: 978-0-87116-446-9
Guarino-Slemmons. www.KalmbachBooks.com
The Bead Crochet Book

by Perlen Poesie
This book is largely for the beader with prior
bead crochet experience. The focus is the
www.BeadAndButton.com gorgeous projects, each by a different artist.
Follow us online! We keep From beaded beads to ropes, a handbag,
you in
the know about upcomin and even a scissors case, many projects involve
g issues,
free online projects, videos,
and complex patterns, shaping, and joins. A handful
everything else going on
at
Bead&Button. Follow us at: of easier projects are welcoming for the less
/ experienced amongst us. Published in Germany
BeadBuzz
www.Facebook.com/ (and available in either German or English), its
BeadAndButton
www.Twitter.com/ no surprise that many of the projects feature the
BeadAndButton single-crochet method popular there.
Tell us what you think! Give
us Perlen Poesie ISBN: 978-3-943674-19-4
feedback about this issue
at
14 www.BeadAndButton.com www.BeadAndButton.com
/ www.perlen-poesie.com
surveys.
SPRING 2015
CREATE YOUR
STYLE DESIGN
CONTEST
WIN Swarovski crystals!
Contest opens January 1st and runs through February 15th
Visit the below retailers or the Create

Your Style website for more details.
tWWW.FIREMOUNTAINGEMS.COM
tWWW.ARTBEADS.COM
tWWW.FUSIONBEADS.COM
tWWW.RINGS-THINGS.COM
tWWW.DREAMTIMECREATIONS.COM
tWWW.SHIPWRECKBEADS.COM
tWWW.BEADAHOLIQUE.COM
tWWW.BEADWHOLESALER.COM
tWWW.BLUEMUD.COM
tWWW.ALACARTECLASPS.COM
Designed by
Susan Kazarian
For more information about Swarovski crystals

scan QR-code with your SmartPhone or go to
http://swarovs.ki/Spring-2015-DesignContest CREATE-YOUR-STYLE.COM
YOUR WORK
Share Your Vision

Contest
In the October issue, we invited readers to upload
photos of their favorite original designs in fall colors.
Here are three of our favorites.
Summers End
I love everything about sunflowers, except that they signal the end of summer.
This cuff was fabricated using peyote stitch, a simple fringe technique, and
a brick stitch edging around an Ultrasuede-covered metal form.
Cheri Stewart
Gurnee, Illinois
chasdesigns@gmail.com, www.facebook.com/chasdesigns
Angelic Rose Pendant Autumnal Equinox

I was inspired to make my floral When I found this tiger iron cabochon
pendant by another Id seen by bead at a bead show, the design of this neck-
artist Leayn Tibili. My pendant features lace instantly sprang to mind! I made a
a rivoli encased by SuperDuos, seed beaded backstich and peyote bezel for
beads, and bicone crystals and framed the stone and hung it from a spiral rope
by 14 x 13 mm Czech glass leaf beads. neck strap that I heavily embellished
I really enjoyed the challenge of working with leaf fringe. I added more fringe to
with the leaf beads. the bottom of the stone and made a
cute leaf-shaped toggle clasp to pull
Renee Kovnesky it all together.
Appleton, Wisconsin
elegancebyrenee@yahoo.com LeAnn Baehman
Springfield, Missouri
lbaehman@mchsi.com

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February 2015 19
Fun Stitching
Projects for the
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Monday Friday, 8:30 a.m. 4:30 p.m. CT. Outside the United States and Canada call 262-796-8776, ext. 661.
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P24255
STRINGING
Charming WireLace
bracelet
1 Create a jig with two-ply illustration

board: Begin by cutting it to 7 x 3 in.
(19.1 x 7.6 cm). Cut a notch on each
Combine new Swarovski big-hole beads with WireLace short side that is -in. (6 mm) wide and
for a stunning bracelet you can make in a jiffy! 112 in. (3.8 cm) tall (half the height of
the board). These notches will allow you
to wrap the WireLace easily without it
designed by Linda Hartung slipping. If you want to adjust the size of
your bracelet, be sure to adjust the jig
as well by changing the size of the initial
board. The WireLace portion of the brace-
let is in. (1.3 cm) shorter than the
desired bracelet length. The notched por-
tion of the jig should equal that length.
2 Cut 60 in. (1.52 m) of color A WireLace.
a Leaving a 2-in. (5 cm) tail, clip one end
to a short edge of the jig near the
notch. Wrap the WireLace four times
around the 7-in. (18 cm) portion of the
jig (photo a). Wrap each layer on top of
the previous one, keeping the WireLace
smooth and flat. Tie the ends with a
square knot, and then slide one tail
b c under all the color A strands (photo b).
3 Using color B WireLace, repeat step 2,
d e f
Difficulty rating
g h Materials
blueberry bracelet, 7 in. (19.1 cm)
60 in. (1.524 m) 3 mm WireLace in each of
wrapping color B over the color A tips to taper the ends. Slide a large- 3 colors*:
strands. Separate the tails, one on each hole bead to the center of the WireLace - A (navy)
side of the knot (photo c). (photo g), and trim the ends flush - B (tanzanite)
4 Starting on the other end of the jig, to the knot. - C (azure)
repeat step 2 with color C WireLace lay- 7 Mix a small amount of two-part epoxy 1 Alacarte Simplicity magnetic acrylic
ering it on top of colors A and B. After according to the manufacturers instruc- clasp (blue)*
tying the knot, slide each color C tail tions, and fill the well of one half of the 1 Swarovski BeCharmed Medley bead*
under all the strands at this end. Make clasp about one-quarter full. Let the rigid 2-ply illustration board, 7 x 3 in.
sure the tails go in opposite directions clasp sit well-side up while you fill the (19.1 x 7.6 cm)
(photo d), and pull tight to gather all other clasp half. Put a dab of epoxy on scissors
the strands. Tie a square knot on top of the knotted end of the WireLace, and two-part all-purpose clear-drying epoxy
all the strands, leaving no gap (photo e). insert it into the clasp. Using a blunt (5-minute dry time)
5 Using the color A tails at the other end, needle or bamboo skewer thats had bamboo skewer or #13 or larger
tie another square knot around all the its sharp tip cut off, push the WireLace needlepoint needle
strands. Using the color B tails, tie half into the clasp to make sure its fully clip with smooth jaws
of a square knot (photo f). inserted (photo h). Wipe off any excess craft knife
6 Slide the WireLace off the jig. Squeeze glue that seeps out. Repeat on the other
and roll each end between your finger- end, and allow to dry. w * available at www.wirelace.com
More gorgeous color options! Basics, p. 77

square knot
Not feeling blue? Choose one of
Lindas other color combinations Cla
or come up with your own! s s Linda Hartung is the owner of
ic
Alacarte Clasps and WireLace.

n Visit www.alacarteclasps.com or
m WireLace colors
tu pale silver, titanium,
www.wirelace.com to see more
Au
of her work, or contact her at

black linda@alacarteclasps.com.
WireLace colors
clasp color
rust, merlot, olive
charcoal Brush up on the
clasp color basics referenced here at
olive www.BeadAndButton.com/basics.
t e
es
id
ns
w
th
Ocea
WireLace colors
Sou
y pale gold, seafoam,

an
WireLace colors ocean mist

Tusc
seafoam, aqua,
WireLace colors rust clasp color
pale gold, brass, gold
olive clasp color
rust
clasp color
olive
February 2015 23
NEW
SECOND LOOK Invigorating neutrals SERIES!
Seeing red
Is your latest creation

just not clicking?
In each issue, our
design expert reviews
reader projects and
provides an in-depth
analysis of whats
working and how
you can make your
piece sing.
by Margie Deeb
FIGURE 1
Art Analysis
Inspired by a photo of a Kenyan tribesman, Deanna Cox When I look at this necklace, I find myself wanting to explore
designed this necklace for a beading challenge. The focal the unusual shape and intriguing texture of the brooch. My
piece, an embellished sterling-wrapped bone brooch, hangs focus, however, is being pulled downward by the red. Its as if
from a piece of vintage copper gas line, which visually red is calling out Hey! Look down here at the stitching and
echoed the bracelets the man was wearing in the photo. the coral!
The resulting piece is a stunner but the color palette Because it is the brightest and strongest color in the neck-
presents a common dilemma: Neutrals are beautiful on their lace, your eye not only follows red, but seeks it. Notice how
own, but when combined in one piece, they can be somewhat your eye traces the bow-shaped arc of red beneath the focal
lackluster. Finding balance is key; you want to invigorate the (figure 1). When placed only beneath the focal and not
piece while preserving the sophistication the neutrals convey. above, this red arc gains added force. The thick vertical line
In Deannas necklace, the red seed beads and coral add created by the stacked red coral at the bottom pulls your
vibrancy. Red is an adventurous color choice that adds attention further downward.
dynamic energy, generating force and resolve. Here, the red In figure 2, all the color except the red has been removed
wields its most attention-getting power in the flow of the design. from the photo to help us track movement. Note the visual
FIGURE 2 FIGURE 3
movement generated by the positioning of red. Your attention

is initially captured by the red elements at the bottom. Then
your eye either slides up the vertical pillar or sweeps across
the arc. Once it has discovered the red seed beads in the
strap, your eye seeks them out, small as they are, searching for
the repeating pattern they create. Finally, your eye flits, butterfly-
like, up and around the strap.
Advice
Now lets examine what adding some red can do. When
stitched all the way around the focal (figure 3), red converges
our attention within the frame it creates. We can now leisurely
focus on the brooch.
But adding more red requires a trade-off because it dra-
matically alters the overall feel. In figure 4, were looking at
a piece that is higher in pitch and volume; a bold, dynamic
necklace in which red plays a starring role.
Movement has also changed. In figure 4, our eye no longer
darts about. It hops to and lands on concentrations of red.
The pace here is ever-so-slightly slower and the movement
more rhythmic. FIGURE 4
Ultimately, Deannas color choices will be guided by
the spirit of the piece and the feeling she wants to convey.
If she wants a lively, dynamic piece with a flamboyant tour Want your own Second Look?
guide, shell increase reds concentration and strengthen
If youd like Margie to analyze one of your pieces,
its position. If her goal is graceful movement and subtle
email a photo to photos@margiedeeb.com.*
sophistication, shell feature the natural, rustic palette of
Photos must be:
neutrals, limiting the amount of red to minute accents. w
at least 1,500 x 2,100 pixels (7 x 5 in.) and 300 dpi
in focus and well lit
Margie Deeb is an artist, designer, color expert, and author.
on a solid black or white background; avoid
She has written The Beaders Guide to Jewelry Design,
shadows or reflections on the piece
the award-winning book The Beaders Color Palette, and
The Beaders Guide to Color, plus numerous articles and *Based on the volume of submissions, we may be unable to
publications. Contact her at www.margiedeeb.com. review all entries.
February 2015 25
Bead&Button Photo Contest:
! Share Your
EW
N
You love to share your favorite tips, tricks, and advice with other jewelry makers.
Now its time to share your favorite jewelry! The new Share Your Vision contest
lets you show o your best original work based on a new theme in every issue.
This Issues Theme:

Valentines Day
You could be published in Bead&Button magazine!
Enter your photo here:

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Watch upcoming issues for more themes
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February 2015 27
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February 2015 29
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Also available at your favorite bead shop!

COVER STORY
CROSSWEAVE TECHNIQUE
Pearly
studded
bracelet
An assortment of seed beads

and crystals add texture and
sparkle to this bracelet that
features two-hole bead studs.
designed by Svetlana Chernitsky
February 2015 31
d
dd
aa a d dd
b bb
cc c
cc c
c cc
b bb
aa a
bb b d dd b bb
aa a
a aa
FIGURE 1 FIGURE 2 FIGURE 3 FIGURE 4
c cc
bb b bb b
aa a
a aa
FIGURE 5 FIGURE 6
Base and a pearl. With the left needle, pick a 4 mm, and cross the needle through
For the purposes of these instructions, up a SuperDuo, sew through the bead the next pearl (bc and bbcc).
the bead studs will have a right side stud (LH), pick up a SuperDuo, and cross 8 With the right needle, sew through the
hole (RH) and a left side hole (LH), the needle through the pearl (cd and SuperDuo, bead stud (RH), SuperDuo,
and we will refer to the needle as being ccdd) to make one bead stud unit. and the next pearl (cd). With the left
on the right or left side of the base 5 Repeat steps 34 for a total of five needle, sew through the SuperDuo,
when needed. pearl units and five bead stud units for a bead stud (LH), and SuperDuo, and
1 Thread a needle on each end of 7-in. (18 cm) bracelet (end with a pearl cross the needle through the same
a comfortable length of thread. With unit). End and add thread as needed. pearl (ccdd).
one needle, pick up a SuperDuo bead, 6 To make one more bead stud unit: With 9 Repeat steps 78 for the length
three 110 seed beads, and a SuperDuo, the right needle, pick up a SuperDuo, a of the base. At the end of the base, sew
and center the beads on the thread bead stud (RH), a SuperDuo, three 110s, through an 110 with each thread, and
(figure 1, a and aa). and a SuperDuo. Sew through the bead cross through the center 110.
2 With the right needle, pick up a bead stud (LH), pick up a SuperDuo, and sew
stud (RH), a SuperDuo, and a 6 mm through the pearl your thread exited Edge embellishments
pearl. With the left needle, sew through at the start of this step (figure 2, ab). 1 With each needle, pick up two 110s,
the bead stud (LH), pick up a SuperDuo, With the left needle, sew through all the and sew through the open hole of
and cross the needle through the pearl beads just added, and cross the needle the next SuperDuo (figure 4, ab
(ab and aabb). through the pearl your thread exited and aabb).
3 With each needle, pick up an 110, a at the start of the step (aabb). Tighten 2 With each needle, pick up an O-bead,
pearl, and an 110. With one needle, pick the beadwork. a pearl, a SuperDuo, a pearl, and an
up a pearl, and cross the other needle 7 With each needle, pick up a 4 mm O-bead. Skip the adjacent bead stud,
through it (bc and bbcc) to make bicone crystal. With one needle, pick and sew through the open hole of the
one pearl unit. up a 3 mm bicone crystal, and cross the next SuperDuo (bc and bbcc).
4 With the right needle, pick up a other needle through it (figure 3, ab 3 With each needle, pick up three 110s,
SuperDuo, a bead stud (RH), a SuperDuo, and aabb). With each needle, pick up two SuperDuos, and three 110s, and
Brush up on the basics referenced
here at www.BeadAndButton.com/basics. Difficulty rating
a aa
a aa
Materials
b bb blue bracelet 7 in. (18 cm)
6 12 mm two-hole bead studs
b bb (chalk green lumi)
44 6 mm pearls (Swarovski, Tahitian)
20 4 mm bicone crystals (Swarovski,
crystal AB2X)
FIGURE 7 c cc 15 3 mm bicone crystals (Preciosa, Venus)
4 g 2.5 x 5 mm SuperDuo beads
d dd (chocolate bronze)
24 1 x 3.8 mm O-beads (crystal
12 mm two-hole blue rainbow)
bead stud 2 g 110 seed beads (Toho 1208,
FIGURE 8 marbled opaque turquoise blue)
1 g 150 seed beads (Toho 460G, steel
6 mm pearl
blue metallic; www.whimbeads.com)
2.5 x 5 mm SuperDuo bead 2 6 mm jump rings (antique brass)
toggle clasp
4 mm bicone crystal
Fireline 6 lb. test
1 x 3.8 mm O-bead a aa beading needles, #11 or #12
3 mm bicone crystal 2 pairs of chainnose, flatnose, and/or bent
nose pliers
110 seed bead b bb
150 seed bead cc c purple bracelet colors
FIGURE 9 12 mm two-hole bead studs
(chalk bronze lumi)
sew through the open hole of the next and sew through the following pearl 6 mm pearls (Swarovski, burgundy)
SuperDuo (cd and ccdd). (figure 8, ab and aabb). 4 mm bicone crystals (Swarovski, chrysolite
4 Repeat steps 23 for the length 10 With each needle, pick up three 110s, opal AB2X)
of the base, ending with step 2. End and sew through the open hole of the 3 mm bicone crystals (Swarovski,
and add thread as needed. next SuperDuo. Pick up a 3 mm crystal, amethyst AB)
5 With the each needle, pick up two and sew through the open hole of the 2.5 x 5 mm SuperDuo beads (purple iris)
110s, and sew through the center 110 following SuperDuo (bc and bbcc). 1 x 3.8 mm O-beads (magic purple)
at this end of the base (figure 5, ab With each needle, pick up three 110s, 110 seed beads (Miyuki 94204-TB,
and aabb). and sew through the next pearl (cd Duracoat galvanized champagne)
6 With each needle, sew through and ccdd). 150 seed beads (Japanese 329B, green/
the next 110 and inside hole of the 11 Repeat steps 910 for the length celadon lined; www.beyondbeadery.com)
adjacent SuperDuo. Continue through of the bracelet, ending with step 9.
the outside hole of the same SuperDuo 12 With each needle, sew through the
and the following two 110s (figure 6, following O-bead, SuperDuo (outside
ab and aabb). hole), and two 110s (figure 9, ab Basics, p. 77
7 With each needle, pick up a 150 seed and aabb). With each needle, pick ending and adding thread
bead. With one needle, pick up a 150, up a 150. With one needle, pick up opening and closing jump ring
and cross the other needle through it a 150, and cross the other needle
(bc and bbcc). through it (bc and bbcc). End
8 With each needle, sew through the threads. Svetlana Chernitsky has
the following: 150, two 110s, SuperDuo 13 Open a 6 mm jump ring. Attach it been beading for eight years
(outside hole), O-bead, and pearl to the small loop created in the previous and loves working with two-
(figure 7, ab and aabb). step and half of the clasp. Repeat for hole beads. Email her at
9 With each needle, pick up two the other end of the bracelet. w lirigal@gmail.com, or visit www.lirigal.com
150s, and sew through the open hole and www.lirigal.etsy.com.
of the next SuperDuo. Pick up two 150s,
February 2015 33
PEYOTE STITCH / BEAD WEAVING
Discs
&drops
Gemstones sparkle between
delicate peyote medallions
in this elegant necklace.
designed by Janice Chatham
Medallions Round 2: Pick up a color A 110 seed

e 1 Work in rounds as follows: bead, a 150, and an A 110. Sew through
Round 1: On 1 yd. (.9 m) of thread, pick the bead your thread just exited and
d
up a 4 mm glass pearl and six 150 seed the next 150 in the ring (figure 2, ab).
a
d b beads. Sew through the pearl again in Pick up an A and a 150, and sew
c
the same direction, leaving a 6-in. (15 cm) through the adjacent A in the previous
a
tail (figure 1, ab). This forms a loop of set, the 150 in the ring, and the next 150
150s around one side of the pearl. Pick (bc). Repeat this stitch 11 times (cd).
b c up six 150s, and sew through the pearl For the last stitch in the round, sew
again to form a loop on the other side through the adjacent A in the first stitch,
FIGURE 1 FIGURE 2 of the pearl (bc). Sew through the first pick up a 150, and sew through the last
six 150s. Pick up a 150, and sew through A added and the 150 in the ring again.
the next six 150s. Pick up a 150, and sew Step up to exit the first 150 added in this
through the following seven 150s to form round (de).
a tight ring around the pearl (cd). Round 3: Using 80 seed beads, work
Difficulty rating
e
c a Materials
b c necklace 15 in. (38 cm)
d a
7 9 x 6 mm top-drilled moonstone tear-
d drops (www.firemountaingems.com)
8 4 mm glass pearls (magenta)
b 23 3 mm bicone crystals
(Swarovski, fuchsia AB2x)
2 g 80 seed beads
(Miyuki #460, metallic plum)
110 seed beads
- 2 g color A (Matsuno #399d, matte fuchsia)
- 2 g color B (Miyuki #4202, Duracoat
galvanized gold)
FIGURE 3 FIGURE 4
5 g 150 seed beads (Miyuki #191, 24kt
gold plated)
Fireline, 4 lb. test
beading needles, #12
9 x 6 mm drop
Basics, p. 77
d peyote stitch: circular, flat even-count,
c zipping up
4 mm pearl a
ending and adding thread
b square knot
3 mm crystal attaching a stop bead
80 seed bead
Janice Chatham has been
110 seed bead, color A beading for about 10 years.
She especially enjoys design-
110 seed bead, color B FIGURE 5
ing her own patterns and
150 seed bead sharing them with her beading group.
When she is not beading, she volunteers
at a neighborhood food pantry. Contact her
a round of circular peyote stitch, 2 To make a side loop: Pick up 11 150s, at bighjh2@aol.com.
sewing through the 150s in round 2. skip the previous three 150s, and sew
Step up through the first 80 in this through the next 150 (bc). Sewing
round (figure 3, ab). back toward the start of the loop, sew Brush up on the basics at
Round 4: Using color B 110 seed beads, through the next 110, 80, and 110, and www.BeadAndButton.com/basics.
work a round of circular peyote stitch, the following 150 (cd). Retrace the
sewing through the 80s in round 3. thread path through the loop, and
Step up through the first B 110 in this end the working thread and tail.
round (bc). 3 Repeat rounds 15 to make a second
Round 5: Pick up three 150s, and sew medallion, but do not add a side loop
through the next B 110 (cd). Repeat or end the threads. Sew through the
13 times to complete the round (de). beadwork to exit at figure 5, point a.
Sew through the following 80, 110, 80, 4 To connect the new medallion to the
and 110 in round 4 and the adjacent previous one, pick up a 150, a 3 mm
150 (figure 4, ab). bicone crystal, and a 150, and sew
February 2015 35
customize it!
through the adjacent 150, B 110, and Each medallion is about 34 in. (1.9 cm) in diameter. For a custom neck-
150 your thread exited at the start of lace, stitch more or fewer medallions or vary the length of the chains.
this step. Continue through the 150
and the crystal just added (figure 5,
ab). Pick up a 150, and sew through attachment again. End the working last B 110, 3 mm crystal, and B 110 in
the corresponding 150, B 110, and 150 thread and tail. the chain (fg). With the other needle,
on the other medallion (bc). There 6 Repeat steps 35 to stitch and con- sew through the next four 150s, and then
should be four 110s along the top nect six more medallions. There should work circular peyote around the loop,
edge of the medallion between the be five 110s along the top of each picking up one 150 per stitch (eeff).
side loop and this connection. Pick medallion between the connection Sew through the next four 150s and the
up a 150, and sew through the crystal, points. This allows the necklace to sit last B 110, crystal, and B 110 in the chain
two 150s, a B 110, and two 150s (cd). in a graceful curve when worn. (ffgg). Tie the threads together with
5 Pick up a B 110, and sew through 7 On the last medallion, repeat step 2 a square knot, retrace the thread paths
the next two 150s, B 110, and two to make another beaded end loop. through the loop, and end the threads.
150s (figure 6, ab). Pick up a B 110, 4 To make the toggle bar: On 18 in.
three 150s, a teardrop bead, and Chain and clasp (46 cm) of thread, attach a stop bead,
three 150s. Sew through the B 110 in 1 Attach a needle to each end of 1 yd. leaving a 6-in. (15 cm) tail. Pick up 10
the same direction to form a loop (.9 m) of thread. With one needle, pick 150s, and work in flat even-count peyote
(bc), and continue through the next up 11 150s, and center them on the stitch using 150s until you have a total of
two 150s, 110, the following 150, and thread. Pass the beads through an end 10 rows. Zip up the edges to form a tube.
the adjacent 150 in the connection loop, centering the beads in the loop. 5 Sew through the hollow center of the
(cd). Retrace the thread path With one needle, sew through the 11 tube, and pick up a 3 mm crystal and
through all the beads in the drop beads again. Pick up a B 110, a 3 mm a 150. Sew back through the crystal and
crystal, and a B 110 (figure 7, ab). With the tube (figure 8, ab). Add a crystal
the other needle, sew through the same and 150 at this end of the tube, and
B 110, crystal, and B 110 (aabb). sew back through the crystal and tube
2 With one needle, pick up five 150s (bc). Retrace the thread path through
(bc). With the other needle, pick up the crystal embellishment, and end the
d
a four 150s, and cross through the fifth 150 threads. Set the toggle bar aside.
picked up with the first needle (bbcc). 6 To complete the necklace, repeat
With one needle, pick up four 150s, a steps 12 at the other end of the neck-
B 110, a 3 mm crystal, and a B 110 (cd). lace. With one needle, pick up seven
b c
With the other needle, pick up four 150s, 150s, and sew through two 150s in the
and sew through the B 110, crystal, and middle of the toggle bar (de). Pick
B 110 in the same direction (ccdd). up three 150s, and sew back through
Repeat these stitches for a total of six the fourth 150 picked up (ef). Pick up
seed bead sections and seven crystals. three 150s, and sew back through the
3 To make the toggle ring: With one B 110, crystal, and B 110 at the end of
needle, pick up 27 150s. Sew back the chain (fg). Retrace the thread
FIGURE 6 through the fourth 150 (ef). Pick up path with the other needle, and end
three 150s, and sew back through the the thread. w
f
ee g dd cc b a
c e gg d c bb aa
ff
a FIGURE 7
e g
f
d
FIGURE 8
rojects!
25 P A Whole
New
Twist on Jewelry!
ber&cord
jewelry
With just a few alterations a snip, a turn, a twist you can transform
common stringing materials into bright, beautiful jewelry!
Add a few gemstones, ndings, beads, and chain, and colorful paracord
Easy to Make
Projects Using becomes a bouquet of owers. Natural bers become the focal point of a
Paracord, Hemp,
Leather, and More sea-inspired bracelet. Leather becomes a pair of fun, fashionable earrings.
Ashley K. Bunting
The 25 projects are as fun to wear as they are to make, and come together
in just a few hours!
67037 $19.99
Buy now from your favorite bead or craft shop!

Monday Friday, 8:30 a.m. 4:30 p.m. CT. Outside the U.S. and Canada, call 262-796-8776 ext. 661
P24227
www.facebook.com/KalmbachJewelryBooks www.pinterest.com/kalmbachjewelry 2BKBB

Jewelry is the Destination.
The
Join us for a journey 15 years in the making!
May 27 June 8, 2015

Milwaukee, Wisconsin Wisconsin Center
Full itinerar2y::
ne
May 27 Ju ndamentals
de s, Fu
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adness
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June 3: on
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Meet the Tea
June 3 7: lasses
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General Educ
June 5:
g Madness
Lampworkin
Agnieszka Watts
June 6: ight B151116
nd Auction N
Bead Social a
June 8:
s
Encore Classe
Online Registration Begins January 6, 2015

www.BeadandButtonShow.com
P24443
STOP STITCH / BRICK STITCH
Metallic
cuff bracelet
Make a fashion statement with metals
and leather by constructing this trendy,
contemporary bracelet.
designed by Marla Salezze
Difficulty rating
Materials
copper bracelet 7 in. (18 cm)
21 5 x 7.5 mm metal faceted rondelle
beads (Nunn Design, 7 antique copper,
a b 7 antique silver, 7 antique gold)*
2 g 150 seed beads (Miyuki 331, topaz
gold luster)
channel cuff bracelet (Nunn Design, 7 in.
antique copper)*
12 x 6 in. (1.3 cm x 15 cm) thin leather (brown
glove tanned, fish leather, or Ultrasuede)
nylon beading thread or Fireline 6 lb. test
clips
c d E6000 adhesive
pencil
ruler
Foundation Edging and assembly scissors
1 Using the template as a guide, 1 Tie an overhand knot at the
cut a strip of leather 12 x 534 in. end of 1 yd. (.9 m) of thread, silver bracelet colors
(1.3 cm x 14.6 cm) with rounded and trim the tail. To edge the 19 5.5 x 8 mm crystal rondelle beads
corners. leather in brick stitch, sew up (Swarovski, 7 crystal silver night, 6 jet,
2 Using a pencil and a ruler, draw through the leather about 1 mm 6 crystal silver shade)
a centerline down the length of from the edge, pick up two 150 150 seed beads (Miyuki 551, gilt-lined white
the leather. seed beads, sew up through the opal)
3 Tie an overhand knot at the leather about one beads width channel cuff bracelet (Nunn Design, antique
end of 1 yd. (.9 m) of thread. from where the thread just exited, silver)*
Sew up through the leather and continue up through the sec- 12 x 6 in. (1.3 cm x 15 cm) thin leather (black
14 in. (6 mm) from one end on ond bead just added (photo b). glove tanned, fish leather, or Ultrasuede)
the centerline. Working in stop 2 Pick up a 150, sew up through
stitch, pick up a rondelle bead the leather one beads width from * To find a retail source for Nunn Design
and a 150 seed bead, and sew where the thread just exited, and products, visit www.nunndesign.com.
back through the rondelle and continue through the new bead
the leather (photo a). Tie a half- (photo c). Repeat this stitch
hitch knot, retrace the thread around the perimeter of the foun- Basics, p. 77
path to reinforce the connection, dation. After adding the last ending thread
and tie another half-hitch knot. bead, sew down through the first half-hitch knot
Sew up through the leather 14 in. bead in the edging, through the overhand knot
(6 mm) from where your thread leather, and up through the first
exited on the centerline. bead again. End the working
4 Work as in step 3, alternating thread in the edging beads. Marla Salezze has been
the rondelle colors and position- 3 Apply adhesive to the back of beading since second grade
ing the beads to sit next to each the leather, and position it inside TEMPLATE and loves learning and explor-
other. Continue adding beads the channel of the cuff bracelet. ing new media. She is on the
until you reach the other end. Allow it to dry for 24 hours using Innovations Team for Nunn Design and is a
End the working thread and tail. clips (photo d). w board member of the Bead Society of Eastern
Pennsylvania. Contact her at beadedbymarla@
gmail.com, or visit www.beadedbymarla.com.
be prepared
Before starting, ensure that a #10 beading needle will penetrate
whichever leather you use. Glove tanned leather is thin, soft, and Brush up on the basic
flexible but sometimes difficult to purchase in small quantities. techniques referenced here at
Other options include fish leather or Ultrasuede. www.BeadAndButton.com/basics.
February 2015 41
ARTIST PROFILE Jamie Okuma
Shes in the
ART
Jamie Okuma takes Native American culture
haute couture with her breathtaking beadwork. by Ann Dee Allen
W
hen asked to describe how and as part of the Nomad Two Worlds fully participate in the cultural and
she came to be the artist shows in Germany and Australia. social life there.
she is today, Jamie Okuma Since first picking up a beading nee-
simply cant find the words. An early beginning dle and thread at the age of 5, Okuma
Honestly, this is who I am what I do, On her mothers side, Okuma is Luiseo has been a prolific beader. When she
she says. How do you explain yourself? and Shoshone-Bannock from the La was young, her friends would urge her
People see me in my work; if they under- Jolla Indian Reservation in Southern to go out and do something, to which
stand my work they know me. California. Her paternal side is Okinawan she replied that she was doing some-
Okumas work ranges widely but from Hawaii. In addition to her native thing beading. Like her mother,
has a common thread: contemporary culture, Okuma inherited a passion Okuma made her own beaded regalia
with traditional North American Indian for art. Her grandmother, Laura Edmo for powwows, including jingle dresses
influence. A mix of high art and haute Nelson, was a painter, and her mother for herself and her hand-crafted dolls.
couture, her work is sought-after by is well-known textile artist and painter, Okuma has been earning a living
museums worldwide. Okumas pieces Sandra Okuma. After achieving success as an artist (she is also a painter and
have been shown at the Smithsonian in graphic design and commercial art sculptor) since the age of 18. In 2000,
Institution and the National Museum of at places like Universal Studios and MCA she won Best in Show for her dolls at
the American Indian in New York. She Records in the 70s, Sandra and her hus- New Mexicos Santa Fe Indian Market
has exhibited internationally, including band returned to the reservation with at the age of 22, the youngest artist to
at the Muse du quai Branly in Paris, baby Jamie in tow so the family could ever receive the honor. She has since
won two other Best in Show awards in
Santa Fe and at the famed Heard
Jamie Okumas beaded Christian Louboutin shoes, titled Adaptation II, include
Museum Indian Fair and Market in
red chicken feathers, porcupine quills, and silver cones.
Phoenix, Arizona, and the Southwestern
Association for American Indian Arts.
Okuma studied art and design at the
Institute of American Indian Arts in Santa
Fe and had been interested in costume
design for decades before she decided
to branch into fashion. After 15 years of
making dolls, she was eager to get into
life-size contemporary fashion and
beadwork. Im really enjoying it, Okuma
says of the work shes doing now. Its
freedom, something Ive wanted to do
for a very long time.
She sees her current trajectory
as part of her evolution as an artist.
Everything changes, she notes. Ive
gotten older and my work has changed,
too. About five years ago I got married
and started having children, so my time
for the dolls was over.
Her timing couldnt be better. As
Left: Okuma collaborated with fellow Native each piece is truly one of a kind. With purses, cradleboards, gauntlets, and
American artist Keri Ataumb on this winning a pair of my shoes, there is never going moccasins along with dolls and apparel.
entry at the 2014 Santa Fe Indian Market. to be a carbon copy. Its the same for In addition to technique and materials,
any other art. Okuma stresses composition: Ive seen
Okuma observes, authentic contempo- Technique, along with high-aesthetic people whose technique is flawless
rary Native fashion has exploded composition and color are essential but their color choices and composition
in the Indian art world. The Santa Fe attributes of bead art. For example, are totally off. Composition is the core
Market even now features a high-fashion Okuma experimented with several differ- of any successful art piece. If something
runway show. Im seeing Indian- ent designs of swallows in flight for her is not placed right, it throws the whole
influenced fashion everywhere, she says. latest beaded boots (already slated piece off.
A confessed clotheshorse, Okuma for for exhibit at the Peabody Essex When it comes to exhibiting, Okuma
says Indian fashion art is the perfect fit Museum in Salem, Massachusetts, says she has seen too many people
for her: I love the super high-end shoes December 5, 2015April 3, 2016) until hurry to make as many pieces as possi-
and now I get the chance to work with she settled on the final designs. ble to sell at a show. For her higher-end
them. Take, for example, Okumas bead- As part of her artistic process, she shows, she puts all of her effort into one
embroidered Giuseppe Zanotti heels. envisions her designs in her mind, and or two really great pieces. Just as it did
While plain Zanottis can range from then draws them directly on the piece when she was a child, quality trumps
about $600 to $1,500 at places like she is going to bead. She says she rarely quantity for Jamie Okuma. w
Barneys New York, beaded Okumas sketches on paper, and if she does, she
run five figures. Okuma has also used never includes color, which she says can Ann Dee Allen is the former editor of Bead&Button.
Christian Louboutin shoes best known make her tire of the piece before she
for their lipstick-red soles in her work. even starts working on it. She prefers,
Even as a child, I knew that all of my instead, to let the color flow as part of Jamie Okuma often incorporates traditional
materials had to be the best, and that the beading process. Native American figures in her work and says
goes for my clothing, too, says Okuma, Despite being an accomplished, the artwork has to flow with the shoe.
who selects foundational pieces for internationally exhibited artist,
shoes and apparel based not just on Okuma says there is always
quality but also on aesthetics. She uses room for improvement. The
only Italian leather for her hand-painted beadwork can be refined more
leather and shearling coats and jackets. even for people who have
Okuma has been inspired by many been beading for a long time,
artists and designers. Red-carpet fashion she says.
designer and stylist Bethany Yellowtail Okuma says that the size of
tops the list right now. She is a fabulous the beads and thread can
designer and she has been helping me really define the look and
navigate the LA fashion district, says impression of the finished
Okuma. Bead artists Marcus Amerman piece. She likes to use bead
(profiled in Bead&Button, April 2009), sizes 240, 220, 200, and 180. She
Jerry Ingram, and Juanita Growing started collecting antique beads
Thunder are also on her short list, along (some in her collection are more
with fashion designers Sho Sho Esquiro, than a century old) decades ago
Orlando Dugi, and Pilar Agoyo. when she made the decision to
reinvest the money she made from
Beadwork as art her beadwork back into beads.
Art is often mistaken for craft, which is a She usually uses Nymo and bonded
disheartening fact of life for many bead nylon threads, except when she is
artists. Okuma addresses this miscon- stitching diamonds (usually on her
ception directly: Ive had this fight for beaded cuffs), for which she uses
as long as Ive done beadwork and I Fireline. She has used quills, tas-
dont know exactly how to verbalize it. sels, feathers, cones, and spikes
Beadwork is very time-consuming and in her work, which has included
Composition is the core of any successful

art piece. If something is not placed right,
it throws the whole piece off.
February 2015 43
BEADWEAVING
Two-hole
bracelet
Both texture and bling take center stage
in this uniquely designed Half Tila bracelet.
designed by Karen Bruns
There are two sides to the

Half Tila bead (referred to as
Tila in the instructions). The
top has a small bump in the
center and the bottom is flat.
When picking up a Tila, make
sure the top is facing up, and
sew through either the left
hole (LH) or the right hole
(RH) as directed. The Tilas will
flip over as they are added
to the beadwork. With your
beadwork positioned horizon-
tally from left to right, the
holes in the Tilas will again
be referred to as LH or RH as
they are positioned.
Center row
1 On a comfortable length
of thread, pick up two Tila
beads (RH), and sew through
the RH of the first Tila again,
leaving an 8-in. (20 cm) tail.
Tighten the beads so the
end of the second Tila is posi-
tioned under the RH of the
first Tila (photo a).
2 Sew through the same hole
of the second Tila, and con-
tinue through the open hole
of the same Tila (photo b).
3 Pick up a Tila (RH), sew
through the RH of the Tila
Difficulty rating
a b c
Materials
orange bracelet 7 in.
(18.4 cm)
9 g 5 x 2.3 x 1.9 mm Half Tila
beads (Miyuki 462, metallic
gold iris)
146 3 mm bicone crystals
d e f (Swarovski, astral pink)
2 g 150 seed beads in each
of 2 colors:
- color A (Japanese P486,
permanent metallic burnt
orange)
- color B (Miyuki 460A,
raspberry bronze iris)
g h i toggle clasp
Fireline 4 lb. test
beading needles, #11 or #12
your thread exited at the start
of the step, and tighten to fuchsia bracelet colors
position the end of the new 5 x 2.3 x 1.9 mm Half Tila
Tila under the RH of the exist- beads (Miyuki 4571,
ing Tila. Sew through the LH crystal magic orchid)
of the Tila just added, and j k 3 mm bicone crystals
continue through the open (Swarovski, fuchsia)
hole of the same Tila. Repeat 150 seed beads
this stitch for the desired LH of the Tila in the top sponding open hole of the - color A (Japanese
bracelet length, minus 34 in. row (photo f). Tila in the top row (photo j). SB3249, silver-lined
(1.9 cm) for the clasp. This 4 Flip the beadwork as 8 Repeat steps 57 for the transparent amethyst;
becomes the center row as shown (photo g) to work length of the beadwork, end- www.fusionbeads.com)
the other rows are added. from left to right. ing and adding thread as - color B (Japanese 329B,
4 Sew through the LH of the 5 Pick up a Tila (RH), sew needed. After the last stitch, celadon-lined green;
last Tila (photo c). through the RH of the Tila your sew through the LH of the Tila www.beyondbeadery.com)
thread is exiting, and tighten. your thread is exiting in the
Adjacent rows Sew through the same hole of top row, and continue straight
1 To begin the row below the the Tila just added and the RH through the beadwork to exit Basics, p. 77
center row, pick up a Tila (LH). of the center Tila (photo h). the LH of the last Tila in the ending and adding thread
Sew through the open hole of 6 Pick up a Tila (RH), and bottom row.
the same Tila, and continue sew through the RH of the 9 Flip the beadwork as
through the RH of the next Tila previous Tila in the bottom shown so your thread is exit- Karen Bruns has
in the center row (photo d). row, the LH of the Tila in the ing the RH of the Tila in the been doing bead
2 To begin the row above the center row, and the RH of the top row (photo k). embroidery for
center row, pick up a Tila (RH), Tila in the top row (photo i). more than 20
and sew through the open 7 Sew through the LH of the Outer rows years and is the inventor of the
hole of the same Tila. Continue Tila just added in the top row, 1 To begin the top outer curved dichroic band for bead
through the LH of the end and continue straight through row, pick up a Tila (LH), embroidery. She teaches interna-
Tila in the center row, and the the beadwork to exit the LH sew through the open RH tionally and at Bead Dreams in
RH of the new Tila in the row of the Tila in the bottom row. of the same Tila, and the LH Stockton, California. Visit Karen
below (photo e). Continue through the open of the Tila directly below the at www.karenbruns.com and at
3 Sew through the LH of the hole of the same Tila, and one your thread is exiting. www.karenbrunsdesigns.etsy.com.
same Tila, the RH of the Tila continue straight through the Continue straight through
in the center row, and the beadwork to exit the corre- the beadwork to exit the LH
February 2015 45
l m n o
p q r s
of the corresponding Tila in the Tila in the top outer row.

the bottom row (photo l). 5 Sew through the LH of the
2 To begin the bottom outer Tlia just added in the top row,
row, pick up a Tila (LH), sew and continue straight through
through the open RH of the the beadwork to exit the LH
same Tila, and the RH of the of the Tila in the bottom row.
previous Tila in the next row. Sew through the open hole t u v
Continue straight through the of the same Tila, and contin-
following two Tilas (photo m). ue straight through the bead-
Skip the LH of the Tila in work to exit the open hole through the LH of the end Tila side of the beadwork, exiting
the top outer row, and sew of the Tila in the top row. in the bottom row (photo p). the RH of the last Tila in the
though the RH of the same 6 Repeat steps 35 for the 2 Sew through the RH of the bottom row.
Tila (photo n). length of the beadwork, next Tila in the bottom row, 7 Pick up a crystal, and sew
3 Pick up a Tila (RH), and ending and adding thread and continue through the through the LH of the corre-
sew through the RH of the as needed. Sew through beadwork to exit the corresponding Tila in the center
Tila your thread is exiting and the LH of the Tila in the top sponding RH of the Tila in row. Pick up a crystal, and
the same hole of the Tila just outer row. the top row. Sew through the sew through the RH of the
added, and continue straight LH of the same Tila (photo q). corresponding Tila in the top
through the next three Tilas. Crystal embellishment 3 Repeat steps 12 for the row (photo t). End the thread.
4 Pick up a Tila (RH), and 1 Pick up a 3 mm bicone remainder of the beadwork, 8 Add 4 ft. (1.2 m) of thread
sew through the RH of the crystal, and sew through the ending and adding thread to the beadwork, and exit
previous Tila in the same row. LH of the second-to-last Tila as needed. When finished, the LH of the end Tila in the
Continue straight through the in the center row (photo o). your thread should exit the top row on the left end of
beadwork to exit the RH of Pick up a crystal, and sew LH of the last Tila in the bot- the band. Repeat step 5
tom row. and then step 4 so that the
4 Pick up a color A 150 seed embellishment alternates with
plain and simple bead, a color B 150 seed
bead, a crystal, and a B, and
the embellishment in the bot-
tom row (photo u) for the
This bracelet also looks great without the embellish- sew back through the crystal. remainder of the beadwork.
ment on top of the Tilas, so if desired, skip steps 14 of Pick up a B and an A, and 9 Sew through the beadwork
Crystal embellishment, and just embellish the edges. sew through the RH of the to exit the open hole of the
same Tila. Continue through end Tila in the center row.
the LH of the next Tila in the Pick up five As, the clasp, and
same row (photo r). five As, and sew through the
5 Pick up an A, a B, an A, a B, same hole of the Tila to form
and an A, and sew through a loop (photo v). Retrace
the RH of the same Tila. the thread path several times,
Continue through the LH of and end the working thread.
the next Tila in the same row Repeat this step at the tail
(photo s). end of the beadwork, and
6 Repeat steps 45 for this end the tail. w
BEAD EMBROIDERY /
PEYOTE STITCH
Egyptian
scarab
necklace
Combine ancient
Egyptian mythology with
21st-century fashion in a
contemporary necklace
spotlighting the Egyptian
symbol for rebirth, the
scarab beetle.
designed by Meg Mullen
February 2015 47
go smaller
Skip the round of 80
cylinder beads in step
5 of the Pendant
section for a smaller
gemstone cabochon
pendant, as in the
a b c seafoam necklace.
d e f g
h i j k
Pendant tional rounds. Work a final round using 6 Repeat steps 15 with the gemstone
1 Cut a 312 x 212-in. (8.9 x 6.4 cm) rec- 150 seed beads, and tighten the thread cabochon, except in step 3, work only
tangle and a 212-in. (6.4 cm) square of to secure the cab. Exit the beadwork by two rounds of peyote with 110s before
beading foundation. Apply a thin coat sewing diagonally down through the adding the final round of 150s.
of E6000 to the back of the scarab and beads and the foundation. Make a half- 7 Apply glue to the back of the beaded
gemstone cabochons, and center the hitch knot, and end the thread. cabs, and place each cab on the Ultra-
scarab cab on the larger piece of foun- 4 Tie an overhand knot at the end suede (photo d). Allow the glue to dry,
dation and the gemstone cab on the of 1 yd. (.9 m) of thread, and sew up and trim the Ultrasuede close to the
smaller piece, leaving a 34-in. (1.9 cm) through the foundation next to the round foundation for each cab.
space around each cab. Allow the glue of 110s. Picking up two 80 seed beads 8 Tie an overhand knot at the end of
to dry, and set the gemstone cab aside. per stitch, work a round of beaded back- 1 yd. (.9 m) of thread, and trim the tail.
2 Tie an overhand knot at the end of stitch. Sew through the first 80 added in Sew between the scarab cabs found-
1 yd. (.9 m) of thread. Sew up through the round, and exit through the back of ation and Ultrasuede exiting the front
the back of the foundation, exiting near the foundation. Make a half-hitch knot, of the foundation about 1 mm from
the outer edge of the scarab cab. Work and end the thread. the edge, hiding the knot between
in beaded backstitch around the scarab 5 Using 80 cylinder beads, work as in the two layers.
cab (photo a): Pick up two 110 seed step 4 to work beaded backstitch along 9 Work a brick stitch edging: Pick
beads for each stitch, line them up next the edge of 80 seed beads (photo c). up two 80 seed beads, sew up through
to the cab, and sew back through the Carefully trim the foundation close to both foundation layers one beads
foundation. Sew up between the two the beads, being careful not to cut width away from where the thread is
beads and through the second bead any threads. exiting, and continue back through the
just added. End with an even number second bead just added (photo e).
of beads, and sew through the first 110
in the round, the foundation, and back inside scoop For each subsequent stitch, pick up
an 80 seed bead, sew up through
up through the foundation and next 110. If using white beading both layers one beads width away
3 Using 110s, work a round of tubular foundation, color the edge from where the thread is exiting, and
peyote stitch off the beaded backstitch with a marker so it blends continue through the new bead just
(photo b) and step up. Work four addi- with the Ultrasuede. added (photo f). Repeat this stitch
Difficulty rating
around the perimeter. After adding the 3 Tie an overhand knot at the end of
final bead, sew down through the first 20 in. (51 cm) of thread, and sew up
bead in the edging, through the foun- between the gemstone cabs layers
dation and Ultrasuede, and back and through the unembellished reser-
through the first bead again. End the ved 80 seed bead on one side. Pick up Materials
working thread in the edging beads. an 80 seed bead, an 80 cylinder bead, eggplant necklace 171 4 in. (43.8 cm)
10 Repeat steps 89 with the gemstone and an 80 seed bead, and sew through 1 34 x 23 mm polymer clay scarab
cabochon. the corresponding 80 seed bead on the cabochon (purple, Marian Hertzog;
scarab cab (photo h). Sew though the www.msplace.etsy.com)
Assembly and embellishment next 80 seed bead, pick up an 80 seed 1 18 x 13 mm magnesite cabochon (purple)
1 To determine where the two cabs will bead, an 80 cylinder bead, and an 80 31 4 mm fire-polished beads (purple AB)
be stitched together, position the scarab seed bead, and sew though the corre- 3 g 80 cylinder seed beads (Miyuki
cab with the head pointing up and the sponding 80 seed bead on the gem- DBL1852, Duracoat galvanized pewter)
gemstone cab perpendicular under- stone cab (photo i). Repeat this stitch 9 g 80 seed beads (Miyuki 401FR, matte
neath. Locate the three topmost center on the remaining reserved 80 seed bead. black AB)
80 cylinder beads on the gemstone Retrace the thread paths to reinforce 6 g 110 seed beads (Miyuki 466, metallic
cab. Temporarily mark these three beads the join, and end the thread. dark raspberry gold luster)
by sewing an unknotted thread through 4 To determine where to place the bail 2 g 150 seed beads (Miyuki 4222, Duracoat
them, and remove the needle. Tuck on the scarab cab, mark the topmost galvanized pewter)
each end of the thread over the outer center three 80 cylinder beads as in shredded leather choker (plum purple;
edge of the three 80 seed beads directly step 1. Tie an overhand knot at the end www.lipstickranch.com)
adjacent to the cylinders to indicate of 1 yd. (.9 m) of thread, and sew up nylon beading thread, size D, or
these three 80 seed beads should be between the scarab cabs layers with Fireline 6 lb. test
reserved and not embellished. the needle exiting the 80 seed bead beading needles, #10
2 Tie an overhand knot at the end directly to one side of the reserved 80 6 x 212-in. (15 x 6.4 cm) piece of beading
of 1 yd. (.9 m) of thread, and sew up seed beads. To embellish the outer edge, foundation
between the gemstone cabs layers pick up an 110, sew down through the 4 x 212-in. (10 x 6.4 cm) piece of Ultrasuede
and through the 80 edge seed bead adjacent 80 seed bead, and back up (coffee bean)
directly to one side of the reserved 80 through the next 80 seed bead. Repeat E6000 adhesive
seed beads. Pick up a 3 mm or 4 mm this stitch (photo j) around the perime- scissors
fire-polished bead and a 150 seed bead, ter twice without adding 110s to the
and sew back through the fire-polished three reserved 80 seed beads. seafoam necklace colors*
bead and the 80 seed bead your thread 5 To make the bail, tie an overhand knot polymer clay scarab cabochon (green,
exited at the start of this step. Repeat at the end of 20 in. (51 cm) of thread. Marian Hertzog; www.msplace.etsy.com)
this stitch around the perimeter, stopping Sew up between the scarab cabs moss agate cabochon
when you reach the other end of the layers and through the unembellished 25 3 mm fire-polished beads (teal AB)
reserved beads (photo g). End the reserved 80 seed bead on one side of 80 cylinder seed beads (Miyuki DBL 1846,
thread. the scarab cab. Lay the leather choker Duracoat galvanized dark sea foam)
flat, and center it above the scarab cab. 80 seed beads (Miyuki 2008, matte metallic
Pick up 23 80 seed beads, and wrap patina iris)
pick your favorite them under and over the leather choker,
sewing back through the 80 seed bead
110 seed beads (Miyuki 351, peach lined
aqua luster)
Polymer clay artist Marian your thread exited at the start of this 150 seed beads (Miyuki 4216, Duracoat
Hertzog also offers these step. Repeat this stitch for the remaining galvanized dark sea foam)
striking scarab cabs in other two reserved 80 seed beads (photo k), shredded leather choker (olive green;
scrumptious colors. and retrace the thread path through www.lipstickranch.com)
the loops to reinforce the join. w Ultrasuede (Montauk)
Meg Mullen fell in love with * A kit for the seafoam color necklace is avail-
bead embroidery more than 20 able at www.beadmylove.com.
years ago because the design
possibilities are endless! Meg
owns Bead My Love. Check her website at Basics, p. 77
www.beadmylove.com for beads and embroi- peyote stitch: tubular
dery supplies. When she is not traveling, she ending thread
hosts Beautiful Bead Embroidery Retreats in half-hitch knot
Rehoboth Beach, Delaware. Contact Meg at overhand knot
beadmylove@aol.com.
February 2015 49
Tucson Bound?
Visit these fine exhibitors at
the annual Tucson Shows.
February 2015
If you are unable to attend in person, contact the
advertisers in this section to obtain their beautiful beads
and products. If a company sells wholesale only, ask your
local bead shop if they can obtain the item for you.
Tell them you saw their ad in Bead&Button!
Tucson Show Exhibitors 2015
ITS NOT
THE SIZE,
ITS THE
SPARKLE!
SWAROVSKI
ELEMENTS
in a sparkling array
of styles, sizes & colors
To Bead True Blue www.beyondbeadery.com

February 1-9, 2015 PO Box 460 Rollinsville, CO 80474 800-840-5548
See us at To Bead True Blue

Wynwoods Gallery
& Bead Studio
Charms in sterling, bronze & pewter
ARTISAN MADE
CHARMS
By Lois
Religious charms, medals and crosses
360-385-6131 Retail & Wholesale

www.wynwoods.com
February 2015 51
Visit www.nunndesign.com, to find wholesale jewelry findings,

retail kits and a gallery full of inspiration. Call Cheryl for
wholesale information! 1-800-761-3775. Nunn Design
products are cast in the USA with lead free pewter.
MADE IN THE USA
www.nunndesign.com
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HQHyour
HVLJQw ith
Metal
Lead Free Pewter ~ Made in the USA
EU Nickel Compliant ~ Original Designs
W W W. T I E R R A C A S T. C O M
TO ADVERTISE
Call 800-558-1544
ext. 648
1-888-799-0311
To Bead True Blue, Tucson, Feb 1-6. Doubletree, Booth GF190
www.classactdesigns.com
Wholesale & Retail Sales
classactdesigns1@gmail.com
6520 Platt Avenue #605 West Hills, CA 91307
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To Bead True Blue Show
Available through your local bead shop.
NEW
Xuron #441 Thread & Cord Scissor
Cleanly cuts high-strength shing line, threads
and various cords
Ergonomically designed for comfort and ease of use
Worlds smallest crystal buttons
I need

Be a d ed B e ad - Ru bber Ba n d Bra c e let

by Sharon Wa gner
Available January 31st, 2015
Actual Size
Pantheon Bangle by
TrendSetter Nichole Starman.
Pattern available on Etsy.
Dimensional Beading System

ASK YOUR LOCAL BEAD STORE FOR CZECHMATES OR ORDER FROM:
TILE
Artbeads Bobbis This n That Fusion Beads DAGGER
www.Artbeads.com www.BobbiThisnThat.com www.FusionBeads.com
BRICK
Baubles & Beads Bobby Bead Knot Just Beads LENTIL
www.BaublesAndBeads.com www.BobbyBead.com www.KnotJustBeads.com
TRIANGLE
Beadaholique The Earth's Treasures Midwest Bead & Supply BAR
www.Beadaholique.com www.EarthTreasureGems.com www.MidwestBeads.com
Bead Unique Eclectica Mountain Shadow Designs
www.BeadUniqueAZ.com www.EclecticaBeads.com www.MountainShadowBeads.com QuadraTile
Bello Modo Eureka Crystal Beads Red Panda Beads
www.BelloModo.com www.EurekaCrystalBeads.com www.RedPandaBeads.com Consistent hole spacing ensures
Beyond Beadery no warping or bunching.
www.BeyondBeadery.com Visit Starman in Tucson at To Bead True Blue, DoubleTree B2325
BEAD STORESRegister as a reseller: 888-683-BEAD [2323] www.StarmanInc.com Sales@StarmanInc.com

Jewelry designed by Meredith Roddy

Tabletop Knotter Tool
Patent Pending The Knot-a-Bead
tabletop knotter tool
is a fast and easy
way to hand knot
between beads.
NEW!
KNOT-A-BEAD FEATURES
Make professional looking hand knotted
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Ergonomic design allows for natural
Use the Knot-A-Bead with these Knottable Materials
two-handed knot tying between beads
Braided Cords Linen Cord Suede Spring-loaded stainless steel, auto-reset
Cotton Nylon Sparkle Thread awl places knots with precision
Dandyline Poly Thread Twine
Hemp Satin Cord (Rat Tail) Waxed Cord Accommodates any shape beads up to 16 mm in diam
Imitation Leather Silk WildFire
Leather Sinew Wire
Use with all diameters and most types
of bead stringing materials
Fast and easy-to-use, even for beginners
Scan the QR code

to watch a video
of The Knot-a-Bead
in-use!
www.beadalon.com/tools/216S-275.asp To nd a Beadalon retailer near you, please visit www.beadalon.com/storelocator.asp
RIGHT-ANGLE WEAVE / CUBIC RIGHT-ANGLE WEAVE
Interchangeable
channel
bangle
This clever bracelet has no clasp, but still fits

snugly on your wrist. The secret is the elastic
bands of pearls or crystals which can be
swapped out to create a whole new look.
designed by Gabi Gueck
February 2015 61
Cubic RAW how-to b
Each cubic right-angle weave up a bead, and sew through 3 For the second stitch of the a c
(or CRAW) unit has six surfaces the end bead in the last stitch new unit: Pick up two beads,
four sides, a top, and a bot- (bc). CRAW 2 shows a three- and sew through the side bead
tom. Each surface is made up dimensional view of the result- in the previous stitch, the top
CRAW 1
of four beads, but since the ing cube-shaped unit. bead your thread exited at
beads are shared, 12 beads 4 To make the unit more stable, the start of this stitch (CRAW 6),
are used to make the first unit, sew through the four beads at and the next top bead in the
and only eight beads are used the top of the unit (CRAW 3). previous unit.
for each subsequent CRAW Sew through the beadwork 4 For the third stitch of the new
unit. For clarity, we used two to the bottom of the unit, and unit: Repeat step 3 (CRAW 7),
colors of beads in the how- sew through the four remaining and continue through the side
to photos. beads. This completes the first bead in the first stitch of the
CRAW unit. new unit.
CRAW 2
Working the first CRAW unit 5 For the fourth stitch of the
1 On the specified length of Working more CRAW units new unit: Pick up a bead, and
thread, pick up four beads. 1 Each new CRAW unit is sew through the side bead
Tie the beads into a ring with worked off of the top four in the previous stitch and the
a square knot, leaving the beads of the previous unit. top bead in the previous unit
specified length tail, and These beads are identified (CRAW 8).
continue through the first two in CRAW 4. Sew through the 6 To make the unit more stable,
beads in the ring. This ring of beadwork to exit one of these sew through the beadwork
beads will count as the first top beads. to exit a top bead in the new
CRAW 3
stitch of the unit. 2 For the first stitch of the new unit, and sew through all four
2 Work two right-angle weave unit: Pick up three beads, and top beads (CRAW 9). This com- 3
stitches off of the bead your sew through the top bead your pletes the new CRAW unit.
thread is exiting to create a thread exited at the start of 7 Repeat steps 26 for the
flat strip of right-angle weave. this step. Continue through desired number of CRAW units. 2 4
3 To join the first and last the three beads just picked
stitches: Pick up a bead, sew up (CRAW 5). Sew through
through the end bead in the the next top bead in the previ- 1
first stitch (CRAW 1, ab), pick ous unit. CRAW 4
CRAW 5 CRAW 6 CRAW 7 CRAW 8 CRAW 9
CRAW tubes add thread as needed. End off of the bottom edge 80s
1 On a comfortable length the working thread and tail. (photo b) for the length of
full strength of thread, work the first CRAW Repeat to make a total of the tube, retracing each unit
unit (see Cubic RAW how-to three tubes. as you go, and using a tight
Use a strong elastic
above) using 80 seed beads tension. End and add thread
like Elasticity by
and leaving a 6-in. (15 cm) tail. Joining tubes as needed.
Beadalon. The .8 mm
2 Using 80s, work CRAW units 1 Add a comfortable length 2 Sew through the beadwork
may be used for the
for the desired length off the of thread to the beadwork, to exit an outside edge 80 in
crystals but doesnt
first one, to form a tube long exiting a bottom edge 80 in the last flat right-angle weave
pass easily through
enough to fit around your the last CRAW unit of a tube unit added (photo c). Pick
the pearls.
wrist without overlapping. Use (photo a). Using 80s, work a up an 80, and sew through
a tight tension, and end and row of flat right-angle weave the corresponding edge 80
Difficulty rating
a b c Materials
bangle 63 8 in. (16 cm)
5658 6 mm pearls or bicone
crystals (Swarovski, brass or
black diamond AB)
117 3 mm bicone crystal
(Swarovski, black diamond AB)
32 g 80 seed beads (Miyuki
d e f 4221, Duracoat galvanized
light pewter)
Fireline 6 lb. test
on another tube. Pick up an elastic thread, .5 mm or
80, and sew through the 80 .8 mm (Elasticity, clear)
your thread exited at the start beading needles, #11 or #12
of the step (photo d). Retrace Super New Glue or craft glue
the thread path, and continue
through the next 80 added
in this step and the following Basics, p. 77
edge 80 on the second tube g h right-angle weave: adding rows
(photo e). ending and adding thread
3 Continue working in right- square knot
angle weave to join the tubes off the adjacent edge bead to the topside of a tube,
together for the length of the (photo f). exiting an end 80. Pick up
beadwork. If you find it easier, 5 Repeat step 2 to join the a 3 mm bicone crystal, cross Gabi Gueck
you can flip the beadwork last tube to the beadwork the unit diagonally, and lives in Kassel,
to the backside when joining (photo g). End and add sew through the opposite 80 Germany, and is
the tubes, being careful not thread as needed, and end going in the same direction the mother of four.
to twist the tubes as you work. the working thread when (photo h). Repeat this stitch She has been beading for many
End the working thread. complete. for the length of the tube years and enjoys going to her
4 Repeat step 1 to add a row and end the thread. local bead shop, where she is
of flat right-angle weave to Crystal embellishment 2 Repeat step 1 to add crys- friends with the owner. Contact
the tube just added, working 1 Add 2 ft. (61 cm) of thread tals to the other two tubes. Gabi at gueckgabi@icloud.com
Make sure to start each or visit gabis-perlenzauber.com.
embellishment the same and www.perlensucht-kassel.de.
so the crystals are all angled
in the same direction.
If its slightly longer, thats
Interchangeable OK. Tie a square knot, and
bands dot the knot with glue.
1 Cut a length of elastic Repeat if needed. Trim the
4 in. (10 cm) longer than ends when dry.
the length of the beadwork. 2 Make a second beaded
String enough 6 mm pearls band.
or crystals to match the 3 Position the beadwork on
length of the beadwork. your wrist, and slide each
band into a channel to hold
the bracelet in place. w
bring the bling
Switch the pearls
to crystals for
more sparkle.
February 2015 63
BEAD WEAVING / PEYOTE STITCH
snowflake necklace
Stitch lovely beaded

snowflakes for a delightful
winter wonderland motif.
designed by Shae Wilhite
Difficulty rating
d
Materials
c
b gold necklace 21 in. (53 cm)
a 1 16 mm rivoli (Swarovski, crystal
golden shadow)
2.5 x 5 mm SuperDuo beads
- 14 g color A (champagne luster)
- 8 g color B (crystal bronze pale gold)
16 4 mm fire-polished beads
(smoky topaz AB)
16 80 seed beads (Miyuki 457L,
metallic light bronze)
4 g 110 seed beads (Miyuki 577, dyed
FIGURE 1 FIGURE 2 butter cream silver-lined alabaster)
48 150 seed beads (Miyuki 457L,
metallic light bronze)
a b hook-and-eye clasp
Fireline 6 lb. test
c beading needles, #10
16mm rivoli
silver/white colors
2.5 x 5 mm SuperDuo bead, 16 mm rivoli (Swarovski, crystal AB)
color A 2.5 x 5 mm SuperDuo beads
2.5 x 5 mm SuperDuo bead, - color A (white luster)
color B
- color B (crystal bronze aluminum)
4 mm re-polished bead 4 mm fire-polished beads (white opal)
80 seed bead 80 seed beads (Miyuki 0271, silver
110 seed bead
gray-lined crystal)
110 seed beads (Miyuki 0271, sparkling
150 seed bead silver gray-lined crystal)
150 seed beads (Miyuki 1105, sparkling
FIGURE 3 gray-lined crystal)
Center snowflake Pick up two As, and continue through

1 On a comfortable length of thread, the open hole of the following A. Repeat Basics, p. 77
pick up a repeating pattern of two 110 these stitches seven times to complete peyote stitch: circular
seed beads and a 4 mm fire-polished the round, and continue through the square knot
bead eight times. Sew through the first fire-polished bead added (figure 2). ending thread
beads again (not shown in figure) 4 Pick up three 110s, and sew through
to form a ring, leaving a 6-in. (15 cm) the open hole of the next A in the pre-
tail. Tie a square knot with the working vious round. Pick up an A, sew through Shae Wilhite designs and
thread and tail, and continue through the open hole of the following A, pick teaches at Sweet Beads, the
the next two 110s (figure 1, ab). up three 110s, and sew through the Las Vegas bead store she
2 Pick up an 80 seed bead, a color A next fire-polished bead (figure 3, ab). owns with her mother, Stacie.
SuperDuo bead, an 110, an A, and an Repeat these stitches seven times to When she isnt beading, Shae is a writer,
80. Skip the fire-polished bead, and complete the round (bc). actress, and baker. You can find her kits and
sew through the next two 110s. Repeat 5 To make the setting for the rivoli, patterns at www.sweetbeadslv.com or
seven times to complete the round sew diagonally down through the contact her at sweetbeadslv@gmail.com.
(bc), and step up through the first 80 beadwork to exit a fire-polished bead
and A added. Sew through the open from step 1. Pick up five 110s, and sew
hole of the same A (cd). through the fire-polished bead again, Brush up on the basic
3 Pick up a fire-polished bead, and sew going in the same direction. Continue techniques referenced here at
through the open hole of the next A. through the next two 110s and the www.BeadAndButton.com/basics.
February 2015 65
a
b
c
FIGURE 6
a
b c
FIGURE 4 FIGURE 5 FIGURE 7
d c
e
c b e a
b
a a
e b
d
c
following fire-polished bead. Repeat polished bead (photo b). Repeat these form a ring, leaving a 6-in. (15 cm) tail.
seven times to create eight picots, stitches to add a total of eight picots. Tie an overhand knot with the working
and continue through the first three 9 Sew through the beadwork to exit the thread and tail, and continue through
110s added (figure 4). point 150 of the next picot. Place the rivoli the next two 110s (figure 6, ab).
6 Pick up two 110s, and sew through face-up inside the beadwork, and posi- 2 Work two rounds as follows: For each
the center 110 in the next picot. Repeat tion the picots to sit on top of the rivoli. stitch, pick up an 110, and sew through
seven times to complete the round, Pick up two 110s, and sew through the the next 110 in the previous round. Step
and retrace the thread path (figure 5). point bead of the following picot. Repeat up after each round (bc).
7 Sew through to the other side, and seven times to complete the round 3 Pick up two As, and sew though the
exit a fire-polished bead from step 1. (photo c). Tighten the thread, retrace the next 110. Repeat this stitch five times to
8 Pick up four 150 seed beads, skip the thread path to secure the rivoli, and end complete the round, using a firm tension.
last 150 just added, and sew through the the working thread and tail. Sew through the first two As added at
second to last 150 (photo a). Snug up the beginning of this step, and continue
the beads. Pick up two 150s, sew through Star snowflakes through the open hole of the A your
the opposite side of the fire-polished 1 On a comfortable length of thread, thread is exiting (figure 7, ab).
bead your thread exited in step 8, the pick up six 110s, and sew through the 4 Pick up two color B SuperDuos, and
next two 110s, and the following fire- beads again (not shown in figure) to sew through the open hole of the next A.
Pick up an A, and continue through the
open hole of the following A. Repeat
these stitches five times to complete the
round. Step up through the first B added
in this round, and continue through the
open hole of the same B (bc).
5 Pick up an 110, and sew through the
a b c open hole of the next A (figure 8, ab).
Pick up an 110, and sew through the
Fine Jewelry
a b
Neck straps
1 On a comfortable length of thread,
c
pick up an A and three 110s, and
FIGURE 11 sew through the open hole of the
same A, leaving a 10-in. (25 cm) tail
(figure 11, ab).
Beads
a 2 Pick up a B, an A, three 110s, and an Crystals
c
A, and sew through the open hole of
b
b a
the B just added (bc). Tighten the Minerals
d thread to properly arrange the beads.
c
3 Pick up an A and three 110s, and Gems
sew through the open hole of the A
just added (figure 12, ab). Pick up a B,
and sew through the open hole of the
300
adjacent A (bc). Pick up three 110s 252-8
(503) om
and an A, and sew through the open aire.c
GemF
hole of the B (cd).
4 Repeat step 3 27 times, but on the
A I R E
EM F
c last time, omit the second A. Pick up
a
d b
three 110s, and sew through the other
hole of the B your thread is exiting
(figure 13, ab). Continue through the
G
next three 110s and the other hole of *Join the Gem Faire Community*
the same B (bc). P Competitive booth prices!
5 Pick up three 110s and half of the P Professional booth set up!
clasp, and sew back through the last P Earn higher profits!
110 added. Pick up two 110s, and sew P Meet face to face with your customers,
giving them a hands-on purchasing experience!
through the B your thread exited at the
FIGURE 15 beginning of this step, to form a loop. !!! Download Contract Today !!!
(figure 14). Retrace the thread path
GemFaire.com
open hole of the following B (bc). Pick several times, and end the working
up two Bs, and sew through the open thread but not the tail. Upcoming Schedule
hole of the next B (cd). Repeat five 6 Repeat steps 15 for the second
times to complete the round (de).
6 Pick up an 110, sew through the next
neck strap.
2015
110 in the previous round, pick up an Assembly JAN. 2, 3, 4 SANTA ROSA, CA
JAN. 9, 10, 11 HILLSBORO, OR
110, and sew through the following 1 Position a star snowflake so the point
JAN. 16, 17, 18 DEL MAR, CA
110 (figure 9, ab). Pick up an 110, sew that doesnt have a B on the tip is JAN. 23, 24, 25 SAN RAFAEL, CA
through the outer hole of the next B, adjacent to one of the points on the JAN. 30, 31, FEB. 1 MONTEREY, CA
the inner hole of the following two Bs, center snowflake. Using the working FEB. 6, 7, 8 ROSEVILLE, CA
FEB. 20, 21, 22 SANTA BARBARA, CA
and the outer hole of the next B (bc). thread from the star snowflake, sew
FEB. 27, 28, MAR. 1 COSTA MESA, CA
Repeat these stitches five times to com- through the open hole of the A on the MAR. 6, 7, 8 DEL MAR, CA
plete the round (cd). Sew through center snowflake and the outer hole of MAR. 13, 14, 15 PLEASANTON, CA
the next seven beads, and then sew the adjacent B on the star snowflake
through the open hole of the B your (figure 15, ab). Sew through the next First ________________________________
thread is exiting (de). two 110s along the edge of the same
Last ________________________________
7 Pick up an 110, and sew through the B and through the inner hole of the
next 110 in the previous round. Repeat two adjacent Bs (bc). Sew through Address _____________________________
twice (figure 10, ab). Pick up an 110, the two 110s on this edge of the B and
____________________________________
sew through the open hole of the next B, up through the outer hole of the same
pick up a B, and sew through the open B (cd). Retrace the thread path, and City_________________________________
hole of the following B (bc). Repeat end the thread. Using the tail from the
State___________ Zip__________________
these stitches four times (cd). Repeat neck strap, retrace the join as in step 1.
once, but dont add the final B (de). End the tail. Complete & bring this ad to receive
ONE
End the tail, but not the working thread. 2 Repeat step 1 on the other side of the FREE one free admission. One per
person. Must present original ad.
BB2/15
Photocopy not accepted. Property

8 Make a second star snowflake. necklace. w admission of Gem Faire, Inc, can be revoked
without notice. Non-transferrable.
February 2015 67
All stackedup
BRICK STITCH / PEYOTE STITCH / LADDER STITCH
Stitch a high-fashion multistrand bracelet with a slick

shaping technique and cute sliding charms.
designed by Eleanna Zegkinoglou
a matter of time
One factor that helps us
determine a difficulty rating
is how long the project takes
to make. This bracelet relies
almost completely on very
basic techniques, but takes
quite a while to complete,
which is why we gave it a
four-bead rating. Each rope
takes about two hours to
stitch, so the entire bracelet
took more than 20 hours
from start to finish.
4 mm cube bead
a
3 mm rose monte b c Difficulty rating

d
110 cylinder bead c

150 cylinder bead b
Materials
150 seed bead a bracelet 7 in. (18 cm)
FIGURE 1 FIGURE 2 FIGURE 3 Japanese cylinder beads
- 12 g 110 (DB-0005, metallic
variegated blue iris)
- 3 g 150 (DBS-0005, metallic
a variegated blue iris)
4 g 150 seed beads (Miyuki
457, metallic dark gold)
15 3 mm rose montes
(crystal)
8 g 4 mm cube beads (Miyuki
462, metallic gold iris)
Fireline 6 lb. test
b c d
Basics, p. 77
ladder stitch
Ropes rows of peyote stitch along the strip (figure 3, ab). Sew brick stitch
1 On a comfortable length one long edge. The twist will through the adjacent 150, peyote stitch: flat even count,
of thread and leaving a 6-in. flatten out some as you add the other channel of the flat odd count, zipping up
(15 cm) tail, make a three- the rows. Zip up the edges rose monte, and the 150 ending and adding thread
bead ladder with an 110 to form a tube. The tube will adjacent to the one your attaching a stop bead
cylinder bead, a 150 cylinder be curved (photo b). End thread exited at the start of
bead, and an 110 cylinder the working thread and tail. this step (bc). Sew through
(figure 1, ab). 4 Repeat steps 13 to make the beadwork to exit an Eleanna
2 Work rows of brick stitch a total of nine ropes. end bead (photo c). Zegkinoglou lives
with an increase at the start 3 Remove the stop bead, in Athens, Greece,
of each row: Pick up an 110 Roller charms wrap the strip around a with her husband
cylinder and a 150 cylinder, Small charms rope, and zip up the ends and young daughter, and works
and sew under the nearest 1 On 18 in. (46 cm) of thread, (photo d). End the working as a pianist and music educator.
thread bridge at the top of attach a stop bead, leaving thread and tail. Contact her via email at
the previous row. Sew back a 6-in. (15 cm) tail, and pick 4 Repeat steps 13 to make eleannazegkinoglou@yahoo.com.
through the new 150 cylinder. up four 150 seed beads. as many small charms as
Pick up an 110 cylinder, and Working in flat, even-count you like. The sample shown
sew under the next thread peyote stitch, make a strip has 11. Omit the rose monte Brush up on the basics
bridge in the previous row that is four beads wide and on half of them. Arrange referenced here at www.
and back through the new 22 rows long. There will be 11 the charms as desired on BeadAndButton.com/basics.
110 cylinder (bc). Repeat beads on each straight edge the ropes.
this row (cd) until the strip (figure 2).
is about 6 in. (16.5 cm). 2 Sew through the beadwork Large charms
The strip will twist as you to exit an edge 150 with the On 1 yd. (.9 m) of thread,
work (photo a). End and needle facing toward the make a peyote strip that is
add thread as needed. other edge. Pick up a 3 mm 10 beads wide and 22 rows
3 To complete the rope, use rose monte, and sew through long. Work as in step 2 of
110 cylinders to work three a 150 on the other edge of Small charms to attach
February 2015 69
e f g h
i j k l
edge to the clasp base completes the clasp latch.

(photo i). This completes Retrace the thread path
the clasp opening. End the through the clasp latch for
working thread and tail. extra strength, and end the
7 Work as in steps 13 to working thread and tail.
make a second clasp base, 11 To cover the exposed
m n and attach it to the other holes on the end of the clasp
end of the ropes. latch, make a small patch of
8 Sew through the second beadwork: On 18 in. (46 cm)
row of cubes to exit the third of thread and leaving a 6-in.
bead from one edge. Working (15 cm) tail, pick up 13 150
on the outside edge of the seed beads. Working in flat
clasp base, ladder stitch odd-count peyote, make a
five cubes to the five center small strip that is 13 beads
cubes in the end row wide and 10 rows long.
(photo j). Work two more Check to see that it fits over
FIGURE 4
five-bead rows (photo k). the end of the clasp latch,
three rose montes to the Sew under the adjacent 9 Working along the inner and adjust if needed. Align it
strip in the desired location thread bridge in the clasp edge of the last row added, to the end of the clasp latch,
(photo e). Wrap the strip base, and retrace the thread work two more five-bead and sew under the appropri-
around a rope, and zip up path, sewing through the end rows perpendicular to those ate thread bridges of the
the ends. Make a total of cylinders in the rope that has added in the previous step clasp latch and through
three large charms. not yet been attached to the (photo l). corresponding beads on
clasp base. Sew up through 10 Working down toward the patch to connect them
Clasp and assembly the next stack of cubes. the ropes, work two more (photo n). End the working
1 On 2 yd. (1.8 m) of thread, 3 Repeat step 2 to attach all five-bead rows perpendicular thread and tail. w
use 4 mm cube beads to nine ropes to the clasp base. to those added in the previ-
make a nine-bead ladder, 4 Exiting an end stack of ous step (photo m). This
leaving a 6-in. (15 cm) tail. cubes with your needle
Work a second row of ladder
stitch (figure 4). This is the
facing away from the ropes,
work three more rows of
a different approach
clasp base. two beads (photo g). You can use just peyote for these tubes if you wish.
2 With the thread exiting 5 Working off the side of the Using the brick stitch start may be easier, though,
an end stack of cubes in the last row added, work seven as working a long strip of peyote with cylinder
clasp base, sew through an more ladder stitches to com- beads can be a bit cumbersome. But if you choose
end cylinder in a rope, and plete the end row (photo h). to work in peyote, pick up about 130 110 cylinders
then sew back through the 6 Work two more stacks of to start, and then work a row of peyote with 110
adjacent cylinder and the cubes below the last row cylinders. Next, work two rows with 150 cylinders
stack of cubes (photo f). added, and connect this and three more rows with 110 cylinders.
Combine all the exciting
two-hole bead types
squares, Tilas, SuperDuos, rullas,
bricks, lentils, and more with your
favorite bead stitches to create 30+
bracelets, necklaces, and collars.
Virginia Jensen shows you how to

adapt herringbone stitch, peyote stitch,
right-angle weave, and more for these
new bead shapes and offers her new
cluster stitch to showcase them in a
never-before-seen way!
Buy now from your

favorite bead or
craft shop!
Shop at JewelryandBeadingStore.com
or 800-533-6644
Monday Friday, 8:30 a.m. 4:30 p.m. CT.
Outside the U.S. and Canada, call 262-796-8776 ext. 661
P24228
67855 $22.99
www.facebook.com/KalmbachJewelryBooks www.pinterest.com/kalmbachjewelry
2BKBB
PEYOTE STITCH / BEAD WEAVING
Edgy
triangle
bangle
Layers of two-hole triangle
beads bring an edgy look
to this modern-inspired
bangle.
designed by Penny Dixon
Base four. These beads will shift to form the the base, the 80 in the center row, and
1 On 5 ft. (1.5 m) of thread, attach a first two rows as the next row is added. the following edge 80. Attach a needle
stop bead, leaving a 24-in. (61 cm) tail. 3 Work one row in flat even-count to the tail, and sew through the opposite
2 Pick up 100 80 seed beads. Test to see peyote stitch. edge 80, the center 80, and the following
if the strand will fit around the widest 4 Remove the stop bead, and make edge 80 as shown (figure 1).
part of your hand. If it doesnt, increase sure the beadwork is not twisted. Form 5 With each thread, work one round
or decrease the number of beads, but the strip into a ring: Sew through the of tubular peyote stitch using 80s on
make sure the number is divisible by nearest edge 80 on the other end of the appropriate edge.The base will have
Difficulty rating
6 mm two-hole
triangle bead, color C
6 mm two-hole Materials
triangle bead, color D green bangle 23 4 in. (7 cm) inside
diameter
FIGURE 1 4 mm re-polish bead 50 6 mm CzechMates two-hole triangle beads
in each of 2 colors:
- color C: aquamarine celsian
80 seed bead
- color D: metallic brown iris
25 4 mm fire-polished beads (Czech FP0270,
b a 110 seed bead, color A
transparent gold/smoky topaz luster;
110 seed bead, color B www.fusionbeads.com)
6 g 80 seed beads (Toho 703, matte mauve)
150 seed bead 110 seed beads
FIGURE 2 - 2 g color A (Toho 369, sand lined crystal)
- 1 g color B (Toho F460R, olivine matte
metallic iris)
2 g 150 seed beads (Toho 221, bronze)
a Fireline 6 lb. test
d b
c beading needles, #11 or #12
thread bobbin or piece of cardboard
purple bangle colors

FIGURE 3 FIGURE 4 6 mm CzechMates two-hole triangle beads:
- color C: purple velvet pearl coat
a total of five rounds. End the tail but not - color D: polychrome orchid aqua
the working thread. 4 mm fire-polished beads (Czech, viridian celsian)
6 Sew through the base to exit an 80 80 seed beads (Toho PF557, permanent finish
in the center round (figure 2, point a). e d b galvanized starlight)
Pick up a color A 110 seed bead, a 110 seed beads:
4 mm fire-polish bead, and an A. Skip - color A (Toho PF557, permanent finish
the next 80 in the center round, and c a galvanized starlight)
sew through the following 80 (ab). - color B (Toho 705, matte frosted iris blue)
Repeat this stitch 24 times to complete 150 seed beads (Toho PF557, permanent finish
the round, and end the working thread. galvanized starlight)
7 Center 8 ft. (2.4 m) of thread in a
three-bead set (A, 4 mm, A) added pink bangle colors
in step 6 (figure 3, ab). Wrap one end FIGURE 5 6 mm CzechMates two-hole triangle beads:
of the thread on a thread bobbin or - color C: opaque rose/gold luster
piece of cardboard. Triangle embellishment - color D: matte metallic flax
8 With the other thread, pick up a color How to pick up the triangle beads: 4 mm fire-polished beads (Czech, milky
B 110 seed bead, and sew through With the point of the triangle with no pink celsian)
the next A (bc). Pick up two 150 seed hole facing away from you, pick up the 80 seed beads (Toho Y181, hybrid opaque
beads, an A, and two 150s, skip the bead through the left hole (LH) or the luster picasso)
4 mm, and sew through the next A (cd). right hole (RH), per the instructions. 110 seed beads:
Repeat these stitches 24 times to com- 1 With either thread, pick up a 150, a - color A (Toho 502, higher metallic amethyst)
plete the round, positioning the loops to color C triangle bead (LH), a color D - color B (Toho 246, luster black diamond/
one side of the beadwork. Sew through triangle bead (RH), and three 150s. opaque yellow lined)
the beadwork to exit the center A in Sew through the open hole of the 150 seed beads (Toho 459, gold lustered
the first loop. same triangle (LH) from back to front dark topaz)
9 Wrap the working thread on a bobbin, (figure 5, ab).
and unwind the tail. Repeat step 8 on 2 Pick up a C (RH) from back to front
the other side of the center round, mak- and a 150, and sew through the center Basics, p. 77
ing sure the Bs sit adjacent to the exist- A in the nearest loop (bc). Tighten the peyote stitch: flat even-count, tubular
ing Bs and the loops are opposite the beadwork to snug up the triangles. ending and adding thread
existing loops (figure 4). 3 Pick up a 150, and sew through the attaching a stop bead
February 2015 73
Brush up on the basics
referenced here at
www.BeadAndButton.com/basics.
FIGURE 6
open hole (LH) of the same triangle

(cd). Pick up a D (RH) and three 150s,
and sew through the open hole (LH)
of the same triangle from back to
front (de).
4 Repeat steps 23 23 times to com-
plete the round.
5 Sew through the first C added in the
round through the open hole (RH) from
back to front, pick up a 150, and sew
through the A in the loop from the
start of the round (figure 6). Retrace
the thread path of the round, and end
the thread.
6 Unwind the bobbin, and repeat steps
15 on the other side. w
Penny Dixon became captivated

with beading five years ago.
Teaching classes and being
a TrendSetters designer for
Starman Inc. has only enhanced her
love for beading and design. Contact
her at pendixon@gmail.com or visit
www.pennydixondesigns.com.
INDEX 2014
Items in bold indicate the issue number or month of publication (for online articles); any numbers following them are page
numbers. Abbreviations include: (BBE) B&B Extra, (BE) Book Excerpt, (BP) Bead Soup, (BY) Backstory, (DW) Design Workshop, (EA)
Expert Advice, (ONF) Online Free Project, (ONS) Online Subscriber Project, (PR) Profile, (SL) Spotlight, (SW) Stitch Workshop, (T)
Tips, (TW) Technique Workshop, and (YW) Your Work. Note: B&B Extra (BBE) is a digital bonus for subscribers of Bead&Button
magazine. Subscribers can download it at www.BeadAndButton.com/extra. Online Free Projects (ONF) may be downloaded
at www.BeadAndButton.com/freeprojects.
2014 Bead&Button 20th anniversary bracelets, Jan., ONF; 119:28, 74; D 98 (SL); March, ONF; 120:14
bead, project, 119:40; 120:40; Feb., BBE; Feb., ONF; 120:18, DeCoster, Marcia, 119:18 (YW) (BP), 40; 121:13 (BP); June,
121:44; 122:60; 123:42; 124:74 50, 62, 68, 77; April, BBE; Design challenge BBE; 122:14 (BP); 123:11, 14
2014 Bead&Button Show commem- 121:54, 66; June, BBE; June, bead blend, 122:14 (BP), 75; 124:74; Dec., BBE
orative bead, project, Jan., ONF ONF; 122:28, 35, 42, 53, 58, contrasting colors, 121:13 Giannico, Eileen, 121:18 (YW)
66, 70; Aug., BBE; Aug., ONF; new and vintage beads, 119:14 Glasser, Deborah, 122:14 (BP)
A 123:24, 64, 75; Oct., BBE; Oct., wire, metal, and chain, 120:14 Goldsmith, James B., 121:98 (SL)
Allen, Mary Lou, 123:20 (YW) ONF; 124:18, 32, 38, 51, 68, 72; Design Workshop Graver, Nancy, 119:18 (YW)
Anderson, Christi, 123:20 (YW) Dec., ONF patterned beaded beads, Grzabka, Andrea, 123:21 (YW)
Ando, Junko, 123:34 branch fringe, 122:66 120:24 Gumns, Jennifer, 123:12 (T); 124:12 (T)
artist profile, beadwork brick stitch, see Basics, issues 120, Dintenfass, Phyllis, 121:48 (PR), Gustafson, Nadja, 120:98 (SL)
Dintenfass, Phyllis, 121:48 121, 122, 123; projects, 120:50, 122:38 Guzman, Becky, 122:53
Huber, June, 120:56 68, 70, 77; Feb., BBE; April,
Lippert, Sabine, 123:50 BBE; 121:60; 122:66; Aug., BBE; E H
Slade, Kerrie, 119:44 123:64; Oct., BBE earrings, 119:30, 57; Feb., BBE; Han, Monica, June, BBE
Atkins, Regina, 124:46 brick stitch, tubular, 122:70 March, ONF; April, ONF; 122:24, Harle, Susan, 123:46
Brock, Amelia, 119:30 38, 48; 123:17, 46 Hartung, Linda, 122:12 (T)
B Brock, Sandy, 119:18 (YW) Engelking, Abigail, 121:40; Dec., Heim, Michelle, Aug., BBE; 124:32
Bachand, Sandie, 119:28; 121:30 Browne, Joanne, 119:14 (BP) BBE Henegar, Judy, 119:74
bangles, Jan., ONS; 119:57; March, Bryant, Ruth, 120:13 (T) epoxy clay, 121:20 (TW) Henson, Victoria, 119:19 (YW)
ONF; 122:46; 123:38; 124:42 Buchanan, Cleo Dunsmore, Everett, Jan, 124:12 (T) Herring, Laura, 122:19 (YW)
bead crochet, 119:20 124:90 (SL) Expert Advice herringbone stitch, see Basics,
bead embroidery, 119:40; 120:40, creating a brand, 122:22 issues 119, 120, 121, 123, 124;
77; April, BBE; 121:40; 122:60, C evaluating your jewelry, 119:24 projects, 119:46, 54; 120:50;
70; 123:60 Carlington, Pippit, 120:14 (BP) pricing your work, 120:28 122:21; 123:38, 70; 124:74;
bead weaving, Jan., ONS; 119:28, Carmichael, Jeanette, 122:11 (BP) retail display, 124:22 Dec., BBE
36, 50, 57, 74; Feb., BBE; Feb., Cave, Carolyn, 121:26 social media, 123:26 Hickey, Dana, 119:14 (BP)
ONF; 120:18, 36, 50, 68; 121:17, chain, 122:53; Aug., BBE; Dec., BBE where to sell, 121:24 Holland, Rosemary, 122:19 (YW)
26, 30, 36, 44; June, BBE; chain mail bracelets, 119:76 Horbit, Pamm, 124:26 (TW)
122:46, 60; Aug., BBE; 123:17, Chernitsky, Svetlana, 119:36; F Huber, June, 120:56 (PR)
24, 28, 34, 42; 124:46, 64 122:24; Aug., BBE Fabre, Josie, Oct., BBE; Oct., ONF;
beaded backstitch, see Basics, Chin, Maureen, 120:13 (BP) 124:72; Dec., BBE I
issues 119, 120, 121, 122, 123; crossweave technique, Oct., BBE; Fitzgerald, Diane, 122:58 Ingram, Sally, 120:21 (YW)
projects, 119:40, 120:40; Dec., BBE fringe, 119:30; April, BBE
121:40; 123:60 Cruz, Jane Danley, Jan., ONF; Fritchman, Kathrin, April, BBE J
beaded beads, March, ONF; 120:24 119:14 (BP), 20 (TW), 40, 50; Janiszewski, Justyne, 119:19 (YW)
Blakelock, Virginia, 122:28 120:14 (BP); 121:13 (BP), 17; G Jennik, Robert, 122:90 (SL)
Boatright, Jimmie, 120:68; 121:50; 122:14 (BP), 21, 48, 53; 123:14 Garcia, David, 121:19 (YW) Jensen, Pamela, March, ONF;
122:60 (BP), 42, 50 (PR) Gerlach, Julia, 119:14 (BP), 16, 120:24 (DW)
Bookstein, Perry, 122:32 (BY) cuffs, 120:40; 121:40 jewelry assembly, Feb., BBE
VINTAGE STYLE! 7 projects inspired by the past Get inspired! 26 new designs 22 inspiring designs for summer! WE FULLY Make a textile-inspired loomwork bracelet p. 35
TEST OUR
PROJECTS
10
February 2014 Issue 119
June 2014 Issue 121

April 2014 Issue 120
August 2014 Issue 122
TIPS
for bead
ing
Ma
on a budg ke
et wa
ves
wit
h fla WE
TESTFUOU
Your complete beading resource Your complete beading resource Your complete beading resource t Cell LLY
ini! Your complete beading resource

PROJEC R
TS
HOT TECHNIQUE! Stitch a necklace EASY TECHNIQUE HOT NEW BEADS
Glam it up
with our anniversary
Add texture to bead p. 40
Learn to make Stitch an easy
Kumihimo with seed beads these beaded
Stitch easy beaded
beads with Rizos
and pearls.
bracelet with
Create and crystals p. 36
beads p. 30 2-hole beads p. 58
15
an easy
necklace Pair peyote with cubic Make a scalloped
to wear right-angle weave p. 62 necklace with
pearls p. 26 projects in
4 ways! p. 16 Highlight your stash
your favorite
with soutache p. 45
Sell your jewelry: techniques
EXPERT ADVICE Create a sizzling Peyote stitch
3 tips for success p. 24 How to price soutache Herringbone
Right-angle weave
your jewelry bracelet p. 54
Try our favorite techniques Braid and stitch p. 28 St. Petersburg chain
Kerrie Slades Make this
kumihimo necklace Bead embroidery
and bracelet, p. 46. stunning Netting
necklace Whip up a
by Anu Rao. quick and easy AND MORE!
pendant p. 36 Try netting with 2-hole
Tips for working with triangles to make this
lively bracelet.
Stitch a classic
netted collar with
Make these crystal-
studded peyote
leather and chain p. 53
SuperDuos p. 36 bracelets p. 74
PLUS!
Meet bead artist June Huber p. 56
PLUS!
Hot finds from the Tucson bead shows p. 14 PLUS!
PLUS! Bead crochet Sonokos way QrMeet bead
artist Kerrie Slade p. 44t.BLFBDPMPSGVMDIBJONBJMCSBDFMFUp. 76
Stitch flowers in twisted herringbone p. 50
Create a colorful bracelet with sequins p. 77
A young philanthropist gives back through beading p. 98
Use scrapbooking supplies for a mixed-media look p. 40
How world events affect bead supply p. 32
Become a master of branding p. 22
#119 February 2014 #120 April 2014 #121 June 2014 #122 August 2014
February 2015 75
K N peyote stitch, two-drop, Feb., BBE; square stitch, see Basics, issues
Kasallis, Rose, Oct., BBE necklaces, stitched, Jan., ONF; Oct., BBE 119, 120; Jan., ONF; 120:70;
Kentz, Marcy, July, ONF 119:20 (TW), 30, 36, 40, 46, Pigman, Eleanor, 121:19 (YW) April, BBE
King, Yvonne, June, BBE 50, 54; 120:36, 50, 62, 70; pin, 122:48 Starman, Nichole, Jan., ONS;
Klann, Barbara, 121:18 (YW) 121:17, 26, 30, 44, 50, 60; Powell, Monica, 119:19 (YW) Feb., ONF; 124:42
Knackstedt, Lilly Reeve, April, ONF 122:48, 60; 123:34, 42, 70; Pyeatt, Madelyn, 124:17 (YW) Stauber, Kathleen, 120:62
Kohler, Carol, 122:14 (BP) Oct., BBE; 124:46, 64, 74; Stroner, Lori, 124:16 (YW)
Kraemer, Patricia, 119:19 (YW) Dec., BBE R Sutton, Donna, 121:19 (YW)
kumihimo, 119:46; 120:70 necklaces, strung, 121:17, 30 Raizel, Nina, 120:30 Sweet-McNamara, Amee K., 120:45
Kummli, Heidi, 123:19 (YW) necklaces, wirework, 119:16, 57; Ramos, Licia, 120:13 (BP) Sydorenko, Alexandra, 121:54
Kutter, Hans, 121:11 (BP) 121:70; July, ONF Rao, Anu, 120:36
netting, 119:36; 122:24, 58; Oct., Recklies, Adele Rogers, 120:21 (YW) T
L BBE; Dec., BBE; Dec., ONF Reller, Rae Arlene, April, BBE Technique Workshop
ladder stitch, see Basics, all issues; Nguyen, Lisa, 123:90 (SL) right-angle weave, see Basics, all bead crochet, 119:20
120:36, 50, 68, 70; 122:38; Nomura, Akiko, 124:64; Dec., BBE issues; March, ONF; April, BBE; epoxy clay, 121:20
124:74 Nordlund, Christine, April, BBE June, ONF; 122:28, 42; 123:42; making 3-D shapes in peyote
Layton, Alison Jayne, 121:70; Nozue, Sonoko, 119:20 (TW) 124:51, 68, 74 stitch, 124:26
122:12 (T) Nunn, Becky, 121:20 (TW) right-angle weave, cubic, 120:62; Terry, Anne Smyth, 124:16 (YW)
leather, 122:53; Aug., BBE; Aug., 121:66; Dec., BBE Thompson, Liz, 124:17 (YW)
ONF O right-angle weave, modified, Jan., Thompson, Sarah, 123:18 (YW)
Leduc, Michelle and Melissa, Aug., ornament, Oct., BBE; 124:26; ONF; Jan., ONS; 119:50; Dec., Tiemens, Jessah, 120:14 (BP)
BBE Dec., BBE BBE
Leggett, Amy, 119:76 ring, 120:30; Dec., BBE V
Lippert, Sabine, 123:50 (PR) P riveting, June, BBE Van, Jenny, 124:51
loomwork, Jan., ONF; June, BBE; Paffrath, Amanda Cosgrove, Rogalski, Leslie, 119:24 (EA); Vickery, Ruth, 122:42
122:35 123:14 (BP) 120:28 (EA); 121:24 (EA); Vietrova, Olena, 123:70
Lynn, Guy and J-ME, 124:36 (BY) pendant, 120:45; April, BBE; 121:36; 122:22 (EA); 123:26 (EA);
122:21, 38; 123:28, 60; 124:26 124:22 (EA) W
M peyote stitch, see Basics, all issues; Rogers, Roxi, 122:66 Waldman-Smith, Amy, 123:21 (YW)
Maddocks, Beth, April, BBE; Aug., 119:30, 40, 74; Feb., BBE; Rudolph, Dana, 121:66; 124:38 Walilko, Vanessa, 123:19 (YW)
BBE March, ONF; 120:24, 30, 62, Rushbrooke, Rose, 120:13 (BP) Walsh, Erin, 120:20 (YW)
Markworth, Judy, 121:13 (BP) 70; April, BBE; 121:50, 60; Russian spiral rope, 119:40 Watts, Agnieszka, Oct., BBE
Marolda, Rachel, 121:98 (SL) June, BBE; 122:24, 60, 66; weaving, July, ONF
Martin, Peggy, 120:13 (BP) Aug., BBE; 123:38, 70, 75; S Werkheiser, Stacy, 119:11 (BP),
Maslennikova, Alla, 123:60 124:26, 42, 51; Dec., BBE St. Martin, Lisa, 119:98 (SL) 44 (PR); 120:11 (BP), 56 (PR),
McEnroe, Michelle, 119:57; 121:36 peyote stitch, circular, 124:32 St. Petersburg chain, 122:42; 98 (SL); 121:48 (PR); 122:90
McPhearson, Lesha, June, BBE; peyote stitch, diagonal tubular, 123:34 (SL); 123:90 (SL); Oct., BBE;
122:35 123:46 Salezze, Marla, 122:70; Aug., ONF 124:90 (SL)
Meadows, Sarah, 120:77 peyote stitch, modified, 122:48; Schwartzenberger, Susan, 122:19 Whittaker, Connie, Jan., ONF;
Mensen-Potter, Fatima, 120:20 Aug., BBE; 123:64; 124:38 (YW), 123:24 119:14 (BP); Feb., BBE; 120:18;
(YW) peyote stitch, tubular, 119:40; Scott, Diana, 120:13 (BP) 121:13 (BP), 44; 122:12 (T),
Miech, Irina, 124:18 March, ONF; 120:40, 70; Senhoa Foundation, 123:90 (SL) 14 (BP); 123:14 (BP), 17
Miller, Joan, 123:20 (YW) 122:38, 60; 123:60 Shai, Ora, 124:68 Wing, Gail, 121:13 (BP)
Mitchell, Samantha, March, ONF peyote stitch, three-drop, Oct., BBE; shibori ribbon, 122:48 wirework
Motherwell, Ava, Feb., BBE Oct., ONF; 124:72 Shippee, Melissa Grakowsky, earrings, April, ONF
Feb., BBE necklaces, 119:16, 57; 121:70;
Slade, Kerrie, 119:44 (PR), 46; July, ONF
120:50; 121:60; June, ONF
INTERNATIONAL ISSUE Projects from around the world Make beautiful jewelry for the holidays! 122:46; 123:64; Dec., ONF Y
SIVE Smith, Staci, 123:21 (YW) Yalch, Joanne, 119:18 (YW)
October 2014 Issue 123
LU
DECEMBER 2014 Issue 124
EXC
2014
BeadDreams soutache, 120:45; 121:54 Yamamoto, Yukiko, 123:21 (YW)
winners!
Your complete beading resource
Combine
stitches to
make this gem
Speare, Wendy, 120:70 Yaun, James, 120:98 (SL)
of a pendant p. 46

spiral rope, 119:46 Yoakum, Bobbie, Feb., BBE

Stitch pretty FAVORITE THINGS
Combine crystals, Spotlight
pendants pearls, and Buchanan, Cleo Dunsmore, Z
with crystals seed beads p. 68
and pearls p. 28
BOLD NEW
124:90 Zegkinoglou, Eleanna, 119:54;
Whip up easy
earrings with
CLASPS take
center stage p. 38 Gustafson, Nadja, 120:98 123:38
Chexx beads p. 17 Learn to make Jennik, Robert, 122:90 Zimmerman, Gianna, 123:28
3D shapes in
peyote stitch p. 26
Marolda, Rachel, 121:98
Fa
Create Celtic Make a floral Stitch a lush

s t&
easy pearl- and-leather brac
ele
t p.
Ring in the holidays with
Nguyen, Lisa, 123:90
knot earrings in necklace in fall bracelet with 18 this sparkling bracelet by
peyote p. 46 colors p. 34 Twin beads p. 64 Ora Shai, p. 68.
YOUR
COMPLETE
BEADING
St. Martin, Lisa, 119:98
Plus! Senhoa Foundation, 123:90
RESOURCE
PLUS!
Meet Sabine Lippert p. 50
Make this colorful
mandala pendant by
Gianna Zimmerman. Craft show booth setup essentials p. 22
How to bezel pointed-back stones p. 60
New design contest, events, and more! p. 11
The uncertain future of the Czech glass button p. 36
New beading books and products p. 11 Yaun, James, 120:98
#123 October 2014 #124 December 2014
BASICS
THREAD AND KNOTS Attaching a stop bead Tubular
Conditioning thread Use a stop bead 1 Work a row of ladder stitch (see Ladder
Use beeswax or microcrystalline wax to secure beads stitch: Making a ladder) to the desired
(not candle wax or paraffin) or Thread temporarily when you length using an even number of beads.
Heaven to condition nylon beading begin stitching: Pick up Form it into a ring to create the first round
thread and Fireline. Wax smooths nylon the stop bead, leaving the desired length (see Ladder stitch: Forming a ring).
fibers and adds tackiness that will tail. Sew through the stop bead again in Your thread should exit the top of a bead.
stiffen your beadwork slightly. Thread the same direction, making sure you dont 2 Pick up two beads, and sew down
Heaven adds a static charge that split the thread inside the bead. If desired, through the next bead in the previous
causes the thread to repel itself, so sew through the bead one more time for round (ab). Sew up through the following
dont use it with doubled thread. Both added security. bead. Repeat to complete the round
conditioners help thread resist wear. (bc), and step up through the next bead
To condition, stretch nylon thread to STITCHES in the previous round
remove the curl (you dont need to HERRINGBONE STITCH and the first bead d
stretch Fireline). Place the thread or Flat strip added in the new
Fireline on top of the conditioner, hold 1 Work the first row in ladder stitch (see round (cd). a
it in place with your thumb or finger, and Ladder stitch: Making a ladder) to the 3 Continue adding
pull the thread through the conditioner. desired length using an even number two beads per stitch. b c
of beads, and exit the top of the last As you work, snug up
Ending and adding thread bead added. the beads to form
To end a thread, sew back through the last 2 Pick up two beads, and sew down a tube, and step up at
few rows or rounds of beadwork, following through the next bead in the previous row the end of each round
the thread path of the stitch and tying two (ab) and up through the following bead until your rope is the
or three half-hitch knots (see Half-hitch in the previous row. Repeat (bc) across desired length.
knot) between beads as you go. Sew the first row.
through a few beads after the last knot, Twisted tubular
and trim the thread. 1 Work step 1 of Herringbone stitch:
a
To add a thread, sew into the beadwork Tubular.
several rows or rounds prior to the point c b 2 Work two rounds as in steps 2 and 3
where the last bead was added, leaving of Herringbone stitch: Tubular.
a short tail. Follow the thread path of 3 To turn to start the next row, sew back 3 To begin creating the twist in the tube,
the stitch, tying a few half-hitch knots through the last bead of the pair just work the next round as follows: Pick up two
between beads as you go, and exit where added (ab). beads, sew down through one bead in the
the last stitch ended. Trim the short tail. next stack, and then sew up through two
beads in the following stack (ab). Repeat
Half-hitch knot b c this stitch to complete the round, adding
Pass the needle under the a two beads per stitch, but step up through
thread bridge between two three beads instead of two in the last
beads, and pull gently until repeat (bc). Snug up the beads.
a loop forms. Cross back 4 To work the next row, pick up two beads, 4 Continue working rounds as in step 3
over the thread between sew down through the next bead in the until your rope is the desired length.
the beads, sew through previous row and up through the following The twist will begin to appear after the
the loop, and pull gently bead (bc). Continue adding pairs of sixth round.
to draw the knot into beads across the row.
the beadwork. To turn without having thread show on c
the edge, pick up an accent or smaller
Square knot bead before you sew back through the a
1 Cross one end last bead of the pair you just added, or
of the thread over work the Concealed turn below.
and under the other
end. Pull both ends to Concealed turn b
tighten the first half of To hide the thread on the edge without
the knot. adding a turn bead, sew up through the
2 Cross the first end second-to-last bead in the previous row,
of the thread over and continue through the last bead
and under the other added (ab). Continue in herringbone
end. Pull both ends across the row (bc). This turn changes the
to tighten the knot. angle of the edge beads, making the edge
stacks look a bit different than the others.
Overhand knot
Make a loop with
b c LADDER STITCH
the thread. Pull the Making a ladder
tail through the 1 Pick up two beads, and sew through
loop, and tighten. a them both again, positioning the beads
February 2015 77
BASICS
side by side so that their a b Flat odd-count Circular

holes are parallel (ab). Odd-count peyote is the same as even- Circular peyote is also worked in continuous
2 Add subsequent count peyote, except for the turn on odd- rounds like tubular peyote, but the rounds
beads by picking up c numbered rows, where the last bead of stay flat and radiate outward from the cen-
one bead, sewing the row cant be attached in the usual ter as a result of increases or using larger
through the previous bead, and then way because there is no up-bead to beads. If the rounds do not increase, the
sewing through the new bead (bc). sew through. edges will curve upward.
Continue for the desired length ladder. 1 Begin as for flat even-count peyote,
This technique produces uneven tension, but pick up an odd number of beads. Zipping up
which you can correct Work row 3 as in even-count, stopping or joining
by zigzagging back before adding the last bead. To join two pieces of
through the beads in 2 Work a figure-8 turn at the end of flat peyote invisibly,
the opposite direction. row 3: Sew through the first bead picked match up the two
up in step 1 (bead #1). Pick up the last pieces so the end
Forming a ring bead of the row youre working on rows fit together. Zip
With your thread exiting the last bead (bead #8), and up the pieces by
8 7
in the ladder, sew through the first sew through zigzagging through
bead of the ladder, and then sew beads #2, #3, #7, the up-beads on
through the last bead again. #2, #1, and #8. both ends.
You can work 2
PEYOTE STITCH the figure-8 turn 1 3 RIGHT-ANGLE WEAVE
Flat even-count at the end of Flat strip
1 Pick up an even number of beads, each odd-numbered row, but this will 1 Pick up four beads, and
leaving the desired length tail (ab). cause this edge to be stiffer than the tie them into a ring with a
These beads will shift to form the first other. Instead, in subsequent odd- square knot (see Square
two rows as numbered rows, pick up the last bead knot), leaving the desired
e
the third row c of the row, sew under the thread bridge length tail. Sew through the
d
is added. between the last first three beads again. This
b
2 To begin row 3, a two edge beads, is the first stitch of the strip.
pick up a bead, skip the last bead added and sew back 2 Pick up three beads.
in the previous step, and sew back through through the last Sew through the last c
the next bead, working toward the tail bead added to bead in the previous
(bc). For each stitch, pick up a bead, begin the next row. stitch (ab), and con- b
a
skip a bead in the previous row, and sew tinue through the first
through the next bead until you reach the Tubular two beads picked up
first bead picked up in step 1 (cd). The Tubular peyote stitch follows the same in this stitch (bc).
beads added in this row are higher than stitching pattern as flat peyote, but instead 3 Continue working
the previous rows and are referred to as of sewing back and forth, work in rounds. as in step 2, adding
up-beads. 1 Pick up an even number of beads, and three beads per
3 For each stitch in subsequent rows, pick tie them into a ring with a square knot (see stitch (alternate the
up a bead, and sew through the next up- Square knot), leaving the desired length direction of the
bead in the previous row (de). To count tail. If desired, slide the ring onto a dowel. thread path for each one), until the first
peyote stitch rows, add the total number 2 Sew through the first row is the desired length.
of beads along both straight edges. bead in the ring. Pick
up a bead, skip a Forming a strip into a ring
Three-drop peyote bead in the ring, and Exit the end bead of the last stitch, pick
Work three-drop peyote stitch the same sew through the next up a bead, and sew through the end
way as basic flat peyote, but treat trios bead. Repeat bead of the first stitch. Pick up a bead,
of beads as if they were single beads. to complete the round. and sew through the end bead of the
Knot
1 To work in even-count three-drop peyote, 3 To step up to start last stitch.
pick up an even number of beads that is the next round, sew
divisible by three. For odd-count three-drop through the first bead
peyote, pick up an odd number of beads added in this round (ab).
that is divisible by three. 4 Pick up a
2 To begin row 3, pick up three beads, skip bead, and sew
the last three beads added in step 1, and through the next Adding rows
Round 4
sew back through the next three beads. bead in round 3 Round 3 1 After youve made a strip of right-angle
Repeat this stitch across the row. (bc). Repeat c weave (which will be row 1), sew through
b
3 For subsequent rows, pick up and sew this stitch to com- a the last stitch of row 1, exiting an edge
through three beads per stitch. Work each plete the round. bead along one side.
turn the same as in regular flat peyote, 5 Repeat steps Round 1
Round 2
using the odd-count turn if you began 3 and 4 for the
with an odd number of beads. desired length
tube.
c
2 Pick up three beads, STRINGING AND WIREWORK Wrapped loop
and sew through the b Crimping 1 Using chainnose pli-
edge bead a Use crimp beads to secure flexible beaders, make a right-angle
your thread ing wire. Slide the crimp bead into place, bend in the wire about
exited in the and squeeze it firmly with chainnose 2 mm above a bead
previous step pliers to flatten it. Or, for or other component
(ab) and the first new bead (bc). a more finished look, or at least 1 in.
3 Pick up two beads, use crimping pliers: (3.2 cm) from the
and sew back 1 Position the crimp end of a piece of wire.
through the b a bead in the hole that 2 Position the jaws
next edge c is closest to the handle of the roundnose pliers
bead in the of the crimping pliers. in the bend. The closer
previous row 2 Holding the wires to the tip of the pliers
and the bead apart, squeeze the that you work, the
your thread pliers to compress the smaller the loop will be.
exited at the crimp bead, making 3 Curve the short end
start of this step (ab). Continue through sure one wire is on of the wire over the top
the two new beads and the following each side of the dent. jaw of the roundnose
edge bead in the previous row (bc). 3 Place the crimp pliers.
4 Pick up two beads, and sew through bead in the front hole 4 Reposition the pliers
the last two beads your thread exited in of the pliers, and posi- so the lower jaw fits
the previous stitch and the first new bead. tion it so the dent is snugly in the loop.
5 Work as in steps 3 and 4 for the rest facing the tips of the Curve the wire down-
of the row. Add more rows as desired pliers. Squeeze the pliers ward around the bot-
to fold the crimp in half. tom jaw of the pliers.
4 Tug on the wires to ensure that the This is the first half of
crimp bead is secure. a wrapped loop.
5 To complete the
Opening and wraps, grasp the top
closing loops and of the loop with one
jump rings pair of pliers.
1 Hold a loop or a 6 With another pair
Tubular jump ring with two pairs of pliers, wrap the wire
1 Work a flat strip of right-angle weave that of pliers, such as chain- around the stem two
is one stitch shorter than needed for the nose, flatnose, or bent- or three times. Trim the
desired circumference of the tube. Form nose pliers. excess wire, and gently
the strip into a ring, exiting an edge bead 2 To open the loop or press the cut end
in the connecting stitch. jump ring, bring the tips close to the wraps with
2 Add rounds as you would rows, picking of one pair of pliers chainnose pliers. w
up three beads in the first stitch, two beads toward you, and push
in the subsequent stitches, and one bead the tips of the other pair
in the final stitch to join the first and last away from you.
stitches in the round. 3 Reverse step 2 to close
the open loop or jump ring.
BEAD AY!
W
GIVEA
Love Meg Mullens Egyptian scarab

necklace (p. 47)? Visit our sebsite at
www.BeadAndButton.com/giveaway for
a chance to win this kit that includes all
the supplies needed to complete this
necklace: a polymer scarab cabochon
by Marion Hertzog; a gemstone cab;
a leather choker, 4 mm fire-polished
beads, and seed beads in four sizes.
February 2015 79
BASICS
ELOXITE Establish
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(Required by 39 USC 3685) 14. Issue date for circulation data below: 8/2014
1. Publication title: BEAD&BUTTON 15. Extent and nature of circulation
2. Publication number: 012-039 Average no. Actual no.
3. Filing date: October 1, 2014 copies of copies of
4. Issue frequency: bimonthly each issue single issue
5. Number of issues published annually: 6 during published
6. Annual subscription price: $28.95 preceding nearest
7. Location of known office of publication: 21027 12 months to filing date
Crossroads Circle, Waukesha, WI 53186 A. Total no. of copies (net press run) 120,538 107,080
8. Location of headquarters or general business office B. Paid and/or requested circulation
of publisher: same 1. Outside-county mail 39,263 36,829
9. Publisher: Linda Kast, 21027 Crossroads Circle, subscriptions
Waukesha, WI 53186. Editor: Julia Gerlach, same. 2. In-county subscriptions 0 0
10. Owner: Kalmbach Publishing Co., 21027 Crossroads 3. Sales through dealers and 20,954 18,732
Circle, Waukesha, WI 53186; stockholders owning or carriers, street vendors,
holding one percent or more of total amount of stock: counter sales, and other
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February 2015 81

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FEBRUARY 2015 Issue 125

NEW SERIES Expert advice for your designs p. 24

SHAPED BEAD MANIA! Usher in a new year

4 projects scarab pendant p. 47

Enamel and stringer magic with JC Herrell p. 90 BONUS ONLINE

34 Discs & drops

40 Metallic cuff bracelet

SPECIAL FEATURE 90 Spotlight

New year, new beads Bead

Editor Julia Gerlach ADVERTISING HOW TO REACH US

1 squeeze makes a perfect crimp!

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PRECIOSA Charlottes - cut rocailles

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More gorgeous color options! Basics, p. 77

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and more chances to get published!

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Tools, Adhesives & Supplies

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