beadwork quick easy aug-sept 2011

beadworkmagazine.com©2011 Interweave Press LLC. Not to be reprinted. All rights reserved.

Quick+ Easy

Q+E 2 CONTRIBUTORS

Q+E 4 STRAIGHT AND NARROW Amy HaftkowyczEnhance a right-angle-weave band of fire-polished beads with a simple row of pearls

Q+E 6 AROUND AND ABOUT Silvana TerryStitch a pretty spiral rope to show off an elegant piece of peyote-stitch beadwork

Q+E 10 SUMMERTIME BLUES Heather KahnBrick-stitch blue crystals into this scalloped necklace, fantastic to wear year-round

Q+E 14 EARTH, SKY Jeanne Barta CraineEarth-toned seed beads framed with square-stitch spacer bars comprise this easy bracelet

Q+E 16 ARABIC MOTIFS CUFF Marcie AbneyUse tiny glass rounds to create a multitude of star shapes, reminiscent of Arabic design

Q+E 28 DROPS AND DAGGERS Julie D’Amico-BeresA diverse mix of crystals, pearls, drops, and daggers embellish a peyote-stitch base

Q+E 32 TEAL TILES BRACELET Rachel McEnroeJewel-toned gemstones and right-angle weave combine with flair in this comfortable bracelet

Q+E 36 BAYOU INFLUENCE Lucy BakerEmbellished pearls accent a strung necklace in a salute to Cajun hues

Q+E 40 MAGDALA BRACELET Nancy PetersonRe-create the look of Victorian fretwork with this bracelet of netting with right-angle weave

Q+E 44 DOUBLE HELIX BRACELET Tamara AllisonThis herringbone-stitch bracelet mimics the distinctive twist of our DNA

Q+E 48 MORE TECHNIQUES

p. Q+E 4 Straight and Narrowby Amy Haftkowycz

p. Q+E 44 Double Helix Bracelet by Tamara Allison

p. Q+E 14 Earth, Sky by Jeanne Barta Craine

p. Q+E 6 Around and About by Silvana Terry

p. Q+E 32 Teal Tiles Braceletby Rachel McEnroe

AUGUST/SEPTEMBER 2011

SUBSCRIBER BONUS PROJECT DOWNLOADS

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Q+E 2 beadworkmagazine.com

contributorsF E AT U R E D A R T I S T S

“The first thing I notice is balance. Good balance—whether or not a piece is symmetri-cal—really makes jewelry pleasing to the person wearing it and the person viewing it. Balance can be the difference between good design and great design.”

— MARCIE ABNEY

“The interplay of lines is the first thing I notice. If the shape or curve of a line is interrupted, the piece is unsuccessful. Lines define shapes, which then give rise to forms. The rest comes later.”

— TAMARA ALLISON

“The color combination is most important to me. Whether it’s shades of similar or complementary colors—the combination determines whether a well-made piece looks tacky or gorgeous. I try to use one to four colors; more than that, and things start to look chaotic and less designed.”

— LUCY BAKER

“The first things I look at are a project’s stabil-ity and wearability. And I always look at the project’s back. (My mom’s wisdom: Your work should be as neat on the back as it is on the front.) Beadwoven art jewelry should be created for future generations to enjoy.”

— JEANNE BARTA CRAINE

“The first thing I notice is color. Whether muted or bright, if the palette is pleasing, I’ll want a second look. When the wrong colors are paired, even the most extraordinary design can be ruined.”

— JULIE D’AMICO-BERES

“Since I’m driven by color, the first thing that jumps out at me when I look at beaded jewelry is color composition. I find it fasci-nating how the same technique or design takes on completely different looks just by changing the color of the beads.”

— AMY HAFTKOWYCZ

“I want jewelry to be complex but look effortless. The techniques should support the structure of the design but not obscure its form or beauty. I am impressed when I see something that appears to have transitioned straight from imagination to reality, because I know how many hours went into making it perfect.”

— HEATHER KAHN

“Color! I notice the colors in a piece of beaded jewelry before I recognize the stitches or beads. I also notice the way different colors and fin-ishes in the piece interact. When I plan a piece, I like to use unusual color combinations to produce surprising results.”

— RACHEL McENROE

“The first thing I notice is composition—how the piece is put together aesthetically. I love seeing how artists work stitches together in various ways to create lovely pieces of jewelry. Second is how color enhances the basic structure by giving it depth, shading, and highlights.”

— NANCY PETERSON

What is the first thing you notice when you look at a piece of beaded jewelry?

Q

“When I first look at a piece of beaded jewelry, I always look at the style of the piece. Beaded work is art that takes considerable time and it should be timeless, longlasting and unique to the artist.”

— SILVANA TERRY

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TECHNIQUEright-angle weave

See pp. Q+E 48 and 94 for helpful technique information.

straight and narrowA m y H a f t k o w y c z

ARTIST’S TIP

To ensure a good fit, make sure the two ends

meet when you wrap the bracelet base around

your wrist. Adding the clasp provides the ease

needed for a comfortable fit.

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BEADWORK QUICK+EASY august/september 2011 Q+E 5

Back view of the bracelets.

MATERIALS1 g dark bronze size 15° seed beads (A)2 g bronze size 8° seed beads (B)78 aqua celsion 4mm fire-polished

rounds (C)25 cream 4mm glass pearls1 antique gold 9mm ball-and-socket

snap claspSmoke 6 lb braided beading thread

TOOLSSize 10 beading needleScissors

FINISHED SIZE: 7½"

1) BASE. Stitch a right-angle-weave base

using fire-polished rounds:

Unit 1: Use 4' of thread to string 4C,

leaving a 6" tail. Pass through the

beads again to form a circle and knot

the tail and working threads. Exit the

next bead on the circle (Fig. 1—blue

thread).

Unit 2: String 3C; working in right-angle

weave, pass through the last C exited

in the previous unit and the first 2C

just added (Fig. 1—red thread).

Units 3–25: Repeat Unit 2 twenty-three

times or to the desired length.

2) EMBELLISHMENT. Add pearls to

the base and finish the edges:

Pearls: With the thread exiting the sec-

ond C added on the end unit, string

1A, 1 pearl, and 1A; pass back through

the second C of the previous unit.

Repeat to embellish the entire base

(Fig. 2).

Edging: String 1B; pass through the next

C along the edge of the base. Repeat

around the base, keeping the thread

tension tight (Fig. 3).

3) CLASP. With the thread exiting 1C at

the end of the base, string 3B, 1C, and

one half of the clasp; pass back through

the 1C and tighten the thread. String

3B; pass through the first C exited in

this step (Fig. 4). Repeat the thread path

several times to reinforce.

Start 12" of new thread in the last unit

at the other end of the base and repeat

this step using the remaining clasp half.

Secure the threads and trim. ✦

A SIMPLE ROW OF PEARLS becomes an elegant embellishment when stitched over a right-angle-weave band of fire-polished beads.

Fig. 4: Attaching the clasp

Fig. 1: Stitching Units 1 and 2 of the base Fig. 2: Adding the pearl embellishment

Fig. 3: Finishing the edges

AMY HAFTKOWYCZ is co-owner of Artful Beads Studio and Workshop in Pennington, New Jersey, where she lives with her husband and six cats. In addition to beading, Amy is a self-taught lampworker and a certified PMC artisan.

RESOURCES Check your local bead shop or

contact: FireLine braided beading thread and all other materials: Artful Beads Studio and Work-shop, (609) 737-1077, www.artfulbeadstudio.com.

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around and about S i l v a n a Te r r y

TECHNIQUESRussian spiralpeyote stitchstringing


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STITCH A RUSSIAN SPIRAL ROPE to show off a swatch of peyote-stitch beadwork in this simple but elegant project.

MATERIALS5 g amethyst size 15° seed beads (A) 5 g gold metallic size 11° cylinder beads (B)18 dark purple 9×12mm potato pearls6 gold 4mm filigree rounds2 gold 6mm filigree rounds2 gold 4×8mm filigree tubes1 gold 12mm fancy toggle claspSmoke 6 lb braided beading thread

TOOLSScissorsSize 12 beading needlePencil or large straw

FINISHED SIZE: 16½"

Fig. 1: Working the Russian spiral rope

ARTIST’S TIP

For a firmer rope, insert a 6"

length of mesh tubing or a

strand of 5mm beads through

the center of the spiral before

adding the loops at each end.

1) ROPE. Work Russian spiral to form

the stitched rope:

Round 1: Use 3' of thread to string {2B

and 3A} four times, leaving an 8"

tail. Pass through the first 2B added

to form a circle (Fig. 1—blue thread).

Place the circle around a pencil or

large straw.

Rounds 2–end: String 2B and 3A; pass

through the second B of the next 2B

three times. For the fourth stitch, pass

through the second B of the first stitch

in this round (Fig. 1—red thread). Con-

tinue working in a spiral for 6½".

Finish: String 9B; pass back through the

next 1B and 3A at the end of the rope

to form a loop. String 4B; pass

through the fifth B of the 9B just

added. String 4B and pass through

the 2B set on the other side of the

last round. Secure the working

thread and trim.

Using the tail thread, repeat at the other

end of the rope.

2) PEARLS. Secure 2' of new thread that

exits the point B at one end of the rope.

String one 4mm round, 1B, 1 pearl,

one 4mm round, 1 pearl, and one 6mm

round. String {1 pearl and 1B} three

times. String 1 pearl, 1 tube, 1 pearl,

one 4mm round, 1 pearl, and one half

of the clasp. Pass back through all the

beads just strung, pulling the strand

close to the rope. Repeat the thread path

as many times as possible to reinforce.

Secure the thread and trim.

Repeat the entire step at the other end of

the rope.


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3) SLIDER. Peyote-stitch a sliding

pendant:

Rows 1 and 2: Use 6' of thread to string

20B, leaving a 2' tail.

Rows 3–51: Work flat peyote stitch with 1B

in each stitch for a total of 51 rows

or 1¾".

Row 52: Pass through the loop of exposed

thread at the edge of the beadwork

between the last 2 rows added. Pass

through the nearest edge bead and the

last B added to form a hidden row-end

decrease. Peyote-stitch across with 1B

in each stitch (Fig. 2—green thread).

Row 53: Pass the needle around connect-

ing threads between the nearest beads

of the last 2 rows added and pass back

through the last B exited and the last

B added to form a turnaround.

Peyote-stitch across with 1B in each

stitch (Fig. 2—blue thread).

Rows 54–61: Repeat Row 53 eight times,

decreasing at the beginning of each

row so the beadwork comes to a point

(Fig. 2—red thread). Secure the working

thread and trim.

Use the tail thread to repeat Rows 53–61

off Row 1, forming a point at the other

end of the strip.

Edging: Secure 2' of new thread that exits

1B at either point. String 2A, skip 1B

along the edge, and pass through the

next 1B; repeat along the angled edge

of the peyote-stitch strip (Fig. 3—blue

thread). At the corner, string 2A, pass

down through the next B along the

flat edge, and pass up through the

following B (Fig. 3—red thread); repeat

down the flat edge. Continue to add

2B embellishments along the entire

edge of the beadwork.

Fringe: Exit the single B on one point and

string 3B, 1 pearl, and 1B; pass back

through the pearl, the 3B just added,

and through the B at the point to form

a fringe (Fig. 4). Secure the thread and

trim.

Connect: Start 12" of new thread that

exits 20 rows from the slider’s point

on the side without the fringe. String

3B, 1 pearl, and 3B. Lay the strand

across the beadwork toward the point.

Pass through the center B 10 rows

from the point.

Fold the pendant so the tips touch and

the pearl just added sits on the outside

of the fold. Slightly adjust the fold so

that the end with the fringe hangs

down below the top. Stitch down into

the other half of the beadwork to con-

nect the sides (Fig. 5). Repeat the

thread path to reinforce. Secure the

thread and trim.

Use the rope to string the slider. ✦

SILVANA TERRY has been making jewelry for five years. She enjoys teaching beading classes as well as creating her own beadwork and multi-media designs.


contact: Delica cylinder beads, FireLine braided beading thread, and all other materials: Beadflow, (905) 746-9919, www.beadflow.wordpress.com.

Fig. 2: Decreasing the end of the slider

Fig. 3: Adding the edging

Fig. 5: Assembling the slider

Fig. 4: Stitching the pearl fringe


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summertime bluesH e a t h e r K a h n

TECHNIQUESbrick stitchpicotwirework


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NO MATTER WHAT THE SEASON or the weather, you’ll enjoy wearing

Heather’s scalloped necklace of brick-stitch crystals in the

richest shades of blue.

MATERIALS1 g metallic deep-blue size 11°

cylinder beads (A)1 g metallic deep-blue-iris-lined crystal

size 11° seed beads (B)2 g cobalt iris 8° seed beads (C)4 g matte metallic-lined sapphire

size 8° triangle beads (D)33 sapphire 3mm crystal bicones (E)2 sapphire 4mm crystal rounds5 sapphire 6mm crystal rounds1 silver 14×38mm decorative hook-

and-loop clasp12½" of silver 4×8mm oval filigree chain5" of sterling silver 22-gauge wireBlue nylon beading thread

TOOLSScissorsSize 12 beading needlesChain- or flat-nose pliersRound-nose pliersWire cutters

FINISHED SIZE: 19 ½"

1) FANS. Form 5 fans with brick stitch

using crystal rounds as the base:

Row 1: Use 3' of thread to string one

6mm round; pass through twice so

2 threads are resting along the side of

the crystal round. Knot the tail and

working threads; pull the working

thread until the knot is inside the

round (Fig. 1). String 2A; pass under

the exposed thread on the crystal

round and back through the last 1A

strung to form a brick stitch. String

1A, pass under the exposed thread,

and pass back through the 1A to form

a second brick stitch (Fig. 2); repeat five

times for a total of 7 stitches.

Row 2: String 2B; pass under the exposed

thread loop between the next 2A of

Row 1 and back through the last 1B

strung to form a brick stitch. String

1B, pass under the thread loop of the

next 2A, and pass back through the 1B

to form another brick stitch; repeat six

times for a total of 8 stitches (Fig. 3).

Note: The last 2 stitches will be

attached to the same loop from the

previous row.

Fig. 1: Pulling the knot inside the crystalFig. 2: Beginning the first row of brick stitch

Fig. 3: Forming the second row


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Row 3: Repeat Row 2 with C, making

9 stitches.

Row 4: Repeat Row 2 with D, making

10 stitches.

Picots: String 1B, 1E, 1B; pass down

through the next 1D and up through

the next 1D (Fig. 4). Repeat along the

edge of the fan for a total of 5 picots.

Secure the threads and trim.

Repeat the step four times for a total

of 5 fans.

2) ASSEMBLY. Cut the chain into

2 pieces, each 6¼" long. Set aside.

Secure 2' of thread to 1 fan, exiting the

first 1C in Row 3. String 1B and one end

of 1 piece of chain; pass back through the

1B just added. Pass through the first 1C,

1B, 1A, 6mm round, 1A, 1B, and 1C

along the top edge of the fan. *String

1B, 1E, 1D, 1E, and 1B; pass through 1C,

1B, 1A, 6mm round, 1A, 1B, and 1C of

the next fan (Fig. 5). Repeat from * three

Fig. 4: Adding picots

Fig. 5: Attaching the fans to the chain

ARTIST’S TIP

Because the beads increase

in size from one row to the

next, allow your thread

tension to be slightly loose

when stitching the larger

beads so the work remains

flat. If you notice your work

starting to curl at the edges,

ease up on your tension.

times to connect all 5 fans. String 1B

and one end of the remaining piece of

chain; pass back through the last 1B ex-

ited. Repeat the entire thread path to re-

inforce. Secure the thread and trim.

Use 2½" of wire to form a wrapped loop

that attaches to one half of the clasp;

string one 4mm round and form a

wrapped loop that attaches to the free

end of one of the pieces of chain. Repeat

using the other half of the clasp and the

other piece of chain. ✦

HEATHER KAHN grew up beading at her parents’ bead business, Caravan Beads. She recently launched her own line of costume-inspired jewelry with her business partner, Jeff Witkavitch. Their otherworldly products can be seen at Chrononaut Mercantile, www.chrononautmercantile.com.


contact: Miyuki seed beads, Swarovski crystals, C-Lon beading thread, Delica cylinder beads, and all other materials: Caravan Beads, (800) 230-8941, www.caravanbeads.com.

OPTION

For a coordinating bracelet,

create two 5-fan strips and

connect their 6mm crystal

rounds using right-angle

weave, 3mm crystal rounds,

and cylinder beads. Partial

fans add a decorative

element to the clasp ends.


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for youmake it easygreat jewelry

Weto make

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THIS EARTH-TONE bracelet may look complicated, yet it’s easy to do using colorful strands of seed beads framed with square-stitch spacer bars.

earth, sky J e a n n e B a r t a C r a i n e

TECHNIQUESstringingladder stitchsquare stitch


1) BAND. Connect seed bead strands

with rows of cylinder beads:

Note: Select beads from the mix to stitch

patterns of color, as shown above, or use

the colors randomly.

Section 1: Use 9' of thread to stitch a

7-bead ladder using B, leaving an

18" tail (Fig. 1—green thread). Weave back

through the ladder to reinforce it and

exit from the first bead (Fig. 1—red

thread). String 5A and 3B; pass down

through the second B and up through

the third B just added to form a

square stitch. Manipulate the beads so

they are side by side. String 1B;

square-stitch it to the next 1B on the

strand (Fig. 2—orange thread). String 5A;

pass up through the second ladder

bead and down through the first

Fig. 1: Working the ladder-stitch base

Fig. 2: Stitching Section 1

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MATERIALS10 g total Picasso size 10° or 11° Czech seed

beads in cream, maroon, dark blue, and shades of brown (A)

4 g total size 8° cylinder beads in matte bronze, luster bronze, cream, and black iris (B)

1 gold-plated 21×6mm 3-loop slide claspSmoke 6 lb braided beading thread


FINISHED SIZE: 7½"

ladder bead and the 7 beads on the

first strand. Pass up through the 7

beads on the second strand and the

second ladder bead. Pass down

through the third ladder bead (Fig. 2—

green thread). String 5A and 1B;

square-stitch the 1B just added to the

second-to-last 1B on the previous

strand. String 1B; square-stitch it to

the last 1B on the previous strand (Fig.

2—blue thread). String 1B and square-

stitch it to the 1B just added. String 1B

and square-stitch it to the next 1B on

the previous strand. String 5A; pass

up through the fourth ladder bead

and down through the third ladder

bead and the 7 beads on the third

strand. Pass up through the 7 beads

on the fourth strand and the fourth

ladder bead. Pass down through the

fifth ladder bead. Continue adding

5A and square-st itching 2B for a total

of 7 strands. Exit the last square-

stitched B (Fig. 2—red thread).

Section 2: Repeat section 1 using 3A and

1B on each strand.


1B on each strand.


2B on each strand.


1B on each strand.


1B on each strand.


2B on each strand.


1B on each strand.


2B on each strand.


1B on each strand.


3B on each strand.

Section 12: Repeat section 1 using 1½" of

A, adjusting the length as needed to fit

your wrist, and 1B.

2) CLASP. Using the working thread,

weave through beads to exit the second B

added in the last section. String the end

loop of the clasp and pass through the

third B. Repeat the thread path several

times to reinforce (Fig. 3). Repeat to at-

tach the remaining clasp loops to the

end row of beads. Use the tail thread to

attach the remaining clasp half to the

ladder-stitch row at the other end. ✦

Fig. 3: Attaching the clasp

JEANNE BARTA CRAINE lives in Cedar Rapids, Iowa, where she specializes in improvisational art jewelry. She enjoys teaching and sharing her love of beadweaving. Contact Jeanne at [email protected].


contact: Picasso-finish Czech seed beads: Beads and Babble, www.etsy.com/shop/beadsandbabble. Delica cylinder beads, clasp, FireLine braided beading thread, and all other materials: Bead Haven, (319) 247-2323, www.beadhavenbeads.com.

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ARTIST’S TIPS

• You don’t have to use just one color of 4mm rounds. Using

different colors in Round 1 creates an interesting effect.

• Weave the tail and working threads toward the center of each

component before trimming—you need the beads along the

outside of the component to be free of knots.

arabic motifs cuffM a r c i e A b n e y

TECHNIQUEScircular peyote stitchpicotladder stitchherringbone stitch variation


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ARTIST’S TIPS

• Do not use nylon thread for this

cuff as the glass rounds may cut

the thread.

• Make subtle adjustments to the

length of the cuff by changing the

number of beads used for the

toggle bars. Adding or subtracting

a component in each row will

change the length by about 1".

INSPIRED BY REPEATING MOTIFS seen in Arabic architecture, this cuff uses tiny glass rounds and peyote stitch to create a multitude of star shapes.

MATERIALS15 g matte iris green size 11° Czech

seed beads (A)7 g matte transparent teal size 11° Czech

seed beads (B)5 g matte black size 11° Czech seed

beads (C)88 jet 4mm glass rounds Black 10 lb thermally bonded beading

thread


FINISHED SIZE: 7"

1) COMPONENT 1. Use circular pey-

ote stitch to make star components:

Round 1: Use 2' of thread to string {1A

and 1 round} six times, leaving a 5"

tail. Knot the tail and working thread,

pass through all the beads again, and

exit a glass round.

Round 2: String 2B and pass through the

next round; repeat around to add a

total of 12B and exit the first B added

(Fig. 1—blue thread).

Round 3: String 1C and pass through the

next B, then string 3A and pass

through the following B; repeat

around to add a total of 6C and 18A

and exit the first C added (Fig. 1—

red thread).

Round 4: String 1A and pass through the

nearest 3A of Round 3, then string 1A

and pass through the next C of Round

Fig. 1: Working Rounds 1–3 Fig. 2: Adding Round 4

Fig. 3: Stitching Round 5 Fig. 4: Connecting two components

3; repeat around to add a total of 12A.

Exit the first A added (Fig. 2).

Round 5: Pass through 3A from Round 3

and 1A from Round 4. *String 1A, 1B,

and 1A and pass through the nearest

5A of Rounds 3 and 4; repeat from *

to add a total of 6 picots. Exit from the

first B added in this Round (Fig. 3).

Weave the working and tail threads

toward the center of the component;

secure the threads and trim.

2) COMPONENTS 2–7. Repeat Step 1

to create a second component, but omit

the B when working the final picot in

Round 5; instead, pass through a B of

Round 5 in the first component (Fig. 4).

Repeat Component 2 five times for a

total of 7 components. This forms Row 1

of the cuff.


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to the bottom edge of Row 1 compo-

nents as you work and connecting

them side by side as before.

4) CLASP. Use a variation of herring-

bone stitch to make 2 toggle bars that

form the clasp:

Rounds 1 and 2: Use 3' of thread to ladder-

stitch a strip 2B high and 3B long

(Fig. 6—blue thread). Stitch the first and

last stacks together to form a ring

(Fig. 6—red thread).

Rounds 3–9: String 2A; pass down

through the nearest 2A stack and

up through the next stack (Fig. 7—blue

thread). String 1A; pass down through

the next 2A stack, up through the fol-

lowing stack, and through the first A

added in this round (Fig. 7—red thread).

Repeat for a total of 9 rounds, passing

down through just the top bead of

each stack (instead of 2 as before) as

you work the next round.

Ends: String 1 round and 1A; pass back

through the round and the A next to

the last one exited in Round 9. Pass

up through the next A of Round 9, the

round, and the last A added. Pass back

through the round and 1 stack of

beads to exit the other end of the

toggle (Fig. 8). Repeat to finish the

other end. Exit from Round 5 in the

center of the toggle.

Attach: String 19A; pass through the B of

Row 1 at the end of the cuff. String

19A; pass through the last bead exited

on the toggle (Fig. 9). Repeat the thread

path to reinforce. Secure the thread

and trim.

Repeat the entire step to add a second

toggle to the B of Row 2 at the same end

of the cuff. ✦

MARCIE ABNEY is a self-taught beader living in Wilmington, North Carolina. You can see more of her work at www.labellajoya.blogspot.com.


contact: Green and teal seed beads: Jane’s Fiber and Beads, (423) 639-7919, www.janesfiberandbeads.com. Black seed beads: A Place to Bead, (910) 799-2928, www.aplacetobead.com. Rounds: Michaels, (800) 642-4235, www.michaels.com. WildFire thermally bonded beading thread: Artbeads.com, (866) 715-2323.Fig. 9: Connecting a toggle bar

Fig. 5: Connecting the first component of Row 2

Fig. 7: Herringbone-stitching the toggle

Fig. 8: Adding a toggle end

3) ROW 2. Create 7 components that

connect to Row 1:

First connection: Repeat Rounds 1–5 of

Step 1 to create an eighth component

but instead of trimming the working

thread, weave through beads to

exit the tip of a Round 5 picot. Pass

through the tip of Component 1’s

bottom-left picot. String 1A, 1B, and

1A; pass through the last B exited on

the eighth component. Repeat the

thread path, skipping the 1B just

added. Note: This will cause the B to

“pop” out. Weave through beads to

exit the eighth component’s next picot

(Fig. 5—blue thread). String 1A, 1B, and

1A; pass through the nearest B of

Round 5 in the first component and

the last B exited. Repeat the thread

path, skipping the 1B just added (Fig.

5—red thread). Secure the thread and

trim.

Following connections: Add 6 more com-

ponents, continuing to connect them

Fig. 6: Ladder-stitching the toggle start


06012011164110

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Add Richness to Your Jewelry with CUBIC ZIRCONIASYou might know that cubic zirconias are an affordable alternative to diamonds, but did you know that they come in a rainbow of colors? Try pomegranate red, olive, golden yellow, hyacinth, dark champagne, or purple! They also come in a range of shapes and cuts, all with amazing sparkle. Use tiny teardrops in clusters for sweet chandelier earrings or wire wrap a triangle bail for a briolette for a simple but striking necklace. Rondelles and rounds are perfect for adding small touches of sparkle in any design, while the dramatic diamond and coin shapes mix well with round pearls and gemstones. The rectangles have holes that will accommodate 20-gauge wire, making them perfect candidates for a beaded-link bracelet or an opera-length necklace.

Ever wonder how cubic zirconias are made? They’re chemically composed of zirconium oxide and yttrium oxide. When melted and combined in the lab, the materials form a dazzling clear crystal very close in weight and appearance to a real diamond.

Shop the best selection of cubic zirconias at FUSIONBEADS.COM.

Wake Up Your Jewelry with COLORFUL ARTISTIC WIREBrighten up chain maille, beaded links, wire wrapping, bead crochet, Viking knit, or other wireworking tech-niques with Artistic Wire. This dead-soft wire comes in 13 gauges, from heavy 10-gauge for home decor projects such as wire bookends or cardholders to very thin 34-gauge for wire crochet. The 55 colors range from summer brights such as peacock blue and lemon to earthy fall tones of burnt brown and olive. Choose either a matte or high-shine metallic fi nish. If you can’t decide which colors are your favorites, check out the multi packs, which come with a dozen small spools.

If you’ve avoided colored wire because you’re afraid that the color will quickly fl ake off, you’ll want to try Artistic Wire. It’s a permanently colored copper wire that uses an exclusive enamel coating that resists tarnishing, chipping, and peeling. If you prefer a vintage look for your jewelry, you might like Bare Copper. That color does not have the tarnish-resistant coating and will naturally oxidize over time.

To fi nd stores near you, visit WWW.ARTISTICWIRE.COM.

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RIVETING PUNCH MAKES COLD CONNECTIONS EASY By adding a simple hole, you can turn a bottle cap, a copper disc, or any piece of soft metal into a pendant, charm, or link. You can even layer several pieces together with a rivet. However, punching holes and riveting can be frustrating without the right tool. Luckily, Beadsmith’s Riveting Punch makes it easy! Just line up the punch where you’d like the hole and squeeze the handles together as you would with a paper-hole punch. The 1.5mm pliers are the exact size of the rivets used for jewelry and work on sheet metal up to 22-gauge. The pliers have extra-long jaws, mak-ing it possible to punch holes far from the edge of the metal. A Gauge Guard™ ensures a hole without dents or rough edges, a must for professional-looking, com-fortable jewelry. The pliers come with an extra punch pin to use as a replacement when the original one eventually wears out. Beadsmith also sells 1.25mm and 1.8mm metal-hole punch pliers. For an instructional video, you can visit www.helby.com/punch.

To fi nd stores in your area, visit WWW.BEADSMITH.COM.

Berry Beads Burst onto the SUMMER BEAD SCENE This summer Miyuki, known for its high-quality beads, introduces Berry Beads (BB), a new peanut-shaped bead that looks like two drop beads combined together. You can fi nd the 2.5 x 4.5 mm beads in stores shortly. A larger size (3.3 x 5.5 mm) will be available later. It’s offered in 33 colors, including sweet summertime pastels and modern metallics.

Berry Beads make terrifi c accents. You could string a few on a short piece of thread and tie the ends togeth-er to form a simple circle link that could be strung over a herringbone rope. You could also use them to create fringe. Even simply strung on beading wire, the beads nestle together snugly, making a simple necklace or bracelet appear more intricate. These new beads might make especially beautiful netted necklaces, bracelets, and earrings, as the curved shape of the beads would complement the lacy look of the netting stitch. No matter how you use them, you’ll love the way they add romantic texture and interest to jewelry designs.

Learn more at WWW.MIYUKI-BEADS.CO.JP/ENGLISH/SEED/BERRYBEADS.HTMLENGLISH/SEED/BERRYBEADS.HTML

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Toho Embraces the “SENSIBLE AND SPIRITED”Color Trends for FallThis fall’s colors include a mix of brights and neutrals. According to Pantone’s “Sensible and Spirited” color predictions, the inspiration behind this mix include the sepia tones of old-time Hollywood, vibrant artists’ palettes, Chinese opera, cityscapes, and the countryside.Toho, known for its uniform, high-quality beads, offers a dazzling range of colors that impeccably match the season’s trends.To add dazzling bright tones to your beadwoven jewelry, try Toho’s hip Metallic Grape (#461), Frosted Teal (#7BDF), and Gold-Lined Topaz (#278).These modern colors pop! If you prefer vintage or romantic-style jewelry, you can capture the season’s sentimental mood with Gold Lustered Pale Wisteria (#455), Gold Lustered Green Tea (#457), or Silver-Lined Milky Grapefruit (#2112). Of course, timeless neutrals always have a place in jewelry designs. Subtle hues like Ceylon Smoke (#150), Matte Dark Copper (#702), and Black Diamond with Orange Creme Lining (#369) are the must-have neutrals that add a sense of elegance to your design.

No matter what the season or the trends, Toho has beads to match. Find more inspiration and the full range of colors at WWW.TOHOBEADS.NET

Discover the Perfect Color Palette with New CREATE YOUR STYLE Online Color CarouselIf you always stick to monochromatic, safe color pal-ettes or are tired of the same-old shades you use all the time, you’ll want to check out the CREATE YOUR STYLE Online Color Carousel. This easy-to-use tool offers designers at all levels a way to fi nd comple-mentary or contrasting shades. Simply click on a main SWAROVSKI ELEMENTS color on the wheel and instantly see your choices. For example, the Color Carousel suggests pairing SWAROVSKI ELEMENTS in Purple Velvet with Olivine or Light Topaz for contrast. For harmonious shades, it recommends Tanzanite, Dark Indigo, and Amethyst. Furthermore the Color Carousel shows Crystal Dark Purple Pearl as the matching Crystal Pearl color.

Try it yourself at WWW.CREATE-YOUR-STYLE.COM/CONTENT.NODE/GET-STARTED/COLOR-CAROUSEL.EN.PHP

Once you’ve picked your perfect palette, look for the new BeCharmed Helix and Briolette Beads in your new favorite colors. These SWAROVSKI ELEMENTS feature enlarged holes, which are easily strung on ribbons, leather, chain, seed beaded ropes, and other alterna-tives to thin beading wire. The Beads’ stainless steel centers not only help the Beads slide smoothly onto the stringing material but also protect the material from the sharp crystal edges, ensuring long-lasting jewelry designs.

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of DISCOVER THE SECRETSPeyote andHerringbone Stitch

NOW YOU CAN MASTER bead

stitches from the basics + beyond

with expert Melinda Barta.

With thread-path diagrams,

expert tips and tricks, and

up-close shots and images,

you’ll easily learn two of the

most popular seed-bead

stitches.

Order your copy of these dynamic DVDs to:

Get started the right way with a comprehensive tools and materials overview.

Create pieces even faster with two-drop techniques for quick stitching.

Have even more fun with seed beads making easy embellishments.

Discover the formula for creating your own one-of-a-kind patterns.

And more!

with this must-have, easy-to-follow jewelry resource you’ll use again and again!

Get Started Today

Watch a preview at InterweaveStore.com/BartaDVDs

BW QE26-27 barta spread ad.indd 26 6/2/11 12:36 PM

06022011123744

T U B U L A R , S P I R A L , F L A T , A N D M O R E !

W O R K S H O P

Fall in love with seed-bead stitchingDo you remember the fi rst time beads called your name? I do. I was about seven years old, killing time in a gift shop in the old Denver Stapleton Airport, when the sweetest white-and-yellow daisy-chain bracelet caught my eye.

Sure, I’d seen beaded bracelets before. But this was the fi rst time I truly saw beads. I studied and studied the thread paths that connected those tiny beads until I was able to make my own. That daisy-chain bracelet was just the tip of the iceberg.

Now is your time to fall in love with bead stitching, just as I did. Watch along as I show you step by step how to create fabulous jewelry with peyote and herringbone stitch. We start with the basics and then step it up a notch with advanced variations. So you can begin creating right away!

Melinda Bartaartist, designer, and senior editor of Beadwork magazine

BW QE26-27 barta spread ad.indd 27 6/2/11 12:36 PM

06022011123745

drops and daggers J u l i e D ’A m i c o - B e r e s

TECHNIQUESeven-count peyotefringe


ARTIST’S TIPS

• After cutting a new length of thread, use chain-nose

pliers to firmly grasp the end of the thread and pull.

This will straighten out and stiffen the thread,

making it easier to thread your needle.

• Before adding the fold-over clasp, take chain-nose

pliers and carefully squeeze the connection loop to

prevent your threads from slipping out.

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06022011123830


USE AN ECLECTIC MIX OF CRYSTALS, pearls, drops, and daggers to embellish a simple peyote-stitch base.

MATERIALS1 g silver size 15° seed beads15 g metallic dark-cobalt iris size 6°

seed beads51 matte dark-blue iris 4×5mm drop beads31 matte black 3×10mm pressed-

glass daggers31 Capri blue AB 4mm crystal bicones1 silver shade 4mm crystal bicone6 navy 4mm crystal pearls4 light blue 4mm crystal pearls6 navy 6mm crystal pearls 7 light blue 6mm crystal pearls13 sterling silver 6×3mm decorative

bead caps1 sterling silver 5×12mm fold-over clasp1 sterling silver 8mm soldered ringSmoke 8 lb braided beading thread

TOOLSSize 10 or 12 beading needleScissors

FINISHED SIZE: 71⁄8"

1) BASE. Working with 8' of thread and

leaving a 9" tail, use size 6° seed beads to

make an even-count peyote-stitch base

4 beads wide and 84 rows long. String

1 size 6°; pass back through the last bead

of Row 84, the nearest bead of Row 83,

and the first bead of Row 84 (Fig. 1).

String the soldered ring; pass back

through the bead just exited. Pass

through the ring again and through

the next end bead; repeat twice.

Pass through the ring (Fig. 2); pass back

through the bead last exited. Repeat

the thread path connecting the ring to

reinforce. Secure the thread and trim.

Using the tail thread, string 1 size 6°;

pass through first bead of Row 1 and

weave through beads to exit toward the

center of the base from the second bead

of Row 1. String the clasp; pass through

the last bead added (Fig. 3). Repeat the

thread path several times to reinforce.

Secure the thread and trim.

Fig. 1: Adding an extra bead on one end of the bracelet

Fig. 2: Attaching the soldered ring

Fig. 3: Adding the fold-over clasp


06022011123831


2) EMBELLISHMENT. Add pearls, drop

beads, daggers, and bicones with a series

of dangles and loops:

6mm pearl fringe: Secure 5' of new thread

that exits between 2 beads 4 rows

from one end of the base. String

1 bead cap (small end first), 1 light

blue 6mm pearl, and 1 size 15°; pass

back through the pearl, the bead cap,

and between base beads to exit the

back of the bracelet. Pull tight to

secure the fringe (Fig. 4).

Drop-bead loops: Weave through 1 to

2 beads on the back of the base and

exit toward the front of the base near

the 6mm pearl fringe. String 3 drop

beads; pass back through the base,

passing the needle between beads a

few beads from the last one exited.

Pull tight to secure the loop (Fig. 5).

Dagger loops: Weave through 1 to 2 beads

on the back of the base and exit

toward the front of the base, near

the 6mm pearl fringe. Add 3 dag-

gers in the same manner you added

drop beads.

4mm bicone and pearl fringe: Weave

through 1 to 2 beads on the back of the

base and exit toward the front of the

base, near the previously added

embellishments. String 1 bicone and

1 size 15°; pass back through the bicone

and the base, passing the needle

between beads next to the last one

exited. Pull tight to secure the fringe

(Fig. 6). Note: String 1–3 size 15°s before

the bicone to adjust the height of the

fringe. Repeat using one 4mm pearl

in place of the bicone.

Continue adding embellishments in a

freeform pattern while working down

the length of the base. Note: Alternate

the pearl and bicone colors. Try adding

1 size 15° between the drops for a dif-

ferent look on some of the drop and

dagger loops. In general, keep the

6mm pearls more in the center of the

bracelet. Use daggers along the edge of

the bracelet for a more dimensional

look. Drops look nice when surround-

ing a 6mm pearl fringe, plus they help

the fringe stand upright. Smaller

beads, such as 4mm pearls and crystals,

are best used to fill in the gaps between

larger beads. Secure the thread and

trim. ✦

JULIE D’AMICO-BERES designs and sells jewelry and can be reached at [email protected]. She lives in Wisconsin with her husband of eighteen years and their two dogs. She travels extensively both in and out of the United States and enjoys looking for beads in exotic locales. Experienced in many forms of crafting, she found her passion in beading about seven years ago.


contact: Swarovski pearls and bicones; FireLine braided beading thread, and all other materials: Midwest Beads, (262) 781-7670, www.midwestbeads.com.

Fig. 4: Creating a 6mm pearl fringe

Fig. 5: Adding a loop of drops

Fig. 6: Adding a bicone fringe


06022011123831

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teal tiles bracelet R a c h e l M c E n r o e

TECHNIQUEright-angle weave


OPTIONS

• Experimenting with different supplies will create interesting

results. Glass 8×8×4mm puff squares create a more contem-

porary bracelet.

• Randomly mixing transparent squares of different colors can

produce a stained-glass appearance (gunmetal size 11°s

would complement this option).

• Puff-square beads come in a variety of sizes. Adjust the

number of size 11°s used in each unit to accommodate

different-sized squares, using an even number on top and

bottom and an odd number on the sides.

• Create a pair of earrings by forming three square units that

hang vertically and attaching an ear wire.

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JEWEL-TONED GEMSTONES with the look of mosaic tiles surround your wrist in this versatile right-angle-weave bracelet.

MATERIALS2 g antique brass size 11° seed beads (A)45 green fluorite 8×8×4mm puffed

squares (B)1 brass 25mm vintage shank buttonCrystal 6 lb braided beading thread


FINISHED SIZE: 7"

1) BRACELET. Use right-angle weave to

create a bracelet that has 45 units filled

with fluorite squares:

Row 1, Unit 1: Use 3' of thread to string

22A, leaving a 6" tail. Tie a square

knot to form a circle; exit through the

first 2A. String 1B; pass back through

the 13th A and continue through

beads to exit the 4th A (Fig. 1—blue

thread). Pass through the B and the

15th and 16th A (Fig. 1—red thread).

Note: Adjust the beads so the top and

bottom of the square will each have

6A and each side will have 5A.

Row 1, Unit 2: String 17A; pass through

the top-right 2A of Unit 1. String 1B

(Fig. 2—blue thread); pass back through

the 8th A just added and continue

through beads to exit the bottom-right

2A of Unit 1. Pass through the B and

exit the top-right 2A of this unit



the bottom-right 2A of Unit 2. String

1B; pass back through the 8th A just

added and continue through beads to

exit the top-right 2A of Unit 2 (Fig. 3—

blue thread). Pass through the B, exit

the 10th A just added, and continue

through beads to exit the top-right 6A

of this unit (Fig. 3—red thread).


the top 6A of the previous row’s

Fig. 2: Adding Unit 2 to Row 1

Fig. 3: Stitching Row 1, Unit 3

Fig. 1: Working Row 1, Unit 1

Fig. 4: Adding Row 2, Unit 1

Unit 3 and the first 2A just added.

String 1B; pass back through the

13th A just added and continue

through beads to exit the 4th A just

added (Fig. 4—blue thread). Pass through

the B, the 15th and 16th A just


06022011124032


added, and the top 6A of the previ-

ous row’s Unit 2 (Fig. 4—red thread).

Row 2, Unit 2: String 11A; pass down

through the top-left 2A of the previ-

ous unit. String 1B; pass back through

the first 2A just added and continue

through beads to exit the bottom-left

2A of the previous unit (Fig. 5—blue

thread). Pass through the B and the 4th

and 5th A just added (Fig. 5—red thread).


the top 6A of the previous row’s

Unit 1 and the bottom-left 2A of

the previous unit. String 1B; pass

back through the 8th A just added

and continue through beads to exit

the top-right 2A of the previous

unit (Fig. 6—blue thread). Pass through

the B, the 10th A just added, and

continue through beads to exit the

top 6A of this unit (Fig. 6—red thread).

Row 3, Unit 1: Repeat Row 2, Unit 1 (Fig. 7—

black thread).

Row 3, Unit 2: String 11A; pass down

through the top-right 2A of the

previous unit. String 1B; pass back

through the first 2A just added and

continue through beads to exit the

bottom-right 2A of the previous

unit (Fig. 7—pink thread). Pass through

the B and the 4th and 5th A just

added (Fig. 7—green thread).


the top 6A of the previous row’s Unit 1

and the bottom-right 2A of the previ-

ous unit. String 1B; pass back through

the 8th A just added and continue

through beads to exit down through

the top-right 2A of the previous unit

(Fig. 7—blue thread). Pass through the B,

the 10th A just added, and continue

through beads to exit the top 6A of

this unit (Fig. 7—red thread).

Repeat six times, alternating Rows 2 and

3, for a total of 15 rows.

2) CLASP. Add a closure to the bracelet:

Loop: Weave through beads to exit the

top-center 2A of Row 15, Unit 2.

String 38A (or enough to slip over the

button); pass through the last 2A

exited (Fig. 8). Repeat the thread path

several times to reinforce.

Button: Weave the tail through beads to

exit the bottom-center 2A of Row 1,

Unit 2. String 2A, the shank of the

button, and 2A; pass through the last

2A exited (Fig. 9). Repeat the thread

path several times to reinforce. ✦

Fig. 5: Working Row 2, Unit 2 Fig. 6: Finishing Row 2

Fig. 7: Working Row 3

Fig. 8: Adding the clasp loop

Fig. 9: Attaching the button

RACHEL McENROE has been beading for more than four years. She is a freshman at the University of Chicago, where she is pursuing studies in chemistry and physics as well as continuing her foreign language studies (Arabic, Russian, and Chinese).


contact: Puff squares: Lima Beads, (888) 211-7919, www.limabeads.com, and Sojourner, www.sojourner.biz/beads.html. FireLine braided beading thread and seed beads: FusionBeads.com, (888) 781-3559.


06022011124033

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BW QE35 Fusion ad_QE.indd 35 6/2/11 2:07 PM

06022011140907

bayou influence L u c y B a k e r

TECHNIQUESsquare stitchstringing


BW QE36-38 Baker_QE.indd 36 6/2/11 12:42 PM

06022011124319


OPTION

Use Lucy’s beaded pearls

to make a matching pair

of earrings.

USE EMBELLISHED PEARLS to accent a lovely strung necklace inspired by the purples, golds, and greens Lucy wears to honor her Cajun heritage.

MATERIALS8 g metallic burgundy size 11° seed

beads (A)4 g ceylon light mauve size 11° seed

beads (B)3 g rose-lined spring green size 11° seed

beads (C)2 g metallic green iris size 8° seed beads (D)16 mauve 5.5mm flat-sided round pearls (E)16 olive 4×7.5mm rice pearls (F)14 cream 12mm crystal pearls1 cream 16mm crystal pearl1 sterling silver 5×12mm lobster clasp1 sterling silver 5mm split ring2 sterling silver 2mm crimp tubes2 sterling silver 3mm crimp covers3' of .011 beading wire Crystal 4 lb braided beading thread

TOOLSSize 10 or 12 beading needleScissorsWire cuttersCrimping pliers

FINISHED SIZE: 21¾"

1) PENDANT. Embellish the large pearl

with beaded strands and flowers:

Beaded strands: Use 6' of thread to string

a tension bead, leaving a 6" tail.

String the 16mm pearl and 17A; pass

through the 16mm pearl to form the

first beaded strand (Fig. 1). Repeat for a

total of 10 strands. Pass down through

a beaded strand, remove the tension

bead, knot the tail and working

threads together, and pass up through

the pearl again.

Links: Pass down through the first 3A of

the first strand. String 1A; pass up

through the third A in the next

strand, back through the 1A just

added, and down through the third A

in the first strand to form the first

link between strands. Pass through

the 1A just added and down through

the third and fourth beads of the next

strand (Fig. 2). Start the next link from Fig. 1: Adding the first beaded strand

OPTION

Use Lucy’s beaded pearls

to make a matching pair

of earrings.

Fig. 2: Forming the first link between strands

the fourth bead. Continue joining

1 strand to the next with links,

moving down 1 bead each time to

form a total of 13 links that spiral

around the pearl. When you complete

the last link, weave down to the end

of the strand and up through the

16mm pearl. ARTIST’S TIP

Keep the beaded strands in

order when beading the small

rounds so that the spiraling

color pattern stays correct.


06062011154625


Flower embellishment: Weave through

beads to exit the first link. String 1B;

pass through the 1A just exited, form-

ing the top middle petal. Repeat,

forming the bottom middle petal. Pass

through the first 1B added in this step

(Fig. 3).

String 2B; pass up through the third

A in the first beaded strand and down

through the second 1B just added.

String 1B; pass through the bottom

middle petal (Fig. 4–green thread).

String 2B; pass down through the

third A in the second beaded strand

and up through the second 1B just

added. String 1B; pass through the

top middle petal and the next 2B

(Fig. 4–blue thread).

String 1C; cross over the center of the

flower and pass up through the center

B on the flower’s right edge (the right

middle petal) and back through the 1C

just added. Pass down through the left

middle petal and the 1C. Pass up

through the right middle petal and

down through the third and fourth

beads of the right beaded strand, exit-

ing the fourth bead (Fig. 5). Pass through

the link, continue down through

1 bead on the next strand, and exit

through the next link. Make a total of

7 flowers, skipping one link between

each flower. Note: The sixth and

seventh flowers are stitched between

the same pairs of strands as the first

and second flowers, respectively.

Weave through beads to exit a strand

at the bottom of the pearl. Knot the

tail and working threads together.

Secure the threads and trim.

2) BEADED PEARLS. Use 4' of thread

to string a tension bead, leaving a 6" tail.

String one 12mm pearl, 1A, and 11B;

pass through the 12mm pearl again to

form the first beaded strand. To form

the second beaded strand, string 1B, 1A,

and 10B; pass through the 12mm pearl.

For the third strand, string 2B, 1A, and

9B; pass through the 12mm pearl. Con-

tinue adding strands, keeping them in

order around the pearl for a total of

12 beaded strands, moving the 1A down

one place on each strand to create a spi-

ral of A beads. Repeat to make a second

mauve beaded pearl.

Repeat twice, substituting B for A and A

for B for a total of 2 burgundy beaded

pearls; repeat twice, substituting B for A

and C for B for a total of 2 rose beaded

pearls.

3) ASSEMBLY. Use 3' of beading wire

to string the pendant, 1D, and 1A to the

center of the wire; pass back through the

1D and pendant. *Use one end to string

{1D, 1E, 1D, 1F, 1D, one 12mm pearl,

1D, 1F, 1D, 1E, 1D, and 1 mauve beaded

pearl}; repeat four times, substituting

1 burgundy then 1 rose beaded pearl

for the mauve beaded pearl and omitting

the last beaded pearl. String 1 crimp tube

and the lobster clasp; pass back through

the tube, crimp, and trim the wire.

Cover the crimp tube with 1 crimp

cover. Repeat from * on the other end,

substituting the split ring for the lobster

clasp. ✦

LUCY BAKER has a BS in mechanical engineering and is the quality-assurance manager and safety officer at a machine shop in Louisiana. When she is not designing and improving processes during the day, she is dreaming up and constructing complex beaded structures in her spare time.


contact: Size 11° seed beads: Victorian Purses By Sue, (989) 865-6970, www.victorianpursesbysue.com. FireLine braided beading thread, Swarovski pearls, and all other materials: Fire Mountain Gems and Beads, (800) 423-2319, www.firemountaingems.com.

Fig. 3: Attaching the first two petals

Fig. 4: Adding the rest of the petals

Fig. 5: Finishing the flower center

ARTIST’S TIP

If your size 11° seed beads are a slightly different size, you may need

to use 16 or 18 beads per beaded strand on the large pearl and 11 or

13 beads per beaded strand on the small pearls. After stringing the

first beaded strand, there should be a gap equal to the size of one

bead where the thread is still showing on that beaded strand. This will

fill in as you add other beaded strands.


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magdala bracelet N a n c y P e t e r s o n

TECHNIQUESright-angle weavenettingpicot


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REMINISCENT OF VICTORIAN FRETWORK, this bracelet combines the beauty of netting with the structure of right-angle weave.

MATERIALS10 g Montana-blue-lined crystal AB

size 15° seed beads (A)75 white opal 3mm crystal bicones (B)76 navy 4mm glass pearls (C)2 sterling silver 5mm jump rings2 sterling silver 6mm split rings1 sterling silver 15mm fancy toggle claspSmoke 6 lb braided beading thread

TOOLSScissorsSize 10 or 12 beading needles2 pairs of chain- or flat-nose pliers

FINISHED SIZE: 7¾"1) BASE. Use 9' of thread to string 4C,

leaving a 12" tail. Pass through the first

3C again to form a tight circle. String

3C; pass through the last C exited and

the first 2C just added; repeat to form a

right-angle-weave strip 25 units long.

Note: If adjusting the bracelet’s length,

make sure there are an odd number

of units.

2) EMBELLISHMENT 1. Stitch a fan to

embellish the base:

Cross: String 2A, 1B, and 2A; pass down

through the opposite C in the last unit

exited (Fig. 1—blue thread). String 2A,

pass back through the B just added,

string 2A, and pass down through

the first C exited in this step. Weave

through the next 2C of this unit


Fan base: String 9A; pass down through

the opposite C in the unit (Fig. 2).

Repeat the cross embellishment (Fig. 3—

green thread).

Fan: String 7A, 1B, and 1A; pass through

the eighth A added to the fan base,

then pass back through the last A/B/A

strung and through the next A. String

3A; pass through the last A exited to

form a picot. Repeat the entire section

three times, connecting to every other

bead on the fan base. String 5A; pass

down through the nearest C (Fig. 3—

blue thread) and weave through beads

to exit down through the fifth side C

along the center of the base (Fig. 3—

red thread).

Fig. 1: Adding the first cross to the base Fig. 2: Forming the fan base

ARTIST’S TIP

To help the picots hold their shape

on the edge of the bracelet, dab a

small amount of Future floor polish

on them with a cotton swab and let

dry overnight.

Fig. 3: Weaving the fan


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3) EMBELLISHMENT 2. Turn the base

so the previous fan points down. Repeat

the fan base and weave through the

nearest 3C of the previous unit (Fig. 4—

green thread). Repeat the fan (Fig. 4—blue

thread). Repeat the cross, but don’t weave

through more C (Fig. 4—red thread).

Repeat Embellishment 1 (starting with

the fan base) and Embellishment 2

across the base to add a total of 12 fans.

4) CLASP LOOP. Exiting from the C at

the end of the bracelet, string 4A, 1 split

ring, and 4A; pass through the last C

exited to form a loop. Pass through the

beads again to reinforce (Fig. 5—blue

thread). Use a jump ring to connect one

half of the clasp to the split ring on the

clasp loop.

5) CONNECTORS. Connect the fans:

End: String 3A, 1B, and 7A; pass through

the nearest C and the next 3A, 1B,

and 2A just strung to form a base for

the connectors (Fig. 5—red thread).

Connectors: String 4A, 1B, and 3A; pass

through the top C of the next unit.

String 2A; pass back through 1A, 1B

and 1A. String 3A; pass through the

left side A of the next fan’s closest picot

and weave through beads to exit

through the right side A of the fourth

picot in the same fan (Fig. 6—red thread).

Repeat this section to connect the

fans. Note: On the last fan, weave

through beads to exit from the C at

the end of the bracelet.

Repeat the clasp loop, then repeat the

end and connectors along the other

edge of the bracelet. Secure all threads

and trim. ✦

NANCY PETERSON enjoys the challenge of all types of beadweaving. She teaches regularly at the Garden of Beadin’ in Bartonsville, Pennsylvania. Visit http://stores.lulu.com/nlpbeaddesign for more of Nancy’s designs; read her blog at www.npbeading.blogspot.com; contact Nancy at [email protected].


contact: Miyuki seed beads: Fox Den Beads, (262) 634-2323, www.foxdendesigns.com. Glass pearls: Shipwreck Beads, (800) 950-4232, www.shipwreckbeads.com. Swarovski bicones and clasp: INM Crystal, (561) 734-2101, www.inmcrystal.com. FireLine braided beading thread: Fire Mountain Gems and Beads, (800) 355-2137, www.firemountaingems.com.

Fig. 4: Adding Embellishment 2

Fig. 5: Stitching the clasp loop and end connector

Fig. 6: Adding connectors between fans


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double helix Ta m a r a A l l i s o n

TECHNIQUEStubular herringbone stitchladder stitch


ARTIST’S TIP

Tamara recommends pairing red with blue beads and

green with orange beads as you work the color rows.

Switch the order that you stitch the beads in each row

as desired, but work the front and back of each row as

mirror images of each other.

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DESIGNED TO MIMIC THE DISTINCTIVE twist of our DNA, this herringbone-stitch bracelet recalls the highlights of biology class in Tamara’s high school days.

MATERIALS2 g transparent orange size 11º seed beads (A)2 g silver-lined green size 11º seed beads (B)24 g satin white size 11º hex-cut cylinder

beads (C)2 g opaque red size 11º seed beads (D)2 g opaque luster blue size 11º seed beads (E)10 g opaque black size 8º seed beads (F)10 g opaque white size 8º seed beads (G)1 silver 13mm toggle claspSmoke 6 lb braided beading thread

TOOLSScissorsSize 10 or 12 beading needle

FINISHED SIZE: 8"

1) SPIRAL BAND. Stitch a foundation

ladder and tubular herringbone band:

Round 1: Use 3' of thread to ladder-stitch

a 12-bead strip in the following colors:

1F, 5C, 1F, and 5C, leaving a 12" tail.

Connect the last C to the first F to

form a circle and exit up through the

F (Fig. 1).

Round 2: Working in tubular herring-

bone, add 2 beads per stitch in the fol-

lowing order: 1G and 1D, 2D, 2E, 1G

and 1E, 1E and 1D, and 2D. Step up

through 1F and 1G to start the next

round (Fig. 2). Note: The F and G size

8º beads form the band’s edges; the

size 11º beads form the band’s center.

Round 3: Repeat Round 2 using 1F for

each edge bead and C for the center

beads. At the end of this round, step

up through 1F, 1G, and 1F (Fig. 3). Note:

Step up through 3 edge beads this way

at the end of all the remaining rounds

to create the twisted spiral.

Round 4: Repeat Round 2 using 1G and

1B, 2B, 2A, 1G and 1A, 1A and 1B,

and 2B.

Round 5: Repeat Round 3.

Rounds 6 to end: Continue working in the

established pattern for 115 rounds or

until the band is the desired length.

The band will begin to twist after the

ninth round. Note: The clasp adds 1"

to the finished length.

Fig. 1: Ladder-stitching Round 1

Fig. 2: Adding the first herringbone-stitch round

Fig. 3: Stepping up through 3 edge beads


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2) FINISHING.After working the final

herringbone-stitch round, ladder-stitch

the center beads together in pairs and

exit an edge bead. String 5 size 8° beads,

continuing the alternating pattern of F

and G beads previously established. Pass

down through the edge bead across from

the one just exited and continue through

the next 3 edge beads. Weave back

through a neighboring size 11° and 1C

and pass back through the second and

first edge beads. Continue through the

next 3 size 8° beads, exiting through the

center bead of the 5 just added. String

6C, one half of the clasp, and 6C; pass

through the center bead, repeat the

thread path through the beads and clasp

just added, and continue through the

size 8° beads to the band (Fig. 4). Secure

the thread and trim.

Repeat this step using the tail thread

and the other half of the clasp to finish

the other end of the band. ✦

TAMARA ALLISON discovered beading when she was thirteen. Nine years later, she is pursuing a BFA at Midwestern State University in Wichita Falls, Texas, and continuing to develop her own jewelry designs. To see more of her work, visit www.tamarallison.webs.com or contact her at [email protected].


contact: FireLine braided beading thread and all other materials: Fire Mountain Gems and Beads, (800) 355-2137, www.firemountaingems.com.

Fig. 4: Attaching the cla sp

OPTION

Work shorter sections of the

herringbone-stitch spiral to

make a playful pair of earrings.

Add a bead loop to connect the

ear wires.


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fi nish it your way

Take your jewelry to the next level with over 30 custom clasps, jump rings, ear wires, bails, and more.

Handcrafted Wire Findings Techniques and Designs for Custom Jewelry Components Denise Peck and Jane Dickerson

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more techniques

These basic instructions are for techniques used in this issue’s projects and are from The Beader’s Companion (Interweave, 2005). Don’t have this popular book? Call (800) 272-2193 or visit interweavestore.com.

C R I M P I N G

String a crimp tube and pass through the connec-tion finding. Pass back through the tube, leaving a short tail. Use the back notch of a pair of crimping pliers to pinch the tube into a U, leaving a wire on each side of the bend. Rotate the tube 90° and use the front notch to form the pinched tube into a clean cylinder.

F I N I S H I N G A N D S TA R T I N G N E W T H R E A D S

Tie off your old thread when it’s about 4" long by making a simple knot between beads. Pass through a few beads and pull tight to hide the knot. Weave through a few more beads and trim the thread close to the work. Start the new thread by tying a knot between beads and weaving through a few beads. Pull tight to hide the knot. Weave through several beads until you reach the place to resume beading.

G L U I N G

Place a sparing amount of glue on knots to secure them (we recommend G-S Hypo Cement) or use enough glue to completely secure beads to a sur-face (E6000, Terrifically Tacky Tape). Allow any glue to dry thoroughly before continuing.

H A L F - H I TC H K N OT

Half-hitch knots may be worked with two or more strands—one strand is knotted over one or more other strands. Form a loop around the cord(s), pull the end through the loop just formed, and pull tight. Repeat for the length of cord you want to cover.

O V E R H A N D K N OT

The overhand knot is the basic knot for tying off thread. Make a loop with the stringing material. Pass the cord that lies behind the loop over the front cord and through the loop. Pull tight.

S Q U A R E K N OT

The square knot is the classic sturdy knot for securing most stringing materials. First make an overhand knot, passing the right end over the left end. Next, make another overhand knot, this time passing the left end over the right end. Pull tight.

S U R G E O N ’ S K N OT

The surgeon’s knot is very secure and therefore good for finishing off most stringing materials. Tie an overhand knot, right over left, but instead of one twist over the left cord, make at least two. Tie another overhand knot, left over right, and pull tight.

T E N S I O N B E A D

A tension bead (or stopper bead) holds your work in place. To make one, string a bead larger than those you are working with, then pass through the bead one or more times, making sure not to split the thread. The bead will be able to slide along but will still provide tension to work against when beading the first two rows.

W I R E W O R K

To form a simple loop, use flat-nose pliers to make a 90° bend at least ½" from the end of the wire. Use round-nose pliers to grasp the wire at the tip; roll the pliers toward the bend, but not past it, to preserve the 90° bend. Adjust the pliers as

needed to continue the wrap around the nose of the pliers. Trim the wire next to the bend. Open a sim-ple loop just as you would a jump ring (see below).

To form a wrapped loop, begin with a 90° bend at least 2" from the end of the wire. Use round-nose pliers to form a simple loop with a tail over-lapping the bend. Wrap the tail tightly down the neck of the wire two or three times. Trim the excess wire to finish. Make a thicker, heavier-looking wrapped loop by wrapping the wire back up over the coils, toward the loop, and trimming at the loop.

To open a jump ring, grasp each side of its open-ing with a pair of pliers. Don’t pull apart. Instead, twist in opposite directions so that you can open and close without distorting the shape.

Wrapped-loop bails turn side-drilled beads, usually teardrops, into pendants. Center the bead on a 3" or longer piece of wire. Bend both ends of the wire up the sides and across the top of the bead.

Bend one end straight up at the center of the bead, then wrap the other wire around it two or three times. Form a wrapped loop with the straight-up wire, wrapping it back down over the already formed coils. Trim the excess wire.

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beadwork quick easy aug-sept 2011

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