ae, ae cudlge) te OeFrom Alice’s Desk lank you for all your cards and levers. Ie great tos read that yore really enjoying [3}2\D &Lealon. Is been a tremendous amount of work bringing linking ils yood at we this ana wanted ifm be. But your creatnity and technical expeatise is amazing. You are our authors, and we've gouen so, manny ideas fre designs and projects from you that Toul stay busy fora devade: (at least), To keep Lup wih all ef'you, anid 16 bese you're getting the best magazine in BEAD @ Button, we've introduced Kathy McBride asa contributing editor. She's on top of the Fashions in jewelry and accesories, so iFyou' re planning t design or buy or give with style in mind, check out her advice See ee Beat pau uci bl Hk Sued Or Cruel of ston soon pageas"Niy Silom ee aa lghntgereeltciores We one . these sruces by tnese great banin ners wl Ulecr. em a for you. Your Letters, Room for improvement SUPE: LE Thked yours sue snuch but have one kequest in hopesitmay imprewe ‘Amulet Purses te Die For Thar is to have mone finished product piciures of beaded jewelry. One pie isworth a fot of wails, — Nasete tis Medond, OF Next Issue Wants issue 1 Ave thereany hack ise? {want s complete collection of your magazine Your instrtetions ane examples at clear aud easy « Follow antl DEAD utran vill be a sahtable reference tool for me. Nour bulisone ofthe Lew VWenjoy paging. — Robcemer Adender, Blingireay Magic Beads, Button Changing divin teply Your kine! words neat a lou wus, We took a huge gamble uit INS snul printed) many more copies than needed, but we sll sold out. We're SIMPLE nt EPPECEIVE WAYS FO. peiting some ore copiks, at in the meantime, please check your local eam ince ARES BE ead store for remaining copies of Issne 1, And Sey tuned to this column. By the next abe, wel have worl om Bek fen, ) Bead Applique by Machine coating abou MAKE A ONE-OW-AKINDY ACCESSORY Tested ter yen Tons bose inpress ys by the ean photos ideas ad clear istractions i BEAD E13 tice, Virgina Blikelock wa rings inspite subscribed foray angler. who's always liked to do neacwork, But ihink I'm hooked now tow. One question what does the degree sign fier the bead siz ican? — Daslawe Bsc Hufre, SD Vinci Bllteck sans: Phe degree sign (also writen with a tine below Necklace Design on a Budget it) ban abbrevation lon ato and wetally pronounced “aught” Beals once weve given rarity ize scale starting AL ero an imereasing. as ze ihevessedl Recut sever than inghts” got multiple eeroes. Mier awhile ic Uecamne easier write 11 rather than cleven ze1be3 stitch, Comanche MANE A eINY PIETOIE: inst You Dow't Succeed Reader wants advice Mien intredkiced mie to besli Hesigning. Heads kept me busy and word-oFivouth customers began to and soon Iwas doing reetsinging and BHO FEE appre Rut selfing not one of my ski, PC like some safes how For HUW FIRST OP ASmRHES ON KAGrEE SH | | Holkstike me who wan 10 ad a finde mnesrareund money wo Dee male TROHNIGUES IY DEEPDIEM uiceers | | Fins. tips des and don'ts, exen directions an how to present my products Beruling is Gun; selling iat So belp, please. — Rul Mlb, Sena Paula, C8 Nilty Buttons Please! Send comments, criticisms, or suggestions to Letters, [EAD EPSTEIN AXD SAFRO ON BUTTONS 3ui0N, PO Box 1020, Norwalk, CP 06855, We may edit for brevity. 2 Jue agg BEADETAaOn Polegen tert MaAlice Korach Louise Malcolm Diane Fitzgerald Marilyn Green Kathy McBride Mara Hudson Melissa Weston. Katia Troyanos Osen Akumasamia BEAD Y pats (6S 1072-402) fhe, PO Boe 1020, Naw CT a6. (208) a37-5558. Amicon 0 at ‘scconens @ misisue ae ge Soma Pas, ne, ©1694 A vat Ine egatateneaing Pave sees ote enmotase osponsby sco o¢ aoe sue {8 eo), 505 prt s8495 june yrs 2) Canatian el $8 9 fea 812 ‘stan ai Go. (714) £47 0608, 2 en | Carer at by Lane Rony From Alice’s Desk 2 Next Issue 2 Your Letters 2 Tips & Techniques 4 Your Work 29 News & Reviews 20 Anything Goes 31 19 An Elegant Seed Bead Chain CHEVRONS YOULL 0) Diane Bitegrate Making Odd Ends Meet cas oun suomtace Cheri Lan Welt by 7 21 Needle-Woven Necklace A New Twist on Earrings by Allee Karach by Surah K. Young 10 Cloth of Beads ly Jude Biegort 3 The Hours of Robert Burningham ty Mini Holmes M4 Fringe Benefits 27 Nifty Buttons by Milicent Safo dy Lowise Medeelrn I Venetian Paperweight Buttons by Laws Wilson 17 lic Moods dy Kathy McBriteTIPS AND TECHNIQUES Caeser toggle batons Turning thread into a needle aoe ee pith Loa tage nal wa pair ewe to petro eat tn inch oF sof the Biplane tp oseadltise frst 20 ded wih anya eich kes dead Ceene e eeP av n pinewth a pai of iss, Nony ihe lp (aboto = i | Sener Mont, VP heb the cap f ike jo stiffen the last inel oF ene of thyyead for bead stinging with Sally Hansen Hard as Nails, 2 lightly flexible ‘lear nail polish. While the polish is sll tacks, Levis the thea it a tigh point, —Lesura Howe, Daas, TX the clip, Reheat dhe nail to make she second hole — Sue fvvam, Landenberg PA No-fail necdle-dhreading technique When Inet with Robert Bumingham to write shout his fabulous head embroideries (See pp. 25.26), 1 was also fascinnated by bis method for dyeading a necdle, Most of us hold the tread in Keeping wack Keeyp your pattern ch: boar! (they come in several sizes — try an office supply or are sore). You can alison a cps ‘owe dominant baud andl try 10 push it into the eve keep your place on it with a comple of mini clips ora of the needle, which often takes several tries and large rubber band (photo 5). Stick a rebiigerator magnet Tots of spliuiirese to the clip 10 ghe you seu place to set your needle whenever you put it down, This way, youre less likely 10 drop or lose it — Pat Rose, Atlanta, GA ‘Too many buttons? Never! Av estate sales aml church rum sage Stes, | buy all the old boxes oF butions I fiad (phar below) And [always check out dhe draw e:sof used sewing machines that sight) andl the threw in the other (photo 4). Poradded forthe drawer conteats, kewing Support (or if you've had foo muuch exteaue) brace the any utachments with the 7 heck of your hands togethcr,or inteslock your pinkies machine. Vout often find wie Pinch the thread between your thiumbanne forefinger oll thimbles in baton boxes wsith usta sincgen of trea showing, Now bring he Also check out ued clothing for nrecllc ever the dead, and, magically i's dhrexded buttons. Long after the clothing (phate), The key isin bringing the nevalle 10 the is orn out and unsvble the burtous can il be real head, rather than the thread to the needle, — Mind prices. —Nieney Kelly, Brachsille, Hotnes, Minneapolis, MN Do you have @ handy way of doing something, a special solu- tion, a great little technique, or Iecads on torrie now materiale? We'll photograph them and pey for each tip we publish, Send ‘your tips with rough drawings, photos, or samples to Necklace design aid Hr you don't lave a bead design oad, pa a towel ‘overt cookie sheet, Phe towel oeps the beads from rolling, and you ean pinch a groore tn to simmutite the necklace hape. I's alsoa good way to Tips Editor tye ao HEAD E tation tay ont heals with diffcnent Hang taste shapes and sizes, — Mie Geverse, Baltimore, MD Norwalk, CT 06856-102 4 juse 1994 BEAD ELONDesign ideas for everyone, plus, a finishing technique from a professional that takes only minutes. Gaeitraches many bead eer. eee ones: Rete ire denen Making Odd Ends Meet by Cheri Lynn Waltz Ioaurifil, random-pattemed necklace doesn’t conte from swinging hapharardly. In fact, a rand Tooking design takes special planning. Po achieve lalanee sind randonmess, you need to combine cule size, shape, and testa of beads effetively, Here are some techniques Tse Color Select several different color combination bof beads. Lay them out on sour werk surface: in groups and go with the first group that catches your eye. If your supply is tox inited lo offer coker inepin Hint Also look in fabric stores for color combinadons. Pay special attention to the ya bead store. colons jn the prints that attract you, You'll Sind your eames and beads will natch.) Cap your necklace with cones Foran interesting said well balances necks Jace, its important te use different siees, shapes, and textures of beacls within you color palette. Tao such alike in any of these areas leads Wa dull design. 1 like to combine semi-precions stones in a variety of shapes, telon-eut jaspers. aeeted sunetiyst, carved one wad Chinese turquoise, amber, wood, al, and handlamade glass beads as well 3 sand symbols from Bali India, and Afghanistan, And Talways nse seed beads as spacers oF sepanatins in \arinble amoamis, Stringing: Thread the needle with double shrearl ‘and begin with the shortest strand, che one Above: Hove's wonderjul way to mie ore ofa lene bead. Multiple sans gen tength from se uals cna harmonize wevigue large beads. Cone unpeeled the pers togetherclosest to your neck. Make each strand about three inches longer than the previous one. Start with a section of sced beads, put om a barge Dead, andl then sting more sed beads (To string wed beads, [fill the corner of a sixall box with beatls and scoop through tbe pile fonr or five times 9 Falmos fill he needle. Intakes practice wo eaptare beads on every scoop.) ‘To decide which large beau you should sting nest, consi certhe size of the last one as well as its color and shape. First choove a Ipead that’s different size: then vary colorand shape. Arrange large beads in subsequent strands si they don’t Fal in the same piace on each strand and s0 ni Ioring beads vary in size, color and shape. Teecommend a nuudtistrand necklace design Hoard, Or, curse haan the way they" bang, using 3 twowel to keep then front rolling, Professional finishing Tike to use plain or decorative ones (o Gish off mukistrand tnccklace, They hiele all the thread ends and the large knot dat joms the strands very neadly and clogandy ‘Aud theyre 36 exgy to attach ast clasp, as shown at tight Materials | “Tools: Chainnase ard reundnose pliers, ckagonal wire cutters. an alligator cip (vom o hardiaro store), thvend snips 5 Jone vagy EAD LAIOD Step by step 1. lip the thread ends together ‘on one end of the necklace, using an alligator clip. Tic the uayeads.at te othr cad together in an overhang not tight against she beads, Then cd the same way in, of wire, positioning the wire cutters so the Thu side is toward the wire engi and she etd is eut squarely (acim photo 4) 8. Make an eye in the ast in, Here's how Teo this: Bend the 9 in. end of wire a ight angle. using, the tip of your ehsinnose pliers {plite 1a). Grip the wire in dhe ronandnose pliers a quater of the ‘yay liom the tip. You stoutd not be able to fee] the end between the pliers jaws GF you Foe it, you'll get teardrop-shaped eves phate Lb) Rotate your pliers as far 28 you ca, making as much loop as possible. Lick, fo an grasp dose 1 the paral Toop, Continue reling te nish the LEN] irs ees ay il) ml bis past complete ail) (peo 10). {te 4. Thread half the strands through the eve in cache direction (phove 2) 5, Tie them together and seal the Enot with GS cement, When dey, nin the tecad, leaving Yin. ends 6, Pull dhe wire snugiyinto the cone rom the wide eutd (photo 3) Guu off but 3 ia. of the wire {phoww 1) and make an cye at the cane’ point (photo 9) 7, Repeat fur dhe other end of the rnceblace, Then attach the clasp to the cones, using spit rings if desized. [Mbove: On on ond, he cone is stashed. On the ter, all the ports ae shawn in enderAiris he eter of BEAD E Button Needle-Woven Necklace Seeing snakes with by Alice Korach Fall, when T visited in California, Cheri Lunn Waker Gee page 5) and Cobia Rutledge ineso- duced me ta the wanders of peyote witch, worked with needle, chresel, anu! beads was particularly aunacted to dhe concept of itching beads around a cord to make varieiy of stunning cokers, ‘The ones I saw were worked with tiny seed Icads in a single color and dhen fsvish ‘embellished. But for my Frse projeet, Leck ced that langer (size 8} sced beads in several colors would be more mtansagestse ane fan, _Assoon as Vd gotten the neckhice stare, 1 realized that pattems from tapestry att ro weaving would adapt easily to peyote stitch In atte weaving techniques, enly one ele- nent shows — welt for tapestry vip for rugs. The other element ties everything peyote stitch togeilicr but is aygety invisible, So, Hf you think aboue the beads as the warp or welt and the thread as the invisible binder. you'll find ita eine wy adapt any warp-or welle faced weaving patter to peyote stitch, Bue THI get you started here with five patterns, Once youve completed a few rounds of peyote stitch yea Tl see how unbelievably easy ins. Thsa’s what cased me a very serious problem. [had sich fan wyingy, Aillevent pattems and color combinations that (just Kepe stitching away. I ford mysel almest ia tears, weating a very Laney "horse colar” that stood ont sly ey From my neck, [hard nothing 10 lose, s0 | tried twist: ing it around itself in the first part of 3 square Kanot te shorten i. gine ay delight when T saw how exciting it looked as coiled snake Atwces Aion shorn er to-tngs neces to ft arch r billons the ods lo the wethlace ‘The sul 1 @ sinuous pevete “sna. READEPA Juve sean 7Step-by-step peyote-covered cord Materials coding ~ 36n-eth Tis Se ero Soe Sen ge DT yma beading tread, ze A or B Becowan to trongehan theoadl 2 buitons (1 ased fa, sterfing Indian beads anchored by tnvee beads -trung on tap — befare sowing hack through the “button. (Other tons: scissors to wim threads {and out cording and any kind of tape to seal cording temporarily Starting to peyote stitch (1 color) Wrap tape around both ends of the cording, Start beading about 3 in. from one end, working in the rection that reinforces the cord ings twist. Lefehanders bead le 10 right, the unworked end pointing, toward thersselves (28 here); ig head to the left, cording pointing aay from themselves. Was approx. 35 in. of thread and thread a needle, String enough: eas to encircle the cord sungly For symamitvic pattern fof beadls nist always be evo tunes an eon number plus one (di, 1 beads here). Leaveea 12-18in, il Bring the nevile through the firs. bead 10 close the circle andl tke x half teh, knot (pita 1). Ge dheough 2 beads und knot again, Repeat twice. bring the needle dhrough 1 Dead, string | bead, skip one bead. andl bring the needle through the wext bead (phot 2), Repeat around the circleand tighten the heads 16 smug them against the cove, Notice how the beads ar Doeginning to form a staggered pattem, Each new bead fs ina low place and you needle through the adjacent high bead (photo 3). the number 5 Jane vga, BEADE Puen, a J Vertical stripes (2 colors) Beeae once around the cord in one color, When the wext beat! would be sewn to ity same: color (photo 6), hange to the second color Alternate 10unds of the so cokers i Jong a desired Diagonal stripes (3 colors) Spiral in the direction of the adding: 2 beads color A, 2 beats color Th annd 3 beads color G may tra tv avljust the niimtber of Dead per color so cat you exactly eninplew one 1 the list head of enlor C and needle tdirouyl the List bead oF color (phew 7) i. Chat ise ten Ending and starting diread Bring the neesle back along 2 bead path through 24 beads and ont (photo 4). Tie a ball iteh in the threael hetween beo beads, then £0 tack through some more beads Follow different paths ane knot 23 tines. Start « thread the same war. working toward where you left off, bringing the acedle ove through the Ine: raised bead lorizontal stripes (2 colors) Bead twice arond the eord int ‘color then twice in a Secoud color (pote 5). For wider stripes bead more rounds per color (twice is dhe nina) make a sole line)Spiral in the reverse directions Change direction on color € by beading one bead lees — After stringing the new bead of color Asnivedlie through the First bead of calor A round (photo 8). To reverse lircetion, return te the original the previous count atthe end af eo C. Diamonds (2 colors) To oifiet won déamoncke an opposite sides of the cording, stat oe on the round where you String 1D (diamond calor), 28 (background), LD, 2B; 2D, 4B: 3D. 4B; BD, 2B. Repeat (phote 9). When you chi complete diamonds underway. ih he oi \ge patierns, Fist be a Crossing mesh (2 10 3 colors) This pattem works jst like diagonal stripes except that the stripes ane ‘one head wide and travel in opposite directions. Begin the round: I swipe Abwad, 7 backgrond bead, I siripe 1 bead, 3 background heads, String the next stipe A bead and nevelle through the first stripe A bead (phow 10). The aad 2 bockgrount beads and the next stripe B bead one bearl past the first siipe B bead. Ac the poin where the two stipes will cross and you can place only one rear the calor you choose gives the inlasion of crossing oer the other i eS Hy a Ne TA MRT me vt fh ‘Tapered ends Catihe cording off Min. past the: beading. Continue beading in the solid color with the long tail, When. the cording begins 10 compact, skip L bead exery other stitch as needed su the peyote covering tapers dove, around the cording (photo 12). Fill in the tiny hole tt the end with one Iyeadl wherever i looks realest (phot 13) and sie ofF the thread Loops Weave doubled, waved thread] in and om through the beads. Bring she needle through the tapered end. String enough brad to make a loop that fits easily over the button anc add 2 extra beads, Bring the needle back theough the 2 beads clases! to the cording (photo 14) and te i off. Thread back through the loop rcinllorce it helore ending securely Butions Depending an your heads, cortings and che length of your necklace, the number of owits sind butions placeanent may vary. Try it andl Inark the placement of each button ‘wile straight pins, Attach doubled tread to the necklace and hing the needle outst the button location, Stvingg one bea for a shank Gil needed), then the button. Reinforce and ic off securely BEADEFAMEN janeAn easy technique with ite possibilities. Takes an afternoon. For all ages from 10 up. ude teas ba swarsing and sl her ‘am (shou hee) from be homean Whidbey Ilan by Jude Biegert L ‘Ane althongh there are nrany teasonis why Pye been weaving beads for over twenty om bendweising isa cassie Native Amerie et form, of ther, Lave kan yours, that's certainly 6 alvays shared a reverence for the the forcrsof aaenre,and Fim dew to Native Ameria et because the thvnigs that mann The mest w ive are ine cealure and se to theta, Symbols tulitional Native American weavings express their close ties 0 the spiral forces of fi andl the exwicone sient, and Loften ade them 10 my own desigus, as | have in the barrette patiern in this article (sce page 11) The technique al loom beach jist like regubts cloth or tapestry weaving, exe aster and easier, You follow 2 praphed patter and weace one vow of seed American art lots of options beads aut time with needle and thread. The sceret to beautiful heael weaving isto use heads th xl thick: niess, Gaech seed Ils andl most Japanese seedl hes are ustally cousistent, and only a few beads wont make the grade. Bar always check the beads you're buying for consis rratch in size, shape. cy. (Don't discard de nisits — they work Aine for fringe and in other projeets such as strumg wechlaces) Almost everything Fweave is based on ‘small locks that ansone can complete in Jess than hour. Try single blocks to begins wih, then cosine them Foran endless ately of projects. Use finer beads for good derail, ves, and sharp for a mone graphie look 1, Use big heels Above: Juce's loom braanraving teloiques axe Aemonstnaed ih Joponese Dalia brads. Thew ads hase te Best fish a wdfn of any rE hae a fi eh esp asking fr them. They're gona! beards ee sen, Th1. Starting The warp ic one continnons thread shat travels back and forth trom end toend of dhe loon, The warp thread will travel ane more time than the number of beads in a row (so there’s a warp thread on cach side of exery head) —in this case 15 heads per soWs yields 16 warps, Photo 1. Tie theend of the warp toa ‘warp te (on this loom, one of the middle screws atone ened of die loom). Leave a til Photo 2. Carry the unwaxed warp lover the bridge (the Uneaded sods) to die opposite warp fieand wrap fosice around it Carry the warp bitek lover the bridge in dhe neat groove and hack to the starting warp tie Wrap it twice. Repeat for 16 warps, moving to the a wa Ge as pote warp widens. Keep the tension as even as you shoul be firm, bu i€ 1s 190 sight, the beading won't ie flat. Space the warps evenly, each in its comn groare on the bridge. For larger beads, space warpsin every other groove: always space warps evenly. Step by step Photo 8, Lo linish oll the wasp so it renisins firms and seeste while yoae ‘weave, wrap the last warp fone ties around its te so it won't slip while you miake 45 hall itches around the warp tie. Then ext off the spool i” 7 Nand Photo 5. Pass the wap to dhe other sid: your indes finger push the beads up between he wasps. Use your other Ihand to pass the needle back through the beads irom right ta Tel keeping the needle and thread above the warp, below a warp. so cheek each row belie you go on to the mext. [e's di Fienle vo go hack to Fx this later, £0 always elieck row of weaving wit my finger 10 weedle anner the Then with M 2. Weaving beads i Photo 4. Pull 36 in. piece af weft dread over a block of beeswaae (not pavalfin) w stwengiben it Thvead & Big Fyr necelle with the wafi dared, and. leaving @ 12 in, callie the end of the welt securely (Use x square oF sngeon’s knot) 10 the leftraest warp thread a couple of inches trom the end of the loom, (Lefties de dhe right edge and reverse dlimetions throughout) String Use beads for he First sow Always string heade ia ores from either the left or right side of the pattern (sce chart below); don'e alternate directiin each rave ce push up each look for rumagray beads, You won't ceuss quite so much if'you do this 0. Above: Jucde's design, Apache Mesa, is based ow w Winweboge lightning graphic. T Saissiets symbolize carte end the cians moprsent life‘A bead loom A basic “Indian ooderaft” loom limi the size of ‘your weaving but is tne for begin roo and is inowpensive. The best looms citer precise tension adjustment and warp spacing. as shown here See beads, size 19 17 (this project uses 2 colors) | used the new dlapanese Dellea seed beads for the project chown here 214 in, Big Eye need fer weaving English beading needle, size 12 0F 13 for fisting Nytno bead thread, size B for warp, size Aor O for welt Other took: scissors, clear nail polish toseal knots, masking tape or acid ‘toe taps to seal varps. and cha nese oF neelenose piers Fer this barrett project + contour pincur slip (a Goody Products Sleepee, available n mest tirug and grocery stoves) Light weigh susde leather or LUtrasueds for backing (22 x 31m) (Optionel: Coorcinating beads and ‘orystels fr Fringe Photo 6. Thread and weave the sec: ‘ond and third rows Before you pall the needle all the way through ress 3, tighten and straighten the three res, Use a straghuedge for die Imseline, Vighten und staighier ‘each following row with the needle 3. Ending thread Photo 7. When 68 in. of Unread are left, weave tte old thread! back Uueasgh approximately half the earls on the previons row. Bring the needle ont bewween vo Deas stn Gea half hiteh around that warp. ‘Weave the needle back inte the row and weave through 449 beads on Times to end the previous rows 2 the thread securely (not at an edge) Then clip i Hush 1 the beach. 4, Adding thread Yo begin. a new eres, insert de rcedle into the second or third bead from the right-hand edge of the last raw, heading Hell, Leave a tall ad go through 3-4 beads Then bring the needle ou and tie a haltbiteh around the warp. Laser the needle Ixek into che nest beat in the row and contin: to the lett and edge of the ro, through a row of beads with a knot partway, New weave the next rove mse gone 5, Finish the ends 1's important 10 weave so thac the edges are neat and every bit as straight and square as the rest ol the piece. Here's how you finish the tenels so yo cans un them neath ‘unuler the bealwork io hide them. Photo 8. After the last head row. tie the remaining 12 in. oF $9 of welt (0 the edge warp and weave it over and under the warp (in plain wene) for GS rows, keeping the edges hall's brad murrower dan the bealwork. Photo 9. Cua nv pieces of ape #4. Tonger than the width of the bead work Lay one piece on top of the thread weaving with the edge the Ieee tow ane te extending to the right. Lay the other piece under the thread weaning with ‘ie extra extending to the let. exira length Photo 10. Fold these tape tabs over and under to seal de hea Ropeit the steps rom phate § with the beginning weft tail. Then cut the beatdvork off the Toomat the outer edge of the tapes. Cherk aut the techniques on page 13 ora professional finish, and you're done. Le me ago, HEADE PANNFinishing a barrette 5. Repeat steps 2 between successive rows, stringing 2 beads each time anil keeping ihe backing ligned. Vou may need to skip an Above: The tarts obwow 8 woven ith Delica sed beads. You oun see hore the swat but diffrent lok thal Dedis bing to traditional loom eadececsinng. Try his ivvv mit teaitional se bend aswel and sev which look you preer To tum your weaving into sm ere anv pull the thread though wml i catching barrett, ny these ionches. just disappears. Bring the needle ecasional row: Asya go fuck ‘ou at the fareidgeand tie 1.40 dhe through the sevened ead, the fst Assembly edge warp. Then inser! the needle Kes horizontally, (Note: for a danney L.Tucm the taped edges under all the way thvough the Frstrow to edge, alternate ealors— 2 beads af che beadwork andl secure wid tape, the other edge, pulling the knot color pe then 2 of color 190.) 2. Trice the outline of the beac into the edge bead (photo 3), At the comers, string 3 beads (91 21 10 ger around the eurve T.AL ibe bead start atthe comer, put on 2 beads. The first bead is the base for the last bead sorncedie thigh # (photo 6), work ona piece of suede and ent along the Tine 8. Center the pi boacki sol elip on the uy Mark where the widle side of the Clip will go dough and cut a stor it (photo 2). 2.Siring 3 beads aud insert the nicedlle through the backing enween the frst 16 rons from back to trout (phow 4) 8. Bring the needtie dhrough rorthirds of the nearest hee 108. then tie a half hiteh and weave tuack part way, through one more row. Trim the theead Ihish, Thread fring ‘otler) row of weasing (see BEB, 19, p. 28 for finishing fringe), if ‘out throxgh each (or every Edging This tri is called s one-bve fet ledge. (Kor a laces avonbead edlge, 3. Pull thr needle through die desireiland insert the elip through simply suring three beads in step 3.) Jeaubier andl out beoween the edge the sil See: phot 2, this page 1. Thread « beading nevelle with aud second warps, asing pliers Fashion note: This haerotte isn't 35 in. of beewaxed Nymo B. Insert 4, Bring the needle back through just for hair. Ielonks yreat clipped the needle inthe second row or de Las bead se.Tt stands up ou the throught buttonhole ora sweaters weaving few beads from one edge edge of the beachwork (phot Toose weave: BEADE RON juneBenefits Leftover beads add a great fF | | finishing touch by Louise Maleolm A simple, decorative hen I resining a technique for txand of Afieat everyone. trace Dans shown abore, I had fon swondenfal one-oFarkind beads elt that couldn't bear not to use. [hadi alrewdy vi Hi decided dat the nerklace would have no YL!) flasp because it would belong enougnte YI) goowermy head, The ends of die colorful, © stone beth Souble cord won be joined with asquare large holes in the center.) Tria the € Knot Bur schar shout} devo finish oft the about Sins and glue against the cont ale? faMlesile glue sch as tacky glue or F600" My solution allowed me twaddardesign (see che detail photoabove). When the sls . flourish thar ges ven more complinients isd, sie dhe wacle head overt to cover haa dhe heads themehes: Tie an overhand the knot Knot atthe necklece ends eaviny 12in, af Now wearyour dagles down the back teach conton rach eid Cut exch pair about atone shoulder nd lec them swing prow daw inch different in length, On wach of the oni asta lion — Tone tails vend one unique trade bead. Above ang fang cat is. Longneck Of BEAD & Bunton Then tieon a bead wit the is half offs em feet sei dads, The inset prop siquaie kot. (Lused iriangutar sem precious sha fom the daeales are assem bed hy Janet; GEADE RAMON Moc: ener NoVenetian Paperweight Buttons Flowers under glass Visiting the workshop of a glass artist. Fine, hand- made, glass buttons. Levis widely ronan for is dragon beads (oe 2.3) He has produced lavee ides on bxdtnak- ing and lamprowrbing, thick he tosches a bis Schoo, the New Mexico Glass Adventur, in Altucuerque, by Lewis Wilson ‘ve been a ghisbloner for 21 years. My glass sculpuures fof American Indian dancers ave tcen given as itis to kings, presidenis, and eclebrities, Bat T dicln't yet the publicity E've gotten the Taste years — since Thegan to make the heads anil buttons sheen here To make sue you can see everything, L1gok the bution ont of the flame for each photograph. Uwouleln't de this ordinacily Decanse it causes the pieve to crack, afterwards The glass semi:molten at all imes and then needs to cool down very Sowly- Inagine all he stops [describe happening in de bine flame of the torch at about Fahrenheit (see These buttons are just like Victorian glass paperweights. In Ete, Vietorian miniatisis, andl dollhouse collectors bay my pap als to romain 200 degrees x photoabave) Phonroote by larman Sihnentac ‘weight buttons withowr button loop shauks to use as tiny dollhouse papenveights Trmount my wich wa sturdy table so i can't be bun peel or moved. The ive hoses supply oxygen znd propane. Huse several graphite plates, whiel won" surfaces. Large cont receives the hat bultori s6 it ean cop! sow burn, as work svat vermicnlite Abowoe: Thre wires of finished paper (ort. The colors ent petiron are us layer with ralten las led bn 4 lane abv lass tod. The lear ghiss dome that cece Seas de Bust ads magni i[use Moret glass from Lely for most of wor. The colors are many and bea titt, and the glass works easily in a ‘medinim-gemperanare flames My torch isa minor bench barer made by Norte] Machinery in Toronto, Canada; ane Lusea eabochon melel from Ei Hoy’s Intemational to censitre uniform buns. ‘butrons ane! other lamp: Photo L. Thies are th nents Hse for @ button — from left to sight very pale aqua dear easing vod, §91nn diameter; & gotdsione eter a Qn “U ‘of lapis bine: ane pioce of Moret nullefiores a Grn Lapis blue rods and 46 mm Pyrex rod for the eginning pontil or pumtyrad (the rod on. whieh the bution is Formed), Photo 2. The fist stop in making 3 3s bution is te ‘apply asmall 5) gether, atump of molten glass, tothe end of puny rod. 1 use Pyrex for the pute rather than Moretti glass becanse ' sand less prone 10, Ionming.a siness fracture below whee Fuike the bution. (tions des test the strength of your glass work —and,at times, your spinit) Photo 3. Next | fancen the gather ‘on the puny by graphice clean. 10 Jane sgg) GAD E BUN Making buttons fa TAMIA sparking acces, If Bee nowt 1 ada cite of to the face of che impor oak muiedy Photo 5, Linelt the goldyone fave e surface of the button by heating = mi AA) iin the flame aud a pisces! mille. fore pn the cen i swith 2 Hing of essing 70 Photo 6. Thott mange! Kay clear casing tod ie Soteme AM Bore toadd dept MM ate agi the Photo 7. The button is nov heated So is soft andl ca ee pressed into die eabnction mold to ape i then it's fite polished Ty bewie pate BD sus cssing vot b SU and taper ito i 1) Sine point ths 1 beeomies the new punty when Lek itta the top ofthe burton and bur the Pyrex pumty off the bovtor. ER Phere store © abe lapis blue “U™ | ih tweezers and melt it onti the back of the but- tom fora shank. To complete my Irton, Thotd it at Me "U0 with 11 buen off the puts The button ‘msi cool very slorwys0 mo ass fracas form in fisinterior. Ifies small and ve svorked quickly. not allowing paris oF 11 w cool wo nuch while Lworked on other Sections it will cool safely in the serbientive, BUCFT wat @ be contain that [won't loce it to 9 ares fracture, Linust evo! it ever: mare {cally in he controlled vernpere ling bila, W's easien ture of an ann to stat with smal leieate ones. Abe: Justin eve you haat Deen backey enongh to ect some of Leas dragons, he ‘ae eof his fans bead nd sna of he finest pee lannpronkang tay. Roxdptot by Chiou Mar sorte The Bea Moanin Past ArsMetallic ; Moods Metal accessories seta style by Kathy McBride Style: Use metal tones to pull a look together. Above: This ouifit for casual offier sar dered eu th jeans. The Hacer ‘ond lee shat dese it up ough to eto kept the Blaze fom final. Rights Then, Dian se feat (aned menace rosy — button emvers. Pes lag fon covers — portraying tenpads —ave foiland actie. Te materials bey them gh tv anal dearabie despite tir size. This ti is goat essen of using yee mate Kathy spec serene foshiom and stile Sis a ne contributing eitor to BEAD &Butien. aesessnies ta eat uniquety persone foo. (a slit: Diem» Cath) BEADEHIMION June omyML core than bal of ‘our jewelry and most likely metal Srmcuktoned, Hyou think abont hhow vonar wear these pieves, its clear that specific metals and tones work Dest for specific syles and looks: Metalseahance the mood of at accessory, often dictating the shape and sie, Mining metalsin one A metal moods chet (Some igo) BEADS'Butlon Wi i design can create either 4 sophisti tated Ieok or a primitive piewe | Metallic button Decide metals conver «199% | the overlooked Danis pay an important part in | one way or she other. IF al smooth and ni the accessory will be deessier. If sungh and uneven, the piewe will uisttally be more casa “Wien you sat a iew project or plan a purchase, shink about what part it will play in your wardrobe. creating the mou ofa garment but their role is often exerlooked. Exchange the o metal ones oir basic jacket sue tas a navy blue blacer, Make it come alive with polished metal | ial butions for | Sy hatonet denen et Trmenchangncartyoor | ne ei mi treat fferent noes ase J) | fp. T ooking for something dressy? Choose staoih gold, dlver.or antique gold. For ctsnal wear select pewter, bras, oF Copper, oF _go textured or rongh. Metal in your wardrobe try metallic moor su Mix more than one meial inva piece Evening Goll, sik, metal inlay and antique gold ‘metallic shades of bone, copper goldsand silver fe Md gold lip ear rings and chain Del fora ehesic tok, Go for silver esting andl bute | ton covers anda belt witha siber ‘nucle and carviage, and you've got tet instant Sethe i ltl mnaie feshien-comscions look. try a big gold modern is more your ste, select metallic shade belt buekle ane pewter earrings, To look analti-cal rural, use bros oF copper or both ‘When you make your own jewelry pick finetings thar suit die syle on’ skimp on them. G and scerling Findings aren’ expen sive, And check vat anodized fish. les uch as niobium) and plating, Lefts odd acersniessldt by Kasey Tord fashion ered eretlity to Hack jeces and 0 case ste sa.An Elegant Seed Bead Chain’ Ages 10 to adult. Weave about six inches per hour. Diane « contebatingg ‘ior BEAD & Buwton, by Diane Fitzgerald “un always on dhe lookout for bead ceisins like the daisy elstn of she 1960 as well ss special and unusual varige some of the wl stancbys tions dhat I've never seen before, like this fone. Lustally just do enough to makea bracelet, but got carried away with this ome and made a necklace Chains ike this have un tinted uses ‘They are very supple atid flexible, so they eam be seun onto sll kinds of elorhing and accessories. In this particular chain the Uwread takes some wicked usraseduind the edges of beads, so avniel too much rubbing. Beau chains make pticular'y yood carry along projec space inva purse or pocket, and they provide hours ofeatestainment during boring drives (not when Fin driving, ofcourse), airplne The materials hascly take any Highs. and waits in doctors’ offices. A fringe benefit isthe conversions that working on Whe. Tia, a bead chain in public ean start for yon Try it and you'll see. Another adleantage is the meditative relaxation that repetitive bead chain weaving offers, [often lose all track of tinue and my daily woeries asthe chain grows in my hanes, Here's one suggestion to hielp prevent the feastration of fot. They'll happen if your thread develops extra twist, shich is juevitable when you pull ik in and out trough heads, Just mint your uecdle herween your fingers in the ether direction periodically w uncast the thread Is easy, anil it provides nee break for your hands and exes when you feel youself hecoming 100 obsensive Special thanks to Levante Sremeha of Northfield, MIN, who gave me this wechniq in grace for another Above: Sawa delicate chevron cain with cand seed bru. Mi produce enpley iff looks BEAD Shaan,Materials | merstmemrene.se me a SBsalemgsice the second BB. String, beads Avon the press BB ear the Size 2 (rum) bugle boas fe aid sze 11 eed beads. (Note: the dlinmeter of the seed beads should be equal to oF greater shan that ofthe buglos) Size 2 (@mm) bugles also | booding needle Needles ze 201 18 English Thread Aymo beading tread, seB oD. | ighny off-center Vin your hand (ote: since the throne never goos throvgh « head more tan tie, use thread as Wick as possible to nin) rnze breakage But allow ate pace to begin anced tices ~9 peste») Pu he dead over 9 pace ot Step by step ‘work with mare seed beads Photo 4. Position the BBs ts form a r vith the SBs 10 the outside | beeswax o suenghen tend avoid Th abrasion To stan, hold the beads between your thuunb and index finger. pos fionedt as shown. You may have 39 —- Photos and 6, String 4 SReand 1 ladjut die pamber ofsecd heads to BB. Go hack through the fourtl SB firthe bugles. Pull the thread snug and position the beads as before through it. Tam the work over so alter each step, te beads ave positioned as belie Photo 7. junupactoss to the BB Repeat steps 5 dhnongh 7 For the Photo 1.Siring 4 seeit beads (SB) vit the opposite side and go lorward —— desived length and T bugle (8B) and le toa oop, §_¢— $< << <> | A French twist haircomb | fier Pd made a bunch of thes comb crossbar, and under the =, a or glue the chevron end behind the 1. Tie the end ofa Z630an, long croshar where it won’t show chevron chain to the nesriethelist Ifyou have extra chain Tek seal tooth of the comb, (Cluing itwarks the cad with glue aad cut off he Fine as well.) extit, weave itiato the back of the 2. Wrap the chain Detwcea the comb where it won't sow er stitch ast reo eth, over the ep ofthe LA agains the back of he om |a A New Twist on Earrings, Coils are prettier than plain head pins A technique with many uses, Practice alittle at first; then make them in no time at all. Sarah manages a bona ‘orn Bason and teaches eading in the Canisidge Continuing Education program, oe By Sarah K. Young ave youl ever imagined a wonderful jewehy design, but you dow't have all the supplies you need, or they dow’Lexist? When ts happens, adap the dlesign to st the supplies or wanslirmn Jak into the forms yon desire ale The carninys aboveare a perfect example of the second approach. Usaally when you make an earring. the beads Hang on 3 head pin oF at eve pit (orboth). Ifyou don't have an eye pis handy, ifs easy 10 make one from a head pin simply by cutting oi? dhe head and making « loop. But hov do you make aa earring if you're oun of head pins since you need a way 16 prevent beats from falling off the wire? ‘One desperate evening with no head! pins inv sight, 1 wied coiling up ahe straight end of an eye pin te secure the heads a head would. Las so pleased with the resulting coiled spiral, dat has become staple in many of my designs, | don’t just Uwe iUfor earrings. I’ also wonder for jing bevels ot necklaces pendantsiyle Above: The exploded diagram sez the fd ‘and bens that make up Saal’ sanings. Th ergy eas ar japanese got fot the smal one ane peidel-coloed Seonneshi, Goll rade firing finch ef the io Inset: Sara mates her earnings. Note hi hae boa eal ps have different ns spern Doral ontop to imp erring is mast from Japanese . te boas nd ruby Search / ——————————rrStep by step To start, put all the beadsin yone design on the eve pin. Remember, thie eve on the pin willbe at the top of the completed earring, rather than the bottom, This s the reverse ly used. Use of the order norm inexpensive wire ro practice Photo t. chainnose pliers, grasp the pin west to the fast head and bend ita aright angle. Use the very ip. I'you grasp, the pin further in on the jaws. your “angle won't he close enough 16 the Tat head, whieh is important! the wery tip of your Phot 2. Nest, use the rouncnose plies 10 begin the coil, Again, grasp, the end of the pin with the very up, ‘of Une pliers. Roll it over to Form a very small hook. Photo 3. Switeh back to the Mar pliers and squeeze the hook side to side to compact it onan, mmr ig HEAD DAIO® fe je 90 Photo 4. Now grasp the book flat in Le jaws of the far pliers. Pichi rightly to prevent it from corning, begin 1a bend the straight pati of Ue pin around ihe hook. Us thumb to loree the pin to bend sl the previous revolution aa Photo 5. Afier each short bend, ‘open the pliers slightly and adjust ‘ic cull se that you ean continue 16 bend and wrap the pin. Photo 6. As youniear the right smgle, yous may find i casier to grasp the coll with the pliers anel uarn che pl erste wrap the last part of the pin ssvvighten and {listen the Finisher coil Faitor’s note: Sethe Shepherdess in Sin Diego, an antis! demonstrated bow she mace similar heaupins from sterling slverand then haromieredt the coils Has, An elegant alternative! Materials Beads ring fincings Eyepins or wire that fits trough the ‘bead holes (usualy use 22 gauge ‘90ld-iled oF stering saver, tut ‘sometimes only 24 gauge will go trough semi-precious stones or pearls) Each col takes 1-19 in “Toole: roundoose and chainnase or Hlatnose plies and diagonal wire cottons (to make a lat, emooth cut) Styling tips Tako like 1o use niobium wire, which romes in bright colors tha ‘ean add an interesting twist oa design, Besuse to wrap the tips of your pliers with masking tape, Ihoever, oF you risk seratehing the eked Tinish When you use these coils your designs, pay aitentinn to the aircet they tar —clockwice or coumerclockwie, depending ‘ou whether you look them from or. Bavvings | look best if thesre mitror images ofeach vther se both coils curve either towarel ex ay [row yen hace, Ie yon pas the coiled section in an upper portion af an earring ‘you may need to turn the eve at a right angle 1 the coil (© make the coll hang lacing forward (see phow below) ‘one side-or the alProfile of an artist and his techniques. Minvisa bal aris tuhe enireiders com potting toeesimensional ars. One ts San i The New Beadwork by Kathlyn Moss ane lice Shaver (Abrams, 1992), Prog py Min ero By Mimi Holmes tflected by the vagaries Ue art world, Robert Buraingham ereaies two lo three worksa year. le res otlies 1 abae sem or record the year they were made, savely enters then in shows, and) coukl eare Jess abot the etability. His quest is for personal owl as an artist. He creates his highly individual embroxdered and beaded stitcheries fram tan internal daive to pas bis linits wighia, the confines of colar, design, and texture. Color Viewing works Hike * Camper” p. Barningham must ialluensced by Iamiic or Moorish art: bat he is driven more by eolor rekationshipsund color theories than hy the art of other cultures, Bubs sense of color evolved from reading honks ‘on. the subject; but he has never adhered to asingle color theoryand uses any concept ‘compatible with his ges One of the characieristies of Bob's works isthe justaponition of a bead of one color to one ofa contrasting colar lo achieve a shimincring, peintilst reading in the work asa whole, la another technique, he tunsia silk thread of one color throuzh or under a bead of anocber color, Unus changing the Abvaves fn his most recent ues. Bob ‘ovat on the nacre of sarvoeeding utioate the overall design, Ostensibly ue, on closer eben and Shue a vos und orange and coraflver be and light Bs ‘Ha ary fram Bloc to Wek rounding the !nnerees fvcantrart and the ood lighten as theyDead's appearance (more or less Avaiatically, depending on its veansparency). A third stratagem hises embroidery thread sitehes close ia pass beads io accentuate forinfinenee the color toward a desiree effec. Or, if he’s expecially sdventureseme, Bob will row a handful of wrclaied beads omte 2 plece-in-progress, sepatadny thes Dut ty see what works and what flaesn"t This ean often lewd fin © challenge his own assuumpdions “abut color, which leads him 1 new rehatignships that weren't works, even conresable in cat Loft: Burningham bagan embroidaring swilt beads in 1971 siile Cha his wife, ‘was in Calfornia and te was hiesptal= feed wth two forms of pneumonia. He Sent Chad hs first medallion folded into f lotr. ILfeaturoe strong beaded lines fof orange and Due. For irany years, (Chari wore icon the back oF her farmer's mish” (2 Hlue-jean jacket) Below: Bob's second iedalion “#2” (Gi. diam.) also features a shay ‘off-center evra element wathin strong borders, Bath early works lack the synimetry that became characteristic, ofhwors, Mey seem chaotic, even feubist In the way they fracture the circle, Throw in the quirkiness of adiling or deleany, 1 vegutlar clement within a specific area (uel as not putting a sean ssndler each head where that is there the nora), and yo nave the founda tion of wn art work that captures and sustains you attention. One's eves circle around h the image, with no one clement standing fou. The integra lume influenced by hiswite’s ber fact Together he and Charlene Ibenight a loon in the early 1950s land took classes in weaving, Once tir childeen were ia high school, tion isso-com. Babs eneoumagerl Charl 10 study with plete thatyou fiber artist Walter Notiinghham, hich she completed a graduate degree in design. Classes and work shops that she took and ke assign: ents she had to prepare became the cornerstone of their ‘comersations, Not content 10 engage problems philosophically, Tob began to do the assignments Jr his ew edification und was soon don’t even think about the mnyriad hoursneeded co complete stch a masterwork (SIM) hoursen a recent vwark — eq lent ta five paths of {hour work week!) blazing olf into experimentation ‘he fact that he was tree of inhibitions ane didn’t learn through How tall began Above: Another gay piece, “Buttery Wing Segivent” (4 x Byaing, fs unuetal among Burningham's works forts specif A clencist hy feferenze to tho natural word and bacauee sere ofthe TEBE reson Bobs jotker, The Leaded mati is punctucted with orcas ft Russian needlepuncn, ‘yas eft un nung his leiure ay June tog) BEADE TAMER, a specifie liber ans weehnvique is ‘crucial (o uaderstanding how his work hiss evolved ever the years He develops procedures basedOats yan Ss eterna eT AIM Ws ctevine " re 4 change is quite subtle and is sil tioned whats Dis oop inva he terms, “an are of fallow work,” where be knows what he bas 10 do so he ean fll si mecitanively. withon! ponder Jing color oF design ahoices That way, when le comes to a ‘dead end designing in another seetion, be wan work utr the fallow area while bis mined wrestles with the problem, Preparation Bob starts with cation fabric abyout 16 in. wille and places huis designs, whieh are nainly evcated in his head, a : has 5 of rectangulae anil figures out howto do fons wala core inne Tt them aller the fact, He ‘denonsiretes a rich inter- Inno very few traditional play of tonaites between Ibrokdeny siltchresyprcls In this technique, Bob cuts: Fgtorcuedig eaccci: Eet rae nea ficpediene Tiss aye ney comtributes to the eccentric: 2 appliquéing them. iyo! hisworkand ngsiies Sometimes ne embod ieneccadicedin — apaastreseansate trallonal eehniquen The need to experiment is what id Right: “Appligué Desion’ carpe!” (1 69 in) shows keeps hint going, anithe is “ne qhaporate fabrics more rely ata loss for newideas, obviously, ith 2 catk ine coven alter 10 years, ividing the halves Elements in the upper pert seem magnifice du to the aA\chaG oa How he works Use of larger-scale vesion When starting « work, Bob elements, sometimes works fron the oy toward ihe bation; at oxher the middle section to complement another piees of heyy cotton mustin times, he works from the center out. devalues and balance the harmony undemeath for additional suppor “Standardized technique” is nol the of the work. Usnally, Chute bonds the te layers Buvvingham mode. tn his laver together with Iusible merlacing works with intersetive borders (ee Design Bob has no interest in the more the photo on p. 26), he develops tke Bob estimates that with most of his mmindane aspects that need doing boner and center simulanceusty. —antworkshe sariskuowing about before and after the creation of ar Once their design, color, and 60% of what he wants in the piece. a8} work itsll, Bt he is blessed lextnre are worked out, le ereates The remainder comesashe works, having a lie partver with the PRAD gateLeft: The interior of "Red Etude” 13% & 17 in) ‘hanpes constantly, cepending on your focus Bande of yellow alternate with purplish blue fed diamande, and yellow ercseer to make the Images reced2, advance, and interwrne in forms Feminiseent ofa og cabin qui pater. ‘ang each cantral interior damnd has a dill tent numbsr and color ins of beac inclusion of rivess, mica diclectties, springy. gold plate (a 3Smmasic ribbonlike wire), aud other such disparate elements, He manipulaes the gold plate by hing it over a large serew and indenting it between the groones with bis fingernail, He doesnt crimp dhe surface uniformly. Instead, he breaks the rhythm to suit his nets Schedule With a seemingly irow constitution, Boob is able to putin a beadwork schedule that isthe emy of many. Before retiring loin dentistry, he was sill able to putin close 104 Touts of work on a piece over the weekend, Afeer diner on Friday rechniques and the supporiventess © oorthedomtia pliers move the evening he would oto the staio iio such tasks us they are needed. needle dorough them, Pob Gils that and work until midnight, Theu he Next Bob attaches the fabrie to these qualities suit him perievtiy Slept until 489 am. (he needs only wonlen embsnidervcnvas stretch: One result: when reinpsed from the 45 hours of sleep 3 ight) where ers. He reverses the util posivion frame, there is my ripptin pon he would return to the studio So the wood is uppermost when he work. which mmakes much easicr and work wutil breakfast Then he works, you ean see int the inset for Charl to mou and frame the would resnine work until 2 in the photo on page 2. This method finished piece: alternoon, sleep a few more bouts climinates the n and, following a bieak for dinner, dropped needles and beads on ihe Materials contine working until midnight Hoorand averts many disaster! He Bab began embroicerings beads Sundays regularly followed similar tases lige-headed thumbiocks to efore the advent of Nymo (a wisted intensive shed neon thefabrie because they don't ston thread prefered by manywho Since his retirement in 1988, he sepatate the thieaels as much 2 swark with beads) and so he prefers is now able to work whenever he pishpins and can beaitacheel mare the silksewing thread he ha always fects motivated: He will work Prtnely He begins tacking atthe used.For saight couching of beads continuously for 46 bors ona tend of one side, alternating parallel with Tide color interference, he piece that Isn't posing any problems, Sesto the other end and pulling chagses 2 gold ochre color. Hisuew —_takea break for a few hours, and tive Labrie almost super nurs peads ofcheice arethe ney Japanese then reiurn for another 34 hours of tight The other wo silesiue done Delica beads (ee pp. 13). These work, Fatt both he and Charl ho the sume way: Rob boasts of howe: superbiy uniform ieads eonne i retived in 1980, have found hat ing a half dollar several feetahowe incredible ranges of size, color, retirement hastt given therm all the the susface and having it spring Sand Finish — from transparent to. ue they thought it woul. fall tack inte hichand Heattaches the patinated, He isacwrely aware of the calendur of socal and business Ceetched fabric toan eibroidery slightest variation ia other heacks, obligations, coupled with myriad sand with Clamps, iach change the “pitelr” and “note” — house guess, has hept their artistic While others might complain that of the work. ongputat preterirement levels. the tension is too tight, or that dic Bob ako Tikes w browse thigh Nonetheless, Bob's productivity and fused lners of fabric require the use surphis stores, which has ed to his isartstay aston 2 June iggy GEADEBAAIONDiana will be naa regular column Grithe buttone, Millicent Safto they've seen. or mos peopl. think This month, an about a bution is to think of overview. ah igetenicobjeet-—a necessity, x small utilitarian Uille front a dime store, to be used anid even tually discarded. But these tiny artifacts have stlong ind cleat bis: tory, documenting, iit Sao an ter arine, Diana the arts, rafts, ee shion, an Tener Buttons pean, Stores News econunics of York and every period Chizagn They inwhiet ‘ave euthone they were ofthe avihori- made. They inter bo lies buttons, called ony (what else bt) of political Baations (Abrams, ane socks] 1991). They write, consult, axe letwe Be fe of batons change, fashion trends, ae developments in technology and industry astens team te pase colonia of Rien Satta Das Fon I the [th century, butions were an important ornament. Private commissions favened lnge anel magnificent ones. They were Fashioned with semi-precious andl precious stones ane metals, embroidered ‘with gold and silver bullion: and finely painted by miniauariss or landscape aetiets, rhea mounted under ghiss with old, sikver. of copper sims. Otlicr methods vogue included déronpage silvertint, apestiy, etching, amd enameling. Rovaley and candies were dleserilaed in Jonas of Uie day as outshining each other by the qua they wore, Men were often walking piewre goles, their garanecats covered with of decoration sity and sparkle of Ure buttons Above: One ofa st of Peach buttons bertrayne Ueatricad figures in neocasival steam, paired fu the 18th contery and mownte render glee n.a eopper sim, Left: An enameled and counter enameled mid-19teccatary button (abso Freee This sone is typical of the prriod’s romantic proceupaaion wath actor, TRADeTMON Juve reay 27framed! minianice paings. 14am cea of ine arts ancl salesmanship, with access to salable materials and altheent clients, many artists, atisuns, goldsiiths, of alserseniths were alse buition makers: their deseripsve terminology is suill applied to fine jewelry and antiques today Inthe [94h centany. the Industrial Revolution ane the emergence vf ‘the mide clase changed both she simenire of socieyand the nature of ishion, Mitton sizesdecreased, their sivles bocunne less flainbosant, smd both men and women wore them. By mihee Iputiom sigles had been developed, ‘and butions used ron materials including pear shell, hen, bowe, las, porcelsin, fabsieand leah |) Large quant lies of aecorstive sud pictorial etal Instions: were aso produced Great industries oF button ronannafaemare flourished in the second tall of the 19H vencury wih the introduction of mass production sand cheaper nuaterals, But artisan production also stuvived. Large anbers nf workers were employed tw add finishing decorative cquctes ‘oF handpainted designs 19 manufac tured inittons, Black ghiss buttons erroneously called jet Womninated fashion from, Prince Albest's death in ING1 to che end of the cemtny. aa rest nf Queen victoria's mourn “Ther ane stil Fashionable today The 2h century apauvned a glass industry that overflowed to middie Europe, especially Geomany aud Jone s901 BEADE Baton Caecluntonakia, Now and exciting sumthetic mageriale, uch ag celluloid anid Bakelite, inspired bold aud graphic colors and deni IACihe same time, the English Arts and Crafis morenwent Hourished 3 a 10 the Indust itivect espe Revalition, The movement sought to reinedy the ill effects of moderst inxhustrial production Gough a vetuen 16 medievs Many fine commonplace objects inncluting buttons sere prodared ins werkshops called “pulls.” Popular Celt design. vere assimilated iato another aye that became known as the Liberty sivle, manned after Arthur Lsenby Liberty's London store, A brilliant sensibilities he commissioned pea merchant with sesthet design aoud nante= ture evergelay objects that are sail sought after and collected today ‘award the mile of the 20h, cconeury, as on antidote to the Depression, United States button facturers proxtucedl a syle of cheerful, colonful, aien vealitic= ‘Shaped! bottons, Durinys this same period in Americt, bunton collecting, ‘emerged as a new hobby. Many families had hoxes af eld buttons a domes they were plentiful ant undiscovered. As one collector described the origins of bution ‘collecting during tke Depresion, “There were move butions, nan pennies, ‘Today, the increased use of'plasies and the sbuowp. tion of bution rnvking into Dig industry has trea renewed and ‘econ greater interest in busons as collecibles, And, of ‘conse, antiss sand atisans make utions by hv About these button: ar tft, in gold sas wen Fy san easy Amora gilt atin, merte ra, 1830 Torrington, CE. The bahinarking is typical of fone buttons of the period. Fawr ‘lack lest Victorian Bato “This silo wns west exommanls J pruduerd in Behe ant 7 auitia. Ne bt Too English dulled sikor and enasmal Arts and Grafts titons, ee 1904, backed by Literty & Ca, avd warked “Cynic” to innate their Clic origins. The sib motifs commons due she dure orange al ie unnesual. Top wight, Bench Art Noueat flora bation sa a siterr plete exndbtovee everday om stacy pra, em. F960. Above: @ tate 19th ennuy Vetoes Hench bres fulton, “isting vn atesses in shepiberdeaes* estos, Br, cave st of Emus Gould of Haneirrapt sieve ont stoner tas in their origina ce, ee 1900. Ay neYOUR WORK Mis-starts brooch During an improvisational bead working class, our instructor, Joyee Scott swagested that we not discard of destioy Our ejected projects, Al those “mistakes” and “alse slats" have a value and might be used 11a iuture One Se Fstitched together all my mistakes and lake starts from her classes. The rsult gathors compliments whorover| woar i More Important, it a tibute to Joyce's exuberance and creaity and the ‘erendous influence she Was had on my art ~ Gall Frederickson Lavy collar lve always loved 10 meke things. Even though fm in school, usually find aboit six houts 3 dey to work on a prajee. The webhed-stich pecklaee shown here took me about seven hours to complete. fr addicted to beating. Itgves me a wonderful feeling. — Core Healey anu! Wook a cane making clas with polymer clay last summer and ive haven’ stopnedt making beads singe. These boads wore made by jaring Sevoral cane into one. Despite our big age diference (Wlarah is 13 and | mn 42), we have such pleasure making jewely (ogee aian and Detorah Anderson Too bad it ain't knitting Most of the time IK. but last summer a fiend introduced me to het beac loom, ive wanted a bead-woven bett fa" about as long 2s! can remember, and it was so eas/ and such fun, ond sho hed @ boouriful old Russian overt ane! Gail's a Michigan bead arist who ‘ne thing jist fed to anes | ave to mount it an feat ‘expands her ant thrargh jewelry Dut tast fave to knit. — Losie Calaway Imokaiy and coussonork Lora & 2 ‘igh schocl student in Carmel. NY. whois working on aa independent study fv beading. Thank you. Pat German Lana ace ingag ‘her 19 our attenton,) fara ae Deborah would Ie 10 eae trom ‘other payer ely enthusiasts — 205 13th St. Son fose. GA 95112, (ous) 295-5308 Leste ives. California ands prmaniy interested Jin crafting buttons fer hr hrtwcar This is your page. When you make something you're especially proud of, send us a picture so we can Consider including it here. We may have to borrow the tograph it, but please until we ask. Write to: Your Work erty POBox 1920 ‘Nonwalk, CT 06856-1020 ——EwE———<_——— SCS SSSNEWS AND REVIEWS Art and craft books Native American Beadvnsk, by Georg. Barth, Sievens PL, WER Schmeide Publishers, 192% 219 pp, softcover, si9. i; hardener, $27.45, Despite the absence of color. this Dbuok is excellent. In the weaning chapter, Gove explains stand: weaving, fringe tabs, diagonal wea ing, heddle weaving, loose warp weaving, aud eros weaving, Another chapter offers six variations on eilge beading, A chapter each is devoted to overlay sitches, Crow itch with, its rosettes, and gourd sutch mieth= ods of ncedlowesving beads around a leather-cenered article early chapters give necessary information ox heads, waterial. tools, and calenlating project amounts. Clear phoies show hit teal and modern Native American celaniquues are well Tas trated with Fine dawings. There is work, and abo aan extensive bibliography and five payes of bead graph paper for photacopy. — Avene Fees Beals and Threads: A New Teoknigue Jin iter Jowiry, by Diane Fiugerale and Helen Panes. Rockville, MD: Flower Valley Press, 195 144 pp. hardeover, $37. Helen (artist) and Diane (writer) hhawe prenluced a beautitul, compre- hensive book om pin wearing, a to create-amy chape with pins and Eee seurmi NATIVE Pee) Pott porn) yo prADeTEN thread on simple eardlaved loom. Incredible variety is possible. The designs here are mosily syinmettical, Inut the teenie isn’t so Fnvited Helen and her studcuts created & large bnndy of renuarkale work showin in fabulort color throuighaut the book. Chapiers on designing, weaving, and paticrns are very clear, with detailed insernetions, diagrams and photos, There's alse a chapter on Finding, mak ing, and storing beads. A good book for-any level of entnusiast has Hrieson ‘Video Workshop Bead Waven Nooloees by Virginia Rlakelack, Vietorian Video Prodtuctions, PO Box 1040, Gollan, CA 98713, 10085 VEE sin $0.05, Hound Virginia's tape (BED, 1, pp. 2428) of loom headings techniques invaluable, and saltable for beginning Deuders. The tape includes many excel Tent tipsand shows everything invoived in completing an» labor partern included, see photo), Virginia demonstrates weaving we necklce (Virginia's using eam t0 sec la including how co ine decrease on the lefcand right sides, Jor both lef sand sght- anders She shows how to tie olf | Jy), the neckline warps co case at | prociace a smoot Dnisived edtge aaa completes the project vith simpleand neisier double fringe. Each sep is cualleaging but gives a foundation for unlimited fimure pro jects, — Virginia Alfonson Fire and glass jin San Francisco Ajuried exhibit by the Socieiy of Glass Beadnakers opens in San Francisco at the San Anselmo Art Glass Gallery on July 22 and a symposium for me eating demonstrations, present tions, and workshops follows ou July ba 2495, The public is invited on July 25 fr the bauseer and auction of members’ werk, Contact Kim Osbin, 196 Mabry Way, San Rafael, CA 9490%: (415) 472-6070. o Like to crochet beads? Oran to learn how? Aueud the hint Link Crochet Conference at De Paul University in Chieago. rust HAL Contact Gu Kinsler, 1500 Pride Gt, Rolling. Meadors, IL G08. The entry deaulline for the juried exhibits July 1, 1904, Send a lege SASE © Gwen if yon want more information, ua eid Boag fr BEAD 8 Rute, ais va fiber arts es writen 12 a (Shaped Weaving with Ni Krill, 1968, aatve bernANYTHING GOES On the nobility of buttons by Donnie Gavelewin Refore the days uf written reeore, some enterprising cave dweller, Gred of bearskias slipping olf her shoulder, most likely invented the Dutton. feanay have been only small atone with a hole init, but it « Bewinming. (Wouldn't it be wonder Find I) Bation collectors huppily sort their war through heaps of bene, sghos, and paste and scumble up mountains of beaded, braided, pearlized, metal, wood, andl ecramie Tutors s they earnestly search fon that coveted oneakakind kanton, There is probably no subsiance on ‘earth that hasn't been cured inte a ttn at one time or anoher. ‘One of the first umes buttons were mentioned in English comes froe the your 1890: Sir Benes said, “Hauberk ne scielel ne actoun ne vailede him none wora horoua,” which means that some poor Enight ied because his protective gear ‘wou’ Livorth a button, In. 1795 the son of a button maker declared, “haw & soul above batons,” reflection undoubredly shared by generations of women as they worked their way throught mending basket ‘and pani missing fasteners Pages were “pur ince bustors® and served privileged ladies. A Miss Broughton complained in 187] that the button boy would never ansiner herbell, (Perhaps she didn’t ring his chimes) ‘On the gtimmer side, a poor soul inv the L8Uh century left an wasigned suicide nove. It said simply, "Too ssuny batons eo button an led with shirts vba.” A New England! lady inciuded the following reminiscence in a lester 10 her niece, dated une 5, 1050: ‘When [vasa chill, most o€ my clothes were man ip on an oll eadle sewing machine by my ‘ever patient grandmother. Now this machine was inacent in appear ance, but it had an unpredictable dlispesition. 1 always suspected it except my grandmother, could operste ic for more than a minute of wo without snared and snapping threads, and event shee was vienized bya drawer which held her collection of buttons, Forno reason, this tdraxer woukl peri odically pop out and there would be an explosion of housed a goblin, No one butions. Geandina, sho was net given to searing, would shed “Sakes alive! as she crawled saluxat on Toads and knees, retriew ing the ronasys.” Toa hates leer she mentions another incident invelhing buttons: “One of my mest embarrassing moments occurred when Twent through the receiving line at formal weelding reception, After shaking dhe last hands, 1 discox- fred my fancy silk dress was but toned! up wrong. nearly two inches oucof alignment. To recover my compostre, | drank far too auch champagne. [twas ssveral public cosets atid many glasses of ginger ale Jes that Lveversed mip reputation at Phe Champagne Lauly.” Paris, of course, is fled with wonderful litte bution shops They are presided over by elderly women. surrounded by Uys of butions, One ‘ean almost hesr the butions sifting rough loving fingers when there are nv customers about or imagine row beams of sunlight burnishing shadowy interiors andl warming old handsas they fondle the buttons, ‘setorpasioburens toe Gemany. once sts gogo? Youre in excellent therary company shen you make reference to buttons. Stakespeare was fond of using the word, Pre noticed itn several plays, In one of her poems, Emily Diekinsen wrote, “Bri He wwitted 4 buuon / Without a glance my way." In “Danny Deever™ ipling says, “They taken of his buttons off an cut his stripes aay,” and a character of Washington Irving’ was “Shy and solitary, it ‘were, buttoned up, body and soul.” On the less ecifving side,» “button” wasalso someone who acted as shill — the accomplice of minor con artist or thimblerigger. To capture someone's auenion, people “bunionhole” them, “Butron yout lip!" is an unmistakable way of telling somebody to shut up. And even more crudely, the 16th century dictio- ary writer, Job Hlorio, senrked of man under great streas, “His tile makes butions, This buttocks goes a Buttons, as ve think of them, have been usec to decorate and adom, to indiene ron and 10 keep out the cold. They have secured and embellished bonnets, shoes, jackets, vosts, gloves, dresses, sand trousers in designs sanging rom: the plaia, no-nonsense variety tn the intvicateand omate. They Iiave sparked the Imaginations of and avtists and have exafispeopl presided storytellers with a sence ‘oP viuld imagery. An anonvmous. contemporary poet pays homage to tine button in verse Poutsin their sre Nights Hine shiver! thnongh the ebily ges Ts finda nicer word than “hatin Which rhymes compatibls with “arto Donna tives in Oregon where she oe sand sures ultiAnti-Depression Buttons During the 1890s, colorful, realistic, fun-shaped buttons ‘were produced in the United States as an antidote to the bleakness of the Depression. Thase three are typical of the period: two Bakelite plastic buttons and a wooden button with Bakelite decoration. They illustrate the vibrant colors and sculptural forms that Bakelite made possible The material was invented in 1909 by Dr. Leo Hendrick Bakeland, and by the 1930s it had almost completely replaced all other plastics for use in the production of jewelry and accessories. (The three-dimensional wedgie also has a gilded cork sole and heel and vinyl plastic straps.) Far more on these and other butans, see page 27. (From the collection of Diana Epstein and Millicent Safro)