Beadwork October November 2017

20 Anniversary | Building Beading Community for 20 Years TH

®

22 OCTOBER/NOVEMBER 2017

Irresistible Ideas for Fall

Braid a Kumihimo

M a ke a t y le C h ic B ib -S N e ck la c e & w it h R AW ch it t S Peyo te

Bracelet with Crystals p. 39

p. 26

Beauty from the Ashes Hope and Empowerment for Nepalese Jewelry Designers p. 88

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Southwestern Designs to Make in an Afternoon p. 67

Make This Kit! For details, see p. 4.

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contents OCTOBER/NOVEMBER 2017 VOLUME 20 NUMBER 6

Designer of the Year Projects 22 DIAMANTE DANCE Kassie Shaw

Use right-angle weave to create this stunning necklace with pearls, bicones, and seed beads 26 CZECH ME OUT Melissa Grakowsky Shippee

Steal the spotlight in this necklace made from Czech-glass beads and seed beads 30 AUTUMN SAGE NECKLACE Agnieszka Watts

This feminine necklace features netted components on a cubic-right-angleweave strap

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Features 19 20TH ANNIVERSARY CELEBRATION: Stories that Inspire 10 BEADWORK CELEBRATES 20 YEARS OF PUBLICATION

Departments 4 Passing Through 6 Cool Stuff 86 Techniques 86 Stitch Index 88 Bead Buzz

Projects 20 SIMPLY SEEDS: ROYAL COUNTESS CUFF

50 PETITE COURONNE PENDANT

Regina Payne

Alice Coelho

36 CHAMPAGNE SERENADE EARRINGS Evelína Palmontová

39 SWEET AS SUGAR BRACELET Linda Anderson

42 POIRE VERTE NECKLACE Jennifer & Susan Schwartzenberger

54 CALIENTE BRACELET Michelle Gowland

58 LOST IN THE SAHARA Hortense E. Thompson

62 TIMELESS NECKLACE Twyla Harbick

46 ART DECO-DENCE CUFF

KITS AVAILABLE

Leslie Venturoso

On the Cover Czech Me Out by Melissa Grakowsky Shippee page 26

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Royal Countess Cuff by Regina Payne page 20

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Project Rating Our three-level project rating system is found in the project instructions.

}{{

Fast & Fabulous Projects 67 FIESTA CHOKER Kristina Hahn Eleniak

BEGINNER LEVEL Quick and easy

68 WAYFARER

}}{

69 DAPPLED DART

INTERMEDIATE LEVEL Moderate time commitment

}}} ADVANCED LEVEL Longer time commitment

Rejetta Sellers

Andria McKee

71 SANTA FE DREAMS Jess Lincoln

72 AGUA CALIENTE Anne Perry

72 SOUTHWEST SERENITY Michelle Mach

70 GLOBAL TASSEL NECKLACE Kristina Hahn Eleniak

For Stitch Index, see page 86. BEADWORK

OCTOBER/NOVEMBER 2017

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passing through Ties That Bind It’s been said that no man is an island. We weren’t created to be alone—it’s simply against human nature. Humans tend to function best when they’re part of a community, which by definition brings folks together, from all walks of life, around a specific commonality. It is with this in mind that we bring you our twentieth-anniversary issue—an issue that’s all about community and, more specifically, the role that beading plays in building community. In Bead Buzz, read about the hope and healing beading has brought to the women of a small village in Nepal after they lost their homes and loved ones in a devastating earthquake (page 88). Then check out another installment in our “Stories that Inspire” series on page 9 to learn how a treasured friendship built around beads still thrives several years later and across many miles. Finally, don’t miss our twentiethanniversary celebration on page 10, where you’ll find our favorite covers, contests, and more through the years, plus former editors’ fondest memories from their stint at Beadwork. Go to interweave.com for expanded coverage of even more fun things from the archives! But this issue is about more than stories of community. Dig in to any one of the dozen bead-stitched projects, such as Agnieszka Watts’s feminine necklace, which uses netting and picots to embellish sparkling rivolis (page 30). Or, for the seed bead aficionado, check out the Royal Countess Cuff on page 20, with a peyote-stitched base of metallic beads embellished with shimmery crystals. And for a palette that’s perfect for any fall wardrobe, see the Southwest-inspired collection of projects that can be made in an afternoon (page 67). Whether you’ve been with Beadwork from the start or have just begun your beadweaving journey, we’re happy to have you along for the ride—our growing community of readers, bead manufacturers, shops, and teachers make this craft so remarkable and enjoyable. Cheers! facebook.com/ BeadingDailyonFB

Debbie Blair Editor, Beadwork magazine [email protected]

twitter.com/ beadingdaily pinterest.com/ beadingdaily

Get everything you need to make Regina Payne’s sparkly bracelet on page 20 plus a BONUS pattern and materials for Cristie Prince’s Reign Drops Earrings when you buy the Royal Countess Cuff kit at interweave.com.

EDITORIAL EDITOR Debbie Blair MANAGING EDITOR Lavon Peters PROJECT EDITOR Megan Lenhausen ASSISTANT EDITOR Marrissa Bouska COPY EDITOR Nancy Arndt MARKETING & ADVERTISING ADVERTISING MANAGER Marilyn C. Koponen [email protected], (877) 613-4613 ADVERTISING MANAGER Stephanie Griess [email protected], (877) 613-4630 AD TRAFFICKER Cari Ullom MARKETING MANAGER Hollie Kuhlmann CREATIVE SERVICES ART DIRECTOR Rachel Kennedy SENIOR DESIGNER Connie Poole PRODUCTION DESIGNER Mark Dobroth ILLUSTRATOR Bonnie Brooks PHOTOGRAPHY George Boe, Ann Swanson

FOUNDER Linda Ligon DIRECTOR OF CONTENT STRATEGY Stephen Koenig DIRECTOR OF MEDIA SALES Julie Macdonald GROUP CREATIVE DIRECTOR Sam Syed

F+W MEDIA, INC. CHIEF EXECUTIVE OFFICER Thomas F.X. Beusse CHIEF OPERATING OFFICER Joe Seibert CHIEF CONTENT OFFICER Steve Madden CHIEF TECHNOLOGY OFFICER Joe Romello SVP, GENERAL MANAGER, F+W CRAFTS GROUP John Bolton MANAGING DIRECTOR, F+W INTERNATIONAL James Woollam VP, GENERAL COUNSEL Robert Sporn VP, HUMAN RESOURCES Gigi Healy VP, MANUFACTURING & LOGISTICS Phil Graham Designs in this issue of Beadwork® are for inspiration and personal use only. Beadwork does not recommend, approve, or endorse any of the advertisers, products, services, or views advertised in Beadwork. Nor does Beadwork evaluate the advertisers’ claims in any way. You should, therefore, use your own judgment in evaluating the advertisers, products, services, and views advertised in Beadwork. Exact reproduction for commercial purposes is contrary to the spirit of good craftsmanship. Beadwork (ISSN 1528-5634) is published bimonthly by Interweave, a division of F+W Media, Inc., 4868 Innovation Dr., Fort Collins, CO 80525-5576. (866) 949-1646. USPS #018-351. Periodicals postage paid at Fort Collins, CO 80525, and additional mailing offices. © 2017 F+W Media, Inc. All rights reserved. Reproduction in whole or in part is prohibited, except by permission of the publisher. Subscription rate is $29.95/one year in the U.S., $34.95/one year (U.S. funds) in Canada, and $39.95 (U.S. funds) in other countries (surface delivery). Printed in the U.S.A. POSTMASTER: Please send address changes to Beadwork, PO Box 433289, Palm Coast, FL 32143. Retailers: If you are interested in carrying this magazine in your store, please contact us: Toll Free (800) 289-0963. Email [email protected].

More of Cristie Prince’s designs can be found in Bead Royale: Elegance in Beadweaving, available as a download at interweave.com.

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For Beadwork SUBSCRIPTION questions or concerns, contact us: Email address: [email protected] U.S. Customer Service: (800) 849-8753 Intl. Customer Service: (386) 246-0105 U.S. Mail: PO Box 433289, Palm Coast, FL 32143 www.interweave.com

Introducing: CzechMates® 2-Hole Cabochon CzechMates® 3-Hole Beam

Crossroads Cuff by Starman TrendSetter Melinda Barta. Pattern available from your local bead store.

FEATURED BEAD SHAPES

Starman 3mm Round

7mm CzechMates® 2-Hole Cabochon

3/10mm CzechMates® Beam

ASK YOUR LOCAL BEAD STORE FOR STARMAN BEADS OR ORDER FROM: Artbeads www.Artbeads.com Aura Crystals www.AuraCrystals.com Baubles & Beads www.BaublesAndBeads.com Beadaholique www.Beadaholique.com Bead & Glass Boutique www.BeadAndGlass.com Bead Unique www.BeadUniqueAZ.com Bello Modo www.BelloModo.com

Beyond Beadery www.BeyondBeadery.com Bobby Bead www.BobbyBead.com Design & Adorn Beading Studio www.DesignAndAdorn.com Eclectica www.EclecticaBeads.com Eureka Crystal Beads www.EurekaCrystalBeads.com Fusion Beads www.FusionBeads.com Just Bead It www.JustBeadItConcord.com

Lima Beads www.LimaBeads.com Midwest Bead & Supply www.MidwestBeads.com Potomac Bead Company www.PotomacBeads.com Red Panda Beads www.RedPandaBeads.com AUTHORIZED DISTRIBUTOR

BEAD STORES–Register as a reseller: 888-683-BEAD [2323] • www.CzechBeads.com • [email protected]

cool stuff

ANDREA HOYT

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1. The 7 Warp Braid Kit and Disk by Sally Bead Jewelry offers a variation on the standard kumihimo technique. Kits include all beads and cord needed to create a stunning necklace, such as An Evening Out, pictured above. Purchase Sally’s innovative template separately to fit over a regular kumihimo disk. For more information, visit www.sallybeadjewelry.com.

2. The convex rounded edge of Bead Master’s new 3×8mm Cali bead provides fluid movement to any project. The 2×8mm Tee bead comes in thirty-six coatings for a colorful and cozy fit. Find these beads and more at www.beadmasterusa.com (wholesale only) or check your favorite bead retailer.

3. Find the perfect cord and artisan stoneware pendants for your designs with The Classic Bead’s new offerings. With eighteen colors of 7-ply linen, twenty-four colors of 3mm suede, and over thirty colors of .5mm metallic leather cord, there are plenty of options to choose from. See the entire collection at www.theclassicbead.com.

4. Inspired by fans of the You Collection, TierraCast has released a similar line of charms and mini buttons featuring symbols representing strength and beauty. With symbols such as the Om and Eye of Providence, the images in this collection represent protection, empowerment, and more. Visit www .tierracast.com (wholesale only) or check your favorite bead retailer.

THE STAFF OF BEADWORK INVITES YOU TO SEND YOUR NEW BEADWORKING PRODUCTS FOR CONSIDERATION IN COOL STUFF.

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HANDPICKED FAVORITES IN THE 7

Discover the centuries-old technique of quilling paper with The Art of Quilling Paper Jewelry by Ann Martin. Detailed instructions and step-by-step illustrations guide you in creating coils, scrolls, and other quilled shapes using metallic-edged papers. You’ll love creating paper jewelry with the look of copper, silver, and gold, without breaking the bank. Visit www.interweave.com today to get started.

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Kinga Nichols’s Advanced Bead Weaving Series: Seed Bead Embroidery features three new e-courses covering Finishing Touches, Troubleshooting, and 3D Layering Bezels. With step-by-step directions, discussions boards, quizzes, and the ability to display your finished work in a gallery, this award-winning artist’s series is a must-have for those looking to expand their bead-embroidery skills. Sign up today at www.interweave.com. www.interweave.com

5. Add a bit of whimsy and charm to your next design with new antiqued pewter beads, buttons, charms, and pendants from Tamara Scott Designs. All components are lead-free and full of delightful details. Visit www.tamarascottdesigns.com. 6. New from Bead Bistro Crafts are dome, lentil, and spiky button Czechglass beads with an etched finish. These iridescent beads will add

beautiful color and texture to your beaded designs. Find a variety of color options at www.bead bistrocrafts.etsy.com. 7. The BeadSmith’s K.O. nylon beading thread is now available in orange, clear blue, dark gray, scarlet pink, smoke green, and turquoise to match any design you can dream up. Find it at www.beadsmith.com (wholesale only) or check your favorite bead retailer.

8. Similar to the Beadalon Jewel Loom, the Baby Jewel Loom by Julianna C. Avelar is a great choice for beginners. Half the length of the original Jewel Loom, it’s extremely portable and lightweight and perfect for smaller projects such as pendants and earrings. Or stitch multiple pieces together for a bracelet. Visit www.beadalon.com (wholesale only) or check your favorite bead retailer.

9. Get everything you need to create a stylish tassel necklace with The Lipstick Ranch’s Leather Tassel Necklace Kit, including chain, floral connector, EZ fringe tassel, bead cap, and twisted-rope jump rings. The “Saint” line of pendants and charms includes reproductions of antique medallions. Visit www.the lipstickranch.com.

PLEASE SEND ALL SUBMISSIONS TO [email protected] AND INCLUDE COMPLETE PRODUCT INFORMATION.

BEADWORK

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Bead crochet necklace by Linda

Beadwork Magazine: Inspiring Beaders for 20 Years!

linda smith:

A FRIENDSHIP STITCHED TOGETHER

A

bout thirteen years ago my coworker Donna Leather was suffering from empty-nest syndrome after her only child got married. She decided she needed something to fill her time, so she signed up for a class at a local bead store and asked me if I’d be interested in taking the class with her. Little did we know then that because of this class we’d become best friends and would still be beading together years later!

PHOTOS COURTESY OF LINDA SMITH AND DONNA LEATHER

Donna and I have both become beadaholics and have continued to bead together even after I moved several states away from Pennsylvania to North Carolina over six years ago. We FaceTime at least once a week so we can work on our various projects together, asking each other for opinions on colors, bead types, lengths, etc. Virtually beading with Donna helped me adjust to living in a new area where at first I didn’t know anyone. We both feel that this time spent beading is our “therapy.” As we work, we laugh and talk and have come to know each other’s families and share our joys and woes.

Donna (left) and Linda (right) at Bead Fest Philadelphia

We value each other’s opinions and ideas and rarely complete a project until we find out what the other thinks. Thankfully, Donna and I get to see each other about once a year. We spend our reunions beading, attending Bead Fest Philadelphia, and visiting our favorite bead store, Blue Santa Beads in Media, Pennsylvania, where we shop for hours and reconnect with the friends we’ve made there.

To celebrate the twentieth anniversary of Beadwork magazine, we’re publishing inspirational stories from you, our readers! We asked for stories about how beading has changed your life, how you’ve used beading to change someone else’s life, or any other inspirational story related to beading. We are amazed by the substantial ways in which beading has impacted so many of you. To find the previous inspirational stories of this series, see the December/ January, February/ March, April/May, June/July, and August/September 2017 issues of Beadwork.

Over the years we’ve taken many classes together and learned a variety of jewelry-making techniques. Through these experiences, we’ve met many nice and talented people we would have never known if we hadn’t become beaders. I know Donna and I will continue this art form and remain “besties” for a very long time. Thanks to our first beading class years ago, our lives have been changed forever by gaining such a treasured friendship!

Necklace by Donna

BEADWORK

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Celebrates 20 Years of Publication OVER FORTY YEARS AGO, Linda Ligon founded Interweave on her dining room table. Twenty years ago, Beadwork was launched as the premier magazine for passionate beaders. Join us as we relive highlights from our history and share special memories from past editors and staff.

How it all started

Thanks to all who have contributed to the magazine over the years—our readers and gifted contributors, along with a talented staff of editors, designers, illustrators, photographers, marketers, and advertising teams have helped Beadwork become what it is today!

Here’s how it happened: The editorial staff at Interweave was gathered together for one of our weekly brown-bag lunches, during which we would typically brainstorm or problemsolve or just gossip and tell jokes. The question came up: If we were going to publish a new craft magazine, what would it be about? We already had spinning, weaving, and historical needlework covered. We filled a white board with ideas. Some of them were pretty far-fetched! Some of them sounded like a lot of fun. Among the latter, beading and knitting stood

Spring 1999 1997 Fall 1997, “Premiere” issue

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1998 Winter 1998, 1st Quarterly Issue

1999 Summer 1999

out. Well, why not? We decided to do a special newsstand-only issue on each topic, just one, no big commitment, just for fun. As if everybody didn’t already have a full-time job. That first special newsstand-only issue of Beadwork was so successful that we soon made it a regular quarterly subscription magazine. Jean Campbell volunteered to be the editor (never mind that she was vastly pregnant at the time). Twenty years later, it’s still going strong, with an honor roll of editors and contributors who have given it their beady all. So if you imagine that magazines are born from deep market research, focus groups, and financial analysis, forget it. Beadwork came from creative passion and egg salad sandwiches. —Linda Ligon, Interweave Founder

March 2000, Beadwork goes bi-monthly 2000 September 2000, "Bead Boy" column & challenge debuts

December/January 2001 2001 February/March 2001

Then:

Now:

8 Beadwork was introduced as a newsstand-only special issue in 1996 8 Premier issue of Beadwork published Fall 1997 8 Only a small handful of bead shops existed in the United States 8 Fewer than a dozen mainstream beading books existed 8 Very few bead societies existed

8 Beadwork magazine published 6x per year 8 Digital patterns 8 Online community at interweave.com 8 Informative newsletters 8 Bead Fest events 8 Video downloads, online courses, and DVDs 8 Special issues 8 Thousands of beading books available on the market

My biggest impression of the past

It's hard to believe that I’ve been a part of Beadwork for seventeen of the twenty years we’re celebrating. Advertising sales for Beadwork introduced me to a new beautiful craft and, of course, I have my own beader’s stash, know the “beaders handshake,” and love to create jewelry. Memories that make me smile: Jean’s infamous speeding ticket to an exhibit in Wyoming (March/ April 2000), the “skin” issue (July/ August 2000), publishing “Egyptian” incorrectly on the cover (Nov/Dec 2000), and the “fruit” issue (Feb/March 2001). I feel blessed to be part of this inspirational, fun, supportive, and creative community. —Marilyn C. Koponen, Media Sales

twenty years of Beadwork is how much the beading community has grown since Linda Ligon launched the magazine in 1997. As its first editor of the regular issues, I found myself scrambling to find a bead shop to buy my own supplies, let alone discover artists who might submit their work. Back then, we had about three books from which to learn techniques, and not many people were teaching. Now the pages of the magazine are filled with intricate, artful, thoughtful designs created with new bead shapes and innovative stitching techniques. The talented people who create Beadwork have been at the forefront all along, leading the way. —Jean Cox (Campbell), Editor 1998–2005

April/May 2002

December/January 2003 2002

September/October 2002

Fall 2003, Stringing debuts as a Beadwork special issue 2003

April/May 2003

October/November 2003

June/July 2004 2004

December/January 2005 2005

October/November 2004

BEADWORK

April/May 2005

OCTOBER/NOVEMBER 2017

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Celebrates 20 Years of Publication

When I became Editor of Beadwork magazine in 2005, I knew far more about publishing than I did about the art and enchantment of seed beads. I also knew that the magazine’s founding editor, Jean Campbell, was a beader extraordinaire. I held my breath! Bead artists such as Jean, Maggie Meister, Cynthia Rutledge, Marcia DeCoster, Lisa Kan, and many more—together with the immensely talented staffers Dustin Wedekind, Jamie Hogsett, Melinda Barta, and Leslie Rogalski—generously welcomed me to the amazing world of seed beads. I’ll never forget proudly showing Dustin a tubular seed bead design I’d just finished. He knit his brows, then said slyly, “We can call this ‘squaringbone.’” It was a mash-up of square and herringbone stitches, the best I could do at the time. But I was off and running on the journey that beaders know so well—going deep into a world created one tiny bead, one stitch at a time. —Marlene Blessing, Editor 2005–2009

February/March 2006 2006

2007 October/November 2006

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February/March 2007

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Beadwork Through the Years U N IQU E A RTICL ES Transformations: From the Mundane to the Magnificent, an interview with Tom and Kathy Wegman by Diane Fitzgerald, February/March 2003 Beadwork

The Wonderful World of Laura Leonard and her Seriously Playful Art, by Mimi Holmes, Fall 1998 Beadwork

April/May 2008 2008

April/May 2007

The Giant, bead-embroidered work by Dustin Wedekind, who later went on to write the popular Bead Boy column as Beadwork’s senior editor, Winter 2000 Beadwork

Larger than Life: Small Beads Tell Powerful Stories, an interview with Deborah Loop by Marlene Blessing, October/November 2006 Beadwork

2009 June/July 2009

February/March 2010 2010 August/September 2010

February/March 2011 2011 August/September 2011

During my time as Editor of CONTES T S AND T R AV E L IN G E X HIB IT IO N S

Beadwork I: Up Close (1998–1999)

Beadwork II: The Embellished Shoe (2001)

Beadwork III: The Beaded Cloth (2003)

Beadwork IV: The Beaded Figure (2005)

Beadwork V: The Beaded Bag (2007)

Beadwork VI: The Beaded Book (2009)

For more covers, editors’ ffavorite projects, and fun facts and articles from Beadwork’s twenty-year history, visit interweave.com.

Beadwork VII: The Beaded Earth (2011)

April/May 2012 2012 December/January 2013

August/September 2013 2013 October/November 2013

February/March 2014 2014 April/May 2014

Beadwork, I was constantly inspired while working with designers, researching new trends, and connecting with others in the beading community. Whether I was reviewing project submissions, working closely with Designers of the Year, or editing instructions, beads were always the focus, and who wouldn’t love that? I’m also grateful for the many writers, publishers, and marketers I met along the way—a lot of hard work goes on behind the scenes when creating a magazine, and it’s only possible with a strong, reliable team. I remember picking up my first copy of Beadwork while I was in high school, so I’m honored to have been part of such a great magazine’s legacy. Happy anniversary, Beadwork! —Melinda Barta, Editor 2009–2016

February/March 2015

February/March 2016

2015

2016

October/November 2015

August/September 2016

BEADWORK

OCTOBER/NOVEMBER 2017

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WIN PRIZES WORTH

Celebrate

250+

Years of

Enter

for a chance to win a prize from one of these sponsors of our Beadwork Memories Giveaway!

GRAND PRIZE SPONSOR

ENTER FOR A CHANCE TO WIN A GRAND PRIZE WORTH $250 FROM FIRE MOUNTAIN GEMS AND BEADS.

Seven (7) more lucky winners will win a prize worth $50 from our other sponsors. Starting October 2 through October 31, go online for a chance to win.

www.interweave.com/beadwork-20th-anniversary-giveaway/ Must be 18 or older to enter and win. Void where prohibited. See official rules on website.

WIN PRIZES WORTH 250+

Celebrate Years of

GRAND PRIZE SPONSOR

Fire Mountain Gems and Beads For 45 years Fire Mountain Gems and Beads has been the first choice for jewelry-making supplies for designer-artists worldwide. You can view over 20,000 design inspirations in the Gallery of Designs, many with instructions. 800-355-2137 www.firemountaingems.com

Soft Flex Company Soft Flex Company is a beading wire and craft wire e manufacturer with worldwide name recognition. Soft Flex beading wire is mostly used for stringing beads but can also be knotted, braided, knitted, crocheted, and more. 866-925-3539 www.softflexcompany.com

Fusion Beads Fusion Beads is your online bead store providing quality products, exclusive beading kits, beautiful inspiration and in-depth techniques. We want to share our love for beading and help you discover the joy of creating handmade jewelry. Visit FusionBeads.com! 888-781-3559 www.fusionbeads.com

SPECIAL ADVERTISING SECTION

SPECIAL ADVERTISING SECTION

Shiana Shiana works with local artisans in remote regions of South East Asia to bring our customers handcrafted jewelry and jewelry elements. Each piece is brought to life with simple hand tools, making them truly unique. www.shiana.com/product-category/ findings/

Beadaholique

Shipwreck Beads

Beadaholique is the world’s most fun and engaging online retailer of jewelry making supplies where anyone can learn to create and discover the joy of making jewelry!

Shipwreck Beads has been family owned and operated since 1969. Specializing in Czech glass beads, Shipwreck Beads is a primary distributor of Preciosa Ornela Seed Beads, TierraCast Lead-free Pewter and Swarovski Crystal.

866-834-4618 www.beadaholique.com

800-950-4232 www.shipwreckbeads.com

Beadalon We manufacture the largest selection of flexible bead stringing wire and wire wrapping supplies, stringing materials, findings, tools, and more. Artistic Wire is a leading brand of permanently colored copper wire that is available in the largest selection of gauges and colors. 866-423-2325 www.beadalon.com

The BeadSmith Over the past 35 years, The BeadSmith has evolved ed to become a one-stop shop for bead resellers, providing them with a diverse array of beads & beading supplies from all over the world. 732-969-5300 www.beadsmith.com

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PRECIOSA Chilli

TM

'(6,*1%<.(55,(6/$'(

Try using unique Czech beads and seed beads in conjunction with Playful Perfection, a book full of tutorials by the internationally renowned designer Kerrie Slade. You can purchase the book from PRECIOSA distributors or from the author Kerrie Slade.

DISTRIBUTORS OF PRECIOSA Traditional Czech BeadsTM Shipwreck Beads | 800-950-4232 | www.shipwreckbeads.com John Bead Corp., Ltd. | 888-755-9055 | www.johnbead.com Fire Mountain Gems and Beads | 800-355-2137 | www.firemountaingems.com John F. Allen & Son, Inc. | 800-334-9971 | www.jfallen.com Beadsmith / Helby Import | 732-969-5300 | www.beadsmith.com Frabels Inc. | 514-842-8561 | www.frabels.com Har-Man Importing Co. | 1-800-232-3769 | www.harmanbeads.com

TO DISCOVER MORE ABOUT PRECIOSA Traditional Czech BeadsTM VISIT

traditional-czech-beads.com

AGENTS FOR USA AND CANADA

MANUFACTURER

Bead & Trim, Inc. | 212-725-9845 | traditional-czech-beads.com Jablonex Canada Inc. | 416-675-1326 | [email protected]

PRECIOSA ORNELA Czech Republic

PRECIOSA Traditional Czech BeadsTM PRECIOSA ORNELA, a.s. | Zásada 317, 468 25 Czech Republic P +420 488 117 711, F +420 483 312 292, E [email protected] preciosa-ornela.com

PRECIOSA Chilli TM ART NO.: 111 01 3 57 SIZE: 4 x 11 mm

simply seeds SPOTLIGHT ON SEED BEADS

Royal Countess Cuff

artist’s tips

Regina Payne

❯ Adjust the size of the bracelet by adding or subtracting by 4 Delicas in the base band.

Form the base structure of this enchanting bracelet using a variation of peyote stitch and then embellish the beadwork with crystals and seed beads.

❯ To make a bangle, start with a number of Delicas in Rounds 1 and 2 that is divisible by four. At the end of Rounds 1 and 2, pass through the first bead strung to form a ring.

KITS FOR THIS PROJECT + BONUS EARRING PATTERN available at www.interweave.com

TECHNIQUES

Peyote stitch variation Netting variation PROJECT LEVEL }}{ MATERIALS

5 g metallic light gold bronze iris size 15° Japanese seed beads (A) 0.5 g gilt-lined white opal size 11° Japanese seed beads (B) 2 g higher metallic amethyst size 11° Japanese cylinder beads (C) 2 g 24k gold-plated rainbow rose size 11° Japanese cylinder beads (D) 66 crystal purple haze 3mm crystal bicones (E) 34 amethyst 3mm crystal bicones (F) 1 golden shadow 8mm crystal marguerite lochrose flower Smoke 6 lb FireLine braided beading thread Microcrystalline wax TOOLS

Rows 4 and 5: Use the top needle to work

1) BRACELET. Use peyote stitch to form the th base of the bracelet and a variation of netting to embellish it: Rows 1 and 2: Place a needle at each end of 9' of waxed thread. Use 1 needle to string 134C (Fig. 1, pink thread); center the beads on the thread. Row 3: Use the right needle to work 67 peyote stitches with 1C in each stitch (Fig. 1, orange thread).

6 4 3 2 1 5 7

67 peyote stitches with 1D in each stitch off of Row 3 (Fig. 1, purple thread); repeat using the bottom needle to work off of Row 1 (Fig. 1, green thread). Rows 6 and 7: Use the top needle to string 1D and pass back through the nearest D of Row 4, the next C of Row 3, and the following D of Row 4; repeat thirty-two times. String 1D; pass back through the next D of Row 4 (Fig. 1, blue thread). Use the bottom needle to repeat from the beginning of this row along the other edge (Fig. 1, red thread). Clasp Button: Use the top needle to string 4A, the crystal flower, and 1A; pass back through the flower and the fourth A just added. String 3A; pass through the nearest D of Row 5 and the next D of Row 7 (Fig. 2, pink thread). Use the bottom needle to repeat the thread path of the clasp button in reverse, exiting from the nearest D of Row 6 (Fig. 2, orange thread). Rows 8 and 9: Use the top needle to string 1A, 1E, and 1A and pass back through the next D of Row 6; repeat thirty-two times (Fig. 2, purple thread). Use the bottom needle to repeat from the beginning of this row along the other edge (Fig. 2, green thread).

Fig. 1: Stitching Rows 1–7

Scissors 2 size 12 beading needles FINISHED SIZE

6 7⁄8"

Fig. 2: Adding the clasp and Rows 8 and 9

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SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Fig. 3: Working Rows 10–13

Row 17: Use the bottom needle to string 1A;

Fig. 4: Forming Rows 14–17

Fig. 5: Finishing Row 18

Clasp Loop: Use the top needle to string

20A or as many beads as needed to fit over the crystal flower, then pass through the nearest D of Row 7 and the following 1A/1E/1A (Fig. 2, blue thread). Use the bottom needle to repeat the thread path of the clasp loop in reverse (Fig. 2, red thread). Rows 10 and 11: Use the top needle to string 1A and pass back through the next 1A/1E/1A; repeat thirty times (Fig. 3, black thread). String 1A; pass through the next 1A/1E (Fig. 3, pink thread). Use the bottom needle to repeat from the beginning of this row along the other edge (Fig. 3, orange thread). Rows 12 and 13: Use the top needle to string 4A and pass back through the nearest A of Row 10; repeat thirty-one times. String 4A; pass through the nearest A of Row 8 (Fig. 3, purple thread). Use the bottom needle to repeat from the beginning of this row along the other edge (Fig. 3, green thread). Use the top needle to

weave through beads and exit back through the last 2A of the last 4A set along the opposite edge (Fig. 3, blue thread); repeat using the bottom needle (Fig. 3, red thread). Rows 14 and 15: Use the top needle to string 1A and pass through the next 2A of Row 12, 1A of Row 10, and 2A of Row 12; repeat thirty-one times. String 1A; pass through the next 2A of Row 12, then weave through beads to exit from the nearest D of Row 4 (Fig. 4, black thread). Use the bottom needle to repeat from the beginning of this row along the other edge, exiting from the nearest D of Row 5 (Fig. 4, turquoise thread). Row 16: Use the top needle to string 1A, 1F, and 2A; pass through the nearest E of Row 8 (Fig. 4, pink thread). String 2A, 1F, and 2A and pass through the next E of Row 8; repeat thirty-one times (Fig. 4, orange thread). String 2A, 1F, and 1A; pass through the nearest D of Row 6, toward the beadwork (Fig. 4, purple thread).

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

pass through the nearest F of Row 16. String 2A; pass through the next E of Row 9 (Fig. 4, green thread). String 2A and pass through the next F of Row 16, then string 2A and pass through the following E of Row 9; repeat thirty-one times (Fig. 4, blue thread). String 2A; pass through the nearest F of Row 16. String 1A; pass through the next D of Row 7, toward the beadwork (Fig. 4, red thread). Use the top needle to pass back through the last A added by that needle and the last F added in Row 16. Row 18: String 1A, 1B, and 1A and pass back through the next F of Row 16 (Fig. 5, blue thread); repeat thirty-two times (Fig. 5, red thread). Secure and trim this thread. Use the bottom needle to repeat the thread path of this row to reinforce. Secure and trim the thread. REGINA PAYNE has been making jewelry

since 1990 and now teaches beading. Her home in a Texas forest is surrounded by nature and animals and provides a perfect environment for creating. Contact Regina at www.nightowlstudio jewels.etsy.com or [email protected]. RESOURCES Check your favorite bead retailer or contact: Seed beads and Delica cylinder beads: Beyond Beadery, (800) 840-5548, www.beyondbeadery.com. Swarovski crystal bicones: BlueMud, www.bluemud.com. Swarovski crystal flower (Article #3700), thread, and wax: Fire Mountain Gems and Beads, (800) 355-2137, www.firemountaingems.com. ●

BEADWORK

OCTOBER/NOVEMBER 2017

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2017

designer of the year

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Diamante Dance

K ASSIE SHAW

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Steal the spotlight wearing this eye-catching necklace made of right-angle-weave units of pearls and crystal bicones that are finished with peyote-stitched seed beads and a suspended focal. 1) STRAP. Embellish right-angle-weave units

with peyote stitch to form the neck strap: Strap Unit 1: Use 4' of thread to string 1F, 2E, and 1F, leaving a 4" tail. Pass through the beads again to form a tight circle; use the working and tail threads to tie a square knot and pass through the first F strung (Fig. 1, orange thread). String 1C; pass through the next E. String 1D; pass through the next E. String 1C; pass through the next F. String 3B; pass through the next F. Weave through beads to repeat the thread path through the 3B just added to reinforce and exit from the D of this unit (Fig. 1, purple thread). Strap Unit 2: String 1E, 2F, and 1E; pass through the last D exited in the previous unit and the first E of this unit (Fig. 1, blue thread). String 1C; pass through the next F. String 1D; pass through the next F. String 1C; pass through the next E and weave through beads to exit from the D of this unit (Fig. 1, red thread). Strap Unit 3: String 1F, 2E, and 1F; pass through the last D exited in the previous unit and the first 1F/1E of this unit (Fig. 2, orange thread). String 1E and 2F; pass through the last E exited and the first E just

Fig. 1: Stitching Strap Units 1 and 2

added (Fig. 2, purple thread). String 2F and 1E; pass through the last E exited, the 2F/1E just added, and the second E of this unit (Fig. 2, blue thread). String 2F; pass through the nearest E (Fig. 2, red thread). String 1D; pass through the next E and weave through beads to pass back through the D just added and the next 1E/1F (Fig. 3, pink thread). String 1D and pass through the next F, then string 1A and pass through the following F; repeat. Pass through the next 1D/1F (Fig. 3, orange thread). String 1A; pass through the next F. String 1D; pass through the next F. String 1A; pass through the next 1F/1D (Fig. 3, purple thread). Strap Unit 4: String 1F, 2E, and 1F; pass through the last D exited in the previous unit and the first F of this unit (Fig. 3, blue thread). String 1C; pass through the next E. String 1D; pass through the next E. String 1C; pass through the next F. Weave through beads to exit from the D of this unit (Fig. 3, red thread). Strap Units 5–40: Repeat Strap Units 2–4 twelve times.

TECHNIQUES

Right-angle weave variation Circular peyote stitch variation PROJECT LEVEL }}} MATERIALS

1 g dark mauve Duracoat size 15° seed beads (A) 6 total sea green Duracoat size 15° seed beads (B) 1 g dark mauve Duracoat size 11° seed beads (C) 2 g sea green Duracoat size 11° seed beads (D) 146 jet 2XAB 3mm crystal bicones (E) 220 gold 3mm crystal pearls (F) 1 gold 9×14mm decorative round box clasp 2 gold 3mm jump rings Smoke 6 lb FireLine braided beading thread TOOLS

Scissors Size 12 beading needle FINISHED SIZE

15" (with 2 ¼ × 2 ½" focal)

Fig. 2: Starting Strap Unit 3

artist’s tip Make sure to pull the thread straight out of the crystals and not at an angle. Friction on the crystal edges could break your thread.

Fig. 3: Finishing Strap Unit 3 and adding Strap Unit 4

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

BEADWORK

OCTOBER/NOVEMBER 2017

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2017

designer of the year

Alternate Colorway Materials

Fig. 4: Forming Strap Unit 41

Strap Unit 41: String 1E, 2F, and 1E; pass EARRINGS

0.5 g dark mauve Duracoat size 15° seed beads (A) There is no B in this variation. There is no C in this variation. 0.5 g sea green Duracoat size 11° seed beads (D) 28 jet 2X AB 3mm crystal bicones (E) 56 gold 3mm crystal pearls (F) 1 pair of gold 8×15mm ear wires 2 gold 4mm jump rings 2 gold 6mm jump rings Smoke 6 lb FireLine braided beading thread BRACELET

1 g silver permanent-finish size 15° seed beads (A) There is no B in this variation. 1 g silver permanent-finish size 11° seed beads (C) 1 g purple permanent-finish size 11° seed beads (D) 108 purple velvet 3mm crystal bicones (E) 172 comet (light blue) 3mm crystal pearls (F) 1 silver 22×21.5mm decorative 3-strand box clasp 18 silver 6mm jump rings Smoke 6 lb FireLine braided beading thread

through the last D exited in the previous unit and the first E of this unit (Fig. 4, blue thread). String 1C; pass through the next F. String 3B; pass through the next F. String 1C; pass through the next 1E/1D (Fig. 4, red thread). Repeat the thread path of this unit to reinforce. Secure and trim the threads. Set aside. 2) FOCAL DANGLE. Use right-angle weave and peyote stitch to form the center dangle of the focal: Dangle Unit 1: Use 3' of thread to string 4F, leaving an 8" tail. Pass through the beads again to form a tight circle; use the working and tail threads to tie a square knot and pass through the first F strung (Fig. 5, black thread). String 1E, 1F, and 1E; pass through the last F exited and the first E just added (Fig. 5, turquoise thread). String 2F and 1E; pass through the last E exited, the 2F/1E just added, and the nearest F (Fig. 5, yellow thread). String 1E and 1F; pass through the last 1E/1F exited and the first E just added (Fig. 5, pink thread). String 2F and 1E; pass through the last E exited, the 2F/1E just added, and

Fig. 5: Starting Dangle Unit 1 of the focal dangle

the nearest F (Fig. 5, orange thread). String 1E and 1F; pass through the last 1E/1F exited and the first E just added (Fig. 5, purple thread). String 2F and 1E; pass through the last E exited, the 2F/1E just added, and the next F (Fig. 5, green thread). String 1E and 1F; pass through the last 1E/1F exited and the first E just added (Fig. 5, blue thread). String 2F; pass through the nearest E, the last E exited, and the first F just added (Fig. 5, red thread). Dangle Unit 1, Edge Embellishment:

String 1D; pass through the nearest F. String 1A and pass through the next F; repeat (Fig. 6, green thread). Repeat from the beginning of this embellishment three times. Pass through the first D of this embellishment (Fig. 6, blue thread). Set the working thread aside and don’t trim it. Dangle Unit 1, Center Embellishment:

Add a needle to the tail thread. String 1E; pass through the opposite F of Dangle Unit 1 (Fig. 6, red thread). Secure the tail thread and trim. Dangle Unit 2: Use the working thread of Dangle Unit 1 to repeat Strap Unit 3.

OPTIONS • FORM THREE SEPARATE STRANDS FOR A BRACELET. • MAKE ONE LONG STRAP AND WEAR IT AS A WRAP BRACELET.

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SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Dangle Unit 3: String 4F; pass through the

last D exited in the previous unit and the first F of this unit (Fig. 7, green thread). String 1D and pass through the next F; repeat twice. Pass through the next 1D/1F (Fig. 7, blue thread). String 1E; pass through the opposite F (Fig. 7, red thread). Secure and trim the thread. 3) FOCAL CONNECTION. Connect the dangle to the strap to finish the focal: Connection Units 1–4: Locate the center unit (a Unit 3 repeat) of the strap. Start 2' of thread that exits from the bottom D in the Unit 3 repeat to the left of the center unit. Repeat Strap Unit 4. Repeat Strap Units 2–4.

Connection Unit 5: String 1E and 1F; pass

through the center F along the top-left edge of Dangle Unit 1. String 1F and 1E; pass through the last D exited in the previous unit and the first E just added. String 1C; pass through the next 3F. String 1C; pass through the next 1E/1D. Repeat the thread path of this connection to reinforce. Secure and trim the thread. Repeat this entire step, starting 2' of new thread that exits from the bottom D in the Unit 3 repeat to the right of the center strap nter str p unit and connecting to the center F along the top-right edge of Dangle Unitt 1. 1

KASSIE SHAW is a bead artist from western North Carolina. She has been designing and making jewelry and beaded art since 2005, and she has been a Starman TrendSetter since 2015. Her video workshops on right-angle-weave variations and more, plus her book, Beadweaving Beyond the Basics, can be found at www .interweave.com. See Kassie’s patterns and finished work at www.beadingbutterfly.com. RESOURCES Check your favorite bead retailer or contact: All materials: Bead Therapy, (423) 509-1907, www.bead-therapy.com. ●

ttach one 4) FINISH. Use 1 jump ring to attach he strap; half of the clasp to one end of the repeat to attach the second halff of the clasp to the other end of the strap.

Fig. 6: Embellishing Dangle Unit 1 of the focal

Fig. 7: Stitching Dangle Unit 3 of the focal

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

BEADWORK

OCTOBER/NOVEMBER 2017

25

2017

designer of the year

Czech Me Out

MELISSA GRAKOWSKY SHIPPEE

ON THE COVER

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SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

All eyes will be on this right-angle-weave and peyote-stitch necklace made predominantly of Czech-glass beads and finished with seed beads. 1) COMPONENTS. Use right-angle weave and peyote stitch to add decorative caps on cushion beads: Pass 1: Use 2' of thread to string 3B and 1C, leaving a 4" tail. Pass through the first 3B strung (Fig. 1, green thread). String 1C and 2B and pass through the last B exited and the first 1C/1B just added, then string 2B and 1C and pass through the last B exited and the first 2B just added (Fig. 1, blue thread); repeat twice. Pass through the C of the last unit (Fig. 1, red thread). Pass 2: String 3B; pass through the last C exited, the 3B just added, and the nearest B of Pass 1 (Fig. 2, pink thread). String 3B; pass down through the last B exited in this pass and the next 1C/1B (Fig. 2, orange thread). *String 2B; pass through the C at the top of the next unit in Pass 1, the last B exited in the previous unit of this pass, the first 2B just added, and the next C of Pass 1 (Fig. 2, purple thread). String 2B; pass through the last B exited in the previous unit of this pass, the last C exited, and the first B of this unit (Fig. 2, green thread). Repeat from * twice (Fig. 2, blue thread). String 3B; pass up through the nearest B of Pass 1, the last B exited in this pass, and the 3B just added (Fig. 2, red thread). Pass 3: String 1B; pass through the bottom B of the next right-angle-weave unit.

String 1A and pass through the bottom B of the next right-angle-weave unit; repeat five times. String 1B; pass through the nearest B, then skip the next B and pass through the following B (Fig. 3, green thread). Repeat from the beginning of this pass, passing through the top B of each unit. Pass back through the first 1B/1C of the first unit in Pass 1 (Fig. 3, blue thread). Pass 4: Using tight tension, string 1D and pass through the next C; repeat five times. Pass through the nearest B of Pass 2 (Fig. 3, red thread). Note: The beadwork should cup so that the D form the top-outside of the curve. Connect: String 1G; pass through the mirror B at the other end of the beadwork, pass back through the G, and pass through the last B exited; repeat the thread path multiple times to reinforce. Secure and trim the threads. Set aside. Repeat this entire step three times. Repeat this entire step three times using H for G.

TECHNIQUES

2) STRAP CENTER. Use right-angle weave

TOOLS

to form the center of the strap: Unit 1: Use 5' of thread to string 1E, 1C, 1D, 1C, 1E, 1B, 1F, and 1B, leaving a 2' tail. Pass through the first 1E/1C/1D/1C/1E strung (Fig. 4, green thread). Unit 2: String 1B, 1F, 1B, 1E, 1C, 1D, and 1C; pass through the last E exited in the previous unit and the first 1B/1F/1B/1E of this unit (Fig. 4, blue thread).

Scissors Size 12 beading needle

Fig. 1: Stitching Pass 1 of a component

Right-angle weave Peyote stitch PROJECT LEVEL }}{ MATERIALS

1 g copper-lined lime green size 15° Japanese seed beads (A) 6 g nickel galvanized size 11° Japanese seed beads (B) 1 g matte metallic denim blue size 11° Japanese seed beads (C) 67 24k gold-plated 2mm fire-polished rounds (D) 26 halo ethereal linen 6mm fire-polished rounds (E) 25 metallic arctic blue satin 6mm tophole pressed-glass rounds (F) 4 metallic arctic blue satin 14mm cushion beads (G) 3 sueded gold medium amethyst 14mm cushion beads (H) 1 silver-plated 5×22mm hook-and-eye clasp Smoke 6 lb FireLine braided beading thread

FINISHED SIZE

21"

Fig. 2: Working Pass 2 of a component

Fig. 3: Finishing Passes 3 and 4 of a component Fig. 4: Starting the center of the strap

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

BEADWORK

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designer of the year

artist’s tips ❯ Reinforce all thread paths several times, especially when working with the large Czechglass beads because of their heavy weight.

Fig. 5: Forming a neck strap

Alternate Colorway Materials 1 g matte gold-lined aqua size 15° seed beads (A) 6 g metallic bronze size 11° seed beads (B) 1 g seafoam Ceylon size 11° seed beads (C) 67 copper-lined lime 2mm fire-polished rounds (D) 26 sueded gold medium amethyst 6mm fire-polished rounds (E) 25 sueded gold turquoise 6mm top-drilled pressed-glass rounds (F) 4 sueded gold turquoise 14mm cushion beads (G) 3 sueded gold medium amethyst 14mm cushion beads (H) 1 antiqued bronze 11×24mm hook clasp Smoke 6 lb FireLine braided beading thread

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❯ To strengthen the beadwork and avoid constantly reinforcing, work with a doubled thread for Steps 2–4.

Fig. 6: Connecting a component to the strap center

Unit 3: String 1C, 1D, 1C, 1E, 1B, 1F, and 1B;

pass through the last E exited in the previous unit and the first 1C/1D/1C/1E of this unit (Fig. 4, red thread). Units 4–25: Repeat Units 2 and 3 eleven times. 3) NECK STRAPS. Use right-angle weave to form the neck straps: Unit 1: Use the working thread to string 7B; pass through the last E exited and the first 5B just added (Fig. 5, purple thread). Unit 2: String 6B; pass through the last 2B exited in the previous unit and the first 4B of this unit (Fig. 5, green thread). Units 3–36: Repeat Unit 2 thirty-four times (Fig. 5, blue thread). Clasp Loop: String 2B, one half of the clasp, and 2B and pass through the last 2B exited in the previous unit (Fig. 5, red thread); repeat the thread path multiple times to reinforce. Secure and trim the working thread. Use the tail thread to repeat this entire step at the other end of the strap center, using the second half of the clasp.

4) ASSEMBLY. Start 2' of new thread that exits from the third F of the strap center. **String 3B, the center 1D/1C/1D of 1 component made with G, and 3B; skip the next 2B/1F/2B and pass through the following 1F/2B/1F (Fig. 6). Repeat from ** six times, alternating components made with H and G. MELISSA GRAKOWSKY SHIPPEE is a beadwork designer, instructor, and author inspired by mathematics and nature. She has won numerous awards for her elaborate beaded jewelry and masks. As a Starman TrendSetter she creates exciting new bead-woven jewelry using Czech beads. Contact Melissa through her website at www.mgsdesigns.net. RESOURCES Check your favorite bead retailer or contact: Similar seed beads and fire-polished rounds; clasp; and thread: Fusion Beads, (888) 781-3559, www.fusionbeads.com. Top-hole rounds: Bello Modo, (360) 357-3443, www.bellomodo.com. Cushion beads: Baubles & Beads, (510) 644-2323, www.baubles andbeads.com. ●

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

www.firemountaingems.com

Since 1996 with

FALL 1996

Fire Mountain Gems’ back cover ad on Beadwork’s very first issue (Fall 1996)

Congratulations on 20 great years!

2017

designer of the year

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Autumn Sage Necklace

AGNIESZK A WATTS

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Stitch this girly necklace made of sparkling floral components, crystals, and a harmonious mix of stitches.

1) SMALL COMPONENTS. Use tubular

Round 5: String 1G and pass through the

TECHNIQUES

netting to form the small components: Round 1: Use 4' of thread to string {1A and 2C} eight times, leaving a 4" tail. Pass through the beads again to form a tight circle; use the working and tail threads to tie a square knot and pass through the first A strung (Fig. 1, orange thread). Round 2: String 3A and pass through the next A of Round 1; repeat seven times. Exit through the center A of the first set in this round (Fig. 1, purple thread). Round 3: String 2A, 1C, and 2A and pass through the center A of the next 3A set in Round 2; repeat seven times. Pass through the first 2A/1C of this round (Fig. 1, blue thread). Round 4: Using loose tension, string 1E and pass through the next C of the previous round; repeat seven times (Fig. 1, red thread). Insert one 12mm rivoli faceup into the beadwork so the back of the rivoli touches Round 1. Repeat the thread path of this round, snugging the beads into a tight ring over the front of the rivoli. Pass through the next 2A of Round 3 and the center A of the nearest set in Round 2 (see the start dot in Fig. 2).

center A of the next 3A set in Round 2; repeat seven times (Fig. 2). Repeat the thread path of this round to reinforce. Secure and trim the tail thread but don’t trim the working thread. Set aside. Repeat this entire step three times for a total of 4 small components.

Tubular and circular netting Picot Circular and flat peyote stitches Fringe Cubic right-angle weave

2) LARGE COMPONENTS. Use tubular

and circular netting and picots to form the large components: Rounds 1–5: Repeat Step 1, Rounds 1–5, stringing 5A instead of 3A in Round 2 and inserting one 14mm rivoli in Round 4. Pass through the first G of Round 5. Round 6: String 7A and pass through the last G exited, then string 1F and pass through the next G of Round 5 (Fig. 3, green thread); repeat seven times. Pass through the first 4A of this round (Fig. 3, blue thread). Note: You’ll now begin working in the opposite direction. Round 7: String 3B and pass through the last A exited and the next 3A/1F/4A (Fig. 3, red thread); repeat seven times. Don’t trim the working thread. Set aside. Repeat this entire step twice for a total of 3 large components.

PROJECT LEVEL }}} MATERIALS

3 g bronze size 15° seed beads (A) 0.5 g yellow gold galvanized size 15° seed beads (B) 5 g olive semi-glazed size 11° seed beads (C) 6 g matte purple fuchsia metal size 8° seed beads (D) 56 rose alabaster 3mm crystal bicones (E) 37 amethyst AB 3mm crystal bicones (F) 4 foil-back light vitrail 12mm crystal rivolis 3 foil-back fuchsia 14mm crystal rivolis 57 metallic pink suede 4mm pressedglass rounds (G) 8 scarabaeus green 6mm crystal pearl rounds (H) 1 iridescent green 8×11mm pear-shaped crystal pearl drop Crystal 4 lb FireLine braided beading thread TOOLS

Scissors Size 11 beading needle FINISHED SIZE

19¼" (with 1¾" focal) Fig. 1: Stitching Rounds 1–4 of a small component

artist’s tip When stitching the components, always repeat the thread path through beads over the front of the rivoli to tighten the ring and secure the rivoli.

Fig. 2: Finishing a small component

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Fig. 3: Working Rounds 6 and 7 of a large component

BEADWORK

OCTOBER/NOVEMBER 2017

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2017

designer of the year artist’s tip Crystal bicones can occasionally have sharp edges and cut your thread. To avoid this, always snug your thread after exiting from a seed bead or other bead.

Fig. 4: Connecting the components

3) COMPONENT ASSEMBLY. Connect the

Connection 2: Weave the working thread of

components:

the previous large component through beads to exit from the F of Round 6 opposite the previous connection, spacing 4G at the top and bottom of the component between each connection. Repeat Connection 1, this time passing through the center A of one 3A set in Round 2 on 1 new small component, opposite its working thread (Fig. 4, red thread). Secure and trim the thread. Connection 3: Repeat Connection 1, using the working thread of the last component added and spacing 3G at the top and 5G at the bottom of the small component between each connection. Connection 4: Repeat Connection 2, spacing 3G at the top and 5G at the bottom of the large component between each connection. Connection 5: Repeat Connection 3. Connection 6: Repeat Connection 2. Secure and trim the working thread of the last small component added.

Connection 1: Use the working thread of

1 small component, exiting from the center A of one 3A set in Round 2, to string 2A, 1F, 1H, 1F, and 2A; pass through 1F of Round 6 on 1 large component (Fig. 4, orange thread). String 2A; pass back through the last 1F/1H/1F added. String 2A; pass through the last A exited on the small component (Fig. 4, blue thread). Repeat the thread path of this connection to reinforce. Secure and trim the thread.

Alternate Colorway Materials 3 g red bronze size 15° seed beads (A) 0.5 g starlight galvanized size 15° seed beads (B) 5 g 24K gold iris size 11° seed beads (C) 6 g matte metallic rusty brown size 8° seed beads (D) 56 topaz AB 3mm crystal bicones (E) 37 gold aurum 3mm crystal bicones (F) 2 foil-back tangerine 12mm crystal rivolis 2 foil-back topaz 12mm crystal rivolis 3 foil-back topaz glacier blue 14mm crystal rivolis 57 dark brown 4mm pressed-glass rounds (G) 8 matte dark brown 6mm pressed-glass rounds (H) 1 bright gold 8×11mm pear-shaped crystal pearl drop Smoke 4 lb FireLine braided beading thread

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4) DANGLE. Use circular peyote stitch and fringe to form the dangle: Link: Use 3' of thread to string 26C, leaving a 4" tail. Pass through the beads again to form a tight circle; use the working and tail threads to tie a square knot and pass through the first 2C strung (Fig. 5, orange thread). Work 13 peyote stitches with 1C in each stitch; repeat the thread path to reinforce and exit from the first C just added (Fig. 5, purple thread). Fringe: String 1F, 1G, the pearl drop (narrow end first), 1C, and 3B; pass back through the last 1C/drop/1G/1F added and pass through the last C exited on the link (Fig. 5, green thread). Weave through beads of the link to exit from the opposite C of Round 2 (Fig. 5, blue thread). Connection: Pass through the center B of the bottom-center 3B set in Round 7 on the center large component in the strand

of components and pass through the last C exited on the link; repeat the thread path multiple times to reinforce (Fig. 5, red thread). Secure and trim the threads. Set aside. 5) CLASP. Use circular and flat peyote stitches to make a beaded toggle clasp: Clasp Bar: Use 3' of thread to form a strip of peyote stitch 12 beads wide and 12 rows long. Fold the strip so that Rows 1 and 12 interlock like a zipper. Weave through the beads to form a seamless tube. Exiting from 1C at one end of the tube, string 1D and 1A and pass back through the D and the last C exited on the tube, then weave through beads to exit from 1C at the opposite end of the tube; repeat. Secure and trim the threads. Set aside. Clasp Loop: Use 18" of thread to repeat Step 4, Link, stringing 30C in the starting ring and working 15 peyote stitches in the third round. Secure and trim the threads. Set aside. 6) STRAPS. Use 6' of new thread to work 27 cubes of cubic right-angle weave, using D for the bottom and top and C for the sides of each cube, leaving a 14" tail. Don’t trim the threads. Set aside. Repeat this entire step for a second strap. 7) FINISH. Connect the straps and the clasp to the components: Strap Connection: Use the tail thread of 1 strap to string 2A; pass through the center A of the 3A set in Round 2 on 1 end small component, opposite the previous connection, spacing 4G at the top and bottom of the component between each connection. String 2A; pass through the last D exited on the strap and the next 2D (Fig. 6, green thread). Repeat from the beginning of this connection (Fig. 6, blue thread). Repeat the thread path of this connection to reinforce. Secure and trim the thread.

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

OPTIONS • USE EITHER OF THE COMPONENTS FOR A CLASP BUTTON AND ADJUST THE SIZE OF THE CLASP LOOP ACCORDINGLY. • EXPERIMENT WITH USING ONLY ONE COLOR OF BICONES AND ROUNDS. • USE A VARIETY OF ELEMENTS FROM THIS NECKLACE TO MAKE MATCHING EARRINGS OR A PENDANT, RING, OR CUFF LINKS. • ADJUST THE LENGTH OF THE STRAP FOR YOUR PERSONAL FIT BY INCREASING OR DECREASING THE NUMBER OF CUBES WORKED. • YOU CAN MAKE A STRAP USING TUBULAR PEYOTE OR HERRINGBONE STITCHES AND ONLY SIZE 11º SEED BEADS.

Fig. 5: Forming the dangle

Fig. 6: Attaching the strap and clasp

Clasp Connection: Use the working thread

AGNIESZKA WATTS is a jewelry designer and

of the same strap to string 1H and 5A; pass through 1C of Round 2 on the clasp loop. String 5A; pass back through the H and pass through the last D exited on the strap and the next 2D (Fig. 6, red thread). Repeat the thread path of this connection to reinforce. Secure and trim the thread. Repeat this entire step, connecting the second strap to the other end of the necklace and attaching the clasp bar to the other end of the strap via 2C at the center of the bar.

teacher. She resides in Lemont, Illinois, but also spends time living in her home country, Poland. She became an Illinois Artisan in 2014, and she is an associate instructor for Art Clay World in Oak Lawn, Illinois. Agnieszka is a member of the 2014–2017 Starman TrendSetters team. Contact her at [email protected], and visit her website, www.agnesse.weebly.com, and Etsy shop, www.agnesseartistry1.etsy.com.

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

RESOURCES Check your favorite bead retailer or contact: Seed beads and Swarovski crystal bicones: Out On A Whim, (800) 232-3111, www.whimbeads.com. Swarovski crystal rivolis and thread: Beyond Beadery, (800) 840-5548, www.beyond beadery.com. Pressed-glass rounds and kits: Agnesse Artistry 1, www.agnesseartistry1.etsy .com. Crystal pearl rounds and drop: Fire Mountain Gems and Beads, (800) 355- 2137, www.firemountaingems.com. ●

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OCTOBER/NOVEMBER 2017

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Champagne Serenade Earrings

EVELÍNA PALMONTOVÁ

Create these earrings made of circular peyote stitch, picots, crystals, and two-hole beads in soft hues that add vintage appeal.

Main Colorway

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SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

TECHNIQUES

Circular peyote stitch Picot PROJECT LEVEL }{{ MATERIALS

0.5 g antique bronze size 15° seed beads (A) 1.5 g bronze size 11° seed beads (B) 1 g starlight galvanized permanent-finish size 8° seed beads (C) 20 chalk champagne luster 5×3mm 2-hole Rullas (D) 6 chalk green pastel luster 6mm 2-hole diamond Silky beads (E) 16 crystal argent flare 3mm crystal bicones (F) 1 pair of stainless steel 12×18mm ear wires Crystal 6 lb FireLine braided beading thread TOOLS

Scissors Size 11 beading needle FINISHED SIZE

2 7⁄8"

1) EARRING. Use circular peyote stitch and picots to form the earring body: Round 1: Note: Take care to string the E faceup. Use 3' of thread to string 1E and d 1B, leaving a 4" tail, then string {1D and 1B} B} five times (Fig. 1, purple thread). String ring 1E and 1B, then string {1D and 1B} five times. Pass through the first (inside) hole of the first E in this round, the next B, and nd the first (inside) then second (outside) holes oles of the first D (Fig. 1, green thread). Note: You’ll posite now begin working in the opposite direction. Round 2: String 1C and 2B, pass through the second (outside) hole of the nearest E, and string 2B. String 1C and pass through the following D (outside hole); repeat four times (Fig. 1, blue thread). Repeat from the beginning of this round. Pass through the first 1C/2B of this round (Fig. 1, red thread). Round 3: String 5B; pass through the next 2B/1C of the previous round. String 4A and pass through the next C of the previous round; repeat four times. Pass through the next 2B (Fig. 2, purple thread). Repeat from the beginning of this round. Pass through the next 7B/1C/1D (outside then inside holes)/1B (Fig. 2, green thread).

Round d 4: String 3B, skip the E, and pass

through the next ext B, then weave throug through beads to exit from the B before the next n E ne (Fig. 2, blue thread); repeat. Pass th tthrough the first 2B of this round (Fig. 2, red thread). Center: String {1B and 1F} three times, then string 1B and pass through the mirror B of the previous round (Fig. 3, green thread); repeat. Pass through the first 1B/1F/1B/1F of this round (Fig. 3, blue thread). String 1F and pass through the mirror F; repeat. Weave through beads to exit from the center B of the second 5B set in Round 3 (Fig. 3, red thread).

Fig. 1: Stitching Rounds 1 and 2

Fig. 2: Forming Rounds 3 and 4

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Fig. 3: Adding the center

BEADWORK

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Champagne Serenade Earrings

Alternate Colorway Materials RED EARRINGS

0.5 g ruby frosted transparent size 15° seed beads (A) 1.5 g brick red galvanized permanentfinish size 11° seed beads (B) 1 g silver galvanized Duracoat size 8° seed beads (C) 20 dark bronze 5×3mm 2-hole Rullas (D) 6 light coral pastel 6mm 2-hole diamond Silky beads (E) 16 crystal argent flare 3mm crystal bicones (F) 1 pair of stainless steel 12×18mm ear wires Crystal 6 lb FireLine braided beading thread

Fig. 4: Attaching the ear wire

PURPLE EARRINGS

0.5 g metallic purple iris size 15° seed beads (A) 1.5 g metallic purple iris size 11° seed beads (B) 1 g silver galvanized Duracoat size 8° seed beads (C) 20 lavender travertine opaque 5×3mm 2-hole Rullas (D) 6 light rose pastel 6mm 2-hole diamond Silky beads (E) 16 crystal argent flare 3mm crystal bicones (F) 1 pair of stainless steel 12×18mm ear wires Crystal 6 lb FireLine braided beading thread PURPLE BRACELET

There is no material A in this variation. 4 g metallic purple iris size 11° seed beads (B) 3 g silver galvanized Duracoat size 8° seed beads (C) 50 lavender travertine opaque 5×3mm 2-hole Rullas (D) 10 light rose pastel 6mm 2-hole diamond Silky beads (E) 40 crystal argent flare 3mm crystal bicones (F) 1 silver-plated 12mm toggle clasp Crystal 6 lb FireLine braided beading thread

2)) EAR WIRE. WIRE Add the h ear wire i to the h b body d

of the earring: Pass 1: Note: Take care to string the E faceup. String 3B, 1E, and 3B; pass through the last B exited and the first 3B just added (Fig. 4, purple thread). Pass 2: String 4B; pass through the second (top) hole of the E. String 4B; pass through the first (bottom) hole of the E and the first 4B just added (Fig. 4, green thread). Pass 3: String 5B; pass through the next 4B set in Pass 2 and weave through all the B of this step, exiting from the third B just added (Fig. 4, blue thread).

Ear Wire: Note: Take care that the front of E

the ear wire faces the same direction as the front of the E. String 3B, 1 ear wire, and 3B and pass through the last B exited (Fig. 4, red thread); repeat the thread path to reinforce. 3) Repeat Steps 1 and 2 for a second earring. EVELÍNA PALMONTOVÁ is a proud mother of two children and works as a dental assistant. She did Gobelin embroidery for thirteen years but now fills her free time with making beaded jewelry. Contact Evelína at www.svetrucnych prac.sk. RESOURCES Check your favorite bead retailer or contact: All materials: Fire Mountain Gems and Beads, (800) 355-2137, www.firemountaingems.com. re  ●

OPTION CONNECT COMPONENTS FOR A MATCHING BRACELET.

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SEE P. 86 FOR HELPFUL TECHNIQUE INF INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Sweet as Sugar Bracelet

LINDA ANDERSON

This sweet and sparkly pastel bracelet is a piece of cake to braid, using basic kumihimo and simple wireworking.

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

BEADWORK

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39

Sweet as Sugar Bracelet

TECHNIQUES

Kumihimo braiding Wireworking

1) PREPARE THE CORDS. Cut 8 lengths of

cord, each 3' long. Gather the cords and tie them together at one end with an overhand knot, leaving ¼" tails.

PROJECT LEVEL }{{ MATERIALS

44 peach 6×4mm crystal rondelles 44 blue 6×4mm crystal rondelles 44 brown 6×4mm crystal rondelles 44 pink 6×4mm crystal rondelles 2 silver 5×3mm hexagon spacers 2 antiqued silver 22×18mm trumpet flower cones 1 silver 6×17mm S-hook clasp 1 silver 4mm jump ring 1 silver 6mm jump ring Light brown S-Lon twisted nylon cord 6" of silver 20-gauge wire Industrial adhesive TOOLS

Scissors 8 bobbins Center weight Round kumihimo disk Wire cutters Round-nose pliers 2 pairs of chain- or flat-nose pliers FINISHED SIZE

9 1⁄8"

Note: Due to the bracelet’s thick diameter, the circumference is about 8" when clasped.

Alternate Colorway Materials 88 black 6×4mm crystal rondelles 88 red 6×4mm crystal rondelles 2 gunmetal 8mm cord ends 1 gunmetal 15mm toggle clasp 2 gunmetal 4mm jump rings Black S-Lon twisted nylon cord Red S-Lon twisted nylon cord 6" of gunmetal 20-gauge wire Industrial adhesive

2) STRING THE BEADS. Use 1 cord to

string 22 peach crystals, then form an overhand knot 6" from the end of the cord and wrap the end of the cord around a bobbin; repeat using 1 new cord. Repeat from the beginning of this step three times using the remaining crystals for 2 cords with blue crystals, 2 cords with brown crystals, and 2 cords with pink crystals. 3) PLACE THE CORDS. Clip the weight

onto the overhand knot in Step 1 and hang it down through the center hole of the disk. Place 1 peach crystal cord in each of the following notches: 1 and 8. Place 1 blue crystal cord in each of the following notches: 9 and 16. Place 1 brown crystal cord in each of the following notches: 17 and 24. Place 1 pink crystal cord in each of the following notches: 25 and 32.

5) ENDS. Use wireworking to finish the ends: Prepare: Use industrial adhesive to coat the

braided cord without beads at one end of the braid, the overhand knot, and the cord ends; let dry. Wire: Use one 3" piece of wire to wrap snugly around the glued end of the cord, next to the beaded braid, for about ¼" (Fig. 1). Slide 1 cone (wide end first) over the end of the braid and the wire so that only the wire tail exits from the narrow end of the cone. Use the wire to string 1 spacer. Taking care that the cone is snug against the beaded braid, form a wrapped loop at the tip of the cone (Fig. 2). Attach the 6mm jump ring to the loop. Repeat this entire step at the other end of the braid, using the 4mm jump ring to attach the S-hook clasp to the loop.

4) BRAIDING. Braid the rope: End 1: Work 1" of braiding (see Kumihimo

Braiding 101, page 41) without beads, ending where the cords began on each side of the 4 numbered dots. Center: Braid all the beads as in Kumihimo Braiding 101, keeping your tension taut and even. End 2: Repeat End 1. Remove the weight from the braid, the bobbins from the cords, and the braid from the disk. Gather all 8 cord ends and tie an overhand knot as close as possible to the end of the braid. Trim the ends of the cords about ¼" from the overhand knot.

OPTION USE 2 COLORS OF CRYSTALS INSTEAD OF 4. PLACE 4 CORDS WITH THE SAME COLOR CRYSTALS IN SLOTS 1, 16, 17, AND 32, THEN PLACE 4 CORDS WITH THE OTHER COLOR CRYSTALS IN SLOTS 8, 9, 24, AND 25.

Fig. 2: Finishing the end

Fig. 1: Starting the end

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SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

LINDA ANDERSON is a beading teacher and

artist’s tips

designer who has been creating since 2011. She loves learning new techniques, and her work has been published several times. Find her on social media with the username CherryOnTopDesign, visit her blog, www.fromthebeadboard.blogspot .com, or email her at [email protected].

❯ Using a center weight helps to tighten the braid. For a loose braid, don’t use a center weight. For an extra-tight braid, use a center weight and stack two disks together to use as one; this provides extra tension. ❯ If you don’t have a cord that matches your beads, use a neutral color. If your beads are darker, use a black cord; if your beads are lighter, use a tan cord.

RESOURCES Check your favorite bead retailer or contact: Crystal rondelles and cones: Bead Party, www.beadparty.etsy.com. Spacers, jump rings, wire, and E-6000 adhesive: Rings & Things, (800) 366-2156, www.rings-things .com. Cord: Artbeads.com, (866) 715-2323. Clasp: Goody Beads, (952) 938-2324, www.goodybeads.com. ●

❯ You can use more than one color cord in the same project. ❯ If you need to take a break in the middle of braiding, stop with the right cord down, before bringing the left cord up. You’ll be able to pick up right where you left off.

Kumihimo Braiding 101 29

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Fig. b: Moving the first two cords. The dotted green line shows the cord’s movement from its starting point to its new position. New positions also marked by black arrows.

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SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Fig. c: Moving the second two cords after making the quarter turn. The dotted green line shows the cord’s movement from its starting point to its new position. After the next quarter turn, number 16 will be at the farthest (top) position.

6

5. When making beaded braids, slide each bead to the center hole and tuck it firmly under the cord that crosses to the right or left to lock the bead in place. Do not allow the bead to pop up.

Fig. a: Load 1 cord into each of these slots: 7/8, 8/9, 15/16, 16/17 (blue thread), 23/24, 24/25, 31/32, and 32/1 (red thread).

29

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4. Using the cords that are now the farthest and closest to you after the turn, repeat Steps 2 and 3 until the braid is the desired length.

3

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3. Move the bottom left cord between notches 8 and 9 up to the notch between 22 and 23. Move the top right cord between notches 24 and 25 down to the notch between 6 and 7 (Fig. c). Rotate the disk one-quarter turn clockwise.

2

4

2. Move the bottom left cord between notches 16 and 17 up to the notch between 30 and 31. Move the top right cord between notches 32 and 1 down to the notch between 14 and 15 (Fig. b). Rotate the disk one-quarter turn clockwise so number 24 is now at the farthest (top) position where number 32 used to be (shown at the top of Fig. c).

1

28

1. Hold the disk parallel to the floor with number 32 held away from you. Tuck the cords into the slots around the disk and place the wire/knot/button through the center hole (Fig. a). Add a weight to the wire/ knot/button below the disk to maintain correct tension. The braid will form at the center hole, extending below the disk as you work. Do not allow the cords to tangle, and keep the weight suspended.

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31

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Poire Verte Necklace

JENNIFER & SUSAN SCHWARTZENBERGER

Poire verte, meaning “green pear” in French, is the name given to this jaw-dropping necklace in honor of the bezeled fancy stones connected for the focal.

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SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

TECHNIQUES

Tubular right-angle weave Tubular and circular peyote stitch Square stitch Cubic right-angle weave PROJECT LEVEL }}} MATERIALS

1.5 g champagne galvanized size 15° seed beads (A) 3.5 g seafoam-lined topaz size 15° seed beads (B) 10 g champagne galvanized size 11° seed beads (C) 5 g champagne galvanized size 8° seed beads (D) 6 foil-back crystal 13×18mm pear-shaped crystal fancy stones 1 foil-back crystal 20×30mm pear-shaped crystal fancy stone 107 seafoam halo 3mm fire-polished rounds (E) 40 seafoam halo 4mm fire-polished rounds (F) 3 seafoam halo 6mm fire-polished rounds (G) 2 gold 4mm wireguards 1 gold 8×15mm lobster clasp 2 gold 4×7mm oval jump rings Beige One-G nylon beading thread TOOLS

Scissors Size 11 beading needle 2 pairs of chain- or flat-nose pliers FINISHED SIZE

20 ½" (3 ½" focal)

1) SMALL PEARS. Use tubular right-angle

weave and peyote stitch to bezel small pear stones: Round 1: Use 3' of thread to string 4C, leaving a 4" tail. Pass through the beads again to form a tight circle; use the working and tail threads to tie a square knot and pass through the first 3C strung. String 3C and pass through the last C exited in the previous unit and the first 2C of this unit; repeat fourteen times (Fig. 1, turquoise thread). String 1C; pass through the nearest C of the first unit. String 1C; pass through the last C exited in the previous unit and the first C just added (Fig. 1, orange thread). Note: This creates a total of 17 units. Round 2: String 1C and pass through the C at the top of the next unit in Round 1; repeat fifteen times. Pass through the C at the top of the next unit in Round 1. Note: This decrease will form the point of the front of the bezel. Note: Unless otherwise noted, step up for this and subsequent rounds by passing through the first bead added in the current round (Fig. 1, purple thread). Round 3: Work 16 peyote stitches with 1A in each stitch (Fig. 1, green thread). Round 4: Work 16 peyote stitches with 1B in each stitch. Repeat the thread path to reinforce, snugging the beads; don’t step up (Fig. 1, blue thread). Weave through beads, following the red thread path in Fig. 1, to exit from the C at the bottom of the next right-angle-weave unit in Round 1 (Fig. 1, red thread). Note: You’ll now begin working in the opposite direction. Flip the beadwork over.

Back of large pear

Round 5: Work 2 peyote stitches with 1C in

each stitch. Pass through the C at the bottom of the next unit in Round 1. Note: This decrease will form the point of the back of the bezel and should align with the decrease formed in Round 2. Work 14  peyote stitches with 1C in each stitch. Place one 13×18mm fancy stone facedown into the beadwork so that the front touches Round 4 and the point of the stone sits in the point in the bezel (Fig. 2, green thread). Round 6: Repeat Round 3 (Fig. 2, blue thread). Round 7: Repeat Round 4 (Fig. 2, red thread) and weave through beads to exit from the top C of 1 right-angle-weave unit in Round 1, at the front of the bezel. Round 8: String 1B and pass through the C at the top of the next unit in Round 1 to “stitch in the ditch”; repeat sixteen times. Secure and trim the threads. Set aside. Repeat this entire step five times for a total of 6 small pears.

artists’ tips ❯ Seed beads can vary slightly in size depending on manufacturers and coatings, so you may need to adjust the number of units in Round 1 of the bezels to fit the stones. ❯ Always err on making the starting round too large rather than too small; you can add an extra round to the bezel to secure the stone, but a too-small starting round will never sit properly around its edge.

Fig. 1: Stitching Rounds 1–4 of a small pear

Fig. 2: Working Rounds 5–7 of a small pear

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

BEADWORK

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Poire Verte Necklace

2) LARGE PEAR. Use tubular right-angle weave and peyote stitch to form the large pear: Rounds 1–8: Repeat Step 1, this time forming a ring of 28 total units in Round 1, adjusting the following rounds accordingly, and using the 20×30mm fancy stone. Don’t trim the threads. Pass down through the nearest C of Round 1 that connects 2 right-angle-weave units. Round 9: String 1E and pass down through the next connecting C between 2 rightangle-weave units of Round 1 (Fig. 3); repeat twenty-six times, skipping the unit at the point of the bezel. Note: The E of thiss round might not sit straight; this will be corrected in Step 4. Secure and trim the threads. Set aside. 3) SMALL PEARS ASSEMBLY. Connect the small pears to form the top of the focal: Pears 1 and 2: Align 2 small pears faceup on n your work surface with the points facing each other. Start 3' of new thread that exits from the C at the bottom of 1 unit in Round 1 on one of the small pears and use square stitch to connect the pears via mirror C in Round 1 (Fig. 4, turquoise thread). Pear 3: Align 1 new small pear faceup on your work surface according to Fig. 4. Weave the working thread through beads and connect the new small pear to the previous small pears in the same manner (Fig. 4, pink threads). Pears 4–6: Repeat Pear 3 three times (Fig. 4, orange, purple, then green threads). Secure and trim the threads. 4) LARGE PEAR CONNECTION. Start 3' of

new thread that exits from the bottom C of the center unit at the bottom of the sixth small pear added in Step 3. String 1G; pass through 1C at the side of the unit at the point of the large pear that isn’t embellished with E, pass back through the G, and pass through the last C exited on the small pear. Pass through the G and the opposite C at the side of the unit at the point of the large pear that isn’t embellished with E, pass back through the G, and pass through the last C exited on the pear (Fig. 4, blue thread). Repeat the thread path of this step to reinforce. Pass through the G, the first C connected to in this step, and the first E of Round 9 in the large pear. Pass through the 27E of Round 9 in the large pear (Fig. 4, red thread), then weave through beads to exit from the first E; repeat the thread path to reinforce. Secure and trim the threads.

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5

4 3

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Fig. 3: Adding Round 9 of a large pear

Fig. 4: Assembling the pears

5) STRAPS. Use cubic right-angle weave

Cube 1, Face 4 and Top: String 1C; pass

and circular peyote stitch to make the straps: Cube 1, Bottom: Use 5' of thread to string 4C, leaving a 12" tail. Pass through the beads again to form a tight circle; use the working and tail threads to tie a square knot and pass through the first C strung (Fig. 5, orange thread). String 1B and pass through the next C; repeat three times (Fig. 5, purple thread). Cube 1, Face 1: String 1D, 1C, and 1D; pass through the last C exited and the next C at the bottom of this cube (Fig. 5, green thread). Note: Take care not to pass through the B. Cube 1, Face 2: String 1D and 1C; pass down through the nearest D of the previous face and pass through the last C exited at the bottom of this cube and the next C (Fig. 5, blue thread). Cube 1, Face 3: Repeat Cube 1, Face 2. Pass up through the nearest D of the first face in this cube (Fig. 5, red thread).

down through the nearest D of the previous face, pass through the last C exited at the bottom of this cube, pass up through the next D of the first face in this cube, and pass through the last C added (Fig. 6, blue thread). String 1B and pass through the next C at the top of this cube; repeat three times (Fig. 6, red thread). Cube 2, Faces 1–4 and Top: Note: The beads at the top of the previous cube will act as the bottom of this cube. Repeat Cube 1, Faces 1–4 and Top. Cube 3: Repeat Cube 2. Cube 4: Repeat Cube 2, using E for D. Cube 5: Repeat Cube 2, using F for D. Cube 6: Repeat Cube 4. Cubes 7–13: Repeat Cube 2 seven times. Cubes 14–49: Repeat Cubes 4–13 three times. Repeat Cubes 4–6. Repeat Cube 2 three times. Don’t trim the threads. Set aside. Repeat this entire step to form a second strap.

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Alternate Colorway Materials 1.5 g antique beige Ceylon size 15° seed beads (A) 3.5 g fuchsia-lined purple size 15° seed beads (B) 10 g antique beige Ceylon size 11° seed beads (C) 5 g antique beige Ceylon size 8° seed beads (D) 6 foil-back amethyst 13×18mm pearshaped crystal fancy stones 1 foil-back amethyst 20×30mm pearshaped crystal fancy stone 107 cream Picasso 3mm fire-polished rounds (E) 40 cream Picasso 4mm fire-polished rounds (F) 3 cream Picasso 6mm fire-polished rounds (G) 2 gold 4mm wireguards 1 gold 8×15mm lobster clasp 2 gold 4×7mm oval jump rings Beige One-G nylon beading thread

Fig. 5: Starting Cube 1 of a strap

Fig. 6: Finishing Cube 1 of a strap

6) FINISH. Connect the straps to the h ffocall

and attach the clasp: Strap Connection: Use the tail thread of 1 strap, exiting from 1C of Cube 1, Bottom, to string 1G and 1D; pass through the bottom C of 1 unit at the top of one topcorner small pear in the focal. Pass back through the last 1D/1G added and pass through the last C exited on the strap and the next 2C. Repeat the thread path of this connection to reinforce. Secure and trim the thread. Clasp: Use the working thread of the previous strap, exiting from 1B, to string 1 wireguard and pass through the opposite B, then pass back through the wireguard and pass through the last B exited; repeat the thread path to reinforce. Secure and trim the thread. Attach 1 jump ring to the previous wireguard. Repeat this entire step, using the remaining jump ring to attach the lobster clasp to the wireguard.

SUSAN SCHWARTZENBERGER h has b been creating wearable art using beads, yarn, and fabric for most of her life, and she has enjoyed teaching those skills to others of all ages and proficiency levels. In her semiretirement, Susan enjoys gardening, traveling, political activism, and discovering new members for her tribe of fabulous friends. Her daughter, JENNIFER SCHWARTZENBERGER, follows in her footsteps, and together they make a fabulous design team and have been published numerous times in Beadwork and other publications. Contact them at [email protected]. RESOURCES Check your favorite bead retailer or contact: Swarovski 13×18mm (Article #4320) and 20×30mm (Article #4327) crystal fancy stones: Fusion Beads, (888) 781-3559, www.fusionbeads.com. All other materials: Out On A Whim, (800) 232-3111, www.whimbeads.com. ●

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

artists’ tips ❯ Use medium tension throughout this project, except for the last round on each side of the bezel, which you want to make sure is firmly cinched in. If your tension is still too loose, repeat the thread path of Rounds 4 and 7. ❯ To make the necklace easier to put on, attach the lobster clap to the same side of the strap (when worn) as your dominant hand. ❯ When assembling the focal, don’t worry about connecting each bezel at the same exact spot. The goal is to make it look good overall, so assemble the focal with that in mind. Repeat the thread path of each connection to ensure secure connections.

BEADWORK

OCTOBER/NOVEMBER 2017

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Art Deco-dence Cuff

LESLIE VENTUROSO

Use bead embroidery, tubular right-angle weave, and peyote stitch to bezel a dramatic crystal fancy stone, then form Art Deco–inspired bands with cubic right-angle weave and picots.

Main Colorway

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SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

TECHNIQUES

Backstitch bead embroidery Tubular right-angle weave variation Tubular peyote stitch Brick-stitch edging Cubic right-angle weave Picot PROJECT LEVEL }}} MATERIALS

1.5 g 24k gold-plated size 15° Czech Charlotte seed beads (A) 2.5 g bronze-lined black diamond size 15° Japanese seed beads (B) 15.5 g mix of bronze-lined black diamond and metallic tarnished silver size 11° Japanese seed beads (C) 1 foil-back Montana 37×25.5mm octagon crystal fancy stone 1 gold 37×25.5mm octagon crystal fancy stone setting 1 silver 26×12mm 4-strand tube clasp 3 × 2" piece of camel Ultrasuede 3 × 2" piece of white beading foundation Beige One-G or size D K.O. nylon beading thread Microcrystalline wax Clear craft adhesive TOOLS

Scissors 1 pair of bent-nose pliers or a dowel Toothpick Size 12 or 13 beading needle FINISHED SIZE

7 ½"

1) BEZEL. Use backstitch bead embroidery, a variation of tubular right-angle weave, and tubular peyote stitch to bezel the stone, then finish the edges with brick stitch: Prepare: Place the fancy stone faceup in the stone setting and use pliers or a dowel to secure the prongs of the setting over the front of the stone. Use the toothpick to apply a small amount of adhesive to the bottom of the setting and adhere it to the center of the beading foundation; let dry. For additional security, sew the holes in the setting to the beading foundation, reinforcing each stitch multiple times. Round 1: Tie a knot at the end of 3' of waxed thread. Pass up through the foundation from back to front, exiting up through the foundation next to the edge of the stone setting. String 4C, lay them down alongside the stone setting, and pass down through the foundation next to the last C added. Pass up through the foundation just before the last 2C added and pass through the next 2C (Fig. 1, turquoise thread). String 2C, lay them down alongside the stone setting, pass down through the foundation next to the last C added, then pass up through the foundation just before the last C added and pass through the C (Fig. 1, pink thread); repeat, continuing in backstitch bead embroidery around the stone setting, taking care to end with a total even number of beads. Pass through the first C of this round (Fig. 1, orange thread).

Fig. 1: Stitching Rounds 1 and 2 of the bezel

artist’s tips ❯ If you use pliers to secure the setting’s prongs over the crystal, take care not to scratch the crystal. ❯ Stitch Tiers 1–4 of each band, then check the fit before adding the fifth tier to each side. You can add more cubes in the fifth tier if needed to increase the size, keeping in mind the width of the clasp.

Round 2: String 3C; pass through the last C

exited and the next 2C of Round 1 (Fig. 1, purple thread). String 2C and pass down through the first C of the previous unit, then pass through the last C exited in Round 1 and the next 2C (Fig. 1, green thread); repeat around the stone, leaving 1 space to join the first and last units. Pass up through the nearest C of the first unit in this round (Fig. 1, blue thread). String 1C; pass down through the nearest C of the last unit in this round, the last C exited in Round 1, the nearest C of the first unit in this round, and the last C just added (Fig. 1, red thread). Round 3: String 3C; pass through the last C exited and the first C just added (Fig. 2, turquoise thread). *String 2C; pass through the C at the top of the next unit in the previous round, the last C exited in the previous unit, the 2C just added, and the C at the top of the next unit in the previous round (Fig. 2, orange thread). String 2C; pass through the last C exited in the previous unit, the last C exited in the previous round, and the first C just added (Fig. 2, purple thread). Repeat from * around the stone, joining the first and last units of this round as in Round 2 (Fig. 2, green thread). Round 4: String 1B and pass through the top C of the next unit in the previous round; repeat around the stone and exit from the first B of this round (Fig. 2, blue thread). Round 5: String 1A and pass through the next B of the previous round; repeat around the stone (Fig. 2, red thread). Repeat the thread path of this round to reinforce. Secure and trim the threads.

Fig. 2: Finishing Rounds 3–5 of the bezel

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

BEADWORK

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Art Deco-dence Cuff

Alternate Colorway Materials

1

2

4

3

5 6 7

BRONZE IRIS

1.5 g blue iris size 15° Czech Charlotte seed beads (A) 2.5 g bronze iris size 13° Czech Charlotte seed beads (B) 15.5 g bronze iris size 11° Czech one-cut seed beads (C) 1 foil-back crystal 37×25.5mm octagon crystal fancy stone 1 gold 37×25.5mm octagon crystal fancy stone setting 1 antiqued brass 26×12mm 3-strand tube clasp 3 × 2" piece of camel Ultrasuede 3 × 2" piece of white beading foundation Black One-G or size D K.O. nylon beading thread Microcrystalline wax Clear craft adhesive

8 9 10 1111 122

19

133

18

17

16

144 1155

Fig. 4: Embellishing a tier

Fig. 3: Adding the edging to the bezel

SILVER

1.5 g 24k gold-plated size 15° Czech Charlotte seed beads (A) 2.5 g silver size 13° Czech Charlotte seed beads (B) 15.5 g silver marcasite size 11° Czech onecut seed beads (C) 1 foil-back jet hematite 37×25.5mm octagon crystal fancy stone 1 gold 37×25.5mm octagon crystal fancy stone setting 1 silver 26×12mm 4-strand tube clasp 3 × 2" piece of black Ultrasuede 3 × 2" piece of black beading foundation Black One-G or size D K.O. nylon beading thread Microcrystalline wax Clear craft adhesive

artist’s tips ❯ Create a snug—almost tight—fit when determining the number of cubes used for the band since the stitches will stretch a bit with wear. ❯ To increase the rigidity of your CRAW cubes, use microcrystalline wax on your thread. Don’t double your thread for the tiers because it will be too difficult to embellish them. ❯ You can use 6 lb FireLine braided beading thread if preferred. Nylon thread was used in this project to better match the color of the beads.

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Backing: Trim the excess beading founda-

tion flush with Round 1, taking care to avoid cutting any stitches. Use adhesive to connect the back of the beading foundation to the Ultrasuede, wrong sides together; let dry. Trim the Ultrasuede flush with the foundation, taking care not to cut any stitches. Edging, Round 1: Tie a knot at the end of 3' of waxed thread. Pass down through the Ultrasuede and foundation from front to back, near the edge. String 2C; stitch through the edge of the foundation and Ultrasuede from front to back, one bead’s width from where the working thread last exited. Pass back up through the second C just added and pull tight to form the first brick stitch (Fig. 3, purple thread). String 1C, stitch through the foundation and Ultrasuede from front to back, one bead’s width from the last stitch, and pass back through the C just added (Fig. 3, green thread); repeat around to connect the foundation and Ultrasuede and to form the beaded edging. Pass down through the first C in this round, stitch through the foundation and Ultrasuede from front to back, and pass up through the same C (Fig. 3, blue thread). Edging, Round 2: String 1A, pass down through the last C exited, and pass up through the next C (Fig. 3, red thread); repeat around to embellish the previous round. Secure and trim the threads. Set aside.

2) BAND 1, TIER 1. Form the first tier of the band using cubic right-angle weave and picots: Cubes 1–19: Start 3' of waxed thread that exits from 1C of Round 2 at 1 corner of the bezel. Using the beads of the current unit in Round 2 as the bottom, use cubic rightangle weave and C to stitch 5 cubes (Cubes 1–5). Exit from the fifth cube just added at a ninety-degree angle toward the nearest corner of the bezel along the short edge. Work 10 more cubes (Cubes 6–15). Exit from the tenth cube just added at a ninety-degree angle toward the bezel. Work 3 more cubes (Cubes 16–18). Form one more cube (Cube 19) that attaches to the mirror unit of Round 2 at the corner of the bezel (see Fig. 4). Weave through beads to exit from the top C of Round 2 in the last unit exited on the bezel, toward the beadwork. Front, Inside Embellishment: String 1B and pass through the C of the next cube at the inside of the tier; repeat sixteen times, skipping the corner cubes. String 1B; pass through the top C of the nearest unit of Round 2 on the bezel (Fig. 4, turquoise thread).

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Front, Outside Embellishment: String 1A

6) CLASP. Start 2' of waxed thread on

and pass through the C of the next cube at the outside of the tier; repeat four times (Fig. 4, orange thread). String 3A; pass through the next C (Fig. 4, purple thread). String 1A and pass through the C of the next cube at the outside of the tier; repeat nine times (Fig. 4, green thread). String 3A; pass through the next C (Fig. 4, blue thread). String 1A and pass through the C of the next cube at the outside of the tier; repeat three times. String 1A; pass through the top C of the nearest unit of Round 2 on the bezel (Fig. 4, red thread). Weave through beads to exit from the bottom C of the current unit in Round 2, toward the beadwork. Flip the beadwork over. Back Embellishments: Repeat Front, Inside and Outside Embellishments, using B for A and adding only 1 bead in the corners on the outside embellishment instead of 3. Secure and trim the threads.

one end of the long edge on the fifth tier in 1 band. Weave through beads to exit from the bottom C of the outside-edge face of the second cube. String 3C and the end loop of one half of the clasp and pass through the bottom C in the outside-edge face of the next cube and the following 1B/1C (Fig. 5, blue thread); repeat three times, stringing each subsequent loop of the clasp (Fig. 5, red thread). Repeat the thread path of this step multiple times to reinforce. Secure and trim the threads. Repeat this entire step at the other end of the bracelet, using the second half of the clasp and taking care that the clasp is positioned to close properly.

3) BAND 1, TIERS 2–4. Repeat Band 1, Tier 1 three times, starting and finishing each new tier off of the second cubes in from the ends of the long edge on the previous tier (Cubes 6 and 14). 4) BAND 1, TIER 5. Repeat Band 1, Tier 1, starting and finishing this tier off of the second cubes in from the ends of the long edge on the previous tier and adding 2 cubes in the first edge, 8 cubes in the second edge, and finishing the last edge by connecting to the previous tier. Secure and trim the threads.

LESLIE VENTUROSO has been beading since 2000 and has never met a bead she didn’t like! She shares her passion for beadwork as an instructor and designer who specializes in bead weaving and bead-embroidery techniques in southern Florida. Contact Leslie at www.leslieventuroso.etsy.com. RESOURCES Check your favorite bead retailer or contact: Charlotte seed beads, clasp, Ultrasuede, beading foundation, wax, and E-6000 adhesive: Fusion Beads, (888) 781-3559, www.fusionbeads.com. Seed beads: Bobby Bead, (888) 900-2323, www.bobbybead.com. Swarovski crystal fancy stone (Article #4627): Artbeads.com, (866) 715-2323. Swarovski crystal fancy stone setting (Article #14904): Dreamtime Creations, (866) 874-6748, www.dream timecreations.com. ●

5) BAND 2. Repeat Steps 2–4 on the other end of the bezel.

Fig. 5: Attaching the clasp

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

BEADWORK

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Petite Couronne Pendant

ALICE COELHO

This vibrant pendant uses a variation of right-angle weave, circular peyote stitch, SuperDuos, and O beads to create what looks like a little wreath.

Main Colorway

1) FRONT LAYER. Use a variation of right-

angle weave to form the front layer of the pendant: Unit 1: Use 5' of 10 lb thread to string 1D; pass through the second (inside) hole of the D, leaving a 6" tail. String 7D; pass through the last D (inside hole) exited and the first (inside) holes of the first 5D just added. Pass through the second (outside) hole of the last D exited (Fig. 1, black thread). String the jump ring; pass through the next D (outside then inside holes) and the next 3D (inside holes). Pass through the outside hole of the last D exited (Fig. 1, purple thread). Link 1: String 1E; pass through the next D (outside then inside holes) of the previous unit, the following D (inside then outside

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holes) of the previous unit, and the E (first then second holes) just added (Fig. 1, green thread). Unit 2: String 1D; pass through the second (inside) hole. String 1D; pass through the second (outside) hole, the last E (second hole) exited, the first D (outside then inside holes) of this unit, and the next D (inside hole) (Fig. 1, blue thread). String 6D; pass through the first 2D (inside holes) of this unit and the first (inside) holes of the first 4D just added. Pass through the second (outside) hole of the last D exited (Fig. 1, red thread). Links 2–8: Repeat Link 1 and Unit 2 six times. Repeat Link 1. Connection: Form the beadwork into a circle with the jump ring at the outside

edge of the beadwork and the tail thread at the inside edge. Pass down through the outside hole of the third D strung in Unit 1. Pass through the inside hole of the last D exited, the next D (inside then outside holes), the E (second hole) of Link 8, the next D (outside then inside holes), and the next 7D (inside holes). Pass through the outside hole of the last D exited (Fig. 2, blue thread). Inside Edge Embellishment: String 1A and pass through the next D (outside hole) of this unit, then string 1F and pass through the nearest D (outside hole) of the next unit (Fig. 2, red thread); repeat seven times. Repeat the thread path of this embellishment to reinforce. Secure and trim the threads.

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

TECHNIQUES

Right-angle weave variation Circular peyote stitch PROJECT LEVEL }}{ MATERIALS

1 g silver-lined dark pink opal size 11° seed beads (A) 3 g silver-lined bright royal purple transparent size 11° cylinder beads (B) 0.5 g metallic lava red 3.8×1mm O beads (C) 64 yellow sun gold shine opaque 5×2.5mm 2-hole SuperDuos (D) 8 metallic purple suede 5×2.5mm 2-hole SuperDuos (E) 8 metallic purple suede 4mm fire-polished rounds (F) 1 gold 8mm soldered jump ring Smoke 6 lb FireLine braided beading thread Smoke 10 lb FireLine braided beading thread

2) BACK LAYER. Use circular peyote stitch to form the back of the pendant: Rounds 1 and 2: Use 6' of 6 lb thread to string 64B, leaving a 6" tail. Pass through all the beads again to form a tight circle and pass through the first 2B (Fig. 3, yellow thread). Round 3: String 1B, skip 1B of the previous rounds, and pass through the following B; repeat thirty-one times. Note: Step up for this and subsequent rounds by passing through the first bead added in the current rounds (Fig. 3, turquoise thread). Round 4: Work 3 peyote stitches with 1B in each stitch, then work 1 peyote stitch with 2B; repeat seven times (Fig. 3, orange thread).

Round 5: Work 3 peyote stitches with 1B

in each stitch. String 1B; pass through the next B of the previous round. Work 1 peyote stitch with 1B. Repeat from the beginning of this round seven times (Fig. 3, green thread). Round 6: Work 40 peyote stitches with 1B in each stitch (Fig. 3, blue thread). Round 7: Work 2 peyote stitches with 1B in each stitch. Work 1 peyote stitch with 2B. Work 2 peyote stitches with 1B in each stitch. Repeat from the beginning of this round seven times (Fig. 3, red thread).

TOOLS

Scissors Size 12 beading needle FINISHED SIZE

2"

Fig. 1: Stitching Unit 1, Link 1, and Unit 2 of the front layer

Fig. 2: Joining the ends of the front layer and starting the inside edge embellishment

artist’s tips ❯ You can use 6 lb FireLine to stitch the front layer, but the 10 lb (thicker) thread makes the beadwork sturdier. ❯ Take care that the center of each unit in the front layer is tight; otherwise, the O beads added in the back layer won’t sit on top of the units. ❯ To make it easier to navigate the holes of the beads, you can bend your needle into a curve; just be careful not to break it.

Fig. 3: Working Rounds 1–7 of the back layer

❯ Don’t forget to step up after each round in the back layer.

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

BEADWORK

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51

Petite Couronne Pendant Round 8: Note: This round will connect the

Round 9: Note: You’ll only stitch through

center of each unit in the front layer to the outside circumference of the back layer. Use the working thread of the back layer to work 2 peyote stitches with 1B in each stitch. String 1A; pass through the next B of the previous round. Work 2 peyote stitches with 1B in each stitch. Pass up through the center of Unit 1 in the front layer (Fig. 4, blue thread). String 2A, 1C, and 1A; skip the last A just added and pass back through the next 1C/2A and the center of the last unit exited in the front layer. Pass through the next B of Round 7 (Fig. 4, red thread). Repeat from the beginning of this round seven times, stringing each subsequent unit of the front layer. Note: Each unit of the front layer will sit over one flat edge of the back layer (not over the corners). Flip the beadwork over.

beads of the back layer in this round. Work 1 peyote stitch with 1B. Work 2 peyote stitches with 1A in each stitch. Work 1 peyote stich with 1B. Work 1 peyote stitch with 2A (Fig. 5, orange thread; back of beadwork shown). Repeat from the beginning of this round seven times. Weave through beads to exit from the second B of this round (directly before Unit 1 of the front layer with the jump ring) (Fig. 5, green thread). Bail: String 7A; pass through hrough the jump ring and the next B of Round 9 (Fig. 5, blue thread). Weave through rough beads and repeat the thread path of the bail to reinforce. Secure and trim the e working thread.

Round 10: Note: This round will connect the

front and back layers at the inside circumferences. You’ll be working counterclockwise. Work 1 peyote stitch with 1B. Pass through the nearest A of the front layer and the next B of Round 1 in the back layer. Work 1 peyote stitch with 1B. Pass through the next B of Round 2 and the following B of Round 1 (Fig. 5, red thread). Repeat from the beginning of this round seven times. Secure and trim the tail thread.

ALTERNATE COLORWAY information for this project can be found at www.interweave.com/ beading Fig. 5: Stitching Rounds 9 and 10 of the back layer and adding the bail Fig. 4: Forming Round 8 of the back layer

ALICE COELHO is a stay-at-home mom

Back of pendant

who lives in Georgia with her husband, four children, and four cats. She beads as a hobby in her spare time. Contact Alice at cacoelho [email protected]. RESOURCES Check your favorite bead retailer or contact: Seed beads, cylinder beads, O beads, SuperDuos, and fire-polished rounds: On The Rocks, (770) 904-6310, www .ontherocks.biz. Jump ring: Bali Designs Inc., (972) 910-9300, www.balidesignsinc.com. Thread: Fire Mountain Gems and Beads, (800) 355-2137, www.firemountaingems.com. ●

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SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

CREATE YOUR CELEBRITY STYLE WITH SWAROVSKI® CRYSTALS FOR NAILS!

Recognized for its innovative excellence and collaborations with top designers, Swarovski is bringing its fashion, style and unmatched crystal brilliance to your manicures. Swarovski Crystals Nail Combo packs are available in 8 different color combinations in sizes perfect for your nails. Crystallize your nails in 3 easy steps: 1. Apply polish and top coat and let dry; 2. Add a tiny drop of nail glue and apply crystals; 3. Cap edges of crystals with a small amount of top coat for longer wear.

Available at:

Caliente Bracelet

MICHELLE GOWLAND

This bold bracelet is made of intricate medallions, the size of which can easily be altered with simple adjustments for a perfect bracelet fit.

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SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

TECHNIQUES

Circular peyote stitch Circular netting Picot PROJECT LEVEL }}{ MATERIALS

1.5 g metallic green iris size 15° seed beads (A) 0.5 g matte metallic copper iris size 15° seed beads (B) 2 g dark bronze size 15° seed beads (C) 8 total dark bronze size 11° seed beads (D) 0.5 g light travertine Picasso size 8° seed beads (E) 3.5 g lava red 3.8×1mm O beads (F) 1 g matte peridot vitrail 3.8×1mm O beads (G) 5 g metallic gold 5mm 2-hole Es-o beads (H) 3 g lemon dark travertine 5×2.5mm 2-hole SuperDuos (J) 3 g opaque red luster 5×2.5mm 2-hole SuperDuos (K) 48 turquoise 5mm 2-hole RounDuos (L) 9 metallic copper 8mm 2-hole Tipp beads (M) 48 topaz 2.5×1.5mm crystal rondelles (N) 1 antiqued copper 8×14mm round magnetic clasp Crystal 4 lb FireLine braided beading thread Beeswax TOOLS

Scissors Size 10 beading needle FINISHED SIZE

81⁄16" (with 11⁄16" medallions)

1) MEDALLIONS. Use a variation of circular peyote stitch, circular netting, and picots to form the medallions: Center: Position 1M faceup on your work surface with the holes oriented horizontally. Working clockwise, use 4' of waxed thread to string 1M (top then bottom holes), leaving a 4" tail. Use the working and tail threads to tie a knot. Pass through the top hole of the M. Round 1: String {1A and 1J} four times. String 1A; pass through the M (top then bottom holes) (Fig. 1, green thread). String {1A and 1J} four times. String 1A; pass through the M (bottom then top holes). Pass through the first set of beads in this round (same holes of the J), exiting from the fifth A (Fig. 1, blue thread). String 1J, 1A, and 1J and pass through the next set of beads in this round (same holes of the J); repeat, then repeat the thread path to reinforce. Pass through the first (inside) then second (outside) holes of the next J (Fig. 1, red thread). Note: You’ll now begin working in the opposite direction. Round 2: String 1K and pass through the next J (outside hole) of the previous round; repeat eleven times, then repeat the thread path to reinforce. Pass through the first (inside) then second (outside) holes of the first K in this round (Fig. 2, green thread). Note: You’ll now begin working in the opposite direction. Round 3: Note: Take care to string each L so the front faces the same direction as the front of the M. String 1L and pass through the next K (outside hole) of the previous

round; repeat eleven times, then repeat the thread path to reinforce. Form a “tension knot” by tying an overhand knot on the nearest thread between beads in this round, taking care that the beads are snug. Repeat the thread path of this round and pass through the first (inside) then second (outside) holes of the first L in this round (Fig. 2, blue thread). Note: You’ll now begin working in the opposite direction. Round 4: String 1B, 1A, and 1B and pass through the last L (outside hole) exited, then string 1F, 1H, and 1F and pass through the next L (outside hole) of the previous round (Fig. 2, red thread); repeat eleven times. Round 5: String 1N and 4C; pass through the next J (outside hole) of Round 1. String 4C and 1N; skip the next L of Round 3 and pass through the following L (outside hole) (Fig. 3, green thread). Repeat from the beginning of this round five times. Pass through the first N of this round (Fig. 3, blue thread). Note: You’ll now begin working in the opposite direction. String 4C and pass through the next J (outside hole) of Round 1, then string 4C and pass back through the nearest N, the next L (outside hole), and the following N (Fig. 3, red thread); repeat five times. Weave through beads to exit from the nearest H (inside then outside holes) of Round 4.

Fig. 1: Stitching Medallion, Round 1

Fig. 2: Working Medallion, Rounds 2–4

Fig. 3: Forming Medallion, Round 5

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

BEADWORK

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Caliente Bracelet

Fig. 4: Adding Medallion, M d lli Round R d6

Round 6: String 3A and pass through the

last H (outside then inside holes) exited, then weave through beads to exit from the next H (inside then outside holes) (Fig. 4, green thread); repeat three times but on the third repeat don’t pass through the outside hole of the next H (Fig. 4, blue thread). Weave through beads to exit from the second H (inside then outside holes) from the last H exited (Fig. 4, red thread). Repeat from the beginning of this round, exiting from the inside hole of the last unembellished H. Secure and trim the tail thread but don’t trim the working thread. Set aside. Repeat this entire step three times for a total of 4 medallions.

Fig. 5: Connect C ting the medallions

2) ASSEMBLY. Connect the medallions: Pass 1: Note: Take care to connect the

components faceup and to string the new M faceup. Use the working thread of 1 medallion to string 3A; pass through the outside hole of the last H exited. String 1G, 1M, and 1G; pass through the nearest unembellished H (outside hole) of the last component exited. String 3A; pass through the inside hole of the H and the next 1F, 1L (outside hole), 1F, 1H (inside hole), 3A, 1H (outside hole), 1G, and 1M (first hole) (Fig. 5, green thread). Pass 2: String 1E; pass through the second hole of the M. String 1E; pass through the first hole of the M, the first E just added, and the second hole of the M (Fig. 5, blue thread).

You can alter the size of the medallions by adjusting the size of the center bead, the number of SuperDuos in Round 1, whether you use size 15º seed beads in Round 1, and the number of rounds worked. See the chart at right to determine which way to make your medallions in order to correctly size your bracelet before you start. To see examples using various sizes of medallions, visit www.interweave.com!

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Pass 3: String 1G; pass up through the out-

side hole of the top-left unembellished H of 1 new medallion. String 3A; pass through the inside hole of the last H exited and the next 1F, 1L (outside hole), 1F, and 1H (inside hole). String 3A; pass through the outside hole of the H. String 1G; pass through the last M (second hole) exited (Fig. 5, red thread). Weave through beads and repeat the thread path of this connection to reinforce. Secure and trim the working thread. Repeat this entire step twice, using the working thread of the last component added to form the next connection opposite the previous connection. Secure and trim the working thread of the last component added.

CENTER BEAD SIZE

NUMBER OF J IN ROUND 1

1A BETWEEN EACH J IN ROUND 1?

ROUNDS WORKED

FINISHED MEDALLION SIZE

5mm

10

No

1–6

13⁄16"

8mm

10

No

1–6

1 1⁄2"

8mm

10

Yes

1–6

1 5⁄8"

8mm

12

Yes

1–6

1 11⁄16"

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

artist’s tips ❯ When connecting the medallions, it might help to turn them facedown and work from the back. ❯ Use new threads to attach the halves of the clasps rather than using the working threads of the end medallions. If you need to make adjustments to the clasp connection later, you can just cut the clasp thread and rework only that portion without causing damage to the rest of the bracelet. ❯ Don’t keep more than one magnetic clasp open on your work surface at a time; you might accidently add two opposing halves to your work.

3) CLASP. Attach the clasp to the ends of

the bracelet: Passes 1 and 2: Start 2' of new thread that

exits from the inside hole of 1 unembellished H at the outside edge of 1 end component, away from the beadwork. Repeat Step 2, Passes 1 and 2. Pass 3: String 1D, 1E, one half of the clasp, 1E, and 1D; pass through the M (second hole), the nearest E of Pass 2 in the clasp, the M (first hole), and the next E of Pass 2 in the clasp (Fig. 6, blue thread). Pass 4: String 1D; pass through the next 1D/1E/clasp/1E/1D. String 1D; pass through the next E (Fig. 6, red thread). Weave through beads and repeat the thread path of this step to reinforce. Secure and trim the threads. Repeat this entire step at the other end of the bracelet, using the second half of the clasp.

Fig. 6: Attachin ng the clasp

MICHELLE GOWLAND has been beading since 1988. She travels the East Coast full-time in an RV with her fiancé, two cute lapdogs, and their brilliant service puppy. Michelle gets her beading inspiration from travel, baseball, drum circles, and the great outdoors—plus frequent stops at local bead shops to keeps her stash freshly supplied. Contact Michelle at www.therolling beadweaver.com. RESOURCES Check your favorite bead retailer or contact: Metallic green iris, matte metallic copper iris, and light travertine Picasso seed beads: My Bead Gallery, www .mybeadgallery.com. Dark bronze seeds: Jennifer Wiles Studio, www.jenniferwiles studio.com. O beads, Es-o beads, and RounDuos: Potomac Bead Company, www.potomacbeads.com. SuperDuos: Goody Beads, (952) 938-2324, www.goodybeads.com. Tipp beads: Beads on Cannon, (843) 723-5648, www.beadsoncannon.com. Thunder Polish crystal rondelles: Bead 3 Buddies, (813) 671-4375, www.bead3.com. Clasp: Michaels, (800) 642-4235, www.michaels.com. Thread and beeswax: Fire Mountain Gems and Beads, (800) 355-2137, www.firemountain gems.com. ●

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

BEADWORK

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Lost in the Sahara

HORTENSE E. THOMPSON

Use two-needle right-angle weave, a variation of peyote stitch, and shaped beads in a golden palette to create a bracelet of repeating arrow motifs.

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SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

TECHNIQUES

2-needle right-angle weave Peyote stitch variation PROJECT LEVEL }{{ MATERIALS

4 g metallic bronze size 11° seed beads (A) 4 g silky bronze 5×2.5mm 2-hole SuperDuos (B) 6 sunflower yellow Picasso 6mm 2-hole DiscDuos (C) 12 crystal amber full 10×3mm 3-hole AVA beads (D) 1 amber Picasso 14mm 2-hole cup button 10 bronze 3mm pearl rounds (E) 20 bronze 4mm pearl rounds (F) Crystal 6 lb FireLine braided beading thread TOOLS

Scissors 2 size 10 beading needles FINISHED SIZE

7"

1) BASE. Use two-needle right-angle weave to stitch the bracelet base: Clasp Button: Place a needle at each end of 6' of thread. Use the right needle to string 3A and one hole of the cup button (concave side first) (Fig. 1, turquoise thread); use the left needle to pass through the second hole in the cup button (Fig. 1, orange thread). Center the beads on the thread. End 1: Use the right needle to string 5A, 1B, 3A, and the center hole of 1D (Fig. 1, purple thread). Use the left needle to string 5A and pass through the second hole of the B, then string 3A and pass back through the center hole of the D (Fig. 1, green thread). Note: Because of the nature of two-needle right-angle weave, the needles will switch left and right positions with each stitch. Pass 1: Use the right needle to string 4A and pass through the end right hole of the D, then string 1C and pass through the end left hole of the D (Fig. 1, blue thread). Use the left needle to string 4A and pass back through the end left hole of the D, the first hole of the C, and the end right hole of the D (Fig. 1, red thread).

Fig. 1: Adding the clasp button, End 1, and Pass 1 of the base

Fig. 2: Forming Passes 2–4 of the base

Fig. 3: Finishing End 2 and the clasp loop of the base

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Pass 2: Use the right needle to string 1B and

3A, then pass back through the second hole of the B; string one end hole of 1D and pass through the second hole of the C and the other end hole of the D just added (Fig. 2, orange thread). Use the left needle to string 1B and 3A, then pass back through the second hole of the B; pass back through the second end hole of the D added in this pass, the C (second hole), and the first end hole of the D (Fig. 2, turquoise thread). Pass 3: Use the right needle to string 4A and pass through the center hole of the D (Fig. 2, purple thread); repeat using the left needle (Fig. 2, green thread). Pass 4: Use the right needle to string {1A and 1B} three times; string 1A and the center hole of 1D (Fig. 2, blue thread). Use the left needle to string {1A and 1B} three times; string 1A and pass back through the center hole of the last D added (Fig. 2, red thread). Passes 5–23: Repeat Passes 1–4 four times. Repeat Passes 1–3. End 2: Use the right needle to string 3A and 1B (Fig. 3, purple thread). Use the left needle to string 3A and pass through the second hole of the B just added (Fig. 3, green thread). Clasp Loop: Use the right needle to string 26A and pass back through the second hole of the B and the nearest 7A (Fig. 3, blue thread); use the left needle to repeat the thread path in reverse to reinforce (Fig. 3, red thread). Rotate the beadwork clockwise ninety degrees.

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Lost in the Sahara

Fig. 4: Stitching Passes 1 and 2 of the edges

Fig. 5: Forming Passes 3 and 4 of the edges

2) EDGES EDGES. Use a variation off peyote stitch

to add edges to finish the base: Passes 1 and 2: Note: Work the entire top edge first using the top needle. Use the top needle to string 2A; pass back through the nearest 3A. String 2A; pass back through the following 3A. String 1A; pass through the second (outside) hole of the next B. String 1B and pass through the next B (outside hole); repeat. String 1A; skip the first A of the next 4A set and pass back through the following 3A (Fig. 4, turquoise thread). Using the top needle, repeat from the beginning of this pass four times (Fig. 4, orange thread). Use the top needle to string 2A and pass back through the nearest 3A, then string 2A and pass back through the following 4A (Fig. 4, purple thread). Use the bottom needle to repeat from the beginning of this pass along the bottom edge (Fig. 4, green thread). Use the top needle to weave

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through beads of the clasp and exit back through the last 2A added with the bottom needle and the next 4A (Fig. 4, blue thread); repeat using the bottom needle (Fig. 4, red thread). Passes 3 and 4: Note: Work the entire top edge first using the top needle. Use the top needle to string 1A, 1F, and 1A; pass through the nearest B (outside hole) of the previous pass. String 1E; pass through the next B (outside hole) of the previous pass. String 1A, 1F, and 1A; skip the first A of the nearest 2A set in the previous pass and pass through the next 5A (Fig. 5, green thread). Using the top needle, repeat from the beginning of this pass four times (Fig. 5, blue thread). Weave through beads of the clasp to reinforce. Use the bottom needle to repeat from the beginning of this pass along the other edge (Fig. 5, red thread). Secure and trim the threads.

artist’s tip The clasp adds about an inch. Take this into account when determining the number of motifs to make.

HORTENSE E. THOMPSON is a hobby beader who enjoys helping others discover the joys of beading. She teaches workshops primarily for beginners. Contact Hortense at www.beadybeadz.com. RESOURCES Check your favorite bead retailer or contact: All materials: Potomac Bead Company, www.potomacbeads.com. ●

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

We made it for you.

Check out our new website: .com BEADWORK

OCTOBER/NOVEMBER 2017

61

Timeless Necklace

TW YLA HARBICK

Create a pendant reminiscent of an old-fashioned clock using right-angle weave, peyote stitch, herringbone stitch, and picots. Show off the pendant by suspending it from straps made of tubular herringbone stitch.

Main Colorway

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SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

TECHNIQUES

Right-angle weave variation Circular peyote stitch Circular and tubular herringbone stitch variations Tubular ladder stitch Picot PROJECT LEVEL }}} MATERIALS

3 g silver galvanized size 15° Charlotte seed beads (A) 6 g matte silver-gray size 11° seed beads (B) 4.5 g matte bronze size 8° seed beads (C) 58 matte flax gold 3×5mm 4-hole 4Ceed beads (D) 1 gold 6×10mm magnetic clasp 2 gold 22-gauge 6mm jump rings Smoke 6 lb FireLine braided beading thread Beeswax TOOLS

Scissors Size 11 beading needle 2 pairs of chain- or flat-nose pliers FINISHED SIZE

21½" (with 2" focal)

Fig. 1: Stitching Round 1, Units 1–20 of the focal

1) FOCAL. Use a variation of right-angle weave, circular peyote stitch, circular herringbone stitch, and picots to form the focal: Round 1, Unit 1: Use 3' of waxed thread to string 4B, leaving a 6" tail. Pass through the beads again to form a tight circle and exit from the first B strung (Fig. 1, purple thread). Round 1, Units 2–19: String 1C and 3B and pass back through the second B of the previous unit and the first B of this unit; repeat seventeen times for a total of 19 units (Fig. 1, green thread). Round 1, Unit 20: String 1C and 1B; pass down through the nearest B of Round 1, Unit 1. String 1B; pass up through the nearest B of Round 1, Unit 19 and the first B added in this unit (Fig. 1, blue thread). String 1C; pass through the B at the top of the next unit and the following 1C/1B (Fig. 1, red thread). Round 2: Note: You’ll be adding B over the horizontal B from Round 1; this will make the ring sturdier. String 1B and pass through the next B of the current unit; repeat. Pass through the nearest 1C/1B at the outside edge of the beadwork (Fig. 2, purple thread). String 1B and pass through the next B of the current unit, the nearest B of this round, the next B of the current unit, and the following 1C/1B at the outside edge of the beadwork (Fig. 2, green thread); repeat seventeen times (Fig. 2, blue thread). Pass through the nearest B added in this round, the next B of the current unit in the previous round, the last B added in this round, the next B of the

Fig. 2: Forming Round 2 of the focal

Fig. 3: Working Rounds 3–6 of the focal

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

current unit in the previous round, and the following C (Fig. 2, red thread). Round 3: String 1C and pass through the next C of Round 1; repeat nineteen times. Note: Step up for this and subsequent rounds by passing through the first bead added in the current round (Fig. 3, purple thread). Round 4: String 2B and pass through the last C of Round 3 exited, the next C of Round 1, and the following C of Round 3; repeat nineteen times (Fig. 3, green thread). Note: You’ll now begin working in the opposite direction. Round 5: String 2B and pass down through the next B of the previous round and pass up through the following B; repeat nineteen times (Fig. 3, blue thread). Round 6: Repeat Round 5 using C for B (Fig. 3, red thread). Round 7: String 2B; pass down through the next 1C of Round 6 and 1B of Round 5, then pass up through the following 1B of Round 5 and 1C of Round 6. String one hole of 1D; pass back through the opposite hole of the D just added and pass down through the next 1C of Round 6 and 1B of Round 5, then pass up through the following 1B of Round 5 and 1C of Round 6 (Fig. 4, green thread). Repeat from the beginning of this round nine times (Fig. 4, blue thread). Round 8: String one hole of 1D; pass back through the opposite hole of the D just added and pass down through the next 1B of Round 7 and 1C of Round 6, pass up through the next 1C of Round 6, pass through the next D (first then second holes), pass down through the following 1C of Round 6, and pass up through the next 1C of Round 6 and 1B of Round 7 (Fig. 4, red thread). Repeat from the beginning of this round nine times. Pass up through the first hole of the first D in this round.

Fig. 4: Adding Rounds 7 and 8 of the focal

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Timeless Necklace

Fig. 5: Finishing Round 9 of the focal

Alternate Colorway Materials 3 g matte cabernet size 15° seed beads (A) 6 g light bronze size 11° seed beads (B) 4.5 g matte metallic rainbow size 8° seed beads (C) 58 gold iris 3×5mm 4-hole 4Ceed beads (D) 1 copper 5×17mm magnetic clasp 2 copper 22-gauge 6mm jump rings Smoke 6 lb FireLine braided beading thread Beeswax

Fig. 6: Stitching Rounds 1 and 2 of the straps

Round 9: String 5A; pass down through the

opposite hole of the last D exited and the next 1B of Round 7 and 1C of Round 6, then pass up through the following 1C of Round 6 and the first hole of the nearest D (Fig. 5, blue thread). String 1B, 3A, and 1B; pass down through the opposite hole of the last D exited and the next 1C of Round 6, then pass up through the following 1C of Round 6, 1B of Round 7, and 1D (first hole) of Round 8 (Fig. 5, red thread). Repeat from the beginning of this round nine times. Secure and trim the threads. Set aside. 2) STRAPS. Use tubular ladder and herring-

bone stitches to make the necklace straps: Rounds 1 and 2: Use 3' of waxed thread to

form a strip of ladder stitch 2 beads wide and 4 rows long using A, leaving a 10" tail (Fig. 6, blue thread). Pass up through the first 2A strung, pass down through the last 2A added, and pass up through the first 2A strung (Fig. 6, red thread) and position the beads to form a cube. Round 3: String 2A and pass down through the nearest 2A of the previous rounds, then pass up through the next 2A (Fig. 7, blue thread; beadwork shown flat for clarity); repeat. Note: Step up for this and subsequent rounds by passing through the first bead added in the current round (Fig. 7, red thread). Rounds 4–7: Repeat Round 3 four times. Rounds 8–12: Repeat Round 3 five times, using B for A. Round 13: Repeat Round 3 using C for A.

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Fig. 7: Forming Round 3 of the straps

Round 14: String one hole of 1D; pass back

through one adjacent hole of the D just added, pass down through the nearest 1C/1B of the previous rounds, and pass up through the next 1B/1C (Fig. 8, blue thread). Pass up through the next adjacent hole of the D, pass down through the following adjacent hole of the D and the nearest 1C/1B of the previous rounds, and pass up through the next 1B/1C and the first hole of the D in this round (Fig. 8, red thread). Round 15: String one hole of 1D; pass back through one adjacent hole of the D just added, pass down through the next adjacent hole of the D in the previous round and the next C, and pass up through the following C and the next adjacent hole of the D in the previous round (Fig. 9, blue thread). Pass up through the next adjacent hole of the D added in this round; pass down through the following adjacent hole of the D added in this round, the next adjacent hole of the D in the previous round, and the next C; and pass up through the following C, the adjacent hole of the D in the previous round, and the first hole of the D in this round (Fig. 9, red thread). Round 16: Repeat Round 15, this time passing through the nearest holes of the D in Round 14 instead of C. Round 17: String 2C; pass back through the next adjacent hole of the D in the previous round and pass up through the following adjacent hole of the D in the previous round. String 2C; pass down through the

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Fig. 8: Working Round 14 of the straps

Fig. 9: Adding Round 15 of the straps

Fig. 10: Connecting the straps and the focal

next adjacent hole of the D in the previous round and pass up through the following adjacent hole of the D in the previous round. Pass up through the first C in this round. Rounds 18–22: Repeat Round 3 five times using B for A. Rounds 23–29: Repeat Round 3 seven times. Round 30: Repeat Round 14. Round 31: Repeat Round 17 using A for C. Rounds 32–37: Repeat Round 3 six times. Rounds 38–149: Repeat Rounds 8–37 three times. Repeat Rounds 8–29. Round 150: String 1C; pass down through the nearest 2A of the previous rounds and pass up through the next 2A. Pass back through the C of this round; pass down through the nearest 2A of the previous rounds and pass up through the next 2A. Repeat the thread path of this round to reinforce. Secure and trim the working thread, but don’t trim the tail thread. Set aside. Repeat this entire step for a second strap. 3) STRAP CONNECTION. Use the tail thread of 1 strap to repeat Step 2, Round 150 using B for C; don’t trim the threads. Pass through the B just added. String 1B and pass through the center A of one 1B/3A/1B set of Round 9 in the focal, then string 1B and pass through the last B exited in this connection (Fig. 10); repeat the thread path multiple times to reinforce. Secure and trim the thread.

Repeat this entire step to connect the second strap to the focal, passing through the center A of the third 1B/3A/1B set of Round 9 in the focal from the previous strap connection.

artist’s tips ❯ This project uses a reinforced tubular herringbone technique. When stitching, remember this sequence: down 2, up 2, down 2, up 3.

4) CLASP. Use 1 jump ring to attach one half of the clasp to the C of Step 2, Round 150 on 1 strap; repeat to attach the second half of the clasp to the other strap.

❯ Before you string a four-hole bead, check each hole to make sure it's clear. ❯ When stitching Round 2, you might find it easier to slip the ring on your finger and work around it as if it were a tube.

TWYLA HARBICK is a self-taught designer

who has been beading since 2011 and specializes in designing wearable jewelry. She creates tutorials for her designs and offers them for sale in her Etsy store, Lady Abeada. Twyla is currently a member of the Back2Bead Glam Squad. Contact Twyla at www.ladyabeada.etsy.com or [email protected]. RESOURCES Check your favorite bead retailer or contact: Size 15° Charlotte seed beads: Baker Bay Bead Company, (541) 942-3941, www.bakerbay.com. Size 11° seed beads: Artbeads.com, (866) 715-2323. Size 8° seed beads: Out On A Whim, (800) 232-3111, www.whimbeads.com. 4Ceed beads: Back 2Bead, (646) 773-5895, www.back2bead.com. Clasp, jump rings, thread, and beeswax: Fire Mountain Gems and Beads, (800) 355-2137, www.firemountaingems.com. ●

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

BEADWORK DWORK

OCTOBER/NOVEMBER OCTO OBER/NOVEMBER 2017

65

2017 The Innovative Beads & Jewelry Expo 14 Years of Quality Bead Shows in the Northeast JEhZzϭϯΘϭϰ &ZhZzϭϵ;ϭĂLJͿ &ZhZzϮϱΘϮϲ DZ,ϰΘϱ DZ,ϭϭΘϭϮ DZ,ϮϱΘϮϲ WZ/>ϳ͕ϴΘϵ;ϯĂLJƐͿ WZ/>ϮϮΘϮϯ WZ/>ϮϵΘϯϬ DzϭϮΘϭϯ DzϮϬ;ϭĂLJͿ :hEϯ;ϭĂLJͿ :h>zϴΘϵ :h>zϭϱΘϭϲ :h>zϮϮΘϮϯ :h>zϮϵΘϯϬ ^WdDZϭϱΘϭϲ ^WdDZϮϯ;ϭĂLJͿ KdKZϳΘϴ KdKZϭϰΘϭϱ KdKZϮϴΘϮϵ EKsDZϯΘϰ EKsDZϭϭΘϭϮ EKsDZϭϴΘϭϵ

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One Bead Event for All – Beginner & Advanced Beaders Designers, Jewelry Makers Craft Lovers & Gift Seekers

www.iBExpos.com [email protected] Tel. 845.352.9735

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It’s meant to Bead! Join our free community for beaders just like you! Get started with a free eBook download and sign up today! www.interweave.com/beading

fast & fabulous EASY-GOING INSPIRATION

Explore Southwest style with this collection of designs that employ rich, vivid colors and natural materials. (Instructions follow on page 74.)

Fiesta Choker Kristina Hahn Eleniak Add interesting lampwork beads to leather cord to create a casual-looking design that can be worn as a choker, lariat, or wrap bracelet.

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fast & fabulous

Use similar techniques to make a matching bracelet.

Wayfarer Rejetta Sellers For a nomadic look, create a simple focal by stringing a rustic pendant and an eclectic collection of beads onto wire, then add a few fun beaded dangles and a long chain.

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fast & fabulous

Dappled Dart Andria McKee A bold arrowhead pendant becomes the fetching focal piece of this necklace design when flanked by shell drops and complementary beads.

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fast & fabulous Global Tassel Necklace Kristina Hahn Eleniak Select a unique coin bead and then create a custom tassel in matching colors to form a one-of-a-kind necklace design.

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fast & fabulous

Santa Fe Dreams Use similar techniques to make matching earrings.

Jess Lincoln Layers of brass and verdigris charms combine with earthy glass beads and leather to form a striking Southwest necklace design.

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fast & fabulous

Southwest Serenity Michelle Mach This artist achieved a Southwest aesthetic by combining turquoise beads with deep reds and browns and adding motifs found in nature.

Agua Caliente Anne Perry This artist heard that the spirals in Native American petroglyphs symbolize water, so she combined the spiral glass rounds, a pair of beads with a water-drop pattern, and a tassel “waterfall” to tie all of the elements together.

Use similar techniques to make matching earrings.

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fast & fabulous TOOLS

Wire cutters Round-nose pliers 2 pairs of chain- or flat-nose pliers FINISHED SIZE

21½" (with 5" focal)

Tip: Make your own leather connector using 3 ½" of leather cord, then attach dangles made by stringing rondelles onto eye pins and forming a simple loop. KRISTINA HAHN ELENIAK is a Canadian designer and the creative force and founder of Peacock & Lime. She loves to create pieces that combine craftsmanship, style, and wearability while evoking an emotional response from the wearer. Find her work at www.peacockandlime.com.

Fiesta Choker Kristina Hahn Eleniak TECHNIQUES

Knotting Stringing Crimping MATERIALS

4 red size 8º seed beads 12 aged Picasso striped Czech size 2º seed beads in brown, black, yellow, teal 1 cornflower blue-and-green 15mm peacock pressed-glass coin 2 matte orange-and-yellow 10×6mm lampwork rondelles 2 matte olive 10×6mm lampwork rondelles 2 copper 5mm rounds 2 antiqued copper 6mm jump rings 2 copper 4×8mm cord crimp ends 76" of tan 3mm suede ultra microfiber lace 6" of natural 1mm hemp cord

RESOURCES Check your favorite bead retailer or contact: Seed beads: BobbiThisNThat, www.bobbithisnthat

.etsy.com. Coin: SimplyPie on Etsy, www.simplypie.etsy.com. Lampwork beads: Brenda King, www.facebook.com/ BurntGlassStudio. Copper rounds: Cindy Chan, www.cindychan1 .etsy.com. Jump rings: Treasure Stone Beads, (780) 486-7543, www.treasurestonebeads.com. Crimp ends: Lima Beads, (888) 211-7919, www.limabeads.com. Suede lace: Beadaholique, (866) 834-4618, www.beadaholique.com. Hemp cord: Michaels, (800) 642-4235, www.michaels.com. ●

1. Use one 2" piece of wire to form a simple loop that attaches to one end of the chain. String both agate rounds. Form a wrapped loop that attaches to the hook clasp. 2. Attach the free end of the chain to the small loop on the leather connector, opening the chain link as you would a jump ring. 3. Use one 4" piece of wire to form a simple loop that attaches to the center of the large loop on the leather connector. String the brown nugget, the cinnamon tab, the bone shard, the seed beads, and the loops on the pendant. Center the pendant on the seed bead section of wire, then shape the seed bead section into a loop. Wrap the wire tail around the bottom of the bone shard. Trim. REJETTA SELLERS is a wife and stay-at-home mom of two children. In her free time, she creates jewelry and sculpts rustic animal beads out of polymer clay. Find her work at www.jettabugjewelry.etsy.com.

TOOLS

Scissors Ruler or measuring tape 2 pairs of chain- or flat-nose pliers Crimping pliers (optional) FINISHED SIZE

About 72" (adjustable)

1. Use one 38" piece of suede lace to string 2 Picasso seed beads and 1 copper round. Form an overhand knot close to the lace end, then slide the beads so they touch the knot. Trim end of lace if desired. Insert the free end of the lace into 1 crimp end and use flat-nose or crimping pliers to flatten. 2. Attach 1 jump ring to the previous crimp end. Use the hemp cord to form a double-overhand knot on the jump ring. 3. String 4 Picasso seed beads, 1 olive rondelle, 1 red seed bead, 1 orange-and-yellow rondelle, and 1 red seed bead. 4. String the pressed-glass coin. Repeat Step 3, reversing the stringing sequence. Repeat Steps 1 and 2 to attach the remaining suede lace to the beaded strand.

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Wayfarer Rejetta Sellers TECHNIQUES

Simple wireworking MATERIALS

14 matte teal AB size 8º seed beads 1 brown 9×5mm lampwork nugget 1 cinnamon 18×12mm lampwork flower tab 2 blue haze fire agate 10mm faceted rounds 1 bone 46×6mm shard 1 pewter 26×40mm jagged heart pendant 1 leather 65mm knotted double-loop connector with 25 teal, gray, light green bead dangles 1 pewter 16×24mm swirl hook clasp 19½" of gunmetal 5mm unsoldered rollo chain 6" of German silver 16-gauge wire

Back of necklace

RESOURCES Check your favorite bead retailer or contact: Seed beads: Fusion Beads, (888) 781-3559, www

.fusionbeads.com. Lampwork nugget and bone: Yuki Designs, www.yukidesigns.etsy.com. Lampwork tab: Sue Beads, www.suebeads.etsy.com. Agate rounds and wire: Lima Beads, www.limabeads.com. Pewter heart by The Lipstick Ranch and clasp by Green Girl Studio: Lima beads, www.limabeads.com. Leather connector with bead dangles by Poetic Spirit: Hobby Lobby, (800) 888-0321, www.hobbylobby.com. Chain by Industrial Chic: Michaels, (800) 642-4235, www.michaels.com. ●

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION.

fast & fabulous 1 spacer, 1 Dzi bead, 1 spacer, 1 black round, 1 spacer, 2 fluorite chips, 1 spacer, the bone rondelle, 1 spacer, 1 turquoise oval, 1 spacer, the Botswana agate round, 1 spacer, 2 fluroite chips, 1 spacer, 10 shell drops, and 2 fancy rondelles. 3. String the arrowhead pendant. Repeat Step 2, reversing the stringing sequence and using the remaining 9 shell drops and replacing the Botwsana agate round with the wood round and the brownand-white glass round for the bone round. Use the 6mm jump ring to attach the lobster clasp to the second oval connector.

(Materials and instructions are for the yellow tassel necklace.) MATERIALS

5 amethyst 8mm rounds 1 purple/teal/rose/copper 18mm coin bead 6 antiqued brass 21-gauge 2" eye pins 3 antiqued brass 5mm jump rings 1 antiqued brass 7mm jump ring 1 antiqued brass 10mm fancy etched jump ring 28" of antiqued brass unsoldered cable chain 1½" of 2mm copper ball chain 1 skein of yellow cotton embroidery floss 36" each of teal, purple, blue, and red cotton embroidery floss 3" of copper 28-gauge wire Jewelry cement (optional) TOOLS

Scissors Ruler or measuring tape 2 pairs of chain- or flat-nose pliers Round-nose pliers Wire cutters

Dappled Dart Andria McKee TECHNIQUES

Stringing Crimping MATERIALS

66 ivory 5-6mm Indonesian irregular glass rondelles 1 brown-and-white 10mm faceted glass round 2 black agate 6mm rounds 2 green agate 8mm rounds 8 fluorite 10–13×2–5mm chips 2 brown-and-tan 8×12mm Dzi barrels 2 turquoise howlite 13×18mm ovals 1 Botswana agate 18mm faceted round 1 wood 10mm carved round 1 brown-and-white 12×8mm bone rondelle 19 shell 10–15×22–36mm top-drilled drops 6 silver 5×4mm fancy rondelles 2 silver 8×15mm flat oval connectors 1 Chinese green turquoise 20×45mm arrowhead pendant 14 silver 3–5×1mm spacers 1 silver 7×12mm lobster clasp 1 silver 6mm jump ring 1 silver 9.5mm jump ring 4 silver 2mm crimp beads 22" of .019 beading wire

ANDRIA MCKEE loves to create from her home in

Gulfport, Mississippi, where she lives with her family. She has been beading and designing jewelry since 2012. RESOURCES Check your favorite bead retailer or contact: Indonesian glass and silver rondelles: Happy Mango

Beads, (970) 532-2546, www.happymangobeads.com. Botswana agate, fluorite, turquoise howlite, shell, bone, and green turquoise pendant: Shipwreck Beads, (800) 950-4232, www .shipwreckbeads.com. Black and green agate and wood rounds: Michaels, www.michaels.com. Dzi barrels: Beads and Babble, (530) 691-4567, www.beadsandbabble.com. Oval connectors: Yadana Beads, www.yadanabeads.com. ●

TOOLS

Wire cutters Crimping pliers FINISHED SIZE

20½"

1. Use one 10" piece of beading wire to string 1 crimp bead and the 9.5mm jump ring. Pass back through the crimp bead and crimp. String the 66 ivory rondelles, 1 crimp bead, and 1 silver oval connector. Pass back through the crimp bead and crimp. 2. Use one 12" piece of beading wire to string 1 crimp bead and the other side of the previous oval connector. Pass back through the crimp bead and crimp. String 1 fancy rondelle, 1 green agate round,

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION.

FINISHED SIZE

30" (with 4 ½" focal)

Global Tassel Necklace Kristina Hahn Eleniak TECHNIQUES

Knotting Simple wireworking

1. Form a knot at one end of the red embroidery floss. Remove the wrapper from the yellow skein of embroidery floss and fold it in half. Wrap the red floss around the yellow floss slightly above the middle about twelve to fourteen times. Tuck the knotted end into the previous wraps. 2. Tie the purple floss to the tail end of the red floss. Wrap the purple floss around the left side of the yellow floss, beginning to form the tassel’s top loop. Repeat entire step twice, tying the teal floss to the purple and the blue floss to the teal. If desired, dab the end of the blue floss with glue to secure. 3. Trim the bottom yellow loops to form the tassel. Wrap the ball chain twice around the tassel in between the red and yellow sections. Wrap the copper wire vertically around both rows of chain to secure. Trim. Attach one 5mm jump ring to the top of the loop (the teal section). 4. Use one 5mm jump ring to attach the previous jump ring to the 10mm jump ring. Use 1 eye pin to form a simple loop that attaches to the previous jump ring. String the coin bead; form a wrapped loop that attaches to one 5mm jump ring.

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fast & fabulous 5. Separate the chain into 6 pieces: one 1" piece, two 1 ½" pieces, two 1¾" pieces, and one 21" piece, opening and closing the chain links as you would jump rings. 6. Use 1 eye pin to form a simple loop. String 1 amethyst round; form a simple loop. Repeat entire step four times to create a total of 5 amethyst links. 7. Attach the chain and amethyst links in the following order: 1" chain, 1 amethyst, 1½" chain, 1 amethyst, 1¾" chain, 1 amethyst, 21" chain, 1 amethyst, 1 ½" chain, 1 amethyst, and 1 ¾" chain. Use the 7mm jump ring to attach both ends of the chain to the previous 5mm jump ring attached to the tassel. KRISTINA HAHN ELENIAK is a Canadian designer and the creative force and founder of Peacock & Lime. She loves to create pieces that combine craftsmanship, style, and wearability while evoking an emotional response from the wearer. Find her work at www .peacockandlime.com. RESOURCES Check your favorite bead retailer or contact: Amethyst: Treasure Stone Beads, (780) 486-7543,

www.treasurestonebeads.com. Coin bead: Bits by Niky, www .bitsbyniky.etsy.com. Jump rings, eye pins, and cable chain: Vintaj, (888) 592-6272, www.vintaj.com. Embroidery floss: Michaels, (800) 642-4235, www.michaels.com. Ball chain and E-6000 jewelry cement: Fire Mountain Gems and Beads, (800) 423-2319, www.firemountaingems.com. ●

9 copper 4mm melons 5 copper 7mm pineapple rounds 4 copper 8×3.5mm saucers 1 brass 32mm wandering pathway hoop 1 brass 52×47mm artisan hoop 2 arte metal 6×27mm token feather charms 2 verdigris arte metal 14×38mm Etruscan navette charms 1 verdigris arte metal-and-teal 29×25.5mm Etrusia ringlet hoop 1 yellow-and-brown 42×31.5mm enameled diving swallow pendant 2 brass-and-white 45×10.5mm native feather pendants 4 arte metal 21-gauge 1½" eye pins 11 brass 16-gauge 7.25mm rib cable jump rings 1 brass 13-gauge 17mm roped cable jump ring 1 arte metal 21-gauge 4.75mm jump ring 2 brass 2mm crimp tubes 2 brass 4mm crimp covers 2.25" of brass 3.4×5.1mm curb chain 26" of saddle tan 5mm deerskin lace 12" of bronze .018 beading wire TOOLS

Steel bench block Ball-peen hammer Metal reliefing block 2 pairs of chain- or flat-nose pliers Round-nose pliers Wire cutters Crimping pliers FINISHED SIZE

30"

Santa Fe Dreams Jess Lincoln TECHNIQUES

Hammering Simple wireworking Stringing Crimping Knotting MATERIALS

7 light stone Picasso 4mm fire-polished glass rounds 12 black-and-yellow Picasso 6mm pressed-glass melons 4 mustard 8×6mm pressed-glass rondelles 4 black-and-green Picasso 10×9mm pressed-glass bicones

76

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1. Place the artisan hoop on the steel bench block and add texture using the round end of the hammer. Use the white side of the metal reliefing block to sand the hoop. Repeat entire step using the wandering pathway hoop. 2. Use one 7.25mm jump ring to attach the Etrusia hoop, the wandering pathway hoop, and the artisan hoop to the 17mm jump ring. Attach two 7.25mm jump rings to the previous 17mm jump ring. 3. Use one 7.25mm jump ring to attach 1 feather pendant to the fifth hole on the left side of the artisan hoop. Use 1 eye pin to form a simple loop. String 3 stone rounds and 2 copper melons. Form a simple loop that attaches to 1 navette charm. Use one 7.25mm jump ring to attach the beaded navette charm dangle to the adjacent right hole on the artisan hoop. Use 1 eye pin to form a simple loop. String 1 pineapple round and form a simple loop that attaches to one 7.25mm jump ring, the swallow pendant, and a 3-link piece of chain. Use 1 eye pin to form a simple loop that attaches to the free end of the chain. String 3 stone rounds and 2 copper melons. Form a simple loop that attaches to the remaining navette charm. Use one 7.25mm jump ring to attach the beaded swallow dangle to the third (middle) adjacent hole on the artisan hoop. Use one 7.25mm jump ring to attach a 5-link piece of chain to the adjacent hole on the artisan hoop. Use 1 eye pin to form a simple loop that attaches to the free end of the chain. String 1 stone round and 1 copper melon. Form a simple loop that

attaches to the remaining feather pendant. Use one 7.25mm jump ring to attach 1 arte metal feather charm and an 8-link piece of chain to the adjacent hole on the artisan hoop. Use 1 arte metal jump ring to attach the remaining arte metal feather to the free end of the chain. 4. Use the beading wire to string one 7.25mm jump ring and 1 crimp tube. Pass back through the crimp tube and crimp. Cover with 1 crimp cover. String 5 black-and-yellow melons, 1 copper melon, 1 saucer, 1 bicone, 1 pineapple, 1 rondelle, 1 copper melon, 1 saucer, 1 bicone, 1 pineapple, 1 rondelle, and 1 black-and-yellow melon. 5. String the 2 jump rings attached to the layered focal formed in Step 3. Repeat Step 4, reversing the stringing sequence. 6. Use the leather to string 1 jump ring on one end of the beaded strand. Form an overhand knot, leaving a 1" tail. Repeat for the other side of the necklace. JESS LINCOLN is inspired by ancient cultures, organic textures, nature, and the beauty of changing seasons. She enjoys creating artistic focal pieces and unique jewelry components with a vintage, rustic, and worn look using Vintaj natural metals and a variety of mixed-media techniques and materials. See her designs and inspiration at Vintaj.com and on Vintaj social media pages. RESOURCES Check your favorite bead retailer or contact: Czech-glass beads, arte metal (steel) findings,

token feathers, and verdigris patina charms: Vintaj Salvage, www.vintajsalvage.etsy.com. Brass chain, findings, patina brass feathers, brass hoops, and copper beads: Rustic River Finds, (815) 776-0043, www.rusticriverfinds.com. Swallow: Gardanne Beads, www.gardannebeads.etsy.com. Deerskin lace and flexible beading wire: Hobby Lobby, (855) 329-7060, www.hobbylobby.com. ●

Agua Caliente Anne Perry TECHNIQUES

Stringing Crimping Simple wireworking

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION.

fast & fabulous MATERIALS

4 g matte turquoise size 11º seed beads 2 white/red/orange/yellow 12mm glass rounds 2 orange-and-white 16mm spiral glass rounds 6 coral 4mm rounds 18 turquoise 8mm rounds 2 turquoise 11×10mm rounded cubes 2 turquoise 14×12mm nuggets 1 turquoise magnesite 9×12mm trapezoid 1 African turquoise 20×14mm rondelle 14 silver-plated 2mm rounds 3 silver-plated 8×7mm fancy bicones 8 silver-plated 8mm daisy spacers 1 silver-plated 11×20mm filigree tulip drop 2 silver-plated 7×5mm bead caps 1 silver-plated 5×12mm hook clasp 6 silver-plated 1" head pins 1 silver-plated 2" head pin 1 silver-plated 2" eye pin 1 silver-plated 6mm jump ring 2 copper 7mm jump rings 2 silver-plated 2mm crimp tubes 10" of silver-plated 4×6mm double oval chain 50" of tan size B Nymo nylon beading thread 2" of copper 18-gauge craft wire 15" of silver .015" beading wire TOOLS

Scissors Bead stop Needle 2 pairs of chain- or flat-nose pliers Round-nose pliers Wire cutters Mandrel, dowel, or marker

1 daisy spacer, 1 white/red/orange/yellow round, 1 daisy spacer, 1 turquoise cube, 1 fancy bicone, 1 turquoise nugget, 1 daisy spacer, 1 spiral glass round, 1 daisy spacer, and 1 turquoise round. 7. String the first loop of the wire focal from Step 4, the African turquoise rondelle, and the second loop of the wire focal. Repeat Step 6, reversing the stringing sequence and using the remaining 3½" of chain. Use the silver-plated jump ring to attach the clasp to the free end of the chain. ANNE PERRY is a professional educator who lives in Southern California. She has been beading in her spare time ever since her best friend cleaned out her craft closet and gave Anne all of her beads. RESOURCES Check your favorite bead retailer or contact: Seed beads: Dare 2 Be Unique, www.dare2beunique

.etsy.com. White/red/orange/yellow glass rounds, coral rounds, turquoise rounds and nuggets, bicones, tulip drop, and beading wire: Michaels, (800) 642-4235, www.michaels.com. Spiral glass rounds: Beadazzled, (410) 837-2323, www.beadazzled.net. Trapezoid: Solo Supplies, www.solosupplies.etsy.com. Turquoise rondelle: Let It Bead, (503) 228-1882, www.letitbeadportland .com. Silver rounds: Julie’s Bead Store, www.juliesbeadstore .etsy.com. Similar daisy spacers: HalfPennyBoutique, www .halfpennyboutique.etsy.com. Clasp: Beads ‘n Other Needs, (661) 799-9595, www.beadsnotherneeds.com. Head pins, eye pin, jump rings, crimp tubes, Nymo beading thread, and craft wire: Beadaholique, (866) 834-4618, www.beadaholique .com. Chain: Beads U Need, (714) 534-3420. ●

FINISHED SIZE

23"

1. Place a bead stop at the end of one 5" piece of beading thread. Place the needle on the thread and string 3" of seed beads. Pass the needle back through the seed beads in the opposite direction. Remove the bead stop. Form an overhand knot on the eye pin. Trim thread. Repeat entire step six times to create a 7-strand tassel. 2. Use the eye pin on the tassel to string the tulip drop through a hole adjacent to the top loop. Wrap the wire around the loop. Attach the 2 copper jump rings to the drop’s loop. 3. Use one 1" head pin to string 1 coral round; form a wrapped loop. Repeat five times to create a total of 6 coral dangles. 4. Bend the middle of the copper wire around the mandrel to create a curve wide enough to fit the African turquoise rondelle. Form a simple loop at one end. String 3 coral dangles, the tassel, and 3 coral dangles. Form a simple loop. 5. Use the 2" head pin to string the trapezoid and 1 fancy bicone; form a wrapped loop that attaches to one end of one 6¼" piece of chain. 6. Use the beading wire to string 1 crimp tube and the free end of the chain. Pass back through the crimp tube and crimp. String 1 bead cap. String {1 turquoise round and 1 silver-plated round} eight times, omitting the final silver-plated round. String

SEE P. 86 FOR HELPFUL TECHNIQUE INFORMATION.

Southwest Serenity Michelle Mach TECHNIQUES

Simple wireworking MATERIALS

4 red 4mm bamboo coral rounds 11 turquoise 6mm faceted glass rounds 4 turquoise 8mm faceted acrylic lentils 4 brown tigereye 8mm rounds 1 red 20×18mm reconstituted stone butterfly 1 turquoise-and-gold 22mm round 4-hole slider

1 antiqued brass 34mm circle pendant blank 1 brass 32mm filigree flower 15 gold-plated 3mm jump rings (small) 4 brass 6mm jump rings (medium) 13 brass 8mm jump rings (large) 1 brass 8×12mm lobster clasp 1 brass 2" eye pin 73" of gold 24-gauge craft wire TOOLS

Round-nose pliers 2 pairs of chain- or flat-nose pliers Wire cutters Metal hole punch FINISHED SIZE

17"

1. Use 3" of craft wire to form a wrapped loop. String 1 red round; form a wrapped loop. Repeat three times to create a total of 4 red links. Use 3" of craft wire to form a wrapped loop. String 1 brown round; form a wrapped loop. Repeat three times to create a total of 4 brown links. Use 3" of craft wire to form a wrapped loop. String 1 turquoise lentil; form a wrapped loop. Repeat three times to create a total of 4 turquoise lentil links. Use 3" of craft wire to form a wrapped loop. String 1 turquoise round; form a wrapped loop. Repeat ten times to create a total of 11 turquoise round links. 2. Set aside 2 large jump rings. Mix the remaining large and small jump rings together and use them randomly to connect the beaded links, using 2 small jump rings to attach the lobster clasp and 2 large jump rings to connect the eleventh and twelfth beaded links. 3. Use the hole punch to punch a hole in the bottom of the antiqued brass blank opposite the top hole. Use 4" of craft wire to wrap the slider to the center of the filigree flower, tucking in the ends behind the center flower. Use 1 medium jump ring to attach the previous 2 large jump rings in between the eleventh and twelfth beaded links to the brass blank and the filigree flower/slider. Use 2 large jump rings to attach the bottom of the filigree flower/ slider to the bottom hole of the blank. 4. Use the eye pin to string the butterfly; form a simple loop that attaches to 1 medium jump ring. Use 2 medium jump rings to attach the previous jump ring to the previous 2 large jump rings on the bottom of the focal. MICHELLE MACH finds inspiration in her favorite books and movies, unusual beads and findings, and her own backyard in Colorado. She is the author of Unexpected Findings (Interweave, 2014). Visit her website at www.michellemach.com to see more of her work. RESOURCES Check your favorite bead retailer or contact: Red rounds, turquoise lentils, turquoise rounds,

butterfly, turquoise slider, medium and large jump rings, clasp, wire, and eye pin: Michaels, (800) 642-4235, www.michaels.com. Tigereye rounds and small jump rings: Fire Mountain Gems and Beads, (800) 355-2137, www.firemountaingems.com. Flower filigree: B’Sue Boutiques, www.bsueboutiques.com. Brass blank: Vintaj Natural Brass, www.vintaj.com. ●

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Ruby Tuesday Bead Company—Long Beach

www.backroombeads.com

www.beadstrands.com

Bu nc hes of be ad s —l a mpwork , r a k u , C z ec h , De l ic a , gemstones, and more. Seven days 9 –5. Don’t miss the Fairplay Bead & Fiber Show during the 2nd weekend in August. Vendors wanted!

Full-service bead store with an amazing selection of glass and semiprecious beads. Come see our wall of beads. Great prices. Quality beads. Friendly, helpful staff.

1766 Clark Ave.

(562) 498-2700

417 Front St.

Creative Castle—Newbury Park www.creativecastle.com

(719) 836-2698

Alley Cat Beads—Northglenn www.alleycatbeads.com

Ventura County’s largest selection of beads. Seed, Delica, Czech glass, and vintage glass beads; freshwater pearls; gemstones; Swarovski crystals; charms; findings; sterling; and gold-filled. Over 450 book titles and visiting guest teachers. Please visit our website for complete class listings or call and current newsletter will be mailed.

Exciting inventory of gemstones, Czech glass, seed beads, pearls, lampwork, tools, Swarovski crystals, Bali silver, findings, dichroic glass, handmade clay, and one of the largest selections around of different pendants/focal beads. We have wonderful bead-stringing and -weaving supplies at great prices, plus we’re adding new items all the time! Classes and parties available.

2321 Michael Dr.

11928 N. Washington

(805) 499-1377

(303) 451-1900

Beadsong—Salida

www.joyofbeading.net

A Place to Bead—San Marino

Large selection of Japanese seed beads, Swarovski pearls and crystals, books, Vintaj™, Findings and tools, classes. Closed Sunday & Monday. Tue–Sat 10–5.

A cozy shop in a village setting, carrying a nice selection of beads of all kinds, buttons, findings, supplies, tools, and classes.

10–5 Mon–Sat. Czech glass, gemstones, Bali, seed beads, Delicas, bugles, charms, sterling and gold-filled findings and beads, books, tools, supplies, and much more. Email: [email protected].

1054 E. Grand Ave., Ste. A.

2566 Mission St.

107 F St.

(805) 489-6544

www.aplace2bead.com

(626) 219-6633

BEADWORK

(719) 530-0110 OCTOBER/NOVEMBER 2017

81

the market {stop to shop}

To be listed in “Stop to Shop” please contact Stephanie Griess at [email protected] or (970) 613-4630

the market {stop to shop}

Connecticut

Georgia

Thistle Beads—Niantic

Beadjoux—Braselton

www.thistlebeads.com

www.beadjoux.com

Take a trip to the seashore and find all the beads you need! Two-hole heaven, Shibori, Soutache, Toho & Miyuki seed beads, kits and more! Enjoy the new boardwalk and all Niantic has to offer! Find us on Facebook! Mon-Sat 10-6 Thurs 10-8 Sun 11-5

The Absolute Best Bead Store Northeast of Atlanta! Great products including Swarovski, Czech fire polish, seed beads, all the new bead shapes and sizes, a great selection of clasps and so much more! Check our website for class schedule, national instructor calendar, directions and hours. Shop Online at www.beadjoux.net. 6750 HWY 53, Ste. 103 (706) 658-0007

24 Pennsylvania Ave.

(860) 739-6552

Florida Beaded Envisions—Cape Coral www.beadedenvisions.com Cape Coral’s only Bead Store offers not only an array of beads but a place that ’s war m, inv iting and nur tur ing to your creativity. Spend a day with us and enjoy complimentary coffee & soothing music while you browse and shop through our huge selection of Czech glass, Miyuki Seed beads, Delicas, crystals, Semi-Precious Stones, leather, tools, findings, pearls, wire, books as well as unique handcrafted jewelry & gifts. We offer classes in beading & wire wrapping and host parties. See our website for a list of classes and upcoming events. STORE HOURS: (CLOSED Sun & Mon) TUES, WED & FRI 10am-6pm, THURS & SAT 10am-4pm. During SEASON (November- March) OPEN on MONDAYS 10am-2pm as well as our regular hours.

130 Del Prado Blvd. S., Ste.7

(239) 673-6096

Laura’s Beads—Hudson www.laurasbeads.com Laura’s Beads is more than just a bead shop, it is a place to learn, create, relax and enjoy. With a warm and inviting atmosphere, we’re here to assist you in finding what you need for your latest project. Specializing in bead-weaving, we offer a range of classes for both beginners and experienced beaders. Best of all, we are stocked with a gorgeous selection of beads, findings, and supplies at great prices.

8143 State Rd. 52

www.facetsofisis.com

Gone With The Bead—Watkinsville (Athens) www.gonewiththebead.com Come and see our unique and exciting shop. We have 2,400 sq. ft. featuring artisan beads and focals, Czech beads and buttons, Kumihimo, vintage beads and stampings, Miyuki, Swarovski, Venetian beads, TierraCast, Wire Lace and Wire Knitz, Hill Tribe Silver, Kazuri, African metal and trade beads, pearls, stone, wood, and horn. See our gallery tour at www.gonewiththebead.com. Please check website for hours.

16 N. Main St., Ste. D (Entrance at the back) (706) 769-2012

Idaho pandorasbaublesandbeads.com T he a rea’s best a nd l a rgest select ion of high qu a l it y gemstones, German vintage beads, Tibetan, Bali, Thai, and Turkish silver beads and findings, Czech glass, Japanese and Czech seed beads, trade beads and much more. We also specialize in extraordinary pearls, all of which are handpicked from all over the globe. Classes from beginner to advanced. Monday thru Friday 11:00-5:30 and Saturday 12:00-5:30. Check out our Facebook, Twitter and LinkedIn.

440 Park Ave.

(208) 529-3696

Illinois www.citybeadschicago.com

www.beadandart.com

Seed Bead and AIKO Specialists! Huge inventory of vintage C z ec h g l a ss bead s, ne w sh aped bead s, Ga r y W i l son cabochons, pearls and semiprecious stones. Nationally and internationally renowned teachers! DISCOUNT PRICES! Open Tuesdays 12-5, Saturdays 11-4 or by appointment. For class schedules and more information, visit our website or call to be added to our mailing list.

(954) 418-3390

Beads Etc.—Maitland www.beadstoreorlando.com Beads Etc. is Orlando’s Premier Teaching Center & Full Ser v ice Bead Store. Feat u r ing Japa nese Seed Bead s, Swarovski, Gemstones, Pearls, Thunder Polished Crystals, Fine metals & Mixed Metal Findings and Chain. Lots of Kits and a Special order Catalog.

110 N. Orlando Ave.

(407) 339-BEAD (2323)

The Bead Strand—Ocala www.thebeadstrand.com Come visit Ocala’s hidden treasure at an all new 3000 sq ft location in Paddock Mall. Offering a wide selection of gemstones, Swarovski crystals, seed beads, findings, Czech gl ass, a nd l a mpwork bead s. A lso newly added is ou r accessory boutique offering unique gifts and jewelry. Visit o u r w e b s it e t o p u r c h a s e b e a d i n g k it s o r f o r m o r e information including class schedules.

3100 SW College Rd. (near Macy’s)

(352) 620-2323

Bead Bar Full Service Bead Store—Orlando www.beadbar.com Central Florida’s Favorite Bead Store since 1992. Featuring the area most complete inventory of the latest greatest Seed Beads, Crystals, Gemstones, Pearls, Tools, and Supplies. Rare and unusual beads and baubles and lots more. Retail & wholesale. Friendly Talented Staff of expert Beaders ready to help you.

1319 Edgewater Dr. {College Park area}

(407) 426-8826

Anderson’s Bead Room—Port Charlotte www.andersonsbeadroom.com Largest selection of gemstones in Southwest Florida. More Than 3,000 colors of Miyuki seed beads. Over 600 colors of Delicas. Czech glass, Swarovski, bone, shell, tools, sterling silver, copper and gold-filled findings. Tues-Sat 10am-5pm. (941) 764-6222 24600 Sandhill Blvd., Unit 101

Donna’s Beads—Sarasota www.donnasbeads.com A re you a beg inner or advance bead weaver, come in for inspiration or classes. Great selection of Swarovski crystals/ pearls, japanese seed beads, fire polish, preciosa and finds. Great prices and the friendliest gals in town. come in and bead with us.

3928 N. Rockwell St.

(312) 316-1910

Southpass Beads—Cobden www.southpassbeads.etsy.com For All Your Beading & Fiber Needs! Great selection & prices! Best little bead shop in southern Illinois! Unique ceramic beads, Czech glass, findings, Soft Flex wire, cord, silk ribbon, Cascade yarn, seed beads, gemstones & more. Watch for our trunk shows. Classes & Parties Available. Follow us on Facebook & Twitter! Wed-Fri 12-6, Sat 10-5, or by appointment.

203 E. Ash St.

(618) 893-6170

Studio Beads—Deerfield We carr y a great assortment of all sizes of seed beads, freshwater pearls, “BASHA” and other nationally known lampwork beads, semiprecious beads, and finished jewelry from artists across the country. We have a great assortment of vintage purses and jewelry. We offer classes and workshops with nationally recognized teachers. Visit us online for more information. Mon, Tue, Wed, Fri 10–5, Thu 10–8, Sat 10–4.

816 Waukegan Rd.

(847) 607-8702

bodacious beads, Inc.—Des Plaines www.bodaciousbeadschicago.com Best selection & prices. Swarovski™, stone, pearls. Czech glass & 2-hole beads, Japanese, Czech seeds. GF, SS, base metal findings, beads & 250+ chains. Leather, tools, friendly help. Mon -Sat 10-6,Tues til 8.

1942 River Rd.

(847) 699-7959

Rustic River Finds—Galena www.rusticriverfinds.com Rustic River is a collection of handcrafted jewelry, Vintaj Natural Brass, specialty beads, & Unique finds. Our shop is inspired by nature. Open 7 days a week.

109 N. Main St.

(815) 776-0043

Bead In Hand—Oak Park www.beadinhand.com

BEADS!—Tampa www.eBeads.com

145 Harrison St.

(941) 444-7457

THE LARGEST SEED BEAD COLLECTION IN THE TAMPA BAY AREA! We stock 1,097 Delica colors, Tilas, Half Tilas, Cubes, Magatamas, Rounds, Berr y Beads, and more! Czech glass, SuperDuos, Fire Polish, Tiles, and more! Gemstones, Freshwater Pearls, base metal findings, Swarovski Crystals, and lampwork beads. Classes by local and nationally known artists. Visit our website for hours and class schedule. [email protected]

12807 W. Hillsborough Ave., Ste. H WWW.INTERWEAVE.COM

(813) 258-3900

(847) 705-6614

Indiana The Beaded Peacock—Winona Lake www.thebeadedpeacock.com Largest selection of stone beads in N. Indiana. Glass and seed beads, findings and tools, custom jewelry and repair, classes and parties year round. A hidden gem in a cozy lakeside town. Find us on Facebook. Open Mon-Sat 10-6

805 East Canal St.

(574) 371-2777

Maine Caravan Beads—Portland Come see the complete line of Miyuki Delica beads in our retail bead store which doubles as our wholesale showroom. We carry an enormous selection of Miyuki seed beads as well as Swarovski crystal, pearls, semi-precious, Czech glass, findings and chain. Weekly classes and free help at our work tables. 915 Forest Ave. (207) 761-2503

Maryland Atlantic Gems, Inc.—Silver Spring Best pricing on Swarovski Crystal. Factory distributor of Findings/Chains in Sterling Silver, Gold-Filled, & 14K Gold. Plated Chains/Findings in 6 finishes. Miyuki Delicas – 650 colors. Full selection of Semi-Precious Beads, Freshwater and Akoya Pearls, & Tools. 8609 Second Ave., #103B (301) 565-8094 (888) 422-GEMS

Massachusetts Bead Addiction—Walpole www.bead-addiction.com 2000 sq ft of fabulous beads and beading supplies. We carry many name brands, including Czech glass, Kazuri, Lillypilly, Miyuki, Thunderpolish crystal, Swarovski, Fuseworks, TierraCast, Artistic wire. Huge tool selection and tons of wire choices. We also offer classes, Ladies Night Out, birthday parties, or any event you can think of. We are open Tue–Sun, closed on Monday. Check our website for hours and directions or call or email us at [email protected].

2000 Main St.

(508) 660-7984

www.studiobeads.com

Friendly and knowledgeable staff, offering seed beads, semiprecious, Czech glass beads and more. Beading supplies, tools, findings and tips. Birthday parties, classes, repairs. Space to “stay and play.” Open 7 days, visit website for hours..

2717 Beneva Rd.

225 N. Northwest Hwy.

www.atlanticgems.com

City Beads—Chicago

Bead & Art—Lighthouse Point (Pompano)

5034 N. Federal Hwy.

Beautiful selection of Sterling Silver Findings, Swarovski Crystals, Czech Fire Polish, German Vintage & natural Gemstone beads. BeadSmith authorized dist. Classes, Artist Demos, Trunk Shows.

www.caravanbeads.com

Pandora’s Baubles and Beads—Idaho Falls

(727) 495-0803

South Florida’s friendliest bead store. Tons of semiprecious, pearls, Czech, Swarovski, sterling, tools, supplies. Original lampwork beads. Classes and kits. Check out our website for store location and class schedules.

82

Facets of Isis—Palatine

(708) 848-1761

Michigan Bead Bohemia—Farmington www.facebook.com/beadbohemia Low prices *friendly service.* Unique selection. A wide variety of beads and components including semi-precious gems and Czech glass to artist pieces, seed beads, designer brass lines, and more. Ask for your free “Bead Addiction” card!

33321 Grand River Ave.

(248) 474-9264

Bead Haven—Frankenmuth www.beadhaven.com 5,000 sq. feet makes us Michigan’s largest bead store! HUGE selection of Czech beads in new shapes. Chain, antique silver & brass stampings. Seed beads, Delicas, Swarovski, & pearls. Kits, patterns, FREE classes, tools, supplies & books. Open 7 days! Second location in CASEVILLE MI!

925 S. Main St., E

(989) 652-3566

The Creative Fringe LLC—Grand Haven www.thecreativefringe.com We’re a f u l l-ser v ice bead shop of fer ing an e x tensive col lection of beads, findings, w ire, tools, books, lampworking, silver clay, sheet metal and metalsmithing supplies. Cultivate your creative side with classes and parties. Open workstations available. Come to the Fringe! Your creativity awaits you. Open 7 days a week.

210 Washington

(616) 296-0020

Stony Creek Bead & Gallery—Ypsilanti Twp.

Bead World—Palatine

www.stonycreekbead.blogspot.com

www.beadworldbeads.com Jewelry and gift items from around the world, specializing in ancient and new Indonesian glass beads, (Indonesian glass beads available wholesale) and recycled glass beads. Jewelry repair—books—findings—body jewelry—piercings.

Supporting the artist inside of you! Huge collection of Seed & Czech Beads. Bali, pearls, and stones. Lampwork & Polymer Clay by MI artists. Classes, kits, books & so much more! I-94 to exit 183. South 1 mile. Closed Sundays and Mondays. Tue– Fri 10–6, Sat 10–5. www.StonyCreekBead.blogspot.com.

8 S. Brockway

2060 Whittaker Rd.

(847) 776-BEAD (2323)

(734) 544-0904

Minnesota www.bobbybead.com Several thousand varieties of TOHO Japanese seed beads including more than 1,000 colors of AIKO Precision Cylinder beads. Wholesale and retail distributor of NEW, high-quality TOHO beading needles and One-G thread. Largest Full-Line Bead Store in Minnesota! [email protected].

2831 Hennepin Ave. S.

(888) 900-2323

www.beadstorm.com 30+ years of experience shows in our vast selection of seed beads, pressed glass, Swarovsk i cr ysta ls, Ba l i si lver, sterling, and gold-filled beads. Shop in-store or online. Mon–Fri 10–6, Sat 10–5. No print catalog.

(651) 645-0343

Missouri www.springfieldleather.com Come in and explore Springfield’s largest bead store, over 2,500 sq. ft. of high quality findings and an awesome selection of semi-precious bead strands for your unique creations. We have lots of tools for beading, metal stamping, leather crafts and a wide array of seed beads. We offer a variety of classes taught by our resident experts. Lots of classes. Open Mon-Sat 9-6.

(800) 668-8518

Lady Bug Beads—St. Louis www.ladybugbeadsstl.com Midwest’s favorite bead shop. Over 3000 sq. ft. of beads that focus on Toho and Miyuki Seed Beads, a large selection of Czech Glass and Tierra Cast Pew ter. Full selection of Swarovski Crystals and Freshwater Pearls. We are a teaching store. Also check out our Etsy Shop at LadybugbeadsSTL. Mon, Wed, Fri 10–6, Tue and Thu 10–8, Sat 9–4, Sun 12–4.

7616 Big Bend Blvd.

(314) 644-6140

Nevada Bead Jungle—Henderson (Las Vegas area) www.beadjungle.com Most complete bead shop in the Las Vegas area with the largest variety of beads and findings. Classes, silversmithing, parties, workshops, and volume discounts. Minutes from the Strip. Please visit website for shop hours.

1590 W. Horizon Ridge Pkwy., Ste. 160

(702) 432-2323

New Hampshire Bead It!—Concord www.beadit.biz Original easy-to-follow patterns available at www.beadit. biz. Best bead shop in the area! Tons of gorgeous beads, findings & accessories. Largest selection of seed beads around. Bead therapy rules!

146 N. Main St.

(603) 223-0146

Ladybead and Rook—Wilton www.ladybeadandrook.com Beautiful, quality beads to inspire your creativity and accentuate your style. Emphasis on European beads: Czech crystals, pressed glass, seed beads, pearls, and semiprecious. Artisan-created jewelry for fine gift giving. Ample parking. Wed–Sat 9–5:30, Sun 11–4. At the Riverview Mill Artist Shops.

29 Howard St.

411 Rt. 79

(732) 591-8233

Bead Dazzle—Point Pleasant

(603) 654-2805

New Jersey Beads by Blanche—Bergenfield

Jubili Beads & Yarns®—Collingswood www.jubilibeadsandyarns.com Everything you need under one roof! Fabulous full-service source for Miyuki & Czech beads, crystals, yarns, supplies. Eight-torch lampworking studio, weaving, knitting, crocheting, PMC, & more! Repairs, custom jewelry, and parties. Contact us via email at info@jubilibeadsandyarns. com. 713 Haddon Ave. (856) 858-7844

Sojourner—Lambertville www.sojourner.biz Sojourner stocks freshwater pearls, semiprecious stones, Swarovski crystals, Czech glass and seed beads, sterling beads, Chinese enamel beads, castings, charms, ethnic beads, findings—including our own design sterling silver box clasps bezel set with vintage and semiprecious elements. Open daily 11-6. 26 Bridge St. (609) 397-8849

www.sabeads.com Looking for the latest in beads? If you’ve seen it in a bead magazine, chances are we have it available for purchase at the store. Classes are twice a week with the schedule posted on our website at www.sabeads.com

11230 N. Garnett Rd., Unit A

(918) 576-8940

Pennsylvania Buttercup Beads—Audubon www.buttercupbeads.com Let your creativity blossom in our cozy country setting. Classes, Parties, oh-so-pretty sparkly things, and most of a l l , f u n ! O n e - s t o p s ho p p i n g i n a n o p e n w o r k s ho p environment. Artisan/bead-addict owned and operated.

1123 Pawlings Rd.

www.LUCYSBEADBOUTIQUE.com We offer classes, kits, variety of Miyuki, Toho, Swarovski, Czech, and much more. Also, Bead Club, Sunday Fundays, Open Beading, all in a social, fun atmosphere!

3241 Route 88

(848) 232-3690

New York

(484) 524-8231

The Bead Garden—Havertown www.thebeadgarden.com Friendly, full-service bead store for all of your jewelrymaking needs. Classes for all levels of experience, including beg inners. Bir thday par ties and g roup outings. Knowledgeable staff that is delighted to help.

2122 Darby Rd.

(610) 449-2699

Let’s Bead!—East Rochester

Blue Santa Beads—Media

Your destination bead shop! 3,200 sq. ft. bright full-service bead store. Wide selection of quality beads, semi-precious stones, Swarovsk i cr ysta ls, kumihimo, chain mai l le, stringing materials, wire, findings and more! Featuring unique beads and components by loca l and A mer ican artisans. Friendly customer service for beaders of all levels.

An artistic venue that prides itself on a vast selection of beads and findings to encourage your creativity. Customers always come first and always return.

349 W. Commercial St.

www.bluesantabeads.net

1165 W. Baltimore Pike

(610) 892-2740

Tennessee

(585) 586-6550

Beads World Inc.—New York

Bead Therapy—Chattanooga

www.beadsworldusa.com

www.bead-therapy.com

From Beads to Chains to Glass Sew-On and much more. Beads World is your one-stop shop. Quality selections in the heart of NYC’s fashion district. Mon-Fri 9-7, Sat-Sun 10-5. 57 W. 38th St. (between 5th & 6th Avenue) (212) 302-1199

Finally open now on Tuesdays through Saturdays. Fabulous selection of Japanese seed beads, Swarovski/Preciosa crystals, natural stone beads, glass and freshwater pearls, Czech Firepolish /pressed glass bead and beading supplies. Experienced teachers and great classes! Come see us!!

North Carolina

1420 McCallie Ave.

(423) 509-1907

Chevron Trading Post & Bead Co.—Asheville www.chevronbeads.com Asheville’s premier full-service bead store of 25+ years. Largest selection of seed beads, Old World Trade Beads and Vintage glass in the SE Region. Huge selection of pearls, gemstones, cr ystals, Czech, ceramic & natural beads, including all the supplies you need. WireLace® Distributor – Open 7 day a week. Importer/Classes/Parties/Workspace

40 N. Lexington Ave. (Downtown)

(828) 236-2323

Ain’t Miss Bead Haven—Mooresville

Texas Beads Unlimited Inc.—Dallas You r one stop bead shop i n Da l l a s: Huge col lec t ion of Gemstones, agates, pewter, findings, chain, Chinese crystal, pave beads, rhinestone findings, wood beads, tools, ceramics and sterl ing si lver jewelr y st udded w it h semi-precious gemstones. Spend over $300 or more (wholesale) and receive 50% off on selected items. Call us to be included for weekly sales at the shop. Email: [email protected]. Fax: (214) 749-0446

2454 Royal Ln.

(214) 749-0444

Virginia

www.aintmissbeadhaven.com Classes, Parties, Design & make your own jewelry-or let us make it 4 you. Mooresville’s best place for beads & jewelry supply. We are just north of Charlotte NC. BYOB Socials (Bring Your Own Beads), Wine & Bead, and Girls Night Out. We offer a large variety of Vintage jewelry and components, Seed beads, Swarovski, Preciosa, Czech, Gemstones, Crystals strands, Sterling Silver, Silver & Gold filled, and Vermeil findings. Hours: Monday– Saturday 10–6; Email: [email protected] 138 N. Main St. (704) 746-9278

www.beadsbyblanche.com (Only miles from NYC.) Visit East Coast’s premier bead shop. 3,000+ colors/styles of Japanese seed beads, glass, crystal, semiprecious, lampwork, and more! Classes by local and nationally known artists. Extensive inventory for unlimited possibilities! 106 N. Washington Ave. (201) 385-6225

SA Beads—Owasso

www.BeadDazzlePoint.com Ocean County’s largest full service bead store. Huge selection of Swarovski, semi-precious, Czech crystal; largest selection around of seed beads. All the new twohole beads, Delicas, Charlottes, and much more. Many classes available in all techniques. 2319 Bridge Ave. (732) 295-6679

Lucy’s Bead Boutique—Point Pleasant

Springfield Leather & Touchstone Beads— Springfield

1463 S. Glenstone

www.thebirdsand thebeads.com Surround yourself in beads! Incredible collection of handselected stone, pearl, glass and shell beads. Plus, all the best seed beads, tools, books, findings, and Swarovski crystals. Please call or stop by for further information and our extensive class schedule.

Ohio Beaded Bliss Designs—Cincinnati (Harrison) www.followyourbeadedbliss.com The tri-state’s best bead shop: create your own jewelry from our ever-g row ing selection of Swarovsk i cr ysta l, semiprecious, glass, metals, pendants, lampwork, clay beads, books, tools, and much more! Project assistance, classes & parties, too. Always follow your bliss!

1151 Stone Dr., Ste. E

(513) 202-1706

Bloomin’ Beads, Etc.—Columbus (Powell) www.BloominBeadsEtc.com We are a fun bead store with a 2,000 sq. ft. Event Center where we host weekly classes. We have all types of beads and supplies that you will need. Come join us!

4040 Presidential Parkway

(740) 917-9008

Gahanna Bead Studio—Gahanna

Virginia Beadniks—Virginia Beach www.beadniks.com Spec i a lt y bead store for t he d i scer n i ng e ye: u n ique components, findings, bead accessories, gifts and décor. Make & takes, classes, and ladies night. We provide repairs. Open every day. Email us at [email protected] 325 Laskin Rd. (757) 463-5556

Washington Wynwoods Gallery & Studio— Port Townsend www.wynwoods.com A beautiful and unique bead shop that has everything the beader could need or want. Also, a line of sterling charms and components designed by the shop’s owner, Lois. Daily 10–7.

940 Water St.

(360) 385-6131

Fusion Beads—Seattle www.fusionbeads.com Visit the largest bead store in Seattle! Stop in & take one of over 8 0 c l a sses t aught by loc a l & n at ion a l ly k now n instructors. Shop our extensive line of Swarovski Elements Crystals, Japanese seed beads, gemstones, glass beads, handmade beads & findings, & so much more. Our friendly & knowledgeable staff will help get you started! Mon-Sun 10-6, Tues 10-7

3830 Stone Way N.

(206) 782-4595

www.gahannabeadstudio.com

Wonders of the World Beadshop—Spokane

Oldest bead store in Columbus, offering unique classes, workshops, and parties. Huge selection of findings, vintage porcelain, stone, wood, bone, Miyuki, Swarovski, Czech, cords, leather, and more. Exemplary customer service from friendly, knowledgeable staff.

Best little bead shop in Spokane. Incredible gemstones, crystals, charms, seed beads, chain, findings, and books for your creative needs. Friendly staff and great prices. Make us your first stop! In the historic Flour Mill.

1028 N. Hamilton Rd.

621 W. Mallon, Ste. 412

(614) 933-8948

www.wondersoftheworldinc.com

BEADWORK

(509) 325-2867

OCTOBER/NOVEMBER 2017

83

the market {stop to shop}

Stormcloud Trading Co. (Beadstorm)— St. Paul

725 Snelling Ave. N.

Oklahoma

The Birds and the Beads—Morganville

Bobby Bead—Minneapolis

Wisconsin Madison Bead Company—Madison

the market {stop to shop}

www.madisonbead.com Madison’s favorite bead store! Our friendly staff focuses on providing excellent customer service. Beautiful, bright west-side location with on and off street parking. Great selection of Czech and Japanese seed beads, gemstones, Czech glass, tons of findings, Vintaj brass, and more! A wide array of classes for adults and kids ages 5 and up. Mon 11–5, Tue–Fri 11–7, Sat 11–5, Sun 11–3. Closed Sundays in January and February.

515 S. Midvale Blvd.

(608) 274-0104

Prairie Flower Beads—Portage www.prairieflowerbeads.com Friendly store that offers classes, birthday/wedding parties, and open beading. Great selection of seed beads (Czech and Japanese), stone strands, pearl strands, Czech glass embellishment strands, focal pieces, Swarovski Crystals and findings. Our staff has combined experience of 50 years of beading. Magazines, books, tools, cords, leather cords and lots more. See website for hours.

210 W. Cook St.

(608) 742-5900

JSM Bead Coop—Sheboygan www.jsmbeadcoop.com Sheboygan County’s bead store! Offering a wide variety of beads, findings, tools, books, and more. Workspace, tools, and a friendly, knowledgeable staff available—create right in the store! Classes and special events. Hours: Closed Sun/ Mon; Open Tue/Wed 10-5; Thurs/Fri 10-7; Sat 10-5 1511 S. 12th St. (920) 208-BEAD (2323)

Meant to Bead—Sun Prairie www.Meant-to-Bead.com Full-service bead shop. Featuring classes, large selection of beads, books, tools, etc. Specializing in PMC, semiprecious stone, and lampwork and Czech glass beads. Mon–Fri 10–8, Sat 10–5, Sun 12–4.

110 Columbus St.

(608) 837-5900

Maryland

CLASSES

Baltimore Bead Society

New Jersey

Howard County Center for the Arts 8510 High Ridge Rd. Ellicott City, MD 21043 [email protected] www.baltimorebead.org Monthly program on 2nd Tuesdays (September – June) at the Howard County Community Center for the Arts from 6:15 to 9:30 pm. Monthly workshops, classes, and special events. Follow us on Facebook, Instagram, and Twitter.

New Jersey South Jersey Bead Society P.O. Box 1242 Bellmawr, NJ 08099-5242 [email protected] www.southjerseybeadsociety.org Meetings are held the first Thursday of the month September-June from 6:30 to 9:00 pm. SJBS also offers workshops taught by local and national teachers. For locations and more info see the website.

Texas Dallas Bead Society [email protected] www.dallasbeadsociety.org Yahoo Group: http://groups.yahoo.com/group/dallasbeadsociety/ Join DBS for camaraderie, learning and sharing the love of beads. Meetings are the first Saturday of the month, subject to holidays. We gather at 10 and have a short meeting at 10:30 followed by a program. Bring your lunch and stay after the program for open beading until 4 Check out our website or Yahoo group for specifics on meeting dates, location and programs. DBS brings in national teachers twice a year and regional teachers more frequently. We can’t wait to meet you.

Stoned & Wired, LLC Studio/Boutique—Wausau What a lovely addiction! www.stonedandwiredllc.com

Virginia Northern Virginia Bead Society

Shop Online At: WWW.SHOPTIQUES.COM Facebook: Stoned and Wired Bead Shop Interesting selection of stones, gorgeous pearls, glass, met a l s & f i nd i ngs, Sw a rov sk i c r y st a l s, seed bead s, kumihimo supplies, buttons & more. Unique jewelr y designs by Leocadia and loca l artists. Char ming atmosphere. Located in downtown Wausau in the historic Landmark Building. Classes available. Tues, Thurs: 11-6, Wed, Friday: 11-5. Summer Saturday hours through Sept 11 are 11-3. Starting Sept 12, Saturday hours are 11-5. Closed Sunday and Monday.

P.O. Box 2258 Vienna, VA 22182 [email protected] www.nvbs.org Meetings: 1st Thurs. of each month, 7pm-9pm, Sept - June at Vienna Arts Center, 115 Pleasant Street NW, Vienna, VA. We offer workshops; an annual auction; and a year-end member party. Connect on our website!

221 Scott St.

Bead Society of Victoria

(715) 210-3165

Canada PoCo Inspired—Winnipeg, MB www.pocoinspired.com Winnipeg’s premiere full-service bead store with the largest selection of high-quality beads, stones, cr ystals, wire, chain, metal, tools, delica’s, findings, workshops, and more. 495 D Madison St. (Rear Entrance) (204) 219-2528

4 Sirius Beaders—Paris, ON

Australia PO Box 5312, Pinewood, VIC 3149 +61 420 200 727 [email protected] www.beadsociety.com.au Meets 2nd Sunday of the month at the Carnegie Library (Boyd Room), 7 Shepparson Avenue, Carnegie (excluding January). New beaders welcome. ANNUAL MELBOURNE BEAD EXPO, 10th-12th November 2017, Holmesglen Institute Conference Centre, Chadstone. Traders, workshops, exhibits and giveaways!

www.4siriusbeaders.com Over 400 colors of Miyuki delicas; Miyuki seeds sizes 6 to 15; Swarovski Crystals and Pearls. Superduos, Crescants, Crystals 2mm and up. Large assortment of findings. Fringe & Decorative beads; Wire; Tools; Pattern books; Needles; Ny mo thread; Classes. Centra l to London, Hamilton, K itchener, Brantford. Ca l l for store hours. See us on Facebook. 51 Ball St. (519) 442-7454

BEAD SOCIETIES Connecticut Connecticut Bead Society PO Box 372 Groton, CT (860) 262-3848 [email protected] www.ctbeadsociety.org Every Sept: Vendor Bead Show (weekend after Labor Day). Regular meetings held at Guilford Park & Rec. 32 Church St. Guilford, CT. – 2nd Sunday of the month, 12-2 pm; summer road trips to local bead shops.

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BEAD BROWSER www.beadpassionstudio.com Check out our selection and great prices! We carry Czech beads, fire polish, multi-hole beads, Toho and Miyuki seed beads, metal stamps, charms, findings and much more. Free patterns with purchase. Visit our website for latest news and promotions.

www.jubilibeadsandyarns.com Don’t miss our easy-to-use e-commerce website with ever-expanding inventory! Huge Miyuki stock, large assortment of wire, tools, and unique vintage components, mixed media supplies. Don’t see it online? Email us at [email protected]

www.toocutebeads.com We carry Swarovski crystal, pendants, pearls, gold-filled beads, chain, sterling silver beads, cultured pearls, Murano glass, artist glass, tools and wire, kits, and much more. Visit our website for class schedule and for our sale of the week.

www.wynwoods.com Original cast and hand fabricated charms, findings, resin frames and components. Unique selection of rosary parts & religious medals. Beads, chain and other found treasures. Plus new Czech two hole beads for your new design work. Whimsical charms all designed by Lois Venarchick. (Wynwoods Gallery & Bead Studio, Port Townsend, WA)

Jubili Beads & Yarns® 713 Haddon Ave. Collingswood, NJ 08108 (856) 858-7844 [email protected] www.jubilibeadsandyarns.com

Crafter’s ecstasy! Great classes in all levels of beaded jewelry making, bead weaving. Featuring state-of-theart, 8–torch flame-work studio. Open studio rental available. Mixed-media specialists offering classes and supplies in knitting, crocheting, loom weaving, PMC, wirework, and more! Vintage attic now open!

CLASSIFIED WORD

SCHOOLS & EDUCATION W ILLI A M HOLL A ND SCHOOL OF L APIDARY ARTS PO Box 980, Young Harris, GA 30582. Call for information (706) 379-2126; [email protected]; www.lapidaryschool.org. Week-long classes from April–October.

ADVERTISERS’ INDEX Anne Choi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Artbeads.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C2 Artworks by Cathy J/Filigree & Me . . . . . . . . . . . 80 Bead On It Boards . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Beadaholique. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17, 18 Beadalon/Artistic Wire. . . . . . . . . . . . . . . . . . . . 17, 34 Beadcats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Beadies Beadwork . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 BeadwareIL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Caravan Beads (ME) . . . . . . . . . . . . . . . . . . . . . . . . . 79 Craftoptics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Crystaletts/Horsman Ltd . . . . . . . . . . . . . . . . . . . . 35 Cynthia Rutledge . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Dream Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Fire Mountain Gems . . . . . . . . . . . . . . . . . . 16, 29, C4 Freckled Pear, The . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Fusion Beads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Garden of Beadin . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Gem & Lapidary Wholesalers Inc . . . . . . . . . . . . . 80 Helby Import/Beadsmith . . . . . . . . . . . . . . . . . . 8, 17 Innovative Beads Expo, The . . . . . . . . . . . . . . . . . . 66 Interweave . . . . . . . . . . . . . . . . . . . . . . . . 66, 78, 79, 84 John Bead Corp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Kandra’s Yarn and Beads . . . . . . . . . . . . . . . . . . . . . 81 Leslee Frumin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 LimaBeads.com. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Linda Richmond Jewelry Designs . . . . . . . . . . . . 80 Marcia Balonis/Baubles by Balonis. . . . . . . . . . . . 81 Nunn Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 PJ Tool Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8, 18 Potomac Bead Company. . . . . . . . . . . . . . . . . . . . . . 66 Preciosa Ornela. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Quilt-Pro Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Rishashay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Royalwood, LTD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 School of Beadwork . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Shiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Shipwreck Beads, Inc. . . . . . . . . . . . . . . . . . . . . . 17, 34 Soft Flex Co.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16, 61 Starman, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Swarovski North America . . . . . . . . . . . . . . . . . . . . 53 Team TOHO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C3 Tulip Co., Ltd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Venetian Bead Shop. . . . . . . . . . . . . . . . . . . . . . . . . . 80 Vintaj Natural Brass Co . . . . . . . . . . . . . . . . . . . . . . 34 The advertisers’ index is provided as a reader service. Occasional last minute changes may result in ads appearing on pages other than those listed here. The publisher assumes no liability for omissions or errors.

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techniques STITCH INDEX Backstitch bead embroidery 46 Brick stitch 46 Crimping 67, 69, 71, 72 Fringe stitch 30 Herringbone stitch 62 Knotting 67, 70, 71 Kumihimo braiding 39 Ladder stitch 62 Netting 20, 30, 54 Peyote stitch 20, 22, 26, 30, 36, 42, 46, 50, 54, 58, 62 Picot 30, 36, 46, 54, 62 Right-angle weave 22, 26, 30, 42, 46, 50, 58, 62 Square stitch 42 Stringing 67, 69, 71, 72 Wireworking 39, 68, 70, 71, 72

PASS THROUGH VS PASS BACK THROUGH Pass through means to move the needle in the same direction that the beads have been strung. Pass back through means to move the needle in the opposite direction. FINISHING AND STARTING NEW THREADS Tie off the old thread when it’s about 4" long by making an overhand knot around previous threads between beads. Weave through a few beads to hide the knot, and trim the thread close to the work. Start the new thread by tying an overhand knot around previous threads between beads. Weave through several beads to hide the knot and to reach the place to resume beading. STOP BEAD A stop bead (or tension bead) holds your work in place. To make one, string a bead larger than those you are working with, then pass through the bead one or more times, making sure not to split the thread.

SQUARE STITCH String a row of beads. For the second row, string 2 beads; pass through the second-tolast bead of the first row and through the second bead just strung. Continue by stringing 1 bead, passing through the thirdto-last bead of the first row, and passing through the bead just strung. Repeat this looping technique to the end of the row.

LADDER STITCH For one-needle ladder stitch, string 2 beads and pass through them again. Manipulate the beads so their sides touch. String 1 bead. Pass through the last bead added and the bead just strung. Repeat, adding 1 bead at a time and working in a figure-eight pattern.

BRICK STITCH Stitch a foundation row in one- or twoneedle ladder stitch. String 2 beads and pass under the closest exposed loop of the foundation row and back through the second bead. String 1 bead and pass under the next exposed loop and back through the bead just strung; repeat.

To increase within a row, work 2 stitches in the same loop on the previous row.

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Two-drop peyote stitch is worked the same as one-drop peyote stitch, but with 2 beads at a time instead of 1 bead.

For odd-count flat peyote stitch, string an uneven number of beads to create Rows 1 and 2. String 1 bead, skip the last bead strung, and pass through the next bead. Repeat across the row (this is Row 3). To add the last bead, string 1 bead and knot the tail and working threads, clicking all beads into place. Start the next row (Row 4) by passing back through the last bead added. Continue in peyote stitch, turning as for even-count at the end of this and all evennumbered rows. At the end of all oddnumbered rows, add the last bead, pass under the thread loop at the edge of the previous rows, and pass back through the last bead added.

To decrease within a row, string 1 bead and skip a loop of thread on the previous row, passing under the second loop and back through the bead.

PICOT A picot is a decorative net, most often made with 3 beads, used to embellish a beadwork surface.

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PEYOTE STITCH For one-drop even-count flat peyote stitch, string an even number of beads to create the first two rows. Begin the third row by stringing 1 bead and passing back through the second-to-last bead of the previous row. String another bead and pass back through the fourth-to-last bead of the previous row. Continue adding 1 bead at a time, passing over every other bead of the previous row.

Begin a midproject peyote-stitch increase by working a stitch with 2 beads in one row. In the next row, work 1 bead in each stitch, splitting the pair of beads in the previous row. For a smooth increase, use very narrow beads for both the two-drop and the onedrop between.

To make a midproject peyote-stitch decrease, simply pass the thread through 2 beads without adding a bead in the “gap.” In the next row, work a regular one-drop peyote stitch over the decrease. Work with tight tension to avoid holes.

For circular peyote stitch, string 3 beads and knot the tail and working threads to form the first round; pass through the first bead strung. For the second round, string 2 beads and pass through the next bead of the previous round; repeat twice. To step up to the third round, pass through the first bead of the current round. For the third round, string 1 bead and pass through the next bead of the previous round; repeat around, then step up at the end of the round. Continue in this manner, alternating the two previous rounds. It may be necessary to adjust the bead count, depending on the relative size of the beads, to keep the circle flat.

For even-count tubular peyote stitch, string an even number of beads and knot the tail and working threads to form the first 2 rounds; pass through the first 2 beads strung. To work Round 3, string 1 bead, skip 1 bead, and pass through the next bead; repeat around until you have added half the number of beads in the first round. Step up through the first bead added in this round. For the following rounds, string 1 bead and pass through the next bead of the previous round; repeat, stepping up at the end of each round.

HERRINGBONE STITCH Form a foundation row of one- or twoneedle even-count ladder stitch and exit up through the final bead. String 2 beads, pass down through the next bead in the ladder, and pass up through the following bead; repeat to the end of the row. Step up for the next row by wrapping the thread around previous threads to exit up through the last bead strung. To form the next row, string 2 beads and pass down through the second-to-last bead of the previous row and up through the following bead. Repeat, stringing 2 beads per stitch, passing down then up through 2 beads of the previous row and stepping up as before. The 2-bead stitch will cause the beads to angle in each column, like a herringbone fabric.

Begin tubular herringbone stitch with a foundation ring of one- or two-needle even-count ladder stitch. String 2 beads. Pass down through the next bead and up through the following bead in the ladder. Repeat around the ring. At the end of the round, pass through the first beads of the previous and current rounds to step up to the new round.

NETTING String a base row of 13 beads. String 5 beads and pass back through the fifth bead from the end of the base row. String another 5 beads, skip 3 beads of the base row, and pass back through the next bead; repeat to the end of the row. To turn, pass back through the last 3 beads (one leg of the last net). String 5 beads, pass back through the center bead of the next net, and continue.

For circular netting, string {1A and 1B} six times; pass through the beads again to form a circle for the foundation round and pass through the next 1B. *String 1A, 1B, and 1A; skip 3 beads and pass through the following bead in the previous round to form a “net.” Repeat from * twice, then step up for the next round by passing through the first 2 beads of the first net. String 2A, 1B, and 2A; pass through the middle bead of the nearest net in the previous round. Repeat twice, then step up for the next round by passing through the first 3 beads of this round. Work each round the same way, increasing the number of A beads as necessary to keep the work flat, and stepping up by passing through the first half of the first net.

For tubular netting, string 1A and 1B six times; pass through the beads again to form the foundation round. *String 1A, 1B, and 1A; skip 1B and pass through the following 1B in the previous round to form a “net.” Repeat from * twice, then step up for the next round by passing through the first 2 beads of this round. **String 1A, 1B, and 1A; pass through the middle bead of the nearest net in the previous round. Repeat from ** twice, then step up as before. Work each round the same way.

FRINGE Exit from the foundation row of beads or fabric. String a length of beads plus 1 bead. Skipping the last bead, pass back through all the beads just strung to form a fringe leg. Pass back into the foundation row or fabric.

BACKSTITCH BEAD EMBROIDERY Tie a knot at the end of the thread. Pass up through the foundation from back to front. *String 4 beads and lay them against the foundation. Pass down through the foundation next to the last bead added. Pass up through the foundation between the second and third beads just added, then pass through the third and fourth beads. Repeat from *.

RIGHT-ANGLE WEAVE For one-needle right-angle weave, string 4 beads and pass through the first 3 beads again to form the first unit. For the rest of the row, string 3 beads and pass through the last bead exited in the previous unit and the first 2 beads just strung; the thread path will resemble a series of figure eights, alternating direction with each unit. To begin the next row, pass through beads to exit from the top bead of the last unit. String 3 beads and pass through the last bead exited and the first bead just strung. *String 2 beads; pass back through the next top bead of the previous row, the last bead exited in the previous unit, and the 2 beads just strung. Pass through the next top bead of the previous row. String 2 beads; pass through the last bead of the previous unit, the top bead just exited, and the first bead just strung. Repeat from * to complete the row, then begin a new row as before.

CRIMP BEADS Crimp beads are serrated metal beads. Twisted crimp tubes and crimp beads can be secured by squeezing them flat with chain- or flat-nose pliers.

JUMP RINGS Jump rings connect holes and loops. Open a jump ring by grasping each side of its opening with a pair of pliers; don’t pull apart. Instead, twist in opposite directions so that you can open and close without distorting the shape.

HEAD PINS/EYE PINS Head pins are straight wires with a flat disc, ball, or other shape at one end. Eye pins are straight wires that end in a loop.

SIMPLE LOOP For a simple loop, use flat-nose pliers to make a 90° bend at least ½" from the end of the wire. Use round-nose pliers to grasp the wire at the tip; roll the pliers toward the bend, but not past it, to preserve the 90° bend. Adjust the pliers as needed to continue the wrap around the nose of the pliers. Trim the wire next to the bend. Open a simple loop by grasping each side of its opening with a pair of pliers. Don’t pull apart. Instead, twist in opposite directions so that you can open and close it without distorting the loop’s shape.

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

WRAPPED-LOOP LINKS Link a wrapped loop to another loop by passing the wire through the previous loop before wrapping the tail down the neck of the wire.

OVERHAND KNOT This is the basic knot for tying off thread. Make a loop with the stringing material. Pass the cord that lies behind the loop over the front cord and through the loop; pull snug.

BEADWORK

OCTOBER/NOVEMBER 2017

87

bead buzz BEAD ALL ABOUT IT

by Michelle Mach

Nepalese Women Rebuild Their Village One Bead at a Time

The women of Langtang Designs, enjoying their time together creating jewelry

Yara Necklace PHOTO COURTESY OF ELSA HÄBERLE

PHOTO COURTESY OF ELSA HÄBERLE

“Using their hands to make jewelry and focusing on detailed tasks seemed to be therapeutic for the women who lost close family members and loved ones.”

Sometimes hope and beauty spring from the most unlikely circumstances. In April 2015, a devastating 7.8 magnitude earthquake triggered an avalanche of rock, ice, and snow, killing a third of Langtang residents and destroying most of their homes. Before the earthquake, the tiny mountain village in northern Nepal enjoyed a steady flow of adventurous tourists trekking through the peaceful valley studded with grazing yaks and stone and wood teahouses. During the rebuilding efforts, Elsa Häberle heard several women express an interest in learning jewelry making. She offered to set up some informal training near a camp filled with temporary shelters. To her surprise, about forty women showed up. Elsa observed, “Using their hands to make jewelry and focusing on detailed tasks seemed to be therapeutic for the women who lost close family members and loved ones. The women also enjoyed having a reason to meet with each other and spend time working together and laughing as they learned and created beautiful things.” After the training, Elsa launched Langtang Designs to provide an income for the women. Currently about a dozen women create the jewelry, with priority given to those without other financial support. The 88

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Lobsang Necklace PHOTO COURTESY OF SHERLYN ANN

necklaces and earrings feature turquoise, coral, lapis, and other gemstones associated with the women’s Tibetan heritage. The group names each piece after a special woman such as an aunt, sister, friend, or group member. The Gyalmu necklace, for example, was named after the designer, whereas Nima honors the woman skilled at making this necklace. The finished jewelry is sold in Nepal’s capital, Kathmandu, and to wholesale buyers around the world. The group hopes to open a shop in the village and to provide consistent work for the women. More than two years after the earthquake, tourism has not returned to its previous high levels, but life—and the beading—goes on.

Sangmo Earrings PHOTO COURTESY OF SHERLYN ANN

For more information about Langtang Designs, visit www.langtang-designs.com.

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