100

FAB PAGES
EARRINGS,
PENDANTS,
BRACELETS

BEAD&jewellery www.beadmagazine.co.uk
ISSUE 106 £5.99

57pages
HOT ON THE of projects
HIGH STREET
Flowers are bang BEADWORK
on trend in 2021. WIREWORK
We show you why. METAL CLAY
POLYMER CLAY

RUXANDRA Y
EAESLLERY
JEW MAKE

PUSCAS TO

Embrace your red carpet

glamour with this gorgeous
bracelet that’s fit for a princess

02
TAKE A PEEK INSIDE THE
WORLD OF PEARLS
9 771750 163031 >
5 B E A D & J E W E L L E R Y n I SS U E 6 9
www.spellboundbead.co.uk
47 Tamworth Street, Lichfield, Staffordshire, WS13 6JW 01543 417650
see website for current shop hours

Bring some colour into your

world with Spellbound Kits,
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112 pages £14.95

Babylon Necklace Kit

 ‘Asterisk Pendant’
Designed by Starman TrendSetter Ivona Šuchmannová
For more of her work visit http://spiralabeading.blogspot.com/
Get the pattern through your favorite bead store or online retailer

ASK YOUR LOCAL BEAD STORE FOR STARMAN BEADS OR ORDER FROM:
Creative Beadcraft Ltd I-Beads pasart Robin’s Beads
www.CreativeBeadCraft.co.uk www.I-Beads.eu www.pasart.pl www.Robins-Beads.co.uk
Greenbird Kadoro Perlenexpress.de Tanzee Designs
www.greenbird.ru www.Kadoro.pl www.PerlenExpress.de www.TanzeeDesigns.co.uk
Gyöngysziget Limited Edition Perles & Co WirWar Kralen
www.Gyongysziget.hu www.cursussieraden.nl www.PerlesAndCo.com www.WirWarKralen.nl
Hobby Perline Old Bicycle Shop
www.HobbyPerline.com www.OldBicycleShop.co.uk

AUTHORIZED
DISTRIBUTOR Bead Stores—Free shipping* over €500. Register as a reseller.
*See website for details.

EUROPE: Koralex Wholesale +420 483 360 288 · www.CzechBeads.eu · Sales@SeedBeads.eu

US: Starman Wholesale +1 360 683 3399 · www.CzechBeads.com · Sales@StarmanInc.com
contents Regulars Projects
www.beadmagazine.co.uk
Issue 106
6 BEADSTASH 8 ARABASQUE
The trends, the inspirations and the Don’t be a square in this encrusted
must-try buys you’ll love circle pendant
Bead&Jewellery magazine is published
eight times per year by Ashdown.co.uk
To reach us: Call +44 (0)1903 884988.
32 BEAD PROFILE 12 BLUE WALTZ EARRINGS
Ruxandra Puscas tells us how beading Dance your way into the new year in these
Or write to: Bead&Jewellery,
became a big part of her life beautiful silver and blue topaz earrings
PO Box 2258, Pulborough RH20 9BA
Great Britain
email: support@ashdown.co.uk
36 WE’RE TALKING ABOUT 20 PIXIE EARRINGS
Czech Navette beads and how we can Sumptuous sparkle is the name of the
Website: www.beadmagazine.co.uk use them game for these earrings
US office: Ashdown Inc., 68132 250th
Avenue, Kasson, MN 55944, USA.
Tel: 507 634 3143
48 THE JOHNSON SOLIDS 27 LOCHS OF LUCK
70 beaders from 17 countries came This necklace and earring project is
email: usoffice@ashdown.co.uk
Website: www.beadmagazine.net
together to make 92 shapes known as fabulous for stash busting
the Johnson Solids. Read all about it
Editor: Vicky Roberts
email: editor@beadmagazine.co.uk
here 41 GRECIAN GODDESS
Let out your inner goddess in this
Editorial Director: Richard Jennings
email:richard@ashdown.co.uk
61 HOT ON THE HIGH STREET stunning polymer clay necklace
Flowers are bang on trend for this
Advertisement sales:
Maria Fitzgerald
season, and we’re showing you what 47 PEARL HAIR JEWEL
Email: maria@ashdown.co.uk
we’ve done with them Pretty little hair clip for any occasion
Design: Richard Jennings &
Wendy Crosthwaite
70 SHOP PROFILE 50 DUCHESSA BRACELET
We catch up with the lovely Davida from On the cover!! Feel like royalty in this
Subscriptions:
The Old Bicycle Shop and hear all about opulent bracelet
UK: support@ashdown.co.uk her fabulous bead shop
US: usoffice@ashdown.co.uk 66 HYACINTH CASCADE NECKLACE
ISSN 1750 - 1636. Printed in the UK. 72 COLOUR CRAZY Spring is just around the corner and this
Mix up all the bright colours in this delightful waterfall necklace will be
Subscription prices: component style bracelet. perfect
Per year: UK £48.99
European and worldwide prices will be
adjusted to local currencies. See online
79 FOR THE LOVE OF PEARLS 76 ZISE EARRINGS
Marie Chalmers gives us all the Take a trip to the Orient in these stone
for details at www.beadmagazine.co.uk or info on pearls set PMC earrings
please call +44 (0)1903 884988. All of our
subscriptions are handled by us at B&J.
88 MAKE ME TODAY,
WEAR ME TOMORROW
83 WHY GRANDMA (WHAT BIG EYES)
Fun and useful are what makes this
Let’s go back to basics with this stunning pendant so special
spiral bracelet, complete with a button
Reproduction in whole or part without the written
permission of the publisher is prohibited. The written
fastening 91 TULA MOONS CUFF
Holly Bean introduces us to cork in her
instructions, photographs, designs, patterns and
projects in this magazine are intended for the personal
use of the reader and may be reproduced for that
98 WHERE IT ALL BEGAN bead embroidered cuff
purpose only. Any other use, especially commercial use Sue Neel chats about how she first got
is forbidden under law without permission of the copy-
right holder. All editorial contributions are welcomed by
Bead&Jewellery but the publisher can accept no
into jewellery making 94 SHAPES AND CRYSTALS EARRINGS
responsibility for loss or damage to contributions. Wear with everything fringe earrings
Material is accepted solely on the basis that the author
accepts the assessment of the publisher as to its
commercial value. All material submitted is accepted on
the basis that copyright of will be vested in the Caring for the environment: Here at Bead&Jewellery we’re as concerned about the environment as you are. We’re doing
publisher who assumes all rights worldwide, in all everything we can to ensure the magazine is produced in the most eco friendly way possible.
forms and media. © Copyright ashdown.co.uk Our magazine is printed using vegetable-based inks on an environmentally responsible paper, which is certified by the prestigious
Postmaster: Send address corrections to Ashdown Inc., FSC® (Forest Stewardship Council), the not-for-profit organisation dedicated to the promotion of responsible forest management
68132 250th Ave., Kasson, MN 55944 USA. Canada Post worldwide. Our paper also carries the internationally recognised EU Eco-label.
International Publications. All rights reserved. Our local printers, Gemini Print, are just a few miles from the B&J offices. They are one of the leading eco friendly printers in the UK,
with both FSC® and ISO 14001 certification. They are backed by a series of environmental credentials that allow them to work under
the “Green Printing Label”. Our printers are also a sponsor of the Woodland Trust – the UK’s leading woodland conservation charity.

4 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 “we make it simple...you make it special”
Welcome
Let me first start by wishing
everyone a Happy New Year.
I hope that 2021 is going to
be a better year for us all
and that it brings you all
the joy and happiness and
obviously all the beads that
you could possibly wish for. If 2020 taught
me anything it was that I really appreci-
ate the people around me even more. I
also think that was also shown by how the
beading community came together in more
ways than it did already. There was so much
kindness and people befriending each other.
The new ways of connecting, supporting
and just generally being lovely was amaz-
ing. With that in mind we decided to bring a
bigger issue for 106 to celebrate all things
beady including the designs by our wonder-
ful designers, techniques, beads, and not to
mention a few fabulous articles.
Step into our world of beads
Up first is our super sparkly cover girl
Ruxandra Puscas with her ‘Duchessa’
bracelet. The word opulent comes to mind
when you see this bracelet and perfect for
getting rid of those post festive blues by
keeping the sparkle for just a bit longer. We
have a couple of new ladies joining us for
this issue. First up is Sue Neel and she has
a great stash buster necklace and ear-
ring project for us that you could wear with
36
everything. Secondly is Holly Bean with her
cork fabric bead embroidered cuff. This is an
excellent project for a beginner wanting to
take their embroidery skills to the next level.
Amanda Connell’s projects are always so fun
to make and her Why Grandma (What Big
Eyes) is no exception. Not only is the piece a
lovely pendant, but the centre is a magnify-
ing glass and great for keeping with you for
those times of need. Becs Dean-Skinner’s
earrings are quick to make and fabulous to
wear. Another lady who makes earrings that
we all need in our life is Debora Hodoyer.
Debora’s earrings are great for everyday
wear. We all love a Spellbound Bead Co. pro-
ject and Julie’s Hyacinth Cascade necklace
is the waterfall necklace of dreams.
Moving on from bead weaving, we have
the most stunning stone set earrings from
Tracey Spurgin. This is an intermediate
project and will take your PMC skills to the
next level. Hannah Walker is still enjoying
working with polymer clay and it shows in
her latest piece. Lastly, Alison Tarry has
some truly show stopping wire earrings for
us to get our teeth into.
Regulars
Time to take a break, make a cuppa and
read through our articles and boy do we
have some treats in store. Marie Chalmers
talks us through her love affair with pearls.
Diane Fitzgerald tells us all about how 70
12
27
beaders from world wide beading communi-
ty came together to make 92 shapes knows
as the Johnson Solids. Ruxandra Puscas is
our designer profile for this issue and she
tells all about how she first got into beads
and what makes her tick as a designer. Sue
Neel chats about ‘Where it all Began’ for
her. We also chat to the lovely Davida about
her divine bead shop - The Old Bicycle Shop.
Check out our regular features starting
with ‘Hot on the High Street’. Flowers are
still bang on-trend and if it’s something
us beaders do well, that’s beaded flow-
ers. ‘Make Me Today, Wear Me Tomorrow’
is a back to basics bracelet made up from
multiple components using seeds, pearls
and crystals. ‘We’re Talking About’ Navette
beads and how to use them in this com-
ponent based necklace. You can make as
much or as little of this project as you’d like.
Whether that be the full necklace, a pendant
or even change it up and make earrings. Fi-
nally, we have a fun to make bracelet in the
brightest colours for ‘Colour Crazy’. You can
also catch up on all the latest must-have
products to hit our stores in ‘beadStash’. I
hope that you enjoy this issue and that we’ve
inspired you.
Vicky x
Vicky Roberts, Editor
email: editor@beadmagazine.co.uk
41
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 5
bead stash
THE TRENDS, THE INNOVATIONS AND THE MUST TRY BUYS

Three hole
Navette
Brand new from the BeadSmith are
these Czech glass Navette beads. we all
Their shape and 3 holes ensure
that they work perfectly with Bridge
beads, and the range includes some
Ceramic heaven N EE
more b D
beautiful new colours with names like Take a look at these gorgeous new ceramic Nicky loves experiment- eads
Curry, Ginger and Chilli. Prices start beads that have been designed with ‘canal ing with ceramic beads X
at £2.25 for a 10 gram pack contain- art’ in mind. They are from Nicky Sloan of and other components so
ing about 25 beads. Blighty Beads and can be found via Nicky’s you will find a fabulous selection of different
www.tanzeedesigns.com Etsy store: BlightyBeads.etsy.com styles to choose from.

Delightful Delica Beads

Miyuki have released 17 fabulous new metallic Duracoat
colours and Spellbound Beads are stocking all of them in
both size 11 seed beads and in Delica beads. The Delicas
are £3.95 each for a 5g bag, the seed beads are all £3.75 for
a 14ml pot. Find these, the whole range of Delica 11s, and
lots of Miyuki seed beads at www.spellboundbead.co.uk

Christmas patterns
Over the last few months ThreadABead has increased their
range of Christmas patterns to include these stunning boxes
and ornaments. With their intricate designs and clever con-
struction you will marvel as you bead along with step by step
detailed instructions creating heirloom beadwork to be proud
of. All patterns come with the option to download or print
& post. Each design has a corresponding component pack
available with all items needed to create each item. Pattern
prices start from just £7.90. www.threadabead.com

6 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 ELOVEIT!
W
Precious Preciosa
Stitchncraft Beads are stockists of an
extensive range of Preciosa Crystals
and Nacre Pearls. You will be spoilt
for choice with the impressive colour
range in our Bicones, with a vast as-
sortment of AB finishes, Chatons and
Nacre Pearls. The high quality will
Check out those Czech beads
shine, shimmer and sparkle through Stunning Czech beads from www.etsy.com/uk/shop/Beadsandmore-
your finished beadwork. byYashma. Including Etched Elongated Drop Czech Glass Beads,
Visit www.stitchncraft.co.uk to see the 20x9mm, 6 beads for £3.67, Natural Rondelle Czech Glass Bead Mix,
full range of Preciosa Crystals and 3x5mm, 300 beads for £9.67, Fluted Central Cut Saturn Czech Glass
Nacre Pearls. Beads, 12x14mm, 10 beads for £4.00 and Table Cut Cactus Flower
Czech Glass Beads, 9mm, 20 beads for £4.20.

Scrumptious seed beads

Old Bicycle Shop has just received their latest de-
livery of Miyuki seed beads, which includes the new
gorgeous range of Galvanised Duracoat 11/0 seeds.
There are 17 fabulous colours to choose from, with
wonderful descriptions such as Poseidon Blue, Dark
Steel Green and Lilac Night, all priced at £2.75 for
10g. They now have 370 colours of Miyuki 11/0 seed
beads on their website with the range expanding all
the time. www.oldbicycleshop.co.uk

Flower power
These pretty 9mm flower beads have a Poma the Penquin
hole running across the bead and come in
A new kit from Oak Tree Crafts, “Poma the
a wide range of colours, bright, pastel and
Penquin” and she is of course dressed up
muted, making them suitable for a wide
range of projects. Prices start at £1.25 for
We all need for the cold weather.

a pack of 10. www.tanzeedesigns.com Nanofil Cleverly she has also

remembered to take
Nanofil Bead- her skis to have some
ing Thread has fun with friends. The
Athos Oval newly arrived
at Jencel! Nanofil
full project (instruc-
tions and compo-
Cabochons is super strong, and is fast becoming a nents) are priced
Stunning new oval cabochons measuring favourite among beaders. It resists fraying, at £22.50. The kit
20x10mm and priced at only £1.15 each. does not stretch, knots easily when you component pack
The range comes in 31 beautiful colours. finish a thread, and most beads will not cut on its own is £13.50
The picture attached is for a ring kit called through it. The diameter is similar to that of and the instruc-
Ann in Crimson that we sell for £9.95. Fireline. Nanofil is available in Clear Mist in tions on their own are
www.spoiltrottenbeads.co.uk 4lb, 6lb and 8lb weights, at £9 for 50 yards. £9.00.
from www.jencel.co.uk www.oaktreecrafts.com

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 7
 BEAD WEAVING

Arabesque
A stunning pendant made out of RAW
and embellished with seeds and crystals
DESIGNED BY VICKY ROBERTS

A
rabesque has several meanings,
but one is that it’s an intricate or
elaborate pattern, and I feel that
fits perfectly with this wear anytime
pendant. The base pattern is made
out Right Angle Weave (RAW) and then
embellished with seeds and crystals on
both sides to give structure. It’s fab as
a stash buster as its made from seed
beads, bicones and round beads and as
beaders we often have at least some
of the basics squirrelled away. If you’re 1 2
new to beading, you’ll have no prob- Using a wingspan of thread, pick up Pick up 1(C), 1(B), 1(C), 1(B), 1(A) and go
lems finding the materials for this pro- 1(A), 1(B), 1(C), 1(B), 1(C), 1(B), tie back into the (B) you started from, from
ject. I added my piece to a pretty chain a double overhand knot and weave the opposite side. Weave through the
that already had a pendant on that I through the (A) and first (B). 1(C), 1(B), 1(C), 1(B)
was gifted, but you should be able to
find lots of pretty chains on the market.
Etsy is perfect for finding something a
bit unusual. Alternatively, you could add
the piece to a long piece of ribbon, or if
You will need:
you add an extra few size 11 beads over n 12 x 4mm Pearl - Iridescent green (A) n 3g Size 15 Miyuki Seed Beads - Dura-
one of the 6mm Druk beads, you could n 24 x 6mm Druk - Lila Vega Luster (B) coat Galv Champange (E)
have a loop to add a jump ring and a n 5g Size 11 Miyuki Seed Beads - Dura- n Chain
bail to and then pop through a beaded coat Galv Light Smokey Pewter (C) n Fireline 6lb.
rope. The piece will take you roughly a n 36 x 3mm Swarovski Bicone - Pacific n Size 13 Needle
couple of hours and costs around £15. Opal (D)
Enjoy!

8 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD WEAVING

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 9
 TOP TIPS

TENSION Keep a tight tension when do-

ing the RAW units.
BE AWARE Take care when pulling the
thread through the crystals as they can
be Sharp.
NEEDLE Use a size 13 needle as there
are multiple passes through some of
the beads and you don’t want to break 4 6
a bead Continue steps 2 & 3 for a total of 11(A) Pick up 1(D) and go into the next (A)
beads. To add in the last RAW unit pick along. Continue adding (D) beads all the
up 1(C), 1(B), 1(C) and go into the side (B) way around. Finish by coming out of an
on the first unit (A).

3
Pick up 1(A), 1(B), 1(C), 1(B), 1(C) and go
back into the (B) from the opposite side.
Weave through 1(A) and 1(B).
5 7
Lastly, to finish the unit, pick up 1(A) and Pick up 5(E) and come through the (A)
go into the (B) you originally came out of you’re coming out of again so that the (E)
from the opposite side. Reinforce the join beads sit over the (A) in an arc. Weave
and weave around to come out of an (A). forward through the (D) and into the next
(A). Repeat all the way around. Weave up
the first 3(E) of a set of 5(E).

10 B E A D & J E W E L L E R Y n I SS U E 1 0 6

8 11
Pick up 1(E), 3(C), 1(E) and lining up your
(A) with the (B) bead above it, take your
needle through the (C) before this (B),
through the (B) and into the following (C).
These will be the beads from the RAW
units from the first few steps.
9 (B) on the edge of your piece.
Pick up 1(E), 3(C), 1(E) and go back into
the (E) you came out of in the previous
step.
10
Pick up 2(E), 1(D), 2(E) and go
into the middle (E) from the next
set of 5(E) along.
BEAD WEAVING
Continue steps 8-10 all the way around.
12
Weave around to the other side of your
piece that doesn’t have the embellish-
ments on and repeat steps 6-11 on this
side. Finish by coming out of a (C) after a
13
Pick up 1(C) and go through the next (C),
(B), (C). Continue adding (C) beads all the
way around. Weave off threads. Pop a
long chain through the hole in the middle
so that your pendant hangs low.
i nspiration
I really want to try and make more
pieces that don’t include a huge chunk
of crystal and even though I was super
tempted to add a piece to the middle,
I left it open. I was very pleased with
the result.
SUPPLYSHOPS
Old Bicycle Shop, www.oldbicycleshop.co.uk
Stitchncraft Beads, Shop Tel: 01747 830666,
Mail Order Tel: 01747 830666
www.stitchncraft.co.uk
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 11
 WIRE WORK

BLUE
waltz
EARRINGS
Dance your way into the new year
with these statement earrings
DESIGNED BY: ALISON TARRY

12 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 WIRE WORK

You will need:
n 1.2m x 0.8mm sterling silver wire
n 7m-8m x 0.4mm sterling silver wire
n 2 x faceted London blue topaz
marquise (12mm x 6mm)
n 2 x through drilled Swiss blue topaz
drops(8mm x 5mm)
n 6 x 3mm faceted sky blue topaz
rounds
n 1 pair sterling silver shepherd hooks
n 2 x 4mm (internal diameter) jump
rings
n 2 sterling silver head pins
n Flat nosed pliers
n Round nosed pliers
n Flush cutters
n Gizmo coiler with 0.8mm mandrel
DESIGN NOTE
If using sterling wire for the first time,
I would always recommend practicing
with plate or copper wire first, espe-
cially with wire weaving.
P
eople often say that bigger isn’t the point of the middle core wire. With
always better, but with these approximately 1m of 0.4mm wire, wrap
earrings that is certainly not the 2 times around the outer core then 2
case, bigger is totally better! These times around both wires ensuring that
show stopper earrings inspired by one it is not tight into the point of the middle
of Alison’s favourite tv shows and are core.
made from sterling silver wire and blue
topaz. Natural blue topaz is exceedingly
rare and so most blue topaz found in
the marketplace today is white topaz
that has been irradiated. This is a safe
procedure which permanently changes
the colour of the topaz to anything from
the pale sky blue, through the vibrant
Swiss blue and into the darker London
blue. These earrings will take your
roughly 4-6 hours and if using the ster-
ling wire will cost about £40. To keep 3
the cost down, you could use silver Wrap 4 times around the outer core. If
plate wire that will then cost around this does not sit flush to the last wraps
£10. Alison says ‘If using sterling then ease your tension when wrapping
wire for the first time, I would always around the 2 wires.
recommend practising with plate or
copper wire first, especially with wire
weaving’.
The pointy bit

1 2 outer cores, finishing with 4 wraps
Cut 3 x 20cm lengths of 0.8mm silver
wire, bend in the middle to make a tight
V. Place so that they sit inside each
other in a staggered way. These are the
core wires.
4
Wrap 1 time around the 2 wires, bring
the third core into the middle and wrap
once around all 3, then once around the
around the outer core. Again take care
with your tension.

5
Repeat step 4 a further 6 times so that
you have 7 of the triple wrap sets and
2 finish with 4 wraps around the outer
Start on the outer core wire level with core.

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 13

6 match as possible.
Repeat steps 2 - 5 for the other side
of the V. With consistent tension your
spikes should line up on each side of the
V.
7 Repeat step 8 for the other side. Do not
Bend the inner core wires in from the
last triple core wrap so that they cross in
the middle. Bend the middle core wire in
from the last double core wrap creating
a slight gap between the 2 wires.
8 and outer core wires.
Bring the 0.4mm wire forward between
the outer and middle core then wrap
once around the middle and inner core.
Wrap 4 times around the middle core.
Wrap once again around the middle and
inner core then 4 times around the mid-
dle core.
14 B E A D & J E W E L L E R Y n I SS U E 1 0 6
WIRE WORK
TOP TIPS
SIZE UP Change the marquise gemstone
for a larger cabochon, scale up the wire
sizes and create a great pendant.
SECOND EARRING As you are creating
the second earring, keep the first close
to compare so that they are as close a
12
Compress the coil against the end of the
mandrel and wrap 0.4mm wire around
the coil in the natural groove. Take care
not to pull too tight or the 0.4mm wire
will slip between the coils. Trim to 25mm
and trim off the end wires.
9
trim your 0.4mm wire.
13
Repeat steps 11 - 12 to create another
coil section.
10
Bend the middle core back out towards
the outer core at about a 90 degree angle
forming a triangle between the middle 14
Thread one of the coil sections onto each
of the inner core wires and curve them in
The coils to create a marquise shaped space in the
middle. Bend the core wires so that they
are both vertical.
11
Coil 0.4mm wire around a 0.8mm man-
drel until you have a 9cm coil. Thread the
coils onto the 0.4mm wire and coil again.
 WIRE WORK

The sides

15
Return to one of the 0.4mm wires at
the crossed cores and bring it between
the middle and outer cores then wrap 4
times around the outer core taking care
to ensure that the wraps start adjacent
to the previous wraps by holding it in
18 19
Wrap 4 times around the middle core Shape the middle core wires around the
then 1 wrap around both. Repeat 3 times coil section allowing the outer core to
then finish with 4 wraps around the mid- form a V. Wrap the 0.4mm wire around
dle core. the 2 cores being careful not to pull them
closer, then wrap 4 times around the
COLOURWISE middle core again.

place. Sky is the limit for these earrings. Stick

to silver and patina them, change to
copper and try some turquoise or go
funky with some coloured wires.

16
Bring the 0.4mm wire between the 2
cores and wrap 3 times around the mid-
dle core. The uneven number of wraps
are because of the different lengths of
the triangle sides.

17
Repeat steps 15 -16 4 times or until the
2 core wires almost meet.

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 15

20
Add one of the 3mm sky blue topaz, pass
the wire between the 2 cores then wrap
3 times around the outer core and trim
off the end of the 0.4mm wire. Using the
middle core, form a loop around the in-
ner 2 cores and trim off the excess mid-
dle core wire so it is tucked behind.
21
Repeat steps 15 - 20 for the other side of
the V.
22
Create a loop at the top of each outer
core wire, curling it in towards the
remaining inner core wires. Trim off the
ends of the outer core wires.
16 B E A D & J E W E L L E R Y n I SS U E 1 0 6
WIRE WORK
23
Twist the two inner core wires so that
one is on top of the other and form a loop
on each so that one sits above the other.
Trim off the ends of the inner core wires.
Finishing off
24
Using a piece of 0.4mm wire, wrap twice
around one outer core loop and the inner
core 2 loops then cross the wire to the
other side and repeat. Wrap once around
the 2 outer core loops and the central 2
wires.
25
Bring the wire forward as high as you
can and add on another of the 3mm sky
blue topaz taking the wire through to the
back. This will sit proud of the 2 inner
core wires concealing them.
26
Bring the wire forward between the 2
coil sections. Add on one of the marquise
gem-stones and finish the 0.4mm wire
around the 2 inner core wires and trim
the excess.
27
Put one of the Swiss topaz drops point
down onto a head pin and create a small
wrapped loop. Using one of the jump
rings, add the drop to the crossover of
the inner core wires at the base of the
coil sections. Add the shepherds hook to
the double loop at the top of the piece.
28
Repeat from step 1 for the second ear-
ring to complete the pair.
BEADLINK: www.alisontarrydesigns.co.uk
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 17
 Matsuno Bugle Beads

Turquoise Frosted AB Topaz Frosted AB Black Frosted AB

BU3-015F BU3-025F BU3-748F

• TOHO including Aikos and Charlottes

• Miyuki Delicas
• The full range of CzechMate beads
• Matubo Rivolis, SuperDuos, GemDuos,
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• Czech Charlottes
Silver Lined Aqua Carnival Blue Iris Emerald Frosted AB
• Many other shaped beads BU6-045 BU6-614 BU6-023F
• Friendly, helpful and knowledgeable staff
• Same day despatch on telephone and online orders
• Free delivery on UK orders over £10

Lime Frosted AB Amethyst Frosted AB Peach Frosted AB

3 Long Street, Wotton under Edge, TW9-018F TW9-011F TW9-009F
Gloucestershire GL12 7ES.
Tel 01453 520 000 Unit L, St Erth Industrial Estate, Hayle, Cornwall, TR27 6LP
01736 751070 sales@gjbeads.co.uk
www.Tanzeedesigns.co.uk
www.gjbeads.co.uk

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18 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 fine art & craft supplies from
george weil
Tools and mediums for the experimental jewellery
designer including Art Clay Silver clays, Sculpey and
Fimo polymer clays, DAS air dry clay, Merino wool,
silk yarns, fine silver findings...

Delft Inspired Bracelet by Cara Jane Hayman | Premo Sculpey Polymer Clay

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Old Portsmouth Road, Peasmarsh, Nr Guildford, GU3 1LZ
Tel: 01483 565800 Email: sales@georgeweil.com

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 19
 BEAD WEAVING

A
PIXIE
fter the festive season is all over
and the last bit of sparkle has
been put away, it’s always nice
to have something else that is super
sparkly to concentrate on, and these ear-
rings are just that. They’re component

earrings
based, so you can either make the single
Rivoli or Chaton component or go full on
bling by pairing up the two. The smaller
ones are perfect for the office or maybe
a flower girl. The Rivoli ones are full on
pub night out with the girls worthy, and
the showstopper version is perfect for
that trip to the supermarket when you
want to dazzle all the other shoppers. We
love the colour Becs has used, but these
will also be fabulous in most colours.
Why not try pastels for spring to look
more like flowers or pearl and whites for Sparkle all year round in
a beautiful bride. Taking just four hours
to make and costing under £15 these will
these gorgeous earrings
be your go-to earrings.
DESIGNED BY BECS DEAN-SKINNER

very loose, then add the 14mm Rivoli

with the front facing up. Pull your thread
tight and reinforce the thread path. Go
back through the outer hole of one of the
(B) beads.

1
Pick up 1(A), 1(B) 10 times and tie in a
circle with a double knot. Thread through
a few beads until you are exiting a (B),
and then thread through the top hole of
the (B).
You will need:
n 2g Size 11 seed beads 2g (A)
n 40 x Quarter tila beads (B)
n 3g Size 15 seed beads (to match (A))
(C)
n 5g Size 15 seed beads(D)
n 20 x Quarter tila beads (E)
n 2 x14mm Rivolis
n 2 x 8mm (ss39) Chatons
n Ear wires
n Fireline
n Beading needle
n Scissors
n Pliers for adding ear wire
2
Pick up 1(B) and thread through the top
hole of the next (B) in the circle from step
1. Repeat around the circle, go through
the first (B) you added in this step and
then through the top hole.
4
Pick up 4(D), go through the correspond-
ing hole on the next (B) on the front side
of the bezel. Repeat a further 9 times all
the way around the bezel. Step up by go-
ing up the first 2(D) added in this step.
3
Pick up 1(A) and go through the top hole
of the next (B) in the circle from step 2.
Repeat this around the circle but do not
pull tightly yet. Go through the first (A)
added in this step, keeping the tension

20 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 BEAD WEAVING

I always find it hard to name

my projects, this one is
named after my cat!
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 21

5 6
Pick up 1(D), go through 2(D), 1(B), 2(D).
Repeat this around the bezel. Adding the
5th bead to the picot in this way makes
them more pointy.
Step up by exiting from a (B) bead with
your thread coming out towards the front
of the bezel.
DESIGN NOTE
These earrings were the result of me
trying to use up some of the two-hole
beads that have been in my stash for
some time.
22 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD WEAVING
Pick up 3(C). Go though the next (B).
Repeat this around the bezel. Step up
by exiting from the first (C) added in this
step.
To make these picots more pointy, we
will: skip the middle (C), go through the
third (C) and the next (B). Repeat around
the bezel; go through 1(C), skip 1(C), go
though 1(C), 1(B). Thread through to the
outer hole of a (B) on the back of the
bezel.
7
To make the loop for the ear wire: Pick
up 7(C), go though the next (B). To rein-
force this loop, go down through the low-
er hole in the (B), 1(A),1(B), up through
the top hole in the (B) and through the
7(C) again. Weave in your thread ends
and tie off.
8
To make the chaton element: Pick up
10(E) and tie in a circle with a double
knot. Go through a few of the (E) beads
again, the up to the top hole of the (E)
your thread is exiting.
9
Pick up 1(A), go though the next (E) in
the ring. Repeat this around the ring and
step up by exiting from the first (A) you
added in this step.

10
Pick up 3(D), go back though the (A) your
thread was exiting, and thread through
1(E), 1(A).
11
Pick up 2(D), thread down through the
first (D) added in step 11, the (A) your
thread started from in this step and
1(E), 1(A) (this is a modified Right Angle
Weave). Repeat this 7 more times (total
of 8 times).
12
With your thread exiting the last (A),
thread up through the 3rd (D) added in
step 11, pick up 1(D), and thread down
through the 1st (D) on the opposite side.
Then thread back through 1(A), 2(D).
Before pulling everything tight, pop the
chaton into the bezel. This will not hold
the chaton in place yet.
BEAD WEAVING
13
Pick up 1(C), go through 1(D). Repeat all
the way around the bezel. Getting the
chaton to sit square in the bezel can be a
little tricky, but with a little patience and
manipulation, you will get there. Once it’s
how you’d like it, pull your thread tight,
then reinforce this thread path several
times. Step up to exit from an (A) bead.
14
Pick up 4(D), go through 1(A). Repeat a
further 9 times all the way around the
bezel. Step up by going up the first 2(D)
added in this step.
15
Pick up 1(D), go through 2(D), 1(A), 2(D).
Repeat this around the bezel. Adding the
5th bead to the picot in this way makes
them more pointy.
Step up by exiting from an (A) bead with
your thread coming out towards the front
of the bezel.
16
Pick up 3(C), go though the next (A).
Repeat this around the bezel. There is
no need to repeat step 7 on this bezel as
it is smaller and the picots are naturally
very pointy.
17
Thread through your work so that your
thread exits the middle (3rd) (D) on one
of the outer picots. Pick up 2(D), thread
through 3(D) on the bottom of larger,
rivoli bezel. Thread through the outer
hole on the (B), (A), and the outer hole on
the next (B). Thread down though 3(D),
pick up 2(D) and down through 3(D) on
the corresponding picot of the chaton
bezel. Reinforce this thread path, then
weave in and trim the thread ends.
Add the ear wire to the loop at the top
and repeat steps 1-17 to make the sec-
ond earring.
SUPPLYSHOP
Old Bicycle Shop, www.oldbicycleshop.co.uk
BEADLINK: beadsbybecs.etsy.comw
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 23
 Preciosa Beads and Crystals
Swarovski Crystals and Rivolis

A large selection of
Czech Glass Pearls, Round beads,
Superduos and Gemduos
ETSY
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24 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 

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I SS U E 1 0 6 n B E A D & J E W E L L E R Y 25
 Advertise here
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BeadflairCreations See PJ Beads fantastic range of beads,

BRINGING ALL THE LATEST
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26 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD WEAVING

Lochs of
LUCK

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 27

Take a little luck with
you everywhere you go
DESIGNED BY SUE NEEL
I
f you’re looking for a project that you
can make mostly from stash then
boy do we have a gorgeous one for
you. Made entirely from seeds and crys-
tals this lovely necklace and earring pro-
ject can be made as quick as one hour
for the earrings or pendant and three
hours to do the rope. Colour-wise these
pieces would look fab in any colour, but
for a wear with anything look, you could
make them in gold, silver or rose gold or
You will need:
Earrings:*
n 5g Size 11 Seed Beads (A)
n 32 x 4mm crystal Rondelle (B)
n 2 x 9x12 Drop Crystals (C)
Necklace:
n 15g Size 11 Seed Beads Main Colour
(A)
n 26 x 4mm Crystal Rondelle (B)
n 1 x 9x12 Drop Crystals (C)
n 5g Size 11 Seed Beads Accent Colour
(D)
n 2 x 6mm Daisy Spacer/Cap (E)
n 6lb FireLine
n #12 beading needle
n Scissors/thread burner
28 B E A D & J E W E L L E R Y n I SS U E 1 0 6
alternatively mix them for a mixed metal
look. Black would be beautifully gothic,
and creams or whites would be perfect
for wedding season. Whatever colour you
choose we’re sure it will be stunning.
Make 1 for each earring and 1 for a
pendant
1 shape. Follow the thread path back
Needle onto a yard length of Fireline and
string 10(A). Circle back through the first
FIGURE 1 FIGURE 2
FIGURE 4
2 beads added, forming a ring. Leave a 1
inch tail thread. Figure 1.
2
Add 3(A), 1(B), and 3(A). Enter the op-
posite side of the ring-bead this step
started from, and needle through 2 more
beads on the ring. Figure 2.
3
Repeat that process two more times for
a total of 3(B) crystal points around the
ring. Figure 3.
4
Add a 4th (B), but DO NOT advance
around the ring as before. Come back
through the first 3(A) along the (B). Add
6(A). Needle into the 3 (A) on the other
side of the (B), and the one bead of the
ring. Figure 4.
5
Needle through the 6(A) along the side
of this same (B) and add ONE 1(A) at the
point. Go back through the 6(A) on the
opposite side of the (B) to form a ‘petal’
around to exit the point bead just added.
Figure 5.
FIGURE 3
FIGURE 5
 BEAD WEAVING

FIGURE 6 FIGURE 7 FIGURE 8

FIGURE 9

FIGURE 10

FIGURE 11

6 10
Add 9(A) and form a ring, exiting the sec- Create another ring. Add one petal. The TOP TIPS
ond bead from the petal point. (Similar to point bead of this petal will be the corre-
step 2). Following the steps above, Add sponding seed bead on the original ring
TENSION On the knot shape, use a
ONE crystal point, and ONE petal to this of beads. Finish the ring by adding one
moderate tension. Be sure the beads
ring. (Repeat steps 2, 4, and 5). Figure 6. crystal point, one petal and one crystal
are snug, but not pulled so tightly the
point.
piece curls up. It should drape a bit and
7 Needle through any areas that need
lay flat on the table for best look.
When exiting the petal point bead, add extra reinforcement, tightening thread
2(A), 1(C), 3(A). Needle back up through or firming the points so that the focal
the crystal and one seed bead. Add 1(A). hangs nicely and isn’t flopping over.
Figure 7. Needle through to the tail thread and tie
off a double knot and though a few more
8 beads to hide the tie, and trim threads
Enter the petal point bead in the opposite close to the beads. Figure 10.
direction the last step started, and follow
through the (A) beads along the petal, Adding ear wire (for earrings)
and 2 (A) beads into the ring. Repeat the 11
steps above to add one crystal point, and Here is a full diagram of the fo-
one petal to this ring. Figure 8. cal. Figure 11.
Open a 4mm jump-ring and gently
9 insert it to the top most point bead
From the point bead of this petal add 9(A) of the earring focal, add the ear wire
and form a new ring. Exiting the second in the direction you want the ear-
bead from the point, as before. To this ring to hang, then close the jump-ring
ring, add three crystal points and one securely.
petal. Figure 9.

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 29

FIGURE 12
FIGURE 15
Creating a bail (for pendant)
12
The bail for this pendant is a modified
focal that has been folded in half to form
a channel for the necklace/chain to be
inserted.
After making the main pendant, begin
another one of a different colour with the
diagram below. Start with the top point
bead from the pendant, then change
colour (A) to make the bail.
Notice the sections that DO NOT have
(B) beads, but seed beads in their place.
This is to create a smoother tube for the
necklace to go through, offering better
movement. Figure 12.
5 Bead Brick-Stitch Rope
13
Leaving about 8-10 inch tail thread, lad-
der stitch five seed beads together, the
last one being the (D) colour. Bend the
beads around into a circle to link the first
and last bead together. Figure 13.
14
From the top, the beads look something
like this. The black lines represent the
thread linking the beads together. Figure
14.
15
In brick stitch, beads are added by hook-
ing the working thread under an existing
thread “bridge” and drawing the needle
back through the bead being added to
the design. Figure 15.
16
To step up to the next row, add 1(D), and
1(A) bead. Hook under the thread bridge
next to the bead the needle is exiting,
and come back up through the second
(main colour) bead just added. Figure 16.
30 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD WEAVING
FIGURE 13
FIGURE 16
FIGURE 18
17
Complete the row by adding one (A) bead
at a time, hooking onto the next thread
bridge from the row below all the way
around the ring. The beads just added
will sit off-set to the ones below them.
After the 4th (A) colour bead, step up to
the new row. Always add the (D) colour
bead first for the new row. This will cre-
ate a small spiral stripe of accent colour
along the length of the rope.
Repeat adding rows for the total length
desired. Figure 17.
Adding the clasp
18
Be sure to complete the last row with all
five beads.
From wherever the working thread is
exiting, add: 1(E), 1-11/o Seed Bead, 1
Daisy Spacer, 1 6x9mm Crystal, 1 Daisy
Spacer, 5 -11/o Seed Beads, 1/2 Clasp
(or jump ring), 4 11/o Seed beads.
Needle back down though these items as
shown above, back to the beaded rope.
Hide thread in the DITCH (space between
beads) between the last two rows of
brick- stitch and back up through the
clasp ending area.
Do this several times. This will both cen-
tre the ending beads to cap-off the edge
of the bead rope, and reinforce the clasp
area with many passes of thread. Each
FIGURE 14
FIGURE 17
time, enter and exit a different bead from
the end of the rope section.
Needle further down into the beaded
rope to tie a few hidden HALF-HITCH
KNOTS before trimming/burning it off.
Add clasp to other side of the rope using
the tail thread left on it from the begin-
ning. Figure 18.
i
nspiration
My friend has a very large wall hang-
ing made of red silk they brought
home from the orient. They said it
symbolises wealth and prosperity. I
always find myself staring at it and
following the silk cord with my eyes
through all the in and out loops woven
in the giant piece. It is captivating.
SUPPLYSHOPS
Jencel, Tel: 0114 2509565 www.jencel.co.uk
Fire Mountain Gems, Tel: 1-800-355-2137
(US & Canada) or 541-956-7890 (International)
www.firemountaingems.com
BEADLINK: www.facebook.com/arcabeadies
 bead stash 5000+ Quality European beads and Claspgarten clasps
Czech pressed, faceted and multi hole beads
CzechMate beads and patterns
Any exciting news or new product launches?
Laser Etched beads
Tell our readers via the beadStash pages Vintage beads and cabochons
and have a direct link to your own website.
Lots of interesting beads to finish your projects
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I SS U E 1 0 6 n B E A D & J E W E L L E R Y 31

We all need a bit of
sparkle in our lives
We chat to Ruxandra Puscas, the queen of vintage
glamour about all things sparkly
Hi Ruxandra, can you start by telling us a
bit about yourself? I was born in Transyl-
vania, in the heart of Romania. Although
having multicultural origins, being a mix of
German, Austrian, Russian and Romanian
blood, I have always felt the latter part
closest to my heart, and my Romanian
roots the deepest.
I currently live in Sibiu, an old medieval
town in Transylvania. It is a magical place,
full of life and history, surrounded by the
majestic landscape of the Carpathians. I
married my high-school sweetheart, and
we have two children together. I currently
work part-time in a software company
and full time for my jewellery business, or
rather jewellery passion. I gave up any free
minute I had so that I can nicely balance
everything: my family, my jewellery, my
job, in this order.
What materials / technique etc do you
commonly use in your work? I most com-
monly use seed beads in my work (the
Miyuki 15/0s are my absolute favourites),
combined with crystals, pearls and some-
times semi-precious stones. Although I
tried my hand in bead-embroidery some
years ago, my favourite technique now is
bead-weaving. I especially like volumes
and the perfectly finished backsides, which
can you can achieve by using this tech-
nique.
Have you formally studied any relevant
courses? I have studied German and
English language and literature and have a
Masters in German Traductology. However,
after leaving university, I specialised in
other fields, among which was software
testing, which I still practice today as my
part-time job. When deciding to try my
32 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD PROFILE
BY VICKY ROBERTS
hand in jewellery making, I had a very
scholarly approach, meaning that I spent
the first months only researching and
reading about techniques, materials, types
of beads, threads, tools, all I could find. I
remember some raised eyebrows when
I told family members and friends that I
am going to make jewellery for a living. I
rejoice in this memory now. Then I placed
my first bead order and started practising
from video tutorials. I will be forever in-
debted to Szidonia Petki and her beautiful
and precise tutorials from whom I learnt
many beading principles that I still apply
today. After a while, I started variating from
original designs until I was able to spread
my wings and fly. And once I started flying,
I did not want to stop, ever – this being the
sweetest, most rewarding and fulfilling
addiction one could imagine.
What is (are) your masterpiece(s) or
pieces that you are most proud of? Is
there anything you do that’s ‘uniquely you’
or that you’re specially known for? All the
pieces of jewellery I have made so far are
very dear to me. Many of them participated
in jewellery competitions and won prizes.
My favourites are my Rose Quartz Neck-
lace (made and sold for a good cause),
A Tale of Light (participated in the Battle
of the Beadsmith 2016), Pink Baroque
Necklace (Sophie’s Shine Beading Contest
2017 - 3rd Place), Night Flower Necklace
(Corilo Beading Contest 2017 - 1st Place),
Galadriel (Fashion Colorworks Beading
Contest 2017, section Seed Bead Jewel-
lery - 3rd Place), Enchanted Lily Pendant
(Concours Perles Puca 2017 - 1st Place),
Frozen Lakes Bracelet (“The Fairest
Bracelet of Them All” Beading Competi-
tion, organised by Sophie’s Shine Bead
store, March 2018 - 1st Place), Madame
de Pompadour Earrings (Winner of the
Reader’s Choice Award for the May 2019
Facet Design Challenge), New Dawn Ear-
rings (participated in Beadsmith’s Battle
of Earrings 2020). And then there is my
necklace Caprice, the wilful one. It derives
its name from Paganini’s Caprices for
Solo Violin, which my father absolutely
loved and which so often filled our house
when I was a child. It is a necklace beaded
exclusively of Miyuki 15/0 beads, without a
single exception. It has been my challenge
after a “what if” moment I so vividly re-
member. Caprice has been a semi-finalist
in the Battle of the Beadsmith 2017 and a
finalist of BeadDreams 2018.
Do you make finished jewellery or beads?
I make and sell both finished jewellery and
tutorials. I am working on developing this
BEAD PROFILE

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 33

niche style of jewellery made to order to
match specific outfits, particularly for
special occasions, but also for everyday
wear. I managed to build a loyal clientele,
and nothing brings me more joy than
making people happy and seeing them
return with new ideas and orders.
Where do you get your ideas? I could not
say where I get my ideas from. I seldom
visualise the result. It is rather a journey
where the end surprises me most of the
times. I just need a starting point for this
journey, which is not so difficult to find.
Then I start searching the way, I experi-
ment a lot, do, undo, redo, never losing
my patience or the joy for what I do. My
favourite and most creative time of day is
very early in the morning when everybody
is still asleep when the world seems
still and in order, and I can find my inner
peace. I love listening to documentaries
on history or literature while working be-
cause they seem to go very well together
with my beads. Some of my designs may
have resulted from here, like Madame de
Pompadour Earrings, which is one of my
favourites.
Do you teach your craft at all? I have not
taught any classes related to beading un-
til now, but I am starting to contemplate
this idea.
Have you ever been published? My work
has been published in another magazine
a couple of times. When Caprice was a fi-
nalist in the BeadDreams beading contest
and recently with my Galadriel necklace.
Can you describe your workspace? For
many years my workspace had been the
kitchen table. This meant that I had to
develop a very orderly fashion of working
because I had to quickly gather everything
together as soon as anybody was hungry.
I kept this style of being orderly where
34 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD PROFILE
the beads are concerned, but I now have
my ‘special’ desk for beading. The funny
thing is, that even though I finally have
my beading place I do not use it so much
for beading as I like to move through
the house and keep company either to
my daughter playing in her room, to see
my son doing his homework or I return
to the kitchen table to bead and cook at
the same time. Beading has brought me
so much freedom, and I will be forever
thankful for this, even if I have not yet
gathered the courage to dedicate myself
entirely to beading as a profession, the
simple idea that I could makes me happy.
It helps me be home, see my children
grow and realise what is important to
me. I do not need more, do not strive for
more. I just appreciate the current state
and am thankful.
Do you work by yourself or have you
collaborated with anyone else? I have
worked only by myself until now. How-
ever, I am planning a collection with a
dear friend of mine and a very talented
artist called Cristina Dragu, who creates
soutache jewellery. We shall probably
present our collection at Christmas. It will
include several sets of earrings, bracelets
and necklaces.
What are you working on at the moment?
Any particular piece of work or exciting
project? I am currently working on my
winter collection, which will consist of
several pairs of earrings and jewellery
sets meant for everyday wear but with
sparkle. We all need a bit of sparkle in
our lives.
Do you have any goals related to bead
making/ beadwork/jewellery making/
designing that you would like to see
become a reality within the next 5 years?
Not a single person who was asked this
question five years ago got the right an-
swer for sure. Therefore, I no longer set
any specific goals for myself. I just want
to learn, experiment and enjoy the ride
and enjoy every single day as it comes.
What have been your biggest personal
(not necessarily bead or jewellery re-
lated) challenges, and accomplishments.
My biggest challenge is to balance my
time as good as possible between my
children and my beading. I always feel
guilty for all the time I take from them
for my work, and this is the reason why
I gave up without any regret most of my
time. My greatest accomplishment from
my point of view is the fact that I managed
to see what is important to me profes-
sionally speaking. It is not my merit for
finding my passion - it somehow came my
way. I am aware that not everybody is so
lucky in this respect, and I will be forever
grateful. But I knew from the first stitch
that this was special to me, so I grasped it
with both my hands and worked very hard
to make it work. And it did, still does and I
hope it will do forever.
Anything else you wish to share that
might be of interest, or inspiration for
any bead makers, beaders or jewellery
makers who may read the finished arti-
cle? Always enjoy the journey!
BEADLINK: www.etsy.com/shop/Margiques
 Don’t miss Beading.live
The team at Bead & Jewellery weren’t sitting idly
by during lockdown. As well as producing the
magazine we also came up with an online news-
letter to serve the beading community.

But the good news is that Beading.live has

been such an amazing success that we’ve
decided we have to keep it running.

Beading.live is full of fascinating

features, inspiring projects and
videos, and all totally free —
little wonder the site
has become incred-
ibly popular with
bead lovers in the
UK and around
the world.

The newsletter began as a way of keeping the beading community

in touch with the hobby during lockdown, and also letting people
know how designers and others were coping with isolation.

But it has grown incredibly. Now our bead mad team add new
features every week. We are sharing articles from the magazine,
but are bringing you a wealth of exciting new content.

So don’t miss out. Go to www.beading.live on your computer

or phone now to read the site everyone’s talking about.
we’retalkingabout * You will need:
n 2g Size 8 Miyuki Seed
Beads - Duracoat Galv Cha-

* C Z E C H N AV E T T E B E A D S
magne (A)
n 3 x 4mm Pearl - Cream
(B)
n 12 x Czech Bridge Beads
- Sage (C)
n 28 x Czech Navette
Beads - Sage (D)
n 5g Size 11 Miyuki Seed
Bead - Duracoat Galv Pew-
ter (E)
n 3 x 6mm Pearl - Plati-
num (F)
n 1 x 4mm Bicone (G)
n 0.5g Size 15 Miyuki Seed
Beads - Duracoat Galv
Pewter (H)
n Fireline
n 2 x Jump Rings
n Clasp

T
here is a lot of talk
about all the new
beads currently on
the market. Some people
love the idea of working
with new beads, but it’s not
everyone’s cup of tea. There
is always the question of -
What can I do with them?
In this feature, we’re going
to pick a bead each issue to
test and talk about.
The new Czech Navette
beads are a lovely addition to
the three-hole bead section.
They measure 6x12mm and
have holes going horizon-
tally at the bottom, middle
and bottom of the bead.
They marry up really well
with other beads including
the three-hole Bridge beads
which we’ve also used here.
As with all the Czech beads,
the colours they come in are
fantastic, and we’re sure
you’ll be spoilt for choice.
We came up with this fab
necklace that is made up
of three components and

36 B E A D & J E W E L L E R Y n I SS U E 1 0 6
uses the Navette beads for
the strap, but as you may
already be aware we often
like to give you as many
options when making the
feature pieces, and this is no
exception. Because we make
the three main components
separately, you could make
just two and have a lovely
pair of earrings. To do this
we’d recommend stopping
at step 19 when you have
your second component, but
then complete step 22 & 23
to add in the loop and then
pop an ear wire through. If
making the necklace but
don’t want to add the strap,
after joining the components
together you could add a
chunky chain to the loops for
a more metal look.
As always I’d love to see
what you do with this de-
sign and if you want to be
featured on our facebook
page, send in your version to
editor@beadmagazine.co.uk.
Have fun!
2 8
Pick up 1(E) and 1(D)
through the top hole.
3 from the opposite side you
Pick up 3(E) and go into the
middle hole of the (D).
through the (D) (used hole)
and the next (A).
6 3(E) and go into the (D) bot-
Pick up 1(E) and go back
into the (D) from step two,
in the bottom hole and the
opposite side to what you’ve
already used. Pick up 3(E)
and go into the middle hole
of the (E) on the opposite
side to which you used
earlier and pick up 3(E) and
go into the top hole of the (E)
used earlier and lastly, pick
up 1(E) and go into the (B)
from the opposite side that
you started from step 2.
Pick up 3(E) and go into the
(D) (middle hole), pick up
tom hole.
9
Pick up 4(E), 1(F), 1(E).
Figure 9.
10
Come back up the (F) and
the first (E) and then pick
up 3(E). Go back into the
(D) from the opposite side
to which you came out of
originally. Figure 10.
FIGURE 9

4
Pick up 3(E) and go into the
bottom hole of the (D). 7
1 Go back into the first (E),
Using a wingspan of thread, then three (E) on one side of
pick up 1(A), 1(B), 4(A), 1(C) the (D), pick up 1(E) and go FIGURE 10
(top hole), 1(D) (top hole), through the next three (E),
1(C) (top hole), 1(A), 1(D), into the bottom hole of the
1(A), 1(C), 1(D), 1(C), 3(A) and (D) and then through the (E),
go through them all again to (A), (D) (top hole).
create a ring of beads. Fin-
ish by coming out of the (B).

5
Pick up 1(E) and go into the
(A) after the middle (D) from
the first round, but come
back towards that (D). Go

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 37
 FIGURE 11 FIGURE 12
TOP TIPS
HOLE CHECK Always check
the holes of multi-holed
beads for blockages.
TENSION Keep a decent
tension when making the
components, so they don’t
go floppy, but equally not
overly tight as you don’t
want them to bunch up.
FIGURE 14
(D) along. Pick up 1(E) and
go into the middle hole of
the next (C). Figure 13.
14
Pick up 4(E) and go down the
outside hole of the (C). Pick
up 1(A) and into the outside
hole of the (D). Pick up 1(A)
and go into the outside hole
of the next (C). Pick up 5(E)
and go back into the (E) you
started step 13 from, from
the opposite side. Weave
around to the adjacent (E)
on the other side of the (D).
Figure 14.

15
FIGURE 13 Pick up 5(E) and go into the
outside hole of the (C) on
this side. Add an (A) either
side the (D) and once coming
FIGURE 15 FIGURE 16 out of the last (C) on this
side pick up 4(E) and go into
the middle hole of the (C).
Figure 15.

16
Add an (E) either side of the
FIGURE 17 (D) and then pick up 2(E)
and go back into the (E) you
started step 15 from on this
side. Weave through the
outside beads to come out of
the last (E) of the set of 4(E)
on top of the (C). Figure 16.
FIGURE 18 FIGURE 19
17
Pick up 7(E) and go into the
(A) next to the (B). Go for-
ward into the (B). Figure 17.

18
Pick up 5(E) and go back into
the (B) from the opposite
side and then into the next
(A) along. Figure 18.

11 12 the last (E) you just added. 19

Pick up 3(E) and go into
the middle hole of the (D).
Pick up 3(E) and go into the
top hole of the (D). Weave
through the first set of 3(E)
from step 8. Figure 11.
Pick up 1(E) and go through
the next 3(E) on this side,
through the (D) and up the
3(E) on the other side of the
(D). Pick up 1(E) on this side
and weave all around the
beads again to come out of
Figure 12.
13
Pick up 2(E) and go into the
middle hole of the (C) on this
side. Pick up 1(E) and go into
the middle hole on the next
Pick up 7(E) and go into
the 4(E) on top of the (C)
this side. Weave all the way
around your beads then add
in the missing (E) to match
the (E) we put in on step
7. This component is now

38 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 FIGURE 21 FIGURE 22

FIGURE 20

finished. Pop to one side and

make another exactly the
same. Figure 19.
20
Make a third component,
but this time when you get
to step 9 do not pick up the
1(E). Instead pick up 1(G)
and 3(H). Come back up the
(G). Figure 20.
23
Pick up 1(H) and go into the
next (E) along. Repeat twice
more. Finish the round by
coming out of the second (H)
added. Figure 23.

21
Take all three components
and put them in a pattern
that the bottom (E) beads
on the first top components
meet up with the middle (E)
bead on the top of the third
component. Coming out of
the middle (E) bead on the
third component pick up
1(E), go into the (E) on the
next component, pick up 2(E) FIGURE 23
and go into the (E) on the
next component and lastly,
pick up 1(E) and go back into
the middle (E) you started
from, from the opposite side.
Reinforce this loop. Figure
21.

22
Weave around to come out of
a middle (E) bead above the
(B) on one of the other com-
ponents. Pick up 4(E) and go
back into the (E) you’re com-
ing out of from the opposite
side. Weave forward into the
first (E). Figure 22.

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 39

24
Pick up 2(E), 1(D) (bottom
hole), 2(E) and go back into
the (H) from the opposite
side. Weave through to
come out of the (D). Figure
24.
25
Pick up *3(D), go into the
middle hole of the (D), pick
up 3(E), go into top hole of
the (D). Pick up 2(E), 1(D)*.
Repeat from ** until you
have a long enough strap. I
used 11(D). Figure 25.
26
Coming out of the top of the
last (D), pick up 7(E) and go
back into the (D) from the
opposite side. Figure 26.
27
Pick up *3(E) and go into
the middle hole of the (D)
(this will be the side with-
out beads. Pick up 3(E) and
go into the bottom hole of
40 B E A D & J E W E L L E R Y n I SS U E 1 0 6
the (D). Pick up 2(E) and go
into the top hole of the next
(D) down*. Repeat ** all
the way along until you get
back to the bottom of your
strap. Figure 27.
28
Coming out of the first set
of 2(E) at the beginning
of your strap, pick up 1(E)
and go into the first 3(E)
on this side. Pick up 1(E)
and go into the next 3(E) on
this and the 1st (E) of the
next set of 2(E) on this side.
Pick up 1(E) and go into the
2nd (E) of the set of 2(E) on
this side. Repeat adding in
single (E) beads the same
way all the way around.
When you get to the top of
FIGURE 24 FIGURE 25
FIGURE 26
FIGURE 27
FIGURE 28
your strap weave around
to the other side and add
single (E) beads all the
way down this side. Once
you’ve finished your strap SUPPLYSHOP
on this side add a jump ring
Tanzee Designs, 3 Long
and half a clasp through
Street, Wotton under Edge,
the 7(E) on the end of your
Gloucestershire GL12 7ES
strap. Make a second strap
Tel: 01453 520000
the same way coming
www.Tanzeedesigns.co.uk
off the other component.
Figure 28.
 POLYMER CLAY

Grecian
GODDESS

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 41
 You will need:
n 5g Swarovski Hotfix Crystals Green
Mix
n 10g Matsuno Silver Lined Oliver Size 8
Seed Beads (A)
n 28 x Preciosa 4mm Glass Pearl in Old
Gold (B)
n 2oz Sculpey Accents Polymer Clay in
Antique Gold
n Fimo Liquid Clay
n Fimo Gloss Varnish
n Beading wire
n 2 x Antique Gold Calottes
n 2 x Antique Gold 7mm Jump Rings
n 1 x Antique Gold Lobster Claw Clasp
n Premo Sculpey Graduated Tear Drop
Transform yourself into a n Cutter Set

goddess with this necklace n ½” Circle Circle Cutter

n Makins Clay Extruder
inspired by Ancient Greece n Clay Machine or Acrylic Roller
n Piercing Tool
DESIGNED BY HANNAH WALKER

W
hat a stunning piece this is!
Hannah, as per usual, has out-
done herself with her beauti-
ful polymer clay necklace. Each piece
is made separately, and then all joined
together to make this showstopper of a
necklace! You’ll also find that the best
thing about this technique is that it is
so versatile. If the whole necklace is a
little overwhelming, you could make one
pendant and simply string it or make two
smaller ones for earrings. Alternatively, 1 2
this technique can be used to make Condition your clay to make it soft Soften more Antique gold clay and pass
fabulous sparkly decorations using cut- enough to work with. Roll the clay out it through the clay extruder using the
ters. Also, because the necklace is made on you clay machine on a number 3 (or disc with 12 holes to make long snakes
from polymer clay, it is, despite its size, 2mm thick if rolling by hand). Using the of clay.
lightweight. second largest teardrop cutter from the
Once you have mastered the steps for set gently press onto the clay to leave an
the first pendant, the rest of them are imprint of the shape.
relatively straight forward. It is also a
great idea to make your own beads to
go alongside a piece like this as it gives
the necklace a cohesive look, but add-
ing shop bought beads is a good way to
make your handmade pieces go further.
You can make this piece for under £20
providing polymer clay tools are already
owned. Because of the number of steps
involved, this could take up to six hours 3
to make. Ideally, it’s a project to spread Layer the snakes of clay on the base
over a few days to allow drying time for sheet with each piece of clay curving
the varnish. upwards. Ensure to lay each new snake

42 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 POLYMER CLAY

of clay close to the previous one so there

are no gaps and follow the teardrop
impression made in step 1.

7 10
Using one of the snakes of clay wrap a Using the same ball tool add little dots
loop around each crystal making sure along alternate snakes of clay on the
it’s a snug fit and the ends of clay meet. base sheet for added texture.
4
Continue on with step 3 until the whole
shape is covered – To be sure, hold the
teardrop cutter over the clay to make
sure there are no gaps.

8 11
Position the crystals back on the clay Use your teardrop cutter to cut the
sheet and check again that they fit com- shape out.
fortable inside the cutter shape. Firmly
press them into position.
5
Gently position 6 crystals so they are
staggered running up the centre of the
teardrop. I used 2 of the largest crystals
followed by two middle size and two
small crystals. Do not press them into
the clay. Check that they fit by holding
the teardrop cutter over the top.

12
Roll one end of one of the clay snakes to
9 make it thinner. Wrap this around the top
Using a small ball tool make little of the teardrop at the side touch-
dots in the clay to add texture. ing the work surface.
This will also make the clay
cover the crystal a little to
help keep them firmly in
place once hardened.
BEAD NERD
6 Jewellery was used in ancient
Gently move the crystals to one side. As Greece to denote power, social
they are moved one by one mark the clay status and wealth. It was also
with a small ball tool to show where they
worn to ward against evil
go.
and to celebrate
the Gods.

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 43

13
Wrap the snake around the teardrop
twice with one the second wrap on top of
the first. This will cover the entire depth
of the teardrop. Cut the clay when the
wrap is finished at the top of the shape
and roll the cut end to make it thinner.
14
Finish wrapping the clay around the
teardrop and smooth the thinner end on
the top.
15
Using a soft fluffy brush dust the whole
shape with Perfect Pearls in Heirloom
Gold.
44 B E A D & J E W E L L E R Y n I SS U E 1 0 6
TOP TIPS
STICKING POINT The liquid Fimo is
perfect to use as a glue when sticking
raw clay to baked clay.
16
Repeat steps 1 – 15 twice for the next
teardrop size down. Use 5 crystals in to-
tal (starting from the second largest size
and getting smaller towards the top) and
position them so that they are a mirror
image to each other.
19
Repeat steps 1 – 15 for the smallest
teardrop cutter. Use one mid-size crystal
and position it in the middle of the lower
half of the shape.
17
Repeat steps 1 – 15 again with the next
teardrop size down again. This time use
4 crystals; two mid-size and two of the
smallest. Position the crystals so they
are a mirror image of each other.
20
Condition more gold clay and roll it out
on a number 7 on the clay machine. Cut
it with a 0.5” circle cutter. You will need
14 circles in total.
18
Repeat steps 1 – 15 for the second
smallest teardrop shape. Use two
crystals this time; one mid-size and one
small one. Position the crystals so they
are a mirror image of each other.
21
Roll each circle into a ball. Take a clay
snake and roll it to make the end thinner
and then coil this thinner section. Lay
this on top of a ball of clay.
22
Wrap the clay snake around the ball of
clay until you reach the opposite end of
the ball.
23
Cut the clay snake leaving a short end to
work with. Roll this end to make it thin-
ner and then coil it around to finish the
bead off.
24
Using a pointed tool (a cocktail stick
works well if need be) pierce a hole
through the bead starting where the clay
snake was coiled and through to the oth-
er coil on the other side. Dust the bead
with Perfect Pearls in Heirloom Gold.
25
Repeat steps 21 – 24 until all 14 beads
are made. Put these in the oven, along
with all the pendants, to harden accord-
ing to the instructions on the packet of
clay.
26
Once the pendant pieces have cooled
take another clay snake of gold clay and
wrap in around your piercing tool, three
times for the larger pendants and twice
for the smaller ones. This will be the bail
on the back of each pendant.
27
Rub a small amount of the Liquid Fimo
on the top back of the pendant and posi-
tion your bail.
COLOURWISE
There are so many lovely colours of
Hotfix crystals but this would look great
in the blue mix with white glitter clay.
28
Repeat steps 26 – 27 until every pendant
has a bail. Once completed harden them
in the oven using the temperature guide
for the Liquid Fimo. Once cooled give all
the pendants and beads 2 coats of gloss
varnish.
29
Cut two 20” lengths of stringing wire and
thread both through the largest pendant.
Move the pendant down to the middle of
the stringing wire.
30
On both sides of the pendant pick up
3(A), 1(B), 1 handmade bead, 1(B) and
3(A). Make sure both stringing wires go
through all the beads.
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 45
31
On both sides pick up the next largest
pendant size so that the crystals are
pointing towards the largest pendant.
Pick up 3(A), 1(B), 1 handmade bead,
1(B) and 3(A).
32
Continue following step 31 working your
way down the pendant sizes until the
smallest pendant is added.
33
On each side pick up 3(A), 1(B), 1 hand-
made bead, 1(B) and 3(A).
46 B E A D & J E W E L L E R Y n I SS U E 1 0 6
34
Pick up 1(B), 1 handmade bead, 1(B) and
3(A) on both sides of the necklace.
35
Repeat step 33 again on both sides of the
necklace.
36
Add a crimp bead to one side of the
necklace and squash flat to secure
(make sure the beads don’t fall off the
other side as you do this!)
37
Add a calotte to cover the crimp bead
and cut the excess beading wire. Roll
over the top of the calotte to form a loop.
38
Repeat steps 36 – 37 and attach the
clasp with jump rings. The finished
length of the necklace is 18”.
BEADLINK: www.theartisanduck.com

1
Cut a single 80cm length of
soft 0.4mm wire. Loop one
end to stop the pearls sliding
off. String nine pearls onto
the un-looped end.
2
Bend the wire at a 90degree
angle, 10cm from the begin-
ning of the wire.
3 varying the height of the
Bring up a pearl, position 1cm
from the bend and fold the
wire back down, bending it
1cm away from the pearl.
You will need:
n 80cm soft 0.4mm wire
n Strand of pearls
n Hair pin
n Wire cutters
n Round nose pliers
WIRE WORK
Pearl
HAIR JEWEL
DESIGNED BY ROSIE POLLARD
This beautiful hair ornament will
add to any outfit and occasion
4 7 9
Holding the two bends in the Holding the twisted spray Wrap the other side of the
wire together, grip the pearl onto the hairpin, wrap one hairpin using the same meth-
firmly and start to twist from end of the wire up the side, od as in step 7 but continue
base to tip along the 1cm starting 6-7mm away from to wrap the wire between
length. the outermost spike until you each spike once. Trim the
reach the base of the first wire where it meets the other
5 spray. trimmed end. Then using the
Repeat steps 2-4 to make round nose pliers, smooth out
a total of nine other spikes, the ends of the wire against
the hairpin.
twisted wires
8
Pull the wire firmly and trim
the excess wire at the back of
the hairpin. 10
6 Squash the hairpin back to its
Gently open the hairpin and original shape. Arrange the
position and twisted pearl spray to taste.
spray above the top of the
hairpin.
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 47

THE BEADED JOHNSON
SOLIDS PROJECT
Diane Fitzgerald tells us how 70 beaders from 17 countries
came together to make 92 Dimensional shapes
W
ithin just eight months, 70
beaders from 17 countries*
around the world recently com-
pleted beading the 92 three-dimensional
shapes known as the Johnson Solids.
These three-dimensional shapes are
assembled by zipping together the six
basic flat shapes: the triangle, square,
pentagon, hexagon, octagon and deca-
gon. An example of a Johnson Solid is the
square-base pyramid. The flat shapes are
made with circular, even-count peyote
stitch with a radial pattern of increases.
Each of the flat shapes has equal sides
and equal angles at the corners or verti-
ces. In math-speak, one would say these
are convex non-uniform polyhedra with
regular faces.
A call went out to beaders via Facebook
in early February 2020 and within two
weeks, volunteers had agreed to bead
and submit one or more of these shapes.
In exchange, these beaders received the
tutorial, “The Six Basic Flat Shapes” (tri-
angle, square, pentagon, hexagon, octagon
and decagon), the list and images of the
Johnson Solids, and how to assemble the
flat shapes into three-dimensional shapes.
Beaders were asked to use cylinder beads,
Miyuki Delicas or Toho Aikos and to make
all the flat shapes within a solid in one
colour (for example, all triangles in red, all
squares in blue, etc.). The radial increase
No. 7 - Elongated triangular pyramid.
Patty McCourt, England/Colombia.
AROUND THE WORLD
BY DIANE FITZGERALD
lines would be in bronze to unify the col-
lection.
My idea for the project began a few
years ago after I had completed two books,
“Shaped Beadwork” and Shaped Beadwork
and Beyond,” published by Lark Books.
The Swarovski Ambassador group and the
Starman TrendSetter groups of which I
was a member, had pretty much run their
course, so when a friend, Sue Manchester,
encouraged me to undertake this project,
the idea stuck, but there was a problem. At
the time, I only knew how to make the first
four of the six flat shapes which had been
created by Julia Pretl in her book, “Little
Boxes.” At the time I was corresponding
with the brilliant UK beader, Pat Verrier,
who jumped on the problem and worked
out the patterns for the octagon and deca-
gon. I wrote the tutorial for these two
new shapes and compiled a tutorial of all
six shapes with text and illustrations. We
were on our way, but I knew I couldn’t do it
alone. The enthusiasm of the responses to
the Facebook invitation soon suggested this
would be not only a learning experience for
each beader but an advancement of bead-
ing techniques for the wider beading world.
Pretty soon, it was like Christmas for
me as the small packages began to arrive.
Opening each revealed a jewel of bead-
ing and represented many, many hours of
work. The beaded shapes ranged in size
No. 28 - Square orthobicupola Suzanne.
Suzanne Golden, USA.
from .75 inches (1.5cm) to 3.5 inches (8cm)
in diameter. Like any project, though, there
is always the paperwork, the lists, keeping
track of images, collecting the data, and
finally putting it all together in both a pdf
booklet and an on-demand book publica-
tion. For this I chose Mixbook, which I was
familiar with, and because they also pub-
lish in the UK which would reduce shipping
and customs cost for those outside the US
who wanted a “real” book. As they say, it
was a labour of love.
So...who was Johnson? Norman
Johnson was a mathematician who
began his math career in Minnesota and
spent most of his career as a professor
at Wheaton College in Massachusetts. In
1966, with mathematical logic, he proved
that these 92 shapes were the complete
set--no others would fit the criteria--and
in 1969, Victor Zalgaller, another math-
ematician, confirmed Johnson’s concept.
Johnson had numbered and named each
with a technical name. Just for the fun of
it, I invited participating beaders to name
the piece that they made: beaders chose
names like Lipstick, Muffin Top, Tartufo,
Rising Sun and Princess Leia of Polyhedra.
Norman Johnson went on to name the star
polyhedra and their duals as well. There
are many other sets of shapes such as the
five Platonic Solids, which readers may be
familiar with as a set of dice, and the 13
No. 37. Elgonaged square gyrocupola Lava Ball.
Gemma Williams, Australia.
 AROUND THE WORLD

Archimedean Solids.
With all 92 pieces in hand, I created a
booklet to credit each beader and to show
the completed shape as well as the flat
version (known as a “net” or wireframe)
along with the flat shape tutorial. This
required photos, illustrations and layout-
and-most importantly, a way to display the
set of shapes. After some thought, I decid-
ed stringing the shapes would keep the set
together and be the easiest and cheapest
way for it to be displayed and shipped for
display. Stringing was a bit of a challenge,
but a six inch needle made it easier on my
second try. Using 10mm wood cube beads
as spacers with a number on each desig-
nates each solid. The final string is 12 feet
(about 4 meters) long!
One of the most gratifying spinoffs from
this effort is that an energetic UK beader,
Sylvia Fairhurst, decided to start a second
Johnson Solids Project which is now under-
way. “I was so inspired by taking part in
Diane’s project,” wrote Sylvia, “that I decid-
ed to replicate it in the UK. Diane kindly
agreed to me taking ownership of the UK
project, which has proved to be enormously
successful. It is wonderful to have so many
beaders coming together, many from dif-
ferent countries, all with the same aim, to
contribute to a beaded art exhibition.”
For the next phase of this project, bead-
ers are encouraged to create patterns
within each flat shape. These can also cre-
ate new patterns when the flat shapes are
joined.
The pdf booklet, The Johnson Solids
Project, which includes images of all the
et
beaded shapes and their nets plus the “The final string is 12 fe
instructions for the six flat shapes, is
available on my Etsy site: www.etsy.com/ (about 4 meters) long! ”
shop/DianeFitzgeraldBeads.
You can learn more about the Johnson
Solids with these links: http://mathworld. *Countries represented include Australia, Belgium,
wolfram.com/JohnsonSolid.html or Canada, England, France, Germany, Israel, Japan, Italy,
https://en.wikipedia.org/wiki/Johnson_ Netherlands, Philippines, Scotland, Slovakia, South
No. 80. Parabidiminished rhombicosidodecahe-
solid Africa, Sweden, Switzerland and United States.
dron Takraka. Verena Greene-Christ, Germany

No. 56. Metabiaugmented hexagonal prism. No. 68. Augmented truncated dodecahedron. No. 91. Bilunabirorotunda.
Emma Malan, South Africa. Patricia Verrier, England. “Reflecting Pool”. Sylvia Lambourg, France

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 49
 BEAD WEAVING

O
Duchessa
n the cover!! When describ-
ing this bracelet, words like
opulent, classic, glamour and
encrusted come to mind. This is the
type of piece that would not look out
of place on the red carpet or at a royal
wedding. Now you too can step out in
style, but with a price tag of around
£15 to make, it’ll provide all the glam-
our and less of the expense. Made
from seed beads, Delica beads and
Swarovski stones, this piece will turn
heads wherever you go. Each compo-
BRACELET
nent is made up separately and then
joined together, so you can adjust
the size or even use the components Be the belle of the ball in
to make a necklace or earrings. It is this stunning Swarovski
helpful to be familiar with Right Angle
Weave and Peyote stitch when mak- encrusted bracelet
ing this piece.
DESIGNED BY RUXANDRA PUSCAS

Central component for 14 x 10mm

oval Rivoli crystal
You will need:
n Miyuki Rocailles seed beads Dura-
coat galvanized Pewter, size 15/0, code
4222 (A)
n Miyuki Rocailles Inside Color Lined
Emerald Luster, size 15/0, code 2241
(B)
n Miyuki Rocailles seed beads Dura-
coat galvanized Pewter, size 11/0, code 1
4222 (C) Pick up 8(A) seed beads.
n Miyuki Delica beads Duracoat galva-
nized Pewter, size 11/0, code 1852
(D)
n 1 x Swarovski crystal oval Rivoli,
size 14 x 10.5 mm, emerald green
n 2x Swarovski crystal round Rivoli,
size 12 mm, emerald green
n 4 x Swarovski crystal round Rivoli,
size 8 mm, emerald green
n Clasp 2
n Beading needle (Tulip size 11 or Make a circle and go also through
Beadsmith size 12) the next two (A) beads.
n Fireline 4lb, smoke
n Scissors

BEADLINK: www.etsy.com/shop/Margiques

50 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 BEAD WEAVING

4
Repeat this step 15 times, in order
to have a total of 17 units (18 small
“beams”).

3 5
Pick up 5(A) seed beads and go through In order to make the beaded strap into
the last three beads you have come out a circle, pick up 1(A) and go through the
from. first three beads of the initial unit.

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 51
 BEAD WEAVING

6 10 14
Pick up again 1(A) and go through the Place the oval Rivoli face down into the Go once only through the beads added
three beads of the last unit. Go once construction. under previous step.
again through the beads of this last
added unit and come again up.

11 15
Coming out of the (A) bead between two Coming out of a lower (A) from one of
7 units, pick up 1(B) and go through the the initial units added under the first
Coming out of an upper bead between next (A) bead. Repeat this all around. steps, pick up 1(B) and go into the next
two units, pick up 1(B) and go through (A) bead.
the next upper (A) bead. Repeat this all
around.

12
Add 1(A) between every second pair of 16
(B) beads, like you’ve done on the upper Repeat this step all around.
8 side of the Rivoli under Step 8.
Add 1(A) between every second pair of
(B) beads.

17
13 Coming out of a (B) added under previ-
Coming out of an (A) added under the ous steps, pick up 1(C) and go into the
9 previous step, pick up 2(A) and go into next (B).
Repeat this step all around the circle. the next one. Repeat this all around.
You have added a total of 9 (A) beads in
this round.

52 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 BEAD WEAVING

18 22 26
Repeat this step all around. Do not finish Add another row with (A) beads all Add another row with (A) beads all
up this component, because the remain- around. around.
ing thread will be used for making the
connections.

Second component – for two 12mm

round Rivoli crystals.

23 27
Add 1(A) between every second pair of Add 1(A) between every second pair of
beads. beads.

19
Pick up 32(D) beads and make a circle.

24 28
Add a 12mm Rivoli face down into the Add 2(B) between the (A) beads added
construction. under previous step. Go then once
20 through all the (B) beads you have just
Make one row peyote with (D) beads all added.
around.

25
Add one row with (B) beads all around.
29
21 Coming out of one of the central (D)
Add one row with (B) beads all around. beads, pick up 1(D) and go through the
next one.

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 53

30
Repeat this step all around.
31
Between the (D) beads you have just
added, insert in turn the following: 1(C)
(repeat three times), 2(B) (repeat five
times), 1(C) (repeat three times), 2(B)
(repeat five times).
32
Go now and add another (B) bead be-
tween the two (B) beads of the first, third
and fifth group of (B) beads.
33
Repeat this step on the other side as
well. Finish then this component up, by
meeting the starting thread, making two
or three knots and going through a few
more beads before cutting the thread.
54 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD WEAVING
34
Make another identical component.
Connecting the centre with the two
12mm Rivoli components
35
The central element has a total of 18 (C)
beads on the exterior layer: 6 above, 6
below and 3 on each side. These 3 (C) on
the sides will be used for the connection.
Exiting the lowest of the 3 (C) beads on
one side of the oval Rivoli, pick up 2(A)
and go into the lowest (C) on the lateral
of the second component.
36
Pick then 4(A) and go into the (C) you
have started from and into the first (A)
you have added under the previous step.
TOP TIPS
KNOT IT When making the knots for the
individual components avoid the beads
through which the connections to the
rest of the bracelet will be made. Use
medium tension for the thread.
37
Pick up 1(A) and go into the next one,
then further through the beads until you
come out of the first two (A) added under
previous step.
38
Pick up again 1(A) and go into the next
beads.
39
Create an identical rhombus (in mirror
image, meaning the outer 2 sides longer
than the interior ones) after having
skipped the next (C) bead.
40
Coming out of the middle bead on the
interior of the rhombus, pick up 4(A) and
go into the (B) of the second element,
corresponding to the middle between the
rhombuses, then enter back the first two
of the four beads you have just added.

41
Pick up 2(A) and go into the middle inte-
rior bead of the second rhombus.
42
Go then through the beads until you
reach the first free (C) bead on the upper
side (next to the one where the rhombus
is attached), pick up 1(C) and go into the
next one.
BEAD WEAVING
43
Add in turn four other (C) beads like un-
der previous step. You have added a total
of five on this upper side.
44
Go into the next free (C) bead and start
making the two rhombuses and the con-
nections to the second 12mm Rivoli on
this side, repeating the exact same steps
as above.
45
Go then into the next free (C) bead on the
lower side, pick up another (C) bead and
go into the next one.
46
Repeat this step four more times. This
means you have added a total of 5(C)
beads on the lower part of the oval Rivoli
as well.
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 55

47
Go through the beads in order to come
out of the middle (B) bead from the first
group of three, pick up 7(A) and go into
the middle (B) of the next group of three.
48
Pick up again 7(A) and go into the next
middle (B) of the next group of three.
49
Pick up 2(A) and go into the middle exte-
rior bead of the rhombus connecting the
elements.
50
Pick up 21(A) and go into the middle ex-
terior bead of the rhombus on the other
side, after the oval Rivoli.
56 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD WEAVING
51 55
Pick up 2(A) and go into the middle (B) Start then back on these beads in peyote
bead of the next group of three. stitch, using (A) beads and add also one
over the (B) beads you come across on
your way.
52
Pick up 7(A) and go into the middle (B)
bead of the next group of three. 56
Continue the peyote stitch all the way
through the beads you have added dur-
ing the last steps.
Third component – for four 8mm
round Rivoli crystals
53
Pick up 7(A) one last time for this side
and go into the middle (B) bead of the
next group of three.
57
Pick up 22(D), make a circle and then
make a peyote row all around the circle
with (D) beads.
54
Go then through the beads in order to
come out of the middle (B) bead of the
first group of three from the upper side.
Add then the (A) beads exactly like you
have done for the lower side: 7, 7, 2, 21, 58
2, 7 and 7. When you finish the line, after Add in turn one row of (B) beads and
exiting the (B) bead, go back into the last then one with (A) beads.
(A) bead you have added.

59
Place the 8mm Rivoli crystal face down
into the construction.
60
Add one row of (B) beads and then one
with (A) beads on this side as well and
pass then through all the (A) beads you
have just added.
61
Coming out of a (D) bead from the middle
of the bezel, pick up another (D) and go
into the next middle one.
62
Repeat this step all around.
BEAD WEAVING
63
Add 2(A) between every pair of (D) beads,
all around the circle.
64
Coming out of the first (A) bead added
under previous step, pick up another (A)
and go into the next one.
65
Repeat this step for the next group of (A)
beads, pass then through the next three
groups without adding any bead, then
add again for the next three groups. You’ll
have a total of five picots, two in the upper
and three in the lower side of the Rivoli.
66
Finish this component by meeting the
starting thread, making two or three
knots and going through a few more
beads before cutting the thread. Make
three more identical components, in
order to have a total of four.
DESIGN NOTE
Advanced level project, bringing a lot
of joy throughout and a feeling of great
accomplishment in the end.
Connecting the 8mm Rivoli component
with the 12mm Rivoli component
67
Coming out of the first (C) bead (from
the series of 3) of the 12mm Rivoli bezel,
pick up 5(A) and go into the middle picot
(from the series of 3) of the 8mm Rivoli
bezel.
68
Pick up another 5(A) and go into the
third (C) of the 12mm Rivoli bezel. Go
then back into the last of the beads you
have just added and start peyote with (A)
beads through all the beads you have
added under the previous two steps.
69
Go then again back through the beads
until you reach the penultimate bead you
have added under previous step. Pick
up 2(A) and go into the first picot of the
8mm Rivoli bezel.
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 57
 BEAD WEAVING

I love old jewellery.

Therefore, I cannot
help but mix some
vintage flavours in
every piece I make.

58 B E A D & J E W E L L E R Y n I SS U E 1 0 6

70
Pick up 8(A) and go into the upper bead
of the first picot from the 12mm Rivoli
bezel.
71
Go then back into the last bead you have
just added and add in turn 3(A) in peyote
stitch.
72
Go then to the other side of this connec-
tion and perform the same steps (adding
the 2 beads, then the 8 and the final 3 in
peyote).
73
Make the same connection on the other
side, attaching a second 8 mm Rivoli
bezel.
BEAD WEAVING
Connecting another 8mm Rivoli com-
ponent with the 8mm Rivoli component
78
Pick up again 2(A), skip a bead and go
74 into the next one.
Coming out of one of the two picots of
the 8 mm Rivoli to be connected, pick up
4(A) and go into the correspondent picot
of the other Rivoli.
79
Coming out of the middle bead, pick up
2(A) and go into the middle bead of the
second picot.
75
Pick up 5(A) beads and go into the bead
you have started from, then through the
first 2 you have added under previous
step.
80
Pick up 5(A) and go into the middle bead
of the second picot of the other Rivoli.
76
Pick up 1(A) and go into the next two
beads, the one at the base and the first
one you have added under previous step.
81
Pick up 2(A) and go into the middle one,
the next two and the picot, then come up
into the first bead of the 5 added under
previous step.
77
Pick up 2(A), skip a bead and go into the
next one.
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 59

82
Add the two pairs of (A) beads like you
have done on the opposite side.
83
Repeat the same type of connection on
the other side of the bracelet and thus
attach the fourth 8mm Rivoli. The total
length of the bracelet until now is 14cm.
Making the final part and
attaching the clasp
84
Coming out of the middle of the 3 picots,
pick up 4(C) beads and go back into the
same bead you have started from.
85
Coming out of the first bead you have
added under previous step, pick up 1(C)
and go into the next bead. Repeat this
twice (you have created a rhombus).
60 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD WEAVING
86
Pick up 4(A) and the clasp and go into
the same bead you have started from.
87
Coming out of the first bead you have
added under previous step, pick up 1(A)
and go into the next two beads.
88
Pick up 1(A) and go into the next beads.
89
Coming out of the lateral bead of the
smaller rhombus, pick up 1(A), 1(C), 1(A)
and go into the lateral bead of the larger
rhombus.
90
Pick up 3(A) and go into the lateral picot
of the Rivoli bezel. Go then back through
the last of the three beads you have just
added.
91
Pick up 1(A), skip a bead and go through
the next one.
92
Repeat the last three steps on the other
side as well.
93
Repeat the attachment of the clasp on
the other part of the bracelet as well.
By following these exact steps, the final
length of the bracelet (without the clasp)
will be of 15,7 cm. In order to make it
longer, just add rhombuses as described
under steps 86-88, on each side of the
bracelet and strengthen them by making
a few more connections with the rest, as
done with the others.
COLOURWISE
An alternative colour way would be
Swarovski Amethyst Rivoli crystals
combined with the same Pewter seed
beads.
HOT High St.
Welcome to our feature of projects that have been
inspired by what’s available on the high street
W
e’ve talked about flowers being
big on the high street before,
and they don’t seem to be
going anywhere; they only seem to be
getting more dramatic. From shoulder-
duster earrings to chunky necklaces,
this trend doesn’t seem to be slowing
down, and with spring around the corner,
it’s probably only going to carry on. Now
we as beaders have been making beaded
flowers since the beginning of time and I
think it’s fair to say that the high street is
catching up with us rather the other way
around this time.
So I decided that I pretty much wanted to
‘go big or go home’ with this piece and
since we’ve all been staying at home for
the last year, I went with big. Multiple
blooms hanging off a pretty crystal Rivoli
is what I chose to go with, and though
my plans were for earrings, I often have
to remember that not everyone wants
shoulder dusters, but if you do, make up
a second like I’m doing. So I decided to
You will need:
n 5g Size 11 Seed Beads (A)
n 7 x 4mm pearl (B)
n 2g Size 15 Seed Beads (C)
n 5g Size 11 Seed Beads (D)
n 2g Size 11 Delica Beads (E)
n 2g Size 15 Seed Beads (F)
n 10 x 4mm Bicone (G)
n Ready Made Chain
n Jump ring
n Needle
n Thread
SUPPLYSHOP
Jencel, Tel: 0114 2509565 www.jencel.co.uk
ON
THE
pop my pretty piece on a simple chain
and let the beads do all the talking. I
loved the overall result and the best bit,
if you don’t like sparkle, you can add the
buds to a chain on their own. Alternative-
ly, the bezel alone makes fab earrings.
Colour-wise, we’ve gone for a snowdrop
effect, but these would look great in
multi-coloured pastels or bright reds
and oranges. As always when making
pieces based on nature, the colours are
all around us for inspiration.
We hope you like this project, and we
hope we’ve inspired you. Enjoy!
1 along on the base row. Figure 4.
Pick up 2(A), position them so they side
side-by-side and then go back up into
the first (A) and down into the first, so
that they hold the position of side-by-
side. Coming out of the second (A).
Figure 1.
2 (A) (as in the diagram), go down into the
Pick up 1(A) and go back into the second
(A) from the opposite side you’re started
from and then go back into the third (A).
Figure 2.
FIGURE 1
FIGURE 2
FIGURE 4
FIGURE 3
3
Continue adding (A) beads as in step 2
until you have 8(A). We’re now going to
join them into a ring. Coming out of the
last (A), take your needle into the first (A)
(If you’re coming out of the bottom of the
last (A), go up into the first (A)) and then
take your needle into the last (A) again
from the opposite side you started from.
Reinforce the join. Figure3.
4
Coming up out of one of the (A), pick up
7(A) and go down the next (A) along on
your base row and up into the next (A)
5
Repeat step 4 three more times. Now
weave up to come out of the first (A) on
top of your base row. We’re going to join
the ‘second’ row of beads together all
the way around. *Coming up out of the
next second row (A) (on the next petal
along) and then up into the next second
(A) along on the same petal*. Repeat
from ** all the way around. Finish by
coming out of the (A) you started from.
Figure 6.
FIGURE 5
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 61
 HOT ON THE HIGH STREET

FIGURE 6 FIGURE 7
TOP TIPS

THREAD Be aware crystals can cut the

thread. Take care when pulling.

6
Working backwards, join the second row
again, so that you have thread either side
of your second row. Figure 6.

FIGURE 8 FIGURE 9 7
Weave down to the base row so you’re
coming out the other side (the side
without petals) and pick up 1(B), 1(C). Go
back up the (B) and go up the (A) on the
base row that is three (A) beads away
from the one you started from. Weave
around to come out of a base (A) the
same way as we started this step. Figure
7.

8
I’ve removed the pearl on this diagram
to make it easier to see where the next
beads go. Coming out of the base row
FIGURE 10 (A), pick up 1(A) and go up into the next
base row (A). Come down the next base
row (A) and repeat three more times. Be
aware that these new beads will sit es-
sentially between the two (A) beads that
aren’t joined with petals. Weave around
to come out of a new (A). Figure 8.

9
Pick up 1(C) and go into the next new (A)
along. Repeat three more times. Finish
by coming out of a (C). Figure 9.

10
Pick up 1(D) and go into the (C) facing
the one you’re coming out of through the
same side. Come back through the (D)
and go into the (C) you started from, from
the opposite side. Pop to one side and
make another six flowers. Figure 10.

Change up the colour

of the flowers to make
multiple pretty blooms.
62 B E A D & J E W E L L E R Y n I SS U E 1 0 6
HOT ON THE HIGH STREET

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 63
 HOT ON THE HIGH STREET

FIGURE 11 15
Coming out of an (E), pick up 1(E), miss
the next (E) on your base ring and go
through then one after. Continue adding
(A) beads all the way around. You should
now have three rows - an inside row,
a middle row and an outside row. Step
down into the inside row. Figure 15.
16
FIGURE 12 Pick up 1(C). Go into the next (E) along
on the inside row. Continue adding (C)
beads all the way around and then step
down into your first (C) bead added.
Figure 16.
FIGURE 14
17
Pick up 1(F) and go into the next (C)
along. Continue adding (F) beads all the
way around and then move through your
beads to the outside row. Figure 17.
18
Add in the (C) and (F) beads on this side.
After your row of (C) beads, pop in your
Rivoli and pull tight. Figure 18.
19
Coming out of a (E) bead closest to the
from of the bezel, pick up 1(G) and go
into the next (E) along on this row. Add
(G) beads all the way around and then
weave to the middle row of (E) beads.
Figure 19.
FIGURE 15

FIGURE 13

11 FIGURE 16 FIGURE 17
Weave around to come out of the (D).
Pick up 9(D), miss the last (D) added and
come back through all the (D) beads
again and into the one you started from,
from the opposite side. Figure 11.

12
Go back up 5(D) and pick up 5(D). Miss
the last (D) and come back down 4(D).
Go up the (D) you started from (before
you picked up the new 5(D)), from the
opposite side. Figure 12.

13
FIGURE 18 FIGURE 19
Pick up 3(D) and add in the next flower
by going into the single (D) at the bottom.
Come back down and as in step 12 go up
the last (D) of the set of 3(D) you started
this step from. Continue adding flowers
and stems all until you’ve used all the
flowers up. Figure 13.

Bezeling the stone

14
Pick up 36(E) and tie a double overhand
knot to create a circle. Go into the first
(E). Figure 14.

64 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 HOT ON THE HIGH STREET
FIGURE 20
FIGURE 22
FIGURE 24
20
Pick up 1(A), 1(H), 3(F), miss the (F)
beads and come back down the (H) and
(A). Go into the next (E) on the middle
row. Keep your tension really tight here.
Repeat four more times for a total of five.
Figure 20.
21
Still coming out of the middle (E). Pick
up 5(D) and go into the next (E) along.
Repeat another three times for a total of
four. Figure 21.
FIGURE 21
FIGURE 23
22
Repeat steps 20 and 21 to complete the
other side of the rivoli. Figure 22.
23
Coming out of a middle (D) of the last set
of 5(D) added, pick up 5(D) and go back
into the middle (D) from the opposite
side. Go forward into the first (D) added
here. Figure 23.
FIGURE 25
24
Pick up 1(F) and go into the next (D).
Repeat three more times. Figure 24.
25
Weave around to the middle (D) on the
set of five that diagonally facing the set
you’ve just used. Pick up 5(D) and go
back into the middle (D). Weave through
three of the new five (D). Figure 25.
26
Pick up your flowers and make sure you
have three (D) at the top of your stem. Go
down the three (D) and through either
one of the flower or another part of the
stem so that you can secure the thread.
Weave around back to the (D) you started
from and go back in the opposite side.
Reinforce the join and weave off all
threads. Figure 26.
FIGURE 26
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 65
 BEAD WEAVING

HYACINTH You will need:

cascade
n 5g of silver lined lavender size 10
seed beads (A)
n 3g of silver lined pale blue size 8 seed
beads (B)
n 6g of mixed silver lined pale blue and
pale turquoise 7mm bugle beads (C)
n Three 6 x 4mm turquoise rondelle

NECKLACE beads (D)

n One 6 x 4mm pale blue rondelle beads
(E)
n One 6 x 4mm pale tanzanite rondelle
beads (F)
n One 20mm silver plated metal ring (G)
n Two 4mm silver plated jump rings
A sensual, flexible pendant to n 10cm of 0.8mm silver plated wire
enhance your décolletage n One 45cm fine trace neck chain with
clasp
n Lilac size D beading thread
DESIGNED BY JULIE ASHFORD FOR SPELLBOUND BEAD CO
n A size 10 beading needle
n Round nosed pliers and wire cutters

W
henever Julie designs a tutorial Spiral rope The stranding
for Bead & Jewellery, we’re 2 3
so excited to see it, and our Thread on 3(B) and 4(A). Pass through The stranding starts at the bottom end of
excitement is always warranted. This the 3(B) again to make the 4(A) into a the rope. Thread on 1(B), 4(A), 1(C), 1(A),
lovely necklace is a prime example of strap alongside the (B) beads. Figure 4. 1(C), 1(A), 1(C), 1(A), 1(C) and 1(A). Leave
how delightful her pieces are. The pen- Push the 4(A) strap to one side. Thread aside the last 1(A) to anchor the strand
dant is made up in two sections. Firstly, on 1(B) and 4(A). Pass through the last and pass up the other beads just added
a Brick Stitch triangle of (B) beads that 3(B) of the main strand to make a new to emerge at the end of the rope. Pass
connect to the (G) ring. The triangle 4(A) strap. Push the 4(A) strap to the up the next 3(B) and down the last 4(A)
then supports a short section of Spiral same side as before (Figure 5). Repeat spiral stitch. Figure 6.
Rope Stitch. Both of these sections are the last stitch eight more times (12(B) FIGURE 6
then covered with strands of (C) and (A) used in total) to make a short length of
beads. The colours Julie has used are a Spiral Rope.
beautiful mix of turquoise and lilacs, but
this piece would also look great in silvers FIGURE 1 FIGURE 2
for a winter version or orange and golds
for Summer/Autumn. The necklace uses
seed beads and crystals and will cost
roughly around £8 to make. Knowledge
of brick stitch is a must for this piece.
If you’re loving this as much as we are,
check out Spellbound Bead Co’s website
for more fabulous kits and designs.

Brick Stitch triangle

1
Prepare the needle with 1.5m of single
thread. Tie the end of the thread to the
ring securely to leave a 15cm tail. Figure
1. Make one Brick Stitch row of 5(B) at-
taching the stitches directly to the edge FIGURE 3
of the ring. Figure 2. Add a second row
of 4(B), third row of 3(B) and a last row of
2(B) to make an inverted triangle. Figure
3. FIGURE 4 FIGURE 5

66 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD WEAVING

This lovely
necklace
is a prime
example of
how delightful
her pieces are.
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 67
 BEAD WEAVING

FIGURE 7 FIGURE 8 FIGURE 9

FIGURE 10 FIGURE 11

4
Thread on 3(A), 1(C), 1(A), 1(C), 1(A), 1(C)
and 1(A). Leave aside the last 1(A) to
anchor the strand and pass up the other
beads just added and the 4(A) of the
spiral stitch. Figure 7.

5
Thread on 1(A) and pass down the 4(A) of
the next spiral stitch up the rope. Figure
8.

68 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 BEAD WEAVING

6 FIGURE 12 FIGURE 13 FIGURE 14

Repeat Step 4 using 2(A), 1(C), 1(A), 1(C),
1(A), 1(C) and 1(A) for the strand. Re-
peat Step 5 to be ready to add the fourth
strand.

7
This spiral stitch supports two strands.
Thread on 1(A), 1(C), 1(A), 1(C), 1(A), 1(C)
and 1(A). Using the last 1(A) to anchor
the strand pass back up the beads just
added and the bottom 3(A) of the spiral
stitch only. Figure 9. Thread on 2(A), 1(C),
1(A), 1(C) and 1(A). Pass back up the last
1(C), 1(A), 1(C) and 1(A) just added and
up the top 2(A) of the spiral stitch. Figure
10. Repeat Step 5.
FIGURE 15
8
FIGURE 16
All the following spiral stitches sup-
port two strands made using the same
method as in Step 7. The strand lengths
decrease as you move up towards the top
of the rope.
On this spiral stitch add a long strand
at the bottom using 4(A), 1(C), 1(A), 1(C),
1(A) and a short strand using 1(A), 1(C),
1(A), 1(C) and 1(A). Figure 11. Repeat
Step 5.
Following the same technique work to
the top of the rope adding the following
strands to the last six spiral stitches. Re-
member to repeat Step 5 after each set. 13. Thread on 1(A), 1(C) and 1(A). Pass bead as before. Now add 1(A), 1(C) and
Spiral Stitch One - Long strand – 3(A), back through the 1(C) and first 1(A) bead. 1(A) to the top edge. Figure 16. Repeat
1(C), 1(A), 1(C), 1(A). Short Strand - 4(A), Pass up the (B) bead again. Figure 14. to add the same three strands to the
1(C), 1(A). One strand has been added to the lower remaining 4(B) of the row.
Spiral Stitch Two - Long strand – 2(A), edge and one to the top surface of the
1(C), 1(A), 1(C), 1(A). Short Strand - 3(A), (B) bead. Pass down the adjacent 1(B) on 13
1(C), 1(A). this row and repeat. The front of the triangle will be well-con-
Spiral Stitch Three - Long strand – 1(A), cealed with strands. To add more sparkle
1(C), 1(A), 1(C), 1(A). Short Strand - 2(A), 10 add 1(D), 1(E) and 1(F) on individual
1(C), 1(A). Reposition the needle to point down- stitches to the front surface to nestle
Spiral Stitch Four - Long strand – 4(A), wards from 1(B) on the next row up in amongst the strands. Finish off the
1(C), 1(A). Short Strand - 2(A), 1(C), 1(A). the triangle - Figure 15 and repeat the thread ends neatly and securely.
Spiral Stitch Five - Long strand – 3(A), technique in Step 9 to add 3(A), 1(C), 1(A)
1(C), 1(A). Short Strand - 2(A), 1(C), 1(A). strand to the lower edge and one short 14
Spiral Stitch Six - Long strand – 2(A), strand (1(A), 1(C), 1(A)) to the front of this Using the 0.8mm wire make two wired
1(C), 1(A). Short Strand - 2(A), 1(C), 1(A) (B) bead. Repeat on the remaining 2(B) links each threaded with 1(D), 1(B) and
– do not repeat Step 5. on this row of the triangle. 1(A). Attach the (D) bead end of each link
Pass up the unattached (B) bead at the directly to the (G) ring. Cut the chain at
base of the Brick Stitch triangle to cen- 11 the centre front and attach each end to
tralise the top of the rope beneath the Repeat Step 10 along the 4(B) row of the the wired links using the jump rings.
triangle. Figure 12. triangle reducing the longer strand to
2(A), 1(C) and 1(A).
9
The front of the (B) bead triangle is now 12 SUPPLYSHOP
covered with a set of graduated strands. The 5(B) beads along the top row each
Spellbound Bead Co,
Pass down the adjacent 1(B) on this row require three short strands. Add 1(A),
www.spellboundbead.co.uk
and thread on 3(A), 1(C) and 1(A). Pass 1(C), 1(A) to the lower edge and 1(A),
back up the 1(C), 3(A) and 1(B). Figure 1(C), 1(A) to the front of the first 1(B)

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 69

This isn’t just a job,
it’s a way of life
We catch up with the delightful Davida of the Old Bicycle
Shop for all the behind the scenes info
Hi Davida, Can you start by telling us more
about your current business? It all started
13 years ago in 2007 when I was taking a City
and Guilds Level 1 and 2 courses in Bead
Needle weaving with Olive Humm. I started
buying larger quantities of beads than I
needed and selling some of them on a well
known auction site. We began selling mod-
ern faceted beads and vintage beads. The
old beads have a wonderful story to them
and complement the new beads beautifully.
We started selling more and more and
then moved into selling a wider selection of
beads. It took a couple of years before we
decided to move across to our own website.
We tend to buy things that I like, so we
are often travelling around Europe going
to the Czech Republic, Germany or Venice
hunting for interesting beads. Sadly we
haven’t been able to visit anywhere
new this year due to the Coronavirus.
It sounds very romantic, but when
you’ve been sitting in a van for 12
hours getting to the next destina-
tion, sometimes all you want is
your own bed!
About five years ago, we visited a
warehouse in the Czech Republic and
discovered some beads with the most
70 B E A D & J E W E L L E R Y n I SS U E 1 0 6
SHOP PROFILE
BY VICKY ROBERTS
amazing pictures on them. We didn’t realise
at the time, but these were the first of the
popular laser etched beads. We bought
some, loved them (as did our customers)
and kept going back and buying more. We
have laser etched daggers, pressed beads,
Czech tiles, buttons, candy beads, drops,
the list goes on. We now send our beads to
them, and they produce our designs for us,
so we have a selection of exclusive laser
etched beads including Ginkgo, Czechmate
daggers and triangles, Gemduos and of
course the popular laser etched Swarovski
rivolis.
We have continued to add new beads to
the website, so we now have over 7000 dif-
ferent items, from Toho and Miyuki seed
beads and thread to pressed beads from
the Czech Republic, Golem Studio beads
from Bulgaria and Claspgarten from
Germany. We have the largest
selection of Claspgarten clasps
and Golem Studio beads and one
of the largest selections of Miyuki
11/0 seed beads in the UK.
We would love to have a shop
one day, but at the moment we
go to shows around the country so
you can see our beads in person. One
of the questions we get asked at shows is
why we are called the Old Bicycle Shop?
The building we use has had many uses
from a landlord’s house, a petrol garage to
a craft shop but it was best known for when
bicycles used to be made here in the 1900s.
We thought we would continue the history of
the building.
How do you choose the products you stock?
It’s a bit of everything! I like to buy prod-
ucts I like, so that might be new shapes of
beads on the market or new colours. One
of the more fun parts of the job is going to
the Czech Republic and hunting out smaller
manufacturers and finding brand new
shapes on the market such as Flame beads
which our customers haven’t seen before.
It’s also interesting talking to the manufac-
turers and finding out their plans for the
next year.
Our customers often ask us to search for
particular beads, to stock a certain range of
beads, to make kits in particular colours or
for a specific pattern.
Do you have anything that makes your
business unique? We have lots of interest-
ing and unusual beads. Because we travel

around the manufacturers in the Czech
Republic, we’re able to find items in their
warehouses, often before they reach the UK
market. If we’re lucky, we also find colours
and shapes of beads that aren’t normally
available here.
My favourite find has been the laser
etched beads, and we have several which
are exclusive to us. These include ginkgo
beads, Gemduo beads, Czechmate daggers
and triangles, Matubo rivolis and also a
range of sizes of Swarovski rivolis. We also
have a selection of laser etched items which
were made in small quantities so buttons,
9mm glass rings and 18x12mm rectangular
cabochons and pressed beads.
Do you run classes/workshops at your
shop? We don’t run classes and workshops
at the moment, but this is something we’d
like to do in the future. However, we are
always looking at ways to encourage more
people to bead, so in 2018 we started a
small local show with free beading courses
for beginners. Sadly it was cancelled in 2020
due to the Coronavirus, but we’re looking
forward to organising it in 2021.
Do you interact much on social media?
SHOP PROFILE
Facebook, Instagram, Twitter? We have a
Facebook page which is updated daily with
news, new items, free patterns, discount
codes and the occasional competition or two.
I have recently started using Instagram
more and have a page which I tend to
update with photos from bead fairs, pictures
of sparkly things and photos from the Czech
Republic.
What have been your biggest hurdles in set-
ting up/running your business? What have
been your proudest moments/successes?
The biggest hurdle is when I first started the
business, working full time and then coming
home and packing orders and adding new
items to the website. There were too many
2:00am finishes! The proudest (and most
nervous) moment is when I left my job in
2014 and started selling beads full time.
Have you any upcoming news to tell us
about? We keep looking at what we can do
to improve the business. When we started
going to shows, I made lots of samples
using our free patterns, and people loved
them so much that we made them into
affordable kits. We have lots more patterns
and kits in the pipeline.
We are trying to have a free pattern for
all the different types of beads we sell so
people can try a new shape of bead if they
want to. We are planning on increasing the
number of patterns on the website as we
have a selection of exclusive patterns by
Leah Curtis and Justine Gage. There might
also be opportunities in 2021 to test some of
the patterns before they are released to our
customers.
The lockdown in 2020 has given us the
chance to add lots of new beads to the
website, but we still have more, so expect
more unusual and interesting beads to be
available for sale in 2021.
We have lots of plans in the future, but
you’ll have to keep an eye on our newslet-
ters to find out about them. This definitely
isn’t just a job, it’s a way of life.
SUPPLYSHOP
Old Bicycle Shop
www.oldbicycleshop.co.uk
Email: info@oldbicycleshop.co.uk
Tel: 07931345085
www.facebook.com/OldBicycleShopBeads
www.instagram/oldbicycleshopbeads
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 71

Honeycomb
BOUQUET
I
n this feature, we’re going to be
focusing on colour combinations.
Sometimes it can be quite hard to
work with multiple colours or to work
outside of our comfort zone. With this
in mind, I’ve decided to test out col-
ours that we might not necessarily put
together.
Pretty and colourful is on the menu
today for colour crazy. The last year has
been a crazy up and down rollercoaster
we didn’t expect and what better way to
lift our spirits than with a bright pop of
colour. A mixture of bright green, tur-
quoise, purple, pink and gold make up
a wonderful combination that screams
happy. Use them to make this age-old
You will need:
n 50-60 x 3mm Swarovski bicone -
Amethyst AB (A)
n 8g Superduo Duets - White Vega
Luster (B)
n 25-30 x Czech Honeycomb Beads -
Silk Laser Turquoise Core (C)
n 2g Size 8 Seed Beads - Miyuki
Duracoat Galv Champagne (D)
n 5g Size 11 seed beads - Miyuki
Duracoat Op Kiwi (E)
n 2g Size 15 Seed Beads - Miyuki
Duracoat Op Anemone (F)
n 5-6 x SS39 8mm Chaton - Crystal
Lotus Pink Delite
n Fireline 6lb.
n Size 13 Needle
72 B E A D & J E W E L L E R Y n I SS U E 1 0 6
COLOUR CRAZY
flower bracelet pattern of mine, and 1
you have a piece that every time you On a wingspan of thread, we start by
look at it, it makes you smile. picking up 1(A), 1(B) and continue this
Each little component works up pretty way until we have five of each alter-
quickly on this piece, and when joined nated. Figure 1.
together, they give an up and down
effect that sits lovely around the wrist. 2
The components equally make pretty Go back into the first (A) to create a
little earrings, and you could even add circle and then weave through all the
three together and attach to chain for beads, until you’re coming out of a
a necklace. If you find that five compo- (B). Take your needle up through the
nents are a little tight, but six would be unused hole of that (B). Figure 2.
too much, try extending the clasp loop
or the beads between each component. 3
Alternatively, you can get some lovely Pick up 1(B), 1(C), 1(B) and go through
extender slider chains on the market the next (B) along from the first row,
now that would look fab attached to this using the unused hole. Figure 3.
piece.
I would love to see what you create
from this inspiration and to hear what
some of your favourite colours are.
Please send a high-resolution photo
of your work to editor@beadmagazine.
co.uk. Happy Beading!
FIGURE 1
FIGURE 2 FIGURE 3
 COLOUR CRAZY

FIGURE 4

FIGURE 5 FIGURE 6

FIGURE 7

FIGURE 8 FIGURE 9

4 7
Continue adding the (B), (C), (B) all the Pick up another (D) and go through the FIGURE 10
way around and finish by coming out of next two (B). Figure 7.
the unused hole of a (B). Figure 4. through the next (D), the 2(B) and the
8 (D). This will have created a little arc
5 Continue adding (D) beads all the way above the (C) bead. Figure 9.
Weave through the next (B) to join the around and joining (B) beads together.
two (B) together. Figure 5. Finish the step by coming out of a (D) 10
bead before a (C). Figure 8. Continue step 9 all the way around,
6 adding arcs of (E) beads above the (C)
Pick up 1(D) and go through the (C). 9 beads. Then weave through to a (A) on
Figure 6. Pick up 6(E), skip the (C) and go the first row. Figure 10.

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 73
 COLOUR CRAZY

FIGURE 11 FIGURE 12 FIGURE 13

DESIGN NOTE
Each component can be made
up separately to add to other
jewellery.

11
Pick up 3(E), miss the (B) and go through
FIGURE 14 the next (A). Figure 11.

12
Continue adding sets of (E) beads all the
way around. These will sit over the (B)
FIGURE 16 FIGURE 15 beads. Weave up to a middle bead of one
set of the 3(E) just added. Figure 12.

13
Pick up 1(E), 1(A), 1(E) and go through
FIGURE 17 the next middle (E) bead from the next
set of three from the previous step.
Figure 13.

14
Continue step 13 all the way around.
FIGURE 18A Then weave through until you’re coming
out of the (E) after an (A). Figure 14.

15
FIGURE 18 Pick up 1(F) and go through the next
three beads from the previous round -
the (E), (A), (E). Figure 15.

16
Continue adding size (F) beads between
all the sets of three beads from the pre-
vious round. Finish by coming out of a (F)
and pop in your chaton. Figure 16.

17
Pick up 3(F) and go into the next (F) from
the previous round. Figure 17.

18
Continue adding (F) beads between all
the (F) beads from the previous round.
Then go through them all again to
tighten the bezel, but do not go through
the (F) beads from the previous round.
Weave down to middle size (E) from
steps 11 and 12. Figure 18 & 18a.

74 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 COLOUR CRAZY

FIGURE 19 FIGURE 20 step 12 and up the next two of a set of

four). Figure 21.

22
Continue all the way around adding a
single (E) bead between the sets of four
beads. Pop to one side.
Now make up 4-5 more flower compo-
nents (dependent on wrist size). Figure
22.

FIGURE 22 23
To join them all together weave through
to a (D) bead on the outside edge of your
component. Pick up 3(E) beads and go
FIGURE 21 into a (D) on another component. Figure
23.

24
Coming out of the (D) pick up another
3(E) and go into the next (D) along on
your first component. (Both the (D) beads
FIGURE 23 FIGURE 24 used need to be either side of the (B)
beads). Figure 24.

25
Coming out of the (D), pick up 3(E) and
go into the next (D) along. This should be
the (D) you used from step 22 and the (E)
beads just added. The new beads should
sit in a picot above the (B).
Continue joining all your components
together as in step 24 -25. Line the
components up and as you can see in the
photograph each join is adjacent to the
FIGURE 25 FIGURE 26
last join to get the up and down effect.
Figure 25.

26
Coming out of a (D) on your last compo-
nent, pick up 6(E) and go back into the
(D) from the opposite side. Go forward
into the first (E). Figure 26.

27
Pick up 1(F) and go into the next (E) on
your loop. Continue adding another four
19 (E) between (F) beads all the way around
FIGURE 27 Pick up 4(E) and go into the next middle your loop. Reinforce and weave off your
(E) on this row. Figure 19. thread. Figure 27.

20
Continue adding sets of 4(E) all the way SUPPLYSHOPS
around. Finish by coming up through the
Spoilt Rotten Beads,
first two of a set of four. Figure 20.
www.spoiltrottenbeads.co.uk

21 Tanzee Designs, 3 Long Street, Wotton

under Edge, Gloucestershire GL12 7ES
Pick up 1(E) and go through the next the
Tel: 01453 520000 www.Tanzeedesigns.co.uk
next five beads (this will be down the two
of a set of four, through the bead from

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 75
 ZISE
earrings
You will need:
n 7g of Art Clay Silver
n 2 x 4mm fireable gemstones
n Jump rings and ear wires
These oriental style earrings feature
n Paste pot or syringe a stunning gemstone setting
n Ceramic tile work surface
n Texture plate DESIGNED BY TRACEY SPURGIN
n Badger Balm
n Roller
n Spacer bars

T
n Needle tool ake a trip to the Orient in these
n Water brush stunning stone set earrings.
n Circle template This lovely intermediate silver
n Craftworx tube cutters
clay pattern will give you more skills to
take your PMC journey to the next level.
n Snake roller
Tracey has used her signature spots and
n Cling film dots, a pretty design and a little gem-
n Files stone to make her half moon pieces. She
n Sanding grits then added a bar that attaches to the
main section and also used for adding
the ear wire. These beautiful earrings
will take you roughly about two hours to
make and cost around £15. If this has
whetted your appetite for metal clay,
why not join Tracey on her online dis-
tance learning courses. With full detailed
instructional videos, support documents,
and you can even interact with her to ask
questions. Alternately, TA whole world of
metal clay at your fingertips.

76 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 METAL CLAY

2 5
Balm a texture plate then place the clay Rollout out a piece of clay to the meas-
on top of the texture and place 1mm ured depth of the gemstone. Use a tube
spacers on top of the texture as well. cutter to pierce out a piece of clay. If the
Roll once again. clay gets stuck on top the tube, blow it
out from the opposite end. Make a centre
mark with the fine pointed tweezers.

3
Use a circle template and a needle tool
to pierce out the design. As you are mak-
ing earrings, repeat this process, making
a matching pair, Place these pieces to
dry.
6
The mark will act as a place for the
gemstone point to sit in. Place the snake
roller on top and push down on to the
spacer bars. This will set the gem to the
correct height. Place this to dry.

4
To make the gemstone settings, firstly
check the depth of the gemstone. Stack 7
your spacer bars beside the stone. Place Once the clay crescents are dry, use files
the snake roller on top. The snake roller or sanding grits to smooth off the edges.
1 should not be touching the gemstone.
Apply a thin layer of Badger Balm to a
ceramic tile work surface. Use 1.5mm
spacer bars to roll out a piece of clay.

TOP TIPS

TAPE THEM DOWN If the spacer bars

are sliding around while trying to roll
out the snake of clay, tape them to the
work surface.

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 77

8 11
To create a consistent snake of clay,
place 1mm spacer bars on to the work
surface, take a small pinch of clay and
use the snake roller to roll this out.
9 bars to control the thickness. Use a
Spritz with water. Use a water brush to
manipulate the snake of clay around the
crescent, then place to dry.
10
Once the piece is fully dry, use a half-
round file to file an indent into the bot-
tom edge. This will create a seat for the
gemstone to sit in.
78 B E A D & J E W E L L E R Y n I SS U E 1 0 6
METAL CLAY
Use a little paste or syringe to adhere
the sections together.
12
Roll out another snake using the spacer
water brush to manipulate this into a
right-angle shape, place to dry.
13
Make a selection of various sizes of
spots and dots. Roll out a piece of clay
1mm thick. Lift and turn the clay before
covering with some cling film then use
Craftworx tube cutters to
pierce out the dots. Remove
the cling film and store the
excess clay. Allow the dots
to dry.
DESIGN NOTE
Drying options are to dry naturally or
use your domestic oven at 130ºC for
20mins.
14
Once all the parts are dry, begin to join
the pieces together using a little paste
or syringe type. Allow each area to dry
before moving onto the next.
15
Use extra dots on the back of the piece
to ensure it is secure. Dry this thoroughly
before firing.
16
Fire according to the manufacturer’s
instructions. The options are torch firing,
gas hob firing or kiln firing.
After firing, polish the piece either with
a soft brass brush or using tools and
devices such as a polishing wheel or
tumblers.

Are pearls real gems?
Marie Chalmers of Chalmers Gems talks to us about all things pearl
P
earls are ubiquitous amongst
the rich and famous, adorning
Hollywood stars and starlets for
decades and why not, they are, after all,
the Queen of Gems. Icons such as Marilyn
Monroe and Audrey Hepburn (that famous
shot of her in Breakfast at Tiffany’s) have
graced the big screen with their lavish
and lustrous pearl neck décor. Political
Queens Jaqueline Kennedy and Michelle
Obama rarely hit the ceremonial carpets
without their pearl creations. Whilst real
Queens have been lavishing us with regal
pearl attire for centuries, as far back as the
Persian conquest in 5 BC!
The love of and fascination with pearl’s
FOR THE LOVE OF PEARLS
MARIE CHALMERS
seemed destined to reside with the upper
echelons until cultured pearl farming
exploded in the early 20th century in Japan
with the crucial discovery by Mikimoto of
implanting matter inside pearl-making mol-
luscs and thus, a new culture was born – in
more ways than one!
My love affair with Pearls began on one
of my many gemstone forays into the heart
of India. As a diamond expert going about
my sourcing, it was a rare day in India
when someone did not mention pearls –
they somehow seem synonymous with the
grandeur associated (quite correctly in my
view) with diamonds. Hyderabad, in the
province of Telangana, has been known as
the City of Pearls for centuries, even though
it is landlocked. This most phenomenal
of places, under Nazim rule, became the
centre for excellence in pearl processing
and trading with vast quantities of these
gems passing through the city at a rate of
knots, from various sources, such as Ceylon
& the Persian Gulf, with thousands upon
thousands of people in this city, one way or
another, involved in the pearl trade, and so,
it became the largest pearl drilling centre
in the world. Seeing a seed pearl drilled by
hand by one of these highly skilled crafts-
people is truly astonishing.
However, whilst still an incredibly
large pearl processing and trading area,
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 79

Hyderabad has passed their market-leading
baton off to the Chinese where not surpris-
ingly they are now the largest commercial
pearl producers in the world. Hyderabad
still reigns as the mother to diamonds as at
one point it possessed the only known dia-
mond mines in the world (Golkonda) & was
home to the Koh-i-Noor diamond! Sorry, I
digress, back to pearls!
My most recent visit to a Pearl farm last
year, before we were all besieged by the
current travel restrictions, resulted in the
most incredible first-hand insights into the
farming of cultured pearls. My host, Zhang
Wei at his Freshwater Farm in Zhejiang,
China (see top picture) was supremely dili-
80 B E A D & J E W E L L E R Y n I SS U E 1 0 6
FOR THE LOVE OF PEARLS
gent in his quest to help me further under-
stand these tiny miracles of nature, and I
was just as keen to understand the process
and bust some of the myths surrounding
the cultivation of pearls such as does the
mollusc die once the pearl is removed?
In many cases, sadly they do, especially
in Freshwater Farming, however with
Seawater molluscs some survive as more
care is taken in the extraction.
I have bought millions of £’s worth of
gemstones in my career and it often sur-
prised me when I have been asked to source
pearls, and I ask the simple question, what
type of pearls, it is evident that not many
people know an awful lot about pearls.
Far top left and above left: A tiny bead or other
object is also placed inside the soft tissue of the
mollusc.
Top right: Freshwater Farm in Zhejiang, China.
Above: I did not come away empty handed.
The most common question asked is “are
pearls real gems”? Well yes, they are, how-
ever, where stones form as minerals under-
ground, pearls are organic; they form within
the soft tissues of a living creature; a mol-
lusc. My trip took me waist-deep in these
extraordinary if somewhat odd-looking crea-
tures and I have never been happier!
These remarkable gems are created by
an irritant being present inside the shell of
the mollusc. There are actually over 85,000

Top: The molluscs are hauled in with nets
Above centre: Mollusc’s can produce up to 40
pearls in one shell.
Above: The pearls are all cleaned and polished in
a barrel.
FOR THE LOVE OF PEARLS
species of molluscs in the world, so when
we talk about growing pearls inside these
creatures, we are really referring to those
with a hard bi-valve shell such as clams,
oysters and mussels.
The mollusc will coat the irritation with
nacre, better known as Mother of Pearl to
you and me, and over many years, layers
of nacre will grow, resulting in a beautiful
pearl.
Then we come on to the next common
question which is the difference between
natural and cultured pearls; which, as
Zhang Wei told me “it is most simply
described as cultured pearls are given a
helping hand”.
The more complex answer is that a natu-
ral pearl is created usually because a tiny
parasite or organism has bore a hole into
the shell of a mollusc and become an irri-
tant to the delicate soft tissue inside. The
mollusc deals with this irritation by coating
the interloper with nacre, and the long lay-
ering process begins. As you can imagine,
natural pearls are very rare and extremely
expensive (we are back to those ostenta-
tious upper echelons again) as they are
difficult to find and not farmed. Indeed, only
10 per cent of today’s pearl market is for
natural pearls.
I mentioned Mikimoto earlier, and it was
his findings and subsequent invention that
brought us mass produced cultured pearls.
His discovery was the creation of round
pearls in mantle tissue. The what tissue?
A mantle is a living membrane inside
the soft tissue of a mollusc whose job it
is to filter water and nutrients. This plays
a hugely important part when culturing a
pearl. Farmers will add a small piece of
mantle from one mollusc into the new host
mollusc. Along with the mantle, a tiny bead
or other object is also placed inside the soft
tissue of the mollusc, which then triggers
the nucleation process - which is essentially
a jump start to the nacre producing stage.
Zhang Wei showed me how to do this and
I now am the expectant mother of some of
my own-grown pearls in a few years’ time!
However, hold that thought as I did not
come away empty handed.
I spoke with Zhang Wei a lot about farm-
ing practices and the treatment of the
molluscs. He assured me that the farmers
go to great pains to ensure the well-being
and longevity of their farm beds and these
curious, gem producing little wonders.
Generally, the longer the pearl is left to
grow, the thicker the nacre and the higher
the lustre (surface reflection) so the mol-
lusc’s healthy and long survival is in their
very best interest.
We have all seen those wonderful,
romantic pictures of a single, huge white
pearl sitting on a soft bed within the shell
of an oyster but in truth, each of these
mollusc’s can produce up to 40 pearls in
one shell, which even as a gemologist and
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 81
 FOR THE LOVE OF PEARLS
Above left and left: They are sorted into their
many different categories such as shape, colour
and lustre.
expert in all things gemmy, I was totally
floored by. I had been drawn in by those
romanticised images.
In reality, the Pearl farmer has no idea
what his harvest will bring and factors out of
his control might destroy his harvest, such
as natural disasters and gemologists tram-
pling around his mollusc beds.
Once harvesting time is upon the farm-
ers, the molluscs are hauled in with nets,
opened up, and the pearls are revealed to
them for the very first time. The farmers
are finely tuned to the commercial grades
of pearls such as sheen, glaze, shape, size,
lustre and uniformity, so a large number
of pearls may be rejected at this stage due
to just not cutting the mustard. Of course,
colour (which is determined by the shell
colour) is an important factor too and
reflects upon the commercial value.
The pearls are then all cleaned and pol-
ished in a barrel with a fine sawdust-like
material which is a generational tradition
and sorted into their many different catego-
ries such as shape, colour and lustre.
At this point, the farmer’s job is done. I
say goodbye to Zhang Wei, and the pearls
wing their way off to be drilled, where each
pearl is drilled dependent upon its individual
82 B E A D & J E W E L L E R Y n I SS U E 1 0 6
merits. For example, if the pearl has a small
blemish on the surface, then this may be
where they place the drill hole to make a
half-drilled pearl. It is a skill unto itself.
Once drilled - half drilled pearls will be
matched for earrings, and full drilled pearls
will be carefully strung, ready to be made
into necklaces and bracelets along with
other pearls with the same merits.
Then they go to market for sale, where,
as buyers, we all need to ensure we are
buying authentic pearls and avoiding the
mass flood of fake, cheap imports. My
advice? Buy only from reputable sources
where you are guaranteed authenticity from
the source. At Chalmers Gems, I head up a
gem buying team who carefully assess the
merits of all of our suppliers and pearls and
select the very best strands at the very best
value.
Competition
Now, who would like to the chance to
win some of the pearls I personally
farmed in Zhejiang? All you have to do
is visit us here https://bit.ly/WinPearls
and enter the draw! Who knows,
before long, you might be putting
Marilyn and Audrey to shame.
BEADLINK: www.chalmersgems.com
 BEAD WEAVING

D
o you have trouble using tiny
seed beads? Well, Amanda Con-
nell has designed this humorous
bezelled magnifying pendant which is
excellent for seeing all the tiny ones that
Why Grandma
seem to escape when we’re looking for
them. Using mostly size 8 seed beads
and the odd smaller bead, this piece
works up quickly and can be made in
(what big eyes…)
about two hours for around £12. Colour
wise you could try making the innermost
peyote row from an eye colour like blue,
brown or green and have a matching
teardrop. Wonderful fun and super handy
to have.
See life in focus with this fab
magnifying pendant
DESIGNED BY AMANDA CONNELL

into a circle. Pass through the circle plus emerged from in the circle (in the same
one bead a second time. Check your direction as before) and the next two (A)
circle snugly fits the lens. beads in the circle.

1
Using as long a length of thread as is
comfortable and leaving a 20 cm tail
thread – pick up 84(A) beads and form

You will need:

n 5g Size 8 seed beads (Miyuki White or
Pearl Ceylon) (A)
n 1g Size 11 seed beads (to match (A)
beads) (B)
2 4
n 0.5g Size 15 seed beads (to match (A) Now make a row of RAW as follows. Repeat Step 3 until there is just space for
beads) (C) Pick up 3(A) and pass through the same one more stitch (41 units of RAW done).
n 5.5g Size 8 seed beads (Rose gold. (I bead your thread was exiting from at the To make the last unit, pass through the
used Toho PF552)) (D) beginning of this step, in the same direc- third (A) bead added in the first unit made.
n 4.5g Size 8 seed beads (Miyuki black) tion as before, but also pass through the
(E) next 2(A) beads in the circle.
n 0.5g Size 11 seed beads (Miyuki black)
(F)
n A few (12) Size 11 seed beads (rose
gold to match D beads) (G)
n A 50mm double convex optical lens –
100mm focal length
n A large crystal drop bead of your
choice
n Ribbon or chain (and an optional
clasp) from which to hang the pendant 5
n Braided fishing line Pick up 1(A) bead, pass through the
n A fine beading needle 3 first (A) bead added in the last unit and
n Scissors or Thread Zapper Pick up 2(A) and pass through the first the last (A) bead passed through in the
(A) added in the last step and the last (A) circle.

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 83
 BEAD WEAVING

6 9
Step up through the third and second Weave the thread to the other side of the
bead of the first unit made. Pick up 1(A) bezel and turn the bezel over. Drop in
and pass through the second (A) of the the lens and complete the other side of
next unit of RAW. the bezel by repeating Step 7 and Step
8. Weave in, fasten off and cut away both
the working and tail threads.
11
After the 20 single peyote stitches, place
another three (D) beads as described
in the previous step, and peyote on with
single (D) beads to complete the circle.

7 12
Turn the work over and complete a row
of peyote with (A) beads around the circle
and step up and then complete a row of
peyote with (B) beads and step up.
Continue to peyote a second row of (D)
10 beads, adding a (D) bead in each gap and
Fasten in a new length of thread and placing a bead on top of each of the three
weave to emerge from one of the outer (D) beads placed either side of the circle
rows of (A) beads either side of the (as shown) until the row is complete.
central row (which lie the other way) and
begin a row of peyote with (D) beads.
After two or three stitches, pick up 3(D)
and pass back through the first of these
three and peyote on with 20 single (D)
beads.

8 TOP TIPS
Complete a further row of peyote but in
this row alternate beads by putting 1(B)
in one gap and then 2(C) in the next gap
– and so on.
CHECK SIZES The bezel is made with
Ceylon finished beads, which make a
good tight bezel. Some other Size 8
beads work up much bigger so check
after making the initial circle if you
do vary the bead (which is not recom-
mended).
TENSION Keep your tension firm when
making the ‘eyelashes’.
STASH BUSTER The tear could be any
suitable drop bead from your stash or
even consider chandelier crystals.
13
Weave your thread to emerge from an
(A) bead in the row of beads the other
side of the central row and complete
two rows of (D) beads to match the two
you have already completed. Weave to
emerge from a (D) bead at one of the
points.

84 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD WEAVING

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 85
 BEAD WEAVING

COLOURWISE
Experiment making the innermost
peyote row from an eye colour (eg.
blue, brown or green) and matching
the teardrop.

14 20
Zig-zag between alternate (D) beads Pick up 1(F), 1(E), 1(F) and pass back
in the two top rows of peyote (D) beads down through the (E) bead again. Pick
placing a bead between each zig and zag. up 1(F) and pass on through the next
(Beads to be used in next step.) bead.

17
Pass through the next (D) bead in the
centre row and then carry on with a
peyote row around the middle row beads
you straightened in the last step. Peyote
3(D), 15(E) and 3(D).

15 21
The first three beads placed in this row Over the next five ‘eyelashes’, repeat the
are (D) beads followed by 16(E) beads, whole of step 20 but with each repeat,
6(D), 16(E) and 3(D). You will end the last pick up an extra (E) bead so firstly you
step coming out of the bead you started will pick up 1(F), 2(E), 1(F) and by the
from. Now weave your thread around to fifth ‘eyelash’ made in this step, you will
the parallel (D) bead at the point, point- pick up 1(F) 6 (E), 1(F). Pass back down
ing in the same direction as before. through only the (E) beads each time.

18
When you reach the other end pick up
3(D) and pass back through the first of
these three.
Repeat Steps 17 and then this step
to complete the other side then pass
through the next (D) bead and step up.

16 22
From here, repeat the zig-zag thread Repeat Step 21, BUT IN REVERSE, for
path, crossing the other way, to pull the the next five ‘eyelashes’. Then repeat
centre beads to lie at right angles to the step 20.
beads in the parallel peyote rows. NB
Make sure you pass through the centre
beads in the same direction as before,
just zig-zagging from the opposite side.
19
Peyote a (D) bead in each of the next two
space and then weave past the next 2 the
two after that.

86 B E A D & J E W E L L E R Y n I SS U E 1 0 6

23
Weave forward to emerge from the
first (D) bead and then peyote 7 single
(D) beads (3 will go over the set of 3(D)
beads added last round).
24
Weave forward past the next two gaps
and then complete the ‘eyelashes’ to
match the opposite side.
25
Weave forward to emerge from the
first (D) bead and then peyote 5 single
(D) beads (3 will go over the set of 3(D)
beads added last round).
26
Keeping your tension firm, follow the
thread path through the ‘eyelashes’ to
stiffen and strengthen them and when
you reach the opposite point, make a
loop of 6(G) beads. Pass through it two or
three times for strength.
27
Follow the thread path through the other
set of ‘eyelashes’ and place another,
strengthened 6(G) bead loop at the op-
posite end. Fasten and finish off your
threads and cut them close to the work.
Attach your teardrop crystal to one end
of your pendant with a 5mm jump ring.
Attach another jump ring to the opposite
point.
28
Hang your pendant from your chosen
chain or ribbon.
SUPPLYSHOP
Stitchncraft Beads, Shop Tel: 01747 830666,
Mail Order Tel: 01747 830666
BEADLINK: www.etsy.com/uk/shop/
beadiacdesigns
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 87
 makemetoday
wearmetomorrow Welcome back to our quick to make
projects, that you can make in an
hour or two and wear immediately

R
opes are not my go-
to when I’m bead-
ing. I always find
that I lean more towards
You will need: component jewellery, but
n 5g Size 8 Seed Beads
after having a chat with
(A)
myself, I’ve decided that I
would like to explore ropes
n 5g Size 11/0 Delica
a lot more and I’m return-
Beads (B)
ing today to my nemesis,
n 2g Size 15 Seed Beads which is the spiral rope.
(C) When I first started bead-
n 6 x 4mm Pearl (D) ing, this was the rope that I
n 2 x 8mm Chaton couldn’t get to work for me
n 1 x 8mm Crystal Button and used to fall apart, but
n Fireline now I seem to have more
luck. As the spiral rope
n Needle
was coming together, I was
thinking about how I was
going to use a clasp. When
I added the first Chaton, I
thought about adding a loop
that went around that, but
it didn’t work out as well as
I’d hoped and thus came the
second chaton on the other
end and the overlap. Again,
I was a bit stumped as to
how to join it together, but
then I remembered the box
of pretty buttons a friend
had gifted me, and with a
little bit of trial and error
I soon had this gorgeous
bracelet.
I would say that this de-
sign is probably suited to a
beginner that has had a bit
of beading experience, but
once you get the hang of the
stitch, the rope beads up
quickly. You can also keep
going with your rope and
make a necklace, maybe a
lariat using the button as
the clasp down the front.
We hope you enjoy this little
project and that you have
fun with it. Happy beading!

FIGURE 1 FIGURE 2 FIGURE 3 FIGURE 4

FIGURE 7 FIGURE 8 FIGURE 9 FIGURE 10

88 B E A D & J E W E L L E R Y n I SS U E 1 0 6
 TOP TIPS
TENSION Try to keep a tight
tension at all times.

1
On a wingspan of thread, we
start by picking up 1(A) and
2(B) three times. Tie a dou-
ble overhand knot to secure
into a ring and step up into
the first (A).

2
Pick up 1(A) and 2(B) and go
into the next (A) along.

3
Repeat step 2 twice more
and step up into the first (A)
you added on this round.
Repeat steps 2 and 3 until
you have a bracelet that
overlaps on your wrist.

4
When you’ve completed
your last round weave
forward into the second (B),
pick up 1(B) and go into the
next (B).

5 until you’re coming out of

FIGURE 5 FIGURE 6 Weave through the next the 2(B) before the (A).
(A) and the first (B) of the
next set of 2(B) and repeat 9
step 4. Weave around to the Pick up 2(B) and go into the
next 2(B) and repeat again. next 2(B) from the previous
Weave forward into the next round.
(A).
10
6 Pick up 1(B) and go into the
Pick up 2(B) and go into the next 2(B) from the previous
first (B) added in the last round.
FIGURE 11 FIGURE 12 round.
11
7 Repeat steps 9 & 10 all the
Pick up 2(B) and go into the way around and finish by
next (A) along. coming out of the first 2(B)
added.
8
Repeat steps 6 & 7 all the
way around. Weave through

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 89
 15
We’ve now changed the
view to just show the
single (B) beads. Com-
ing out of the single
(B), pick up 3(C) and
go into the next single
(B) along. Repeat
all the way around
and finish by weaving
through the first 3(C).
16
Pick up 1(C) and go into the
next 3(C). Continue adding
12 single (C) beads between
Pick up 1(B) and go into sets of 3(C) all the way
the next single (B) from the around. Finish the round by
previous round. 14 coming out of a single (C).
Continue adding single (B) Pop in your chaton.
13 beads all the way around as
Pick up 1(B) and go into the in the last two steps. Step 17
next 2(B) from the previous up into the first single (B) Pick up 2(C) and go into the
round. added. next single (C) along. Re-
peat all the way around.
FIGURE 13 FIGURE 14 FIGURE 15
FIGURE 16 FIGURE 17 FIGURE 18
FIGURE 19 FIGURE 20 FIGURE 21
90 B E A D & J E W E L L E R Y n I SS U E 1 0 6
18
Weave back around to the
first (A) in step 5 and pick
up 1(C), 1(D), 1(C), go into
the next (A) around. Repeat
twice more and finish by
weaving though the first (C),
(D), (C).
19
Pick up 3(C) and go into the
next (C), (D), (C). Repeat
twice more. Reinforce.
20
Adding the loop for your
button.
Coming out of a (A) (about
two (A) beads up your
bracelet from where you’ve
just added the pearls),
pick up 22(C) and go into
the next (A) along. Pick up
2(C), miss the first 2(C) of
your loop and go through
the next 18(C). Pick up 2(C)
and go back into the (A) you
started at from the other
side.
21
When adding the button
you’ll want it to sit on top
of your bracelet so it falls
between the two ends when
overlapped. Positions your
loop over the place you
want the button to sit and
roughly in the same posi-
tion on the bracelet that
you added your loop, pick
up 1(C), go through the first
hole of your button, pick up
2(C), come down the second
hole of your button and pick
up 1(C). Go into the next
(A) along. Weave around
your beads to reinforce the
button.
SUPPLYSHOP
Jencel, Tel: 0114 2509565
www.jencel.co.uk
 BEAD EMBROIDERY

Bead up this gorgeous cuff using

handmade cabochons and cork
DESIGNED BY HOLLY BEAN

C
ork fabric is such a wonderful
material to use for bead embroi-
dery. It comes in many colours
and prints and is one of the favourite
materials of Holly’s to bead on. She says
the needle goes through it like butter!
Add in a gorgeous cabochon, and you’ve
got a stunning, yet really wearable piece.
Holly used a handmade polymer clay
cabochon from Etsy, but you could use
a gemstone piece if you’d prefer. It will
take you roughly four hours to make this
piece and price will be dependant on
which cabochon you choose, but if like
Holly you choose a hand-made piece, it’ll
be around £35.
Template
TULA
Moons
cuff
Making the centre focal
1 suede and pull your thread snug. Come
Measure your wrist for use in a later
step. Glue your centre focal to the mid-
dle of one of the 3” x 3” pieces of ultra
suede. I use E6000 in the middle of the
backside of the focal and Loctite around
the edges. Let dry at least 10 mins. Add
about two arms lengths of your pre-
ferred thread on your needle (I use 8 lb.
Fireline). Once your focal is dry, begin
beading around the focal with colour
(A) beads and the 4/2 back stitch: Put
4(A) beads on your needle and thread
and pull them down to the ultra suede.
Lay them in a line up against your focal.
Push your needle down into the ultra
back up through the ultra suede in be-
tween the two middle beads. Now push
your needle through the last two beads
in the row. Add another 4(A) beads and
repeat all the way around your focal. This
is called back stitch. You can also do a
6/3 back stitch. Make sure you have an
even number of beads around the focal.
Go back through all the beads again.

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 91

You will need:
n 3g Miyuki Seafoam Delicas Size 11 (A)
n 2g Miyuki Bronze Size 15 (B)
n 3g Toho Gilded Marble Turquoise Size
11 (C)
n 3g Miyuki Bronze Size 11 (D)
n 10 x Miyuki Bronze Size 8 (E)
n 2 x Back Lit Aquasol Mini Cabs
n 1 x 2” Long Marquis Shaped Focal
n Green Fennel Cork Fabric
n Any colour of Brown Ultra Suede
n 1 x 10 mm Magnetic Clasp
n Needle (I recommend Size 11 or 12)
n Your preferred beading thread (I use 8
lb. Fireline)
n Scissors
n Pliers (needle nose and flat)
n E-6000 Glue
n Small piece of cardboard
n Fast Dry Glue (I use Loctite super
glue)
n Pen or white gel pen for marking
2 along a ruler. Use your wrist measure-
Begin Peyote stitch by coming out of one
of the beads in the base row and step-
ping up. Add 1(A) bead to your needle,
skip a bead in the base row and push
your needle into the next bead in the
base row. Add a bead and skip a bead all
the way around the focal (middle photo).
Once around, come out of the very first
step up bead you added. Now add 1(A)
bead in between each step up bead that
you added (in the ditch between them).
Pull the beads snug as you go around.
Come out the first ditch bead you added
and for the last row add 1(B) bead in
each ditch.
Once around, pull your thread snug and
then push your needle down into the
ultra suede and come up adjacent to the
base row - I usually choose somewhere
along the side.
92 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD EMBROIDERY
3
Using backstitch, bead a row of (C) beads
around your centre focal followed by a
row of (B) beads. Go back through all the
beads again. Trim your focal as close
to the beads as possible. Hint: I turn
mine upside down and trim close to the
stitches. Lay your trimmed focal on the
cardboard provided (or you can use your
preferred backing). Trace around the fo-
cal and trim the cardboard just inside the
lines you drew. You want the cardboard
smaller than the circumference of the
focal. Glue the cardboard to the back of
the focal. Glue the other piece of ultra
suede from your centre focal bag to the
cardboard.
4 ment we took earlier as a guide and
Now it is time to sew the front and back
pieces together using the Sunshine
stitch: Push your needle through the
front piece of ultra suede and pull the
thread through. The knot should be
caught between front and back pieces of
ultra suede thus hiding it. Add 1(D) bead
to your needle; push your needle from
the back to the front through both pieces
of ultra suede. Pull the thread almost all
the way through. Now push your needle
back up through the bead and tighten.
Keep your stitches close together. Use
this stitch around the entire piece. Set
the focal aside for a later Step.
Create the side focals
5
Cut the template out and trace it on the
back of the cork. Cut out your side piec-
es. Glue your mini cab to the cork using
your fast dry glue to hold it in place while
you sew it down. Place the mini cab ap-
prox. 1/4” from the “V” edge. Using the
4/2 back stitch, bead a row of (C) beads
around the mini cab followed by a row of
(B) beads. Bead a row of alternating (E)
and (C) beads extending from the bottom
of the mini cab. Go back through the row
again. Complete both cuff sides.
6
Lay out your centre focal and side pieces
trim any excess cork. Fit the magnetic
clasp on the end (don’t glue it yet). Make
a mark on the top side of each side fo-
cal. Note: You may have to also trim the
sides of the cork to fit inside the clasp.
Glue the brown ultra suede backing on
the back of each side focal and trim any
excess ultra suede. Sew front and back
together with the sunshine stitch and
(D) beads. Begin and end your stitching
beyond the mark you drew. (the clasp
will not fit over any beads). Note: You do
not need to insert any firm backing to the
side focals, you want them to be flexible.
 BEAD EMBROIDERY

i nspiration
I came up with this cuff strap design
because I wanted a more comfortable
option than metal on my wrist. I love
how the three pieces of the cuff con-
nect together and it super light!

Connect the centre and sides

7
Make sure you have two arms lengths
of thread on your needle and knot the
end. Lay out your cuff pieces; you will
be connecting the sides directly into the
sides of the centre focal. Get an idea
of which beads you will be connecting.
Weave your needle in-between two of
the sunshine beads on the back of the
centre focal to hide your thread. Come
out one of the edge sunshine beads
toward the bottom of the centre focal.
Add 1(D) bead to your needle and push BEAD NERD
your needle directly into the edge bead of The project is named for the
the side focal. I then turn my pieces over moons of a star in the
and connect from the back side. You will Pleiades Constellation
connect three adjacent beads by weaving
your needle back and forth from centre 9
focal to side focal. Go through the beads Attach the magnetic clasp with fast dry
a second time. On the fourth bead, you glue. Be careful not to add too much you
will need to add a (D) bead in between 8 don’t want it to ooze out when you push
the sunshine beads of the centre and Around the top of the centre focal I used the cuff ends into it. Congratulations -
side focal at the edge of the “V” space. In a Picot stitch: Come out one of the sun- you’re done. Enjoy your Tula Moons Cuff!
the “V” space, I added 1(B) bead to each shine beads in the centre focal and add
sunshine bead then replicated the above 3(C) beads to your needle and push your
steps in order to attach the other curved needle down into the very next sunshine
side. Repeat these steps to attach the bead. Once you have the picots in place
other side focal. and your sides are done, weave your
needle through the backing a few times
and snip the excess thread.
DESIGN NOTE
SUPPLYSHOP
Cork fabric comes in many colours Spoilt Rotten Beads,
and prints and it is one of my favourite www.spoiltrottenbeads.co.uk
materials to bead on. The needle goes
through it like butter!
BEADLINK: www.hollybean.com

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 93
 BEAD WEAVING

shapes
&crystals EARRINGS
Geometrical earrings made with
shaped beads and crystals

DESIGNED BY DEBORA HODOYER

U
se geometric shapes and throw and would be amazing with a long skirt,
in some crystals to make these ribbed long sleeve top and a chunky cardi
beautiful wear anytime earrings. to beat the chill of Winter. Add in a long
Made up of two-hole beads, seeds and necklace, and you are rocking that style.
crystals, these fabulous earrings are Make them in any colours you choose or
fast going to become your go-to pieces. pick from the three options that Debora
We feel the design is quite a boho look has provided for us. These little earrings
would also be fab for birthday presents
or just because you want to give a gift as
You will need: they make up in about an hour and cost
roughly £10.
Green:
n 0.5g seed beads size 15° (Miyuki du-
racoat galvanized champagne -4204) (A)
n 12 x (5x8mm) Diamonduo or Gem-
duo beads (Gemduo matte backlit pink
citrine) (B)
n 12 x (5x5mm) Miyuki Tila beads
(transparent green AB) (C)
n 12 x 4mm fire polished rounds (green
picasso) (D)
n 0.5g seed beads size 8° (Miyuki dura-
coat galvanized seafoam -4217) (E)
1
n 0.5g seed beads size 11° (Miyuki
Use a comfortable length of thread to
opaque chartreuse -416) (F)
string 1(A) and 1(B) (bottom hole, puffed
n 2 x 21mm copper tone earwire hook side up) six times; then pass back
with spring and ball through all beads again to form a tight
n Green C-lon beading thread size D circle, leaving a short tail. Tie a couple
n Needle size 12 of knots between the tail and the work-
n Scissors ing thread, then weave through beads to
n Chain nose pliers
hide the knots and exit from the top hole
of a (B).

94 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD WEAVING

COLOURWISE
Purple:
0.5g seed beads size 15° (Miyuki dura-
coat galvanized champagne -4204) (A)
12 x (5x8mm) Diamonduo or Gemduo
beads (Gemduo halo magenta) (B)
12 x (5x5mm) Miyuki Tila beads (opaque
lustered antique rose) (C)
12 x 4mm fire polished rounds (opaque
purple) (D)
0.5g seed beads size 8° (Miyuki matte
opaque mauve AB -410FR) (E)
0.5g seed beads size 11° (Toho semi
glazed lavender - 2608F) (F)
2 x 21mm copper tone earwire hook
with spring and ball
Purple C-lon beading thread size D
Needle size 12
Scissors

Gold/topaz:
0.5g seed beads size 15° (Miyuki dura-
coat galvanized champagne -4204) (A)
12 x (5x8mm) Diamonduo or Gemduo
beads (Diamonduo matte bronze) (B)
12 x (5x5mm) Miyuki Tila beads (matte
cream) (C)
12 x 4mm fire polished rounds (white
picasso) (D)
0.5g seed beads size 8° (Miyuki matte
crystal AB -131FR) (E)
0.5g seed beads size 11° (Miyuki matte
transparent light topaz AB -132FR) (F)
2 x 21mm copper tone earwire hook
with spring and ball
Beige C-lon beading thread size D
Needle size 12
Scissors

I SS U E 1 0 6 n B E A D & J E W E L L E R Y 95

TOP TIPS
MAKE IT METAL Use Peponas Cym-
bal metal elements as substitutes for
Miyuki Tila beads.
SECURE THREAD On Step 13 secure
the thread and add some new thread to
avoid fraying.
2
String 1(C) (bottom hole) and sew
through the top hole of next (B).
3
Repeat Step 2 five more times to com-
plete the round, then repeat the thread
path from the beginning of this round
and exit from the top hole of following
(B).
4 DESIGN NOTE
String 3(A) and sew through the top hole
of next (C). String three more (A) and sew
through the top hole of following (B).
96 B E A D & J E W E L L E R Y n I SS U E 1 0 6
BEAD WEAVING
5 8
Repeat Step 4 five more times to com- String 1(E) and sew through next (D).
plete the round, then retrace previous String 1(E) and sew through following
thread path to exit from first 3(A) added five (A).
in this round.
9
6 Repeat Step 8 to complete the round,
String 5(A), place them upon nearest (C) then retrace previous thread path to exit
and sew through the next (A) of following from first (E) added in this round.
set of three beads. String 1(D), skip next
two (A) and sew through following (A).
10
String 2(A), 1(F), 2(A) and sew through
7 following 15 beads: (1(E), 5(A), 1(E), 1(D),
Repeat Step 6 five more times to com- 1(E), 5(A), 1(E).
plete the round, then retrace previous
thread path to exit from first five (A)
added in this round.
11
Added beads are in full colour on String 2(A), 1(F), 2(A) and sew through
graphic diagrams; the clearer ones are next 7 beads: 1(E), 5(A), 1(E).
beads that have already been strung.
 BEAD WEAVING

12
Repeat Step 10 to complete this edge
of the earrings, then exit rom first (F)
added in this Round on Step 10.
Earwire loop
15
Fringe 2: String 2(A), 1(G), 2(A), 1(G),
2(A), 1(G), 3(F). Pass back through seven
beads just added (1(G), 2(A), 1(G), 2(A),
1(G)); then string 2(A), pass back through
the (F) exited and proceed through fol-
lowing 9 beads (2(A), 1(E), 5(A), 1(E)).
16
Fringe 3: String 2(A), 1(G), 2(A), 1(G),
2(A), 1(G), 3(F). Pass back through seven
beads just added (1(G), 2(A), 1(G), 2(A),
1(G)); then string 2(A), pass back through
the (E) exited and proceed through fol-
lowing beads, then secure the thread
and trim it. Attach an ear wire to the
beaded loop, then form another earrings
following Steps from 1 to 16.

BEADLINK: www.etsy.com/shop/CrownofStones

13
String 1(F), 6(A), 1(F) and come around
passing through the (F) exited, to form
a beaded loop. Repeat the thread path
through the loop to reinforce, then
secure the thread and proceed through
beads to exit from following fifth (E)
added on the bottom right of the earring.

14
Fringe 1: String 2(A), 1(G), 2(A), 1(G),
2(A), 1(G), 3(F). Pass back through seven
beads just added (1(G), 2(A), 1(G), 2(A),
1(G)); then string 2(A), pass back through
the (E) exited and proceed through fol-
lowing 9 beads (5(A), 1(E), 2(A), 1(F)).

These fabulous earrings are fast

going to become your go-to pieces.
I SS U E 1 0 6 n B E A D & J E W E L L E R Y 97

Where it all began.. Sue Neel tells us how
beading took over all
her other hobbies
What was your first ever beading
project? I have used beads a lot
for decorating embroidery, trim on
costumes and home interior items.
In fact, I used to gaze at incred-
ibly detailed crystal pieces I saw
in beading magazines, and
my eyes quickly added up
the cost of materials and
the amount of time it prob-
ably took someone to make
all the glamorous works of
art I saw. In one magazine
there was a pattern for a
beaded bead, I had never
seen this before and was
totally amazed! It didn’t take
too many unusual items,
6mm rounds, size 11º seed
beads and 4mm crystals - I
had all of these!! It took an
hour to make one bead. It
was hard, it was a pain in the
neck, but it was beautiful!
I instantly fell in love! The
magazine sample had 20 of
these stunning beads on a
string, and there was no way
I could make 20 of these little suck-
ers, but that one I strung, I wore
it everywhere! I was hooked from
there on out.
So where did you go from here? I
have used beads a lot for decorat-
ing embroidery, trim on costumes
and home interior items. In fact, I
used to gaze at incredibly detailed
crystal pieces I saw in beading
magazines and Looking back, I
have always incorporated beads
into various parts of my work. I love
the colours, shapes, finishes, and
all the variety of materials to work
with. I loved that bead weaving, and
beaded beads challenged me in new
98 B E A D & J E W E L L E R Y n I SS U E 1 0 6
LOOKING BACK
ways. I had been making costumes,
accessories and home furnishing
goods as a hobby for years, but
this was something I could do on
a small tray on my lap, travel with
and wear all the time (not just for
festivals and shows). Beading slowly
took over my other hobbies and
became my new passion. I taught
myself from magazines and learned
as many new stitches as possible.
After learning St. Petersburg stitch,
I didn’t have enough beads to make
a necklace length, so I fashioned it
into my ‘bird-nest’ brooch! This was
one of the first bead weaving pieces
I had ever done. Once I learned how
to manipulate the beads myself, I
began adding my own tweaks and
changes. From there, I began to
design on my own, and the stitches
made so much sense to me that I
found joy in breaking it down and
teaching others. Making complex
looking designs easier to under-
stand and helping others to build
their beading skills too.
Nowadays, I spend a lot of time
trying to discover ways to manipu-
late beads to do my bidding. My
designs focus on stitching tech-
niques and added variables like
tension, alternating bead sizes and
changing directions to see how I
can control and contort them to
new shapes and textures. I like to
show the variable ways a stitch can
be used and how to make it work
in multiple applications, and I like
to show other beaders ways to
customize and use the technique to
design on their own. Some of the
class participants find this crazy,
when I’m like “just put that where
you think it looks best”...they want
precise instruction, and I want
them to feel comfortable enough
to improvise and use the technique
with their creativity. It’s empowering
because we are learning and discov-
ering together! And that makes my
classes even more exciting.
What advice would you give to other
people who are just starting out in
the world of beading? Focus on the
basic stitching techniques first, and
find patterns that do not use too
many shapes and sizes of beads.
Spend the money on a better qual-
ity of beads because they will fit
together and give you a much more
uniformed outcome. When the pat-
tern comes out looking good and all
fitting together like what you see in
magazines and tutorials, you’ll be
more excited to learn and try more
pieces.
BEADLINK: Arcabeadies.com
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Gemstone and Glass
Jewelry-Making Contest
You supply the creativity,
we supply everything else!®