BEADWORK ~~ Featincs — 9 Bead Dreams, Future Visions * Karen Searle 30 Milagros « Jillian Moreno 38 Pocket Prayers * Paula Walson-lokamp 12. 18th Century Russian Beaded Necklace * Barbora Haire, 22 Doubling Up: South African DoubleFaced Stitches * Alice Scherer and Valerie Hector 28 Earthquake Earrings * Piyls Egle Kolionzes 30 Milagros « Jilin Moreno 34 Beaded Perfume Bottles * Sandi Groves 38. Pocket Prayers «Paula Wottontokomp Felt Beads + Amy C. Clorke Spiral Workshop: Lesson #2 * Anne Fletcher Ne 17 Kristina Logan: Glass Bead Artist » Ruth Spencer )< 55. Reviews * Judith Durant ond Jane Fournier 28 ' On the Cover Xhosa Beaded Collar tlie Stress Redux: Send in the Reinforcements! * Joanne Strehle Bast 23. South African Double Faced Samples to Learn * Alice Scherer and Valerie Hector 27 No live Jig + Phyllis Eagle Kelionzes 7 | Byinl 2 Passing Through a 4 Calender 5 Letters 6 Stitches 7. Abbreviations 0 Up Close = 37 Special Beads Heidi Gore and Coro! Seligmann 47 Spotlight 48 Cool Stuff 9 Going Places * S. J. AckermanRESOURCE REQUEST T loved the Winter issue of Beadwork, had just one prob- lem. St. Louis is noc the greatest ‘bead town in the country and it is hard to find some beads such as no. 11 triangle beads, espe- cially Toho. I did find some no. 5 at Bead It, but they had only two colors, 0 I had to do my own chart and go from there. It ‘umed out great! Maybe you could list re- sources ar the end of each article so folks located in un-beaded places could send off for the beads they need t0 do a project. Nothing isso frustrating as read- ing about something new and not being able to get the beads you need, “Thanks fora great new source of ideas. I have already charted a necklace and exerings to go with the bracelet. Dols Grore Silex, Misiouri The resource youre looking for «an be found in Beadwork pages Our advertvers often carry the new products we describe. Check them out STITCH TERMINOLOGY Your magazine's choice of the words “lzy squaw stitch” to de- scribe a particular style of bead appliqué (in your bead stitch glossary) merits a strong word of caution. ‘The term “Squaw is simply the Narragansett word for “woman” (Roger Williams, Key into the Language of America 1643) and would not have been considered offensive by a native speaker of Narragansett. Howev- the historical use of the word by non-Native Americans has given i a negative connotation. ‘Combining thac term with the word “lazy” makes a hurful term even more offensive. T would suggest the alternate terms “bump stitch” after the slight mound formed by the beads, or “lane stitch,” which describes the regular, parallel row of beads sewn tothe backing. = Mary J. Tafoya Albuuerguc, New Mexico Thank you for the heads up.” We've received a lot of mail on this blunder and extend our apologies to anyone we may have offended. PEYOTE FAMILY | would like to comment on the article Spiral Workshop Les- son #1, in the Spring 1998 issue of Beadwork, I think these spiral techniques are quite interesting and very worthy of description for the sake of increasing the beader’ arsenal. But I would like to assert that the authors assess- ment of these as being “within the peyore family of stitches” is ‘The many variations of peyote stitch are all cloed-work stitches. ‘Those the author describes are ‘open-work ones. It may be that the author is confused due co the ‘working nature ofthese and pey- ote. In the later, one “picks up a bead, goes through a beads” in the former, it is “pick up some ‘beads, go through a bead,” et. It ‘would be easy to then extrapolare from this and assume that they are related, and indeed they are, Bur these spiral stitches are nor ‘poy stitches: rather, both the spiral stitches and the peyote are part of the larger family of net stitches, Therefore, while it may be acceptable to suggest that the spiral and peyote are distant cousins, I see it as inaccurate 10 place spiral under the heading of Peyore: — Alice Scheres, Director Center forthe Seudy of Beadwork ‘Oregon City, Oregon SHOWCASE MORE NATIVE ‘AMERICAN BEADWORK Native American beadwork has an incredibly long and rich histo- ry in this country andl itis very such alive and well in 1998. For instance one of my men- tors, Eva MeAdams, an Eastern Shoshone elder, has been bead ing for the ast 70 years. She was recently honored by the Nation: al Endowment for the Arts for a lifetime of beadwork achieve ments, These are the types of artists and artwork I would like to sce featured in your magazine The knowledge that Eva McAdams and numerous other Native American beadworkers hold on the economic impact, techniques, culture, and mean- ing of beadwork in America is immense and largely untapped. — Teri Greeves Santa Fe, New Mexico READWOR Summer 1998 5é BRICK STITCH Beg by creating 2 foundation row in ladder atch, Suing 1 ead and PT the "losest exposed lop ofthe foundation tow, PBT the sume bead and continue ding 1 bead acme, seseno> Bpsse5 2.922 BeSesS DOUBLE-NEEDLE RIGHT-ANGLE WEAVE Using length of thread with x nee- dle areach end, sting 4 beads. Pass one needle back chrough the fist bead stung—now you have one necle ‘moving fom left vo right. the other from right wo lef, “Sting I bead on the right needle String 2 Beads onthe left OOO rs rates eee ene oo. aK, acdle. Pass the right necdle through the second bead jas sung inthe op poste direction. Rep from * unl you ‘ach dese eg, To work the next ow rep a8 for the fst row, stinging few beads only onto the right thread tnd PBT the beads fiom the fist row sth heeft. FLAT PEYOTE STITCH Create the fst row by stinging an ‘ven numberof beads. Create the net tow by stinging ! bead and PT the sec ‘nds ead of he pre row. Sting Shocker bead and PT the fourth-o-last bead. Continue adding 1 bead at 2 time, passing over every other bead of the previous rom a8 a 3 (Poa a sou rey Toordop (oe “doubledop) poyte isworked the same a above, bu with 2 beats time instead of Summer 1978 BEADWORK LADDER STITCH Using two needles, one chreaded on cach end of the thea, pass one needle ‘through 2 bead fom if to right and pass the other needle through om ight lf. Continue adding beads by cr-crosing both needles through I ead araine =< 29e5oy a Lazy STITCH Beg by passing a threaded needle through the fabric from wrong side to right side. Sting. the number ‘of bead desired ey bee Be J brads foe nos fates aga F —Sireion so that tow often ay erzonal NETTING—SINGLE THREAD Ths ec en be wach ith ay consinene number of beads in sich row. The example here is done as fl: lows: Beg by singing a base row of 13 beads. String’ 5 beads and go back Pee eat through the ith hea from the end of the base rom String another 5 beads, thip 3 beads of the base sow and go back shrough the next. Rep, When you have reached the end of this coms go Brack through the ith, fourth and hid beads of chose jst sen, exiting from the third. Tar he work over and sg back cross the same way SINGLE-NEEDLE RIGHT-ANGLE WEAVE ‘Theiluration ers bead pos sons nor bead numbers Row 1: Sting four base beads. Pass inehinnpocer a, ghia. Ce oreo Speeder a Tyaigeee ae stint pean! ween id te “a ot : - ae / a, ee ae ow 2: Sing 3 beads. Pass through bead in position 4 of previous group and bead in postion 1 of this group. firing 2 bead Per thivugl bed positon 2 of Row I, bead in postion 1 Of previow group, srd the beads just, sMdded. Pas chrough bead in position 4 ‘OF Row 1, Suing 2 beads Pass through bread in position 2 of previous group sand bead in position 4 of Row Ie Past hough fr bead just added. Sing 2 beads Pass through bead in position 2 ‘of Row 1, bead in postion I ef previ fous group, and the free bead just ‘ide. ‘Row 3: Repeat Row 2. SQUARE STITCH Beg by stinging tow of beads For the second row, sting 2 bead, PT the second-o-st bead ofthe Bist row, and BPP Raao Seuvave Qoveso0 ‘bck through the second bead of those jae strunge Continue by stinging 1 bead PT the thd bead of the frst row and PBT the bead jase sera Rep this looping technique across to the end of the rom: @ This witch dicory is excerpted fom ‘The Bealers Companion, srailebe from Inaercave Pr inthe fal.beg: begin, beginning BO: bind off| CO:cast on dec: decrease fe knit Jelb: insert the needle into the stitch to be knitted as usual, slide a bead uup against the needle, and pull ie through as you complete the stitch, Make sure that the bead rests on the front of the stitch (if i lies on the back of the stitch ie will show ‘on the wrong side ofthe knitting) :2tog knit owo stitches together p: purl ‘prev: previous paso: pas slipped stitch over back through; pass needle 1 the opposite direction PT: pass through: pass needle through in the same direction reps repeat rd): round(s) RScright side SBI: lide a bead next to the previous stitch before knitting the next stitch (the bead will rest on che side of the fabric that Faces away from you) st slip s1() stitch, stitches cogether WS: wrong side poe yarn overs wrap yam over needle + Sterlingsive findings » Plus much Peyote » Comanche + Loom Sen een rome ences yo ira ee CEE ing in Guest Instructor Workshops swith your favorite artists Beaded Mask - August 8th & 9th ‘For more information: wew:placetobeadcom ‘Email: Beadladysplacstobsad com 2435 San Ramon Valley Bl, San Ramon, CA 94583 PH (0 ) 837-5544 eapworkBEAD DREAMS, FUTURE VISIONS KAREN SEARLE or the second time in thee years, the Friary" Ninn i Gallery has been teansformed into a glivering wonderland with a juried exhibi- tion of bead artistry. Made primarily with seed beads, the 86 works in Bead Dream Future Visions eepresent 71 artists in 2: states plus Australia and Argentina. The mi reflects a diversity of design, interpretation, and technique and is an accurate survey of the sate of bead art today: Embroidery, pey- cote stitch, loom weaving, appliqué, and stringing ae che visual language of these Fig- urative sculptures, vessels, jewelry, and wall works. In addition, works by guest artist NanC Meinhard and jurors David Chart, Tis Mal Crow, Mimi Holmes, and Barbara Martinson flank the gallery entrance. ‘Curator Mimi Holmes identifies several themes among the works: the natural world, spirituality and unique personal visions, and social commentary—particularly on womées issues. The latter topical works deal wich menstruation, the banality of housework, working mothers, weight gain, midlife, parents, and female circumeision, This exhibition was planned as a contin- uation and extension of the Sed Dreams Beaded Visions juried show held here in 1996, Seed Dreams intentionally included the work of newcomers in order to encour age the development ofthe craft. This strat- cgy has proved successful, and ir a pleasure to sce that many “newcomers” merit inclu- sion in this second exhibition as seasoned artists who have gone beyond mere mastery of technique to create sophisticated concep- tual works, complex in color, content, and ‘composition, Overall, the works are well conceived and. well executed. Their derail and obsessive na- ture is especially seductive. Ie is difficult 10 sce everything in a single visit, and different works come to the forefrone with each view= ing for those lucky enough to be able to re- visi the show. Particular works stand out for their com- plex combination of humor and pathos. Laura Leonard’s Goddess of Love and Laundry portrays Mom in her jailird suit, honored for the love she pours out while performing ‘mundane household tasks. Stephanie Kuhn small beaded pictures are based on family stories. In Margarets Memory and When My Mother was Sick My Family Ralied Around Me, she speaks about her life, her friends, and family Many of the works are evocations of pure joy: Madelyn Rick’s Millennium Celebration Goblet celebrates color, pattern, and form, Alois Powers Dreams of Summer (when ith 40 below zero) isa veritable riot of color in a stunning floral necklace chat evokes 2 tropi- cal paradise. Karen Fieegerald’s Dragonfly Dreams (The Darning Needle) features a bril- liane dragonfly surrounded by spools of thread mending a marvelous hot pink and chartreuse beaded sock The works that deal with nature are some of the most successful. Wind, by Karin Birch, a lyrical bead embroidery, suc- cessfully captures the wind’s evanescent na- ture. A delightful necklace, ce on the Pine by Barb (Bene Needle) Davis, accurately renders a snow-tipped branch. Diane Ficgerald’s Gingto Leaf Necklace is stan- ning in ies simple elegance and subdle coloration. Inspired by the feral camels of the Australian outback, Sandra Lacey con- jures an elegant eassel for an imagined camel tain Bead Dreams, Future Visions is on exhibit through June 14, 1998 at the Goldstein Gallery, on the University of Minnesoras Saint Paul Campus. @ “Kavon Salim art and writer whe er Saint Pak Memes Leura Leonard, Goddess ‘of Love and Laundry, 1S" 12" 13", bY Sendre Lacey, The Comal’ Tose I? 25" 2.5" Barb Davis, ce onthe Pine, 16" 5.25" x 75" ‘Asis M, Powers, Dreams of Summa ven its 40 below § oo) 12x10" x2. BEADWORK Summer 998 9(aa aAy” th ao fy Flot peyote sich, Peyote stich variation. & 10 Semmes 1979 SEADWORKQQ20I09, gva0d0g, QOOVI00; 98 Lazy sich File Under “I by Christy Puetz, East Bethel, Minnesota, Mixed media, 9" <4". Lany stitch Photo provided by Christy Pustz (239 Hathor by Antonia Brandaine Friel, Corvallis, ‘Oregon. Porcelain face by Diane Briegleb. Seed beads, leather: Approx. 6" x 8° Back sich, lazy stich. Photo provided by Antonia Brandoine Fie Back stich Alby Syvio Backer, Chicago, linc. Seed beads. Approx. 14" x 3" <3", Peyote stich HEADWORK Sommer 199811= 18th Century = RUSSIAN BEADED NECKLACE BARBARA HAIRE he love of ele gance has fed Barbara Haire’ fascination with all things Russian, She has taken. many trips to that country over the years with the U.S. Department of State and has managed t0 es- tablish culeural exchange programs for Russian stu- dents become acquainted with some cof the most educated women in the nation, many of whom have connections with Russias greatest muse- tums, including the Hermitage, the Catherine Palace, and the Russian Museum, Barbara new friends have helped her gain access to the collec- tions of one of her favorite historical figures, Catherine the Great, and Barbara has jumped at 10 grams size 11° roma red Japanese seed beads In her travels she’s 3 grams size 11° black Japanese seed beads Black Nymo "B" or cotion-wrapped polyester sewing thread Clasp Size 10 and 12 beading needles Beeswax or thread conditioner the chance to study and be inspired by the CCaarina’ lavish jewelry and clothing, Catherine the Great hhad an insatiable thirst for beautiful things. She was 2 passionate romantic with — the power and wealth to acquite the work of the finest European artists. She loved elaborate floral designs and ribbon bows. The palette for her treasures included rich vi- brant colors such as cobalt, sapphire, cximson, ruby, amethyst amber, gold, and slvr. Barbara has kepe the Cearina’s preferences in mind while designing the series of necklaces and carrings she calls “Ekaterina and her Friends.” She shares one of her designs, “Tatyana,” below. emerald, “Tatyana” FLOWER PETALS Large Pecals: String 1 red, 1 black in an alter~ nating pattern to total 12 beads. PT beads again to form a foundation loop and make a knot. PT first red bead. *Scring 8 red, 1 black. PBT the cighth red bead just added. String 7 red. PBT the same red bead ftom the foundation loop. PT the next 2 foundation beads, exiting from the next red, (See Figure 1.) Rep from *. Continue around,WEADWORK Sommer 199813foundation loop to make 6 petals. ‘Connect all the petals at the third bead of each petal. (See Figure 2.) Keep your thread hidden by weaving it through the beads at the tip of each petal as you connect them. Exit from a black bead 6 the foundation loop. Small petals: *Sering 5 red, 1 black. PBT the fifth red bead just added. String 4 red. PBT the same black bead from the foundation loop. PT the next 2 foundation beads, exiting from the next black. Rep from *. Continue around foundation loop to make 6 petals. ‘As you did with the large petal, connect all che petals atthe third bead of each petal (Figure 2) Keep your thread hidden by weaving it through the beads as you connect the petals. Exit from a black bead on the foundation loop. BERRY CENTER *Sering 1 black. PT next black of foundation loop. Rep from * in this peyore style until you hhave added 6 black. Exit from the first bead added in this round. String 1 black. PT next bead of prev round. String 1 black. PT a “high” bead from prev row and continue working rnin peyote as before. When you reach the last stich, omic a bead (dec 1) s0 you have added 5 black. *Sering 1 red. PT next bead of prev loop. Rep from * until you have added 5 beads. PT 5 red just added and pull taut EARRING ‘Weave thread through to the black-beaded end of one petal. String 5 red. PT black bead at end oF petal. Weave working thread through several beads to secure. Trim working and tail threads close to work. Add earring finding to loop just created. NECKLACE Weave working thread through several beads to secure. Trim working and ail chreads close to work. Make 5 flowers. NECKLACE BAND. Beginning at the clasp end, string and center 3 red beads on a 2-yard length of thread with nee des at each end. Pass the right needle through all 3 beads again and exie from the first bead strung *Work red beads in 3 sets of double-needlerightangle weave (see Stitches, page 6). In the third set, end with 1 black. String 6 red on the righe theead. String 6 red and 1 black on the left thread, Pass the right thread through the black just strung in the opposite direction, (See Figure 3.) Rep from * five times. String 2 red on the right thread. String 3 red on the left thread. Pass the right thread chrough the third and second red beads just strung in the op- posite direction. Pass the left thread through the second bead added on the right thread in the op- posite direction. Continue working in single-needle right-angle weave (see Stitches, page 6) following the pattern for color. (See Figure 4.) Create two seven-set bands, Set aside and weave second side of neck- band. CONNECTING THE FLOWERS Lay the ewo completed neckband pieces on tabletop. Position che 5 flowers between them as shown of create your own design. Using a yard’s length of thread, weave through several beads on ‘one of the right neckband’s straps to secure, String 1 black bead. PT one of the flowers petal tips. Sering 1 black bead. PT all beads again to make alloop. Weave thread through to next petal tip. String 1 black bead. PT last black bead of theckband serap. String | black bead. PT all beads again to make a loop. Weave thread through 10 the fitst flower-to- flower petal tip connection point. String 1 black bead. PT next flowers petal tip. String 1 black bead. PT all beads again to make a loop. Continue in this manner until all flowers are connected, adding more beads as you desire. ‘Weave thread through to petal tip that will con- rect the flowers to the let neckband. Attach flow- cers to these straps as you did with the Fight neck- band. Afier lowers are attached, weave thread through several beads of the neckband to secure and trim working and til threads close to work ‘Artach clasp findings to each end of neckband. @ Barbara Haire ts an embroidery ad beadork vacer and carton. She as i pulsed atch guide and insructons and raisins « Western States regional calendar of major needle soork cent Barbas cam be contacted at 26086 Sond Cyn B., ‘Sere Clarita, CA 91351-4051 or chire@ao com. A Figure 4 ' seADWORK Same 1998 5V ieaa Lo GLASS BEAD ARTIST RUTH SPENCER “[ ink of myself as a pretty determined person. In J have a love for fine details. I love music, food. lly have a love for making things love subsle interactions between people. And I think it all ranslates into the work I do.” uring her childhood Kristina Logan lived throughout New England with her mother and younger brothers. Her grandfa ther did church restorations and her mother was a graphic de signer and fashion illustrator. Ie was in this environment that she found she could always make a living by “ma my hands.” She went to college to study art and speaks lovingly of the total support received fom her mother, someone who instilled the belie that pursuing one’s passions is all important. Afcer seudying fine sculpting in her own s drawing dio, She knew nothi heard that Dan Dailey, a respected contemporary ind sculpting, Kristina continued ss when she looking for studio help. She worked in his studio for four years and learned about glass blowing, hot and cold glass working, and enamel Ie was after watching a lampworker that she realized she had found her niche. Knowing nothing about beads, she explored bead scores in Boston and found plenty of support for her new-found passion. She covered that there were hosts of people researching, coll lass beads. Slowly, Kristina developed her talent a ing, and buy beadmaker and eventually gave up her work with Dan, For Kristina it was “instantancous freedom.” She was now work: ing on a small scale, as opposed to the life-size wooden sculpcues she had been making in her studio. Working small meant working faster, juicker results, being more prolific “In a deep spiritual way, [ iat beads are freedom to me, they are independence Kristina felt she had co an making very small and When she started making glass be compete with manufactured beads. She b inexpensive ones, but soon noticed that people wanted more inti cate beads—the kind she made for herself, Customers were willing to spend $6-$12 for a bead chat was more unique, instead of filty cents for cach of her little beads. Today, Kristina’ least expensive bead is$2.50 and the most expensive one she ever made sold for $22 Her average price range is $15 but many of her beads sell be- tween $25 and $60. Most of her clients are collectors of contemporary American beads: some are designers who buy her beads to make jewelry ‘They occasionally call her to place an order, but Kristina prefers to sell her beads at bead and craft shows. She appreciates the freedom associated with this choice. “I go to about six shows a year and that is sufficient. I also teach and make jewelry which wholesale.” Kristina creates earrings and bracelets and recently has spent ne making intricate one-of-a-kind pieces. She is cur- rently working on a coat pin and a set of candlesticks. She has, designed some flatware, and has made many baby spoons for friends’ children. Kristina’ glass beads are exquisite, beautiful, and extraoedi narly precise. Many are similar in style and repetitive in design, “L relly like repetition. I enjoy the quality of working this way. Lampworking is a won- derful way for me to spend my time.” Many of her glass beads have raised dots on the surface, adding texture to an otherwise smooth and shiny surface. These dots are placed at perfect in tervals from each other. In Kristinas words: “Ie all by eye—I work so slowly and meditaively I know just where all the dots should be. Its spontaneous, yee accurate. That high level of concentration fels so wonderful For Kristina, meditation translates into listening to classical but no two are exactly alik medica ‘music, witha preference for Mozart and medieval ars. For her, the quiet accuracy of the music shows up in her work. Ie also allows her mind to wander from the music to thoughts about her life, hee work, her furure accomplishments. Kristina works an average of nine hours per day, with an occasional ewelve hours when needed. In one day she can easily make 100 glass beads but of ‘A glass bead has a hoe through its idle, which different ates it from a marble. To Kristina, the hole is of utmose impor- tance, “That hole indicates something that penetrates straight through and has a direct connection to the body. You put a string through a bead and wear it close to your body. Ir’ like other cultures where perforated amulets are worn on the body. It has to do with penetration with the body. It brings me back to my original love in art, the figure. Putting a string through the hole of a bead and slipping it over your head is the most simple and basic way of wearing something, Creating glass beads isan art as well asa craft and Kristina considers herself an artist. “Technical expertise is necessary, but I think thac expression is where the art comes in.” She ap. proaches beadmaking in a very formal way, but enjoys the process. She is influenced by frescoes, mosaics, armor, and above all, architecture and art. She visits churches and muse y two or three art beads tums whenever she can, She has traveled to Italy several times and enjoys exploring the treasures of Venice and Florence. Dur.ing her most recent trip, she taughe glass beadmaking in Flo a group of Americans livin ‘came when a professional glass beadmaker in Murano made a special trip to Florence to attend her class. Together they were able to compare the differences in techniques as well as the in lealy, Her greatest thrill ‘mental approaches to beadmaking. “For him ic was how fast he an make beads. For him the finished necklace was more im- portant than the individual bead. For me the individual bead is just as important as the necklace Kristina has made a conscious effort to actively teach. She than keeping it, That same conviction got her involved in the Society of Glass Bead feels thar sharing information is bet makers, and she now serves sits president. Established 0 fos ter information among glass beadmakers, the org scart with 80 members in 1993 and now has over 450 m bers. Mostly United States beadmakers, the membership also counts artists from Canada, Japan, Switzerland, Germany, and Tealy in its roll. Though lampworking in the United States has been around for over twenty years, it wasnt uncil 1990 chat people really became interested in making individual glass beads. Ir was then chat the contemporary glass-bead movement was born. The establishment ofthe Society of Glass Beadmak- crs in 1993 propelled the movement further still and it contin- tues to grow. “Glass beadmakers from other countries relly look co America to sce what i happening inthe movement,” K na obscrves. “Thete is such a big difference berween the glass industry and individual gas arts all around the word, Te wil be very interesting to see what the next ren years will bring, Ie’s an incredibly exciting time to be making beads and collecting chem The Society of Glass Beadmakers i currently planning a show of 37 artists ac the Rockwell Mus New York. For that show; Kristina is preparing a book that will ouline the proces of glass beadmaking and feature the exhibition pieces. Kristina is presently working on her next project: six weeks in Corin, in the Provence region inthe South of France, where a friend owns a farm She wil be teaching fortwo weeks and will spend the est of her time doing experimental beadwork. Each st dent will have his or her own torch to work with all day. “The rmost amazing thing is that I can bring my kiln on the plane along with the torches, the glass, and all the litle tools. often bring more equipment than clothes. I just pack vey light and wear the same thing every day.” She will be teaching seven Americans and one German and hopes to repeat this experi- ence every year. Kristina would also like to travel tothe Coech Republic, Egyps, and Africa. “I just adore travel. [ commitced to life and to making bead, Life is shor, so I want enjoy things intensely” @ thee reat to mere enn Ruth sin Marie CountyStress Redux SEND IN THE REINFORCEMENTS! JOANNE STREHLE BAST cdream—they can stand on their own oF act as attractive vehicles for lapidaried stones, lamp- worked beads, or other special beads. On the other hhand, they can be a structuraistS nightmare—the acute curs required to stitch the beads into a fabric create a situation where glass beads and fine thread collide, With regular use by the wearer, movement stresses the threads and the piece can fall apar. ‘One solution to this problem isto work “hinge areas” into the stucture. Hinges absorb movement without weating on the structural chreads. Hinges also bear the weight of a heavy focal element and, depending on body shape, give the wearer a cus- tom drape, Figure 1. One way to incorporate hinges is to ‘make loop connectors. (I use peyote stitch, but the principle is the same no matter what stitch you = seed-bead necklaces are a designer's use) You construct your necklace in a number of pieces, each one ending with a long band of nar- row beadwork that is looped back and reattached to the body of the beadwork. A band from a see- cond unit is hooked through the first loop before i is reattached to the base beadwork. Now, as one gap ete ot lds Sl neti een vec withour stressing structural threads To make the loop connectors, work a peyote- stitched band «wo to four beads wide and about 1/2" long off the end of one of your necklace pieces. You can disguise the band by incorporating fringes, magatamas ("comma’ beads), or other beads along the length. Remember to add any em- bellishments to what will become the outside of the loop. Finish the band by looping it back to the base beadwork and peyote-stitching it ro itself ‘The band can be reattached flat or twisted. Figure To Figure 1b Figure TeFigure 2 Figure 2. Loops can also take the weight off delicate section of beadwork that has an open area to pass your band through. Peyote-stitch a band two to four beads wide off or near one end of the beadwork. Make the band the length of the bead- work unit plus aboue 4°, Pass the band through the open area and reattach it to the other end of the beadwork, Figure 3, You can also hide findings like snaps in loop connectors. When working bracelets, for instance, you can create a visually unbroken circle without sacrificing che ability to open the bracelet for easy removal. The area in which necklace find- ings are placed—where wear is greatest due to ma- newvering during hooking and unhooking—is a great place for loops. You can also make an ad- justable-lengch necklace by adding several loops that attach with snaps instead of permanent stich- ing. This way, you can insert and remove segments 10 adjust the length NAA Figue 4 Figure 4. Another way to reinforce beadwork is to incorporate braided sections. Work an area of peyote stitch five or more beads wide, then conti tue working only two or three beads wide to pro- duce a band at least three inches long. Add a new thread to the base ofthis band and stitch another ‘band the same lengch. Repeat a third time. When you've completed three bands, plait them together loosely. Passa thread through the ends ofall three to tack the bands together. Continue working in peyote stitch to produce a loop, and attach the piece to the larger necklace structure. You can also incorporate four- or five-strand braiding tech- niques. The plated areas provide movement and a soft drapey fel to the necklace when its worn, For a different look, vary the band widths by increasing or decreasing in peyote stitch. Fringes, shaped beads, and/or large beads can also be in- corporated for interest along the length of the band. @ Joan Scie Bara beaduorh aria whe ha exited ner ravonally in galerie sd juried shou. She ies Liteon, Penna Sema 1996 21DOUBLING UP South African Double-Faced Stitches ALICE SCHERER AND VALERIE HECTOR Original tc illaration provide by Alice Scherr beadwork designed and executed by Mary Cave, older pieces fom the colton of Marile Wood and the Center for the Seudy of Beadwork feican beadworkers have invented some of the most unusual tech: niques in the world. Beadwork Winter 1998 issue featured the her ringbone technique used by the Ndebele peoples of South Aftica [Now we bring you more South Aftican techniques—thove of the Xhoss-speaking neighbors of che Ndebele ‘There are many distinct groups of Xhosa-speakers, including the Xhosa, Mfengu, Thembu, and Mpondo, all living in the southeastern Seaboard re gion of The Republic of South Africa, We knov litle about the ancient his tory of Xhosa beadwork, since no significant picces have survived the ravages of time, Several eentures ago, when European glas seed beads began to fil: ter into South Afric, the Xhosa reidly adopted them asthe perfect medi: tum for creating vividly-colored necklaces, belts, headpicces, and other swearabes ‘Many techniques, such as herringbone, peyore, and the rightangle ‘weave, produce lar or rvo-dimensional beadwork. These pieces have two sides, both formed with the same set of beads, and both smooth in tex- tute. However, it is alto possible to produce more highly textured pices, in which front and back sides are formed with different sets of beads ‘Such pieces could be called “double-faced.” Here we present two Xhosa techniques for producing double-fced pieces, which because of their ap pearance, we cll “scllop” stitch and “ladder and chevron” stitch. Seallop stitch employs single technique with one continuous horizontally mov ing thread that produces a net. The ladder and chevron stitch is acom- ppound technique whose multiple threads move vertically in the (the ladders), and diagonally in the second (the chevron). Despite their different strategies, both techniques make use of the same Fundamental principle: after one row of column is made, i is ‘worked aguin in the reverse dizection to create the double-facing, Alo, both techniques make use ofthe same types of connections: threads first passthrough a bead or beads, loop around a thread from a previ ‘ous row, then pass once again through the same bead of beads to se cure the stitch Those familiar with “brick” or “Comanche” stitch al ready know about such connections. ‘We are pleased to bring to Beadworty readers the secrets of these dense, highly-textured techniques and hope you'll enjoy exploring their possibilities. Finally, we are grateful tothe Xhosa craftspeople for theie creativity and the echnical excellence that inspired us 10 write this article stop summer 1998 BEADWORKSamples to Learn fo work these samples, we recommend using lange size E beads. Complete four rows (with a forward and reverse pass for each row) 0 thoroughly understand the process. Once you be- come comfortable with the stitches, wy the neck- lace or the amulet purse. Size E beads in white, yellow, gray, blue, and black Nymo “D" or similar beading thread Size 13 beading needle Scissors Double-Faced Scallop Stitch BASE ROW String a base row of 40 white beads on a length of beading thread. Place a knot or stop bead at both ends to secure. Leave an 8” tail at each end For weaving back in later. BEAD COLORS ™ For the forward passes of your sample, use yel- low and blue beads. For the reverse passes, use black and gray beads. The yellow and black beads will serve as your “connector” beads, which welll refer to as “connectors.” FORWARD PASS Using 2’ of thread with a knot or stop bead at one end, string 2 yellow. Loop the working thread cover the base row becween the first bead and the knot or stop bead to the left. PBT both yellow just using the continuous thread method, id char it st to start anew thread at one side, stitch return, then finish the thread and start a fone. strung and snug them against the base row. We call this a “secured-loop stitch” *String 6 blue and 2 yellow. (The blue beads form your frst bead loop.) Loop the thread over the base row between the fourth and fifth beads and PBT through the 2 yellow just strung, (See Figure 1.) Rep from * to the end of the base row. REVERSE PASS. To secure, knot the working thread around the thread just below the lat 2 yellow. PBT the yellow ‘once again and PT the last 2 white of the base row. (See Figure 2.) String 2 black, 6 gray, and 2 black, Pass down and behind the second-from-the-end blue loop. Loop the thread over the base row be- tween the 35th and 34th beads. PBT the last 2 black just strung, (See Figure 2.) (Note: Instead of there being 4 beads on the base row between loops. there ate now 2 beads berween loops.) "Pass your needle through the second blue loop to the front ofthe work. String 6 gray and 2 black. Pass down and behind the next blue loop and se~ ‘eure stitch over the base row as before. PBT the last 2 black just stung. Rep from * to end of row, always moving over, then under the forward pass (blue) loops. Keep thread taut as you work. ‘When you reach the end, knot the working thread below and then PBT the last 2 black just strung. PT the last 2 base-row beads to the left, down through the yellow and the frst 3 blue of the first loop and out. (See Figure 3.) You are now in position to start your second forward pass. BeADWORE Sommer 1999.75,24 Sommer 1998 Figure 3 SECOND PASS For the second forward pass, string 2 yellow, *6 blue, 2 yellow. Loop the working thread over the next set of 6 blue between the third and Fourth blue and secure the stitch. Rep from * to end of row. For the second reverse pass, PT all 6 blue and 2 yellow to the left of the 2 yellow where working. thread now exits. Pass up through 3 blue and 2 yellow to the right and out into base row. Pass right through 2 base-row white and down through 2 black and 3 gray of the lat reverse pass loop. Exit between the third and fourth gray. You are now in position to begin your second reverse pass, String 2 black, “6 gray, black. Loop thread down and behind second-ftom-the-end blue loop, and secure stitch to the center ofthe second-from- the-end gray loop by PBT the last 2 black beads. Rep from * to end of row. (Note: Always work ‘over the loop you're in and under the next loop to complete a loop.] If che size ofthe thread and bead holes will not allow additional passes, simply tie off the thread after the black beads are secured and start a new set of connectors as before, but connect to the cen- ter of the first loop of blue beads. Note that each subsequent row will result in one less loop than the previous row. IF you decide to do multiple rows, your piece will become slightly angled on the sides. “To finish, weave working and tail chreads through several beads to secure. Trim all threads close to work. Double-Faced Ladders and Chevron Stitch FIRST PASS Work two sets of ladder stitch (see Stitches, page 6) in yellow 1 or 2 beads wide. Make equal in length. Set aside. teaowoork Size E beads in yellow, white, and black ‘Nymo “D” or similar beading thread Size 13 beading needle Scissors Knot 2" of thread, leaving an 8" tal. String 1 black. Loop working thread between the fist and sec~ cond rungs of che first ladder, along the edge. PBT the black just strung to secure the bead. “String 3 white, 1 black. Loop thread between the first and second rungs of the second ladder. PBT the last black just strung. String 3 white, 1 black. Loop thread between the second and third rungs of the first ladder. PBT the black just strung, Rep from *, except now skip every other connection point on the ladders. (See Figure 4.) Figue 4 REVERSE PASS ‘When you reach the end, reverse the 4-bead pattern, looping over the connection points skipped on the first pass. (In the diagram, the first pass is shown in solid lines, the reverse pass is shown in dashed lines.) Finish by running the last connection through the first bead strung on the first pass, looping over the connection point, and PBT the frst bead again. Weave working and cil threads through several beads to secure. Trim all threads close to work.Projects to Make ‘of double-faced scallop stitch. You can mod- ify the length of a necklace by changing the number of beads in your base row. Remember 0 tie off rows as you go, especially if your base row becomes too tight to return to. Ts prety necklaces are worked in five rows Metallic Double-Faced Scallop Stitch Necklace BASE ROW Scring 25 small black on a yard of thread leaving 6" ail PT all again and tic a knot. Scring 200 medium black, 5 small black, the 13mm metal bead, and 1 medium black. PBT all just strung and pull aut, PBT inital loop. PT several ofthe medi- CEs Large = 1 oz. each size 7° seed beads in copper, gold, bronze, and silver Medium = 1 oz size 8” matte black seed beads Small = 1 oz. each size 11° seed beads in copper, gold, bronze, and silver 13mm meral bead for clasp 3 matte black molded glass teardrop beads Black Nymo “B” chread Size 12 beading needle Scissors tum strung after the loop and tie a knor. ‘Tim the working and rail chreads close to the work. Row 1: Using scallop stitch, work 18 forward and 17 reverse pass loops beg at the 70th medium black from the looped end of the base row just created. Repeat bead pattern: 2 small black, 6 small copper. Row 2: Starting at the fourth loop of Row 1, work 14 forward and 13 reverse pass loops, rep 1 large copper connector, 8 small gold Row 3: Stating at the fourth loop of Row 2, work 10 forward and 9 reverse pass loops, rep | large gold connector, 8 small bronze. Row 4: Starting atthe fourth loop of Row 3, work 6 forward and 5 reverse pass loops, rep I large bronze connector, 8 small silver. Row 5: Stating atthe second loop of Row 4, work 4 forward pass loops, rep 1 large silver connec tor, 8 small black. Work first reverse pass loop by “stringing | large silver connector, 4 medium black, 1 small copper, 1 black teardrop, 3 small copper. PBT teardrop and 1 small copper. String 4 medium black. Rep from * for rem 2 loops. ‘Weave working and all tail chreads through several beads to secure. Trim threads close ro work Multi-Colored Double-Faced Scallop Stitch Necklace BASE ROW Using 1% yards of doubled thread, string enough small olive beads to create an 18” strand. String knot cups at each end and tie knots. Arcach sister clasp to knot cups Large = 1 or. each size 7° seed beads in matte terra cotta, orange luster, and metallic blue Small = 1 07. each size 11° seed beads in matte olive green, striped olive green, terra cotta, comflower blue, striped yellow, lavender, chartreuse, royal purple, and orange 2 knot cups 1 sister clasp Black Nymo “B” thread Serene cee AO WoRK Sommer 1998 25Row I: Using scallop stitch, work 29 forward and 28 reverse pass loops beg at one-third the length of the base row just created. Rep I small striped olive, 1 small terra cotta, 1 small striped olive connector, 6 blue. Finish the working thread and stare anew one. Row 2: Seating at the ninth loop of Row 1, work 20 forward and 19 reverse pass loops, rep 1 striped yellow, 1 lavender, | striped yellow con- ecto, 6 chartreuse. Row 3: Starting at the sixth loop of Row 2, work 14 forward pass loops, rep I large terra cotta connector, 8 small royal purple. Work 13 re- ‘verse pass loops rep 2 royal purple connectors, 8 royal purple. Row 4: Saarting at the sixth loop of Row 3, work 9 forward pass loops, rep 1 lage orange connec- tor, 6 orange. Work 8 reverse pass loops, rep 2 orange connectors, 8 orange. Row 5: Starting at the fourth loop of Row 4, work 5 forward pass loops, rep 1 large metallic blue connector, 8 olive. Work 4 reverse pass loops, rep 2 olive connectors 8 olive. ‘Weave working and all ail threads through sev- ‘eral beads to secure. Trim close to work. Amulet Purse PURSE BODY Using a yard of chread for each, work four lad~ dts in Fuchsia 3 beads wide and 40 rungs long. Connect the ends of each ladder to form four cir- cles. Weave the working thread through several beads to secure. Set aside. seaowor, 5 or. size 11° iridescent fuchsia hex-cuts or. size 11° matte black seed beads 1 on. size 11° gold hex-curs aera 3Y3" matte black pendant drops Red Nymo “B" thread Size 12 sharp or beading needle Scissors Knox 2 yards of thread, leaving a 6" tail. String 1 gold bead. Use a secured-loop stitch ro attach the bead to a connection point on one of the lad~ der circles, String 2 Fuchsia, 1 black, 2 fuchsia, and 1 gold. Secure the gold bead to a connecting point on the second ladder. Continue working back and forth, skipping alternate connection points, until the beginning is reached. After reaching the start, because this is a circle, simply continue around and connect to the points missed in the first pass. Connect the first and second ladders to the third as the first pair was done, then connect the fist, second and third set to the fourth ladder. Make a pretty 30” strap that pleases you. For this ‘example, Mary used black and fuchsia beads with 2 8mm matte black glass beads interspersed. @ ‘Marion (Mary) Cave is « wonder creative 70-year-old tahoinrelcoedy mew beading and ive in Perland. Oregon erie Hector 6 4 jenelry designer whose work has been published widely. Vilerie alo revearches Aan beadworking ‘ditions. Her article “Property Reverence and Protection An Introduction 9 Asian Beadwork appear in Beads: The Journal of the Society of Bead Researchers, Vl. 7. Alice Scherer isthe director of the Centr for the Seudy of Beadwork in Portland, Oregon and i co-aathorof The New Beadwork, FURTHER READING Costello, Dawn. Nor only for itr Beauty: Beadwork and its CGalearl Significance among the Xboie-Speoking Peoples Pretoria: Univers of South Africa, 1990. Eliot, Aubrey. Tbel Drs: Beadwork and Other Decorative ‘Ar Cape Town: Suu (Py) Led, 1986. Lemaire, M. LJ. “Techniken Bei Der Herstellung Vou Derlesarbeiten.” Beeler Archit, Neve Folge 8, Germany, 1960.