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    121 views56 pages

    Bead&Button 1999 08

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    thaleia paraskeuopoulou

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    © All Rights Reserved
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    12 beautiful projects » Link a necklace of stone ai Bead®@Button "Creative Ideas for the Art of Beads and Jewelry SNA arcilsyee- Tom Cast 9 f ES Mita peyote-stitch necklace Make attractive woe chilis i , =a contents 32 AG uit Leaves of Glass Matt Bezak: by Linda Salow Master of Cast Glass Turn delicate leaves and by Alice Korach leather cord into an . \ clegant necklace 5 0 . \ | = see pate 4 Faux Lacquer Brooches ‘Make a garden of, | | 34 mm terme EE \ } ‘Combine rubber stamp ‘beads and a variation beach Hidden Pleasure images and materials of peyote stitch by Robin Beaty with polymer clay { \ Make an articulated case for a favorite picture 5 4 | 38 In My Garden Necklace i by Misty Leppard Button Necklace Small beaded flowers by Louise Malcolm and leaves accentuate Join semi-precious stone _a floral bead centerpiece buttons with wrapped loops for a handmade chain 5 8 4 () Ambassador Necklace by helen dietze Gathered Peyote Purse and Kris Buchanan by Carol Kaplan Simple knots and assorted Creating a soft drape beads provide goodwill with a firm stitch | a} 62 Box Chain | Use easy knots | with a foal bead Two-Needle Peyote Start by Theresa Biagioli | and acen beads by Barbara L. Grainger Make a seed bead necklace | to make a friend- ‘Take the tension (and tension or use this chain for the base | ship necklace problems) out of starting ofa sculpture | peyote stitch 4 4 Freeform Peyote Necklace Petal Earrings by Barb “Bent Needle” Davis by Ellen Baird Embellishments unify a Flexible beading wire makes complex design tricky earrings easy aAucusT 1 > NUMBER 3 your work DRY AQUARIUM It took me a year to complete my dry aquarium. ts dimensions are 7 ft. (2.12m) across by approximately 7 in. (17.8cm) wide atthe central section. | used more than 2 kilos of seed beads and Japanese cylinder beads. Fist | completely wrapped the base, ain, molding with beads. Then | began the “bead pointlism” phase. Aer com pleting 5 ft. (1.5m) ofthe projet, | an out ofthe background beads, and I couldn't get them locally. took three months of sending samples around the country to find anything clase to matching. —Jasie Pradella, Madison, WI (photos by Eric Mosher > ae BEADED ROCKS These three beaded rocks, the leopard pattem, the tiger pat: tem, andthe turtle patter, ae a pat of my “skins” series. Wendy Elisworth’s description of covering branches with peyote stitch (B&B, #15) inspired me to cover the river rocks. | hope to rela to the viewer the contradiction of slid and fragile, animate and inanimate, ite and death, and consciousness and mystery. intended the funda ‘mental symbols represented by animal and stone to be experienced tactilly as well as visually, thereby encouraging the viewer to reflect on the universal simplicity ofeach piece. ~ Sher Sulvan, Oakland City, IN —— THESE ARE YOUR PAGES When you make something you're especialy proud of send | usa picture so we can consider including it here. We may have to borrow te pece to photograph it, but please do't send it until we ask Write to us at Your Work, Bead Button, 21027 Crossroads Circle, PO Box 1612, Waukesha, Wi 53187-1612, BEADED WALL HANGING Ive always wanted to do a wall hanging with beads. Since my background isin textile esign, | used 2 lat of colors that enabled me to incorporate texture and depth into the piece, The wall hanging is 6x 7 in. (15.2 x 17.80m) and was worked in flat peyote stitch with size 11° seed beads. | made the fringe with a variety of Czech and antique ‘lass beads. ~ Ellen Botsian, Cerrillos, NM BUDDHA | blended size 15° seed beads with vintage bugle beads to start this Buddha. Using this mix and charlotts, | worked single- and double-needle appliqué over ultrasuede. The bone Buda, leaf, and frame came from India n Tibetan Buddhist paintings, the lat is an appropriate offering to a benevolent deity. ~ Mary. Tafoya, Albuquerque, NM BEADHEADED My goal was to create a pice that woud take beading out ofthe realm of feminine omamentation an into the realm of serious ar. welded the steel amature and then strung beads on wire to form a fame Then | wove strings of beads in and out of those already on the frame. Beadheaded, an image from my dreams, has inspire a series of steel and beaded masks, — Elzabeth Watts, Albuquerque, NM @ rT a Pree ae FALL 1999 SCHEDULE *Betobee 28-31 November §.7 ‘fiovembor 12-14 November 12-14 November 19:21 November 18-21 November 26-28, ‘November 27-28 World's Largest Jewelry Bazaar! Beads « Rings * Necklaces Watches + Charms Gold Silver * Opals « Diamonds Pearls « Crystals « Settings Jo sible prices! THE SHOWPLACE MARKETPLAC. World of Gems, Beads & Jewel (Call 1-800-662-0411, ext. 817 ons) fel Ue RCs Fait lV?) este) Or TCC ud Bra es) by Linda Salow Beadorutton the mail order compa nies have me pegged. P'man easy sell. My letter carrer fills my box almost daily with catalogs featuring the latest fashions and accessories. So obedient- ly peruse each one, lusting after much but actualy ordering very little, Recently during along peaceful aftemoon with my catalogs, my son glanced over at the page I was scanning, Featured were variations of the Floating Beads necklace (BoB #21) strung on a clear cord. It seemed almost invisi- chic@easy String a multi-strand necklace on fishing line ble. “Mom,” Jeff said, “that’s just fishing line.” So was off to our local sporting goods store where I picked up a spool of 10-1b test fishing line and a couple of other small items from the fly-fish- ing section. Then I went to the bead store. Glancing at the stringing materials, I saw 1 package of “illusion cord” (fishing line) priced several times more than my whole spool. When I got home, I designed my own version of the necklace. Then I begged ry son tolet me look at his fishing catalogs. Bead ys style’ Two-Needle Applique fideo Series $19.95 each Spocial Sale: $78.95 forall five ies shipping. VisafasterCard Accepted Written Heritage © Box 1390, opt 23 “Folsom, LA 70637 4-800-301-9000 or 604-706-5433, The Baton Rouge| Bead Co. Specializing in Seed, Bugle, & Delica Bead: Looms - Books Lots of Pears and Natural Stone Handmade Lampworked Glass Beads 15959 Hewwood, Suite F, Baton Rouge, LA 70816 (Pat Bn ge Phone: (25) 7551832 ‘Mon.-Fri. 0am - 6pm: Sat. 10am - 4pm wine bade. EXTRAORDINARY nd-selected glass and silver beads, components and adoruments from around the world. Fetal and Wnts Shoo > 78th Ate. SE, Mercer Islan, WA 98040 one 206-232-4588 » Fat 206-236-9009 our web ste at: http hoibead com RADING POST & BEAD CO. Tae) EG ue neal) 40 N. Lexington Ave. ville, N.C. 28801 828-236-2323 Beads, Vintage Glass ntique Seed Beads, Bone, S. Silver & more! IMPORTER DELICA BEADS ANTIQUE BEADS: HIRSCH DESIGNS 7000 N. 161m Seneer, Surre 120-181 Deranratner T PHomntx, ARtzoNA 85020 Powe: 602.861.2961 Fax: 602.331.8306 (24 Hns.) 2022 $2.00 ron co.on cxtsoe PCO messy 3 a a eee re ely High Quality Japanese Glass beads from all major manufacturers + Alu, ‘Toho and Matsuno OEE Sis: b2zzs rom PUD the Czech Republic at direct importer prices * Glass Seed Beads fom Taiwan for children's crafts at low bulk prices + Over 2,000 Swarovski Austrian Crystal beads and Stones www. genbead.com Two California Showrooms and domestic and international mail ordet P fax: 800-572-1302 us / coms CE) 317 National City Blvd Just off HS and easy from #805, Nationa City, C8, 91950 619-336-0100 EN GHS 637 Minna Street (botwoen Mission & Howard, 7th @ 8th) San Francisco, Ca, 94103, 415-621-8187 chicea 7 stepbystep © Design 5 strands, about 10 beads in a strand. @ Cuta in. (2.54cm) and 2% in, (1.6m) section from the coffee stirrer. @ Tie an overhand knot,7 in, (17-8cm) from one end of 3 ft. (91m) length of fish: ing line (photo a), tring a 15° seed bead, the first bead in the design, and a seed bead, Tie an over- hand knot against the second seed ipping it to tight- en (photo b &c), @ String the 1 in. coffee stirrer and te an overhand knot just above it (photo d). materials (18a neckiace) © 154 10-Ib-test Fishing line orillusion cord * Beads ina variety of shapes and sizes, 5mm - 8mm © ‘Size 15° seed beads in @ coordinating color 2°Kin, Gold cones 6 in. Gold wie, 22 gauge Gold s-clasp 1 Plastic tube coffee ster Chainnose pliers Roundse pliers Wire cutter eee one B es ey ees Roar Cost of catalog is $5, refundable on your first order es ARTGEMS, INC lc kee cee OR erea An Invitation to Create! ee Vier Regier Meceey eg baa ce $05 ISA Mate Cok Special Price: $295. Deiweret in 8 Ses 800-958-5819 We Sos: COVKILNCOM Cesare DeVere 9b She! ~ Atesowe, NH 02275 i U2 ST NaH Basic Jewelry Making SAMPLE CARDS AVAILABLE: Tool Kit! (A $42 value!) Includes: high quality round nose, chain ‘ose, ush cutters, knotting tweezers, ‘and beading avd in a velvet case! Introducing heavy duty rubber coating, coats your pliers so you won't mar you wire! 202 jar Black, white, clear, blue, red, green. Fast, Reliable Mail-Order Service NO MINIMUMS! Visa, MC, AmX, Discover Send $2.00 for catalog only decoatatate PO Box 460 BE Tacoma, WA 98421 Rollinsville, CO 80474 Tol free 1-888.500- VISA MC / Discover http:/members.aol.com/beadfactry 0 Phone - (303) 258-93 Bead But chic@ easy @ String a 15° seed bead, a design bead, and a seed bead Tie an overhand knot. Repeat steps 5 and 6, adding all the beads in the strand. @ Repeat steps3-6 for? more strands, © Repeat steps 3-6 for 2 strands but use the %-in. cof- fee stirrer section © Make a small wrapped loop (see “Basics,” p. 78), to fit inside the cone, on the end of in, (7.6em) of wire. @ Tie cach strand onto the wrapped loop with 3 knots, graduating the distance from the cone to the first bead on a strand (photo e). Tie all the @ String a cone on the wire Make a wrapped loop on top ofthe cone and add half the clasp. Repeat steps 9-11 with the other ends. © Linda is associate editor of Beadé-Button, pattern galler ‘When you design a charted pattern that you're especialy roud of, send us the raph so we can consider including it here. We'l pay for any pattern that we publish. Write to us at Pattern Gallery, Bead Button, PO Box 1612, Waukesha, Wi 53187-1812. Egret in water About 3 years ago, my friend Dara and I started designing and selling our own pattern line “Paw Print Patterns. We design the patterns in either brick or peyote stitch. This partic ular design is in brick stitch with Japanese cylinder beads. All of our patterns can be http://members aol com/madcatbead/ index.html Sunflower This amulet bag design is ‘made in flat peyote stitch with Japanese cylinder beads. For more patterns, visit my website at http://www. imagina.com/webpages/ artworksinportland/ ud ichards Portland, OR } 053 Lied pale yellow 121 Siersine ight owe 76 user el its W277 ser covat 322 Mate meta gold 531 Mate metalic right elo ee npmeanzsti, 233 ined enstalyell ster 272 Lined tpauyallow ABC 351 Mate ite 252 on ray = 310 Mate ick 882 Mate opaque ih ray AB 29 Sparing carga ned ental Leaves of gla Turn delicate leaves and leather cord into an elegant necklace by Linda Salow Like most of you, I lust after jewelry that I just can’t have, Frank Hess designed one of my favorite necklaces in 1935. It’s a fun piece with glass leaves and bananas on a cord and chain. The necklace is in a private collection, impossible to have I thought, until I saw the gorgeous glass leaves James and Neva Wuerfel make (Pictures of Lily, 2680 E. Carla Vista Dr., Chandler, AZ 85225; (602) 768-5833). ‘After talking with Neva about the leaves, the glass, and the colors they work with, [ ordered 25 leaves in graduated greens, When the leaves arrived, it was easy to create a necklace using only leather cord and over- hand knots. To my delight, the leaves make a delicate tinkling sound as if a light breeze is rustling them. stepbystep © 0 your work surface, position 21 leaves inthe order you want them to be jn the necklace, Use the remaining 2 Jeaves on the ends of the cord. ‘Q Cut the leather cord in half and bring an end from each piece together. @ Find the middle of the cords and tie n overhand knot, Notice how the cords take position, one above the other. ‘There are four ends, two on either side cof the knot @ String the leaFat the center of your design onto the lower right-hand cord and slide it down to the knot. Tie an ‘overhand knot with both cords right next to the leaf to secure it (photo a). @ Working to the design’s right, string the next leaf on the lower cord and tie another knot (photo b). © Repeat step 5, but add a leat to the necklace’ left side. Continve to add all the leaves, alternating sides with each addition and always stringing the leaf ‘onto the lower cord. @ String a leaf onto both cords on one side and slide it down about 5 in. (12,7cm). Tie a multiple overhand stid- ing knot (sce “Basics,” p. 78) and trim. Repeat on the other end. © To wear, postion the necklace and tie the ends with a square knot. © Linda is BeadButton’s associate editor. materials 5. (15m) Round black lather cor, 1.5mm 1 23 glass leaves, approx 14in. long » Make an articulated case for a favorite picture PEOPLE Love OBJECTS WiTH HIDDEN SPACES. Anything that closes in ‘an ingenious way and opens to reveal something unexpected is catnip for the inner child. You can eppeal to this playful interest by enclosing any flat by Robin Beaty mage in a hinged case made from polymer clay. ‘These instructions are for a free-standing shelf piece with doors that ‘swing open from the center. With additional hardware and engineering, the case may be worn as a pendant or pin. Other hinging techniques and inventive additions are possible, but here is the basic construction process. stepbystep ‘The case has four parts: the back, the picture, the inside front cover, and the front. First, hinge the image to the inside front cover; then glue the front and back covers in place. In order for the doors to hang properly, the picture and the inside cover should have exactly the same dimensions, and the weight of the inside and outside front covers should not exceed that of the and back combined. The front cover can be divided down the middle to open like doors on side hinges, o it can flip up from the top edge or swing open from the side like a book. The key to the sur- prise is making sure the edges line up so the case looks like a solid decorative tablet when closed. Choose colors and surface textures for the front, back, and inside covers that will harmonize with the colors and scale of the picture, I usually match the front and back or use a design that is continuous when the covers are open and the case is viewed from behind. ‘Then I choose a contrasting color and treatment for the inside covers. Be care~ ful not to upstage your image ~ mokume _gane or strong graphics can be smashing. on the outside but too distracting inside next to the focal point. @ Use the graph paper to make apat- tern for the inside image. Note: Your finished picture should be a square or rectangular card about Me in. (1.6mm) thick (approximately the #3 thickness ona pasta machine), and 1-4 in, (2.5- 10.2cm) on a side. Roll out the clay for the picture on the #3 setting and lay it ‘on the bond paper. Now create the sur- face image. You may etch, transfer, emboss, stamp, paint, stencil, or foil a Bead&Button + August 1999 design. The image I've chosen is a hand- colored etching from Japanese erotic art. Using the graph paper pattern, cut away the excess clay, leaving a rectangle in your chosen dimensions (photo a). Bake, following the manufacturer's instructions. When cool, round the cor- ners with strokes of 320 sandpaper. Ifyou want to mount something flexible, such as fabric or a photo, ‘mountit on a thin (#4 or #5 thickness) perfectly flat, baked polymer sheet, using Sobo glue or whatever adhesive is appropriate for your materials. Finish and seal the image as your fancy dic- tates. Round the sharp corners with a few strokes of 320-grt sandpaper. @ Condition at least 2 02. of clay for the inside and outside covers. Roll the clay through the pasta machine many times, pricking air bubbles, folding, and sending it through fold first each time. % see page 62 ‘twisted necklace. see page 46 ‘Matt Bezak’s glowing designs fare unique. — | From ethnic to madern and sophisticated, the box chain will capture any mood you desire for a sculpture or a departments 2 16 18 2 a 0 n 6 n From Alice's Desk Tips & Techniques Preventing sores, ion out the curls in beading thread, glass trays for polymer clay, using quality findings, beads on a shoestring Your Letters Origins Tibetan Amber Computer Notes Your Work Chic & Easy String a multi-strand necklace on fishing line Pattern Gallery News & Reviews Wirework book, tool coating protects wire, wite straightening pliers, polymer clay video Calendar ios Flat peyote stitch (even and odd count), tubular peyote stitch, peyote stitch rapid increase and decrease, wrapped loops, multiple overhand sliding knot, hal hitch knot Anything Goes Savers and Flingers How to Reach BeadButton: We ey eaing ton readers. you nes to comtact ws, cal 414796-776, crv e to Baden Powe 162 Waukeso, sale7t612 Cm To Subscrive: ust call ue at 1800-45-59, Acastomer eiceapet il be hap es you To hevertse: Simplyca us at 1-888. $58-544, anda sales agen wit be dhe to ashe Aestions o sit ou On the cover ‘Matt Bezak’s designs push Lalique’s endur- ing vison to a new level. Photo materials ‘© Premo Souley clay, 2 oz. each of gold purple, green pear, white «© Paterned gold lea (Magic Leaf from ‘Accent Import-Export) ‘Pasta machine ‘Tissue slicing blade ‘© Large rubber stamp or negative mold (avaliable from Ready Stamp) © 320-grit Sandpaper, 400,600, 800, 1000; 1200 and 1800 optional © Bond paper ‘* Graph paper * Quickctite gue ‘© 3M Durapore™ clath adhesive tape, Zn. (Sem) width (pharmacies) ‘© Hem gauge o similarly precise ruler + Golden Polymer Varnish or Fecto Diamond Varthane, matte * Aenic pant, golden iridescent bronze Smal detail paintbrush Your aim is to produce perfectly flat, flawless surfaces. © Roll the clay for the inside covers to ‘a #4 thickness on the pasta machine. For this project, I applied patterned gold composition leaf to a #1 thickness of clay and then rolled the clay through settings #2, #3, and #4 from different cedges of the sheet to break up the gold leaf evenly. @ Put the gold-leafed clay sheet ona sheet of cut bond paper. Place the graph paper pattern on top of the finished picture to make sure they are the same dimensions. Ifthere isa difference, ‘gently place the picture on the clay sheet and carefully cut out a duplicate piece with your tissue blade angled straight down (photo b). If the pattern is accu- rate, use it to cut a duplicate, because paper is easier than baked clay to lift off the raw clay when you're finished Without disturbing the clay, cut the bond paper to within a half inch of the edges of the clay. @ Using a ruler marked in millimeters, measure and mark the exact center of the top and bottom edges of the raw clay inside cover. Looking straight down, line your blade up with these marks and cut the cover cleanly in half. ull the blade straight back up again; you don’t need to separate the halves. (if this prospect makes you nervous, you can fold the paper pattern precisely in halfand use it asa guide.) Transfer the bond paper supporting the divided inside cover to the baking surface and bake. Remove the baked pieces from the paper immediately, always keeping them properly oriented to.each other so you don’t get confused during assembly. If there is any sign of warping, weight them under a book ‘until they're cool. Round the outside comers of the cover pieces with a few strokes of 320-grit sandpaper. Fragile surface treatments like gold leaf need to be protected from abrasion. Coat the inside covers lightly with Golden Matte Polymer Varnish or Flecto Diamond Varthane and let them dry for half an hour. @ Match the inside cover halves to each other and place them face down oon the picture Open the covers along the imaginary side hinges to check the orienta tion of your design then close them again. Make certain all the edges line up even- ly. You are ready to attach both side hinges. © Cat two lengths of tape that are just a shade shorter than the sides of the picture. Cut straight across without any loose fibers. In your mind’s eye, divide the tape in half lengthwise. The fold will be the hinge. Put aside one ofthe front inside covers. Hold the other with its back side facing you and its hinge side up. Adhere one lengthwise half of the tape to this upper edge of the inside cover. Then place it front side down on the picture and align the edges of the inside cover and the picture so they match perfectly (photo c). Working out from the center of the aligned edge, use smoothing and tapping motion (as if you were making a bed) to press the tape tightly to the plane of the matched edges and then over onto the back of the picture (photo d). Getting the tension right takes practice, but there should be no puckers, air pockets, or creases where the edges meet. However, the tape should not be stretched so tightly that the door doesn’t lie flush with the surface of the picture when the case is closed. Repeat with the other inside over (photo e). © Paint the spines of the case (the taped edges) to coordinate with the cover (photo f). (Use acrylic paint because other coloring agents might contain solvents that would interact with the adhesive.) You might want to paint the upper and lower edges ofthe picture at this time. @ To make the front and back covers, prepare sheet of #3 thickness clay with the surface treatment of your choice. Here, I used a billet of 12 thin layers of gold, purple, and green clay at #1 thick- ness. I pressed the clay into a stamp mold and shaved off the raised design with a tissue blade. This mokume gare technique was developed by Nan Roche and Gwen Gibson, (See Nan’s article in BEB #28.) When you've shaved away as ‘much as desired, run the sheet of clay through the pasta machine to smooth it and to achieve a #3 thickness. @ Place the sheet of clay on bond paper. Using the graph paper pattern, ‘aut front and back covers; then cut the bond paper out around them. Choose the more pleasing of the two and cut it in half as in step 5 (photos g & h). Bake according to manufacturer's directions. Remove the covers from the paper immediately and weight if necessary. ‘When cool, round all outside corners with strokes of 320-grit sandpaper ® How to finish the covers isa matter of what your surface technique dictates as well as personal taste. In this project, I didn’t sand because sanding removes, the shimmer ofthe pearlescent clay. But ‘n many instances, the outcome of sand- ing with progressively finer grt, always using a light circular motion, is well worth the tedium. Left with a soft matte sheen or buffed to a glassy shine, the covers fel silky smooth. If you but, be forewarned: buffing reveals even the tiniest defects in a flat surface. But the ‘glamour and depth of the shine can be worth it. @ The last essential step is gluing on the front and back covers. Adhesives all seem to have some shortcomings, so 1 use miserly amounts of two glues side by side. Turn the case over so the back is facing upward. Using a toothpick or palette knife, smear a thin coat of 6000 over the back to within in, (6.3mm) of the edges. Then dot the bare periphery with dabs of Quick-tite. Looking straight down, center the back cover, wrong side down over the glued surface. Press down, making sure the edges are aligned and making contact. Hold in place for 30 seconds. Turn the picture over, and using the same tech: nique, glue both halves of the cover to the inside covers at the same time. Glu- ing them at the same time helps insure that the edges line up, but be sure that you don’t put too much glue along the center opening. You don't want extra slue to seal your case shut. @ Finally, add a clasp centered over the door but glued to only one side (photo i), When I suspend a “pillow book” (2 Japanese erotic print) asa pendant the clasp must be functional but in this project it merely adds interest. Here Pve used a bar of textured clay, but the possibilities are endless (photo j). © ‘Contact Robin at 1424 Linden St, Allen town, PA 18102, BeadéBatton + August 1999 Button necklace ‘one buttons with wrapped loops for a handmade chain Join semi-preciou: tthe last bead show I attended, one ers, Kamol, hed sudden |y branched into buttons. Abo year or two earlier he had started ha rnew agate beads made in the styles of some of the ancient ones, and he'd seduced by the beauty of and the skill of his stone work 1s to branch out into thin translucent by Louise Malcolm buttons. I found his buttons bowls and n semi-precious stone two-ho irresistible. They're beveled hexagons about 4mm (slightly over %in.), and the price is right, $2-3 each. So I bought six ofeach stone, rose quartz, translu- cent quartz, amethyst, moss agate, and green jasper, and figured I'd | ‘good idea eventually. (Contact Kamol at PO Box 95619, Seattle, WA 98145; (206) oking at fashion magazines, I've noticed that chain designs and chokers are popular, So I created my own chain with links of buttons. [like the idea of fF the solidity of delicacy of f playing against t wrapped loops (see “Basics,” p. 7 stepbystep Each of the nine 2-button links is approximately 1% in. (4em) long for a total of about 14% in. (37cm) plus the clasp. For a neckline length necklace of 16-17 in, (41-43cm), add a single-but- ton link of opaque moss agate to each end before attaching the clasp. Vary the length with moss agate links @ Arrange the buttons in pairs, alter- nating the three main colors: quartz, green, and moss agate. Place the four

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