General Info

Stringing
Nothing is worse than having your jewelry stretch, snag, or

fall apart when you’ve worked so hard to put it together, so
Materials for each piece you make, consider that the stringing mate-
rials are as important, if not more so, than the beads! It is
Jean Campbell the threads, cord, or wire that keep your beads together
from Getting Started Stringing Beads
and allows them to be wearable and beautiful for a long
(Interweave, 2005) time. Here are several stringing materials and suggestions
on how to use them.
Photos from Getting Started Stringing Beads Joe Coca and Jean Campbell
Beading wire (brand names Accuflex, Acculon, Beadalon, Soft Flex)

is a very flexible nylon-coated multistrand steel wire available in diam-
eters from .010 to .024. Choose the widest diameter for large, heavy, or
abrasive beads; a medium diameter for crystals and small lampworked
beads; and the smallest diameter for beads with small holes like pearls
and seed beads. Use a wire cutter to cut this stringing material.
More wonderful beadwork projects are available at shop.beadingdaily.com/jewelryprojects

© 2011 Interweave Press LLC. Not to be reprinted. All rights reserved.
page 1
Braided thread (brand names Dandy Line and PowerPro) is an extremely
strong, synthetic thread also used for fishing. It has great strength (10–20
pound test), is very thin (.006 diameter), can be knotted, and comes in two
colors—moss green and white. Because of the angle of their blades, chil-
dren’s Fiskars scissors cut these materials better than other scissors.
Elastic cord (monofilament, Illusion cord) comes in wide (1 mm) and thin
(.5 mm) styles and is best used for stretch bracelets. Secure this cord with
knots or crimp tubes. Use a scissors to cut it.

page 2
Hemp cord is made up of natural fibers and is the best selection for macramé.
Use a scissors to cut this cord. This cord can be cut with a scissors.
Leather cord is a round, smooth cord that comes in a variety of colors, can
be knotted, and is best used for wide-holed, large beads. This cord can be
cut with a scissors.

page 3
Memory wire is extremely hard, coiled wire that
does not lose its shape. It comes in different sizes
for necklaces, bracelets, and rings. Cut this wire
with a memory wire cutters or by bending it back
and forth. Do not use a regular wire cutter or the
wire will mar the jaws.
Nylon thread (brand names C-Lon, Nymo, and Silamide) is thin synthetic
thread that you purchase by the spool like regular sewing thread. Nylon is
best used for lightweight stringing projects that require a needle and thread.
This cord can be cut with a scissors.

page 4
Silk thread and cord come in a variety of colors
and widths. They are sold by the spool or on a
card (often with a built-in needle). The thin thread
is the best choice for stringing pearls, and the
wider cord works well for knotting techniques.
Prestretch this material (pull the ends apart sev-
eral times) before you use it. This material can be
cut with a scissors.
Suede cord is a rough strip of Ultrasuede that works well for wide-holed
beads. You can cut it with scissors.

page 5
Sterling silver wire is the best choice for wirework (for our simple stringing
purposes, wirework means creating wire loops for things like dangles or ear-
rings). It is relatively soft so it’s easily manipulated, but has good memory.
Cut this material with wire cutters.
Stringing materials
in the shop.

page 6
Tools You’ll need tools to put your masterpiece together.
There’s a plethora of tools for beading, but here are the
ones to get your bead box stashed for stringing.
Chain-nose pliers have flat, tapered jaws that come to a point. They
work well for pulling beading wire tight and for wire-wrapping.
Crimping pliers squeeze and secure a crimp tube onto beading

Crimping pliers
wire. (See instructions about how to crimp on page 15.)
Flat-nose pliers have flat, tapered jaws. Use them for pulling bead-
ing wire tight and to wire-wrap.
Round-nose pliers have round, tapered jaws that come to a point.

Use these pliers to make simple loops and to do wire-wrapping.
Round-nose pliers
Split-ring pliers have a flat, pointed, tapered jaw on one side, and
on the other side a bent tip for opening split rings.
Wire cutters have sharp jaws with which to cut beading wire, head
pins, eye pins, and other soft wire.
Chain-nose pliers
Flat-nose pliers
Wire cutters
Split-ring pliers

page 7
Beading Needles If you are stringing
beads with very small
Beading needles are very fine, long (up to 3"/7.6 cm) needles whose eyes holes, you may need
are the same width as the rest of the needle—an important feature when you to use a needle to
consider the added width of the stringing material. Beading needles work well pass the stringing
for very small-holed beads like small seed beads, pearls, and some semipre- material through.
cious stones. Because the eye size is so small, beading needles can be a
Here are the most
challenge to thread. To make it easier, place the stringing material between
the thumb and forefinger of your nondominant hand, allowing just a small common and useful
amount of the end to peek out. Use your dominant hand to place the needle needles to get the job
eye on the end and pull it through. done.
Big-eye needles come in 21⁄4" and 5" (5.7 and 12.7 cm) lengths and have
pointed ends with a double wire down the center. They are the easiest needles
to thread—simply separate the center wires, place the stringing material
between, and allow the wires to collapse on themselves to capture the
thread. These needles work well for fairly small-holed beads, and the 5"-
(12.7-cm) long version is especially useful in stringing because you can
easily see if you’ve strung your beads in the correct order.
Twisted wire needles are made of fine wire and feature a large loop on
one end and a twisted shank on the other. You thread the stringing material
through the loop and, as you pass the needle through a bead, the loop col-
lapses to secure the stringing material. Twisted-wire needles are generally
one-use and work well for small-holed beads such as pearls.

page 8
Step 1 DE-HANKING: Transfer the
seed beads from the hank strings Materials
onto 24" lengths of beading cord, 10 olive gold 19" strands of size 14°
leaving a 4" tail at each end; use a Italian glass seed beads
tension bead, tape, or a bead stop 10 tan 19" strands of size 14° Italian
glass seed beads
to prevent the beads from sliding
10 purple 19" strands of size 14°
off (Figure 1). String 10 strands per Italian glass seed beads
6 gold 4mm bell end caps
1 gold 25×65mm “Flamenco” clasp
2 amethyst 6×8mm oval fancy stone
Figure 3 crystals
1 spool (50') Hastings Bonded Nylon
white bead cord, size 1/OX
the clasp, set the crystals in place, G-S Hypo Cement
Figure 1 and let dry. 2-part all-purpose clear-drying epoxy
Step 4 CLASP: Use chain-nose pliers Tools

color: two groups with 16" of beads Scissors
to open the end-cap loops, rotating
(tan and olive), and one group with Knotting tweezers or awl
rather than pulling the ring apart.
151⁄2" of beads (purple); the shorter Chain-nose pliers
Attach one end of each group to Bead stoppers, clamp, or tape
group will be attached along the
one half of the clasp, with the Toothpick
center to compensate for the curve
shorter 151⁄2" group at the center
of the clasp. Tecniques
loop. Hold the clasp up to let the
beads hang straight, then loosely Stringing
Step 2 KNOTS: Gather 10 strands of Gluing
braid them together. Attach the
one color and tie a single overhand
other half of the clasp, making sure
knot at one end. Slide the beads Finished size: 17 1 ⁄ 2 "
the 151⁄2" group is on the center loop
down to the knot and adjust as
and the other two groups are on
needed so that all strands are
alternate loops.
exactly the same length. Tie a single Resources
overhand knot at the other end, Check your local bead shop or contact: Kits:
using a tweezers or awl to snug the LINDA ARLINE HARTUNG is co-owner and pro- www.alacarteclasps.com. For retailers who
knot up to the seed beads (Figure 2). ducer of Alacarte Clasps and WireLace. Linda is carry these components: linda@alacarte
an internationally published designer and clasps.com, (707) 887-2825.
teacher for Swarovski’s components division.
Transferring Seed Beads to Permanent String
• The string that holds a hank of beads together is not sturdy enough to hold your beadwork
together. You can easily transfer the prestrung beads onto your chosen beading cord:
Figure 2 • Unleash one end of a strand of beads and make a loose overhand knot at the end. Insert the
beading cord through the knot with a 2" tail (Figure A).
Repeat for the other two colors. Use • Tighten the knot and fold the cord tail back, sliding the beads over the knot and onto the bead
the cement to saturate each knot cord (Figure B).
and about 1⁄8" up the cords; allow to
dry and then trim to 1⁄16" from knot.
Step 3 EPOXY: Mix the 2-part

epoxy according to the manufac-
turer’s specifications. Use a tooth
pick to half-fill a bell end cap; place
Figure A Figure B
a trimmed knot in the cap and let
dry (Figure 3). Apply a thin line of
epoxy around the rim openings of
page 14
techniques
Wireworking Crimping
String a crimp tube and the connection
To make a simple loop, grasp one end of finding (i.e., the loop of the clasp). Pass
the wire with round-nose pliers. Holding back through the tube, leaving a short
on to the wire with one hand, gently turn tail. Use the back notch of the crimping
the pliers until the wire end and wire body pliers to press the length of the tube
touch. Create a 90° reverse bend where down between the wires, enclosing them
in separate chambers of the crescent
they meet.
shape. Rotate the tube 90° and use the
For a wire-wrapped loop, cut the desired
front notch of the pliers to fold the two
length of wire and make a 90° bend 2" chambers onto themselves, forming a
from one end. Use round-nose pliers to clean cylinder. Trim the excess wire.
hold the wire near the angle and bend the
short end up and around the pliers until it
meets itself. Wrap the wire tightly down
the neck of the wire to create a couple of
coils. Trim the excess to finish.
Knotting Ending and Adding Thread

A square knot is the classic To end your thread, stop beading when you have at least 6" of working
sturdy knot suitable for most thread. Always end after completing a step up so that it won’t matter where
you begin the new round. Tie off the thread by passing back through the
stringing materials. Make an
beadwork at a diagonal and tying half-hitch knots after each chip or shared
overhand knot, passing the
bead. Pass through 3 Delicas and trim and melt the end.
right end over the left end. To begin a new doubled thread, tie a knot in the end and melt or glue it
Make another overhand knot, to seal it. Begin stitching at least 4 stitches back in the work, knotting after
this time passing the left end each shared bead. Exit a middle point bead to begin the next round.
over the right end. Pull tight.
Stringing
Stringing is a technique in which
you use beading wire, needle
and thread, or other material to
gather beads into a strand.

page 15
fabric; with buckskin, the needle goes only and other types of bead backings is a roll-
halfway through the hide. Canvas can be a er knife. These knives have replaceable
good backing material for beadwork that blades and, when used with a straightedge
is to be worn, such as for dance clothes. and cutting board, can make a perfectly
Canvas takes sweat and moisture better straight cut. This tool is most valuable for
than buckskin. cutting buckskin or ultrasuede into fringe.
Velvet was a common backing mate- It is wise to keep an extra blade on hand
rial with eastern tribes, and it was often because they do wear with continual use.
backed itself with brown paper sacks.
Today there are a number of fabrics Pliers
that can be used to back Native bead- Although not historically used by Native
work. Generally, you want a material that beadworkers, a small pair of pliers is an
will allow beads to stand up evenly. Two essential beadwork tool. Pliers can be
pieces of mending fabric with typing paper used to break beads from the thread as
ironed in between makes a good backing they are strung—if you string too many,
material for a lot of beadwork. Layers of or an incorrect size, it is easier to break the
canvas sewn together also make a good offending bead(s) than restring the whole
stiff backing. Wool is still a good choice for lot. Small ignition pliers used for automo-
prairie-style beadwork, which uses curvi- biles work well and fit easily in your bead-
linear designs. The wool is easy to work box. Pliers can also help attach buckskin
with and is historically correct. to solid objects like fan handles. Glue the
buckskin down with white craft glue, then
Scissors and Cutting Tools pinch the seam with pliers where the ends
As their main cutting tool, Native bead- of the buckskin come together.
workers generally used knives that were
first built from chipped flint and later Needle Cases
made of iron or steel. Most beadworking Native women made small cases for
knives were small, with blades less than needle storage, generally of hard leather
four inches long. This same knife was used or rawhide decorated with beadwork.
to skin and dress hides, cook dinner, and Today, one of the first projects you may
perform many other daily chores. As scis- want to bead is a needle case. You can
sors became a common trade good, Na- use a turned wood needle case, an old
tive beadworkers quickly understood this pencil lead case, or almost any type of
tool’s ease and convenience. Overnight, small container. A small metal box with a
the simple scissors became one of the magnet strip stuck to the inside lid makes
hottest items offered by European traders. a great needle case.
Unlike European women, Native women
used their scissors over and over, sharpen- Beeswax and Thread
ing them repeatedly until they would no Conditioners
longer function. Native beadworkers have used beeswax
The types of scissors produced today since they began to do beadwork as an art
have made beadwork easier than ever form. Not only does beeswax keep thread
before. Micro-point scissors and good from tangling and raveling, it fills up the
leather shears are key to producing Na- Trays of beads for sale at the Crow Fair, holes in the beads and keeps them from
tive-style work. Even if you need to cut Crow Agency, Montana. August 1998. moving around in the completed work.
corners when buying equipment, never When you’re buying beeswax, smell it to
underestimate the value of good scissors. determine the honey content. The stron-
Have your scissors sharpened regularly good razor knife is hard to beat for cutting ger the honey smell, the better the wax.
and oil the joint occasionally. These two threads extremely close, cutting out appli- A number of thread conditioners have
procedures alone will prolong the life of qué work, or finishing the edge of a rosette. been invented to replace beeswax. Some
your best scissors for years. One of the best tools to come along in are good, some are not so good. I still use
In addition to scissors and shears, a the last few years for cutting hides, cloth, beeswax. Many people complain that bees-
More wonderful beadwork projects are available at interweavestore.com

page 6
wax compromises the look of the finished and slowly turning the keg over a fire. The Italians did by mechanizing manufacture.
piece by adhering to the beads. You can hot sand worked as a polishing agent. As a result, the beads became more uni-
avoid this buildup by spraying a soft cloth Because they were finished by hand, old form in shape and size, and sorting Czech
with window cleaner and gently rubbing Italian beads tend to be very uneven, and beads, which tend to be somewhat donut
your finished beadwork. This treatment sorting out misshapen beads was a typi- shaped, is not critical.
removes not only beeswax but fingerprints cal process in the creation of Native work. Czech bead sizing is based on how
and body oils from the completed bead- For very fine pieces of Native work, sorting many rows of beads it takes to equal one
work and makes the beads sparkle. was one of the most important production inch; if it takes eleven rows, the bead size
processes. The Italians used a different is 11º. The smaller the bead, the more it
Bead Storage bead sizing nomenclature than what we takes to make the same length, therefore
As you carry on your journey with beads, are familiar with today. An Italian size 4º the larger the size number. Common
particularly if you become a “power bead is approximately the same size as a Czech sizes are 10º, 11º, 12º, 13º, 14º,
buyer,’’ you will undoubtedly find storage Czech size 12º bead. An Italian size 5º is 16º, 18º, and 20º. Any bead smaller than
of these little spheres of glass a problem. about the size of a Czech 13º. Italian bead a size 13º is considered a fine, petite, or
Many people store beads in plastic tubes, production stopped during World War II micro bead. These small beads were not
small medicine bottles, or any variety of and Italian beads are now considered an- produced after World War II, so like Italian
small containers. For years, I have rou- tiques. Italian beads came in softer colors beads, they are now considered antiques.
tinely stored my beads in plastic peanut than Czech beads, and it is common to The Czechs were the first to produce
butter jars. My jars each hold a half kilo find Italian beads with a purple or blue cut beads in large numbers; cut refers to
of beads, which is more than most people hue that results from the glass- making beads that are faceted. The flat cut por-
will buy. Native women stored beads in process. tion is polished to give the bead a flash
small, easily portable bags made of buf- In addition, many Italian colors had or sparkle. Most commonly you will find
falo bladders or scrotums. Most Native a “greasy’’ hue, and the names that these three-cut or tri-cut beads. Charlotte beads,
beadworkers did not keep a large stash beads eventually became known by were usually available in size 13º, have a cut on
of beads, preferring to trade for them as often determined by that trait. Greasy yel- only one side.
needed. Another traditional Native way low, sea foam green, and greasy blue are The Czechs were also the first to use
to store beads was in small pine needle just a few color names for popular Ital- the hank as a measurement for sale of
baskets with tight fitting lids. There are ian beads. The Italians also produced the their product. Most non-cut beads are
many storage gizmos on the market first white lined or “white heart’’ beads, sold in a hank that has twelve 12-inch
today, and the key to efficient bead stor- invented to make colored glass go twice loops. Charlotte beads are generally sold
age is finding a system that works for you. as far. White or clear glass was used for in hanks of twelve 6-inch loops.
the center and then the bead was dipped
Beads and How to Buy Them in colored glass. French seed beads
The history of the beads used in Native Italian beads were generally packed While most beadwork produced by Native
American beadwork is of great interest, in bulk and not on hanks as Czech beads beadworkers has been made with either
and being able to identify the type of beads are. Italian beads are sold by weight today, Italian or Czech beads, French beads have
used becomes very relevant when stabili- usually by the ounce or pennyweight. often been used when Italian beads were
zation or reproduction work takes place. Some colors of beads weigh more than not available.
(Stabilization is work done to stop or slow others because of variation in the weight The French began bead production to
the aging process on beadwork held in of the metals added to produce the colors. fill the niche left vacant by Italian bead
museums.) Adding gold to glass produces red, adding makers after World War II. Many Italian
copper produces green, adding aluminum bead makers never recovered from the
Italian seed beads produces blue. devastation of the war, so the French met
The Italians, originally on the island of the demand for the colors of beads that
Crete and later on the mainland, devel- Czech seed beads the Italians had produced. The French also
oped the first seed bead production facili- As bead technology spread throughout produced white heart beads in the same
ties. Historically, Native people traded for Europe, the Czechs became the leading manner as the Italians had, and they be-
Italian seed beads, which were typically producers of beads traded in the Ameri- came the major suppliers of lined beads.
finished by hand. Long glass tubes were cas, particularly after 1890. Czech beads The French figured out how to put a
given to women in a cottage industry generally are bolder in color than their very large hole into a very small bead, and
who cut them to size and finished them Italian counterparts. The Czechs took size 16º French beads can be used with a
by hand, placing them in a keg with sand bead technology one step further than the size 13 needle. French nomenclature dif-

page 7
fers from the Czech, and French beads Japanese bead is comparable to a size 10º your planned project to get the total
are usually a little larger than their Czech Czech bead. number of beads needed.
counterparts. Usually a 13º French bead Always try to buy enough beads of the 4) The following table gives the approxi-
will be comparable to a 12º Czech bead. same color to finish any project you are mate number of beads per hank.
working on. Beads, like thread, come in 10º = 3,100 per hank
Japanese seed beads different color or dye lots. Once you get 11º = 4,000 per hank
When the Japanese entered the market, halfway through a project, it may be al- 12º = 4,500 per hank
bead making took on a whole new dimen- most impossible to find the exact color 13º = 5,000 per hank
sion. Japanese bead makers computerized you are working with.
the mechanical process used to make glass One of the most important pieces of Select beads per hank for the size bead
beads, and the result is a bead that, shape- advice I have heard in my years of doing you will be working with and divide that
wise, is possibly the most perfect bead pro- beadwork is from George Barth, author number into the total number of beads
duced. The boxy, squared shape of Japanese of Native American Beadwork (Schneider needed for your project. Round up to a
seed beads is different from those produced Publishing, 1993): “Know your beads.’’ full hank number. This formula works for
by the Italians, Czechs, or French. Many hanks of twelve 12-inch loops. Cut beads
Native beadworkers will comment that Estimating the amount of generally come in 6-inch hanks, so be sure
Japanese beads are too perfect and that beads needed for a project to double the amount when buying them.
part of the Native look comes from the use One of the toughest things to do is to figure For example, let’s assume you are using
of the more oval Czech beads. The Japanese out how many beads you need for a proj- size 11º beads and your project will mea-
have also developed beads called Delicas ect. Use the following formula to calculate sure six by ten inches.
and hex beads. Delicas are more cylindrical the number of beads per square inch. This 6 × 10 = 60 square inches (size of your
than spherical, and hex beads are almost formula uses Czech beads as the standard. work)
like small bugle beads. 1) Measure the length and width of your 60 × 187 = 11,220 beads (number of
Because Japanese beads come in over planned project in inches. Multiply beads needed)
500 colors, it seems that these are the the two numbers to get the number 11,220 divided by 4,000 = 3 hanks,
beads to work with. However, in order of square inches to be beaded. rounded up to
to make so many colors, many Japanese 2) From the following table, select the a full hank
beads are painted or dyed, whereas a red size beads you will be using.
European bead is made from red glass. As 10º = 130 per square inch Based on your design, now estimate
finished beadwork is used, the color begins 11º = 187 per square inch the proportion of colors you are planning
to wear off Japanese beads; for this reason, 12º = 228 per square inch to use. You will need at least one hank
most Native beadworkers avoid them. 13º = 272 per square inch per color. However, in the example used
Japanese beads are usually sold by 3) Multiply the number of beads per above, if half the beads are to be white, you
weight. They generally run about one full square inch in your selected bead size will need two hanks of white.
size larger than Czech beads; a size 11º by the number of square inches in
Bead Sizing
By understanding bead sizing scales, you can use different beads from different makers on the same piece of work.
Use the following chart of bead sizes to compare beads from each country of production. A key point to remember
is that the larger the number used for a bead, the smaller the bead.
Bead Size Comparison Chart

Italian 3˚ 4˚ 5˚ 6˚
Czech 11˚ 12˚ 13˚ 14˚ 16˚
French 12˚ 13˚ 14˚
Japanese 12˚ 13˚ 14˚ 15˚ 15˚ hex
When you use this chart, remember that it is a rough comparison. Cut beads have a tendency to be about one
size smaller than the number indicates. As technology in glass making progresses, only time will tell what the next
new seed bead will look like in both color and size.

page 8
techniques
Tubular Peyote Stitch Peyote Stitch Increase Wireworking
String an even number of beads and To make a simple loop, grasp
make a foundation circle by passing one end of the wire with
through them two more times, round-nose pliers. Holding
exiting from the first bead strung. on to the wire with one
String 1 bead and pass through the hand, gently turn the pliers
third bead of the foundation circle. until the wire end and wire
String 1 bead and pass through the body touch. Create a 90°
fifth bead of the foundation circle. reverse bend where they
Continue adding 1 bead at a time, meet.
skipping over 1 bead of the first Make a mid-project increase by
round, until you have added half the working a two-drop over a one-drop
number of beads of the first round. in one row. In the next row work a
Exit from the first bead of the second one-drop peyote between the two-
round. String 1 bead, pass through drop. For a smooth increase, use
the second bead added in the second very narrow beads for both the two-
round, and pull thread tight. String 1 drop and the one-drop between.
bead and pass through the third bead
added in the second round. Continue For a wire-wrapped loop, cut the
around, filling in the “spaces” 1 bead desired length of wire and make
at a time. Exit from the first bead a 90° bend 2" from one end.
added in each round. Circular Peyote Stitch Use round-nose pliers to hold the
String 3 beads and form the first wire near the angle and bend the
round by passing through the first short end up and around the pliers
bead. For the second round, string until it meets itself. Wrap the wire
2 beads and pass through the tightly down the neck of the wire
next bead of the previous round; to create a couple of coils. Trim the
repeat twice. To step up for the excess to finish.
next round, pass through the first
bead of the current round. For the
third round, string 1 bead and
pass through the next bead of the
previous round; repeat all around, Netting (single thread)
then step up at the end of the Begin by stringing a base row of 13
round. Continue in this manner, beads. String 5 beads and go back
alternating the two rounds. You through the fifth bead from the
end of the base row. String another
Peyote Stitch Decrease may need to adjust the bead count
5 beads, skip 3 beads of the base
depending on the relative size of
the beads in order to keep the row, and go back through the next;
circle flat. repeat to the end of the row. To
turn, pass back through the last
3 beads (one leg of the last net).
String 5 beads, pass back through
the center bead of the next net and
continue.
To make a mid-project decrease,
simply pass thread through 2 beads
without adding a bead in the “gap.”
In the next row, work a regular one-
drop peyote over the decrease. Keep
tension taut to avoid holes.
© F+W Media, Inc. All rights reserved. F+W Media grants permission for any or all pages in this issue to be copied for personal use. beadingdaily.com
page 20
fabric; with buckskin, the needle goes only and other types of bead backings is a roll-
halfway through the hide. Canvas can be a er knife. These knives have replaceable
good backing material for beadwork that blades and, when used with a straightedge
is to be worn, such as for dance clothes. and cutting board, can make a perfectly
Canvas takes sweat and moisture better straight cut. This tool is most valuable for
than buckskin. cutting buckskin or ultrasuede into fringe.
Velvet was a common backing mate- It is wise to keep an extra blade on hand
rial with eastern tribes, and it was often because they do wear with continual use.
backed itself with brown paper sacks.
Today there are a number of fabrics Pliers
that can be used to back Native bead- Although not historically used by Native
work. Generally, you want a material that beadworkers, a small pair of pliers is an
will allow beads to stand up evenly. Two essential beadwork tool. Pliers can be
pieces of mending fabric with typing paper used to break beads from the thread as
ironed in between makes a good backing they are strung—if you string too many,
material for a lot of beadwork. Layers of or an incorrect size, it is easier to break the
canvas sewn together also make a good offending bead(s) than restring the whole
stiff backing. Wool is still a good choice for lot. Small ignition pliers used for automo-
prairie-style beadwork, which uses curvi- biles work well and fit easily in your bead-
linear designs. The wool is easy to work box. Pliers can also help attach buckskin
with and is historically correct. to solid objects like fan handles. Glue the
buckskin down with white craft glue, then
Scissors and Cutting Tools pinch the seam with pliers where the ends
As their main cutting tool, Native bead- of the buckskin come together.
workers generally used knives that were
first built from chipped flint and later Needle Cases
made of iron or steel. Most beadworking Native women made small cases for
knives were small, with blades less than needle storage, generally of hard leather
four inches long. This same knife was used or rawhide decorated with beadwork.
to skin and dress hides, cook dinner, and Today, one of the first projects you may
perform many other daily chores. As scis- want to bead is a needle case. You can
sors became a common trade good, Na- use a turned wood needle case, an old
tive beadworkers quickly understood this pencil lead case, or almost any type of
tool’s ease and convenience. Overnight, small container. A small metal box with a
the simple scissors became one of the magnet strip stuck to the inside lid makes
hottest items offered by European traders. a great needle case.
Unlike European women, Native women
used their scissors over and over, sharpen- Beeswax and Thread
ing them repeatedly until they would no Conditioners
longer function. Native beadworkers have used beeswax
The types of scissors produced today since they began to do beadwork as an art
have made beadwork easier than ever form. Not only does beeswax keep thread
before. Micro-point scissors and good from tangling and raveling, it fills up the
leather shears are key to producing Na- Trays of beads for sale at the Crow Fair, holes in the beads and keeps them from
tive-style work. Even if you need to cut Crow Agency, Montana. August 1998. moving around in the completed work.
corners when buying equipment, never When you’re buying beeswax, smell it to
underestimate the value of good scissors. determine the honey content. The stron-
Have your scissors sharpened regularly good razor knife is hard to beat for cutting ger the honey smell, the better the wax.
and oil the joint occasionally. These two threads extremely close, cutting out appli- A number of thread conditioners have
procedures alone will prolong the life of qué work, or finishing the edge of a rosette. been invented to replace beeswax. Some
your best scissors for years. One of the best tools to come along in are good, some are not so good. I still use
In addition to scissors and shears, a the last few years for cutting hides, cloth, beeswax. Many people complain that bees-

page 6
wax compromises the look of the finished and slowly turning the keg over a fire. The Italians did by mechanizing manufacture.
piece by adhering to the beads. You can hot sand worked as a polishing agent. As a result, the beads became more uni-
avoid this buildup by spraying a soft cloth Because they were finished by hand, old form in shape and size, and sorting Czech
with window cleaner and gently rubbing Italian beads tend to be very uneven, and beads, which tend to be somewhat donut
your finished beadwork. This treatment sorting out misshapen beads was a typi- shaped, is not critical.
removes not only beeswax but fingerprints cal process in the creation of Native work. Czech bead sizing is based on how
and body oils from the completed bead- For very fine pieces of Native work, sorting many rows of beads it takes to equal one
work and makes the beads sparkle. was one of the most important production inch; if it takes eleven rows, the bead size
processes. The Italians used a different is 11º. The smaller the bead, the more it
Bead Storage bead sizing nomenclature than what we takes to make the same length, therefore
As you carry on your journey with beads, are familiar with today. An Italian size 4º the larger the size number. Common
particularly if you become a “power bead is approximately the same size as a Czech sizes are 10º, 11º, 12º, 13º, 14º,
buyer,’’ you will undoubtedly find storage Czech size 12º bead. An Italian size 5º is 16º, 18º, and 20º. Any bead smaller than
of these little spheres of glass a problem. about the size of a Czech 13º. Italian bead a size 13º is considered a fine, petite, or
Many people store beads in plastic tubes, production stopped during World War II micro bead. These small beads were not
small medicine bottles, or any variety of and Italian beads are now considered an- produced after World War II, so like Italian
small containers. For years, I have rou- tiques. Italian beads came in softer colors beads, they are now considered antiques.
tinely stored my beads in plastic peanut than Czech beads, and it is common to The Czechs were the first to produce
butter jars. My jars each hold a half kilo find Italian beads with a purple or blue cut beads in large numbers; cut refers to
of beads, which is more than most people hue that results from the glass- making beads that are faceted. The flat cut por-
will buy. Native women stored beads in process. tion is polished to give the bead a flash
small, easily portable bags made of buf- In addition, many Italian colors had or sparkle. Most commonly you will find
falo bladders or scrotums. Most Native a “greasy’’ hue, and the names that these three-cut or tri-cut beads. Charlotte beads,
beadworkers did not keep a large stash beads eventually became known by were usually available in size 13º, have a cut on
of beads, preferring to trade for them as often determined by that trait. Greasy yel- only one side.
needed. Another traditional Native way low, sea foam green, and greasy blue are The Czechs were also the first to use
to store beads was in small pine needle just a few color names for popular Ital- the hank as a measurement for sale of
baskets with tight fitting lids. There are ian beads. The Italians also produced the their product. Most non-cut beads are
many storage gizmos on the market first white lined or “white heart’’ beads, sold in a hank that has twelve 12-inch
today, and the key to efficient bead stor- invented to make colored glass go twice loops. Charlotte beads are generally sold
age is finding a system that works for you. as far. White or clear glass was used for in hanks of twelve 6-inch loops.
the center and then the bead was dipped
Beads and How to Buy Them in colored glass. French seed beads
The history of the beads used in Native Italian beads were generally packed While most beadwork produced by Native
American beadwork is of great interest, in bulk and not on hanks as Czech beads beadworkers has been made with either
and being able to identify the type of beads are. Italian beads are sold by weight today, Italian or Czech beads, French beads have
used becomes very relevant when stabili- usually by the ounce or pennyweight. often been used when Italian beads were
zation or reproduction work takes place. Some colors of beads weigh more than not available.
(Stabilization is work done to stop or slow others because of variation in the weight The French began bead production to
the aging process on beadwork held in of the metals added to produce the colors. fill the niche left vacant by Italian bead
museums.) Adding gold to glass produces red, adding makers after World War II. Many Italian
copper produces green, adding aluminum bead makers never recovered from the
Italian seed beads produces blue. devastation of the war, so the French met
The Italians, originally on the island of the demand for the colors of beads that
Crete and later on the mainland, devel- Czech seed beads the Italians had produced. The French also
oped the first seed bead production facili- As bead technology spread throughout produced white heart beads in the same
ties. Historically, Native people traded for Europe, the Czechs became the leading manner as the Italians had, and they be-
Italian seed beads, which were typically producers of beads traded in the Ameri- came the major suppliers of lined beads.
finished by hand. Long glass tubes were cas, particularly after 1890. Czech beads The French figured out how to put a
given to women in a cottage industry generally are bolder in color than their very large hole into a very small bead, and
who cut them to size and finished them Italian counterparts. The Czechs took size 16º French beads can be used with a
by hand, placing them in a keg with sand bead technology one step further than the size 13 needle. French nomenclature dif-

page 7
fers from the Czech, and French beads Japanese bead is comparable to a size 10º your planned project to get the total
are usually a little larger than their Czech Czech bead. number of beads needed.
counterparts. Usually a 13º French bead Always try to buy enough beads of the 4) The following table gives the approxi-
will be comparable to a 12º Czech bead. same color to finish any project you are mate number of beads per hank.
working on. Beads, like thread, come in 10º = 3,100 per hank
Japanese seed beads different color or dye lots. Once you get 11º = 4,000 per hank
When the Japanese entered the market, halfway through a project, it may be al- 12º = 4,500 per hank
bead making took on a whole new dimen- most impossible to find the exact color 13º = 5,000 per hank
sion. Japanese bead makers computerized you are working with.
the mechanical process used to make glass One of the most important pieces of Select beads per hank for the size bead
beads, and the result is a bead that, shape- advice I have heard in my years of doing you will be working with and divide that
wise, is possibly the most perfect bead pro- beadwork is from George Barth, author number into the total number of beads
duced. The boxy, squared shape of Japanese of Native American Beadwork (Schneider needed for your project. Round up to a
seed beads is different from those produced Publishing, 1993): “Know your beads.’’ full hank number. This formula works for
by the Italians, Czechs, or French. Many hanks of twelve 12-inch loops. Cut beads
Native beadworkers will comment that Estimating the amount of generally come in 6-inch hanks, so be sure
Japanese beads are too perfect and that beads needed for a project to double the amount when buying them.
part of the Native look comes from the use One of the toughest things to do is to figure For example, let’s assume you are using
of the more oval Czech beads. The Japanese out how many beads you need for a proj- size 11º beads and your project will mea-
have also developed beads called Delicas ect. Use the following formula to calculate sure six by ten inches.
and hex beads. Delicas are more cylindrical the number of beads per square inch. This 6 × 10 = 60 square inches (size of your
than spherical, and hex beads are almost formula uses Czech beads as the standard. work)
like small bugle beads. 1) Measure the length and width of your 60 × 187 = 11,220 beads (number of
Because Japanese beads come in over planned project in inches. Multiply beads needed)
500 colors, it seems that these are the the two numbers to get the number 11,220 divided by 4,000 = 3 hanks,
beads to work with. However, in order of square inches to be beaded. rounded up to
to make so many colors, many Japanese 2) From the following table, select the a full hank
beads are painted or dyed, whereas a red size beads you will be using.
European bead is made from red glass. As 10º = 130 per square inch Based on your design, now estimate
finished beadwork is used, the color begins 11º = 187 per square inch the proportion of colors you are planning
to wear off Japanese beads; for this reason, 12º = 228 per square inch to use. You will need at least one hank
most Native beadworkers avoid them. 13º = 272 per square inch per color. However, in the example used
Japanese beads are usually sold by 3) Multiply the number of beads per above, if half the beads are to be white, you
weight. They generally run about one full square inch in your selected bead size will need two hanks of white.
size larger than Czech beads; a size 11º by the number of square inches in
Bead Sizing
By understanding bead sizing scales, you can use different beads from different makers on the same piece of work.
Use the following chart of bead sizes to compare beads from each country of production. A key point to remember
is that the larger the number used for a bead, the smaller the bead.
Bead Size Comparison Chart

Italian 3˚ 4˚ 5˚ 6˚
Czech 11˚ 12˚ 13˚ 14˚ 16˚
French 12˚ 13˚ 14˚
Japanese 12˚ 13˚ 14˚ 15˚ 15˚ hex
When you use this chart, remember that it is a rough comparison. Cut beads have a tendency to be about one
size smaller than the number indicates. As technology in glass making progresses, only time will tell what the next
new seed bead will look like in both color and size.

page 8
Techniques flush/wire
To explore stringing further, consult Getting Started Stringing Beads and Stringing Style (both from Interweave).
e).
e cutters
Crimping WIREGUARDS provide a

smooth metal channel to
protect the stringing material
from chaffing surgeon’s knot
against a con-
crimp tube The SURGEON’S KNOT is a
nector. String
a crimp tube, secure way to connect two
CRIMP TUBES are seamless
then pass up threads: Wrap the two ends
metal tubes used to secure around each other twice, then
the end of a beading wire. through one
half of the wrap one around the other head pins eye pins
To use, string a crimp tube wireguard
guard and once in the other direction and
and the connection finding pull snug. HEAD PINS are straight wires
(i.e., the loop of the clasp). down the
with a flat disc, ball, or other
Pass back through the tube, other half. Pass the guard and
shape at one end. EYE PINS
leaving a short tail. Use the wire through the loop of the
are straight wires that end in
back notch of the crimping connector, pass the wire back
a loop.
pliers to press the length of through the crimp tube, snug
the tube down between the the tube up to the guard, then
half-hitch
wires, enclosing them in sepa- crimp. knot
rate chambers of the crescent Pass Through
shape. Rotate the tube 90° vs Pass Back Through
and use the front notch of Pass through means to move The HALF-HITCH KNOT may be
the pliers to fold the two your needle (or beading wire) worked with two or more
chambers onto themselves, in the same direction that the strands—one strand is knotted
forming a clean cylinder. Trim beads have been strung. Pass over one or more other
the excess wire. back through means to move strands. The knot may be
simple loop
CRIMP BEADS are serrated your needle (or beading wire) worked from right to left, left
metal beads. Twisted crimp in the opposite direction. to right, or in a combination of
tubes and crimp beads can be Knotting the two.
secured by squeezing them Wireworking To form a SIMPLE LOOP, use
flat with chain- or flat-nose overhand flat-nose pliers to make a 90°
METAL WIRE comes in many
pliers. knot bend at least 1/2" from the end
finishes and gauges. The
CRIMP COVERS hide crimp of the wire. Use round-nose
The OVERHAND KNOT is the lower the gauge number, the
tubes and give a professional pliers to grasp the wire after
basic knot for tying off thread: thicker the wire. The hardness
finish. To attach, gently hold a the bend; roll the pliers
Make a loop with the stringing or softness of wire is called
crimp cover toward the bend, but not past
material. Pass the cord that lies “temper.” Most wire comes in
in the front it, to preserve the 90° bend.
behind the loop over the front dead-soft, half-hard, and hard
notch of the Use your thumb to continue
cord then through the loop tempers. Unless otherwise
crimping the wrap around the nose of
and pull snug. noted, wire used in this issue
pliers. Insert the pliers. Trim the wire next
LARK’S HEAD KNOTS are great
is half-hard—the best temper
the crimped to the bend. Open a simple
placing a for securing stringing material for making strong loops and
tube and loop just as you would a jump
crimp cover
to another other shapes.
gently ring.
squeeze the pliers, encasing piece, such
the tube inside the cover. as a ring or a
CRIMP/CORD ENDS donut: Fold
consist of a loop the stringing lark's head
attached to a material in knot opening a jump ring wrapped
tube. Dab the half. Pass the loop
leather, plastic, fold through JUMP RINGS connect holes
ribbon, or other a ring or donut, then pull and loops. Open a jump ring To form a WRAPPED LOOP,
cord with jewelry the ends through the loop by grasping each side of its begin with a 90° bend at least
glue, then place crimp/cord created and pull snug. opening with a pair of pliers; 2" from the end of the wire.
it in the crimp/ end don’t pull apart. Instead, twist Use round-nose pliers to form
cord end. If you’re in opposite directions so that a simple loop with a tail over-
using a crimp end, crimp it as you can open and close lapping the bend. Wrap the
you would a crimp tube. without distorting the shape. tail tightly down the neck of
© 2010 Interweave. Not to be reprinted. All rights reserved.
page 6
round-nose flat-nose crimping chain-nose
pliers pliers pliers pliers
the wire to create a couple coils. Form a wrapped loop chain-nose pliers and pushing For ease of dipping your
of coils. Trim the excess wire with the straight-up wire, the wire over the previous silver into the solution, use 12"
to finish. Make a DOUBLE- wrapping it back down over spiral with your fingers for as of beading or sewing thread
WRAPPED LOOP by wrapping the already-formed coils. Trim many revolutions as desired. to string the bead(s), chain, or
the wire back up over the coils, the excess wire. finding(s) you wish to oxidize;
toward the loop, and trimming tie the ends in an overhand
the wire tail at the loop. knot. If coloring small items
cone that cannot be strung (such as
crimp covers), you will need to
drop them in the solution and
wrapped-loop then quickly scoop them out
dangle with a plastic spoon.
hammering
Or, place small items on a
DANGLES can be strung as paper towel and brush them
they are, attached using jump with the solution; this method,
Use CONES to finish a multi- To HAMMER , place your wire however, often results in
rings, or linked to other loops. strand piece. Attach each on a steel bench block or
Use a head pin or eye pin to uneven coloring.
strand of beads to a wrapped anvil. Use the flat end of a
string the bead(s), then form a Dip the silver in the solution
loop or an eye pin. Use the ball-peen or chasing hammer
simple or wrapped loop. as many times as necessary
wrapped-loop wire or eye pin to flatten the wire, then use to achieve the desired patina.
to string the wide end of a the ball end of the hammer to If the silver becomes darker
cone, covering the ends of the add texture. than desired, it can always be
strands; form a wrapped loop
Oxidizing Silver lightened later by buffing or
at the tip of the cone that
with Liver of Sulfur polishing.
attaches to a clasp.
wrapped-loop Rinse off the silver in cold
links Always wear vinyl or latex
water. To further stop oxi-
gloves, work in a well-
dation, dip the silver in a
ventilated area (liver of sulfur
weak solution (1:4) of baking
has an unpleasant odor that
soda and water. Remove any
quickly dissipates), and care-
threads you used to suspend
fully read manufacturer’s
coil the metal. Allow the silver to
directions when using
dry, then, if desired, use a
chemicals.
LINK a wrapped loop to polishing cloth or #0000 (extra
To make a COIL, use one hand Wash all silver to be colored
another loop by passing the fine) steel wool to buff and
to hold the end of your wire with soap and water. Mix liver
wire through the previous polish it.
against a mandrel (or what- of sulfur nuggets in hot (not
loop before wrapping the tail Store all used solution in
ever object you want to coil boiling) water according to
down the neck of the wire. the disposable container.
around). With the other hand, manufacturer’s directions in
After about a week, it will
wrap the wire around the a disposable container. Most
degrade enough to be
mandrel. When finished, slide suggest mixing 1 pea-size
washed down a sink (prefer-
wrapped- the coil off the mandrel. nugget for every 1 cup of
ably a utility sink) with a lot of
water. A weaker solution will
loop bail water. Contact your local haz-
produce a lighter patina with
ardous waste facility for more
warm hues; a stronger solu-
information on disposing of
tion will produce a darker
the liquid safely.
patina.
spiral
WRAPPED-LOOP BAILS turn
side-drilled beads, usually
teardrops, into pendants.
Center the bead on a 3" or
longer piece of wire. Bend For additional technique information,
both ends of the wire up the including videos and illustrations,
sides and across the top of the To start a SPIRAL (or scroll), visit beadingdaily.com and click on
bead. Bend one end straight make a small loop at the end the “glossary” tab.
up at the center of the bead, of a wire with round-nose
then wrap the other wire pliers. Enlarge the piece by
around it to form a couple of holding onto the spiral with
© 2010 Interweave. Not to be reprinted. All rights reserved.
page 7
Guide to Making
Jewelry with Beads:
Create Handmade Beaded Jewelry
from Your Own Bead Jewelry Designs
Guide to Making Jewelry with Beads:
Create Handmade Beaded Jewelry from Your Own Bead Jewelry Designs
Necklace Making: Five Ideas for Four Fun Ideas for Sketching Beading Designs:
Designing Beaded Necklaces Earring Making! Examples and Ideas
from Readers
by Jennifer VanBenschoten p. 1 by Jennifer VanBenschoten p. 3 by michelle mach p. 5
4 Sketched Ideas for Beaded Hexagonal Netting Brick Stitch Increases

Necklace Shapes and decreases
by jean campbell p. 7 by Dustin Wedekind p. 9 by Dustin Wedekind p. 11
Two-drop odd-count single-needle Bead Be Bangled Bracelet

peyote stitch right-angle weave
by Dustin Wedekind p. 13 by jean campbell p. 15 by nancy jones p. 17
Link Necklace Potato Chip Netting Lady’s Slipper Earrings
by eileen arnstein p. 19 by bonnie voelker p. 20 by laurie nelson p. 22
Contents ii
Necklace Making: Five Ideas for
Designing Beaded Necklaces
Jennifer VanBenschoten
Try Dustin Wedekind's Right

Try Dustin Wedekind's
Right Angle Bezel if you Angle Bezel if you are bored with
are bored with making making peyote stitch bezels for your
peyote stitch bezels for cabochons and rivolis.
your cabochons and rivolis.
1. Bezel something.
Take a crystal stone, a gemstone
cabochon, a bottle cap filled with
resin, an old Scrabble tile - you can
stitch a beaded bezel around pretty
much anything to turn it into a pen-
dant for a beaded necklace. If you're
Necklace making is something that bored with making peyote stitch
has always come easy for me. Even bezels, try something different –– use
now, I find that my sketchbooks are right-angle weave or herringbone Make a fast and fabulous beaded neck-
lace like Perie Brown's Sophisticated
full of more necklace designs than stitch to create a unique beaded Fringe necklace.
anything else, and I'm always finding bezel, and play around with shaping
inspiration for new designs every- your beaded bezels.
where. Alkia Kalaida's Roped In Turkish
My process for designing and mak- crocheted beaded rope is a perfect
ing a beaded necklace depends on example of how a simple beaded rope can
where I get my idea for the finished be turned into a bold beaded necklace.
piece. Usually, a cabochon or other
focal bead is the starting point for 2. Make a beaded rope.
making my necklace, as I design Embellished or not, a great way to get
around that. I'll draw my colors from your creativity flowing is to just sit
the colors in the focal piece and then and make a beaded rope. Start with a
figure out what beading stitch or bead- simple spiral rope, or try something
ing technique will be used for the rest of new like bead crochet or a tubular
the piece. variation of your favorite beading
But sometimes I sit down with the stitch. You can either use your beaded
beads and I have no idea where to rope just as it is with no other embel-
start. When my necklace making ideas lishment, or add drop beads, daggers,
dry up, there are a few things that I'll glass flowers or a fabulous handmade
do to give my beady brain a little bit of focal bead!
a jump-start. Here are five ideas for Make a fast and fabulous beaded
necklace making when you need a lit- necklace like Perie Brown's Sophisti-
tle inspiration for a new beading project! cated Fringe necklace. Alkia Kalaida's Roped In Turkish
crocheted beaded rope is a perfect ex-
ample of how a simple beaded rope can
be turned into a bold beaded necklace.

page 1
3. Beaded Fringe. starting from scratch with just a pile
You can't get much easier than this of beads. It's also a great way to get
idea for beaded necklace making. your creative juices going as you think
String a length of beads, attach a about ways to connect these pieces of
clasp, and then attach a new thread in beadwork into a necklace!
the center and start making beaded
fringe! Fringe necklaces are fast and 5. Make a beaded bead.
fun, depending on how much and If you're making a necklace that is
what kind of fringe you want to use. primarily just strung beads and want
Add gemstones for a more natural to add a dash of beadweaving, stitch
look, or use funky glass beads to up a quick peyote beaded bead. You
accent your fringe. Try making can string it on a headpin to make a
strands of long, looped fringe for a dangle or slide it over a section of fine
thicker necklace. chain to be the focal point of your
necklace. Making beaded beads is also
4. Freeform beadwork. a fabulous way to use up little bits of
Freeform beadwork is an excellent leftover seed beads!
way to make a unique necklace out of
leftover bits of beadwork. Using left- Bead Happy,
over bits of beadwork for freeform Jennifer
beadwork is less intimidating than

page 2
Four Fun Ideas for Earring Making!
Jennifer VanBenschoten
Even if you don't have a beading bead loop! Or string your beaded bead
pattern handy, there are lots of ways on a head pin with a couple of crystal
that you can just pick up your beads beads and you've got a little bit of glitz
and start making earrings. Sometimes you can hang from your ears.
working without a pattern can be very
intimidating, but try one of these four 3. Beaded fringe.
ideas for earring making and find out Beaded fringe isn't just for beaded
just how much fun it can be to design necklaces and amulet bags! Making
Easy and fun: use simple brick stitch your own beaded earrings! earrings from beaded fringe is a fast
diamonds and lots of easy fringe to and easy way to make earrings with a
make a pair of Nancy Zellers' Diamond
1. Make a brick stitch serious "wow" factor. Gather a few left-
Fringe Earrings.
diamond. over beads, shells, pearls or crystals
This is pretty basic, but making that match your seed beads and use
earrings can't get much easier than leaf fringe or stick fringe to make
this. Stitch up a simple brick stitch some lush (but lightweight) beaded
diamond using your favorite beads - earrings. Or use beaded fringe to make
When I first started learning how cylinder beads, cube beads, or throw earrings that complement a beaded
to bead and was learning basic jew- in a big fire polished bead into the necklace when you don't want to take
elry-making, I loved earring making. I center of the diamond. Make some
didn't realize it at the time, but mak- funky fringe with a few leftover bugle
ing earrings a great way to learn new beads or maybe some long loops of
beadweaving stitches and jewelry- seed beads, and you have the classic
making techniques. Handmade ear- (but updated!) beaded earring. Or just
ring projects are (usually) small and leave the diamond without any fringe
not terribly overwhelming, so they and hang it from your favorite earring
make perfect beading projects when finding.
you don't have a lot of time or just Your basic peyote-stitched beaded
need to use up a few leftover beads. bead can get a little dressed up to
Earring making is also a great way make Mary Tafoya's Peyote Tassel
to get a little beading time in during Earrings.
the busy holiday season. Beaded ear-
rings make great gifts, especially if you 2. Beaded beads.
need a last-minute gift for a friend or I just have a thing for those easy lit-
co-worker. Or maybe you just need a little peyote-stitched beaded beads. It
tle something to jazz up your favorite takes literally minutes to stitch up a
winter sweater - a new pair of earrings little piece of peyote and then zip it Your basic peyote-stitched beaded bead
can really breathe new life into a favor- up. Add some more fringe or a fancy can get a little dressed up to make Mary
ite blouse! edging and hang it from a tiny seed Tafoya's Peyote Tassel Earrings.

page 3
too much attention away from the
necklace itself!
Practicing your beaded bezels can
be fun and beautiful when you stitch
up a pair of Cecilia Guastaferro's
Royal Amethyst Earrings.
4. Practice your beaded

bezels.
You can stitch a tiny bezel around
almost anything. If you have a couple
of crystal stones hanging around (or
Scrabble tiles, old typewriter keys, bot-
tle caps or something else that would
make a funky earring) grab some seed
beads and stitch a beaded bezel. Use a
seed bead loop to hang a dangle from
the bottom, or just stitch a jump ring Practicing your beaded bezels can be Find great earring making ideas like
to the top for easy attachment to an fun and beautiful when you stitch up a these fun felted ball earrings by Dustin
pair of Cecilia Guastaferro's Royal Wedekind.
earring finding. You can even stitch Amethyst Earrings.
tiny bezels around gemstone beads
and accent them with crystals and
pearls for attention-grabbing earrings.
Bead Happy,
Jennifer

page 4
Sketching Beading Designs:
Examples and Ideas from Readers
by Michelle Mach
Back in April, I wrote about how I a future in selling our handiwork. In Of course, by just asking
sketched the design for my chain fact, rarely does it seem as though we this question, I managed
maille necklace ("Rambling Rose"). I could make money on bead creations, to change a least one per-
had so many emails from beaders who as it takes so many hours of our time. son's mind:
also sketched their designs that I Not so with wire. You really can "When this survey first came out I
decided to ask everyone--Do you whip up a piece of jewelry in a matter said NO, but since then, I have started
sketch your designs? of minutes. Additionally, wire is a very and you know what? It really helps!
More than 1,300 responded and forgiving medium. If you make a Even though my drawings are pretty
only 26% answered "no." The "yes" wrong bend, you can usually just sketchy, it helps me look at my ideas
group was divided between those who unbend it! before I go pulling beads out! I had
"always" (21%) sketched and those Those who did not sketch felt that never sketched a design until last
who only "sometimes" (53%) did. they didn't need to or that drawing was weekend. I needed to figure out how
A few surprises for me: The first too difficult or too time-consuming. the design was going to look using cer-
surprise was how some beaders use "I guess I'm just wired differently. I tain numbers. Instead of my usual
sketching as a way of working with stand and stare at the materials and way, just putting the beads on the
customers. I'd never thought of that work it out in my head." wire, I actually put it on paper. Must
before, but it makes sense for custom "Most of the time I enjoy watching have been because I read the question
designs. Otherwise, you'll waste a lot it come to life from my thoughts as I in Beading Daily!"
of time and materials. Another sur- go. Usually thinking ahead takes the
prise was how much technology has spontaneity out of my ideas. I know if A few reasons for
influenced the sketching process. I do it in my head and adjust as I go, sketching included figuring out
When I'm relaxing with my beads, it probably it will be one of a kind." design problems, capturing inspira-
never occurs to me to open up my tion, saving time, saving money, keep-
computer! But the biggest surprise for ing a record of ideas, planning
me was learning how beadmakers use projects for classes, and working with
sketching. When I asked the question, other people. Many designers did not
I was thinking about beaded pieces see their sketches as absolute and
and not individual beads. But it changed them as they designed.
makes a lot of sense for beadmakers "[I sketch] only for commissions,
to sketch, particularly if they plan on otherwise my designs sort of 'grow' in
re-creating their designs. Here's what my head. I usually have a very clear
else I learned: idea of what I want and only use
For so many of us who work with sketches when I have to convey ideas
Sketch and finished bead by lampwork
tiny little seed beads, we end up doing artist Lori Peterson. She uses sketches to others".
it for the love of it. Not because there’s to make sure her proportions are right. "I work a lot in silver, so I do sketches
so that I don't waste the silver."

page 5
Work (especially during "I use a sketch book called Circa Some beaders went
meetings) was a popular (from Levenger.com). It's olive green beyond the one-time sketch.
place to work out designs. leather notebook binder, fits 8½"x11" They created entire notebooks,
"I sketch my designs partly to keep grid paper, and is embossed with my dated their designs, and added notes
my mind busy while I do a boring tele- company name. The Circa option is after they created the design. This
marketing job. I can come up with an great, it allows me to insert paper way, they had a record of their cre-
idea and explore it when I get home." whenever needed, and when the ative journey. And one beader admit-
"I am day bartender down here in design piece is finished, I can attach a ted to sketching her designs after the
Sarasota. While working, something picture of the final piece and remove it project was completed, not before.
will come to mind and I sketch my for filing. It's perfect!" "Comments both good and bad are
ideas on bar napkins!" also recorded, so if I redo the design I
Technology has will be able to remember where I've
Sketching materials impacted sketching. had any problems and how long the
varied greatly. Some readers had design systems assembly took. Keeping a record book
Some beaders used special pens, or used programs on the web like Fire really helps document my beading
colored pencils, paper (lined, graphed, Mountain's virtual beadboard. Other journey and shows how far I've come.
plain, art). Other tools mentioned tools mentioned were graphic pro- It's kind of like a Beaders Bragbook."
were charcoal, mechanical pencils, grams like Photoshop Elements and I love that idea! Even if you don't
and watercolors. One beader has cov- MS Paint, as well as the drawing tools sketch, you might consider creating
ered her beading notebook in beads! in Microsoft Word. your own "bragbook" of photos of your
"I try to keep everything in one note- "I have found it easier to use the designs. I bet you'll amaze yourself!
book, but sometimes I use whatever's camera on my phone to take a picture
handy to make notes or draw on." on my inspiration so I never miss a
"I sketch on random Post-It notes, thing. After downloading the pictures
but then I'm way too young to be orga- of a leaf that spoke to me, I find that
nized. Maybe when I get older and viewing all the pictures together
wiser I will move into a notebook!" sometimes leads me in a completely
"I use a 5"x7" notebook and generally different path. Sometimes I even find I
use a purple-ink pen. Purple ink is bliss." change the materials as well."
"I keep a rubber band around the "I like to use the stylus and touch-
notebook, as I generally clip photos of screen of my IPAQ Pocket PC. It goes
things I visualize beaded up from everywhere with me!"
magazines and ads. I also have little "MS Paint is my swiftest sketch-
Post-It notes in the book, usually of tool; I use it to check visual balance
color schemes I find interesting while and colour harmony, and to rough out Sketch and finished polymer clay cane
by artist C.A. Therien.She scales her
I am walking the streets of New York." how many of each type of bead I'll drawings down and uses them as
need to fill a length." templates for her designs.

page 6
4 Sketched Ideas for Beaded Necklace Shapes
by Jean Campbell
Melinda Barta asked me recently to unique necklace, bracelet, and earring

design a necklace for a project she's designs (it also happens to be on sale
leading. The deadline is right around right now for 75% off at the Hurt Book
the corner, so I've been madly stitch- and Overstock Sale!) is what pricked
ing, trying to come up with something my creativity. Paging through this
I'm excited about. I came up with a lovely book of strung designs proved
focal piece that I'm happy with: a free- to be a great inspiration: I took to my
form peyote-stitched flower with a sketch book and played around with
multi-pearl center. It's pretty, colorful, some necklace shapes. Here are four
and fun to make. But the next task is that I think will be good candidates
to turn that pretty flower into a piece for my flower:
of jewelry. Hmm. I could slap a pin Do you sketch out your designs,
back on it and call it a day, but I don't too? Perhaps you've used these shapes
wear brooches that often in the sum- in your necklace designs? I've just
mer and this is a very summery piece shown four here, but of course, the
that I'd like to wear. The flower is too possibilities are endless!
big and showy for a bracelet, so it's
definitely got to be a necklace. Happy beading-
Because I'm on a tight deadline, I've Traditional
been looking around for ideas on how For this design, I'd go old-
to incorporate the flower into a strung school, placing the flower at the
necklace design. Revisiting my copy of center and stringing the sides
Stringing Style, a book with dozens of with leaves and pearls. Perhaps
a flower toggle clasp to close
the ends?

page 7
Lariat Multi-strand Choker
For this style, I'd stitch some For this over-the-head necklace I'm at an age that I don't really
sort of tube on the back of with no clasp, I'd use the flower want to wear chokers anymore,
my flower, string a strand (or petals to connect straight-up but if I were to give this necklace
strands?) of seed beads that strands of pearls interspersed to my daughter, who has a beau-
with a strand of chain and pearls. tiful neck, it would look great.
would fit over my head and
It would look especially nice with I'd sew a multi-strand clasp to
through the tube, then add
the flower over to one side. the back of the flower and string
big pearls to the ends of the strands of pearls between the
strand(s). The tube would allow clasp ends. I suppose this would
me to slide the flower up and make for a nice bracelet, too; I'd
down the strands. just have to make the flower a
bit smaller.

page 8
Hexagonal Netting
by Dustin Wedekind
Materials
Size 15°, 11°, or 8° seed
beads in 2 colors (A and B)
Beading needle and thread
Inspired by Ernest Haeckel’s century-old illustrations in Art

Forms in Nature (Prestel-Verlag, 2004), I set out to create
a lacy, spiky, organic anything. The six-sided hexagon
is a favorite of the natural world, from honeycombs to
snowflakes. These samples are worked in rounds from the
center out, forming a brick-stitch sort of lace. While every
“unit” has the same number of beads, each round will have
six increase units, one at each corner, to keep the netting flat.

page 9
1: Use a comfortable length of sin-
gle thread to string 12A; pass through
them all twice to form a snug circle.
Work 6 units (loops) around the circle:
Unit 1: String 10B; skipping 2
beads, pass under the thread of the
previous round, pull snug and pass
back through the last 2 beads just
strung (Figure 1).
Units 2–5: String 8B; skip 2
beads, pass under the thread, and
pass back through the last 2 beads Figure 1 Figure 5
(Figure 2). Repeat three times (Figure
3). To help position each stitch, keep
the working thread in place as you
pull snug and pass back through the
a
last 2 beads.
b
Unit 6: String 6B; pass back
through the first 2 beads of Unit 1,
loop under the thread, and pass Figure 2 Figure 6
through the first 4 beads of Unit 1
(Figure 4).
2: Arrange your work so that the

thread is exiting the left side of the top
unit.
Unit 1: String 10A and stitch (as
in Step 1) so that they are centered on
the previous unit (Figure 5). Figure 3 Figure 7
Unit 2: (side): String 6A and
stitch between the second and third
beads in the next unit (Figure 6a).
Unit 3: (corner): String 8A and
stitch between the next pair of beads
in the same unit (Figure 6b).
Unit 4–11: Repeat Units 2 and 3.
Unit 12: String 4A and finish the
Figure 4 Figure 8
round as in Step 1 (Figure 7).
3: Continue each round as in Step

2, working 2 side units between each
corner unit (Figure 8). The following
round will have 3 side units, followed
by a round with 4 side units and so on.

page 10
Brick Stitch Increases and decreases
by Dustin Wedekind
Materials
Seed beads (A
and B)
Thread
Pin back
Tools
Beading needles
Scissors
Increases and decreases in flat brick stitch form neat

diamonds; passing through the edges of the diamonds
will cup the work, making excellent leaves, or in this case,
shamrocks. This increase adds 1 bead to a row, half a bead
at each end. It happens at the start of a row by stringing
2 beads and passing under the first loop of the previous
row; the final two stitches pass under the same last loop
of the previous row. The decrease stitch skips a loop of the
previous row, shortening each row by one bead.

page 11
Increase Row 11: String 3A and pass down Figure 5
Rows 1 and 2: String 1A and through the beads along the opposite
2B; pass through them again, leaving a edge to exit the first row (Figure 8).
4” tail to hold onto while you work. Pull taut to cup the leaf slightly.
Pass through the first 2 strung; the 1A
is the first row, the thread should be Shamrock Assembly
exiting between the 2B (Figure 1). Repeat Rows 1–11 for a second leaf.
Row 3: String 2A; pass under the After passing through the edge beads,
thread between the 2B and pull tight. connect to the previous leaf by pass
Pass back through the last bead just up through 3 of its edge beads, then
strung (Figure 2). String 1A and pass down through the last 3 of the current
Figure 6
under the same loop of thread and leaf (Figure 9). Repeat to make 2 more
back through the bead just strung leaves. For a stem, string 12 beads,
(Figure 3). Secure this last stitch by alternating A and B, then skip the last
passing through the last 2 beads of bead and pass back through the oth-
this row; this will hold the loop of ers. To make the stem bend, skip one
thread in place as you begin the next of the beads as you pass back through.
row (Figure 4). Pass through a few beads of a leaf and
Row 4: String 2B; pass under the attach a pin back. F
thread between the last 2 beads of the
previous row, pull tight, and pass back Dustin Wedekind is senior editor of
through the last bead strung. *String Beadwork magazine. If you have seed
Figure 7
bead insights, requests, or inquiries,
1B and pass under the next loop and please e-mail beadwork@interweave.
back through the bead just strung. com.
Repeat from *, passing under the same
loop (Figure 5). Secure the last 2 beads Figure 1
of this row.
Row 5: String 2A; pass under the
thread between the last 2 beads of the
previous row and back through the
last bead strung. *String 1A and pass
under the next loop and back through
Figure 2
the bead just strung. Repeat from *
twice, passing under the same loop for Figure 8
the last 2 stitches. Secure the last 2
beads of this row.
Row 6: Repeat Row 5 (6B total).
Row 7: Repeat Row 6 (7A total, Figure 3
Figure 6).
Decrease
Row 8: String 2B; pass under the
second-to-last loop of thread of the
previous row, pull tight, and pass back
Figure 9
through the last bead strung (Figure
7). String 1B and pass under the next
Figure 4
loop and back through the bead just
strung; repeat to the end of the row.
Row 9: Repeat Row 8 (5A total).
Row 10: Repeat Row 8 (4B total).

page 12
Two-drop odd-count peyote stitch
by Dustin Wedekind
Materials
Seed beads (A, B, and C)
Beading thread
Tools
Beading needle
Scissors
Our beaded tube combines two variations of flat

peyote stitch: two-drop, which means two beads per
stitch, and odd-count, which means an odd number
of stitches per row and requires a specific turn at
the end of every other row. Using three colors of
beads helps you see how the rows fit together.

page 13
Step 1: Use a needle with 2’ of end-of-row turn places the fourth row String 1C and pass through the edge A
thread to string 1A. Pass through the on top of the first row and only works and 2B of the previous rows; pass back
bead again, leaving a 4” tail, then at the beginning—the rest of the rows through an adjacent 2B and the last A
string 2B and 1A seven times. These will be worked on top of each preced- and C (Figure 4).
beads are the first two rows and will ing row. Row 6: Repeat Row 4.
become staggered when you work the Row 4: String 2B and pass Row 7: Repeat Row 5 using A in
third row. The first bead is a tension through the next A; repeat for the place of C.
bead, which will keep the beads on the entire row (Figure 3). Row 8: Repeat Rows 4–7 to com-
thread while it allows the beads room Row 5: String 1C and pass back plete eighteen rows (Figure 5).
to shift. through the last 2B strung; this is an Step 2: Line up the ends of the
Row 3: String 1C and pass back even-count turn. String 1C and pass strip and stitch them together like a
through the last 2B strung (Figure 1). back through the next 2B; repeat. For zipper, passing through 2B of one row
Repeat for the length of the row. For the last stitch, you need to work an and 1B of the other (Figure 6). Tie the
the last stitch, string 1C and pass odd-count turn by passing through tail and working threads together, then
through the first A (Figure 2). This previous rows in order to pass back weave them back into the beads; trim. (
through the last bead of this row:
1
Figure 1
and
2
1
Figure 2 2
3
4 1
Figure 3 2
3
5
4
Figure 4
1
2
3
Even-count turn
Figure 5
Tail
Figure 6

page 14
single-needle right-angle weave
byJean Campbell
This stitch, which creates a supple, strong fabric of beads,

is done by weaving beads in a figure-eight pattern. The
beads that create each stitch or “unit” all sit at right
angles to one another, thus the name! Want to go one step
beyond? Stitch up a couple of right-angle-weave squares, stack
them, and stitch the sides together to form a faux cubic right-angle-
weave component you can use as a charm, link, or earring dangle.
For this lesson, all you need is two different colors of size 11° seed
beads (A and B), a beading needle, and some thread to follow along.
Row 1, Unit 1: String 4A and tie

them into a tight circle; pass through
the first 2A strung to clear the knot.
This is the first right-angle-weave unit
(Photo 1).
Row 1, Unit 2: String 3A; pass
through the last A exited in the previ-
ous unit (Photo 2), and the first 2A 1 2 3
just strung (Photo 3). Snug the beads
to finish the unit (Photo 4).
Row 1, Units 3–5: Repeat Unit
2 three times to form a strip 5 units
long. The thread path will resemble a
figure eight, alternating directions
with each unit. Turn the strip so it sits
horizontally on the work surface. Exit
through the top bead of the final unit 4 5 6
toward the beadwork (Photo 5).
Row 2, Unit 1: String 3A; pass
counterclockwise through the last A
exited in the previous row and the first
A just strung (Photo 6).

page 15
7 8 9 10
Artist’s Tips
• Use as tight a tension
as possible, especially
for the first row.
• Once you have right-
angle weave down, it
helps to use doubled
11 12 13 thread to fill the beads
quickly, stiffening the
Row 2, Unit 2: String 2A; pass exited in the previous unit (Photo 10), fabric.
clockwise through the top A of the next the last top A exited in the previous row • Use a beading awl to
unit in the previous row (Photo 7), the (Photo 11), and the first A just strung poke each unit into
last A exited in the previous unit (Photo (Photo 12). shape.
8), the 2A just strung, and clockwise Row 2, Units 4 and 5: Repeat
through the top A of the following unit Units 2 and 3.
in the previous row (Photo 9). Rows 3– 5: Repeat Row 2 (Photo 13).
Row 2, Unit 3: String 2A; pass Secure the thread and trim.
counterclockwise through the last A
Layered Right-Angle Weave

What Would Happen If?
Are you already a right-angle-weave pro? required for a piece, this technique can be a
Love everything about it? How about cubic right- great alternative. Pass a jump ring through the
angle weave? If so, check out Carol Cypher’s Mas- corner unit and you’ve got an instant pendant
ter Class lesson on page 60. Or maybe you’re like or charm.
me and like to do things a little quicker. If so, why
not try stitching two identically shaped pieces of
right-angle weave together, then working right- Fig. 1
angle weave along the

sides (Fig. 1 and Photos a,
b, and c) to make it just
look like cubic right-angle
weave? When
the strong internal thread
structure of cubic right-an-
gle weave isn’t absolutely a b c

page 16
Bead Be Bangled Bracelet
by Nancy Jones
M y quest for an armload of bangle bracelets brought

me to this point. I had tried herringbone, right-angle
weave, and flat woven bracelets which had no body
and no personality, and tubular peyote wouldn’t make
a smooth curve. So after two years or so, voilà—a real
bangle bracelet and armloads for everyone

page 17
Bead Tube Wire Core Silver cicadas by Robert Burkett,
Step 1: Using 1 yard of thread, Step 4: Make a spiral at one end (505) 722-7077;
string 2 beads and pass through them of the wire. Start by making a small www.burkettstudio.com
again so that the beads sit side by side. loop at the end. Hold the end with the
Nancy Jones started beading in 1994
*String 1 bead and pass through the pliers and use your thumb to guide the
when she set down her tatting shuttle
last bead strung and the bead just wire around it. Slide the beaded tube and never looked back. She teaches
added. Repeat from * to create a ladder onto the wire and bend it into a circle. beading nationwide and can be con-
6 beads long (Figure 1). Finish the other end of the wire with tacted at mrsjones@houston.rr.com.
Step 2: Work brick stitch (see another spiral. If you finish both ends
“Stitches,” page 76) to make an 8" strip. before you form a circle, the beads will
Begin each row by stringing two beads not have enough room on the wire.
and passing the needle under the Step 5: Stack the wire coils and
thread between the first two beads of pass through the centers with 1" of
the previous row. The pattern may be wire. Close with the pliers to form a
anything you like—the stripes pictured large jump ring. Add a charm or addi-
here are three rows of black followed tional spirals of wire if you’d like
by six rows of colored beads. (Figure 3).
Figure 1
Step 3: Form a tube and zip it up

(Figure 2). Keep the stitches tight so
the seam doesn’t show. When you
Figure 3
need to add new thread, weave a few
rows back through the work, then back
up to the starting point of the thread. Variation
Weave the old thread back on itself for To close the bangle without the
at least 1". wire core showing (like the silver ban-
gles in the photo), string a large bead
on the wire and hook the ends of the
wire together for the finished length.
The flat tube is then zipped up around
the wire, covering it up to the bead.
Trial and error determine the length
of the beaded strip.
Figure 2

page 18
Link Necklace Eileen Arnstein
Some months ago, I had finished a spiral necklace that

featured a right-angle ring of gold beads. When I was
wearing it along with a gold link bracelet, I was inspired to
create this necklace. For the most part, I wear this necklace
for dress. However, if you change the color of the beads and
the size of the links it can look more casual.
Materials
55 strands of 3mm
gold
Czech fire-polished beads
Size B gold or black beading thread
Notions
Beading needle
Scissors
Step 1: Using 1 yd of thread, Step 3: To begin the next row, exit more right-angle weave units. Tie a
string 4 gold and pass a side bead of the last unit. String 3 gold knot between beads and weave
through all the beads again to form a and continue right-angle weave, string- through several more to secure. Trim
circle. Tie a knot. ing 2 beads for each unit to the end of close to the work.
Step 2: Pass through the next the row.
Figure 2
bead in the circle. * String 3 gold and Step 4: Exit the side bead of the
pass through the top bead of the last last unit. String 1 gold and pass
unit and the first 2 beads just strung through the side bead of the adjoining
(Figure 1). Repeat from * to work unit to begin forming a tube. Continue
22 units of right-angle weave (see right-angle weave to join the two rows,
“Stitches,” page 104). stringing 1 gold to finish each new unit
between them. Step 6: Repeat Steps 1–4 to make
Step 5: Join the ends of the tube more links, joining each tube (Step 5)
when you reach your desired length. through the previous link before you
Do so by exiting the last end bead, close it.
string 1 gold, and pass through the
corresponding bead on the beginning Eileen Arnstein is a bead artist and
Figure 1
end, making sure that the tube isn’t bead vendor who lives in the Chicago
twisted. String 1 gold and pass through area. She can be reached at sarn-
the exit bead of the last unit (Figure 2). stein@comcast.net.
Finish the tube by completing two

page 19
Potato Chip Netting
by Bonnie Voelker
Materials
Size 14°, 11°, and 8°
seed beads
Beading thread
Notions
Beading needle
Scissors
Beeswax or Thread
Heaven
Potato chip netting is simply three-bead netting that becomes

wrinkled by using smaller or larger beads in certain areas. The
basic instructions explain how to do three-bead netting. As
you work back and forth, begin to create the wrinkled areas by
substituting size 14° or size 8° seed beads for the size 11° beads.
You may begin the base row with all size 11° beads or you may
use a mixture of the three sizes.

page 20
Step 1: Using a double strand of Row 3 and on: String 5 beads, turn
waxed thread about 3 yards long, your work, and pass back through the
string a tension bead (see “Stitches,” center bead of the scallop just finished
page 84) leaving a 6" tail. (Figure 2). Continue adding scallops
Row 1: String seed beads in sets of of 3 beads and passing into the center
four for the desired width of the brace- bead of the next scallop in the previ-
let, about 2". ous row until you reach the end of the
Row 2: Pass back through the row. At the end, string 5 beads, turn
eighth bead, counting from the needle your work, and stitch in the opposite
end. String 3 beads. Skip three beads direction. Change the size of the
on the first row and pass into the beads, slowly or quickly, for the potato
fourth bead to make a scallop. Con- chip effect.
tinue to the end of the row. Remove Step 2: Attach a snap closure at
the tension bead and tie the thread to each end of the bracelet. Or sew a but-
the tail (Figure 1). Leave the tail hang- ton with the tail thread and make a
ing for now. loop with the working thread. Pass
through the closure several times to
secure, weave the thread through the
Figure 1
work, knot, and trim close to work.
VARIATIONS Necklace (far right)

Make an undulating necklace incorporating accent beads into
each segment. Control the size of each segment by measur-
ing the amount of thread that is used. Increase the number of
stitches (double or triple) one third to one half way through each
segment. When half of the thread is used, add a larger accent
bead, and begin decreasing back down. The first row of each
segment of this necklace uses size 14° beads, which help to mark
the beginning of each segment. Work them all in a row, or make
each segment separately and use the tail threads to link them
together.
Potato Chip Beads

(right)
Make a flat rect-
angle of Potato
Chip Netting and
stitch it up to make
beaded beads. Work
the first and last rows
in size 14° beads and
pull the thread very
tightly when joining
the ends. String them
onto strands of seed
beads and finish with
a clasp.

page 21
Lady’s Slipper Earrings
by Laurie Nelson
Materials
Size 14° or 15° seed beads in
white, light pink, and dark pink
Two 4mm yellow drops
1 pair of earring posts with
4mm pads
Size B white beading thread
Notions
Size 12 beading or sharps
needle
Glue
Scissors
I grew up with flowers. When I was four years old, our front porch
was converted to a greenhouse where my mother raised all manner of
plants, including several varieties of orchids. She always seemed to have
a bloom for a corsage for a teacher’s birthday a teacher’s birthday or
other special occasion. She also instilled in me a love for wildflowers.
I guess my attraction to the lady’s slipper was a natural outgrowth of
this since it is a wildflower orchid. I saw the shape as a challenge to
replicate with beads. How could I get that great lip in a smooth curve?
My quest began, and after two years of off and on refinements, the result
is presented to you here. I hope you enjoy it!
(Oh, and one more reason for the lady’s slipper: it’s the
state flower of Minnesota, Jean’s home.)

page 22
Basic Petals Step 4: Without starting a new Step 9: Peyote stitch back to the
thread, repeat the steps above for the base, adding 2 white. Pass through the
Step 1: Using 1 yard of thread second petal. Keep the second petal near base beads of the first and sec-
and leaving a 4" tail, string 9 white. snug against the first one. Pass ond petals to help secure the fourth
Pass back through the sixth bead. You through the base beads of the first petal. The petal may tip forward a bit
have just made the tip of the petal. petal one or two times while creating now, but it will eventually nestle
Work peyote stitch (see “Stitches,” the second to secure them together. under the lip. Peyote stitch 2 white
page 72) back to the base, adding 3 back up one side. Pass through the 3
white. You now have your first 3 rows Top Petal beads at the tip of the petal and pey-
and a base 2 beads wide (Figure 1). ote stitch 2 white down the other side.
Step 5: With the thread exiting
between the bases of the first and sec- Lip
ond petals, string 10 white. Pass back
through the seventh bead. Step 10: With the thread exiting
Step 6: Peyote stitch back to the from the center of the joined bases of
first bead strung in Step 5, adding 3 the first and second petals, string 4
white. Pass through the near base white, 4 light pink, and 4 dark pink.
bead of the first petal and the outer Pass back through the ninth bead (the
second row bead of the first petal. first dark pink).
Pass through a bead 1 row up from the Step 11: Row 1: Peyote stitch
base of the third petal to help secure back to the base adding 2 light pink
the third petal to the first two (Figure 3). and 2 white. Pass back through the
Figure 1 center of the base petals (where you
started the lip). Exit at the front
between the base and the second row
of the first petal.
Step 2: Peyote stitch 3 white back Figure 3 Row 2: Peyote stitch to the tip
to the tip. Pass through the 3 beads at using 2 white, 2 light pink, and 1 dark
the tip of the petal. Peyote stitch 3 pink. Pass through the tip and peyote
white back to the base. stitch back, adding 1 dark pink, 2 light
Step 3: Pass through 1 base bead pink, and 2 white. The base of the lip
and through the next bead. Peyote will be 3 beads wide. Pass between the
stitch 2 white up the side. Pass base and the second row of the second
through the tip and peyote stitch 2 petal and back up between the base
white back down to the base (Figure and the second row of the first petal.
2). This is the first petal. Row 3: Peyote stitch 3 light pink
Step 7: Peyote stitch 3 white up and 1 dark pink. Weave across to the
the side. Pass through the 3 tip beads other side, but don’t go through the
and peyote stitch 3 white back down tip; you’ll need to get through there
to the base. Peyote stitch 2 white up later and don’t want to fill it with
the side. Pass through the tip beads thread. Peyote stitch down the other
and peyote stitch 2 white back down side using 1 dark pink and 3 light pink.
to the base.
Bottom Petal
Step 8: With the thread exiting

from between the base beads on the
opposite side of the first and second
Figure 2 petals, string 7 white. Pass back
through the fourth bead just strung.

page 23
Row 4: Don’t add a bead at the base down the other side (Figure 6). Now TIPS
but weave up to the next available pull the thread tight so that no thread Be careful not to fill the tip
space. Peyote stitch 1 light pink and 1 shows between the beads and you bead on the lip with thread. A
dark pink. Weave through the next make an extreme decrease. The lip few passes are okay; more than
available space. Add a dark pink bead should begin to form a cup around that and you may have prob-
lems before you’re done.
in what would be the next peyote spot, the yellow drop bead.
then make a U-turn into the adjacent
This project really needs to be
bead since there won’t be another done with small beads. The
bead on the opposite side for a normal proportions are different on
peyote stitch. This will be called the size 11° beads and the flower
Point Bead (Figure 4). Peyote stitch just doesn’t come out right.
back toward the base, adding a dark
pink bead between the light pink and The base petals and lip can be
dark pink that were just added (Figure 5). constructed separately and
Add the yellow drop bead between then joined together for finish-
Rows 2 and 3 as you weave across the ing. Make sure you don’t fill
base to the other side and repeat Row 4. all the base bead holes with
Figure 6 thread if you decide to take
this approach.
Step 13: Pass through the 4 out-

side beads (1 white, 2 light pink, 1
dark pink). Add a dark pink, pass
through the dark pink you added near
the tip last time, through the tip, and
repeat down the other side (Figure 7).
Pull tight again to make a decrease.
Figure 4
Figure 7
Step 14: Pull your thread to the

back trying to position it in the center
of the first and second petal base
beads along with the original tail.
Figure 5 Knot the ends, apply a dot of glue, and
trim close to the work.
Step 12: Weave up from the base Glue the earring post to the back of
through 5 beads on the outside edge the top petal, just above the base.
(1 white, 2 light pink, 2 dark pink).
Add a dark pink and stitch through
the dark pink Point Bead. Add
another dark pink, peyote stitch
through the tip bead, and repeat back

page 24

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Stringing

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Step 4 CLASP: Use chain-nose pliers Tools

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© 2010 Interweave. Not to be reprinted. All rights reserved.

© 2010 Interweave. Not to be reprinted. All rights reserved.

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