2000-05+06_v3n3-jpgocr

May/June 2000 Volume 3 • Number 3

16 Kickin' lt with Joyce Scott • /no Golub 18 Connie lehmon: Bead Diva • Down Hamilton 27 Diane Fitzgerald: In Pursuit of Beads • Peggy Wright 42 listening to the Beads: Hearing Secrets That Wont to Be Shored Morgie Deeb

Beadwork's

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Professional Development Series: Make Bead Graphs and Handouts with PowerPoint • Mory J. Tofoyo

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Feather Stitch Garland Scarf Amy C. Clarke

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24 Clinging Vine Earrings Barbara L. Grainger

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2 Passing Through 5 Project Contributors 6 Calendar 8 letters

30 Flat Peyote Banner Pin • )udi Wood and Pins for Beodweoving Carol Straus

10 Stitches

34 Suspended Admiration: Beaded Fan Pulls • Denise Perreault

12 Up Close

45 A Tantalizing Bead-looming Secret )eanne Leffingwe/1

1 1 Abbreviations

37 Special Beads Moria Chiaro

50 All Stuck Up • Jean Campbe/1

38 Samplers Lydio Borin

55 Fused Glass 101 • Stephanie Houston

62 Cool Stuff

58 Fired About Wire • Staff Proiect

64 Reviews 72 Stringing Along )udith Duront

On the Cover

Fused Gloss 10 1 by Stephanie Houston

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recently taught a class of pre-lcindergarrners how to make beaded jewelry. Other than the usual funny thi ngs that happen in a preK class ("Teacher! Teacher! Haley just fed the guinea pigs Playdough!"), Twas excited to see that even rhcsc rea lly little people get the itch for beads. \_ r started the class with noodles and string. The kids were bored. I got out rhe wire and rools-that was a lirde more interesting. Bur then, 1 pulled out the big bucker-o-beads.

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What's cooking in the Beodwork office

• Beodwork just went to press with The Bes~ in Contemporary Beadwork: Bead International 2000 eo-produced with The Dairy Born Cultural Arts Center. If I do soy so myself (I got to edit it), it's gorgeous! • Come one, come all to BASH! Check our websi te or see page 68 to find out more about this no-holds-barred beoderly retreat in May 2000. • Coming next issue (foster than a rolling Delico ... able to leap embroidery hoops in o single bound .. to doa) BEAD BOY! Every issue we're going to give our new superhero (aka Dustin Wedekind) a challenge to creole a piece of beodwork with a specific theme, and we invite you to take port, too. Send a snapshot of your work and a short explanation of the technique to Beodwork. The July/August challenge? BEAD THE WIND.

"Ooooh. Now we can make REAL jewelry!" I gave each child a length of wire for making little rings, then 1 turned them loose on the bucket. They dug right tn, just like any beadworker at a bead show. As I studied the chaos J came ro rhe determination that the kids' bead-hungry behavior wasn't just greed. It was narural. Innate. Single-celled . They were like crows or walleyes drawn ro the glitter and sparkle. What the chaos was really about was the !iglu. "See my power ring? 1 have blue power and that's the best kind." "Well/ have red power and char's su·onger!" "When l put on my ring I disappear and go to the beach. " "Mine has a special bead you LOuch rhat makes you go to ourer space. " Is thar what you do wbcn you open your bucker-o-beads? Become powerful? Disappear to a different place? Well, maybe ir doesn't fed that dramatic, but as you stitch bead by bead by bead, you gotta know there's a kid in there somewhere who is rraveling the astral planes. Radiandy yours,

UliiORIAI cRt.~ 11\ 1 lliRI'CTOR Unda C. Ligon lDIIORIAL lliRECI OR ~ larilyn Murphy 1 lliTOR Jean CampbeU AS~I'lA:-11 Hlii'OR Amy C. Cbrke COPY fOil OR Stc-phen BeaJ £Dn'ORIAJ..AOMI:\:IHRATIVI ,\.\\I~TA\J Robin Troxell 1 H:H'IIUL tnrro~ Marion Agnew. Mun;~ Pomptli PRODL'CTIOI'. Wln>R Mona Pompiti l'lli1USHNG l'llKLI~HtR Ceri Ander~on ~ ~ >VI·RTISING Tiffany Ball. Maril}n Kuponcn AllVJ'RTISIN\, eRill'IATOR Karhie Karbowski U IKlJ IJ\TlO'I \ IA'lt\CFR)cnny f·i~h SL'IlS\ 1\II'I ION SI'RVI<.F.~

Donna Mdwn

lilt I' & l' ltOI >UCTlO"' lll.lJS I RATIO!' Je:Ul Campbel l. Gay le Ford, Alln Swanso u. Andy Wcbbcr L'HO I ()(,Jli\I'II YJoe c~)C3 111 \lr ;r., r )i·t.tbcc h R. 'v1 ro~ka PRODUC.I'Itlt<. MAt'\ACI R jen· Li rzler I'RODLC'IION C()ORI>II\Al OR Andy Webber

Dtsigns m thu ism• of lle.tdwork '"'for wspirnti"" mu/ pmon.,J us- on/;. F.xlll'l rtprodJ.,,·tion {Or rommtn:ial purposn is co11rmry ro rl~ tpsrit ofgo<Jtl ,mji:,nlllmlup.

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INTERWEAVE PRESS

&.uiu"rk (ISSN I ~2X ~ll.ll ) i1 pul~i..h..-d bimonthly by lntorwco•·e I'm>>. Inc., 20 I f Founlt Sr.. l.o>eb.nJ. CO 80H7· '\6'\5. (~'0) 66<J. 76~~ USPS .018 351 Periodical> p<»t.rg< pa>d Jl l.ovtbnd, CO 80538 and additional mailing nlfiu·, All ct'pt br pcrmi'>inn 111 chc puhlhher. !>ubscription rate is 52·1. 'J~Ione year '" the l.. ~.• $3 I .?'ilonc ye;u U.S. hmd' "' C:uuda and lorcign counrric! (face ddivery).l'cimed ut 1hc U.S.A. I'OS r\-11\STPR: Please send ad•or/.•, I'D Box S27, Mr. Morri&.IL 610~·1 0527. Vi~it

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www ln terweove.com

the lnterwc;Jve rrcs.s w~hsire t1( www.irucrw~..a.ve.oom.

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Magoificer1t Colors, Coosisteot io size~~ shape a11d color .

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Culindrical Shaped . Precision cut

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1-800-447-1332 www.millhill.com www.millhillbeads.com \


rlllllllll® Juntsvlllt, Wl USA

Needlecase Kit alld

MAGNIFJCA. Beads available from Mill Hill® Division of Gay Bowles Sales, Inc. ~ ,_. Needlecasr shovvn is actual size •

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nventtveness shows up . h 1 ,, tn eac new cata og. Tim McCreight

r( Do you

Instructor, Author, Precious Me ta l Clay Designer Portland, Maine

HAVE any beads you

don't know what

TO DO.....with ? ···-

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AMY CLARKE "Yes-and ir's a good thing they're patient. Tt rakes me months to complete projccrs with £he beads that 1 know whac to do with!"

JEAN CAMPBELL Four lampworked oranges. Maybe when l retire eo Florida I'll know what to do with them."

BARBARA

GRAINGER

"Tons of them! Wonderful beads for char 'special piece' I'm going to do some day. Trouble is,

Bead ofPMC

ond Polymer Cloy

Gems & Findings Tools & Equipment Display & Packaging phone 800.545.6566 fox 800.965.2329 www. riogronde.com

Join us at Embel/ishments·Oregon, July 14-16, 2000 source code A 9170

they're roo pretty to use!"

JEANNE LEFFINGWELL "Several! They mosrly preen and display themselves on my eye-level-percolating shelf Bm since I walk pasr them every day, they all know rha( chey're just waiting their turn!"

DENISE PERREAULT "The clear plasLic beads 1 bought for fringing a lampshadeuntil I discovered Austrian crystals. Placed inside bottles, they will make fine maracas for my toddler!"

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CAROL STRAUSS "No, I only buy beads that 1 like. Sometimes it tal<.es years to find the right project fo r the beads, but I can always just adm ire the beads until I do. "

JUDl WOOD "I have several. 1 place them where T'rn reminded of rhcm, can hold them and, after a while, an idea starts ro develop."

ColourCraft~

Our permanently colorod copper wire is perfect for wire wrapping, sculpting . and beading. You can create ornaments, pottery. sculptures, jewelry anrJ other designs with our specialty tools and variety of popular wire gauges and colors. Beadalon" 19 & 49 Strand Bead Stringing Wires New Improved Beadalon~· 19 & 49 Strand w ires are softer and

even m ore flexible than before-now the softest mo§t supl2!.e... wires on the market! Great for stringing g lass, ceramic, metal and stone beads, seed beads and freshwater pearls. Available in the largest selection of d iameters, colors and spool lengths. Attacl1 using our high quality findings and specially tools. For more information, visit our website at ~a dalon.com. Send $2.00 f or catal og.

The only company in the industry that actually manufactures i t s own wire. 205 Cao1er Drive· Weosl Chester. PA 19382 FrAA 1 800.824.WII lE (9473) · Tol: 1.610.692 755 1 Fax: 1.610.()92.2 190 a mait: sales@beadalon corn

www.beadalon.com

BEADWORK

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Moy/June 2000

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GATHERINGS

® April 1-2: BMrl Bmuwr 2000 at the lloliday Inn, I .!'5 ,111d I 20rh Ave., 1'\orrhglenn. ( olor.tdo. ( :omact r.he Rocky f\lountain Bead \octct\, Jcnnifer Richard, (7 I9) i!l6 2682. or Allison lknjJmin (303) 2"' I I676. ® April 14-16: 14th Amwal American Crnfi Counril Show .-r the Rivt:rCc.:ntrc in Se. Paul, Minne~ota. Cumacr rhc American Craft Cound l, 2 I S. J:l.ILings Corner Rd., Highl.wd, NY 12528. (91 4) 88.1-6 I 00; (ROO) 836 .1470; fax (914) 883-6 UO: ~how'~'\r;tftcouncilorg: ''·w,\.Cr;tftcoune tl.org.

® April21-23: GroExpositionsSpring Show in thl' Rockm .u the Holidav Inn ' Oenvcr Nnrrh .md lk\t Western Cemral, at the imc:rseuton of I 70 and I-25, Denver, Cnlor.Hio. Contact GeoExposiriom, PO Box '505~. Culdcn, CO 80401. (303) 278-1 218; gl·ocxpoQoaol.com.

® April 28-29: TIN• 6tb Amwal Beat! Bttznnr- The A1·t of Adrwuing :H t.hc Bo\vers Museum. C.,,lnt.t /\n.a, California. Conracr l h: Bead \o~icry of Orange Counf)<. 2001 ' . \1.un )t., Santa Ana, CA 92 7 06. C' I 'l) -s SH6. ® April 28 -30: &cont! Annual Moscqrv, ldnho Bmd Stttmpcdt• 2000 at the Latah Counr: F.lirgrountk Lxhibir Building. Coman L llnhson. Zillyt.;1Z.J Be:t
® April 30: Suburbrm Fi/1(' Arts Cmte-r Semi-Anm11tl Bead S11le- .tl Lhe Highland Park Communitv, !louse. I 9 I .j Sheri-

of lijt'- lw Jo.Jn Dull.1. I.,., >< ](," X [(,". ~iz{ 14" sced heJds. <.:oppl r, J11<·diL.11 Lap.:. l'rom rlw Rtwlumr/.• in Anurim 2000 cxluhit at the I );t,un!'s ( ollegc An l, 1llcn·, lll lhhring:.. Ncht.aska ~fard1 J ll. frtt·

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www.lnlcrweove com

dan Rd., I Iighland Park, lL 6003'i. (847) 'l H-9 I 06; !:1x (847) 432-9106.

® May 3 7: 8t'lldtvork B11siJ 2000 at 1he A\pcn Lodge in Esres Park. Color.tdo. Conuct Interweave Press, 10 I [. Founh Sr., Lovebnd, CO 80537-565'5. (970) 669-767 .2; nanL]·d~imerweJvc. . com; www.tmcrwc.Lvc.com. ® May 5-7: Be-ttd Relutisstmcc S!Jozv: Dal/1/s/Fort Wortb .ll the Grapevine Convention Ccmer, 1206 S. Main Sr.. Grapcvine, 1\:xas. Contact J&J Promotions, L. I..C.. 8490 \'1/. Colfax Av<.!., CS-27, Rox .H4. Lakcwood, CO 80215. (.~03) 232-7147; fax (303) 2325263; bca •.hh<m
I lore!, l.
me

Oregon. Contact the B.:ad ;1nd But wn Show, PO Box 3388, Zanewillc, 011 41"'07 .B88. {740) 452-454 I; f.·n: (740) 4'51-l'i '52; lx':!dandburron
® June 8-11: The Glass An Sociny's 30th Anmtfll Conference: Brit!gl' to the ri11urr .tt the UrbanGlass Conrcmpomr} Gl.tss ( enter and Long Island Univcr~ity, Brooklyn, No:w York. Conracl C.A.~ .• UOS 4rh Ave., Suite: 7 1 I, ~c:utlc, WA <JH I0 1-240 I. (206) 382-1 305; f:tx (206) 3ll2-Ul30; gb.sansoc@canhli 11 k.ncr; www.glassan.org. ® June 9- I I: Firsr Annual Billings, /11ontnna Bead Stnmpedl' 2000 .11 the Mt•rra Park-)age Cmrer. Cont.u.t L. llob,on, /.iay1..w1 Be-.td~, 31 I l\.. I 51h St., ( ocur d'Aienc, ID 83815. (208) 664-9'552; tiuv@'micron.l1t:r. • ® June 11- 15: BW2K· Bettdtvt'ttllei'S 2000 Relrettl in Jobmtown, Pennsylvania. Conu\ct Raven, PO Box 248, Sidnun, PA 1'i95'i-0248. (8 14} 'i36-!lH0/j; bw lkG'Olt·ntlin k.m;t; hrrp://homepage. l~n~ Iin k.ne1/1t~ers/ raven. ® June 16-18: Thl' Wine Cowm-y Guw Ar·t nnd BellO Festi1111l ar the Veteran's \1cmonal Building. Sonoma, Calift>rni;t. Cont.Kt Soft Hex Co.. PO Box 80, )onn111.1, CA 9'ift76. (707) 938-3'5.39: ,(v. tm(il sol rflex rm .eo m; www.softAcxt m .~om. ® June 24-25: Third Awuwl lli,'l,IJItmd Pnrk Festi!ltt! of Fine Crt!ft i 11 duwntown Highland Park, lllinoi,. Cnntau the Suburban Fine Am Ccn tcr, 1913 Sht"ridan Rd .• llighland P,Jrk, 11 60{H';. (8'17) 4.32-1888. ® June 24-25: Puget Sound Bend Festilltt! .11 the Union ~ration, l:twm.l, W;l\hingwn. Comau The Bead 1-.u:ror}. (2'i3l 5~2 S'i29 or (888) 500-BF.AD: f'a.\ (25J) 874-6596; www.rhchc;Hl f:1~wry.wm.

® July 7-9: Fo1·ty-Eigbtb Ammal 2000 Pour Come1·s Gnn a11tl Minrml Club SIJom .H rh~: 1.~ Phaa Co unty l-ai1 ground,, Durango, Color:tdo. Contact ~ Donna ll.11111a, PO Box 9)'), Ourango. ~CO 81301. (970) 38'i-514S. 0 "' ® Jul} 14 16: Embellishmem at rhc :i: Oregon Convention Cemcr, Portl.111d, 8I Orc~on. Contact Emhelli,hrncnt, ' 3: (71 I) ""'81-6864; fa:< (7Ul 781 6889: ~ ~how,(/' tjllilts.corn; www.cmbdltshment· ~ show.rom.

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D.tiry Barn, PO Box 747, Athens, OH 4570 l 0747. (740) 592-4981; fax (740) 592 '5090; [email protected]. VlWV>'. dai rybarn.org!beadi nt. htm I.

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Are you excited about Bead· work magazine's comes£ Beadwork If: The Embelll.uul.1 () 1\o·o·(fo• ished Shoe? Her<: s a hook that might ger }'OUr crcati\'c juices Bowing -Sbot'> · A Celrbration of l'umps. S,m. daL<, S/ippm. and Morr by lrncb O ' K.ccfc,•. New \ork: Workman Publishing, J996. 507 pages, ·l" X 6", mw I ,000 phorographs, paperback. $12.95. ISBN 0-7611011 4- t.

® June 16 July 30: Cbnin Reaction T:xhibitiou at the lcxtilc Arr~ Centre. Chicago, Illinois. Comacr Textile Ans Ccmrc, 916 \XI. DIVersey, Chtcago, I L 606 1 t. lmp://collaborarory.nunet.net/ textih:ans.

® T hrough September: PnduktZ: Put tmd Fooltoenr in tlu ludian Trndirio1l .tt the Rara Shoe Mu,cum, 327 Rloor

!-.1'. W., Toronro. Onwio, M5S I W7, Can~da.

(4 16) 97<J-779<J.

TRAVEL ® Deadline May 2: Gleaming li·et~sures corrll!st at Embellishment, Oregon Con

C LA SSES ® Ongoing: Glnss, Jerve!ry mul l.nmpworking Courses at d tl' M~:ndodno Art Cenrer, 4'5200 Link: L1kc.:
vcntion Center, Porrland, O regon. Send SASE ro Embellishment, 7660 Woodway. Sre. 550, Housron. TX 77063. Pax (713) 781-8182: [email protected].

653-3328; mcndo.trte''mcn.org; www. mcn.org/a/ menc.loan/.

® Deadline June I: Uncommon Threads }uried Runway Fashion SIJo rv ;tr the

® O ngoing: Polymer Cuzy, Bendtvorking, tlnd Guzss \'(lorkshops ar rh,· Brookfield Cr.tft Centcr. PO Box I 22. Roure 25. Brookfield. er 0681ll. (20H "754526: (tx (20 ') 740 7 81 '5; hrkflc.lcrfr(it) aol.com; "ww.brookfieldcs.tftc.:cntcr.org. ® O ngoi ng: Glms Blowing, Bt'ndwork, Wiuworking Courses ar Horizons, 108-P !'.. ~1.un St., Sumbland. MA 01375. (·l U) 66">-0300; fa>. (413) 665 -41"1 I; hmllumGthoriiOns-;~rr.org; \V\vw.horiwm .1n.org. ® O ngoing: G/,w mu/ Fiber Rrlnted Courses .1r the Coupcvilk· Art~ Ccuccr, 15 NW Birch Sr.. PO Bo-.: l7l. Coupcvillc, WA 9H2:19. 060) 678-J31)6; fax (360) 678-7420; ,·at
Fine Line Creative Arrs Cemer, St. Charles, Illinois. Send LSASE ro Denise Kavanagh. The Fine Line, GN 158 Crane Rd., St. Charles. TL 60175. (708) 584-9443; [email protected].

® March June: Spring Bent! }etvelry Design 1111d Cons1ruc1ion Courus at Studio Baboo in Charluucwillc, Virginia. Contact ~wdin H.tboo. 3 16 E. Main C.,t., Ch.trlom~willc, VA 22902. (80.q) 24.:t-2t.JOS.

CALL FOR EN TRIES ® Deadline March 3 I: Tbe llouse tiS Uni11ersn/ Symbol Jt the l:crgcr (,allery in AlexandiiJ, Virginia ( ontacr rhe Target G.tllery. I OS l'.orth Union Sr., Alexandria, \'A 22.~ 14. (703) 5496877, ext. 10'-1; rargt:[email protected].

® Deadline April 2 1: "Noi1·" juried e.xhibit.ll the 'iunwc c~llcry, llighl:tnd Park, Illinois. Cotii>KC che Suhmban fine Ans Centt•r, 19 13 Shcric.l;ut Rd., llighland Park, IL 60035. (!H7) 4:12- 1888.

® May 6- 13: } ewelry aud Silt1er.rmirbing in Ire/mu/. Coutac t Horit.ons, 108 N. Main St., Suo1derl;tnd, MA 01375. (4 U) 6(>5-0JOO; fax (413) 66'5 4 14 I. [email protected]; www. h(11iu)IIS ·art.org.

Ballmrg Hmu~y b) Ann Te,·epaugh Mirdtell. 7" X 17" X 9". from the Bead lnlt'l'/1tltio11nl 2000 exhibit ar the DJiry Barn Cultur.tl Arts ( .cnrcr, Arhens, Ohio.

® Deadlin e June 15: l llcredibk ClnyFeats of Polymn· at the Bead Museum, C.lendale, Arizona. Send SASE to The Bead Museum, 5754 W. Glenn Dr., C.lendalc, AZ 8530 I. (623) 931-2737; [email protected].

® Deadline September l3: The EmbeUisbed Sboe juried rravcling exhibir. Send SASE to The Embellished Sho<:, &,u}/IIOrk, Tnterweave Press, 201 E. Fourth Sr., Loveland, CO 80537-5655. (800) 272-2 193; beadwork@in terweave.com; www. lntcrwea vt::.com.

EXHIBITS ® March 3-2 1: Beadwork in America 2000 at the Hastings College Art Gallery, Hastings, Nebraska. Conract the I lay· don Gallery. Nebraska An A~~ociation. 335 North 8rh St., Lincoln, NE 68508. (402) 475-5421.

® March 3-28: Object Bend at me Suburban Fine Arts Cenrer, 1913 SheridJn Rd., Highland Park, Tl. 6003'i. (847) 432-1888; fax (847) 432-9106.

® T h rough May 21: }oyce ). Scott: Kirkin' Ir Witb Tbe Old Masters at the Ralticnore Museum of Arr, I 0 Arc Museum Dr.. Baltimore, MD 2 1218-3898. (410) 396-631 1; fax (410) 39-7153.

® May 27-September 3: Bettd lutemnJiounl 2000 at the Dairy Barn Cul tural

Cnlmt!m· l!llt'JW of special interest to brad/llltrkt'l) tm• printetl ji-er: of charge ns tt u·n•ia to our readers. l'lea.se smt! inji1rmario11 twrlt•e weeks in adMnce of pub!irtllion. l.isringJ are madl' on a spncettvai!tt/Jlr bnm. {'t?hik Wi' hJCludr tiS many rr•nw m f'Ossiblt·, wr nmno1 guarantee that yom li>llll,'{ will .tppt'ar. Smd calmlhrr nllrrrs 10 Beadwork, /ruawem•e Press, 20 I !:. Fourth SI.. Lot•ef,nui, CO 805375655. F-:tx (9"'0) 669-6117: brndwork@ inurwrnvr. com. <...heck out rhesc "cbsites-www.ind1am·•llage.com/ hemJge; \vww.whcspenngwmd.com. You'll find out ahout tht· Na tive American books, videos, and mrfi patft'rw offcn·d hy Wrirren llerirage as well as the magazine \\~his prring Wind. Conracr Wrinen Heritage, PO Box 1390, rohom. LA 70437-1:190. (800) 301-8009; (504) 796'5433; f:tx (504) 796-9236.

Arrs Cenrer, Athens, O hio. Contact the

BEADWORK

Moy/June 2000

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HOW ' D HE DO THAT?

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enjoyed your article on Marcus Amerman in Lhe March/ April 2000 issue ol Bertdw01·kil is jusr [he kind of work l wanr eo learn how to do. But in your article you didn't share how he does ir. Is it loomed and pieced? ls it embroidered? I am especially inreresred in The Mtm With No Name piece. What kind of fabric does he work on? Does he use a deer-hide backing? l appreciate his views very much, bu[ now r need to know how he does it. -C. Cascy Minncapolis, Minnesom

For the cot'er of Bcadwork, Marws worker/ in lane stitch on a "lentherette" kind of material using size 14° Czech seed beads. Amazing. eb? PUSHED OVER WITH A FEATHER!

I What happened to this letter?! Some of you have told us that •• you get all fired up to bead • I when you receive our magazine- but this is a little extreme, don't you think? (lt was actually burned when the U.S. Postal truck was involved in on accident and caught on fire. Postal employees carefully sorted the salvageable mail and sent it along with a kind note.} Thanks to the USPS for delivering our mail despite the extraordinary circumstances!

have ir all and Lhe ladies who own the store have been working in this business for ages. 1 love ir there- feathers, sequins, and gems, oh my! And they have trim, glitter, and all the gaudy fabrics. And rhere always seems to be one designer or another working o n a project. You just didn't know where to look. They are not fa r off the Srrip-over on South 3rd Sn·ect in an industrial district close to the Stratosphere. Nexr rime you are here, give me a holler, rhey know me

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www interweove .c om

-R:Linbow Las Vegas. Nevada \\7r lot't' to hmr jiwn _you! Plrnsr send your letters In Beadwork. 201 E. Fourth St., Lowland, CO 80'5J7-

5655 or berlllu•(Jrk @lnterwettz•e. f'OIIl . i'lrtlil! br m re Jo include your naml' 11!1(/

mt11ling ndtlrm.

W0re so sorry we made time mistakes!

Winter 2000 ~

[n the Mrtrc/;/April 2000 issue

ofBeadwork, jutlith Du rant wrote about IJer trip to Lns lft>gas and her bead-huming adventures. This is Me rear/er's response to /m· essay. 11111 \1 10u d'd 1 n't H o n e e e ........ (',os rum e t:>fll go to W .,,. 1 1a m~ ..... They have Czech beads galorelots of thar stuff- rh:u's where I starred beading! No one here rakes Williams seriously 'cause they don't have any or rhe rrendsening stuff- bur if you like Cz,ech beads this is che place ro go. And you wi ll positively drown in coslumc sruff- rhey

well. I'll introduce you lO more ostrich plumes than you call ever handle, and a lew beads, roo!

We misspelled the title of Ina Colub's piece, Adon Livyatan, on page 12. She explai.ns "that ' li\'Yaran' is Hebrew for 'big fish,' and 'adon' means 'mister,' making the rid e of rhis piece Mr. Big Fish. It sounds beuer in Hebrew, don't you t h.111 k)" •

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In "Cool Stuff" on page 62, we listed the dimensio ns for the Bead and String reference chnrt incorrecrly-rhe chart is 11 " X 17". Beaded Phoenix's c-mail address was also wrong- it is [email protected].

March/ April (j

ln Sylvic Elise Lansdownc's ad on page 53, the phone number should be (877) 387-3281.

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We misspelled Pictorico's name nnd websice on page 62. Lt should be Picrorico Ink Jet Media ar (888) 879-8592 or . . www.p1ctonco.com.

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These basic instructions are for stitches used in this issue's projects and are excerpted from The Beadcr's Companion, interweave Press, 1998. Don't have one? Call (800) 645-3675, dept A-Bl.

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BEAD EMBROIDERY

FLAT PEYOTE STITCH

Begin by pa~~mg rhe needle through me fabric, from wrong side [Q right side. String 3 beads ;md pass back

This stitch cnn also "gourd stitch. "

b~

riferrrd to

TUBULAR PEYOTE STITCH t1S

One-drop peyore begins by stringing an even number of beads ro create the first two rows. Begin the third row by

Stnng an even number of beads to fir in a circle around a tube. Make a foun dation circle by passing through all the

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m rough the fabric to the left of where the third bead lays. Bnng the needle back through the fabric ro the right of the bead, pass back through the bead. You can sew up to three beads per stitch by Stringing three beads and backstirching through the third as shown.

DECREASING IN PEYOTE To make a hidden row-end decrease, pass through the last bead on a row. Weave your rhread between two beads

\ stringing one bead and passing through the second-w-lasr bead of the previou~ rows. String another bead and pass through the fourrh-ro- lasr bead of the previous rows. Continue adding one bead at a time. passing over every other bead of the previous rows. Two-drop peyote is worked the same a.~ above, bur wirh rwo beads at a time instead of one.

• Figure 1

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LOOM WOR K

After warping your loom, use a separate ducad ("weft") ro suing the number of beads needed for the first row.

strung head~ rwice more, exiting from the first bead strung. Suing I bead and pass rh rough the third bead of the foundation circle. String 1 bead and pa~s through the fifth bead of the foundation circle. Continue adding I bead at a rime, skipping over I bead of rhe fim round, umil you have added half the number of beads of the first round. I:.xit from rhe first bead of the second round. Slide the work omo the form . String I bead, pass through the second bead added in the second round and pull rhread right. String 1 bead and pass through the third bead atklcd in the second round. Cominue around, filling in the ..spacesn I bead at a mnc. Exit from the first bead added in each round.

WIREWORKING: SPIRAL Figure 2

of the previous row, looping it around the thread rhat connects the beads. Pass back through the last bead of the row just worked and continue across in regular fiar peyote (Figure l). To make a mid-project decrease, simply pass thread through two beads without adding a bead in rhe "gap." In rhe next row, work a regular one-drop peyote over the decrease. Keep tension raut to avoid holes (Figure 2).

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To srarr a spiral, make a $mall loop at rhc end of a wire with round-nose plier~. Enlarge the piece by holding on to the

Bring the weft thread under the warp threads and push them up with your finger so there is one bead between each of two warp threads. Hold the beads in place, bring the weft thread over the warp threads, and pull back through all the beads. Repeat rnese steps for each row.

spiral with chain-nose pliers and pu~h ­ ing the wire over rhe previous coil with your thumb. @

Week-long summer workshops with nationally renowned bead and jewelry artists. Virginia Blakelock/Carol Perrenoud, beadworking Ken Bova, col/aged jewelry David Chatt, beadworking Pier Voulkos, polymer clay Over 40 week-long intensive workshops in beadworking, beadmaking, surface design, bookmaking, Navajo weaving. fabric art, stitchery, fiber sculpture, and more. July 9 to August 12, 2000. Held on the University's Duluth campus overlooking Lake Superior. No prerequisites are required. You select the workshop that is most appropriate to your interests. needs, and level of experience. Optional University of Minnesota credit available. Registration opens March 27. For complete catalog, call: 612-625-8100 a-mail: [email protected] visit our Web site: www.cce.umn.edu/splitrockarts or write: Split Rock Arts Program (BW), University of Minnesota 360 Coffey Hall, 1420 Eckles Avenue St. Paul, MN55108

beg: begin, beginning dec: decrease

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me: 1nc rease

A program of College of Continuing Education, University ot Minnesota, an equal opportunity educator and employer.

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prev: prevtous

PBT pass back cluough; pass needle through in the opposire direcrion

PT pass through; pass needle through in the same direcrion . rern: remrun, remammg ~'t'p:

Design with Wire Instantly!

repear

rnd(s): round(s)

RS: right side st(s): srirch, stitches tog: rogerher

WS: wrong side

TENSION BEAD A tension bead lor stopper bead) holds your work in place. To make one, string a bead larger than those you are working with. pass through the bead aga in, making sure not to spl it your thread . The bead will be able to slide along, but it still provides tension to work against when you' re beading the first two rows.

Over 140 pages of free designs, wire tecbrtiques and tips at wig;ig. com. Check our itzternet specials! Free sb lpf>ing 011 o rder s over $20.

BEADWORK

May June 2000

11

e

"Up Close" showcases your work and vimlll/y describes the techniques employed. To be considered for these pages, send slidts labeled with the title of tbe piece, your name, address, techniques, nnd dimensions to Beadwork, !nterweave Press, 201 E. Fourth St., Loveftrnd, CO 80537-5655.

She Becomes the Sea by Sally Lewis, Tampa, Florida. Peyote, tubular peyote, and brick stitches. 12" x 9" .

Brick stitch

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Flat peyote stitch

Power Tie by Jen Clark, Fort Collins, Colorado. Bead embroidery. l 8" x 4 W' .

Bead embroidery

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Right-angle weave {single-needle}

She Has Beads to Keep Her Worm by Rebecca Starry, Anchorage, Alaska. Right-angle weave and square stitch.

9" x 53".

Detail of

She Has Beads to Keep Her Worm .

Square stitch

BEADWORK

May/June 2000

13

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ong at the forefrom of the comcmporary bead movemcnr, Joyce Scon has inspired a generation of bead ..._.,<mists. Her 30-year retrospective exhibition ar the Balrimore Museum is a brilliant cribme eo an artist whose vision goes far beyond beadwork. T he luminosity of her beadwork first attracts rhe viewer. Once drawn in by the technique, one finds thar the works beaded and mixed-media sculptures, si re specific installations, I NA GOLU B and prints-address issues of racism , gender roles, violence, sex, and memory. Score's works are often a scathing commcnrary on the world, seen from the arrist's unique perspective. Many images are dismrbing, but rhey are always tempered by Joycc's irrepressible sense of humor that makes it possible, in fact mandatory, for the viewer ro listen to her provocative messages. J was excited by Joycc's placement of eight of her works beside works from the museum's collections. Of particular inreresr was Somebody's Baby, a magnificent black male figure constructed of shiny seed beads, surrounded by chains and hanging by his neck-obviously rhe subject of a lynching-high above Rod in's Thinker. Anorher black seed-bead figure, Mnmmy, is displayed next to a Degas bronze ballerina. Such jarTing tensions emphasize the essence of Joyce's work-her abiliry ro commenr on every facer of her life, and ro do so with wic, imagination, conviction, and superb technical skill. Garnered from public and private collections, seventy plm Buddha uppor/s Shiva pieces in the exhibit arc divided into eleven thematic groupAwakening the Races, 1993 . '""•-'•••r' ings- Family Heritage, Techniques and lmugery, Cultural RefFrom a pr vote collectio n. erences, Srorytelling and Containers of Memory, Skelewns and Three Oblivious Riruals, Nannies, How Prejudice Feels, Stereorypes, Violence, While Los Angeles Burns, Lose Love, and Evolution and Genetia.. 1992. My favorire piece in rhe show is Joyce's full-length selfCourtesy the Corning portrait of 1999, Clear 1tnd Present. Sculpted enrirely of clear Museum Gloss. transparent and clear silver lined seed beads, hand-blown crystal, and other transparent found objects, this work tells me thar Joyce has transcended the anger expressed in much of her work. The portrait has a spiriwaJ qualiry which is almost angelic, and exactly rhe opposite of what you usually expect when confronting a Scott work- or rhe formidable woman herself, for ~ that maner. A Ion.grime colleague, Joycc knew I was going to re§ view her exhibit. When l arrived at the museum, rhere she was, ~ waiting for me in all her regalia. A hug, warm welcome, and a ~ personal tour of rhc exhibit were her gift w me. ®

with oyce Scott

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s:; ln11 (,(lfub is 11 freeuma fiba ttrtisttmd be11du•orker wboJt' works nre inilttl!rd in ~ public 1111d pril'llte collutirms. Vi.rit ber wl'bsitr nt IIJII'IV.imtgolub.com.

1995 .

Courtesy Weatherspoon Gallery, The Un of North Carolina at ~Gr·eetlsboro

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Spanish Sai t, 1992. Courtesy of the ennsylvonio Convention Canter.

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CONNIE LEHMAN

DAWN HAMILTON

Connie in her studio.

nrcrviewing Connie Lehman is as much fun as anyone could ask, but getting Connic down on paper is a little uicky. Called by many the "Bead Diva," she is all rhat and much more. So it's difficult eo know where lO start. I'll tal<e my cue from Connie and just jump in. What inspired Connie, an English major in college, eo become an arrisc? Throughout her life, she has been surrounded by arrisrs, but crisis and serendipiry have seemed to play major roles in where she is roday. While in college, a personal crisis compelled her ro draw a powerful dream she had had when she was seventeen. W.'lnting to draw prompted her ro rake a lifedrawing class and then work in clay, but it was in her design classes that she got permission to explore different techniques and experimenc wid1 finding her own creative voice. The serendipiry pan was a having a show hefore she had aCtually decided eo become an anist. That first show, during the mid-seventies, featured quilted, crapuntoed, and soft-sculprured batiks. Although quilting and painting became her main forms of expression, she was eventually drawn back ro her roots where, as a young girl, she had learned embroidery and sewing from her grandmother, a dressmaker. She loved the round, clustered effect she could get with French knots but found they were tOO slow, and made each piece very labor intemivc. !golochkoy, a Russian needlepunch technique, proved a quick and effective way ro mimic French knots. The knobby effect Connic achieved from punching thread into fabric was jusc whar ~ she was looking for. But when ~ she found that she could use ~ beads to get rhe same effect, pLus 1: ~ ~ achieve a rcAective qualiry, she knew she had stumbled upon rhe perfect material! In l990, her piece guys taLk trout launched a new direction as Connie combined technique and materials in a unique expression of self. guys talk trout, 1990.

§

lifeboat: yogi warriors, 1999.

Backgrounds ore from Connie's sketchbook.

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Connie has developed her own visual la nguage over time, and her seemingly light-hearted images belie an inrense response eo life experiences. She's affected by what she sees a rou nd her whether at home or craveJing, a nd images of boats, moons, and snakes gathered fro m her many trips to fall from grace/Fu/, 1995. India and Mexico continue LO appear in different incarnarions in interwoven with hu mor and a genuine interest in her stuhe r work. Techniques dents. This all comes from someo ne who is very outgoing lifeboat: lody of labyrinth, 1999. and materials of differ- but at the sa me rime retains her privacy. She shares bur em cultures also inAu- keeps a sense of mystery, and you know char one day with cnce the way Connie works. She daily sees rwo Haitian Connie Lehman is never enough. voodoo Aags resplendent wirh sequins hanging over her stuThrough he r workshops, Connie e ncourages participanrs dio door, so it's no surprise chat she's integrated sequins into tO move beyond patterns. "Patterns are vehicles to learn her work. technique, but eventually you'll wanr Alrhough fiber has always been a eo use rhe tech ni que to tel l your own primary medium of expression, Constory-m make rhe work your own." nie's art would not exist without her And Connie's workshops are as much drawings. And she draws on everyabout storytell ing as they are about thing. Alrhough she carries a journal technique. everywhere, nothing is safe-not Just how does she make a technique phone books, napkins, or minutes and material her own? Nor surprisfrom rhe town meeting. For Conni e, ingly, she says, "There's a lot of fear involved. The work may look bold the drawings are a form of visual journaling that allows her ro focus but it's very difficult; it's scary. But and do diawings she wouldn't normI have to get out of the way of wha t 1 ally do. These are nor mere doodlings really want to do. Creative stuff is scary as hell. It's imporrant to ask bur the foundation for everything rhar follows. They comprise a sign ifiquestions about rhe work but not canc parr of a series of images, only a while you're working!" few of which will appear as work When nor reaching, Connie conin fibcrs and beads. "Without the centrates o n her own arc. She begins eve/snake: beheld, 1997. drawings there wou ld be no work," sometime after four in the aFternoon says Co nnie. and works until midnight so than she Connie is accessible and genuinely excited about sharing can focus without interruptions ideas, so teaching comes naturally eo her. Spending a day and phone calls. "Beadwork is in one of her workshops is an invitat ion ro become in- tedious," she says, "so it's a real volved in a dialogue about beads, art, and life. The conver- commitment when I start a piece." sation can How from sharing the most personal feelings, ro Listening to NPR and books-onphi losophical discussions on the use of mythological i m- tape allows her eo focus on creating ages in art, all punctuated by a Tarot reading. Viewing he r labor-imensive artwork that is lush stud io as sacred space, she brings that feeling in to her in beads, sequins, and igolochkoy. workshops where she fosters a safe environment for talking Connie works intuitively. She abour whatever comes up, all the while, participants are says, "1 want to do work without making something wonderful. Instruction is seamlessly j udgemen r. I wa m rhe images to lifeboat: crowns 3, 1998.

BEADWORK

May/June 2000

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Recently Connie was accepted. th~n eliminated from an internacional miniature show because her piece was oversized by a few millimetcrs. She also feels th well infom1ed by keep the work interesting, education and experience. as well as years of travel and and still make a living." @ observarion. And, of cou rse, there is her commitment to stay immersed in life, 10 be presem to li fe, aod ro bring nnwn Hmnilton is tbe managing that experience to her work. rditorfor Handwovcn magttzine. beoutie: zog, 1993.

hen Connic and )efT Lelnnan decided to huild a swdio eight years ago. they initially considered passive solar because Connie was just trying to keep warm, whi le Jef[ likes temperatures a lirrle on the cool side. It turned out eo be a win-win <.b.:ision ~or Cunnit• and rhe environment. The srnt<.ture was built hchind their home of rwentyrwo y<.·ar~ and is actually two srudlos in on~. Bathed in lighr, tiH.' roomy inreriot space can be dosed ofT by large pocket doors char allow Connie and Jeff, a textile dealer, 10 work in privacy. Open doors allow for wnvers:.uion, accommodating overnight guests, and the oc:ca~iona l in studio workshop. A unique ft':uure of thi~ pa~sivc solar \tudio is the four-toot high rrombe wall built of plastered concrete blocks . .1'\atural light ftlh the rooms bUL doesn't expose fragile rextilt"s to cl ireel sun light. The W
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....I;ArJ June 2000

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e warned-the beads on this scarf won't keep it from walrz.ing away in Bights of tancy, and it is sti ll likely to catch the brcc7.c otTthe ocean or be caught on a thorn in a rose garden . Chiffon won't hide a blush or absorb tears. And when your granddaughter find s the trunk in rhe attic and pulls the scarf from the tissue paper, it may reveal more about you chan rhe Jeerers ried with red ribbon. ROLLED HEM

You may be able ro find a simple ch iffon scarf that is already hemmed ac your local department store. If not, making the scarf irsclf is pretty straightforward . To make sure your edges are square, by che scarf on a cable and clip the fabric about!;.!" inside rhe selvedge edge. then cear che Yl" suip down the whole length of rhe fabric. Chiffon tears naturally along the warp or weft, so tearing makes a straight line that is more accurate than cutting. Hold the edge of chc corn fabric between your forefinger and thumb and tighdy roll the fabric under so char you rake up about y,,_y,o• ol fabric. Using one strand of sewing thread, whip stitch the rolled seam in place. Conri nue rolling and whip stitching around all four sides of the scarf, raking Care tO roll me l>ame amoum of fabric under (see page 32). FEATHER STITCH

The fetche r sLi tch works well with eh ilion b<:cause the thread path on the back is hidden by the stitches on the from, so the stitch remaim clean even though you can sec through the fabric (see page 32).

18" X 45" piece of polyester or silk chiffon

Sewing thread of the same color 5-8 skeins of diftcn.:nt shades ofDMC green cm broidery floss 4-6 shades of red size 14° seed beads

Size 11 o b<..-ading needle Thread Heaven • chread conditioner Embroidery hoop-preferably a spring hoop. Scissors Paper and pencil

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Spring embroidery hoop, DMC embroidery floss, and beads.

The advantage eo working with chiffon is that you can draw a de!iign on paper and then lay the fabric over the design eo see your next Slicch rather than drawing on the fabric. Draw your thread path to scale. If the pattern is going eo be repeated throughout the whole design, you need draw only a couple of repeats nnd move the drawing under the fabric as you proceed. If the pattern is going to vary througbour the length of the scarf, you'll want tO use a piece Ol paper that is the Same Silt: as the scarf and draw the whole design. To achieve a sense of depth, mix the colors of embroidery floss. From two strands of similar green embroidery Aoss, 1 take one m read of the six that compose each strand. Mixing the (WO threads creates a new color from a distance and rewards viewers who look. As you move through the scarf, cr:msirion from one colot to the next. for example, scare with one strand orlight green and one strand of olive green. For rhe next thread, use one strand or olive green and one of forest green; for the ncxr use one strand of forest green and one of emerald green, etc. Mix colors with the beads, too. Decide on a dominant color, rhcn occasionally add irs shade~>. To fiJ1ish a· thread, secu re ir with a knot on the underside of the fabric and clip ir close ro the knot so char ic isn't visible from the front. ® Not normally inclinrtlto flights offimr_y. Amy C C!drkr is thr .Asmtant Editor to Beadwork.

RESOURCE Dura111, Judith and Jean Carnpbdl. Thl' Beader's Companirm. Loveland, Colorado: Interweave Press, li1c., 1998.

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I I Pull the rolled fabric over your thumbnail.

Roll the hem between your thumb and forefinger.

With a knotted length of thread, PT the

String 2 beads. PT to the WS of the fabric 1/ .'' up and to the right of the place you crossed the thread in previous step. PT to the RS, using your needle to cross the thread before the first bead just strung.

fabric from WS to RS. String 4 beads. PT to the WS of the fabric !. " to the right or left of the original knot. PT to the RS, using your needle to cross the thread between the second and third beads.

EM BR0 I D ERY Tl PS

-

Whip stitch the hem.

Alternate sides so that the stitch "feathers."

-~o:::;;-;::;;:;;

• Wrap the inside hoop of your embroidery hoop with a thin strip of muslin cloth the way you wrap the handles or tennis rackets or the end bars or mountain bikes. Wrapping means the chiffon will be held more securely; ir also provides a cushion for your beads when you fit the embroidery hoop over rhem. • Chiffon is dclic.ue and tears easily. I recommend using a springhoop embroidery hoop because it 1':1cilitates placing the l:'lbric in ilie hoop tighLly without having to pull on the fabric. • Use lengths embroidery Aoss no longer than the distance between your finger11 and elbow-any longer and the thread tangles easily. You also risk poking rhe person next ro you with your needle. • Thread Heaven· thread conditioner helps keep your embroidery floss from tangling.

Thread path (enlarge 200 percent).

or

BEADWORK

Moy/June 2000

23

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BARBARA L. GRAINGER

ike rhe mythological Sirens of old, leafy, viney, fringey things eaU to me. T am en...._.6 chanced by sinuous grapevines, flowing ivy, climbing morning glories, weeping willows, and the elegance of Art Nouveau. 1 am mesmerized by the charm of such tendrils and often pause in my busy life ro admire rhem. For me, the sweeping grace of a leafy vine or me rhythmic dancing of well-placed fringe is impossible to resist! That's why beadwork is my chosen medium. The marriage of cold, rigid glass and fine, pliable fiber creates a Auidiry available in few orher art forms. Fringe made from fiber alone, though fluid, cannot begin ro compare with the seductiveness of light dancing rh rough and reflecting off shimmering glass beads! Beaded fringe begs m be fondled, admired, and worn as body adornment. Who can resist it? Not f. rr you love it as mud1 as I do, you'U really enjoy

making and wearing these elcganc, leafy fringe earrings. You can modify the look by making them longer or shorter or adding more man one vine per earring. Longer variations also make marvelous fringe or ~urfucc embellishment for pouch necklaces or any other piece char begs for vines and leaves. VINE

Using a yard of single-strand waxed thread, add a tension bead (see "Abbreviations," page ll) and string 39 vine beads. Leave an 8" rail eo weave back through lacer. LEAF PATTERN

The rhread parh in this tedmique deviates from that of normal flat peyote in chat it is worked in an oval pattern insread of back and forrh. FIRST LEAF

MATERIALS

Sin: 11° seed beads in rwo colors (one color for the leaf and one for me vine and branches) Site "B" Nymo or Silamide thread in color eo march beads I pair earring wires NOTIONS

Si1.c 12° beading or sharps needle Scissors Beeswax or Thread Heaven..,. Jcwclry or neeJJenose pliers

Rows 1-2: String 6 leaf beads ar me end of chc vine (Figure 1). (Ignore che vine for now.) Row 3: String and work the seventh and eighth beads as you would in peyote scirch (see"Scirches;' page 10). String the ninth bead but do not PBT the first bead as you normally would. Instead, pass up through me second bead (Figure 2). Row 4: Work the tench and eleventh beads (Figure 3). Row 5: Srring the rwelfrh bead and PT the seventh bead. Work the thirreenth and founeenth beads. PBT rhe first bead and continue through three of rhe vine beads (Figure 4).

BEADWORK

Moy/June 2000

25

SECOND THROUGH ELEVENTH LEAVES

S(l·ing 2 branch beads (same color as vine beads) and 6 leaf beads. Work the leaf partern as above. When finished, PBT the two branch beads and three of the vine beads, working toward the tension bead (Figure 5). Make nine more leaves on the vi ne this way. FINISHING

PBT the remaining vine beads, making a circle with the last four. Reinforce rhe circle by PT at least twice. Remove the tension bead on the other thread, attach a needle, and PT rhe 4-bead circle at least ooce. Finish off both threads by weaving rhe ends down the vine and into a leaf.

r )

ATTACHING EARWIRE

Carefully bend the loop of the ean.vire sideways with a pair of jewelry pliers, slip the earring in, and close the loop. @ Bm·b Gminger b11s hte11 beadittgjor more tl1an tbil·ty years. SI.Ji! is rmtht1r of Peymc At Lmltmd Peyote De.~ign Techniques. Her thi1·d br)l)k, Dimensional Flowers, Leaves, and Vines will be avtJilable this srmmun: Bt11·b will be mrching "f've Caughr a Flower in MJ' Net" at Embellishmm./ tbis year. She has also umgiJt·at The Florida Cm{htrum's Beadworks workshop.

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Figure 1

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Figure 4

Figure 2

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Figure 3

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Figure 5

PEGGY WRIGHT

ince 1989, in pursuit or those little objects called beads, Diane Fitzgerakl has opened her shop Bcauti ful Beads, become a reach er and author, and developed her own artistic voice. Prior to thar rime, Oiane worked in two other media, quilring and needlepoint. During those years she kept a foot-square box of beads rucked away in her closer. She appreciated their transparency, reAecriviry, and colors. She also liked their scak ''Ever since 1 was young, l've always liked little things. r had a six-inch high dollhouse with tiny furniture to go wi rh il. 1 just loved it." Diane's inreresr in needlepoint was natural, with irs tiny stitching, but she found quilts were just too big. "The scale of my work decreased when l worked in needlepoint. I worked rwenry-rwo stitches to the inch. Once I copied a friend's Oriental rug srirch by stitch, and it came out 18 by 36 inches. Needlepoint and beadwork are similar in their scale. I've just got the patience for il." OPENING A BEAD STORE

Gingko Leaf 11 Necklace

Diane was frustrated, however, with the results of her attempts to make jewclry from her beads. Finally, she and a friend, Barb Hjorr, rook a class with Helen Banes in Chicago and learned to create needlewoven necklaces. After rhe class, Diane had trouble finding beads. Constantly alen for new sources, she found a woman through her quilting contacts who was selling her inventory of beads. "The woman wanrcd to get out oC her jewelry business, so 1 visited her and looked at the beads. We negotiated for a while and then Alan [Diane's husband] finally said 'If you wane them, ru lend you the money.' So we bought chem and brought them all home in the trunk of the car $11 ,000 worth of beads in rhe trunk of the car. Can you believe it? 1 boughr rhc beads, but 1 had no idea how I would use them. Tt was the start of my shop."

BEADWORK

May/June 2000

27

BECOMING A TEACHER

FOUNDING THE UPPER MIDWEST BEAD SOCIETY

Diane opened shop in 1989 in Minneapolis, Minnesota. She knew that she had to teach if she was going to sell beads. "Other people were just like me. They loved beads, but didn't know how rouse them." Oianc asked Barb Hjorr, who was ::m art teacher, to eoteach a nccdlcwoven necklace with her. She acknowledges both Barb and Hclen Banes as her first mentors in reaching. Dianc learned additional techniques and acquired other models for teaching by t:.tking more classes herself. She taught her~elf techniques from Horace Goodhue's book, Indian Bend-Weaving Pattems. When she discovered he lived in St. Paul, she signed up for his classes. Diane also took a class from Virginia Blakelock and several from teachers at rhc Shepherdess in San Diego. Dianc again used these experiences to develop her classes. While teaching was necessary to sustain her bead shop, she also found how much she enjoyed instructing srudems. "It's always been my philosophy to reach because I get new ideas as I do. It's fun ro spend the day with a pleasam group of people, to sec what colors they choose. I always try ro organiz.e my classes by giving people srrucmre, bur I also provide them with room for personalization, such as picking their own colors. IL's inspiring to see the varied combinations."

Through reaching classes, Diane helped build the beading community in the 1\vin Ci1ics. As it grew, rhe need for an organization tO support the large number of beadworkers emerged. "Some swdcnrs asked me to starr a bead society. Horace Goodhuc made one of d1e first prcscntarions, and the room was packed, giving us a really good scare. I published rhe sociery's newsletter for about five years and organized rhc meerings. At first, we met in my shop, but the beading community just kept growing. We've been going suong for ten years now. "

English Garden Bracelet

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BECOMING AN AUTHOR

While Dia11e has inspired students rhrough her classes, and rhe Twin Cities' beading community through the Bead Society, she has also reached a larger audience through her books. She co-authored her first book, Beads and Threttds, wirh Helen Banes to insure that Helen's needJeweaving technique would be documented. "I thoughr a collaboration with her would be a great way to do a book. This partnership worked out very well. Bertds tmd Tbrends has sold over twcnry thousand copies in five years and is still on the shelves in bookstores." Counted and C'harted Pttttems for Flat Peyote Stitrb is Dianc's first self-published book. "I pub Iished it because I could sec che satisfaction my mother receives from her counred and charred cross-stitch. Every night she works on her projects and follows the diagrams to a T. 1 decided to write a similar book on peyote-stilched beadwork with a bead-line guide eo isolate each row. Diane wrote her rh i rd book, Serr Anemom Beadwork, to document an unusual piece of Native American beadwork owned by Ho race Goodhue. "!'m proud of this book because the technique would have been losr if [ hadn't studied Horacc's piece. He owned only one piece using the technique, which was destroyed when his van burnt up, and he had seen only one other piece." Oiane's fourrh and fifth boob provide instructions for beadwork char use techniques pracriccd by rhe Zulus of South Africa. The fourth book, Zulu Bettded Chain Tec/;niques, covers eight Zulu chains, only one of which had been documented previously. Oianc wrote the fifth book, which gives instructions for eight more chains, after coming back from South Africa, where she investigated more beadwork techniques. ''Zulu beadwork fascinates me more than any I've ever seen. The work is intricate, and the Zulus often combine their beads with a looping structure where one thread loops around another thread instead of going through a bead. I've never seen these stitches done by any Olher group of people."

EMERGING AS AN ARTIST Recognized for borh her reaching and her books, Oiane has also emerged as a crearive artist in her own right. Her work is known nationally, appearing regularly in publications and juried shows. Di~1ne frequendy works improvisarionally. She selects a color palette and builds many small componenrs, not knowing how they will fir imo a larger work. Guided by her sense of design, Diane listens to these small pieces as they suggest how they wam ro be com bined . le's often a maner of serendipity. "l made a piece rhat looks like branching coral because I wanred to imitate the ivy char was crawlincr up rhc brick . b walltn front of our condom inium. 1 got the effect for the ivy :tnd for the brick wall, hut J never put the rwo pieces rogcrhcr in a necklace. One day, 1 ran across a beaded cnbochon thar was lying o n my desk. 1 wondered how rhe coral piece and rhe cabod1on would work rogether. I tried it and liked che effect. The besr work comes quickly, and the pieces go right together. All of a sudden, it's just rh ere." This piece, Coral ReefNecklace, became a class D iane offered last winter. When she creates a piece, she frequendy develops a class around it a nd chc class reflects her philosophy of design. "When J teach, J tell students 1hat mal
Sea Moss Necklace some large, smooth, bold beads in freeform work. Seed beads always create srrong texture. It's impossible eo escape texture because you are joining small pebbly things. You have to contrast them with something smooth." Diane has incorporated things like gingko leaves into necklaces, raking her inspira tion from nature. "In the first gingko necklace, I played with the leaves as you mighr arrange quilt blocb, combining them in different ways, and the form emerged char became the piece. !like ro sec necklaces come eo a point because I think that form is more flattering to the face. So I brought rhe clusters of leaves rogether at the botrom with a triangle of netting, to which I applied cabochons. The necklace needed more interest at rhe top, so I added dragonflies." Regardless of her inspiration, Oiane uses her sense of color and design to delight her audience. "I like ro make things rhat are beautiful. I don't make politi cal things; 1 ~on't make startling things. 1 just want them to be appealIng so when people look at them they will feel good. So much_ ugliness exists in the world. If you make something beautiful, maybe you can push away some of the ugliness. at least for a few minutes. If I can do that, ir makes me feel good, too." ® l'tggy Wright. an avid beadworktr. rurremly is Program Coordinator for tht Upptr Midwest Bead Socitty She rdso works 11s tl technir:lllwritu to support her hrading habit.

English Garden Bracelel

BEADWORK

May/June 2000

29

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Flamin~oes

FRINGE

JUDI WOOD

l was inspired by a Nature Conservancy phorograph when 1 designed this motif I had originally placed the Ramingocs on an amulet pouch, and I loved the way rhese beautiful birds could be so elegantly rranslated inco peyote stitch. After creating this banner for a pin, [ asked Carol Straus if she would make a pin back to complimenr my design. Carol came up with a pin that enhances the design more than an ordinary pin back ever could. .

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MATERIALS

2. 5 grams each of silver, gold, light pink, rose, white, grass green, sky blue Dclicas 4 3rnm silver beads 2 4mm round freshwater pearls 3 4mm round coral beads 2 )mm round faceted blue crystab 2 3mm diruuond-shaped faceted blue crystals

m~u-oon,

NOTIONS

Silver or gray size "D" beading thread Size 12° or 13° English beading needles Bec~wax or Thread Heaven'" Scis::.ors Rows 1 58: Follow the flamingo graph as shown. Rows 59-68: Create a three-point banner by following the graph for dec (see "Stitches," page 10). Keep your thread hidden within the beads as you weave from poinc eo poinc.

Exiting from rhe bead at the rip of the first point, string I 3mm silver, 1 coral, 1 3mm silver, 1 diamond-shaped faceted blue crystal, and 1 gold Oelica. PBT the diamondshaped faceted blue cryst::d, the silver, the coral, the silver, and rhe gold Delica on the point. Weave rhread through to the middle point and exit from che gold Delica at rhc tip. String 1 3mm silver, 1 coral, I 3mm silver, l 4mm round faceted blue crystal, and l gold Ddica. PBT the faceted blue crystal, the silver, the coral, the silver, and the Delica. Weave thread through to the last poinr and exit from the gold Dclica tip. Use th ojim rrmlt' in thr middlt: of tht: night, tmd 11111king b~r up rxcited to b(tJd. Y<m ran see mort of jutii's Ulork '" 1111/!lll.jewtdspiegeigtlllery.com in the BMrL llrt Gallery. judi livr.s ill wesr

f>trlm BerJciJ, Florid11.

Pins for Beadweavin~ CAROL STRAUS

You can spend hours ol your time and talent creating bcadwork for a pin, so why not make sure rhe pin back is high quality, too? It's easy to make your own one-piece pins or fibulas. The focus is to make rhe pin compliment your piece, so feel free to bend the wire inro shapes that echo rhe theme of your piece. BASIC PIN

Step 1: Make any shape that accents

Flamigo graph.

the designs in the weaving. 1 used a simple spiral (Figure l) (also see "Sritches," page 10). BEADWORK

Figure 1 Figure 5

Figure 3

Figure 2

Figure 4

MATERIALS

16 or 18-g.mge copper wire NOTIONS

Chain-nose plicn, Rou nd-nosc pliers Diagonal wire cuuer Rough 1..lll hand file Fine-cut hand file Pumice \ronc or jeweler's .sandpaper (fine) R:t\\ hide mallet

Step 2: ' lo make the hook part of lhe clasp, hold the wire with the chain-nose pliers. Ar rhc po1nt you wanr ro start the hook, bend the wire so char it extends straight up ar a right angle from the body of the pin (Figure 2). Strp 3: With rhe chain-nose pliers, bend the wire sharply back roward rhe body of the pin parallel ro rhe wire from Step 2. Pinch rhe bend closed with rhe chain-nose pliers and hammer it to harden and straighten it (figure 3). Step 4: L!old lhis doubled wire at its midpoint with rhe round-nose pliers and bend it over to form a hook. Curve the rip our slightly for a professional look (Figure 4). Step 5: Roll out rhe wire to about y," to Y," below the hook. With the chain-nose pliers, bend the wire ar a right angle to a horizontal posirion to form the body of rhe pin. The weaving will hang from this, so make this straight horizontal bar the desired length. Now make another rightangle bend so thar the wire goes srraighr up (Figure 5). Hammer the body of the pin to harden the wire. Step 6: About Y," above the horizontal bar, form a coil for

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Figure 6

the spring by holding the vcnical wire with your roundnose pliers and using your fingers to bring the wire around the nose of the pliers and beyond the coil so that rhc wire runs parallel to the body of the pin. To get the spring necessary to keep the clasp closed, it is very imponalll that the coil is placed so tbat the wire comes over the top. This spring res<.: m bles the one on a sa fcry pin ( l~ igure 6). Step 7: Extend cl1e wire !." beyond the hook. Cut it on an angle to make the beginning of the point. This will be rhc parr that pins, sometimes called the "tong." Hammer this bar until it is very hard, but do not Oarren ic. Step 8: File rhc point unril ir is very smooth and sharp enough w go through fabric. Use a rough hand file first to shape the point, then a smoother hand file. Then use pumice or jeweler's sandpaper for a smooth finish thar will not snag cloches. NotP: The parts of the pin arc hammered as rhey arc made. If you wish, you can add beads afrer a section is hammered and before the next bend is made. I generally sew rny weaving around the body of the pin once rhe pin is completely finished. ® Carol Stl'alll hrts bad a bend biiSiiiNS >illr'l' 1969 and has been trtlchinj( lmrrl/ll()rk and wirewo1·k since 1979. Sbr f'llj())'S playing with bi•rrds f/s Ill IIth as ever.

!"he teeth on files point away from the handle. They cur on che pu!>h stroke, so file awa} from your bod) and lift chc file !>lightly on the return srrokc.

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DENISE PERREAULT 34

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was inspired to make these fan pulls when I cam e upon an amique version in a Lecsburg, Virginia, store. The Victorian pull was simply embelLished-metallic black ribbon glued ro the bead chain bell and fringed with a carnival seed bead mix. Working with the same bead chain componentS as the Victorians, I came ro understand why bead (or ball) chains have remained unchanged for over I 00 years: Bead chains are technically perfect. They're e..'l:tremely srrong and durable, and they can easily be trimmed ro any length; rhe clasps, bells, and eyes thar connect parrs tOgether are clever, versatile, and easy to use. Mo reover, bead chains arc as amactive as they are utilitarian. They come in a gold- or silvcr-roned finish and in small, medium, or large si1e beads. Best of all , bead chains can handle a great deal of wcighr, a discovery I made as I became bolder and more competenL, and as each fan pull became heavier and more elaborate. This is an excellent project if you have large lampworkcd beads chat you'd like to display, or extravagant beads rhar deserve sunlight and attention. l have six beaded fan pulls hanging in my old house now, and it is a treat ro admire the lovely beads that were previously hidden unnoticed in my bead box.

8" bead chain; your choice of size and finish BC"ad chain cla~p Bead chain bell Bead chain eye I)" cord or heavy twine (for wooden beads) Size "D'' Nymo thread in color to march beads Crafr or fabric glue FrayCheck (for ribbon-covered fan pulls) A variety of beads appropriate for main beaded body and/or fringe

Si1e l2° beading needle Scissors Small pliers PEYOT E/GO URD-STIT C HED BEADED FAN PULL S

Sup 1: Choose a large wooden bead or drapery tassel for your base, and thread a bead chain through the ccnter hole. Arcach a bead chain

SOME THINGS TO CONSIDER • Where will rhe pull hang from? lf ir's for a high ceiling fan, consider using a chain with large-sized beads, a simple beaded design on ribbon for the base, and long, extravagant fringe. If rhe fan pull hangs in rhe sun, incorporate translucent, opaque, or crystal beads in rhe fringe to catch the lighl. Conversely, if the fan pull bangs from a low ceiling, don't make the fringe so long that ic grazes people's heads. • A large bead base is best, because it allows you ro grip the base, not the fringe. Don't design a pull that makes you grasp cl1e fringe because ir will eventually stretch and break. If the fan pull is so high that it forces you ro pull on the fringe, add extra bead chain to make it longer. • The best design or pattern for a beaded fan pull is a si mple one: Seen from a distance, a complex pattern looks muddy, whi le a bold design appears clear and dean. • Beaded fan pulls arc a perfect venue for experimenting wich fringe techniques. Try stepping rheir lengths up or down symmetrically, fitting scalloped fringes inside increasingly larger scallops, or netting rhcm all together in a novel way. Also experiment with different bead sizes and finishes within the fringe. The eJTecc you create can be subdued, dramatic, elegant, or outrageous, largely depending on the fringe you employ. • Fan pulls don't have to be used just on ceiling fans. You can also use them as shade pulls, luggage/bag pulls, bell pulls, or suo catchers. To turn a beaded pull inro a tassel tharyou can hang over 3 doorknob or drawer pull, use a pair of pliers to open up the bead-chain clasp wide enough ro fit over the first bead of the chain and crimp closed.

• If your base bead allows for che bead chain bell eo fir securely inside, then you'll need ro bead your ccmcr fringe before you begin the base beading. Because much of the cemer fringe is hidden behind the outer fringe, you ca n utilize some of rhose prcuy beads thar you only have one or two of, or other odd lor and Clller beads. • If your bead hol e b roo large for the bead chain bell eo hold the chain securely inside rhe base, u~e a pair of pliers to Aare our the base of the bell.

BEADWORK

Moy/June 2000

35

In homage to inspiration: a Victorian lady peyote-stitched over a wooden bead.

bdl and eye ro che bottom o[ the bead chain and a bead <..hai n clasp. Step 2: (This ensures char the chain stays cemered inside th<: bead instead of hanging lopsided.) Cur a 2"-3'' kngrh of cord or heavy twine . .Squ<:eze a small amoum of craft glue inside the base, and wrap the cord around the bottom of the bead chain where it extends from the rop of the b:tse. Push the cord down into the bead as you coil it around the chain. Add a film of glue lO d1<.· rop and press rhc cord level with the top oft he base bead. (Don't worry if it's not pretty. No onc will sec ir.) Open a paper clip so that it makes a h:1ngcr and insert one end of the paper clip in to rhe bead chain clasp. Ha ng the base from rh<: paper clip in a spot where ir can hang stnlight; allow the glue to dry. Step 3: Choosc rhe seed beads you'H use to cover the base .tnd work in odd-count mbular peyote/ gourd sri rch (sec "Sti cches," page 10). To begin, knot a lengrh of thread and string on an odd number of beads. PT all eo form a circle and fir the circle over the bead chain w rest at the rop of the base bead. Work the next row. Stt!p 1: Depending on rhe shape of your base, use rwo-drop peyote (see "Stitches," page 10) for the next two rows, three-drop for the next rwo

rows, rttdJ tmd bMdwork.

•

Most window-treatment shops carry a wide variety of inexpensive drapery tassels that make excellent bases for beaded fan pulls. Bead chains, bells, eyes, and clasps all work together so nicely that Fitting them together is a breeze. Bead chains ore sold by the foot, and components con be Found at most hardware and lighting stores.

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Victorian fan pull.

•

Freshwater Pearls

fv\ARIA CHIARA •

reshwaccr pearls come in colors and shapes Tennessee pearlli1rmer John Larcndresse is piochat evoke delicate spring buds and droplets neering American fre~hwarer pearl cultivacion. His of misr. They are created by bivalve mollusks shell-nucleated pearls include stick, bar, following rhc discovery of a spectac~ "Combining drilled ,~ pearls with other beads can ular pink pearl in Notch ~ he difficult," says Alfille, Brook, New Jersey, in 1857.' Men, women, and "because pearls typically children scoured streams ---' have much smaller holes Earrings from the Botticelli series from Vermont to Washrhan other heads; when by Eve J. Al fi lle, Evonston, Illinois. ington, finding $20,000 combined with pearls, the wonh of gems in some localities. During the Vic- beaus will not balance and large beadl. will wear torian period, freshwater pearls glowed in filigreed the chin rhread." Her solution: "I try nor eo use gold settings inspired by Renaissance designs beads wich huge hob rogccher with pearls, and if Almost all pearls sold roday, both salrvvacer and 1 do, rhen 1 will re-drill rhc pearls [with a reamer]. freshwater, are culrivaced on farms; thus natural Jr's nor (har hard to do." A litde acetonc-bas<.:d nai.l pearls a re expensi vc collectibles. Sa hwmer pearls polish remover safely cleans pearls discolored by are cultured by implanting oysrers with shell bead mcml beads. @ nuclei, togcrher with pieces of live mantle tissue from donor oysters. Mosr freshwawr pearls, by FURTHER READING comrast, are mande-nucleared. Shimmering, lusMarlim. Anroineuc L. rhr lhTrl Book. 71Jr Dtjimtll'f' Buying trous pearls from Lake Biwa, jap~u1, were rhe first (,'uid<'. Woodstock, Vt·rmonr: C..emSton<.: Pr<.'ss. 2000. <.:ommerciaUy culrurcd freshwater pearls, bu£ warer Ward. fired. Pearl.-. Bcthcsda, MD: Gem Guid<.'~ Hook Co.. 199?. pollmion has halrcd their production.

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' Jo..unz. George Frcderitk, and Cbarles Hugh Stcvenson. The Hook tif the Petlrl 01r History. Art. Scimu 11nd Industry of flu· Qut!m o[Gems. New Yurk: Dover Publita11om, Inc., 1993, p. 2S9-60. 276.

Alttritl Chittra, a freelanu writrrfrom Ev,wslon. 1//inlli!, wrius ubout historiett! topics. For morr information ttboul tl" F1•r}.

Alji/11 GnllrJJ' 1111d Studio. writr or ml/ them Ellii/ISIIJII, If. 60201. (847 869 7920.

111

613 Grtwr St.,

BEADWORK

Moy/June 2000

37

li A b

Bead Embroidery

BAP.BA.RA

t'

1'-1

1 '\D I

FOR THESE SAMPLERS c found so many fun facts about bead embroidery rhar we couldn't fit them aU here! Check out Lydia's site, www.bead wrangler.com, for historical information, directions for other bead embroidery stitches, a listing of great resource books, and a detailed explanation of the "Sampler Project."

STITCH NOTES

> Bead embroidery bulks up and requires you to work stitches differently than tl1read stitches. Generally, beads are not tUliform and each stitch will nor line up exactly as thread stirches do. ' ) Fourteen-count fabric works weU with size I 1<~ seed beads and Delicas; however, bead size variations require some adaptation eo the slirches. J The edges of counted fabric should

be whip

stitched (see instructions on page 22); you can also apply Fray Srop® ro prevent raveling.

> Stitch each row of bead embroidery separately. Tf there's a mistake in one row, vou can con·ecL it '

without redoing the whole sample. ) While knots are not used in mosr thread embroidery, bead stitching requires knots at rhe beginning and end of each row to keep rhe beads Crom pulling loose. ) I use the term "stitches" ro dcnme the tiny holes thar run the length and width of cow1red fabric forming a grid of small squares. Counr one hole to the next (one small square) as a stitch; this is extremely importanr when counting. If you hold Lhc [abric up to the light, the tiny holes wiJl be obvious.

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Use rhe smooth side of counted fabric. Plan for 29 rows down and 26 rows across for the embroidered area. The counred fabric I use has 29 rows down and 27 across, so leave one extra blank row on one side of each sampler. Each piece of fabric measures approximately 2 W' long by 2" wide (not including the whip stitched edges). For every row in each sample, use 40" of beading thread and double it. Make a knot in the end and cut off rhe thread ends. When you finish a row, make a knot, cut off the thread end and beg the next row with a new thread. Each time you string beads onto the fabric, PT to theWS and pull the thread taur. By alternating the bead colors, you can easily idendiy the duead path.

Size 11 ° Czech seed beads: amethyst S/L rocaille (color 1); crystal tan lined (color 2); medium dark green matte iriJ (color 3) Oelicas: lavender blue gold lustre# 117 (color 1); lined ivory AB #064 (color 2); semi matteS/L light grey green #689 (color 3) Size "A" Sjlamide thread, #914 Ash Gray or equivalent beading thread 1 1-yard package of 14-counr nawral or off-wnite counted cross stirch trim, 2" wide

Size 12 sl1arps or beading needles Scissors

BEAD CHAIN STITCH (also called Loop, Tambour, or Point de Choinette Stitch)

•

Beg in the LOp left corner of the fabric. l:1ke the needle from W'::J to RS in rhe first stitch below rhe whip stitching. String 20 color 1, PT the fabric in the ncxr adjacent stitch. Counr down 5 stitches from fir~t bead chain and bring the needle back through the front inside the bead chain just made. String 20 color 2. PT the fabric in the adjacenr stitch. Now the second bead Lhain sticks our of rhc first one. Count down 5 stitches from the last bead chain and mnke t.he next chain with 20 color 3. Cominue alternating the bead colors for each chain, couming down 5 stitches each rime. When you've made the last chain, rake the needle from the back to the fl·om, counting down 6 stitches for Dclicas and 7 stitches for Czech beads. Pass the needle over che bottom of the bead chai11 between the two middle be-ads and PT to rhe WS. ror the ncxr row, PT l'rom WS Lo RS •H the third stitch to the right of rhe first bead duin and continue ahernating bead colon;. BEADED CROSS STITCH (also called Sampler, Berlin, or Point de Marque Stitch)

Delicos

Czech seed beads

Delicas

Czech seed beads

Beg at the rop left corner of rhe fabric. Count down 5 stitches from rhe top. PT ro the RS. String 7 color I. Colll1t up 5 srirches .md w the right 5 ~titches. PT ro rhe WS. PT ro the RS at the top left of rhe first stiLch. String 8 color 2. Count down 5 sLi tches and to rhc right 5 sri rches. PT to theWS. Beg rhe ne't stitch by couming 6 stitches down fi·om the last bead stitched on the left side. Rep rhc stirch beg with calor 3, rhen cross with color I. Continue alternating bead colors. Beg the next row three stitches acro~s and 5 ~titches down from the last bead stiLched in the firsr row. @

•

I

(ydia B01·i11 h Ibf &adwJilll,~lt•J: lillram morr about r!Jr Bradt·d \amp/a Projur. check 11111 Lydia's momur fibrr wrb,uc u•u•u•.bmdwrangln.com.

Cross stitch

Chain stitch

BEADWORK

Moy/Juno 2000

39

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MARGIE DEEB

l

42

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r

-,

he playfulness of a deep purple matte bead can surprise me. Upon first glance it seems so serious and steady. But when I move aside my ideas about purple's role in an and listen to what this tiny piece of glass has to say, I hear it longing ro dance with gold, or wanting to take the center spotlight. It whispers that it is tired of me instructing it to sir quietly next to deep blue and turquoise because I know the three of them won't cause any trouble. Beads are alive. Anyone who has tried ro force one omo rhe tip of a needle has proof of this. Beads will not be dominated! Bur I've learned rhal chey will cooperate wirh my creative plans if J give them a say in what rhey are helping me create. And if I try more rhan rwice lO get a seed bead on my needle and it in~ists on rolling away, I know it does not wanr ro be there (maybe it had a tiff with the one I just threaded?). "OK rhcn, who's next? Who wanrs to spend the rest of their lives co7.ied up with duce demure mauve lusLL'rs?" l ask. There are many brave and willing volunteers. I look for the life in art. Design, techniques, skill, and craftsmanship or execution arc vital. They are inregral componems working wgether ro create art that i_nspires and ignites emotion. Bur rhey are not what moves me or speaks to my soul. I am more captivated by how beadwork feels on an emotional level. To me, much art roday is interesting, :.lttractive, and well execured, but it l::1cks life, feeling, depth, and substance. As L stand before a piece, dol feel inspired, awestruck? Am 1 exhilarated and filled with gratirudc? Do I wanr eo rush home, pick up my pen, paintbrush, or beading needle and get ro work? That is what I seck from arr and treativicy, and 1hat is what 1 strive ro give duough my own art and cre:-~rivity. I am enchanted by handcrafrcd art that is alive and suffused wid1 the energy of its creator as well as its own unique energy. Many of my pieces have their own personality long before I give binh ro them. They speak to me in feelings ~tnd images. The more I listen and rrust my intuition, rhc more the piece becomes imbued with life. Trusting whar I sec, feel, and hear is, perhaps, the most difficult parr of my process. Tr is this "listening" aspect of the creative process thm fasc.in:ues me mosr. lr acrually i_nvolves all my senses focused m ward. I work wirh the parts of myself rhar are not as conscious as r am,
"see/sense/feel'' the piece completed in my head, not with every detail, but with a strong sense of the overall design. Even more clearly, f feel what rht' piece wants to say. These kinds of sensarions have no words, bm when l listen, r can tell when an idea is adamant abour making it out of me and into the physical world. Colors have frequencies that 1mmlate inro a palpable energy, each unique and personaL There is so much more to calor than what we can see, and learning ro sense "beyond" colors has opened me up to new wodds. Colors seem to have a consciousness. That is the wa} l work wirh them, treating each with a respect and honor. Sometimes ir seems that several colors want me eo work with them eo express a feeling or idea. Other times, I get a sense of a shape that wants to be explored. It is as if colors and shapes arc working their way eo the surface. Cold says "cry me next eo the teal." Crimson urges "try lots of me in a swirl enveloping the mocha, but nor roo close to the" ioler, please." My pieces often come to me already titled. lf nor, they name themselves in a split second as I am weaving. The Heart of Her surfaced with her name intact. Creating this piece brought passion and inspiradon. As I look at it today (four years later), there are several changes 1 would make in the design. But overall, The Heart of Her kindles rhc emotion 1 had hoped it would. lt evokes a vibrant, powerful, living tribute ro the Goddess. A feminine shape, based loosely on the rorso of the female body, The Hertrl of Her is voluptuous and sensual. I used the rich, saturated, jewel-like colors of each chakra (the seven energy cenrers of the physical body). from red to violet, and I included shades of pink for healing, gold for the balance of the masculine, and black ro represent the shadow and the darkness of night. The heart chakr::t is rcpresemcd by a large, transparent emerald green bead. This piece is woven in the traditional split-loom method, and 1 improvised several non-traditional techniques as I went along. I experimented wirh using seed beads on the warps for a varied texture. Placing the large bead in 1he center requi red careful planning at the earliest stages, and relatively loose warp stringing, as L had to pull eight warp strings rightly away from the cenrer. l wamed to keep the round, curvaceous shape of the body for The Heart of /fe1; so I needed ro remove any straight edges or lines typically created by straight loom weaving. I achieved this after removing the piece from the loom by adding beads on borh sides of rhe loomed body so the sides don\ appear chopped off. I'm a graphic designer/illustrator and tend Lo work very methodically, from thumbnail skC[ches to finished drawings. I also sketch pictures of the finished pieces on figures, like small fashion illustrations, to help me envision how they will hang and look when worn. When I'm creating BEADWORK

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commissioned pieces, these steps become the visual presentation of my ideas to my clients. I spend lots of time on these initial design stages (drawing, coloring, mapping, and graphing) for several reasons. Thougb tedious, they actually save me rime in the long run. Because I write om che count of every , row, I don't have to stop bead' 0 • • 0 ing to counr. Planning also frees ·~• me to be more creative as I arn beading. Sometimes wonderful ideas emerge when l am in that magical rhythm of stringing and weaving, and I always allow myself room to veer off my charted course. I began The Heart of Her wirh a series of black and white pencil sketches. After shaping and molding the basic form on paper, r made several copies of the drawing. 1 then worked with markers and colored pencils, making several versions wirh the colors I'd chosen. With final colored design in hand, I used a light rabic to uace the project's outline onto 1: l ratio loom graph paper. 1 then colored each bead on the paper and metietJously cut away all graph paper that was nor part of the piece. Essentially, I had a paper template rhe exacr size of the finished piece before l ever started stringing the loom. T mounred this template to poster board. I began the counting process by marking off sections of the graph in red pen so T could count beads by fives. l counted and wrote our each row of beads by color (i.e., Row 22: 3 crimson, 4 matte violet, 6 metallic teal, etc.), so that T would be counting as lirrle as possible while beading. When I made ....... mistakes, 1 didn't have •"!!:.::..·::::.\. " . .. ........ ...... to recount every bead ........ .......,....... on paper and on my ,. -.. ........ ....... thread. I worked with both the colored graph template and rhe handwritten counted document simultaneously, cross-referencing when necessary. lf 1 should ever want to recreate .... the piece again in different colors, I have all rhis information on file, "'·' and because 1 write the rl ... ., ....."

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bead cow"lt in pencil, l can simply drop in new color-codes without having eo recoum a single bead. Since rhe release of BeadScapc software for rhe Macintosh, I'm now able to scan my color rendering into a digital format, import it into the program, and the sofcware helps me graph and count. The art of beadweaving is exploding, and it is amazing to watch that growth. The creative ideas, new techniques, ingenuity, and innovation chat abounds is nothing short of marvelous. As more bead arriscs bravely venture out to become visible, the climate is changing. The downside is that this expansive growth can sprout limitation of protocol, rules, and competition. My life is my art. 1 was trained as a fine arrist and musician, and J make my living as a graphic designer and illustrator. Inherent in much of that formal training was anificial prerenses, judgments, highbrow elitism, and expectations. r've made very conscious decisions to move away from chose limitations because they suffocate che spirit, joy, and authenticity that engenders true creativiry. When I discovered beading, it was as ifl stumbled upon a ripe, ferrite garden of color and light with no limitations. "No one can tell me what 1 am supposed w do, and what it is supposed to look like,'' I thought, and I felt rhe limitless vista of the artistic freedom T didn't even know 1 had been seeking. l began beading for rhe same reasons I paint and write music-for the joy. Piecing together tiny gli rn mers of cexmre, light, and color imo fluid, magical rapesuies gives me indescribable joy. For me, authenticity and honesty are the qualities chat add to the lHe and magic of art. Creating eo please an audience or cater ro trends usually becomes a hollow performance. Bur when 1 can listen LO my own voice, to the voices of the colors, shapes, and beads, and Lhe inherent magic within creativiry itself, I embark on rhe enchanted journey towards auchenriciry. This listening opens me ro the creation of art chat speaks to the soul. 1 am honOL·ed to be pan of eh is expanding collective of bead artists. There is space for each person's unique, artistic expression ill beadwork. It is my intention to keep my beadwork as fresh, alive, and authentic as the day l first invited a rurquoise rocaille onto my needle. @

lvfargie Deeb is the author of Out On A Loom. Her work appettrs in Do11 Pierce's book Bead i n.g On A Loom (1999, lutmveave Press). She sell> her work ns private commissions nnd througb gaflerii!S aud shows. Ha course 'it Passion for Color: Creatiue Colorfor Bead Artists" is inspiring bender> rtcross the c01mtry to expand the way they su and tllf)rk with cofo1: See mm•e of A1argie's work nt www.minoa.com.

fall rhe beading techniques I'm familiar with, beadweaving on a loom is my current fuvorire for one reason: instam gratification! Well, almost instant, and I admit that's a relative rerm. Several available books adeptly cover the fundamentals of bead looming. Among the best of them are Virginia Blakelock's Those Bad, Bad Bends and Don Pierce's Bertding on a Loom. But here is an innovation from a person who loves organization, comfort, efficiency, speed, and some social interaction now and then. A TWO-PART PROCESS

Any prinred directions I've read describe a traditional mer hod of first counting a row of beads, weav-

ing it, then counting anoilier row, weaving iliac, and so on. Instead, l break the whole process into two parrs-rhe .first part involves loading a "bobbin" on a separate iliread, with all of the beads in a project (or a good-sized sccrion of ilie project) so that iliey arc coumcd our and ready ro weave. The second parr is ilie actual weaving, row after delicious row, without having to stop and coum! Splitting Lhe procedure inw rwo pans has the following advantages. • le can grearly decrease the chance of errors in counting. This is more of a factor che larger the . p1ece. • Splitting the procedure keeps my body better aligned. When I'm loading the bobbin, I have only the beads and ilie patLern in front of me. I'm BEADWORK

Moy/June 2000

.45

If your design and color choices are symmetrical, side ro noL reaching around rhe loom or off to the side to pick up or put down a bead dish (risking spills each rime). I side, then it doesn'r matter from which side you begin also avoid rvvistiog, leaojog, or sitting crooked while I'm counting. lf they are not symmetrical, begin counting from working because 1 have too much stuff spread our in che last bead of the ending row. If you are doing the project included here, start counring where indicated (*). from of me. For the bobbin, Tuse a spool of regnlar sewing rbread be• Splitting allows me to make a project ill one- fourth or one-third less rime than the traditional method of cOLmt- cause it's cheaper than beading thread and works fine, bm ing each row and then weaving ir. That's because it tal<es you can cerrainly use beading duead. Just don't cm the more concentration and time w shift back and forth thread off the spool. Simply begin couming and picking up consrandy berween L-wo different, fairly tedious, and from the end point. I repeat foJ emphasis: This is t/;e first complex activities than ir does ro do a longer stretch of row you load, but it will actually he the last row you. weave. After you have loaded rh is first row, put on one marker one, then chc other. • This rwo-part procedure leaves me free to do a good par- bead. Then push rhe whole row back roward the spooL cion of my project while visi.ting, enjoying the company of Choose marker beads whose calor does not blend with your my family, or (heaven forbid!) even keeping track of a tele- project. Larger-sized beads work well, loo. You wane the vision program. 1 used to view beadweaving as a solitary markers to be obvious so that, when you are weaving, chey affair. Now 1 reserve my limited "alone" time for rhe count- will tell you where one row ends and the next begins. Now count and load the next row, finishing it with a ing process only. After that, I'm our among the living. • Once [ figured our a few important tricks, weaving this marker bead. Continue in this manner until you have way has become more and more fun. Like so many otheis, loaded an enrire section, or rhe whole project. Hold up the I love beading for its meditative quality, and yet 1 don't thread every once in a while to let the beads slide back tOlike to waste rime or energy--especially to back up! I ward, and curl around, the spooL If you realize you made a screw up less often now rhan with the traditional met:hod, mistake in counting a Line, no matter how far back, just and l tend to tackle more loomwork projects more fear- take a litrle piece of tape and gently fold it around yotu lessly, knowing char I'll finish them. The counting part bobbin thread right next to che bead (or beads) in question. builds my anticipation, and then seeing the weaving come This will be a warning beacon to make you correct the count when you later weave this line. You can even add an rogether quickly makes it roo much fun to quid arrow, or write on the tape, leaving specific directions. After you have loaded the final row, don't string a marker HERE'S HOW IT WORKS bead. Put a fold of rape on the end of the thread to keep the First, remember this phrase: Last on, First off That means beads from sliding off. Remove the needle. Now put another small flag of tape around the thJead (not we load in reverse. Oriem yourself by noting where your weaving will begin, both on your pattern and on the loom. over the beads themselves) every 12" m l8" along the bobFor right-handed beadworkers this should be the upper-left bin. When you hold it wirh yom rhumb and forefinger, you outside warp thread, and for the left-handed, the upper- can slide any of these tape flags along with the beads, as necright outside warp thread. Next locate the end of the first essa.Jy, up or down the line. Bur w1ril you slide them, they act section or motif, or, when you get the hang of ir, the end of as stoppers, keeping the beads between from slipping back toward the spool as you transfer beads off the bobbin to the t:he whole piece. This is where you starr counting. weaving thread. WEAVING

Loading the bobbin.

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To begin, cut off a length of beading thread from another spool, thread a need le on one end, and cie rhe other end to yom starring point on Lhe loom. Now take the end of your loaded bobbin (remember: the last bead on becomes the jirJt to weave) and transfer this firsc row, plus the marker bead between the first and second row, from the bobbin ro the beading thread, using the following method. Hold che tail of the hobbill thread between your thumb and one finger of your non-dominant hand while the beads stretch away from you over that hand.

With your dominant hand, insert the beading needle up through the beads. Holding that group ofbettds on the needle, pull the bobbin rhrend back out and set it down. Remove the marker bead (which should be the closest one to the poim of rhe needle). Lc.:t the row of beads sude omo rhe beading rh read. (lf you are used ro working from a hank. you probably do this auromatically.) Also. when you arc weaving a piece wider than the project here, simply transfer the first row in scctio.ns. An alternative method of transfer is to gather a group of beads off the bobbin thread while holding ir fairly fhu against a tablecop. Now slide this first row of beads all the way back to the loom. Position the beads underneath and between the warp threads, and weave in the traditional manner (sec "Srirches," page 10). Now you are on your way. No sroppi ng eo cotmt. Just transfer the nex.t row of beads plus the marker. Remove rhe marker bc:1d off the end of the needle. Weave the row and carry on. In order to keep from wasring time pulling more and more empty thread from rhe bobbin back through the beads being transferred, either rrim the bobbin thread off at regular intervals, or use rhe tape "behind" rhe current section of rows you arc transferring ro push rhem all closer LO rhc end of rhe bobbin thread.

SMALL BOX Prepare your bobbin thread as described prcviou~ following the chan for bead numbers. When finished we-aving, carefully glue the piece ro rhe cover of the box. t' . I .5 7

13 9

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13

Load bobbin from bottom up, back and forth . MATERIALS

WHEN YOU MAKE A MI STAKE

Sin ce there is " " way you can have counted everything exactly right (if you did, you're luckier than 1 ever am!) here's a painless way to fix boo-boos. We wish ro avoid at all costs rhe "Dump them all off, find where it was in the pattt•m, nnd recount" method. When you're short two beads at the beginning of the row just cou nrcd, or you realize rhat three rows back you put che wrong color in one parr: Pur several lon g chin sewing pins (or bealung needles wirh a small Aag of rape over each eye) on your beading plate. Once you figure out exactly where the mistake is, slide all the beads (up to and including any "wrong" ones), back toward rhe needle. To save un tb reading and rcch reading your need le, push it tempo ra ri ly up rhe thread so that the tai I is longer. Slide all th e wayward beads over your needle and thread (baclnvard now) ro the end of the beading rhrcacl. Now rake one of the pins and transfer all che beads that are properly counred (bur bervveen the mistake and where you sropped) onto it. Use more rhan one pin or needle if necessary; jusc remember in which order you used chem. Once you have added or switched beads, or otherwise made your correction, rerransfer, in order, the properly counted part of rhc row from the pin(s) or needle(s) bac.k onto rhe beading thread. You are now ready ro go forward again. lf your mistake is several rows back, or you are weav-

Delicas: marre bronze, shiny maroon, shiny navy, cornHowcr lllatre, hot pink lined, buttercup shiny, amber shiny Marker beads of larger si7e or di Herent color Black, ~ize "B" beading thread 2% X 2;< cardboard gift box Glue NOTIONS

Size 12° be;H.ling needles Bead loom Scis:,ors

ing a wide piece, you may find ir easier eo pUL a needle onro a short length of rh read, tape the end for a sropper, and use this instead of pins or needles as a son of "spur" line for the temporary rransfcr. O nce you have grasped the bobbin concept, learned rhc n·icks, and cx pcrimellled with how ro painlessly fix. the inevitable glicches, you will marvel at how f'asr and fun loomwork can be. ® }etmnt L4Ji11gu>t/l, knmvn for ht!r large 5mlt· llrchiucturnl workJ mmg gf,w >l't!d IH:ads, has n/:;o collrctrd 1111d ttmgbt lmulu•orking reclmiqurs for thr pmt twmty yenrs. Sbr lillt'J 111 MIISC01V, Idaho.

BEADWORK

Moy/June 2000

47

JEAN CAMPBELL

was inspired after re-ading Pin Beading by Victoria Wailer (Design Originals, 1999) to make these sweet and sexy photo album covers. lt was great fun, and although this is one of the least technically challenging beadwork projects I've done (take a straight pin, put a bead on it, jab it into a cushion), I'm hooked.

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X yard ivory sarin 2 yards ivory twisted polyester Yz" trim 2' ivory lace, 5" wide 8 W' satin ribbon roses Hor glue sticks 2 BY:' x 1 I" pieces of W' cardboard 1 9'' x 12" photo albllill 1 9" X 12" piece of W' sofa foam 17 5mm faux pearls 27 size 10° green seed beads 3 dozen size 17 satin suaight pins I I" white button

Scissors Hot glue gun

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www .inte rweave .com

Sweet Weddin~ Photo Album BOOK COVER

Step 1: Glue foam m cover of photo album. Step 2: L:;1y sarin face-down on a clean flat StLrface. Open rhe

•

photo album and lay it on top of the satin cover side down. Leaving a 2" border all around the photo album's outer edges, cut the sarin to size. Step 3: *Glue along one edge of the inside cover of rhe album. Pull the satin over the hot glue. Rep from* with the opposite side of the album, pulling the fabric gently as you go, but not so tight rhar the album won't close. Continue around unril all edges are glued. Step 4: Using the rem satin, cover one side of each cardboard piece as you did. the albtLm. Set aside. Step 5: Place the lace in position, slightly to the right of rhc cover's center. Glue the top and bottom edges to the

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from cover of the album. Embellish the lace with trim b) cmring m size and gluing as you did the lace. Sup 6: Cur a 2" piece of trim and glue the button m the end. Glue it at rhe midpoinr of the inside back cover so th:u l" sticks out. Step 7: Ccnter and glue one piece of the covered cardboard to the inside from cover. Do the same for rhe inside back cowr. Step 8: Carefully glue the trim ro rhc album to conceal all exposed rough edges. Beg ar the midpoint of rhe front cover and follow rhe edges of the album umil you reach rhat same midpoinr. Sup 9: Using rhe rem length of trim (don'r cm) create a loop that will acr as a closure for rhc button. Tie a neat square knOL and cut rbe trim ro !l" afrer the square knot. Bend the rail behind the knot and carefully glue rhe end ro concca I i L ADDING THE BEADS ·11m~ad

a bead ro a suaight pin and add it anywhere you like m embellish the lace. I used a faux pearl ro embellish the ccnter of a ribbon rose, and then jabbed rhc whole lot into the cover. Don't worry if you make a mistake-just pull out the pin and rry again.

Sexy Elvis Photo Album

ADDING THE BEADS

Place the transfer paper on the front cover. Using the template at left, trace the image onw rhc cransfer paper so 1he image appears on the vd vet. Fill in the spaces with rhc appropriate color (sec remplate) in a paint-by-number fashion. Refer ro photo for head and sequin distribution. ®

BOOK jl'flll

Cover rhe book as described above, bur skip Steps tl- 7 and 9. "lo conceal inside from and back covers, use white glue w atrnch pieces offelt directly ro the album.

Gm1phel/ is 1h~ edi10r 11/ lkadwork.

/'1 ynrd black crushed vdvct l yard black twisted polyester /')"trim Y. yanl red fd t I 5'' X 7" piece of'' " sofa foam I 5" x 7" phow album llor glue sticks Whire glue I ,000 sequin pins 'lransfcr paper (you can buy it ar quilting supply stores) l gram each orange, red, and black size 1oo seed beads 2 grams yellow siz.c 10° seed beads 50 hlack irid sequins 25 small white sequins 25 large silver sequins

Sci~sors

I Lot glue gun Enlarge 200 percent. BEADWORK

Mov/Jvne 2000

51

BEADWORK's Professional Development Series:

ra...., s a e an . . . . outs • ower Olllt MARY J. TAFOYA

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•••••••••••••••••••••••••••••••••••••••••••••• f you're using Microsoft®Office on your computer, you own all tbe software you need ro make custom beadwork illustrations and class handouts. PowerPoint"' is a well-known program within MS Office for creating multimedia slide presentations, and you can exploit its lesser-known drawing features eo create professional looking graphics. Beads and thread drawn in PowerPoinr are smooth-edged and fully edjrable objects. They can be resized and rearranged with the click of a mouse. You can copy illustrations ~nd paste them into Microsoft Wordwand other programs, or you can use PowerPoim's Notes View to put stepby-step instructions on the page. You can even create pages and pictures for Ebe World Wide Web. Here's how to ger starred. (These procedures may vary somewhat in djfferent versions ofPowerPoint.) MAKE A ROUGH SKETCH

START WORKING IN SL IDE VIEW

••••••••••••••••••••••••••••••••••••••••••••••••••••• Before you sit down at rhc computer, get clear about what you wane ro draw. Sketch it on a piece of paper and you'll have a better idea about the lines and shapes you'Ll need. lt's also helpful to write our all rhc beadjng insrruccions first, rhen decide what needs ro be illustrated.

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Slide View

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Curve Tool

Notes View

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Oval Tool

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Rectangle Tool

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Scribble Tool

Zoom Box

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"Capture" the objects by dragging a marquee

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Figure 1: Icons and examples.

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Rotation Tool Text Box Tool

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Type inside a shape

'- Arrow Tool

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Make multiple copies

52

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· - ·-..__,.,...-•·• Reshape a curved line

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Line Calor Tool

Launch PowcrPoint and open a blank presentation and a blank slide layout. Tf you're planning ro print our your pages, go eo the File menu, Page Setup, and size your slides for letter paper. You can also select Portrait (vertical) or Landscape (horizontal) page orientation.

e

Arrow Style Tool

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Line Style Tool

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Dash Style Tool

Pow~rPoinc

shows five dilTerem views; you can click an icon shown at the bonom lefr of the screen or choose one from the View menu. Stay in Slide View while drawing and labeling your graphs. Go ro Notes View 10 type step-by-step instrucdons and other large blocks of texr.

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DRAW BEADS AND THREAD WITH THE DRAWING TOOLS

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t\ 1akc sure the Drawing tool bar is open along the bonom of rhe screen (View, Toolbars, Drawing). As you work, zoom in (200% or so) ro cnlarg~ rhe page for viewing derail, and zoom out (Fit) to sec how your drawing firs on the page. An easy way to zoom in a11d our is to rype a percentage in rhe Zoom Box on the Standard coolbar at the rop of the window. Choose from the Oval, Rectangle, and AutoShapes Tools ro represenr your beads. You can change the outline and fill colors of any shape by clicking on rhe Fill Color and Line Color dropdown arrows, then selecting from the options. For black and white prinrouts, lill ob jects wirh black, then sdccr from a variety of patterns to rcprescnr different bead colors (Fill Color, Fill Effects, then click the Pattern rab and choose a hatch pattern) (Figure 2). To dra\\ a shape, click once on irs icon, then click and hold down the mouse butcon while you move the mouse across the page. To rcsizc a shape, select i 1 (i rst by clicking insidc i r once, then drag one of it~ boundary handles (Figure 3). 'lo move an object without rcsizing it, select it and drag ir ro a new location (be careful nor ro drag a boundary handle). You can also rzudge, or move an object in small increments, by selecting it, then pressing one of the arrow keys on the keyboard. By default, PowerPoint aligns all objects ro an invisible "magnetic" grid. ·ro turn off this grid, go to the Draw Tool at the botrom of the screen, then select Snap and deselcct To Grid by clicking . on 11 once. 'lo draw a srraight line, use the Line Tool on the Drawing roolbar. To draw curved lines, go to AutoShapes, Line, and choose Curve, Freeform, or Scribble. Each wol is explained in PowcrPoinr's Help Menu Index. To reshape a curved line, select it and go to Draw, Edit Points. Drag the vertices, or points within the line, to adjust the Aow of the line. Remove exrra points by holding down the

Figure 2: Using ti M•crotofl PoworPomt

Fill Effects to create hatched patterns. P-ir:J £i

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Figure 3: Resizing a bead.

Control key (Windows) while clicking on a point. Add more poinrs by holding down Control while clicking on a line segment. PowerPoint objects are arranged in a sltlcking order, with the most recenr objects on top. To rearrange the stacking order, go to Draw, Order, ~md select an option from rhe lisc To send a thread line behind a bead shape, for instance, select the line, then go to Draw, Order, Send to Back. To select several objects at once, hold down the Shift key while clicking on rhe objects. You can also "caprure" the objects by dragging a marquee, which appears as a box outlined in dashes, around them wi lh the pointer.

BEADWORK

Moy/June 2000

53

To make multiple copies, select objects and hold down the Control key while you drag the mouse. You can also use the Copy and Paste options from rhe Edit menu. To rotate a bead shape, select it and click the Rotation Tool. Drag the green circular handles in any direction. You can also go to Draw, Rotate or Flip, and select an option from the list. To rotate several objects at once, group them rogether first (Draw, Group). You can Ungroup and Regroup them at any rime.

CREATE TITLES AND LABELS

•••

• • • • • • • • • • • • • • • • ••

Click the Text Box Tool in the Drawing toolbar, then click once on the page. Begin typing. To change the size, font, or other text attributes, click and drag across the rext to highlight it, then select from the options in the Formatting toolbar near rhe top of the screen. You can also type inside any shape- just click on the shape to select it and begiJl typing. I a good idea to put a text t itle on every slide to clearly identify the projecr. Copyright information should al.so be included. To insert a copyright symbol, go eo Insert, Symbol, choose a font, and click on the copyright symbol in the character map. Then click Insert. Use the Arrow Tool in t he Drawing toolbar, if desired, ro point out cercain pans of your illustration or ro show thread direct-ion. Custom ize the arrows with the Arrow Style Tool. Use the line Style and Dash Style Tools to emphasize and deemphasize thread paths and objects. For example, you can use a dashed line to show previous steps and a heavier line to show the current step.

es

CREATE STEP-BY-STEP INSTRUCTIONS

• • • • • • • • • • • • • • •••••••••• To type long porcions of text that will become part of your handouts, click on PowerPoint's Notes View. Notice that a smaller version image of your slide appears at rhe top of the page, wirh a large text block below it. To type instructions, simply click inside the text block and start typing. You can change me dimensions of the small slide or cl1e tex:t block by dragging their boundary handles. lf you want to interweave your be.:'ld graphs and illustrations with the text, you can type your

54

www .inlerweove . com

insrrucrions in Microsoft Word, then copy and paste portions of your illuslrations right into char document. One way to do this is to select the objects you want to put into Word and copy them with Control+ C (Windows) or Edit, Copy. Switch to Word, and press Control +V or Edit, Paste. The objects will "float" on top of the cext, and you can drag them wherever you wam rhem to be. lf you want to embed your objects within the text, copy them in PowerPoint, then swirch ro Word. Click the cursor at the exact location you want the picrurc to appear. Go to Edit, Paste Special, then choose Picture, and click OK. When the Float Over Texr box is deselectcd, the pasted objecrs will be grouped togelher and embedded within the text. PRINT HANDOUTS OR CREATE WEB PAGES

••••••••

•

• •

••••••

First, save your PowerPoinr file. Then, go to File, Print. By default, PowerPoint prints the Slide view. [f you would rather print the Notes View, go to Print What near me bottom of the Print dialog box and select Notes Pages. You can print PowerPoint files to yom own inkjer or laser primer. For large quantities, you can have a quickprinr shop output your file on a digital printer (such as a Docutech~l). Talk to the print shop before creating your handouts to find out how to prepare your fi les. PowerPoinr is generally nor suitable for color separations and offset . . pnntmg. You have several options wirh PowerPoint eo create documents and images for the World Wide Web (sec the Help Menu Index for more derails). You select from mese options when you're saving the file. To save graphic images suitable for placing into web pages, go to File, Save As, and select GIF or JPEG from che Save As Type box. You will be a,~ked whether you wru1t to save all slides or just the currem slide. Save the current slide and give iL a name. You can also save the PowerPoim document as an HTML file by going to File, Save As HTML. In most PowerPoinr versions, a series of dialog boxes will appear-experimenr to find the settings you like. ® !Yfary J Ttrfi~)'fl is a brad artist and graphic arts inftructor in New il1exico. She also maintains the pt!pular beadwo,·k-tefated

website, Aunt Molly'.r Bead Street (www.forsh.uetl~ rttjtt'.foyaJ).

As Rita Mae Brown put it, "Lead me not into temptation;

I can find the way myself." When the need to bead takes you beyond the boundaries of bead stores how do you satisfy the urge for n1ore? Fusing glass is the answer! u'ing is a merhod of manipulating - · glass in a kiln by a vari~ty of techniques. Slumping, sagging, raking, frit casring, and adding chemicals for differc:nr surf.1.cc looks arc all possibilities in the fusion process, and each one begins by cmring glass. CUTTING GLASS

Glass does not act, it reacts, and ddTcrcnt glasses react diffen:nrly. One [hlng they have in common is th:u pressure applied on one porlion- particuln rly defined pressure- gets transmitted ovemll. SLore the glass by putting a fissure in t ht• su rfac~ with your cut rer. \~hen you appl} secondary force, rhe glass will break along rhc score line. (This is called ruruung the score.) GLASS COMPATIBILITY

STEPHANl E HOUSTON

Glass expands when heated and contracts when coolt•d. Jl' two glasses expand and (Oil tract similarly, rhcir coefficient of expansion (COE) is the same. fhe greater the difference in the COF, tht more str~s there is in the piece, and 11 will be liable m break. I can't emphasi;.c enough rbar compatibility is the single most irnponanr facror in glass fusing. The COL: is rhe changeover poin£ from solid ro liquid state, and the tempcratme at whi<..h changcovcr 1akes place varies widely with different glnss. The greater dw difference in COl- of fused glasses, the greater sm.:ss becomes. If the stress is extreme, the two p1eces will break .tparc upon cooling. If the stress is moderate, the piece will be intact upon cooling but won't be able to h,1ndle sudden tempcrarure changes (like tbo~e in a dishwashing cycle).

_ _ _ _ _ _.:....:.._::.:.;_::=::::._~~~~~~~~~~~------= BEAOWORK

Moy/ June 2000

55

ANNEALING

Annealing is the process of slowly cooling glass to room temperature. The kilns I use are designed jusr for this purpose. In general. when you are making small pieces, you can let the kiln do the annealing for you by c.rash-cooling ir. Do this by opening the lid of the kiln ro release some heat, then close ir again and ler rhe kiln cool down at its own ~pecd. Cracking due to incompatibility is readily distinguished from poor annealing. Incompatibility produces fractures that follow the imerfaces of the glasses. Tmproper annealing produces random fractures that c.ross color boundaries. PREPARING THE KILN SHELF

le is necessary to prepare your kiln shelf with a wash so rhat the glass does not fuse with the shelf. Use a good kiln wash (high-temperature clay and alumina mix) and rake care when applying il. I always apply my wash wet. If you are only using the kiln to tack fire (adhering pieces so they maintain their original shape bur come our with rounded cdges- LW0° 1300° P), you don't need ro reapply the wash to the shelf when you fire again. Prepare the wa~h by adding I pan powder to S parts water. Use a haik brush ro cover the shelf. lr is best to do the first coat in one direction and the second coat at a right angle ro the first. Three coat~ arc usually sufficienr (the third coar rakes the same direcrion as rhe first). The smoothness of your wash application will determine the smoothness of rhe back of your piece. You can expcrimem with rhe wash texture, even creating a bas-rclic.:f effect by building it up. Be sure your wash is completely dry before you fire or you will get bubbling, sticking, or cracking in your final producr. FIRING

I use one basic firing schedule for jcwdry and adapt ir eo whatever work l am doing by slowing down and holding the temperature at different poinrs. My basic firing startS with a cold kiln, taking it to S00°F over about 30-40 minures on setting 3 (the setting may vary depending on your kiln). Then 1 raise the remperatme to 5 and continue for abour 30 40 minutes until rhc kiln reaches 1000°F. Then 1 turn the kiln lO High and continue firing until my desired dTect is reached-either tack firing (rounded edges) or full fusing (when everything is completely melted rogetl1er and Oat). When rhc desired temperawre is reached, shut off the kiln, open the lid, and cool to I 000°-l200°F to stop the glass from continuing to cook (dcvirrification). When your piece looks rhe way you want, you have to cool the kiln so the piece can stabiliL.e. Close the kiln lid and cool w room temperature.

HELPFUL TIP Set up a firing rc<:orJ hy caking thorough notes Juring firing. RewrJ rype of glass, rcmperatun:, time of vcntings. and rhe rime you close or open tit{' lid. l'hc.sc nares will hdp you reproduce work or prevent something going wrong the next t imc.

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FUSED GLASS MINI-PENDANTS

In my srudio we make these colorfultrinkcts in three sizes using a black base covered with dichroic glass. You can vary the process according ro your tasre. Vs111g iridescent glass topped with dichroic in a design that doesn't cover the whole piece has a very intriguing efTecL. I find rhat using transparem glass on either the top or bottom allows the visual distraction of the silver jump ring showing. This is an ideal projecr for using up all the little scraps you have in your srudio. So use your imagination and create!

MATERIALS

Thin bl.t~.:k and scraps of Ji chroi~.. glass (Urbaros or Bullseye) 16 gauge.' • hard, round sterling 'ilvcr jump rings (i mm sterling silver split rings Fusds or Elmer's wl-litc glue Kiln W;tsh ACl'lOlll' (to dean glass)

me

NOTIONS

Gl.m wucr (I prefer Toyo's pistol grip) Running plier\ Brea king/grazing plicrt> Crindt•r (optional-to u~t: for fine-runcd cuning) Permhelf llaik brw.h (a \·vide soft-hrisdcd brush) \iln:r polish, polishing cloth, or rougcltripoli polisher l'ireproof gloves ~akt} glasses ~ Pn:p;m· a kiln sl-lelf with kiln wash and allow w dry. ( ( Put on your safety glasses. Mark .llld cut two X" X I y,·• base pieces of black

or

glass. 'f'ht: double layer black 00°1•. rurn kiln up to ') fi>r another 30-40 minutes ro reach I 000°F. Then wrn the kiln to I iigh .1ml allow the pendant~ ro fire unril they are finished. If you want a full fuse, allow rhc kiln to reach 1600° E If you prefer a more textur~·J pendant, srop rhc kiln <1t a lower temperature. When rhc.: fusion is finished, ~>hm oiT the kiln, pur on your gloves, open tbe lid of thl' kiln, :111d allow the tt:rnpcrawn: to go down to 1000° l 200"F (abour a minure). fhcn close the kiln ro allow ir ro cool eo room temperature. When your pieces are LOo!. poli~h the jump ring. Conne(.t a splir ring ro the Jump nng. ®

for

me

::,rrph.uut' /low/on uacheJ ji1;ing 11111/ ln·ginning f,nnpu•ork classes fll her Wtdu1 111 li:lluri.dl', C'olomdo .md llllritmt<'id< Strpl1i1nies studio ,tf,o ctlrrit•, ,z/{ t/g roofs an.d g/m; dr>t·nbrd ulnwl' nmtncr lll'r 111 '1/1(11<' oj f/,u~rJ, (,'/.n.r Studio. G'cna,zl LJclit·r~l'· lrlluritlr, CO 81 '"135. (8/ 7 ) 369 OR69; II'U'w.nshoiiJof h.nu!J.~lu.'.'·' om.

BEADWORK

Moy/June 2000

57

Kathe Hoyden

editorial Down Hamilton

editorial

•

•

'

r

Cloudia Chesneau

hat a great way to spice up your resume! Fifteen Interweavers got together recently to make these special clips, and some were beadwork or wirework virgins.

editorial

Make sure to "trap" the beads with o the wire so they don't slide around. Kothie Korbowski advertising

Create some kind of o mechanism to clip paper.

Holly Doughty

Have fun.

marketing ~

0

It was great to see the ingenuity and creativity in the room-in an hour we created over 20 clips.

fJQSo Beware when hardening or flattening your wire. It's not smart to smash your finger and faint as Jean did.

Jennifer Nastu

marketing

Moren Bzdek editorial

e were recently introduced to Nancy Todd's "Book Gems"something very similar to what we made here. One very cool thing about Nancy's work is that a portion of the profits goes to Laubach Literacy, a non· profit organization that teaches adults to read. For more information call 1888) LAUBACH or Nancy's company, Moon Mambo, in Asheville, North Carolina, 1828) 254-6356. ®

Amy Clarke editorial

Ceri Anderson publishing

Noncy Disney events

Jenny Fish circulation/distribution

\j~ J

Aundreo Monson

Stacio Ray editorial

liso Fleck editorial

Bonnie Hoover oFfice services

May/ June 2000

59

u DIAMOND BEAD REAMER SET

Beadworkers who have to struggle with rough or tight bead holes need m have a reamer on hand. EuroTool's reamer is extra nifty because it comes

a rubber band. I did a lirrle experimenting and found rhat knotting and melting will secure the ends well, but the cleanest way is to use a big crimp bead. Elasticity is available in . 50mm, .80mm, and lmm sizes. Retail prices range from $13- $15 for a 100 meter spool. Buy it at your local beadshop or through any authorized Bcadalon disrribucor.

WACKETDOWN ~

I could've saved my fingernail a couple months ago if I'd one of rhese. le's simple enough- two pieces of hard synthetic material that you literally with three nibs- an itty-bitty one for freshwater pearls; a large one for smoothing, straightening, and enlarging holes in ceramic, stone, or glass beads; and a 45° edging point for rounding and smoorhing bead edges so they won't cut through your cord. Retail price is $12.75; $13.75 with comfon grip. Call EuroTool ar (800) 552-3131 to 6nd a distributor near you.

ELAS Tl CITY"'

BcadaJon"'' has introduced this new product just in time for us al1 tO make our own power bracelets! This soft, clear bead cord stretches like

f

r

I

whack together ro harden and press your wirework. It's better than using a hammer because it prevents nicks, it doesn't change the diameter of your wire, and, well, it solves the hammer+finger problem. lt's so rough you could use ir as a quasi bench block, coo. Get rhe Wacketdown for $13.95 at your local bead shop or by contacting the Soft Flex Company, (707) 938-3539, www. softBexlm.com, or Helwig industries, (800) 579WlRE, www.wigjig.com. ®

-Jean Carnpbell 62

www .inlerweove .com

•

ADORN THYSELF Suzonne Cooper Spring Branch, Texas: Suzonne Cooper, 1999. Paperback, $19.95. 37 pages, calor.

BEADS OF THE WORLD

Second Edition Peter Francis, Jr. Atglen, Pennsylvania: Schiffer Publishing, 1999. Paperback, $1 9.95. 128 pages, calor and black a nd white.

DEUCA BEAD LOOM Part 2

Tokyo, Japan : Delico Bead Loom Association. Hardcover, $31.50. 72 pages, calor and block and white.

THE THREE-BEAD BRICKSmCH Necklace Expressions Carole Collier New York: Carole Collier, 1998. Spiralbound, $19.99. 60 pages, black and white.

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www .interweove.com

I love Suzanne Cooper's writing scyle-her books always make you feel like you're sircing at her kirchen table over a bunch of beads with coffee and chocoJate close at hand. Suzanne's latesl, Adorn Thyselj is no differe nt. Ir offers 64 panerns chat include floraJ, animal, and geometric motifs. Suzanne provides the basic image for each design (appropriate for one of chose "Oh my goodness, did you make that?" neckJaces), bur the bonus is that she also charts for smaller projects (like chokers, bracelets, earrings) with the same, or portions of the same, image. Suzanne also includes a concise, very clear scitch imro. Buy this book at your locaJ bead shop; through Copper Coyote, www.coppercoyote. com; or from Suzanne at www.suzannecooper.com. Peter Francis, Jr. and Sch iffer have come up with a second edirion of Beads of the World. This updated book has so much straightforward, quick information rhat it's a must for collectors and students. The other nice thing, of course, .is that recent quotes for bead vaJue are listed next to each photograph. Buy Beads of the World at your local bookstore or through Schi~Ter at www.schifferboo ks.com. Arc you hip to rhe Del.ica Association's book line? lf nor, get with it. The Japanese are doing amazing things with their favorite type of bead-patterns, colors, and shapes that you don't see in Western beadwork. Delica's larest book is printed encirely in Japanese, but you don't really need the text to appreciate the picrures. Plus, the publisher has graciously provided step-by-step instructional drawings and photographs as well as detailed photographs of the cools of the trade. This one's worth it! Order Delica Bead Loom: Pmt 2 through your locaJ bead shop or Copper Coyote, www.coppercoyoce.com. Carole Collier was so excited after studying Native American jewelry using the "three bead brick stitch" as she calls it, she had to write a book. And a nice book it is! Carole includes very explicit directions and diagrams, gives tips and supply suggestions, and, best of ill-the patterns!-beautiJul Native American inspired motifs in colors and designs char will make people srop you on the street when they see them gracing your neck. Buy this book at your local bead shop or through Carole ar [email protected].

•

~First Day

•

of Se ool

r's been eight monrhs since I became selfemployed. For the most part it's been great. l seem ro gee twice as much work done in half rhe rime. Thal's because I spend no chunks of time on one of my favorite activities-socializing. Here in my one-person office chere are very few distractions from the casks at hand. For rhe most pan rltis is fine. But some days it's not. Some days l feel like if J just sit here by myself and do nothing but work for another minute !1n going to lose my mind! So when the Educational Outreach caralog from Colorado Scare University arrived in rhe mail, 1 dove in for a diversion. 1 was seeking nothing in particular, but the fim thing I saw was DCE I 033: Traditional Narive American Beadwork. Eureka! Through travel, plus reading and editing books about beadwork, ['d had small glimpses of rhis aspect of my favorite crafr. Now here was an opportunity to spend one evening each week for eight weeks exploring the history, tradition, and spirit of beadwork from a Narive American perspective. Excuse me if this sounds arrogant, but l deciued to attend the class incognito. No need to mendon char I've seen a few beads in my day. Nope, no need ac all. This is going to be a brand new experience, and I'm scarring ar ground zero. Don't know what eo expect, want nothing expected of me. Five of us gathered in the brightly-lit classroom, eager eo begin our lessons with Manuelico Good Wind. We had the usual introductions, then Manuelito cold us a litde bit about what we were going to learn, what we were going ro make, and what types of materials we would need. He rold us char mere's a very good book available, one that he would recommend eo anyone interested in beadwork of any kind. And he pulled our a copy of The Reader's Companion. "That's our book!" 1 blurted our. ''I'm Judith Ourand I wrote that book with my friend Jean Campbell, the editor of Beadwork magazine!" So much for anonymity. With my face

72

www interweove.com

JUDITH DURANT

scarlet red, I apologized for rhe outburst and tried to quiet my enormous sense of pride. Fellow srudenrs asked why I was taking this class if I already know so much about beadwork. Still blushing, T explained that while l've done some beading in different techniques, r know notlting about the Native American Tradition. I signed up for the class nor ro learn how to do beadwork, bur how to feel bead work. How to connect to che past and to a culture foreign ro my own heritage. Oh, God. Didn't rhat sound pompous? 'Nuff said. Back to the business at hand. Manuclito meted out a few supplies ro each of us: a small collection of seed beads in black, red, yellow, white, blue, and green; a beading needle; about a yard of white chread; a piece of leacher approximately 2'' square and Yar." rhick; and a piece of chin leather to use as a work surface. "Make a rurde," he said, and headed for the door. Then he turned around. "If you have uouble with rhe rurde shape, make a lizard instead." 1 threaded my needle wirh some confidence. Then my brain and my hands turned ro mush. Okay. Deep breath. Obviously we're supposed to embroider on the lc<~ther. I began tentatively. Manudico returned as 1 was beginning my third do-over and helped me on my way. As we all began to gee me knack of working with beads and leather, he talked about the significance of the colors we were working with. This newfound knowledge tempted me ro start over yet again. But then I decided to give myself a break. One of the colors L used represents ignorance, and the first hour and a half of class had reaffirmed for me char ignorance, though perhaps not acwally bliss, is certainly pure. And while there is a different color to symbolize purity. me two together make a pretty goodlooking rail on my orherwise incognito lizard. I'm going eo love this class.