inspirati ideas FULL OF TIPS AND SEIS2-HOLE CZECH-GLASS Tan a (EONS esigns, + Measures 6.5 mm with two .7mm holes ASK FOR THEM * Size and holes pair well with other two-hole beads Nikos + Available in over 90 colors [oR Bracelet designed by Erika Sandor S: To become a Beadsmith reseller, please contact us at 732.969.5300 (USA) or www.beadsmith.com W miyu Mf Preciosa] Gao} 97 UIA ILO gBeads si) swarovski Crystals Findings L Charms Jewellery Giftware Classes Retail, Wholesale & Mail Order * Friendly Service — Great Prices www.beadandcrystalheaven.com.au 16 Hargraves Street North Entrance NSW 2261 Phone: (02) 4333 3454 Fax: (02) 4333 3103Contents Projects 6 KLS Beads and Crafts — bracelet 10 Bizzarr Beads — neckloce 14 Cosmic Beads ~ bracelet 18 Crystal Park ~ earrings 26 Wendy Bergamin ~ lampwork bracelet 34 Empire Beads ~ brocelet 36 Beadle/Bead World - lonyord 40 Benjamin's Crafts ~ earrings and ring 46 Lets Bead Friends — bracelet 48 Bead Street — watch 58 Michelle Shiels/Beads @ Bathurst — necklace 62 Fire and Ice Concepts ~ PROJECT — earrings 64 Designer’s in Residence - PROJECT — bracelet 68 Lallette - PROJECT — necklace and earrings 70 Eliza Bourne/The Bead Company of Victoria = hair ond shoe clipsFeatures 20. The Voice Within "What | want my art to do now is to have a story to tell,” says Australian Beadwear Designer Leeza Silverman. She speaks with Antoinette Webster. 30 What is Precious Metal Clay (PMC)? PMC Teacher Rhonda Winterton fils us in on the facls and shows us how to create a Celtic pendant. 50 Discovering Spiritual Stones Nadia Crighlon takes a look a the medicinal and spirivol qualies of erstols and gemsiones, Regular Features 44 What's New 73 Book Review 74 Beads Techniques 80 Basic Bead Glossary 82 Next Issue Fr oan te by Wed einPROJECT. MATERIALS Fine beod thread or eating BEADS ‘Approx. 39 size 6 sed beads Approx. 1g sie 8 sed beads Approx. 40g mixed beods TOOLS Shears Sead nede eis ee Racing & Coch Bea Are you looking for a challenging flat Peyote stitch project? Have a go at this bracelet designed by KLS Beads and Cratts! BEFORE YOU BEGIN Thread o beading needle with approximately 4m of prepored thread. For best results use fine thread or .02 clearline. Use the thread doubled. STEP ONE — CREATING THE BASE ‘Approximately 20g x size 6 seed beads are needed fo begin. The base of the bracelet is created by using even count peyote stitch. Continue until the bose fits your wrist exactly. Note — do not overlap, EVEN COUNT FLAT PEYOTE STITCH String the frst beod. To stop the bead from slipping, loop through it again or tie « knot, Row 1 — leaving one end of he siring (cround 8m} bead free, start stinging beads from the other end. As the total number of beads is maintained by even numbers [e.g. 6, 8, 10, 12), add 4 beads at a time Row 2 — string on 1 bead and cross the string back through the second lost bead ofthe first row. Add 1 beod ot o time, each fime stringing back through a bead from the previous row. Note keep the tension tight but not {00 fight as this will make your work stiff ond inflexible, especially if you want to bead round an objec. Row 3 — see Diogram 1. Pick up 1 new bead (‘epresented in the diogram by green beads) ‘and cross the string back through the (red) last (red) bead you added. Add 1 bead at {a time, each fime stringing back through a bead from the previous row. Note ~ by now you should be getting the picture of how this fechnique works. Continue to bead, row by row, until you get your desired lengih, Remember fo keep the tension of your bead work tight. Diagrom 1 STEP TWO — ADDING THE FRINGE Use the some thread as you did for the base but this time only a single strand, The fringe needs 5 10 10g x size 8 seed beads (A) and 5 to 10g x size 6 seed beads (8) To start the fringe, attach @ new thread at the end of 1 of the long sides. See Diagram 2. String on approx. 7 x A. Note — the length of the fringe will be denoted by the amount of A beads strung on. Diagram 2WIN this braclet! For details see our Beads Glorious Beads Competition on pages 58 and 59, 8 Coch Bead ‘Add 11x B. Go back through the lost 3 x ‘A, Starting at the A closest fo the B that you strung on, go out the side in between the beads. Add 2.x A, then 1 x B. Turn and go back into the main strand at the some spot where you came out of the main strand. Continue back fo where you first entered the branch. STEP THREE Toke the thread through the next bead on the outside of your base. String on 3 x B and go back out the some bead you entered on the base. Repeot this step for the next bead on your base. See Diagram 3. Diagram 3 ‘Add onother branch through the next bead then repeat step 3. Continue step 2 around 3 sides of the base of your bracelet. Leave 1 of the smaller ends bead free. See Diagram 4. IO Diagram 4 STEP FOUR — ADDING EMBELLISHMENTS. Use the some thread as you did for the base but only a single strand. You will need ‘approximately 40g of assorted beads. Starling from the shortest beaded fringed ‘end of your bose, ctlach @ new thread coming ‘out about 2 beads from the edge in the middle of the base. Attach o focal bead (tis bead is used as port of the clasp). Be sure fo go through the cenire of the base beads so that no threads will be showing on the underside of the bracelet. Continue to add beods to the top of the bose, filing the gops 18 you go. STEP FIVE ~ ADDING THE CLASP Use the same thread as you did for the base but only a single strand. You will need size 8 seed beads (A) and size 6 seed beads (8). Note ~ remember to keep the tension tight To start the tosse, attach a new thread ‘at the end of the edge without any fringe. String on approx. 5 x A. Note — ogain, this depends on how long you want the fossel {0 be. The tossel needs fo wrop around the focal bead to act as « clasp for your bracelet.Add 1 xB, 6A, then @ bead from your . selection. Continue back to where you frst Tip eriered the tossel. Go through the nex beed The more tn your bose ond sing on approx. 26x. sbrenchey’ added, Important Note ~ this forms the loop for your tassel, so ensure tho ie beods you put on the end of the tossel wil i through the loop. bracelet willbe Skip2 beods on your bare, and go trough you would lke a the thi beod on your base. Go back through all the beads you have stung on. Secure the thread by knoting ond going through the the fuller your fuller bracelet, try hanging decorative beads on your bose. See Diagram 5. beads off the end of each ‘branch’ or £ KLS Beads & Craft ee Brisbane: (07) 3359 9900 try ‘branching’ o Diagram 5 Toowoomba: (07) 4659 5119 each ‘branch’! www.burfitt.com.au “A stainless steel tool for every beading need” RUNNING WITH SCISSORS We have a great range of the best quality tools available today. Email your order now to murray@burfitt.com.au WHOLESALE AND TRADE ENQUIRIES WELCOMEPROJEGT. MATERIALS 42x 38mm Eye pins {6x 14mm Jump rings 12x 9mm Jump rings 12x 6mm Jump rings 50cm x medium chain BEADS 6x 14mm Focetted gloss beads 2a Large Foenedteordo alas beds ° 12 Small feed teardrop als beads 12a regular crop shope ass bead TOOLS Chain (fat) nose pliers Round nose pliers Cotes Reting og 10 Crosive Beading Looking to create a long elegant chain? Try this design by Bizzarr Beads STEP ONE Cut 12 x dem lengths of chain. You will need these fo connect fo one end of the bead links tand the 6mm jump ring. See Diagram 1 Diggram 1 STEP TWO. ‘Attach o 6mm jump ring to one end of the cut chain lengths. While open, attach a ‘9mm jump ring to the émm jump ring and close the loop with the chain nose pliers See Diogram 2. Repeat this process with the remaining lengths of chain. Note - you should now have 12 sections with a 6mm and Sm jump ring attached to one end only Diagram 2 HINT To open the jump ring, hold onto it near the join with the pliers (flat/chain nose pliers are Usually best, but round nose pliers can also be used). With the other set of pliers, open the jump ring by pulling one side of the jump ring towards you, while moving the other in the opposite direction. Use one pair of pliers to hold the jump ring while attaching the components. To close the jump ring ~ use this technique, but in the opposite way. Push the sides of the jump ring in together to ensure the ring is completely closed. STEP THREE Open o 14mm jump ring and attach two 3mm jump rings to it, which ore on the end ‘of the chain sections created in step 2. See Diagram 3. Note ~ you will now have 6 sections of the chain and jump ring pattern Diagram 3 STEP FOUR You now need to create links with the beads in order to make up each linked bead section. Thread a bead onto a 38mm eye pin. Using your cutters, cut off the excess,Kits are available for $45. Beads can vary from the original but will still be perfectly suited. Findings colours - Rhodium, Black, Gold, Silver, Copper, Bronze and Antique. Please specify colour of beads and findings when ordering. WIN this necklace! For details see our Beads Glorious Beads Competition on pages 58 ond 59. 12. Crosive Beading leaving approximately 1em of eye pin to work with. Using round nose pliers, curl this end ‘over to form a loop. Repeat this process for all the beods. See Diagram 4. Diagram 4 HINT After moking the first link, open up the link you have just made, connect another eye pin ‘and close the link STEP FIVE If you hove made your links separately, join the beads together for each section. Open up each link, connect the next bead onto Diagram 5 the open end then close the link. Repeat this process for each bead. You should have six sections of linked beads. See Diagram 5. HINT Using flat nose pliers to open and connect links ensures the links don't get damaged. Using round nose pliers for this process can create dints in the wire. Fusing teardrops, note the direction they are facing when attaching links together. STEP SIX All you have to do now is open up the end link on each bead section and attach it to « chain section. Repeat this process until ll paris are connected. See Diagram 6. Diagram 6 Bizzarr BeadsThe place to bead... offers the Canberra and Southern Tablelands beaders the largest range of beads and findings. A unique and extremely diverse assortment of beads are available in both the Phillip and Belconnen stores. The beads come from all corners of the world and are made from every material imaginable, wood, crystal, porcelain, semi-precious, pearl, metal, cloisonne, Indian Glass, Venetian Glass, Olaf, Delicas, horn, bone, shell...... just to name a few. SETI) etc} eee e range of tools, el M Le) materials and workshops..! www.beadstreet.com.auRROJEGT. MATERIALS, 24x Bead cops 12s Spores 72. Sting siverheodpins oot of sting ser wire 1 String siver toggle BEADS 36 x Black Onyx beads or bead combinations 1216107mm Freshwater pearls 124 10mm Coin porls 12s Sting ster 10mm flt coin beads 6 x Block Onyx fated tends TOOLS Round nose piers Long nos pliers 14 Coosive Beading This black onyx charm bracelet from Cosmic Beads will add a touch of class to any outfit STEP ONE Attach each of the 72 beads ond/or bead combinations (using the bead cops ond spacers) onto headpins. On each one, bend the wire 2mm above the bead/s to 0.90 degree angle. Using round nose pliers, make a loop. Use the remaining wire 10 wrap around the base of the loop. Cut off the remaining wire making sure to push in any section that sticks out. See Diagram 1. Diagram 2 Diagram 1 STEP TWO. Using the sterling silver wire, make the start of © wrapped loop. Before closing the loop, thread 3 different beads onto a headpin, one end of the toggle and then 3 more different beads on headpins. Then complete the wrapped loop. See Diagrom 3 Diagrams 2 and 3GEC; ees Se ORWIN A black onyx watch kit! For details see our Beads Glorious Beads Competition ‘on pages 58 ond 59 KITS Kits are available in black (black onyx), purple (lavender jade, lepidolite and amethyst) and pink (rose quartz and pink opal) for the discounted price of $85.00 plus postage. 16 Crosive Beading STEP THREE Thread on one of the faceted beads ond make the start of @ wrapped loop. Thread on 6 different beads and close the loop. See Diagram 4. STEP FOUR Start onother wrapped loop and thread 6on 3 different beads. Then attach the lost completed section of bracelet so tho! there ore 3 beads on each side of the new link Theead on another 3 beads and complete the loop. STEP FIVE Repeat step 3 STEP SIX Repeat steps 3 and 4 until you reach the last link. Instead of attaching all 6 beads to the ‘end, attach 3 and then the second part of the toggle, the lost 3 beads and then complete the loop. Cosmic Beads Ph: (08) 9397 6260 Mobile: 0438 251 098 Email: j@cosmicbeads.com.ou Website: www.cosmicbeads.com.augypsy folk; who in the personas the "Great Earth mother”. because of thie alander of twenty eight days or a fu d in the dangling chains of figures If a hear’ too had www. designersinresidence.com desisner: irehicy © Taveoliee castle biec3 beadtooms. F workshops — designersinresidence@iinet.net.auPROJEGT. MATERIALS, 10s Head pins 2x Eortng bails 121 Baring hooks Araldite oro beading glue BEADS 10x 4mm Swarovski Bright god peo! 10x 6mm Swororski Pride icone 10x 6mm Swororski Bight old peat 10x 4mm Swarorski Peridot icone 10x 4mm Swarovski Copper bicone 10. Swarovski diamantes TOOLS Round Nose Pins Wire Cts WIN these earrings! For details soe our Beads Glorious Beads Competition on pages 58 and 59. Retin 18. Coocive Beading Designed by Crystal Park, these stylish earrings are perfect for beginner beaders STEP ONE Onto o heod pin thread — 1x 4mm bright gold pear! , 1 x 6mm peridot bicone, 1 x 6mm bright gold pear, 1 x 4mm peridot icone and 1 x 4mm Copper bicone. STEP TWO. Trim excess and tum a loop. STEP THREE Repeat with the other 9 head pins. STEP FOUR Attach head pin loops to the loops on the erring bails. STEP FIVE Attach earring hooks to the loop tops on the erring bail. STEP SIX Using Araldite or 0 beading glue, stick 5 diamanies onio each earring boil. Crystal Park Ph: Cath on (07) 3800 3825 Website: www.crystalpark.com.auPROFILE — LEEZA SILVERMAN Leeza is one of those rare people who shine. Everyone has the capability, but few are brave enough to show it. Strong and motivated, Leeza has made a name for herself on the Australian fashion and beading scenes. And that’s just the beginning, says reporter Antoinette Webster. FROM THREADS TO BEADS Setting high siondards, Leeza works with high ually materials ~ Czechosiovokian Bohemian seeds, crystals and glass pears and an endless orray of semi-precious gemstones. The quality and focus that she puis into everything she does is literally thteaded into her work, creoting pieces that have a special quality sewn in, With @ background in fashion and design, Leeza was introduced fo creativity ot con early age. “My uncle was « very well known costumer here in Melbourne, so | think I've clways been on orty, theatrical kind of a girl” But thot is @ hard industry to make @ living in, So she moved sideways into the foshion industry, working in alterotions and as o house designer, later progressing to working as a freelancer. “I guess thot there is @ perception that (the fashion industy) is @ really glamorous, fost paced, and exciting industry, yet the reality is that after you finish your degree in fashion, unless you've got 0 spare hundred grand, or Cn investor like Rene Rivkin (who got behind Morrissey), you will end up being @ house designer. Or you'll eventually star your own label, which is « hard slog. And that’s reality @ lot of people don't understand.” “1 just found that i (fashion) wasn’t enough for me, | wos getting bored, so for the lost few years I've been getting more involved with 20 crsive BeadingLEEZA SILVERMAN — PROFILE the orty stuf, My progression has really been from the world of chum, churn, churn to high level craf, artisan stuf.” Recently Leeza ond Sydney Milliner Neil Griggs took out the prestigious Foshions on the Field award at Randwick on race doy, for a collaboration showing Leeza’s highly successful French beaded flowers. Despite the popularity of her fashionable designs, Leeza is moving on. “I want to make it all non- wearable. There is something brewing inside me, and I don't know what itis ...” Whatever is starting to hoppen, it’s something Leeza is really excited about. With good reeson too. Everything she hos displayed in the past points to an inspiring future body of work Her priorities might be changing, but not her dedication, “Everything | do, I do with lots of heart and spirit and integrity. Over the last few years the most fulfilling thing hos been working with other crafters. Such @ change coming from the fashion industry, which is a very different world, with o very different mindset ~ very competitive, deadline driven, commercial and dollar focused. | have found that being with other croft ertisans ~ those women are beauiiful ~ has really uplifted me.” STARTING A SPARK Iris the spirituality of beading that gives Leeza heart. She has recently teamed up with the ArTTable (www.sheartiable.com), which offers workshops designed fo top into people's creativity. Through incorporating her ‘occredited training progrom Leeza is able to offer coreer opportunities for upcoming Australian beaders to work as tutors from home. “People were always coming up to me with questions - ‘how did you stort, where did you get into that’ - ond I relly felt thot I needed to make beading accessible to people. Who these classes are targeting, is the person that has o litle spark of ‘reotivity that has been lost along the way 15 they went on to be wives end mothers ‘ond yet alwoys wonted to do something creative. Or maybe they are doing something creative but it’s not recognised, or i's not volidated.” "Some really nice friendships hove come ‘out of it (the classes), but it’s more than that. It took me @ long fime to rekindle my mind ‘and spirit, and now for every woman that ouch, | just want fo see that sign ~ that spark. Their love, their spirit, their passion ‘and their excitement is what drives me. In conjunction with her exploration into what it means to be an Australian bead artist, Leeza is passionate about the movement of beading from a craft to an art. Above: Austtion Widllowers initio ‘eral interpretation” works exploration pieces 15 por oF anew works Series exploring the Ezsonce of Ausrolio, Ae feotired in The Beoded inks Commonweahh Games Cultural Festval Exhibition Program, Photo: Counihan Gallery 221PROFILE — LEEZA SILVERMAN They've gone on to be tutors, ond it’s just grea! to wotch and be © port of beoutifl thing fo see the spark of creotvily Above: Tasmanian Dreaming ~ beads, in someone.” Sects ati Sie Leez0's role of supporter, teacher and lompwork (2005). 8 mentor with ArTTable has coincided with a Freeform exploration areoter shift within her. “What I've learnt Biece of my love of ol! over the last few yeors isto trust my intuition things Ausrolin ond ny deeming of my ‘upcoming inaugural Tasmanion our created Butlon Mogasine 2006. humanity in other people.” 22 Cwsive Beading — you know that litle voice that we all have (0s women, and | used to ignore? Now | turn off my intellect. Now | listen to my voice and thes piece.” Work let it unfold. When you can leam to drop off published in B20d ond your layers yourself, you can really see the AUSTRALIAN DIRECTION Leezo has an internal energy that she is using to motivate and inspire others through her classes. And lotely she has found a focus for that energy — to initiate 0 change in direction for the Australian beading scene. “My path is to go “tight, Australia ~ what is our Australian style of beadwork?’, Beading conly comes out of America becouse they have this great history of beading — there is the saying thet they bought Manhattan for @ bag of beads. Their siyles carry a lot of influence from the American Indians ~ like the broodcollars you see today. In the last few years, the Russians have displayed their own style of beadwork, which we are seeing more of as copitalism infiltrates Russia And in Australia we've spent years living in cultural inferiority ~ enough already! We're strong enough to say stop, and develop our own style.” Something that she sees as particularly Australian is our love affair with glass. “We have such amazing natural light ~ os @ country we seem fo be drawn to using gloss beads ond lampworking ~ we just love things thot sparkle.” Leeza recently finished o national tour cos Guest atist for the Quilt and Croft fair in 2008 during which she released her Australian Wildflowers series. New works to be released in 2006 will see the development ofthe aristic voice ofthis passionately Australian Beadwork arist eschewing her earlier fashion origins as she strives to encapsulate the essence of Australia in mixed media sculptural works. Inspired by orfists such os Margaret Preston, Judith Wright — pieces from her new series ‘Essence of Australia’ were featured in the Beaded Links ‘Commonwealth Games Cultural Festival Exhibition Program, ln conjunction with her exploration into whot it means to be an Australian beod attst, Leeza is passionate about the movement of beading from o craft o an art. She is working to bridge the divide between craft and art by ‘empowering participants in her workshops to realise their own creations. ‘As 0 professional edult educator and fashion industry designer/ trainer | am commited to support, mentor Cond assist those who participate in my studioproctice. I'd reclly lke to see the borrier pulled down between art and erat. find all the time that people like to put up arificial barriers there.” ‘ART VS. CRAFT NO MORE So what will define something as a piece of ort rather thon a craft piece? Leeza hos ‘a theory on the reason for the distinction in people's minds. “It needs to be made into rnon-weorables. Because when something is ‘wearable, the automatic reaction we all have is “Oh, | woulds't wear it in that colour”. We personalise it. It took me a long time to work ‘out, and | used to get asked this all the time = what is the difference between craft and ort? Art tells a stony.” “What | want my art to do now is to hove a story to tell. And I think that my story will be very profound when it comes out because it mixes my art, ond my spistuality and femininity ‘and my craft. So now | have to figure out what is my story? And when it comes out it will be a rnon-wearable piece of or.” SPIRITUALITY AND. IMBUING MEANING “Along with the work that I'm releasing, I'm ‘octually working with another mixed media sculptural aris ke myself, and so we want to do large scale sculptural works now. I's got to soy something ~ have a meaning, be profound. That's currently brewing ...” Whatever the result, Leezo's work is above all spirtual. She tokes the time she beads as a form of meditation ~ “Sometimes it just flows .. itis my fime to think ‘bout other things. A lot of what I think flows back to my spirituality ~ my beliefs, my roots, my people ond culture.” Like the Balinese artisans, whose wooden carvings are port of their spirituality ond their relationship with God, Leeza sees @ real connection between her art and her beliefs. Beading throughout the ages has held meaning for communities ~ Leeza is all ‘bout discovering 0 meaningful voice for Austrolia through her art. People are looking for something to believe in throughout modern cultures. Leeza is picking up on a ‘common thread in society, and through the beading community is putting together the pieces. I's going to be beautiful LEEZA SILVERMAN — PROFILE REVIVING THE LOST ART OF Below: Austalion TAMBOUR BEADING Dreaming ~ beads, What is Tambour Beading? ice, threads, exiles, glass, lampwork (2005) “Small scale weoroble ‘ont piece exploring the cessonce of Austria, Tambour beading uses « hooked needle to create a continuous chain slitch as 0 way to apply beods to almost any cloth. It looks like @ latch hook rug. Originally from India, Ine! exploratory piece the technique wos made popular in the in concept development Paris fashion houses of the 1920's through fr larger scole works elaborately beaded evening wear, as is 19 folow." inlroduction made the application of beads Pete: Counihan Gallen, ‘and sequins much faster than previous techniques. There are only eight tambour beaders in Australia today. Machine embroidery and changing fashions have seen the technique become lost over the years. Lately however, as feminine fabrics and elaborate designs grow in popularity, there isa re-emergence of tambour. style decorative beadwork on the scene. ‘Aer the film A Common Thread was released, Leeza found herself fielding questionsPROFILE — LEEZA SILVERMAN Nan Conden 24 Creche Beading cebout what exactly it was that the women were doing in the film. Designers are good at ‘tend spotting, so like her re-popularisation of the French beaded flowers, Leeza saw the ‘opportunity to take « technique that people haven't seen for years, something that could be well loved again today by making ita bit funky — using an old siyle in a contemporary seting fo rejuvenate the craft “It was eround ths time, that Nan Condon walked up to me at o Brisbane Quilt and Craft Foir show — with a walking stick and her hair ino bun. She said ‘I love what you're doing. Have you heard of tambour beading? Vd like to show you how.’ and | soid ‘Dorling, I'd love you to teach me.’ I just brought fears to my eyes. It was so special — I couldn't beliave she would share ths gift with me.” Leeza wos lucky fo hove spent three doys with Non before Christmas los year learning tambour beading techniques ond geting to know her. In her youth, Nan hed worked Gt Sydney fashion house Coroleo Designs, whichis where she learnt the ort of tambour beading among others. In her eighties, and with Parkinsons, Nan i sll an incredible textile worker. Leeza was just amazed at the beautiful samples Non kep bringing out fo show her ond wos S0 impressed by the inkicate knowledge Nan wented 0 much fo save from being lost in the post “Non showed me, so that | can show others. Tambour beading is going to become an Australion Master Class program, as itis one of the ‘lost arts’ in the beading world.” It needs fo be a Master Class because it's quite time consuming ond elaborate, so it takes some time fo learn all the techniques. There are some books out there for people wanting to know more ... Have a look ‘at Moisie Jorratt’s books, published by Kangaroo Press Ir will be great to see o resurgence of tambour beading in the fashion world, os the technique is given new life through Leeza’s master closs program. And thanks especially to Nan Condon, and her generosity and dedication in wanting to see the knowledge kept alive Leeza Silverman Australian Beadwear Designer website - ‘www. leezasilverman.com.au We hove three DVD copies of A Common Thread (Brodeuses) — a film by Eleonore Foucher — fo giveaway. Winner Critics Week Grand Prix Cones 2004 and Winner SACD Screenwriters’ Award Cannes 2004 Distributed in Australia and New Zealand by Potential Films ~ www-potentialfilms.com.av\MIN'S CRAFTS. 868 Beaufort Street Inglewood WA 6052 25 Station Street Malvern VIC 3144 TIFUL BEADS & Beads & Findings JEWELLERY MAKING > SUPPLIES * Swarovski © Beadalon Swarovski Crystals «Findings + Sterling Silver * Seed Beads Czech & Indian Glass» Seed & Bugle Beads Semi Precious Gems» Tools & Books Fresh Water Pearls Stringing Materials Shell, Wood & Bone» Wig igs Sterling Silver Starter kits CLASSES EVERY WEEK - Please call us 02- 4962 22 77, 990 HUNTER STREET NEWCASTLE WEST NSW 2302 ‘Nea Freedom Furniture - Of Steet Parking ‘Monday to Friday - 9.30am to Spm. Saturday - 10am to 3pm. Sunday 10am to 2pm. Deep in the heart of most people is the longing to set free a creative urge. Mostly, they need help to achieve this. you see yourself as a tutor, wo have just the package for you... Business-In-a-Box. It contains everything you need to start your own business from beadwear to mosaics, with materials, tools, full training and tutor's handbook. Discover how rewarding your Business-in-a-Box can be, Callus at the ArTTable as listed below. It's so rewarding! P wPROJECT. MATERIALS Gold fill chain long enough to goround your wit comfortably witha light rope. Approx 200mm Gold lobster daw dsp or toggle dsp using olbster dow dosp, then Tx jump ring 1 sing 0 toggle das, then 2 jum ings (la sie Compatible tothe chain ond clasp govge) 14 50mm head pins (1 for cath beod) 28 x gold spacer (2 for ech paptreene BEADS 14x lamprrk beads to loc evenly long the thn he ann no depending on length of brow) 145 4mm Swarovski cystl (10st abore each bead) Not < hana ef ad Bins, gold poe Swarovski cysts depends nthe amount of bends you we to moke the brace TOOLS Ft nose pis (2 pir it poste) Round nose pies Wire cuting Rating 26 Crsive Beading Wendy Bergamin designed and made this bracelet using her own handmade lampwork beads. She soys this design is perfect for showing off any special beads you may have in your collection DESIGNER'S NOTE The beads for this bracelet don’t have to be the some size, shape or colour. It is a good way fo show off all those special beods thot you have in your collection that you thought didn’t match with anything else. IF you don’t have a special collection, what better excuse do you need to start onel STEP ONE Measure and cut a length of chain which is long enough to comfortably drope around your wrist. Note ~ remember fo fake into ‘account that the clasp and jump rings will add about another centimetre STEP TWO. Hold the ends of a jump ring with two pairs of flat nose pliers and gently ease it open Thread the lobster claw onto it and then onto the end of the chain, Use the flat nose pliers to close the jump ring, IMPORTANT NOTES If you are using o lobster clasp, this should close directly onto the other end of the chain, 50 no ring will be needed on the other end. If you are going to use the toggle clasp, then you will have fo open the jump ring ‘ond join the ‘O' of the clasp to one end, ‘ond then use anther jump ring to join the toggle to the other end of the chain. See Diagram 1 STEP THREE Work out how many beeds ore needed. Note = they should be spaced comfortably along the chain Diagram 1 STEP FOUR 1 x head pin is needed for each bead. Thread «a spacer onto each head pin, then @ bead ‘nd then another spacer. See Diagram 2. STEP FIVE Thread a crystal onto each of the head pins. Note — as | have used bright beads, | used «@ selection of different brightly coloured Swarovski crystals for this brocelet. See Diagram 2. Diagram 2WIN this charm bracelet! For details see our Beads Glorious Beads Competition on pages 58 ond 59. 28 Crsive Beading STEP SIX Loy each bead unit beneath the chain on fot surface. This way you can arrange the beads colourwise. Make sure they are comfortably and evenly spaced. Tip ~ if you like 0 very ‘busy’ bracelet, feel free to add 0 lot more beads or other small charms. STEP SEVEN Leaving « slight gap for the wire to wrap round, bend the head pin cround the round nose pliers fo form a small circle on the wire. slip this over the link in the chain where you wont the beod to sit. See Diagram 3. Diagram 3 STEP EIGHT Place the end of the round nose pliers into the loop whilst keeping it on the chain link Use the flat nose pliers to wind the wire ‘around itself approximately 3 times. See Diagram 4 Diagram 4 STEP NINE Using the wire cutting pliers, snip off ony excess wire close to the lost wrap. See Diagram 5 “SR Diagram 5 ‘STEP TEN Repeat the last 3 steps until you hove placed all your beads onto the bracelet. Wendy Bergamin Bergamin Beads Website: www.beargaminbears.com Email: wendybergamin@dodo.com.auwww.beadhouse.com.au Free Catalogue with first order. OPEN mon to friday and saturday 9-3 JEWELLERY COMPONENTS CRIMPS TIGERTAIL , LOBSTER CATCHS STRETCH MAGIC BEADING WIRE TOOLS NECKLACE END TAGS DISPLAY PINS ‘SPACER BARS SHELLS LEAVES HEADPINS PEWTER CRIMPS SWAROVSKI CRYSTALS FILLER BEADS WAXED COTTON IMITATION LEATHER SPRING CHARMS HANGINGS BALL CHAIN SNAKE CHAIN & BRACELETS CHAIN BY THE METRE SUEDE STRIPS BRASS STAMPINGS EYEPINS SEMI-PRECIOUS LEATHER PEARLS EARWIRES PLASTIC BEADS wooD os Order by telephone, fax, mail or email email: ronchudy@hotmail.com Visa and Mastercard accepted Telephone:(02) 9319 3335, Fax: (02) 93193358 4 Stokes Avenue, Alexandria NSW 2015 2 Good Parking on Saturdays BEADHOUSE AND CASTING OVER 2000 PICTURES ON THE WEB SITETUTORIAL_ WOULD YOU LIKE TO TRY WORKING WITH PRECIOUS METAL CLAY (PMC)? FOLLOW THIS STEP BY STEP TUTORIAL TO MAKE THIS CELTIC PENDANT DESIGNED BY RHONDA WINTERTON - 30 Crsive BeadingDESIGNER'S TIPS It's important to work quickly with Precious ‘Metal Clay (PMC) os it tends to dry out fost. You can use the lid of your Badger Balm (8 0 re-hydrator — just puto litle water on the underside of your lid and place it over your clay. To make paste if you dor't have any ~ add «litle bt of water fo litle bit of clay and let it absorb in a small container. STEP ONE Rub a little balm or olive oil on your mat and hands. This wil siop the clay from sticking, STEP TWO Knead o small amount of clay into a round ball. Place your clay between 2 stacks of § playing cards ~ this will give you an even thickness while rolling. Roll out your clay, Using litle pressure to keep a round shape. See Photo | STEP THREE \With on egg cup, cut a round shape for the base of the pendant, Place remaining clay into packet and seal. You will need all of your cloy STEP FOUR Divide the leftover clay into five equal pieces, placing four of the pieces back in the packet ‘ond sealing. Or, os mentioned in the tip ‘above ~ put the clay under the Badger Bol lid to keep it or drying out STEP FIVE Toke the piece of clay and knead lightly into «© round shape. Rub « litle Badger Balm or oil onto the surface of your clay and press this side only onto a selected area of your rubber mat. See Photo 2 STEP SIX Place your triangle template onto your textured clay and cut. Moke a triangle shape with 0 slightly curved edge to fit outer edge of pendant. You will need 4 altogether. Put leftover clay back in packet and seal. See Photo 2. STEP SEVEN Divide the pendant into 4 equal parts. On the dividing line, ploce your triangles and join them to the base using the paste you made previously. STEP EIGHT Using the leftover clay (not the 5th piecel, roll out a thin coil, Wrap this around your glass cabochon and join with paste — this becomes your bezel. See Photo 3. STEP NINE Between the triangles, make scrolls using your fine tip syringe. With a slightly wet MATERIALS. PMCS x 25g, PMCS Syringe 1 xSmal round dichroic cabochon FINDINGS Leather necklet TOOLS Phos Placemat Plosicroling pin 0x plying cords Badger Balm lve oi of vegetable ol Rubber stamp mat Sandpaper — 600, 600 to 1200 Live of Sper Wire brash BunisherNote = as soon as you have finished your scrolls you MUST place your syringe into a glass jar with water. 32 Crsive Beading brush, gently touch the syringe work to make sure itis attached. Note ~ as soon as you have finished your scrolls you MUST place your syringe into o gloss jar with water. See Photo 4. STEP TEN With some paste on the back of the cabochon, place it in the centre of the pendant. Making sure itis joined, run a slightly wet brush ‘round the outer edge of the bezel. Smooth ‘out the edge and clean up the excess paste. See Photo 4. STEP ELEVEN Moke 8 small bolls, odd these with poste ond press slightly. STEP TWELVE ‘Make o bail by kneading the 5th piece into ‘an oval shape. Rub some Badger Balm or oil onto the surface, and press lightly onto the mat. Make o ‘U’ shape by rolling your textured clay over a straw. Using a litle PMC paste ‘and a wet brush, attach this to the top of the pendant so the leather necklet can pass through: STEP THIRTEEN Toke the fine tip off the syringe and place it into water. Using the syringe, pipe o thick ‘edge around the pendant. Make sure the piping is attached by brushing lightly with «wet brush. Put syringe immediately back into water. STEP FOURTEEN Let your piece dry. When itis dry enough to handle without losing shope, use some paste ‘ond fill in any gaps oround the outer edge of the pendant. Let it dry completely by leaving it ‘overnight or use a hairdryer to dry the piece. STEP FIFTEEN When itis dry, sand it~ stating with 600 and work up to 1200. When completely sanded, wipe it over with a baby wipe to get a smooth surface, Make sure the glass cabochon is properly cleaned. STEP SIXTEEN Toke the firing up slowly and fire the piece to 700 degrees Celsius. The piece should be fired for 45 minutes. Leave it until itis totolly cool before removing. Imporiont Nole - you can cause thermal shock fo the glass if iis removed foo early. STEP SEVENTEEN Polish and smooth the front ond back of the fired piece with a wire brush. This will give you €@ matte finish. Note ~ the more you work the piece with o wire brush or tumbler, the harder the piece will becomeSTEP EIGHTEEN Important Dissolve a small piece of Liver of Sulphur in - cone cup of hot water. See Photo 5. Using Note — you ‘tweezers, dip the pendant into the solution can cause for a few seconds then rinse with clean water thermal yovgel te colouryou deste shock to the glass if it STEP NINETEEN d Using little pressure and @ circular motion, A eee bumish the piece with a metal or agate too early bumishing tool. Repeat until you get the desired look. See Photo 6. Finish by rubbing with o polishing cloth STEP TWENTY Put your pendant together using your leather necklt. ___ Offering over 5500+ styles of glass silverfoil, cateye, crystal, semi-precious, Jampwork, handpainted, shell and metal beads. Beadworx stock a large variety ‘of findings available in silver, gold, nickel, brass and gunmetal finishes. All your other beading accessories such as books, tools, wire and more are available in one easy location. Beadworx stock items such as “Artistic Wire’ “Soft Flex” and “Extreme 925 Sterling Silver” wire to ensure a quality finish to your project. Come and sit instore to design and create your jewelry using our table and tools with everything you need at your fingertips... or if ‘you need help creating, enrol in one of our Beginners to Advanced workshops ran ‘Thursday nights, Saturdays and Sundays. DSS Car Gold Coast Highway & Oxley Drive Cio Email: beadworx@bigpond.net.auPROJEGT. MATERIALS, Are you looking for a modern and unique beading ae project? Try this spiked bracelet designed by Joanna Ngai from Empire Beads BEADS 90 to 100 dagger shaped ‘beads in different sizes 15t00sowerrrondell STEP ONE Thread both ends through the wooden bead, shoped wood bends Cut your Elastomas thread to a length that See Diagram 3. can wind 4 times loosely around your wrist. NO TOOLS STEP TWO REQUIRED Thread between 6 and 8 dagger shaped 7 beads and move to the middle ofthe length of TECHNIQUES ONLY thread. Tie a double knot firmly so the beads form your first bead loop. See Diagram 1 Tip ~ this design also works well with drop or leaf shaped beads Diagram 3 STEP FIVE Repeot stops 2 to 4 until your bracelet can reach comfortably round your wrist. Thread ‘on the last wooden bead and thread one end cof your elaslc through the first bead loop, of ‘he other end of the bracelet. Tie a double Digan knot and cut off the excess elastic. STEP THREE Thread both ends of thread through the wood WIN spacer. See Diagram 2, 1 of 2 spiked bracelets! For details see our Beads Glorious Beads Competition on pages 58 ond 59. Diogram 2 “K aq STEP FOUR ¢~F- Thread holt of your beods onto each strand eo of the Elastomas and tie a double knot. 34 Crsive BeadingPROJEQT. MATERIALS, 1.50.2 of ft ether {length con be altered for personal preference) BEADS 1310 1 large chunky beads, preleraby fl in varying shops and sizes (colours con be mised your own creative ast) Approximately 10x metal hookles springs Approximately 301 50 imeeloggle or washer beads TOOLS Wire comers lt nose lis or Chain nose pits Rating Z 36 Crsive Beading Designed by Sarah Williams from Beadle, this fun fashion accessory is easy to make and can be worn as a necklace, bracelet, or a belt. How you choose to wear your lanyard is totally up to you! STEP ONE Using your wire cutters, cut the hookless springs into crimping rings. Note ~ don’t worry about being too neat. STEP TWO Slide o crimping ring, then toggle or series of washers (we used clusters of 3 washers in ur lanyard), then a feature bead, another toggle/washers and onother crimping ring conto the leather, side them and position in the centre ofthe leather. STEP THREE To stop the bead and toggles/washers from ‘moving, crimp the spring firmly onto the leather using either Flat nose pliers or Chain nose pliers (preferably the ones with the hole). Note — prior to crimping — keep the spring opening onto the flat side of the leather, not the edge. This way the spring con't work its way off the leother. STEP FOUR Working from the centre out, and repeating the some pattern on each side of the cent repeat this process spacing bead/washer clusters between 6 to 20¢m apart until the beods ore approximately 10cm from each end. Vary the length between the beads os you create the lanyard. Note — make sure the beads on each side of the centre are siting os close as possible to the matching bead on the other side. in addliion keep the first beads to the left and righ? of the centre bead fo around cm owoy, as this wil form the focal point when you're wearing it STEP FIVE To finish the ends, slide a crimping ring onto the flo leather, about dem (a bit over double the length of your bead) from the end. STEP SIX Slide on 0 toggle or a series of washers. Then slide on a bead. STEP SEVEN Thread the tail of the leather up round the ‘outside of the bead, in through the toggle or washers, then through the spring crimp.WIN There are 2 Lanyards to be won! For details see our Beads Glorious Beads Competition on pages 58 ond 59. 38 Crsive Beading STEP EIGHT sing the pliers, crimp the spring firmly onto the leather. You have now created the end USING THE LANYARD This is the best part! You can use the lanyard in a number of different ways. CHOKER STYLE @ Stor with the centre bead in front of your throat. @ Wrap behind your neck, then cross over ot the back, and around the front again. @ Cross the ends over of the front and tie in a loose knot. @ You now have a choker with a tall THE WRAP. © Sicrt by folding into 2 equol sections © Wrap around your neck from back to the front © Paling down on the centre bed, thread the 2 loose ends in through the lanyard. © Using the centre bead 0 the stop, slide it until i rests against a group of beods ‘on the other side to stop the leather from sliding any further © Vory the length by sliding down to the next set of beads for 0 longer look ‘THE DOUBLE WRAP © Use the same technique os above, but wrap the lanyard from the front to the back, then around to the front again which doubles the sirands on your neck ond shortens the lanyard tal ‘THE BELT Wrap the lanyard either in a single (longer tail) or double strand (shorter toil) around your hips ~ secure in the same manner as the ‘wrap, or thread through your belt hooks and tie loosely. You can also use dog clip for a more secure attachment. ‘THE BRACELET Wrap lanyard around your wrist fo the ends You can either tie it loosely, or use a dog clip hooked through the leather wrapped aroundthe outside of the beads on the end of the lanyard to secure it Beodle is « one-stop bead supplier located in Westfield, Chermside in Brisbane. Materials can also be purchased online at www. beadworld.com.au You can mix up the colours and effects by Using different leathers (flat leather available from www.beadworld.com.ou by the metre in 24 fashion colours) and any type of bead thot fakes your fancy. You can also replace the washers and/or foggles with ony other type of bead you prefer Beadle Kiosk 212 (near K-Mart), Westfield Chermside, Cnr Gympie & Hamilton Roads, Chermside Qld 4032 Ph: (07) 3256 4817 Bead World International Ph: (07) 5534 1333 for enquiries www.beadworld.com.au ng 39EARRINGS MATERIALS 2x Fligre erring bose 4b Craft Line ‘21 38mm sive bad pins Please note — cf lin is purchased 0 0 poo of 30m, A making bth projets, you wil ony requie | spol BEADS Sworosk icone cysts 5mm, Crystal Copper x14 Sworosk icone cysts “4mm, Crystal Copper x30 Sworosk cone cysts 4mm, Indian Sapphire x30, Sororski buttery cysts, Simm, Clear AB x4 Sworosk butety cya, 6mm, Clear AB x4 TOOLS Bigeye needle Sasso Reting eo 40 Crsive Beading Make a statement with this filigree crystal butterfly earrings and ring set designed by Sonni Byrne from Benjamin’s Crafts EARRINGS STEP ONE. Divide the materials in half (i.e. half for each earring). STEP TWO. Thread 1.2m of craft line onto the big eye needle. Poss the needle through a central hole in the back of one earring base, leaving about Sem of craft line at the back. Pass the needle through another central hole in the front. Tie off the line at the back with a surgeon's knot (see Diagram 1), toking care not fo get the line fongled in the eorring hook or catch. Trim short end. Diagram 1 - Surgeon's knot STEP THREE Pass the needle fo the front of the earring ond thread on a Smm crystal. Then pass the needle through @ different hole to the back. Note - ty to use a hole close to the bead, this will cause your bead fo sit in the direction you want it fo. See Diagram 2. STEP FOUR Attach @ 4mm Copper, 4mm Indian Sapphire cand Smm Copper (as in Step 3), posing the needle to the back and then through a different hole to the front each time. After every 5 or 6 crystals, pull the craft line fight cand secure with a couple of stitches or a knot at the back of the earring. See diagram 3. Diagram 2 Diagram 3 To form 0 koot othe back ofthe coving, leave 0 oop ‘tthe back (when posing needle from bock to fron!) Poss the needle through a diferent hole from the front, bring through the loop atthe back ond pul ight. STEP FIVE Continue adding the crystals. Work from the centre out, fing crystals in as close to ‘each other as possible and filing the earring base to the edges. At the bottom edge, leove ‘enough space to fit@ headpin through 1 centre hole. STEP SIX When you reach the bottom left section of the erring, attach « émm buttery crystal See Diagram 4. Note- be sure fo hove the Iitrored side of the butterfly ot the back2. RING MATERIALS Filigree ring bose 4b crf Line BEADS Sores bi + 13mm x TTmm Opaque Black Tumpet Flower Retail and Wholesale _ | beads $9.00 per skand, approx 40 beads. Ph: 07 5525 7899 Tat os Cid, 4 wwnw.beadblessed.com.au t, info@beadblessed.com.au | beods $18 per srond, 44 Crsive Booting‘Shop!, 130 Noite set Brighton, Brisbane Qld 4017 Ph: 07 3869 0880 info@mybeads.com.au ‘www.mybeads.com.au Be 59 Cooma Sire a 1 Queanbeyan NSW Ph: 02 62981331 THAT BEAD SHOP ‘ri.ce‘towe eu ore oid supe ondveneywyon popes trey S500 pron e®, woo See » ® o® © me oh _ 6 ®e@ o@® ® 20 0% @ ® @® re x) ae > @@® ee ®® ® @% q@ @® Qo% ® oe @® ® ® @2®@ e Qo ® ® ® Ye ® info@thatbeodshop.com au /thatbeadshop.com.au beOued MATERIALS 2x Crimp beads 50m x 0.5mm beoding clos BEADS 16x Swarovski cysts in colour 1 16x Svarosk crystals in colour? 8x Pure allure cyst siders 6x Mtl bead 1 (6x Metal bead 2 4x Metal bead 3 2x Crimp beods TOOLS Sasso lt Nosed Pliers 46 Crsive Beading Designed by Linda Ellul from Lets Bead Friends, this crystal bracelet is great for the beginner beader and can be made in an array of colours DESIGNER'S NOTE This is © beginner’s project. The crimping can be o litle fiddly but this just requires patience. STEP ONE Loyout pattern. See Diagram 1 2 rows of colour 1, metal bead 1 colour 1, slider 2 rows of colour 2, metal bead 2, colour 2, slider 2 rows of colour 1, metal bead 3, colour 1, slider Ld Coad Diagram 1 — STEP TWO. Repeot pattern, finishing with slider, Make sure that slider colours and sizes are evenly distributed STEP THREE Fold elostc in half and then thread beads Con both sides of the elastic. Note — keep the elastic folded as this will stop the beads from falling off whilst threoding. DESIGNER’S NOTE Make sure there ore even amounts of elestic tt each end of the bracelet before cutting the folded end of elastic. STEP FOUR Join by threading the elastic ends through the crimp from the opposite sides. i.e. crossing inside the crimp. See Diagram 2. Diagram 2 STEP FIVE Conceal join by crimping with pliers where elostic runs behind slider. Akit will be available at the sole price of $25.00 plus postage for the newsstand life of Creative Beading Issue 3. Normal RRP is $29.00 plus postage. Kit includes all the pieces necessary to create the bracelet, ‘part from tools. Available in topaz, erinite, sapphire and rose. Lets Bead Friends 110 Eastfield Road Croydon South Victoria 3136 Ph: (03) 9723 5575 Mobile: 0411 216 607 Email: info@letsbeadfriends.com.ou Website: www. letsbeadfriends.com.au Linda Ellul can be contacted on 0408 338 086 ©)PROJET. MATERIALS Gold toggle clasp 2.8m Choclate brown thread 1.4m Dark brown thread 14m Cream thread 14m Turquie thread 24x Copper daisy spe 8x Gol dais spacers ‘2x 6mm God jump rings Woh face BEADS 8x 6mm Turquoise Sworosrskibicones 163 4mm Gold Srarowsk bicones 4c Trae loss a Leo) TOOLS Project Board TPins hain Nose Pliers Thread Cutters Reting og 4B Crsive Beading Would you like a watch with a twist? Try this macramé design by Natasha Jude of Bead Street DESIGNER'S NOTE These materials make a 17.5cm watch. The knot used in this project is the double half hitch. See diagrams below. STEP ONE Cut 4 x 70cm sirands of chocolate brown thread, 2 x 70cm strands of dork brown, cream and turquoise thread. Leaving a 10cm toll fie oll the strands together and lay them fon the project board in the order shown in Diagram 1 Diagram 1 STEP TWO. Take the 6th cord from the left ond angle it to the left. Using the 5th cord from the left, tie @ double half hitch cround the 6th strand. See Diagram 2, Diagram 2 Do the same for he 4th, 3rd, 2nd ond Ist cords, being careful to keep the 6th cord at the same angle. When finished, the Ist knot will be the highest and the last knot will be the lowest. See Diagram 3. Tip ~ fo ovoid any contusion, pin fo the side any strands notin use. Diagram 3 STEP THREE Take the now éth cord and angle it to the right. Using the 7th cord, tie a double half hitch around the éth cord. Continue knotting to the right. See Diagram 4 Diagram 4 STEP FOUR Repeat steps 2 and 3 until you have 4 completed rows on each side. See Diagram 5.50 Crsive Beading Diagram 5 STEP FIVE Toke the 5th and 6th cord and string on 0 doisy spacer, an 8mm turquoise bead and another daisy spacer. On the Ist and 10th cord, string on 7 x 4mm spacers. Slide all beads snugly ‘ogainst the knots. See Diagram 6. Diagram 6 STEP SIX Pin under the spacer on the Ist strand and tangle it to the right. Use the adjacent cord fo tie a double half hitch knot around it Continue knotting to the right until you reach the Sth cord from the lef. STEP SEVEN Pin under the spacer on the last strand ond tangle it to the left. Use the adjacent cord to tie a double half hitch knot oround it Continue knotting to the let until the 4th strand. See Diagram 7. Diagram 7 STEP EIGHT Repeot step 7 without pinning STEP NINE Repeat step 6 without pinning. Continue knotting past the centre until you reach the last 2 cords. On the 9h cord, place o mm turquoise Swarovski. On the 10th cord, place ‘a copper daisy spacer, 4mm gold Swarovski, ‘copper daisy spacer, 4mm gold Swarovski and «copper daisy spacer. Place these all snugly ‘aginst the knots. Kno! each of these cords on the angled Ist cord. See Diagram & Diagram & STEP TEN ‘Angle the Sth cord to the left ond use the 4th cord fo tie @ double hal hitch around it. Continue knotting unfl you reach the last 2 cords. On the 2nd cord, place o 6mm turquoise Swarovski and ‘on the Ist cord © copper daisy spacer, 4mm gold Swarovski, copper daisy spacer, 4mm gold Swarovski and a copper daisy spacer Place these all snugly against the knots. Knot each cord with the angled 5th cord. See Diagram 9. Diagram 9STEP ELEVEN STEP SIXTEEN Angle the 6th cord to the left and use the Take the 10th cord and pin it just underneath 55th cord to tie « double half hitch around it, where the watch face should sit. Angle it Continue knotting to the left to the left ond use the 9th cord to fie @ double hall hitch around it. Continue knotting STEP TWELVE until you reach the 6th cord. Note ~ make Toke the now 6th cord and angle it to the ‘sure that all the cords do not get crossed fight. Use the 7th cord to tie o double half —_—_over whilst knotting underneath the wotch hitch around it. Continue knotting to the right. face down for a guide but occasionally You have completed one full section. lft up to make sure no cords are getting tongled. STEP THIRTEEN Repeat once from steps 6 to 10 for another STEP SEVENTEEN complete section, Toke the 5th cord and pass it through the left side of the hole at the top of the watch STEP FOURTEEN face. Take the 6th cord and pass it through Toke the 5th cord and poss it through the left the right side of he hole at the top of the side of the hole at the top of the watch face. watch face. Toke the 6th cord and pass it through the right side of the hole at the top of the watch face, STEP EIGHTEEN See Diagram 10. Repeat steps 8 to 12 STEP NINETEEN Repeat steps 5 to 12 STEP TWENTY Repeat steps 8 to 12 STEP TWENTY ONE Repeat steps 2 to 4 STEP TWENTY TWO When you have finished the macromé, cut the excess string off both ends so they have short tails. Take a lighter (or a match) and carefully seal the ends by melting the cords. STEP TWENTY THREE Take a 6m jump ring ond pass it through the centre of the top row and attach closp. Repeat on the other side, Diagram 10 Toke the now Sth cord, angle ito the left Bead Street tend continue knotting. Take the now 6th cord, 61-63 Dundas Court, Phillip ACT 2606 . Fax: (02) 6282 9442 STEP FIFTEEN To avoid Lif up the watch foce so thot cords underneath 10 Walder Street, Belconnen ACT 2617 can be seen. Take the 1st cord and pin it just Ph: (02) 6251 0950 any confusion, underneath where the watch face should sit Fax: (02) 6251 0940 pin to the side ‘Angle it to the right ond use the 2nd cord to tie @ double half hitch around it. Continue Email -info@beadstreet.com.au any strands knotting until you reach the th cord Website - www.beadstreet.com.au © not in use.FEATURE is : : NADIA CRIGHTON TAKES A LOOK AT THE MEDICINAL AND. SPIRITUAL QUALITIES OF CRYSTALS AND GEMSTONES 52. Crosive BeadingCRYSTALS, GEMS AND precious stones have been used throughout history, with mony Claiming their use is a8 old as humankind itself. Today, they ore widely used for beauly, spiritual healing, and enlightenment ~ while «also being used for more technological cedvances, such es watch mechanisms Prehistoric graves and sacred sites from round the globe have revealed widespread use of crystals and gemstones. These came in the form of jewellery, shields, beads, carvings, amulets, hearts and other items of personal and spiritual value. The ancient Egyptians placed much emphasis on crystals cand gemstones. Crystals were applied during medical procedures with many of these being linked to cures. History reveals that oncient Egyption pharaohs had their headdresses tend crowns lined with Malachite to help ther rule wisely. Stones were also found in many tombs throughout Egypt and were made from precious moterial such as turquoise, carelian, cond Tiger's Eye Judy Hall, well-known crystal expert and cuthor of the acclaimed book The Crystal Bible knows the importance gemstones and crystals play in ancient and modern fimes “Crystals have been used for thousands of years not only for adomnment but also for healing and to influence the course of life soys Judy. “Ancient people believed crystals were gifs from the gods and that they actually carried the essence of a god or goddess. ‘Amber beads have been found in graves over £8000 years old, for instance, and amber is sfill used os @ protective stone today.” Lindo Johnson, o Spiritual Teacher ond writer who sells quality crystals ond gems through her website waw.crystalshop.com.au agrees thot the ancient civilisations carved the way for crystal use today with some being more widely known than others. “Before ancient Egypt there were the mythicol civilisations of Lemurio cond Alanis,” Lindo explains. “The ancient Lemurians were much more spiritually aware thon we are today. Lemuria was @ society based on consciousness. People attuned to the crystals and gemstones and they helped to ‘0ise ond mointain levels of consciousness and thought amplification.” Notive America was also well known for Using crystals ond rare stones for their spiritual ‘and healing quolities. However, they were also well known for using these precious stones for practical use. Obsidian was used by the Mayan Indian tribe for its ceremonial knives while other tribes used the stone to sharpen visions ond dreams. thas also been noted that the ancient Mexicans used pyrite to moke mirrors. “Crystal and stone magical properties have been recognised in every culture and were used by shamans, healers, magicions cond estrologers,” Judy explain. “I'm doing © mosters degree in Cultural Astronomy and Astrology and am researching the origins of birthstones as a follow on fo my book The Crystal Zodiac. I'm presently researching ncient Mesopotamia, about 4000 yeors ogo. Amoringly some ofthe birthstones were olreody in use to attrac the favour of the gods.” Precious stones and crystal use was poramount in many cultures o litle closer to home. In New Zealand, for example, Jade or Greenstone carvings ore highly regarded by mony New Zealand Moori tribes as sacred. These carvings worn around the neck were seid fo promote good luck, fertility and growth while being o spiritual medium for healing “Usually green, red or white, jade is made Up of two minerals, nephrite and jadeite,” Linda states. “Traditionally in China, jade wos used to strengthen the body, increase longevity ‘and make men more fertile. Jade hes also long been used to treat female concems such as childbirth. In China, jade is associated with ‘Above: The colour purple s traditionally the colour for royally Mary monorchs ond upper class citizens ‘odorned themselves with this precious stone (ometys}). [Crystals] generate, store, regulate, transmit and transform energy,” says Judy. “Putting out ‘good vibes’ they harmonize the atmosphere, or your body.”FEATURE "Look after them as you would a plant or animal in your care." says Linda 54 Crsive Beading the five chief virtues: courage, justice, mercy, modesty, and wisdom.” GEMS IN THE MODERN WORLD Today, our modern and offen hectic lives, ‘ore more in need of ‘balance’ than ever before. From properties that allow relaxation, understanding and meditation, to promoting healing, health ond, vitality, there seems to be {a slone or crystal for every need. There are ‘even relaxation kils for bubbling brides, and slrengthening bracelets that can bring peace ‘and wellbeing to your soul. But how do we choose the right crystal for our needs? “The crystal that speaks fo you is the one for you,” Judy advises. “A crystal does not have to be expensive or rare to be effective.” Remembering that size ond appearance matter very lle when it comes to the power of a crystals. “Dor't be fooled by bright, shiny ‘and big,” Judy recommends. “These are not necessarily the most effective. Small, misshapen ‘and less attractive crystals often have the same power ~ and costa great deal less.” Judy olso suggests thot when you visit @ crystal shop to try and notice the crystal which catches your eye frst. “It will probably be the one for you," she smiles, noting thot erystals tend to find you, compared to you finding them! And remember if you are looking for o specific crystal, try plunging your hand into a tub and the one thot sticks to your hand has your name on i “Choosing o crystal is easy,” Linda reossures. “You may have o crystal book thot ives some ideas on the crystals you'd like to have. If possible touch or run your hand lover the crystal and see if you feel anything, Don't necessarily just go by book descriptions. If you feel attracted to o particular stone or crystal then there is something in it you need. IF you just go by the book descriptions to self- diagnose, chances are you'll only be treating the symptoms.” Linda olso advises to trust that inner voice and your own intuition “Your higher self sees things you don't.” WHAT ABOUT THE SCEPTICS? “Many people dismiss crystals os being ‘iust rocks’ ~ inanimate objects," Linda smiles. “But crystals hold vibration or frequencies. Remember the old crystal radio? You could tune into radio stations using © crystal and some wire. Crystals contain piezoelectric energy, which can be uiilised fo run things like © watch. A crystal is the most stable form of @ mineral with repeated atomic structure.” Judy agrees that crystals and gemstones have a place in everyone’s home. “They generate, siore, regulate, transmit and transform energy,” she says. “Puting out ‘good vibes! they harmonize the almosphere, fr your body. Taking in energy, they cleanse the environment ond your aura, and provide protection. Crystals can also be programmed fo radiate ‘good vibes’ in your workplace for home. They can attract prosperity, love, friendship and anything you con imagine into your life. The obiliy of crystals to focus ‘energy means that they can be used for specific tasks, such 0s directing heoling energy fo a point on the body or fo an emotional blockage.” Many have pointed to crystals and alternative heoling for success in areas of their life. “They can bring youeverything your heart desires ~ if you know how to access their power,” Judy suggests Linda is also passionate about the contributions crystals and gems can make to our everyday life. “The Mineral Kingdom is alive, like the Plant and Animal Kingdoms and part of the Earth Mother they come from. Look cfter them os you would o plant or animal in your care. Meditate with them, enjoy them, work with them and you will find there is so much more fo crystals than you ever thought.” BIRTHSTONES, The origins of birthstones date back to biblical times with an impressive history. It is soid that breastplate of the High Priest in the Old Testament contained 12 gems that had historical meaning for each month. In the New Testament it was soid that the 12 gems that decorated the castle wall were divided into the 12 months. However, meanings and history vary from place to place and due to regional and religious differences, birthstones have changed vastly from country to country. For example there is evidence that in the 18th century, 12 mojor categories were created, including the Jewish, Roman, Arabian, Hindu, Polish, and Russian meanings. During the 20th century more categories were developed cond birthstones divided into on American and European system. Creotive Beading brings you the most up-to-date meanings on birthstones. JANUARY BIRTHSTONE: GARNET co DEEP RED Meaning: Garnet is considered o gem of faith and truth. These precious stones were used medicinclly as « remedy for inflammatory diseoses. Asiatic worriors believed that glowing garnets, used os bullets, inflicted more severe wounds. ‘Myth/Powers: In medieval times, many believed that weoring Gornet would protect its wearer against bad dreams, wounds and poisons. This powertul stone was also known for curing depression. FEBRUARY BIRTHSTONE: AMETHYST COLOUR: PURPLE ‘Meaning: The colour purple is traditionally the colour for royalty. Many monarchs and upper class citizens adorned themselves with this precious stone. Myth/Powers: Amethyst is o Greek word meaning “not drunken". Many believed that this powerful stone would word off the affects of alcohol and for this reason many wine goblets were carved from the stone. It was also thought to rid evil and quicken the mind. MARCH BIRTHSTONE: AQUAMARINE COLOUR: PALE BLUE ‘Meaning: The ancient Romans believed that the Aquamarine was sacred to the God of the sea, Neptune. Soilors adomed themselves with aquamarine as a protection against any pending dangers at sea. It also symbolises safety and security, in relationships and can even reignite that spark in a marriage! Myth/Powers: Aquamarine has a sirong association with water, which led to the belief that the stone was particularly powerful when immersed. In ancient times this stone wos used fo heal a variety of sickness including throat, mouth, liver and even heart problems. The stones also cided in fortune telling, Alternative Birthstones: Bloodstone APRIL BIRTHSTONE: DIAMOND COLOUR: CLEAR Meaning: Diomonds have always been ond will probably always be, o git’s best friend! The invincible and uncompromising strength ‘was also noted in historic times as there is no harder substance on earth that can match the strength of a diamond. They are well known for being the stones of royalty and are found embedded in many crowns and jewellery of the rich and famous throughout time. Myth/Powers: While today they stand os the ultimate symbol of love, Diamonds have also been credited for certain medicinal properties ‘and helping heal illness. MAY BIRTHSTONE: EMERALD ‘COLOUR: DEEP GREEN ‘Meaning: Fresh green foliage and growth ‘re evident in the brilliant greens of emeralds ‘Around the world, mony meanings have related back to the green of a garden in springtime. ‘Myth/Powers: The Egyplions engraved Emeralds to represent etemal youth. Many emeralds are found buried with the deod for this exact reason, Giveaway We have 5 copies of Crystal Prescriptions by Judy Hall to giveaway. From properties that allow relaxation, understanding and meditation, to promoting healing, health and, vitality, there seems to be a stone or crystal for every need. ng 55FEATURE Win! Win! We also have 5 Crystal Healing Packs by Judy Hall fo giveaway. “Crystals have been used for thousands of years not only for adornment but also for healing and to influence the course of life,” says Judy. 56 Crsive Beading while the ancient Romans dedicated the forous ‘gemstone to Venus, the goddess of love for is ferility and rebirth quoliies. JUNE BIRTHSTONE: PEARL COLOUR: WHITE Meaning: There ore many diferent ‘explanations for why Peor! was June’s birthstone. The Greek believed that pearls were the hardened tears of joy hat fll from the goddess of love when she was bom from the sea. The Chinese believed that these ‘gemstones were actually the brains of dragons! ‘Myth/Powers: Pearls have been used as medicine in its ground form, treating oliments such as heart and stomach problems. In some cultures it is also known as an aphrodisiac. Alternative Birthston« ‘ond Alexandrite JULY BIRTHSTONE: RUBY COLOUR: Ri Meaning: This rich red stone is symbolic of love and passion. This precious stone was highly prized throughout history and was known to hold magical powers. ‘Myth/Powers: Due to the siones protective qualities it was often worn os « lucky-charm, to protect agoinst evil. The stones represented power and it wos believed thot by tossing one info © pot of water would make it bol instonly. was also used as bullets and to cure indigestion. AUGUST BIRTHSTONE: PERIDOT COLOUR: YELLOW GREEN ‘Meaning: This stone wos found in the black sands around Hawaii and it was believed they were tears shed by the Volcanic goddess Pele. The stone would opparently glow in the night and many miners would Use Peridot as their guiding light ond protector. It also signifies strength and new growth ahead. Myth/Powers: The birthstone represents the connection between humans ond nature, with many believing that adoring the stone would allow you to connect with nature in a very spiritual way. The green crystal was also protective agains! evil. As @ ground powder, it was used fo help ease asthma and cure thirst from fever Alternative Birthstone: Sardonyx ‘SEPTEMBER BIRTHSTONE BLUE SAPPHIRE COLOUR: DARK BLUE ‘Meaning: Sapphires were believed to protect against envy. It was also thought to ward off poisonings with a common belief being that being that if a dangerous snake encountered «Sapphire it would immediately die. Myth/Powers: It was said, if grounded into «@ powder, this dazzling sione could cure rheumatism, colic, and mental problems. It was also used fo strengthen eyesight. OCTOBER BIRTHSTONE: OPAL COLOUR: MULTI-COLOURS AND SHADES ‘Meaning: One great explanation for this gemstone’s origin is thot it fll from heaven inc flash of fiery lightning! Many ancient civilisations used Opel for various reasons € it was widely treasured for its beauty and protective powers Myth/Powers: Many monarchs embedded ‘Opals into crowns or wore them as necklaces for their protective powers. It wos soid that the Opal could ward off evil and protect eyesight. They were also grounded to helo with digestion and healing of many illnesses. Alternative Birthstone: Pink Tourmaline NOVEMBER BIRTHSTONE: CITRINE COLOUR: YELLOW ‘Meaning: Citrine is 0 form of quartz, and like its fellow sister and brother gemstones, it was also believed to have magical powers cond was worn os amulets ogoinst evil. Citrine is also o symbol for hope and strength, ond is said to help ones soul successfully batle life's tough times. ‘Myth/Powers: The stone was widely used to protect against evil and was also considered «@ medicinal stone. Being commonly used, in its grounded form, for urinary and kidney problems. Alternative Birthstone: Yellow Topoz DECEMBER BIRTHSTONE BLUE TOPAZ COLOUR: BLUE Meaning: This precious stone wos considered by many ancient civilizations to add @ cooling element to any situation, beit cooling down water, or cooling down fiery temper! Myth/Powers: Blue Topaz wos olso noted for is healing powers including the ability to cure csthma, insomnia and even insanity! THE CRYSTAL HEALING PACK Published by: Godsfield, ‘an imprint of Hamlyn RRP: $49.95 ISBN: 1 84181 2552 Distributed by: Little Hampton Book Services Available from: All leading book stores This complete pack hos everything you need fo use crystals as a practical means of self- I —= 26@e0e @ the Crystal Healing ae heoling and @ key to opening your higher cowareness. The pack includes a paperback book and 12 specially selected, high quality polished crystls. Seven of the crystals ore cttuned to the seven chakras, the body's energy centres. These slones are used for cleansing, energizing, ond aciivating the chokras. The other five are ‘master healer’ stones that can be used singly or in combination to relieve stress, promote reloxation, bolance the emotions, clear negative energies in your environment, and heal and invigorate your body, mind, ond spirit. The poperback book includes complete instructions for using crystals os healing aids cond a comprehensive directory covering the properties ofthe crystals in the pack and their specific uses. The book is illustrated with colour photographs and useful charts, diograms, and grids. CYRSTAL PRESCRIPTIONS. Published by: © Books (www.o-books.net) RRP: $24.95 ISBN: 1905047401 Distributed by: Brumby Books The AZ Guide to over 1200 symptoms and the stones thot heal them. This symptom-based A-Z directory by Judy Hall, author of the best-selling The Crystal Bible, will help you to identify exactly the right crystal for your needs, whether for healing of the mind, body, psyche or spirit, and will point you to useful stones for improving vitality and well-being, tand for bolancing the chakras. Listing over 1200 ‘symptoms’, it is @ practical first tid guide bosed on sound crystal healing principles that have been practiced for millennia. Crystals are o gentle, non-invasive system of holistic healing with no side effects. Suitable for children and animals, crystals can also benefit the environment ond your home. BU Aras FACT OR FICTION Archaeologist Anna Mitchell-Hedges, the daughter of well-known Archaeologist FA Hedges, discovered in Guatemala what is widely known as the ‘Crystal Skulls. The estimoted age of these skulls is coround 20,000 yeors old! Many have speculated thot these ‘Crystal Skulls’ were brought in from London and may be a foke. However, ones who have been lucky enough to spend time with these mystical Skulls report o height of spiritual and mystical energy.PENDANT. MATERIALS Sculpey Coy = "pk God, 4 pt Terracoto, pl Purple Sotn Finish Ali Sealer TOOLS Piece of lasso Perspex for work sue Goof lode lyre Baking tray ined wih bokingpoper Oven Points NECKLACE MATERIALS V4 x Gold metal spacers ‘204m, 20g0 Copper wire ‘20«m, 26a Copper wire 4x Jump rings 1 Gold metal oggle asp Yem Tiger Tal 2x Grimps BEADS 6x Greon wedding coke’ WIN this necklace! For details see our Beads Glorious Beads Competition on pages 58 and 59. R. “F 58 Crsive Beading Michelle Shiels and Beads @ Bathurst combined beads and polymer clay to make a unique necklace perfect for this time of year DESIGNER'S NOTE Beaders will need to know the basics of ‘working with polymer clay to make this project. PENDANT STEP ONE Using 10g of gold ond terracotta clay, condition ond blend. STEP TWO. Roll out gold and bronze clay into 2 snakes. Entwine 2 colours around. STEP THREE Coil snake into spiral design, STEP FOUR Using 20ga wire, form loop for top of pendant. Cut 2cm lengths of 26g0 wire to form wire tendrils STEP FIVE With 26g wire, thread feature beads for pendant. Twist wire ends together. STEP SIX Using 0 pea sized portion of leftover gold/ bronze clay, add purple clay and blend. STEP SEVEN Bake pendant on boking paper lined tray for 30mins at 130 degrees Celsiusalss beads 8x 6mm Topozbicones 20. Purple iegulr pears {(opprox, 4mm) 16x Geen ls ips 1 Stand small amethyst hips IxSmellgeenleves STEP EIGHT STEP THREE SxNediom green leaves When pendant has fully cooled from baking, Finish off with the toggle clasps and secure TWedum tpelest coat with acrylic satin finish them with crimps. 4x Svar lined seed bods NECKLACE Michelle Spiels STEP ONE Mobile: 0473 452 434 Tools Using the photograph os a guide, sting Email: gsshiels@oopt.net Fl nose pis abovementioned beads in a pleasing syle cae Beads @Bathurst, 282 Howick Street, STEP TWO Bathurst NSW 2795 Round nose pies Form @ dangle by inserting the jump ring into Phone/Fax: (02) 6331 0291 Side camers the hole in the leaf. Place onto necklace. Email: beadsatbathurst@hotmail.com EUREKA! BEADS www.eurekabeads.com.au = Si Kiss Beads Keeping it simply seeds TT * Japanese seed beads * Czech Hank seed beads * Beading supplies + On fine shopping car tana caprrae & EVEN MORE CTE TED TH 222 Toomuc Valley Road Shop 3A 1295 Nepean Highway ‘Toomuc Valey via Pakenham Chettennam iGeliesicels Cran’ Mctora 3810 ph 0350411 671 Victoria 3192 ph 0395841 678 Phone: 02 49911880 www.eurekabeads.com.au info@eurekabeads.com.au 60 Croive Beadingwheadshack* 2 shack full of beads, crystals, jewellery leather & accessories mK www.thebeadshack.com.au Wehave large shop area wth a beading needs psa separate area for worshops asses ete The shop has wo large tables where customers ca ‘Stand eo and design ther jewelry wing out design boards and tol. ‘There lots of natura ghey parking and rend pl stall shop 19 sinshne plaza | 07 5452 7983 Pearce maroochydore qd 07 6452 7963 ee ee eee od ead shop 154 pacific far shopping ent «| 07 5526 1111 broadbeach qld 07 5526 0144 Precious Metal Clay * Clay + Tools * Books + Classes + Hot Pots * Speedie Cones * Hatties Patties + PMC compatible CZ & Lab Stones Meno Bullseye/Dichroic Glass Gesoe tslNeMiey * Cutouts & Sheet + Giass Decals A or in our fun = y CECE CI) Ss Lampworking Australian Distrib page ae + Rods ¢ Tools * Torches = + Classes *Starterkes Glass & PMC Kilns Precious Metal Jewellery created by Donna Fox-PMC Senior Teacher Sydney Brisbane ‘1 Green St, Revesby NSW 2212 152 Wecker Rd, Mansfield Qld 4122 Ph: 029771 6166 Fx 029771 6011 Ph: 07 33437377 Fx: 07 3349 5052 asknsw@ceramicandcraftcomau _askqld@ceremicandorafcom.au Wholesale & Retail Sales [ ceramic+ craft centre ww PRT www.ceramicandcraft.com.auPROJECT. MATERIALS 4x Sting silver cimps 2.x Lorge stelng ser eye pins 2x String silver ear hooks ‘20m Gold Tiger Tail BEADS 4x Comaion wave beads 6x Glos disc boos — crus 59 x Quartz chips 4x String silver bends TOOLS Round nose piers Gimp tool Rating 62 Croive Beading These Japanese inspired carnelian earrings were designed by Tara Sinclair of Fire and Ice Concepts especially for the beginner beader STEP ONE Make a loop and crimp 1 end of Tiger Tail with the crimping tool. Crimp as close os possible fo the end of the loop, so thot itis invisible. STEP TWO String Tiger Tail with 1 x silver bead, ‘approximately Sem of quartz chips, and then the second silver beod. Crimp the end, leaving 1em of Tiger Tail os « gap. STEP THREE Moke the top section of the earring by placing 1 x camelion wave bead, 3 x citrus disc beads and the second cornelian bead on on eye pin. Leave 1cm of pin at the top nd cut off excess. Note - if you're unsure, it’s ahwoys better fo leave more than you need, rother thon trimming os you go. STEP FOUR Make a loop with the round nose pliers. Before closing the loop, place it onto the ear hook and then finish the loop. STEP FIVE Bend tiger tail, chip section in half and place ‘onto the bose of the eye pin. You may need to gently bend or twist Tiger Tal to create the desired effect STEP SIX Ensure the eye pin is completely closed. All materials are available individually or in kit form from Fire and le Concepts. Ph: (03) 9755 8528 Fax: (03) 9755 8526 Email: fireandice@dodo.com.au Website: www.fireandiceconcepts.com.auROLES MATERIALS Vdasp Nye road (0) Beoding nese Thread conditioner (optional) BEADS 415mm Suara bcone ans 24 3m Swarovski one ans 444mm Sworosk bona ants 454 4mm Sworosk round pears ‘3p xSecd bes #11 TOOLS Sissons 64 Creare Beading Add that special touch with this crystal and pearl bracelet, designed by Gloria Ford from Designers in Residence DESIGNER'S NOTE These quantities are for @ 15cm brocelet not including the clasp (approx Sem). ABBREVIATIONS ‘5mm bicone crystals - 5C, 4mm bicone crystals ~ 4C, 3mm bicone crystals - 3C, Amm Pearls ~ P Seed beads ~ $8. STEP ONE Thread needle with approximately 1.5m of conditioned thread. Pick up 188, 1x5C, 1988, TP 245B, xP STEP TWO. Poss thread through all beads, leaving 0 15cm toil. Join the tail and thread by tying 0 square knot. STEP THREE Pass thread back through IxP and 1xSB. STEP FOUR Thread 1x58, 1x 1x $B, 1x5C, and 1358, Pass thread back through IxP and 1xSB just exited, then back down through 1xSB and 1xP iust added. STEP FIVE Threod 1x58, 1x5C, 1258, 1x8 ond 1xSB. Pass thread back through IxP ond 1xSB just exited, then through all beads just added. STEP SIX Thread 1x58, 1x, 1x88, 1x5C ond 1358, Poss thread back through xP ond 1xSB just exited. Then back down through 1xS8 and AP just added. STEP SEVEN Thread 1x58, 1x5C, and 1358. Pass thread through TxP and 1xSB on opposite side to join flower together. Then back down through 1xSB and IP just exited. Then through 1xSB, 1x5C ond 1358. STEP EIGHT Thread 1xP 2xSB,1Xp. Poss thread back through 1xSB, 1x5C and 1xSB just exited. Then through 1xSB ond 1x? just added. STEP NINE Thread 1x58, 138 1Xsb, 1x5C ond 13S8. Poss thread back through IxP and 1xSB just exited. Then back down through 1x38 and laf STEP TEN Thread 1388, 1x5C, 1288, 14P and 1xS8 Poss thread back down through 1x88 and xP Then through all beads just added. STEP ELEVEN Thread 1xSB, 1x8 1xSB, 1x5C ond 1xSB. Pass thread back up through 1xP and 1xSB just ‘exited. Then back down through 1x38 ond xP just added STEP TWELVE Thread 1x88, 1x5C and 1xSB, Pass thread back up IxP and 1x$B on opposite side to join flower, Then back down through 1xSB ‘and 1aP just exited (following thread path stil) 1x$B, 1x5C, and 1x58. STEP THIRTEEN Thread Ix4C, 1x5B, 1x5C, 1x5B, 1x? 2558 ‘and 1xP To begin new flower pass thread back through 1x8B, 1x5C, 1258, IxP and 1xSB just added. STEP FOURTEEN Thread 19SB,1xP1x5B, 1x5C, ond 13$8. Poss thread back up through 1xP and 1xSB, then down through 1xSB and 1x? just added,STEP FIFTEEN Thread 1xSB, 1x5C, 1x8B, 1xP ond 1x5B, Poss thread back down through 1x8B and 1xP just ‘exited. Then through all beads just added. STEP SIXTEEN Thread 1x8B, IxP 1x$B, 1x5C and 1x58. Toke thread back up 1xP and 1xS8 exited. Then down through 1xSB and 1x? just added, STEP SEVENTEEN Thread 1x88, 1x5C and 1x$B, Take thread up through 1xP and 1x$B on opposite side to join flower. Then back down through 1x88 and 1xP iust exited (sil following thread path) 1x38, Vx5C ond 1958. STEP EIGHTEEN Pass thread through 1x4C that joins the two flowers together, Then 1x$B and 1x5C on previous flower. STEP NINETEEN Follow thread path until you have exited from 1x5C and 1X58 on flower just completed. STEP TWENTY These steps form bracelet pattern. To continue, start from step 8. Continue adding flowers Until bracelet measures wrist size (omiting ‘approximately 3cm allowing for clasp}. STEP TWENTY ONE To add the 3mm crystals on either side of bracelet — following thread path from where you have ended, take thread through until you hove exited 1xSB and 1x5C (this brings you to where the joining of flowers are by the 4mm crystal) STEP TWENTY TWO Thread 1xSB, 1x3C, 1xSB, 1x3C and 188, Take thread back through 1x5C and 12SB on ‘opposite side. STEP TWENTY THREE Following thread path, complete step 22 until both sides of the bracelet are finished. End thread by following thread path with a series of half hitch knots. See Diagram, Holf hitch knot STEP TWENTY FOUR To add closp — bring thread out of 1 end through 1x5C and 1x$B. Thread 1358, 1x3C, 1388, 1x3C, ond 1xSB, add closp bring needle back down through seed bead, then add 1x3C, 1458, 1x3C and 1958. Toke threod through 1xSB and 1x5C to close. To reinforce thread, take it through all beods just added. End off thread STEP TWENTY FIVE To finish other end of bracelet, exit thread from 5C and SB and add beads (as in step 24) Toke thread through SB and SC on opposite side to close. End thread offSoe Crystal Flair OW in in volg ey eee Sas everything you need. ‘wwrw.crystatfiair.comau Visit our online store for convenient shopping with easy shopping cart and check out ‘No minimum order! INTERNET MAIL ORDER SHOF STALOGUE FEATURING: Become a Crystal Flair member for free and ee eaGie a Oa rae + Jewellery Findings, Charms, Beads, Tools hers ers FJ Our Designer Discount program offers selected goods at up to 50% OFF retail Email Yvonne: info@erystalflair.com.au Phone: 0891871888 Fax: 0801871888 PO Box 99 Wickham WA 6720 ud-wag S219 ‘OSIAPY “SHEAd its available $25 incudes postage Green Black Blue lilac Crystal Adelaide Beads 160 Glynburn Rd Tranmere SA 5073 Phone: 08 8365 0215 Email adelaidebeads@optusnet.com.au ee ¥ Web page www.cdelaidebeads.com.auMATERIALS 10am curb chain of medium 125m hed pins 441 Sem hod 2.4mm jump rings ring hooks BEADS xe lantern beods 5 x dosonné beods 14x Bim diamante spocer 18 x 4mm round beads = essed olours TOOLS Round nose pins Chain nose pins Comers Please noe — thelist of materials, beads nd tools axe o make both the rele and earings Retig 68 Crsive Beading Designed by Lallette, these oriental style earrings and necklace are a must-have winter accessory and a great beginner's project NECKLACE — STEP ONE Cut the chain to the correct size for the necklace and earrings. Necklace ~ 10 x 9.5em length: Earrings ~ 2 x Sem lengths STEP TWO. Cut the head off the Sem head pin and form «@ loop at one end with the round nose pliers. STEP THREE Following this sequence, threod the beods onto the head pins ~ 4mm round bead, diamante spacer, lantern bead, spacer, 4mm round bead. Tim the headpin and form a loop, this will hold the beads in place. Note ~ make sure the beads sit snug, See Diogram 1. ‘Make up ~ 7 x red lantern links and 5 x cloisonné links Diagram 1 STEP FOUR Using the 4mm jump rings, start linking the chain and the bead links you hove made. Using the chain nose pliers, open the jump ring. Note — ideally you should have two pairs of these pliers. Feed 1 length of the 9.5em chain and 1 bead link onto the jump ring and close the jump ring. STEP FIVE Repest this for each link and alternate the beads until you have used all your 9.5cm pieces of chain. See Diagram 2. Diagram 2 EARRINGS — STEP ONE Using your round nose pliers and the 1.5em head pins, form a single loop on the 4 x 4mm beads. This allows you to attach the beads fo the earring chain. See Diagram 3. Diagram 3 STEP TWO Randomly attach the 4mm bead links to the Sem chain by slightly opening the loops, hooking onto the chain ond closing the loops ‘The beads are then placed onto the links. ‘STEP THREE You should have 2 red lantern links remaining. Attach the earring hooks to the red lantern bead link and finally, attach your chain to the other end. The beads for this project are available from www.lallette.com Email: lallette@lallette.com Website: www.lallette.com °PROLEST MATERIALS. ‘Roll 4g gun metal artist wire 1 Metal hair comb 2x Shoe dips BEADS ‘Large oval Swarovski iomonte— Smoked Topaz 2x smaller oval Swarovski iomones — Smoked Topaz 2Swarosk filigree drops in Colorado Topaz ‘Amit of mm, 6mm ond Brum Swarovski cysts in the fllowing colours — 1 Golrado Topar Topaz Smoked Topar Burgundy Siom Siam Copper Some 4mm Cech crystal in Sim (to gio diferent texture) FEATHERS 3 diferent styles of feathers Were used in hs projec — Emo feathers of two ferent Tones and, 1 luster of Cocktail feathers TOOLS Round nose pliers Gippes Hot lu gu and glue sis Rein 70 Creche Beading Step back in time with these hair and shoe clips designed by Eliza Bourne. All materials courtesy The Bead Company of Victoria HAIR CLIP STEP ONE Cut o half metre length of wir. Find the centre and create a loop that is approximately 3mm smaller than the size of the large diomante, Twist twice to make the loop secure. See Diagram 1 Diagrom 1 STEP TWO Holding the diamante over the loop, pick up either of the loose wires. Cross the edge of the diomante and thread through the loop at the back of the stone. Make sure that you are holding the diomante securely in place as itis likely to move ot the point Using the same wire, continue to cross the front of the stone at the edges and loop through the back until you have gone completely oround the diamante. See Diagram 2. Diagram 2 Pick up the other wire and thread the same ‘way as the frst, completely encasing the stone. STEP THREE Once the diamante is encased, thread 1 bead onio « wire and thread through the closest loop. Continue around the entire ‘edge, adding random beads as you go. See Diagram 3. Diagram 3 DESIGNER'S NOTE At this stage you may need to add another piece of wire, Cut 25cm length and wrap around the closest edge wire. To finish ends, wrap the wire around the closest loop ond clip off the excess. STEP FOUR Keep clustering beods around the stone, filing in any gops by threading the wire through ond adding a bead. You can make this featuee as large and clustered as you like See Diagram 4 Diagram 4STEP FIVE Using 0 hot glue gun, attach the feathers in clusters along the top of the hair comb. STEP SIX Cut 2 x 0.5m lengths of wire. Thread a cluster of seed beads or o single crystal conto the wire. Hold the beads between foretinger and thumb and twist 2 or 3 times. Continue to do this along the entire length of wire, randomly choosing beads ond distance between each section. Repeat randomly on the 2nd piece of wire. See Diagram 5 Diagram 5 STEP SEVEN Bunch both sections of wire so they sit in a tight cluster, moking sure thot both ends ore to the one side. Hot glue your centre piece onto the comb where you desire it. Hin’ — I prefer off-cenire and on an angle. Take 1 cluster of beaded wire and wrap both tends around the fop of the fist prong of the comb. Hot glue into position, toking core thot you can't see the glue. Repeat on the other end. SHOE CLIPS STEP ONE Using the smaller diamontes, repeat hair clip sleps | fo 4. STEP TWO To add filigree drops, cut a 15cm length of wire. Thread through the top of the drop and twist twice between forefinger and thumb. Add beads randomly onto both lengths. STEP THREE Attach shoe clips by using 0 15cm length of wire. Hold the shoe clip in position and thread the wire through the piece (as if sewing button on) Bourne Art by Eliza Mobile: 0408 310 866 Email: bourne_ort_by_eliza@yahoo.com.au boume_art_ei@yahoo.co.uk www bourneart.com The Bead Company of Victoria 336 Smith Street, Collingwood Victoria 3066 Ph: (03) 9419 0636 Fox: (03) 9416 3993 EMAIL: beadcovic@bigpond.com.auTo be in the running to win a book from Winsome Books or a pack of 4 pewter crystal charms from Crystal Flair all you have to do is write in 25 words or less why you should win that product. Send your name and address along with the prize you would like to win on the back of an envelope to Beads Extra, Creative Beading, PO Box 8035, Glenmore Park NSW 2745. Please read terms and conditions of entry before entering. WINSOME BOOKS Beem) FANTASIES II Great Wire Jewelry GREAT WIRE JEWELRY Author: Irene From Peterson Publisher: Lark Books RRP: $27.95 ISBN: 1579900933 Available from: Winsome Books 70 beautiful wire jewellery projecis, ranging from beginners to advanced Learn simple techniques to make stunning bracelets, necklaces, earrings and much more Winsome Books BEAD FANTASIES 2 Author: Takako Samejima Publisher: Japan Publications Trading Co. RRP: $29.50 ISBN 4889961887 Available from: Winsome Books In this follow up book, Takako Samejimo's distinctive style is continued. Make delicate bracelets, pendants, necklaces, earrings, rings, and even o mobile phone stop. 29 Elizabeth Street, Evandale SA 5069 Ph: (08) 8363 5964 Fax: (08) 8363 5965 Email info@winsomebooks.com.au Website: »nwwwinsomebooks.com.au CRYSTAL FLAIR Do you like to change your jewellery with your mood? Hove a look at these adorable pewter crystal charms. Each hanging charm has a bolt closp attached so it is easy to pop them on and off a chain, Now you con change your message daily and keep up with the latest trends. Available in letters too! Available ot vww.crystalflaizcom.ou online shop. Pack includes 0 cross, buttery, heart ond flower