Creative Beading July 2019

3D BRACELET JIG™

CONETASTIC™

PATENT PENDING

This ingenious tool makes beautiful wire cones and bead caps

Create trendy bangle bracelets, cuff bracelets, and curved components

FLAT COPPER WIRE Design wire jewelry h new dimension

BRAID

Give your designs a compelling textured look

The Largest Selection of Craft Wire and Wire Working Tools

ALUMINUM WIRE

Wire is soft tempered and is ideal ating wire wrapped designs

WIRE KNITTER TOOL

FINDINGS FORMS

Try different stitches to create various patterns

PATENT PENDING

Use these clever fixed peg jigs to make your own wire clasps, ear wires, and connectors

SAW FRAME WITH 36 BLADES

COILING GIZMOS PATENTED

Everything you need to start cuttin metal sheet, large gauge wire, wood, and plastics

Crank wire to make coiled springs & beads

WIRE STRAIGHTENER TOOL Make it easy to straighten wire that has been worked

To find an Artistic Wire/Beadalon retailer near you, please visit www.beadalon.com/store_locator.asp

®

25 AmAzing projects

STEP-BY-STEP Instructions

PLUS Bead Class – Wire • Expert tips and ideas • Projects for beginners and beyond •

Contents

Projects 6

Bead Place – Bracelet & Earrings

8

The Bead Shack Queensland – Bracelet & Earrings

12

Wishware Beads – Necklace & Earrings

16

Beads n Crystals – Watch

18

Boutique Beads – Necklace

26

Annlee Butler – Lampwork Pendant and Necklace

30

Eureka Beads – Cat Collar

34

Ceramic & Craft Centres – Pendant

38

Bead Shack NSW – Bracelet & Earrings

46

Bead Street – Bracelet & Earrings

50

Bead Co Vic – Bracelet & Earrings

54

Crystal Park ds At The Jetty – Lariat

62

Helen Jackson – Bracelet & Earrings

66

Bead Street - Boys Cuff

68

Helen Everett – necklace

Features 22

42

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Tracy Brown

Practice makes perfect! We catch up with Tracy Brown, talented lampwork artist, and see what hyer creations are.

Serena Altea

Sarah Ezzy-Dickson finds out that Serena Altea is more that your average beader. She has a fantastic range of Tiaras.

Danielle Mondo

A part time hobby can quickly become an obsession

Trends

Winter is just around teh corner, but before the cold sets in check out the colours to look for.gift from the heart.

Bead Class

This month’s class is Wire worksop

PROJECT

MATERIALS

1 card Superstitch Bead Thread

Yummy enough to eat, this donut bracelet and earring set combines the use of findings and thread.

Big Eye 50cm Bead Magic elastic 7 x 6mm bead caps 3 x 28mm sieves 2 x head pins 2 x earring hooks

BEADS

5 x 30mm Donuts 26 x 6mm Swarovski Pearls 10 x 8mm Swarovski Pearls 2 x 4mm Swarovski Crystals 21 x 2mm Silver filler beads 12g Size 8 Matsuno seed beads

BRACELET STEP ONE

STEP FOUR

Thread elastic through one side of donut.

STEP TWO Weave elastic through sieve then through other side of donut. Thread on a 6mm pearl. Repeat Step One with another two donuts, adding a 6mm pearl between each donut. Put 3 x 8mm pearls aside for Step Three. Alternate 6mm and 8mm pearls onto elastic, so elastic can be tied off in the middle at the back. A dab of glue or clear nail polish will stop elastic knot from slipping.

Bring needle back up sieve between 8mm and 6mm pearls, add 10 seed beads and go back down through sieve, three holes along, forming a half loop. Continue adding seed beads, going around the sieve until the sieve is completely filled with seed bead loops; tie off thread with tail and add a dab of glue to protect work.

TOOLS

Diagram 3

Beading needle Cutters Diagram 1

Round nose pliers Beading mat – optional Length of finished piece: 18cm

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STEP THREE Thread needle with double length of bead thread. Tie an anchor bead onto the end of thread leaving a 10cm tail. Bring needle up through the middle of the first sieve, add 1 x 8mm pearl, 1 x bead cap and 1 x 2mm silver bead. Pass needle back through pearl. Anchor pearl firmly by tying needle thread to the 10cm tail. Bring needle back up through sieve to the side of the 8mm pearl, add 1 x 6mm pearl, 1 x 2mm silver bead; pass back through 6mm pearl as with the 8mm pearl. Continue around in a circle adding five more 6mm pearls.

Diagram 2

EARRINGS STEP ONE Using head pin, slide one 2mm silver bead, one seed bead; add the first hole of the donut. As you place the donut on add 1x 4mm crystal, 1 x bead cap, 1 x 8mm pearl, 1 x bead cap, 1 x 4mm crystal, then thread head pin through top hole of the donut. Add 1 x 2mm silver bead. Turn loop with 1cm of head pin wire, add to earring hook. Repeat for second earring. KITS Cost of kits: $45.70 (includes thread, needle and elastic) plus postage. The Bead Place Shop 6A/193 Morayfield Road Morayfield Gardens Morayfield Qld 4506 Telephone: 07 5499 0744 Fax: 07 5499 0844 Email: [email protected]

The Whole Donut

PROJECT

MATERIALS 22 x eye pins

5 x jump rings

A section-by-section bracelet that looks complex but will make up quickly. Designed by Jan from The Beadshack Queensland.

Chain approximately 10cm in length 1 x ‘S’ clasp

BEADS

66 x 4mm crystals 46 x 6mm crystals 3 x Swarovski Crystal Sliders

TOOLS

Chain nose pliers Round nose pliers Cutters

EARRINGS MATERIALS 2 x jump rings

2 x tube crimps

DESIGNER’S NOTE

STEP FIVE

This bracelet is made in three sections, all joined together. Use the following steps to make your first section, then repeat steps twice to complete your three sections.

To complete one section, use an eye pin and thread it through the four loops you created at one end of each separate eye pin, threading your crystals in sequence: 1 x 6mm crystal, 1 x 4mm crystal, 1 x 6mm crystal and form a loop at the end as in Step 1. Link this loop to form one end of your section.

STEP ONE Using one eye pin, thread on your crystals in sequence: 2 x 4mm crystals, 1 x 6mm crystal, 1 x 4mm crystal, 1 x 6mm crystal, 1 x 4mm crystal, 1 x 4mm crystal, 2 x 4 crystals; then cut off any excess pin leaving enough to form a loop at the end of your eye pin.

STEP ONE Using one eyepin, thread on your crystals in sequence: 2 x 4mm crystals, 1 x 4mm crystal, 1 x 6mm crystal, 1 x 4mm crystal, 1 x 6mm crystal, 1 x 4mm crystal, 2 x 4mm crystals; then cut off any excess pin leaving enough to form a loop at the end of your eye pin.

STEP SIX Repeat this step at the other end to finish one section of your bracelet.

STEP SEVEN Repeat Steps 1-6 to complete your three sections.

STEP EIGHT

BEADS

STEP TWO

To attach three sections together, use an eye pin and thread 1 x 6mm crystal and form a loop at other end of pin and attach this to one corner of two sections to bring them together.

8 x 6mm crystals

Repeat Step 1 to form your two outside pins for your first section.

STEP NINE

1 pair of earring hooks .5 metre of Tigertail

14 x 4mm crystals 2 x Swarovski Crystal Sliders

STEP THREE Using another eye pin, thread on your crystals in sequence: 1 x 4mm crystal, 1 x 6mm crystal, 1 x 4mm crystal, then thread this pin through one hole of your two hole Swarovski crystal slider, then continue threading the same pin with the same sequence of crystals and forming a loop at the end as in Step 1.

STEP FOUR

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Repeat Step 3 to form your two inside pins, threading the pin through the second hole of your Swarovski crystal slider. You should now have four eye pins threaded (two pins joined with a slider and two separate for the outside).

Repeat Step 8 another three times to link your four corners together and bring your three sections to one piece.

STEP TEN To add your clasp, join your jump ring to two corners of your bracelet at one end and join a length of chain approx 4-5cm in length to your jump rings. Join your clasp to the centre of the chain.

STEP ELEVEN Repeat Step 10 at the other end of your bracelet, using a jump ring instead of a clasp. Design note: For a better fit you can bend all your eye pins slightly to give your eye pins a nice rounded fit to your wrist.

Slide On By

WIN this set! For details see our

EARRINGS STEP ONE Cut two separate lengths of wire approx 12cm in length each.

crimp and squeeze the crimp closed to secure your earring. Design note: Try not to squash the crimp too close to the ring end. This should resemble a teardrop shape with your Swarovski slider in the middle.

Beads Glorious Beads

STEP TWO

Competition on pages

Using one length of wire, thread on your crystals to one end in sequence: 1 x 4mm crystal, 1 x 6mm crystal, 1 x 4mm crystal, 1 x 6mm crystal, 1 x 4mm crystal, 1 x 6mm crystal, 1 x 4mm crystal.

STEP SEVEN

STEP THREE

STEP EIGHT

Slide these crystals to the centre of your wire and bend your wire to bring your two ends of wire through your Swarovski slider.

Repeat Steps 1-7 with your second piece of wire, and your matching earrings are complete.

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STEP FOUR Thread 1 x 4mm crystal on your two separate ends after the slider.

STEP FIVE Thread 1 x 6mm crystal, 1 x 4mm crystal over the two ends of wire together.

STEP SIX Cut off any excess wire leaving enough wire to insert your two ends together into a tube 10

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Using a jump ring, thread it through the ring at the end of the tube crimp and also place an earring hook onto the open jump ring, then close the jump ring.

Kit available: $32.00. Bracelet (without pliers). $12.00 Earrings (without pliers). Pliers $5.95 each or $14.95 set of three. The Bead Shack Queensland Shop 159 Sunshine Plaza, Maroochydore Qld 4558 Shop 3 Robina Super Center, Robina Qld 4230 Ph: 07 5562 2190 Fax: 07 5562 2196 www.thebeadshack.com.au Email: [email protected]

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PROJECT

MATERIALS

70cm x 6mm tubular mesh – Rose 70cm x 6mm tubular mesh – Dark Blue

Deep blue water colours, amethyst and rose – both relaxing and refined – bringing out the essence of her grace. Designed by Louise Jensen from Wishware Beads.

70cm x 6mm tubular mesh – Light Blue 22 x antique brass bead caps, filigree 6m silver 44x7 strand clear Tigertail 1 x gold plated lobster clasp 1 x 10mm twisted gold plated jump ring 1 x 4cm length of gold plated chain 2 x 4mm natural brass jump rings

STEP ONE Using Tigertail, cut six strands at about 50cm each. With these, crimp on the sections of crystals at intervals, referring to the diagram for direction in regards to the placement of the beads. Make the strands in the following colours: Amethyst/pink with the white 8mm bicones; Montana blue/dark blue with the 8mm Montana bi-cones; aquamarine/aquamarine satin with milky white 8mm bi-cones. Refer to Diagram 1.

2 x 2mm tube crimps gold plated 2 x Charlotte ends gold plated 12 x 4mm fold over clasps gold plated 3 x head pins with stone AB

Diagram 2

STEP THREE Using 60cm of each of the three colours of tubular mesh, twist the end into a ‘needle’ tightly so that it can be threaded through crystals. Thread crystals on. Once crystals are positioned, place a spot of glue on each side. When dried, ruffle the tubular mesh. Turn the end and attach the fold over clasp by folding each side over the other. Refer to Diagam 3.

1m x 24 gauge gold wire

BEADS – TIGERTAIL STRANDS

8 x 8mm Swarovski bi-cones – Milky White

Diagram 3

STEP FOUR

5 x 8mm Swarovski bi-cones – Montana Blue 22 x 6mm Swarovski bi-cones – Aquamarine Satin 8 x 6mm Swarovski bi-cones – Aquamarine 11 x 6mm Swarovski bi-cones – Satin Rose 6 x 6mm Swarovski bi-cones

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Diagram 1

STEP TWO Once all the strands have been completed, crimp at the end of all the strands, enter a Charlotte end at the tips. Once all the three strands are inside, crimp each one individually and close the two sides of the Charlotte cup together to hide the ends. Design note: You may need to use an awl to make the size of the hole in the Charlotte end larger in this step. Refer to Diagram 2.

Attach all the strands together and intertwine the strands together; intertwine them around the Tigertail and, once twisted, connect the lobster clasp onto the end and 4cm segment of chain to the other side. Refer to Diagam 4.

Diagram 4

Lady of the Loch

– Amethyst AB 40 x 4x1mm pewter daisy spacers antique gold

BEADS – TUBULAR MESH STRANDS

5 x 8mm Swarovski bi-cones – Aquamarine/Light Azore 3 x 8mm Swarovski bi-cones – Montana Blue AB 6 x 8mm Swarovski donuts – Vintage Rose 2 x 6mm Swarovski donuts – Vintage Rose 2 x 6mm Swarovski bi-cones – Aquamarine Satin 2 x 6mm Swarovski bi-cones – Montana Blue 1 x 8mm Swarovski bi-cones – Black Diamond AB 1x 6mm Swarovski bi-cones – Rose Satin 1x 8mm Swarovski bi-cones – Milky White

TOOLS

Super glue or hypo cement Round nose pliers Chain nose pliers Flat nose pliers Wire cutters Awl – optional

STEP FIVE Bend the necklace so that the middle piece is showing, and using three pieces of 10cm of mesh, thread two crystals onto each strand using the same technique as with Step 3, finishing off with a fold over clasp on either side of each piece. Using two pieces (25cm) of 24 gauge wire, create an eye on the end and then thread the three strands onto it, twisting it around to create a coil. Thread on the beads – a milky white 8mm bi-cone accompanied by a filigree bead cap on each side. Taking a separate piece of 10cm of wire, twist a small coil at the top. Separate the two pieces of wire and then wrap around the centre of the necklace. Refer to Diagam 5.

1 x 14kt gold filled ear wire 10 x pewter spacers antique gold 4x1mm 2 x Swarovski crystal head pins with clear AB crystal

BEADS

2 x Swarovski bi-cones – Aquamarine Satin

2 x 4.5 Squaredelles – Gold/Crystal 2 x 4mm Swarovski bi-cones – Milky White 14

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EARRING STEP ONE Thread the following beads onto the Swarovski crystal head pins with pewter spacers in between: 1 x 8mm donut vintage rose; 4 x 5mm Squaredelles crystal/gold; 1x 6mm aquamarine satin bi-cone; 1 x 4mm milky white Swarovski crystal. Cut at about .9 above from the end of the beads; bend the end into a right angle with your chain nose pliers and turn with your round nose pliers into an eye. Attach the ear wire onto this and then repeat for the other earring.

EARRING MATERIALS

2 x 8mm Swarovski donuts – Vintage Rose

Diagram 6

STEP SIX

Kits: Necklace $58.00, Earrings $12.00 – available in brown and burgundy and pink/blue tones.

With the tassel end, finish off by using the Swarovski head pins with the crystals and threading on beads as shown in Image 6, turning the pins over and attaching to the end. Refer to Diagam 6.

Wishware Beads – Bunbury Telephone 08 9721 6566 www.wishwarebeads.com.au [email protected]

Diagram 5

PROJECT

MATERIALS 1 x watch face 15cm In-Mesh

A hidden pearl and crystal mesh watch. Designed by Beads ’n Crystals

1 x magnetic clasp 4 x leather ends 4 x jump rings

BEADS

2 x 10mm Swarovski Pearls 2 x 8mm Round Swarovski Crystals 4 x large metal large holed beads 4 x small metal large holed beads

TOOLS

Flat nose pliers

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DESIGNER’S NOTE

STEP TWO

To open jump rings, hold the jump ring with flat nose pliers on either side of the join. Next, with one hand, bend jump ring away from body while at the same time, with the other hand, bend the other end of the jump ring towards you. To close jump ring, bend jump ring in the opposite direction.

Repeat Step 1 with the other half of the In-Mesh.

STEP ONE

KITS: $34.00. Watch faces and findings, gold or silver plated. Mesh colours available: Black, White, Blue, Red, Burgundy or Lilac. Colour effect will vary depending on mesh colour.

Cut In-Mesh in half. On one half, attach a leather end. Insert a 10mm pearl into the tube mesh, slide a large metal bead onto the outside of the mesh, slide one 8mm Swarovski crystal into the tube mesh followed by a small metal bead to the outside of the mesh, next another pearl followed by a large metal bead, then followed by a Swarovski crystal. Cut mesh off to the length required for the watch band, leaving about 7mm to attach a leather end so as to seal off the mesh.

STEP THREE Attach a jump ring to each of the leather ends. Attach a clasp to the Swarovski crystal end of the watch band. Attach the pearl ends of the band to the watch face.

212 Constance St, Fortitude Valley Brisbane Ph: 07 3257 3665

Netted P earl

PROJECT

MATERIALS 75cm Tigertail

Fold over end crimps Crimps

Don’t let the winter make you blue. Use butterflies, flowers and lampwork beads by Austin Hamilton to make a floral fantasy. Created by Boutique Beads.

End covers 20 gauge Artistic wire

DESIGNER’S NOTE

2 x silk strings Clasp

The beads used in my Floral Fantasy are vintage Lucite, crystal and silver.

BEADS

STEP ONE FLOWER DANGLES

15 assorted Vintage Lucite Butterflies and Flowers 5 Austin Hamilton Lampworked Glass focal beads 130 x 3-6mm beads

TOOLS Wire cutters

Using the 20 gauge wire, cut a piece approximately 5cm long, and create a head pin by forming a small loop in the wire end. Place a small bead on the wire, a flower, followed by 2-4 small beads. When the dangle is the desired length, create a wrapped loop with the round nose pliers. Create 15 or more of these dangles at varying lengths. Set aside.

Diagram 2

STEP THREE FLOWER LOOP String on 5 x small beads followed by 3 x flower dangles from Step One; followed by 5 x beads. Make a loop by passing the Tigertail back through the focal bead, pull to tighten.

Round nose pliers Flat nose pliers Diagram 3

Length of finished piece: 45-50cm

Diagram 1

STEP TWO STRINGING Take one end of Tigertail, thread a crimp onto the wire followed by an end cover, then crimp into place. String on 10 small beads then one of the large focal beads.

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DESIGNER’S NOTE Be careful not to kink the Tigertail while threading back through.

STEP FOUR Continue on the same as for Step Three but changing the size of the loop as you go, adding more beads for a larger loop and less for a smaller loop.

Floral Fantasy

14 beads 3 flower beads and flower 12 beads 3 flower

10 beads 3 flower beads and flower

Diagram 4

STEP FIVE When all five loops have been created, crimp off the end as for Step Two.

WIN these necklaces!

Diagram 5

For details see our Beads Glorious Beads Competition on pages

STEP SIX SILK STRING

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Cut the silk strings in half, loop through the

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Diagram 6

ends creating four strings. Decide on your desired length. Cut the silk and finish of with fold over crimps, jump rings and desired clasp. Other optional endings for the silk: You can create your own ends using the 20 gauge wire, or simply tie silk strings when you wear the necklace. Kits available: $65.00. Boutique Beads 179 St Georges Road, Fitzroy North Vic 3068 Phone: 03 9482 4021

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Profile

Wild Beads

After trying her hAnd At mAny different CrAfts, rAnging from PhotogrAPhy to tAssel mAking, trACy Brown of wildlight studios disCovered the Art of mAking Art glAss BeAds … And (As rePorter sArAh ezzy-diCkson disCovered) trACy hAsn’t looked BACk sinCe.

In fact, It was whIle tracy was searching for materials to use in her various other crafts that she stumbled upon a usbased art glass bead website, which then prompted her to attend a two-day glass bead making workshop in 2004. tracy’s other craft interests include jewellery making, and with her new knowledge of glass beads, and her talented fingers, tracy began creating masterpieces to revolve around her beads. tracy says that bead making and jewellery making are the perfect balance. “the jewellery and bead making actually feed each other. i 22

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can be inspired to make a piece of jewellery from a bead that i have made, or be inspired to make a bead to fit into a jewellery design i have in mind. it seems to alternate between the two.” All of the crafts that tracy has tried her hand at have had some influence over her bead and jewellery making, such as photography, which she says has taught her to use her eyes properly. “you see things a bit differently when you are constantly trying to turn them into a picture.” while she was making tassels, she would often dye her own threads, which taught her

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interesting colour combinations. “i think you can be taught the basics of how to use colour, and then you can learn to break the rules. Colour to me is infinite and shades and tones can be mixed and changed continuously.” tracy works from her Queensland home, in a small studio under her house that she says is ‘getting a bit too small’! she juggles this with her other full-time job of being mum to three children. her bead making helps her relax, especially when she’s making frit, orb or spacer beads. however she warns that you can’t get too relaxed while making beads. “you use a lot of concentration, but you do tend to go into a bit of a meditative state. that can also be when the real magic happens, when the glass flows beautifully and the glass gods are smiling and everything just comes out great. that is when you come up with something brilliant, new and awesome!” in the three years that tracy has been making beads, she has seen the awareness of art glass beads grow considerably. tracy was lucky enough to have a stall at the Bead & gem show in 2006, and she noticed that people were actively seeking out her art glass beads. “People knew what they were looking for, and looking at – and bought up large. i think that the magazines have been brilliant for educating the public about hand-made art glass and lampwork beads. educating people about how they’re made, the control needed to make them and the time it takes to make

some of them. People are very willing to pay for something that is unique.” she believes that as her beads often inspire her to create fabulous jewellery pieces, they do so for other people as well. “i think that the beads inspire people to make brilliant jewellery, and that is part of the lure and beauty of them. i find my customers are looking for something a bit different and unique, and that is what i offer; one-off miniature works of art.” her glass inspires her to create, with other influences such as art and nature also taking a big part in the creative process. “i like to sit down at the torch and let things flow; allowing the glass to create a bit of magic. looking at the different colours and putting them together will inspire me. inspiration comes from everything around us, all of the time. i think art and craft is about perception and your interpretation of everything you see and have seen, and learnt in the past. i’ve taught myself to be open to the inspiration when it comes, or to draw or write it down if it’s not at the best possible time.” for beginner art glass bead makers out there, tracy has a word of advice: Practice! “the secret to becoming a good bead maker is consistency and being able to repeat a style or type of bead that you have made in the past, and get consistent results with your techniques. this comes with practice and dedication to the glass. we have a bead maker’s mantra: P, P, P. Practice, practice,

“it can be very hard to part with some of my beads and jewellery. i like them to hang around for a while before i put them up on the website.”

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practice! you can take classes to learn techniques but you will still need P, P, P!” tracy says she is constantly learning from the glass, and will never be bored with it. “that is something you hear a lot in bead making and glassblowing circles, the fact that there is always something else to learn and make! it’s what challenges you and keeps you coming back for more.” her mistakes are more like experiments than mistakes. “some of my best beads have been mistakes, or should i say, experiments. if i do make a mistake, i usually try to turn the bead into an organic!” Along with making her own beads, tracy also offers ‘introduction to bead making’ classes at her local bead store, the Arttable in Brisbane. “they’re a lot of fun, and everyone goes home with a lot of inspiration, and some nice beads to make something with.” tracy also teaches through flying Arts Queensland, an organisation that sends artists all over rural and remote areas of Queensland to give people all over the state the opportunity to learn how to make art glass beads. tracy says that as it is heavily subsidised by corporate sponsorship, it makes it quite affordable. the classes run throughout the cooler parts of the year, from April through to october. flying Arts Queensland has been running programmes for more than 30 years, and anyone interested in booking tracy for a weekend workshop can contact www.flyingarts.org.au

After spending so much dedicated time on her art, tracy admits: “it can be very hard to part with some of my beads and jewellery. i like them to hang around for a while before i put them up on the website.” her current favourite beads were born from an experiment with a new type of glass. “they are made from nz gaffer glass, which is a glassblower’s glass that has been pulled into thin rods that bead makers can use. it has some gorgeous colours and reacts differently to the italian glass. some of the colours are very intense, so i’m having fun experimenting with it. i actually managed to make them into a bracelet for myself!” tracy gets numerous requests from people wanting copies of beads she’s made in the past, sometimes in different colour combinations. some beads can take as little as five minutes to make, while other more detailed ones such as floral or multi-dot patterns can take an hour or more. “they are very intense and satisfying to make. i find now that sometimes less is more!” while creating her jewellery, tracy uses many other materials as well as her art glass beads, ranging from various textured fabrics and resin to Paua shell, glass and wood. “i love new products and utilising new things if i think i can make them work with my jewellery.” these other materials add an incredible richness to her beads and bring out subtle colours that you otherwise wouldn’t see as clearly. her art glass jewellery pieces aren’t just

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limited to earrings, bracelets and necklaces, but also include bookmarks, brooches, lavishly decorated kilt pins and beaded tassels. tracy is pleased that the number of local suppliers has increased over the last few years to cater for the growing popularity of beading and jewellery making. “i’m very visual, so being able to see the beads and products in person is good inspiration. i like to have local suppliers that i can go and chat to, and see what’s new. i also like looking at the Australian beading magazines and going to the Bead & gem shows for further inspiration.” she can’t see the popularity or support of our favourite pastime dying, either. “i don’t

think it will lose its popularity any time soon, and that’s great! i am also seeing a shift back to supporting local artists and craftspeople, and to buying unique hand-made products rather than buying from the huge influx of imported jewellery that has flooded the market in recent years.” Tracy’s absolutely gorgeous beads and jewellery can be seen at www.wildlightstudios.com where you can admire her gallery pieces or spend hours trying to decide which colour of the baroque beads you think will go nicely with your new dress, as this particular reporter did.

“i think you can be taught the basics of how to use colour, and then you can learn to break the rules.”

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PROJECT

MATERIALS 3 x jump rings

10 x silver eye pins 1 x silver extra long head pin – supplied with Kimono Girl French wire – small amount Nymo D or S long D Beading thread to match main seed bead colour

BEADS

1 focal Kimono Girl lampwork bead 1 hank x 11/0 seed beads – main colour 3 x 11/0 seed beads strands – second colour 4 x 4mm Swarovski pearls 4 x 6mm Swarovski pearls 4 x 8mm Swarovski pearls 2 x 10mm Swarovski pearls

Combining thread work and wire work can be achieved with the right know-how. This focal lampwork bead project by Chris Butler with thread and design work created by Annlee Butler can take you through the steps to success. Odd or even count circular peyote is determined by the number of beads placed in the original circle. It is worth noting that the circle is called Row 1 and Row 2 in most peyote patterns. We will use odd count peyote which does not require a ‘step up’ on each row, and which has a spiral effect.

STEP ONE Peyote rope Design note: For peyote rope to look its best, the thread work should be tight. Using 1 metre of beading thread and 9 x main colour seed beads, tie a tight circle using a secure knot, leaving a 15cm tail. Slip the circle of beads onto the stick (Diagram 1).

TOOLS

Round nose pliers Wire cutters Beading needle Scissors Bamboo skewer stick Length of finished piece: 65-70cm

Diagram 1

Design note: By using the stick in the centre of the peyote rope while you work, it will help keep your work tight and neat.

STEP TWO

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Hold the tail and stick with you thumb and fingers. Pick up one seed bead; skip the first seed bead, go through the second seed bead. The seed bead should sit on top of the bead from the circle row. See Diagram 2B. Pick up one seed bead and skip the next bead and go through the next bead from circle row; repeat two times. Total of four high beads. You should have two lower beads at the end of this row (see Diagram 4).

Diagram 2

STEP THREE To start Row 4, pick up a seed bead and place it in the hole between your circle row and Row 3, going into the first bead you place on in Step 2 (high bead, of Row 3). Pick up a seed bead, skip low bead and go into next high bead. Continue working placing a seed bead in each low space and going through each high bead. Continue until rope measures 45cm. Note: Your work will grow quickly after the first ten rows as you will find it easier to hold; keep sliding your rope down the bamboo skewer so that you are just working on the last 5cm.

STEP FOUR After completing 45cm of rope, slide rope off skewer and go into only the four high beads, pulling them into a tight circle – this will close up the end of your rope. Knot and secure, do not cut thread. Pick up 1 x seed bead, 1 x 4mm pearl, go through French wire approximately .5cm, and slip your jump ring on; go back through the pearl, and seed bead. Pull thread slowly – the French wire will form a ‘U’ on the end of the pearl. Make sure you have the jump ring in this ‘U’. Complete other end to match.

My L ittle Kimono Girl

STEP FIVE

up four beads, go back into one of four, pick up, repeat, thread back into first bead (Diagram 4). If you pinch the work with your fingers and keep sliding the beads close to peyote as you work, it is easier to get a nice picot effect.

Pearls Using eye pin, thread each of the 10mm pearls, 8mm pearls, 6mm pearls; cut excess wire and turn a loop. Join placing 10mm pearl in centre with 8mm each side, 6mm each side (see Diagram 3).

STEP SIX Attach one set of joined pearls to each jump ring in ‘U’ from Step 4.

STEP SEVEN Kimono Girl Using extra long head pin, place 1 x 4mm pearl, Kimono bead, 1 x 4mm pearl; slip jump ring on and turn a wrapped loop. This will give extra strength and hold your Kimono bead firmly.

Diagram 4

STEP TEN

Diagram 3

STEP EIGHT

STEP NINE

As each Kimono Girl has a her own individual look we will not be selling kits, but a class which will include all items to complete this project will be run at Terrenas Treasure on 9 June 2007 at a cost of $145.

Embellishing cherry blossom Using approximately 50cm thread, go through peyote rope work and knot. Pick up five seed beads in contrast colour, loop around and go back into second bead, pick

Terrenas Treasure 170 Vincent Street, Cessnock Telephone 02 4990 5560 www.terrenastreasure.com.au

Attach each of the 6mm looped pearls to the jump ring on top of Kimono bead.

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Work as many or as few picots as desired. Remember to lay your work out with the Kimono bead face up so that your picots of cherry blossom will sit to the front of the work.

PROJECT

MATERIALS

2 metres of .05mm clear beading elastic 1 x parrot clasp 1 x strong jump ring

This glittering necklet for your cat will add sparkle to any pet lover’s life. Made with crystals and elastic, the necklet is suitable for daytime sunbathing in the window or for long luxurious evenings spent by the open fire. By Eurekabeads.

BEADS

162 x red 4mm bi-cone crystals 42 x clear 4mm bi-cone crystals 59 x clear AB 6mm bi-cone crystals 2 x large holed metal tube beads

TOOLS

Scissors or cutters

DESIGNER’S NOTE

STEP FOUR

Please remember, collars can be dangerous if your moggy plays in trees.

Still working on the two inside strands, thread 1 x 6mm clear AB crystal on one strand; thread the second strand through the crystal, starting from the opposite side. The elastic will pass through the crystal and cross in the middle of the hole.

STEP ONE Cut 2 x 1 metre lengths of clear beading elastic. Thread both through the eye on the parrot clasp and pull through to the middle, so that you have four lengths of elastic and each one is 500mm long.

Clear nail polish Diagram 4

Length of finished piece: 140mm approximately

Diagram 1

STEP TWO

STEP FIVE On each of the two outside lengths of elastic, thread 1 x red 4mm crystal, 1 x clear 4mm crystal and then 1 x red 4mm crystal.

Holding the two ends together, thread on a fat metal tube bead and pull it up to the parrot clasp.

Diagram 5 Diagram 2

STEP THREE

STEP SIX On each of the two inside strands, thread 1 x red 4mm crystal.

Thread 1 x red 4mm crystal onto each of the centre strands of elastic. Design hint: Hold your parrot clasp in place while you are working with small piece of sticky tape. Diagram 6

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STEP SEVEN Diagram 3

On one of the outside strands, thread 1 x 6mm clear AB crystal. Using the inside strand

Crystal Kitty

closest to it, thread through the AB crystal from the opposite direction. Repeat on the other two strands.

STEP TWELVE Continue the pattern, Steps 7 to 11, 17 times.

STEP THIRTEEN Finish with a set of red, clear, red on the outside two strands and an AB crystal on the centre two strands.

Diagram 7

STEP EIGHT On each of the two inside strands, thread 1 x red 4mm crystal. Diagram 12

STEP FOURTEEN Thread all four strands through a fat tube bead.

Diagram 8

STEP NINE On the two inside strands, thread 1 x 6mm clear AB crystal, working from either side and crossing in the middle of the hole.

Diagram 13

STEP FIFTEEN Using a straight loop knot, tie a strong jump ring onto the four strands. Diagram 9

STEP TEN On each of the two outside strands, thread 1 x red 4mm crystal, 1 x clear 4mm crystal and 1 x red 4mm crystal. Diagram 14

STEP SIXTEEN Diagram 10

STEP ELEVEN On each of the two inside strands, place 1 x red 4mm crystal.

Diagram 11

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Tie again over the existing knot two more times, to securely attach, and then coat the knot with clear nail polish. If the jump ring is unsoldered, paint another dab of nail polish on the join. Give the nail polish a few moments to set, then cut the elastic close to the knot. Put it on and your moggy will think she’s been adopted by Paris! All materials available from www.eurekabeads.com.au

PROJECT

MATERIALS PMC syringe

PMC3 16 grams clay

Add colour and texture to your PMC heart. Designed by Senior Teacher Rhonda Winterton.

PMC3 paste Epoxy resin Acrylic paint

STEP ONE

Silver chain

Begin by creating a copy of the pattern provided, placing the pattern under oven bake paper and drawing the design onto the oven bake paper.

4 x jump rings

Let this stand for approximately 10 minutes or until it becomes a little firm (but not so firm that it will not take a pattern).

STEP FOUR Taking the tulle, put it onto the top of the syringe work and place a piece of glass or a flat object on it to slightly flatten the syringe work down and give it a pattern; then let dry.

TOOLS Placemat

Tulle (netting) Textured matt Heart shape cutter Badger balm or olive oil

STEP TWO

Roller Palette knife Playing cards Burnishing tool Stainless steel brush Sandpaper 1200

Use the syringe without the fine tip and begin by extruding a little of the clay out, touching down onto the pattern to lock the clay to the paper. Now, begin to extrude the string of clay slowly – lifting the syringe from the paper until you are holding it about one inch above the paper (applying even pressure to the syringe to create a continuous line of clay). The pattern is made up of four scrolls and four loops. Do one scroll at a time, then finish by doing the loops between each set of scrolls.

STEP FIVE Coat the work surface and your hands with balm or olive oil to stop the clay from sticking.

STEP SIX Using PMC3 clay, cut off one quarter of the clay (immediately reseal the rest of the clay – it will dry out quickly). Place your clay between two stacks of playing cards, two cards per stack, and roll the clay out flat.

Design note: If you hold the syringe too close to the paper, the line will be too thin as well as smudged … so try to keep the tip away from the work.

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STEP THREE

STEP SEVEN

When you have finished the pattern, let it partly dry for approximately 10 to 15 minutes. When firm but not completely dry, add another syringe work onto the top of the first.

Taking the large heart shape cutter, cut out one shape; then with the middle heart shape cutter, cut out the middle of the large heart. You will need to cut off more clay as required.

Queen of Hearts

Now make four medium hearts; then, using the small heart shape cutter to cut out the middle of each medium heart, let dry.

STEP TWELVE

STEP EIGHT Using more clay, roll out between your two stacks of cards, two cards thickness, until the clay is flat. Using your large and medium heart cutters, cut out one large heart and four medium hearts. Let dry. Design note: With these, you leave the centre in. With the leftover clay, make three small hearts and, using a rubber mat, texture the hearts. Make sure you put a little of the balm onto the small hearts before placing onto the mat. With a drill or toothpick, make a hole in the top of each one so it can be hung.

STEP NINE Place a little PMC paste onto the full heart; then place the cut-out heart on the top and press gently down to join. Do this to all the hearts and allow them to dry.

Put ample paste onto the back of the large heart and place into the centre of your scroll work and press gently down to join. Repeat this step with the medium hearts, placing them as per picture until all the hearts are joined. Let dry completely. Gently sand if needed, and fire the piece as per manufacturer’s instructions.

STEP THIRTEEN Smooth the surface of the fired piece (gently at first so as not to break the filigree) with a stainless steel wire brush, then with a burnishing tool to transform the white surface to a shiny finish. If you have a tumbler, you can tumble the piece.

STEP FOURTEEN When the pendant is shiny, place the colour onto it by the following method. Use epoxy resin (this is a two part mixture which you will mix equally together). When mixed, add a little bit of red acrylic paint into the mixture and, with a toothpick, place the mixture into the hearts. Do this slowly so you do not overfill. The pendant then has to sit for 24 hours to set the resin. After allowing to dry, hang the small heart from the bottom loop by using a small bit of chain and a jump ring.

STEP TEN Sand well using sandpaper. If needed, fill in around the edges of the hearts with the paste. Allow to dry and sand again until smooth. This may need to be done a few times to get a good finish.

STEP ELEVEN With the filigree work, gently sand (very gently, the piece is still fragile at this stage). 36

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Senior Teacher: Rhonda Winterton Ceramic Art Studio 1 (Home of Silver & Spice Designs) 52 Wecker Road, Mansfield Qld 4122 Telephone 07 3343 7377

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PROJECT

MATERIALS BRACELET

2 x Beadalon crimp covers

This beginner project from Bead Shack has the illusion of twisting crystals and was designed by Kerry Dove.

1 x Beadalon 5x11mm magnetic clasp 2 x 2mm French crimps (optional)

EARRINGS:

2 x Charlotte crimps 2 x 2mm French crimps 2 x 4mm jump rings 2 x Beadalon dapped and spring ear wires Fine nylon beading thread

BEADS

100 x 3mm Swarovski crystal bi-cones 25 x 4mm Swarovski crystal bi-cones 10 x 6mm Swarovski crystal pearls 2 x 4mm Swarovski crystal pearls

TOOLS

Chain nose (flat) pliers Crimping pliers (optional) Scissors Length of finished design: As desired. The materials list is sufficient to make up to extra-large size, and less beads will be needed for small sizes.

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DESIGNER’S NOTE

STEP FOUR

There may be leftover beads, according to the length of the bracelet and earrings that you choose to make. This way, you have enough in the materials list to make small, medium, large, or extra large.

Measure around your wrist and note down the finished length you require.

Take a crimp cover; position it between the nose of your pliers (either chain nose or crimping pliers) so that the open part of the pre-opened crimp cover is facing outwards from the tip of your pliers. Position the crimp cover over knot/squeezed crimp and squeeze closed. Trim off any excess thread. This is a great cosmetic cover-up for your endings – it looks just like a 4mm silver bead.

STEP TWO

STEP FIVE

Cut off 2 x lengths of the fine nylon line at least 20cm longer than the finished length you have measured, so that there is room to tie knots at the ends.

Thread both of your strands through: 1 x 3mm crystal; 1 x 4mm crystal; 1 x 6mm pearl; 1 x 4mm crystal.

STEP THREE

Thread both strands through 1 x 3mm crystal. Thread onto each separate strand: 1 x 3mm crystal. Thread both strands through 1 x 3mm crystal. Thread again, on each separate strand, 1 x 3mm crystal. Thread both strands through 1 x 3mm crystal.

BRACELET STEP ONE

Thread both strands through your magnetic clip and tie a strong knot at the beginning of your bracelet. Give your threads a good yank to ensure your knot is going to hold. Design note: Try not to get the knot too close to the clasp, because you are going to cover the knots with crimp covers.

ALTERNATIVE METHOD: FRENCH CRIMPS Thread both strands through a French crimp; through one loop of your magnetic clasp; back through the crimp. Grasp the crimp lightly with your chain nose pliers and move it up to about 3mm from the clasp. Squeeze the crimp flat onto the threads as hard as you can, with the chain nose pliers. Make sure when you squeeze crimps onto nylon line that you don’t squeeze the crimps on an angle – otherwise you may cut into the thread.

STEP SIX – THE TWISTED EFFECT

STEP SEVEN Thread both strands through 1 x4mm crystal; 1 x 6mm pearl; 1 x4mm crystal. Repeat Steps 6 and 7 until bracelet is nearing the required length. Do not forget to include the clasp in your total length.

STEP EIGHT After your final ‘step seven’ of the pattern, thread on 1 x 3mm crystal.

STEP NINE To finish off, repeat Steps 3 and 4. Note: For extra security, you may like to attach a small safety chain onto each side of the clasp (not included in kit)

Begin with a Twist

EARRINGS Design tip: If you prefer longer, dangly earrings, increase your pattern in Step 2 to required length but make sure you have enough 3mm crystals left over for both earrings.

STEP ONE Cut two lengths of nylon line at least 20cm long.

STEP TWO This step gives the ‘twisted’ effect. Thread both strands through 1 x 3mm crystal. Thread onto each separate strand: 1 x 3mm crystal. Thread both strands through 1 x 3mm crystal. Thread again, on each separate strand, 1 x 3mm crystal. Thread both strands through 1 x 3mm crystal.

STEP THREE Thread onto both strands 1 x 4mm crystal; 1 x 6mm pearl; 1 x 4mm crystal.

STEP FOUR Repeat Step 2.

STEP FIVE Thread all four strands through 1 x 4mm crystal then 1 x 4mm pearl.

STEP SIX Thread all four strands through the hole in the hinge of the Charlotte crimp and then through a French crimp. Squeeze 40

Creative Beading

the French crimp as far down inside the Charlotte crimp as you can. Trim any excess off, and then close the Charlotte crimp over the squeezed crimp.

STEP SEVEN Open the 4mm jump ring using your chain nose pliers. Thread jump ring through the loop of the ear wire as well as the loop on the Charlotte crimp. Close the jump ring.

STEP EIGHT Repeat Steps 1 to 7 for your second earring. COST OF KIT: $32.00 (includes regular post within Australia). Please allow a further $2.60 if registered (insured) mail is required. KIT COLOURS: 1) Light Rose with Ruby accents and Rosaline pearls. Silver or Gold. 2) Crystal AB with Golden Shadow accents and Bronze pearls. Silver or Gold. 3) Light Sapphire with Purple Velvet accents and White pearls. Silver or Gold. Bead Shack Kerry Dove 3/9 Bergin Street, Gerringong NSW 2534 Telephone 02 4234 1197 Also at Shop 12, The Pavilion, 274 Green Street, Ulladulla NSW 2539 www.beadshack.com.au email [email protected]

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PROFILE

SMArt Creations

SERENA ALTEA WAS INSPIRED TO MAKE A NICHE FOR HERSELF IN THE JEWELLERY SCENE BY A BRIDE’S COMPLAINT ABOUT THE LACK OF CUSTOM MADE AND AFFORDABLE TIARAS. SINCE THEN, SERENA HAS CREATED A HUGE RANGE OF TIARAS AND ACCESSORIES CATERING FOR EVEN THE PICKIEST BRIDES. SHE CHATS WITH SARAH EZZY-DICKSON.

AFTER BEING INVOLVED in costume design and theatre for many years, Serena decided to try her hand at making tiaras and, after only two years of practice, she entered the jewellery category in the Brisbane Exhibition in 2000. It was her first year competing, and she was placed in third place, while in her second year of competing (in 2001) she was awarded first place. This moment, Serena says, convinced 42

Creative Beading

her to begin making tiaras for a living. She has since created many different tiaras, ranging greatly in complexity and design, and she showcases them on her website, www.smacreations.com.au. Her company, SMA Creations which is based in Brisbane, was originally created to cover her hair and make-up profession. While Serena’s expertise evolved, the name stayed the

same and it now encompasses her jewellery profession as well. While Serena works as a sole trader, she also credits her husband with babysitting their 21-month-old toddler, Sofia, while she’s busy creating her masterpieces. Serena and her husband have just bought their first home so she hasn’t got a dedicated workspace yet, but she says, “Hopefully in a few years and after some renovations I’ll have my own special workroom.” For the moment, she makes do with a temporary desk and set of display shelves at the back of the garage. Depending on the complexity of the design, it can take up to three hours for Serena to make a tiara, and she sometimes works for up to 16 hours over a weekend. Her preferred method to use when making her tiaras is soldering. “I love to solder, there’s something grounding about creating something from scratch.” Serena learnt how to solder by doing a workshop through a local bead store, which she says took about two hours (to learn the basics) and then, “the rest came naturally.” Her first tiara was of conservative design, made with basic findings and soldering with a few diamantes on it. Since then she says her designs have evolved. “I think I’ve become more adventurous and creative. Having a young child who delights in discovering what we take for granted has made me look at the everyday with a new perspective.” She considers her style a combination of classic and conservative through to quite contemporary designs.

She lists her inspirations as theatre and costume jewellery through to pieces she’s seen in museums and artworks. “I’m a dancer and performer from way back and have a love of anything sparkly and showy but I also love the jewellery in museums from Ancient Egypt through to the 17th Century portraits of the aristocracy.” Serena’s inspirations don’t stop there however, she also draws from her favourite art period, Art Nouveau through to Art Deco, which she contributes to the designs she came up with for some of her other pieces of jewellery. Most of Serena’s tiaras are either gold or silver plated, even though she says her favourite metal plating is rose gold. “It’s very hard to source, a few of my earlier tiaras are electroplated in rose gold but my supplier only does basic gold and silver now because there wasn’t enough demand.” To this, she adds a variety of Swarovski crystals or Czech crystals, depending on the design. “My favourite crystals for jewellery and earrings are Swarovski because of the clarity and cut, but I love the Czech crystals because of their imperfect shape and earthiness.” Serena has a wide range of designs that she likes to implement; some are classically styled tiaras covered in crystals, with similar structures to crowns from past eras, while others are quite contemporary and minimalist. She also does more structured work involving brass findings and flat-back diamantes which need lots of soldering and electroplating work to complete the pieces. Pearls are also used in some of her more delicate pieces as well.

“I love to solder, there’s something grounding about creating something from scratch.”

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PROFILE

Serena sources a lot of her materials from here in Australia and especially from local suppliers.

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While her most popular pieces are her wire worked crystal crown and tiara, she also makes brooches, necklaces and earrings. Serena says she decided to branch out into jewellery making when the demand for matching sets grew and the jewellery sets are often made to match the bridal party’s dresses. She draws especially from the art period stretching from Art Nouveau to Art Deco to create elaborate brooches, combining both her talents of wire working and soldering with Swarovski and Czech crystals to create striking work. Her favourite style of earring is the chandelier, which typically has crystals and bugle beads hanging from an intricately patterned silver or gold centrepiece. One other particular piece of work that sticks in Serena’s mind is a pink and yellow wire worked Swarovski crystal necklace. “The pink and yellow necklace I had made for a client for her wedding was a particular challenge as I hadn’t done a necklace of that intricacy before and I was ecstatic at how it turned out.” Her daughter Sofia’s love for anything bright and colourful has inspired Serena to come up with new, more playful designs for her earrings as well. Serena also likes to re-work old pieces of jewellery, turning them into something new and unique, and using this technique she has made several types of hair decoration for various hairdressing competitions that she has also entered in the past. Serena admits she has received some extravagant requests. She recalls one particular client who had asked her to create an exact replica of a US Beauty Queen crown but didn’t want to spend over $50 on it. “I politely told her that the diamantes alone would cost approximately $200. Funnily enough, I never heard back from her.” There is one particular design that Serena would like to attempt to make: “One of my

sources of inspiration is a book called ‘Tiara’ by Diana Scarisbrick which was a book I had to order specially after finding it was sold only overseas. There is a tiara in there created in 1931 by Cartier as a stock piece, simply called the ‘Egyptian Style Tiara’. It was bought by the Aga Khan for his then wife. It’s a blend of styles from both of my favourite periods in history – Art Deco and Ancient Egyptian.” When she is researching design ideas for pieces from specific periods, Serena turns to her mum. “I’m lucky that my mum has a huge book collection and is mad about history. Like me, she’s interested in Ancient civilisations as well as periods from mediaeval times through to the Roaring Twenties.” Serena points out that her jewellery designs aren’t just for weddings, but ideal for everyday wear as well. She makes custom pieces to the client’s specifications or can come up with a design to match an outfit you have for a special occasion. Her jewellery is quite popular amongst her regulars, and she says, “I have a core of regular customers who not only buy for themselves, but buy for birthday and Christmas gifts as well.” In the years that Serena has been involved in the jewellery scene she has seen a big change, not only in the increase of suppliers – but she also says that beading has become just as well known as knitting or crochet. When she first began working with beads there were only a few specialist bead stores in Brisbane, “… but now they are in almost every major shopping centre and the number of online suppliers is enormous.” Serena also sources a lot of her materials from here in Australia and especially from local suppliers. “Local suppliers such as Crystal Park here in Brisbane source the best from overseas which saves me the leg-work, but I’m also supporting a local business.”

PROFILE

Serena has dabbled in various other crafty pastimes, such as cross stitching, and she is also currently experimenting with organza ribbon strung with wooden and clay beads to make necklaces and bracelets which, she says, are ‘definitely a work in progress’. She has studied web design, too. When you visit her website, you will not only see many photographs of her jewellery and tiaras, but you will also see her handiwork as a web designer. SMA Creations is listed on various wedding-planning websites, which allows

Serena to gain exposure interstate, as well as being available to more local customers. Her tiaras are available for sale and for hire. Serena says the reason for this is so she can cater for the many people who plan their weddings around a budget, but would still love to feel the decadence of being able to wear a hand crafted tiara. Some of Serena’s designs are featured on her website www.smacreations.com.au as are price lists and further information on her designs.

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PROJECT

MATERIALS

30cm flexible beading wire

The smaller wrapped beads spin around the feature beads like small moons in this design by Bead Street

Toggle clasp 6 x crimps

STEP ONE

STEP FOUR

2 x 50mm eyepins (for earrings)

Wire wrap 10 each of the glass pearls, glass cubes, bicones and glass rounds. Some of the holes of the beads will be larger than the headpin so use your seed beads as a stopper to prevent the headpin from sliding through the bead. The seed beads may also be used for decorative purposes.

Thread on the last large feature bead. On each end, thread the following beads: 1 glass round bead, 1 x group of four wire wrapped beads, 1 x glass round bead, 1 x group of four wire wrapped beads, 1 x crimp, 1 x glass round bead, 1 x crimp, 1 x seed bead, 1 x crimp. Thread on one part of toggle clasp, take the flexible beading wire back through the three crimps and the beads in between. Squash the crimps firmly with the chain nose pliers.

46 x 50mm thin headpins (6 for earrings) 2 x earhooks (for earrings)

BEADS

3 x 20-30mm large feature beads 12 x 8mm assorted glass cube beads (2 for Earrings) 26 x 8mm glass round beads (2 for Earrings) 12 x 8mm round glass pearls (2 for Earrings)

Diagram 1

STEP TWO

TOOLS

Using flexible beading wire thread 1 x large feature bead, 1 x round glass bead, 1 x each of the four wire wrapped beads, 1 x round glass bead, 1 x each of the four wire wrapped beads, 1 x round glass bead then 1 x each of the four wire wrapped beads, 1 x glass round bead.

Chain nose pliers

STEP THREE

12 x 8mm glass bicones 5g x 80 or 60 seed beads

Round nose pliers Side cutters Length of finished piece: 18-20cm or desired length

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Repeat step 3.

STEP FIVE For the final end, thread the second section of the toggle, feed the flexible beading wire back through the three crimps and beads in between. Slide the crimps and beads slowly down to the previously finished end so that there aren’t any gaps on the flexible beading wire, being careful not to strip the coating off the flexible beading wire. Once the gaps have been removed, squash the crimps firmly and trim off any excess flexible beading wire.

Galaxy Cluste

EARRINGS STEP ONE Wire wrap three beads for each earring, attach them to the earring hook by opening the earring hook loop firmly and firmly closing. Design Note: If you wish you can use a bead on an eyepin to sit between the earhook and the wire wrapped beads. To do this, place the bead on the eyepin, form a loop, cut excess wire and connect to the earhook.

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Bead Street www.beadstreet.com.au [email protected] Phillip: 61-63 Dundas Court, ACT 2606 Phone 02 6282 9441 Belconnen: 10 Walder Street, ACT 2617 Ph:02 6251 0950 Fyshwick: 8/196-198 Gladstone Street, ACT 2609 Ph: 02 6280 5566

CB1_3

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PROJECT

BRACELET MATERIALS

Elegance with angles. This right angle weave designed by The Bead Co of Victoria.

1 x 4 row clasp

BRACELET DESIGNER’S NOTES

4 metres of 6 pound Craft Line 8 x calottes

BEADS

7 x 6mm gold Swarovski pearls 14 x 6mm topaz Czech crystals 184 x 4mm peridot Czech crystals 14 x 10x4mm peridot daggers 14 x 10x5mm topaz drops 8 x 11o seed beads (any colour)

TOOLS

Round nose pliers Wire cutters 2 butterfly paper clips Clear nail polish or glue – Araldite/Hypo Length of finished piece: 17 to 18 cm

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The stitch used is Right Angle Weave. In this project, Rows 1, 2 and 3 should be a bit looser as Rows 4 and 5 tighten and straighten it. This also makes it a bit shorter then before these rows. If in doubt about tension or length, leave second end calotte attachment until the end, using a paper clip to hold. With all Craft Line work, tension should not be too tight as this causes too much strain. To lengthen, an extra repeat and extra beads are required. Clasp should have at least 4mm between holes. The one I used was a 1960s Czech clasp; I removed and replaced stones with matching topaz crystal stones.

ROW ONE Place an 11o seed bead in centre of 1 metre of Craft Line and tie an overhand knot. Thread both ends through the hole in the calotte so that the seed bead is sitting in ball section. Thread on 1 x 4mm crystal and attach calotte loop to second hole in solid side of clasp. Repeat again in third clasp hole. Take one strand from each and place in paper butterfly clip to keep out of the way while working Row 1. Thread 1 x 4mm crystal on one strand and pass other strand through it in the opposite direction. Then thread 2 x 4mm on each side, 1 x 6mm pearl on one side, thread other strand though pearl in opposite direction, 2 x 4mm on each side, 1 x 4mm then crossover and thread 2 x 4mm on each side and one pearl then crossover. Repeat pattern until seven pearls, 2 x 4mm each side, 1 x 4mm crossover, 1 x 4mm each

side, then grip two ends in paper clip to hold while doing Row 2. Each side of Row 1 will form half of Rows 2 and 3.

ROW TWO Place size 11 seed bead on centre of 1 metre of Craft Line and knot as previously; bring ends through calotte then thread 1 x 4mm on both strands. Attach calotte loop to an outside hole on clasp then release one strand from paper clip to match side of Row 1. Secure loose strand from Row 1 and Row 2 back in the paper clip. Thread on 1 x 6mm topaz crystal on one side then thread other strand in through opposite direction. On strand nearest Row 1 thread through the 2 x 4mm of Row 1 then thread 3 x 4mm on other strand and crossover the strand from Row 1 through the third one. Pick up 2 x 4mm from Row 1 and thread 2 x 4mm on other strand then 1 x 6mm topaz and then crossover strand from Row 1. Repeat pattern until seventh topaz 6mm crystal. Release strands from paper clip at that end and thread through last 4mm crystal then through a calotte with the appropriate loose thread from Row 1. Thread one size 11 seed bead on one strand – tie an overhand knot – put on a dab of clear nail polish; when dry trim loose ends then close ball of calotte and attach to correct centre hole of other side of clasp. Place 1 x 4mm crystal on loose strand and apply paper clip.

ROW THREE Repeat Row 2 starting on other side of Row 1 and attach to other side as for Row 2.

ROW FOUR Thread through first group of 2 x 4mm on Row 3 then thread on 1 peridot dagger then through second group of 2 x 4mm and thread on one topaz drop. Repeat this pattern until you reach the end, then through last single 4mm and apply to calotte as previously and attach to outside hole of clasp.

Many Angles

4mm peridot Czech crystal; then hold firmly and bend remainder of head pin back to a 90 degree angle. Leave 8mm and cut off extra; make a loop with round nose pliers. Repeat on second head pin.

EARRINGS MATERIALS

2 x SS30 topaz flat back diamantes

STEP TWO

1 pair 6mm flat pad ear studs with loop 1 pair butterfly/bullet backs 2 x 50cm head pins

ROW FIVE

BEADS

Repeat Row 4 on other side then attach to other outer side of clasp. See diagram for placement of calottes on second end.

2 x 6mm gold Swarovski pearls

EARRINGS STEP ONE

2 x 6mm topaz Czech crystals

Take one head pin and thread on 1 x 8mm topaz Czech crystal, 1 x 6mm gold Swarovski pearl, 1 x 6mm topaz Czech crystal and 2 x

2 x 8mm topaz Czech crystals

4 x 4mm peridot Czech crystals

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Glue 1 x SS30 topaz flat back diamante onto 1 x 6mm flat pad ear stud with loop; wait until dry then attach earring drops from Step 1. Place one butterfly/bullet back to the back of 6mm flat pad ear stud with loop. Repeat process for second earring. The Bead Company of Victoria 336 Smith Street Collingwood Victoria 3066 Phone: 03 94190636 www.beadcovic.com.au

PROJECT

MATERIALS

4.5m x 28 gauge artistic wire – silver

You will enjoy making this beautiful necklace, designed by Crystal Park, using wire and seed beads.

1.5m x Tigertail 6 x crimps – silver 2 x large jump rings – silver 1 x parrot clasp – silver

BLUE PETAL STEP ONE

BEADS

Cut 1 x 30cm length of 28 gauge artistic wire – silver. Thread on 3 x blue seed beads. Bring all three beads to the middle of the wire. Thread one end of wire through two of the three seed beads. Diagram 1.

5gm x Matsuno seed beads 11o SR #633 – blue 5gn x Matsuno seed beads 11o SR #80 – green

STEP SIX Repeat Step 5 twice more.

STEP SEVEN Repeat Step 4, Step 3 and then Step 2.

STEP EIGHT

5gm x Matsuno seed beads 12o RR – clear AB

Onto one end of wire, thread two seed beads. Take the other end of the wire through both beads. This completes one blue petal. Do not trim wire.

6 x 4mm Swarovski bicones – light sapphire

STEP NINE

18 x 4mm Swarovski bicones – crystal AB

TOOLS Wire cutters

Flat nose pliers

Diagram 1

STEP TWO Onto one end of wire, thread another three seed beads. This time take the other end of the wire through all three beads. Diagram 2.

Length of finished piece: 45-50cm

Repeat Step 1 through to Step 8 another seven times to finish up with 8 x blue petals. Set aside for now.

CLEAR AB PETAL STEP ONE Cut 1 x 30cm length of 28 gauge artistic wire – silver. Thread on 3 x clear AB seed beads. Bring all three beads to the middle of the wire. Thread one end of wire through two of the three seed beads. Diagram 1.

STEP TWO Diagram 2

STEP THREE Onto one end of wire, thread four seed beads. Take the other end of the wire through all four beads.

STEP FOUR Onto one end of wire, thread five seed beads. Take the other end of the wire through all five beads.

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STEP FIVE Onto one end of wire, thread six seed beads. Take the other end of the wire through all six beads

Repeat technique as for blue petals with each row having the following number of beads: Row 1 and 2 – refer to Step 1; Row 3 – three beads; Row 4 – four beads; Row 5 – five beads; Row 6 – five beads; Row 7 – four beads; Row 8 – three beads; Row 9 – two beads. This completes one clear AB petal. Do not trim wire.

STEP THREE Make another five clear AB petals.

Blue L illy

the long piece of wire is through both petals, add third petal and thread wire through. Repeat with the remaining five petals.

STEP TWO Now go back through each of the petals, with the wire, in a running stitch. This will strengthen the whole thing.

STEP THREE Repeat Step 1 with the six clear AB petals. Lay these petals over the blue ones and attach with a running stitch through the two layers to join them together.

Diagram 3

CHAIN STEP ONE Cut 60cm length of Tigertail. Thread through the bead at the tip of the outer blue petal. Fold Tigertail in half. Add 1 x 4mm crystal AB bicone and 1 x crimp. Close crimp.

STEP TWO Onto one end of Tigertail, thread 20 x clear AB beads. Onto the other end, thread 22 blue beads. Onto both ends, thread 1 x 4mm crystal AB bicone.

CRYSTAL STAMEN STEP ONE Start with one of the blue petals. Thread 1 x blue crystal bicone onto both ends of wire. Bring bead down so that it sits roughly 1-1.5cm from base. Fold wire above bead down towards base – at the bead. Twist wires together below the crystal. Trim excess wire. Repeat this for remainder of blue petals.

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STEP THREE Repeat Step 2 another four times, leaving the last bicone off.

STEP FOUR

STEP TWO

Thread 1 x crimp. Close crimp. Trim one length of Tigertail just above the crimp. Now thread the final bicone and then another crimp. Thread Tigertail back through the crimp to form a small loop. Close crimp. Attach 1 x large jump ring to the loop.

Repeat this with the clear AB petals, using 4mm crystal AB bicones.

STEP FIVE

CONSTRUCTION OF LILY STEP ONE

Repeat all of the above for the other side of the chain and add 1 x parrot clasp to the large jump ring.

Start with the blue petals and 30cm of 28 gauge wire. Line two petals up so that they sit side by side. Diagram 3. Thread wire through both, leaving a 5cm tail. Wrap this tail through existing wires to anchor. Trim. Once

Crystal Park 9 Cassia Street Browns Plains Qld Phone 07 3800 3825 www.crystalpark.com.au

PROFILE

Danielle Mondo – Mondo Design MONDO DESIGN BEGAN AS A PART-TIME HOBBY, INFLUENCED BY A PASSION FOR DESIGN AND FRIENDS WITH A DESIRE FOR UNIQUE ACCESSORIES TO ADORN THEMSELVES. SARAH EZZY-DICKSON CHATS TO DANIELLE MONDO, THE OWNER OF MONDO DESIGN. DANIELLE MONDO FIRST began making jewellery around five years ago after becoming disenchanted with the latest lines in fashion accessories available on the market. She started off by teaching herself how to make dangly earrings, as that was what she found to be popular at the time. They became a huge hit amongst her friends who started placing orders almost immediately, which gave her the inspiration to start up her own label. Mondo Design was born, and around three years ago, Danielle started supplying stores around Melbourne with her jewellery. Danielle describes her style as a combination of contemporary and vintage styled pieces, which allow her to showcase her 58

Creative Beading

PROFILE

attention to detail. She uses brass and pewter stampings, semi-precious stones, Czech glass beads and Swarovski crystal in combination with modern cameos, diamantes, chains and carefully selected feature beads to create pieces that are effortlessly feminine. Before dedicating her life to her passion, Danielle worked in a full-time office job that she became bored with quickly. Having studied industrial design at university, she decided to go back to her designing roots part-time for a few years, and after seeing her workload increase steadily over those years she took the plunge and resigned from her job. She says ‘there was no real plan, everything just fell into place. Overall it’s a great job!’ Even though her workload has increased significantly in the past few years, Danielle still works alone from her studio at home. She sits at a big desk, surrounded by a collection of containers full of beads and other assorted charms, crystals and chains. She is also slowly taking over the billiard room with her finished pieces on display. Danielle says that working on her own is becoming more of a struggle these days, and the only way she manages to get her orders filled is by ‘working longer hours, late nights and weekends’. She would consider taking on other staff to help her out if demand becomes too much for her, but says, “I’m a bit of a control freak, and like being on top of things myself. I would hate the stress of wondering if someone else was doing it properly!” As far as inspiration for her work goes, Danielle says that ‘there’s nothing specific; latest fashion trends and colours mainly’. Danielle

adds colour to her pieces with semi-precious stones; her favourites being cherry ‘quartz’, crystal quartz and turquoise, but she also uses onyx, green aventurine and rose quartz in many of her pieces. Her feature beads include cloisonné beads and Czech glass beads often surrounded by filigree bead caps. Many of the necklace designs that Danielle creates are long, elegant charm necklaces, with clusters of stampings, charms, crystals and various beads hanging from differing lengths of chain. She mixes chains of varying link shape and size in different finishes with large jump rings or plated stampings which are then used to attach the charms and beads. Each piece has a theme, be it either colour or a combination of stampings and with each theme comes a name. Many of the names are apt descriptions of the colour scheme that Danielle has chosen for the piece; such as ‘Sunset’ for gold chain and charms, with pink hued beads, while others have been given female names, such as Sarah and Gloria. “I name some of the pieces after friends who I know would wear particular pieces, or if I add a piece to my range that I have specifically designed for a friend, I always name it after them.” Many of the brass and pewter stampings Danielle uses, she gets plated herself in one of her three main finishes – gold, silver and antique brass – to ensure the finish will CreativeBeading Beading Creative

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“I name some of the pieces after friends who I know would wear particular pieces, or if I add a piece to my range that I have specifically designed for a friend, I always name it after them.” 60

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remain intact and not tarnish. She purchases these mainly from Australian sources and is constantly on the lookout for unique and varied designs … and then Danielle says: “I try and get as many cute pieces that I like and see how it all goes together.” When she’s coming up with ideas, Danielle tries to keep an even mix of the different finishes in all of the styles she makes, and says that even though the silver finishes are proving to be very popular she favours gold a little bit more. “I find silver to be a little less interesting when mixing with colours.” Danielle says that Bizzarr Beads in Melbourne was the starting point for her jewellery making passion, as she got all of the makings for her first pair of earrings from them. She still buys some of her Czech glass beads and various other bits and pieces from them, almost five years on. She says the mainstay for designers, large or small, is having reliable suppliers. While her beginnings lay with earrings, Danielle admits that she is making more necklaces now. “I do still make earrings, but I’ve been focusing on necklaces lately as they seem to be more popular at the moment.” While she’s been out and about in Melbourne, she’s seen a few girls wearing some of her pieces – which Danielle says ‘is really exciting!’ One frontier she is yet to conquer (and would

love to see happen sometime soon) is to see someone famous wearing one of her pieces. “I haven’t seen anyone famous wearing any of my jewellery yet, but I would love to!” It may not be a far-off dream, with more of Melbourne’s boutique stores jumping on the Mondo band wagon and stocking Danielle’s jewellery in store. One major supporter of Danielle’s work is Tilkah (www.tilkah.com.au) in Melbourne. She has been supplying jewellery to them for around two years now, and they were one of the first to pick up on her talent when they were only located at their Highpoint location. They’ve since expanded into two other locations – Chapel Street and Chadstone – and each of the three stores carries a selection of Danielle’s work. The various styles of jewellery that Danielle makes don’t always stick to seasonal fashion patterns. “I design new ranges more often than every season, but that doesn’t mean it’s a completely different look, it might just be different stampings or different colours.” It is mainly a supply and demand situation for Danielle as Tilkah is her major stockist. “I usually have to come up with a new range every time Tilkah is ready to place a new order. The more I have, the more they order, so it puts a bit of pressure on me to come up with the goods.”

PROFILE

She doesn’t follow a set schedule for designing either. “I don’t allocate a time every week, I just get stuck into it when Tilkah calls me to arrange a meeting. I try to allow at least a week to come up with new designs, but there have been times that I’ve only had four days to get an order done. Initially I struggle a little, but in the end I usually end up with around 20 new necklace designs and about 10 new earring designs.” So far, in terms of jewellery production, Danielle has been lucky. “No great mishaps yet, touch wood! The worst so far has been supplies running out, and arriving the evening before an order is due! This has happened a few times but the worst one was when I had to stay up until all hours getting an order ready in time.” While the excitement of creating a new design can be all consuming it’s also a wonderfully satisfying feeling when the project is completed. “It’s a huge relief when it’s all done! I’m getting towards the end of an order at the moment and I’m just itching to finish!” Mondo Design can be found online at www.mondodesign.net.au Danielle says the website will be updated soon, with all new content and showcasing many more of her beautiful creations.

Download free! Step by Step instructions to make these lovely Filigree Earrings. This project is rated for beginners. Free from www.MaggieBergman.com.au

PMC & Metalwork classes in Brunswick, Vic. - Introduction to PMC - Dichroic Glass Fusing for Jewellery - Photo Polymer Plates for design & textures - Enamelling on PMC - Metal work classes for beginners Go to the 'workshops' page on our web site for up to date class times and subjects

www.MaggieBergman.com.au Phone: 03 9380 8163 Email: [email protected] CreativeBeading Beading Creative

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PROJECT

BRACELET MATERIALS

55cm tigertail (black) 1 x toggle clasp

Beautiful Beads don’t need an elaborate design; they are simply stunning in themselves. This design is by Helen Jackson from Beads Direct.

2 x crimps

BEADS

1 string of Austin Hamilton lampwork beads Toning glass beads or spacers 8 x Bali style spacers 2-3mm beads

TOOLS

1 x bead design board (optional) 1 x bead mat (recommended) 1 x bead stopper Flat nose or crimping pliers Cutters for tigertail

Length of finished piece: 17 to 18 cm

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There are usually 15 beads on each string of Austin Hamilton lampwork beads. There are many lovely colour ways, letting you design a bracelet set unique to you. Toning beads can be matt or transparent. Check out the website to see the full range.

BRACELET STEP ONE Using a bead board, arrange lampwork beads in a pleasing design. Insert toning beads or spacers and Bali spacers between the lampwork beads. Design note: It may take several arrangements until you are satisfied.

STEP TWO Thread the tigertail through a crimp, through the loop on one side of toggle clasp, back

through the first crimp, making sure you have two lengths equal. Move crimp up towards toggle leaving a 2mm gap and crimp with flat nose pliers or crimping pliers.

STEP THREE Thread both ends of tigertail through a small bead then separate and put one toning glass bead on each thread. Thread both threads through Bali spacer, lampwork bead, Bali spacer, separate through toning glass beads and then back together through next Bali spacer, lampwork bead, Bali spacer; continue this pattern until bracelet reaches desired length. Approximately 17 to 18 cm.

STEP FOUR Thread both tigertail threads through small bead, crimp, second toggle loop, crimp, and small bead. Pull threads to leave 2mm between crimp and toggle loop. Check length is correct and then crimp. Work should be firm. Cut any surplus tigertail off.

Simple

’N ’ Stunning

EARRINGS MATERIALS

2 x 50-60mm silver plated eye pins 2 x silver plated ear hooks

BEADS

4 x Austin Hamilton lampwork beads left over from bracelet 2 x toning glass beads 6 x Bali style spacers

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STEP THREE STEP ONE Thread 1 x Bali spacer, 1 x lampwork bead, 1 x Bali spacer, 1 x toning glass bead, 1 x lampwork bead, 1 x Bali spacer.

STEP TWO Cut end to 5mm and, with flat nose pliers, bend 90 degrees away from you. With round nose pliers, gently roll end back towards you until almost a full loop.

Slip the loop of an ear hook on and finish winding; close the loop.

STEP FOUR Repeat for second earring in the same way. Helen Jackson Beads Direct Mobile: 0416 005 668 PO Box 2227, Wandal, Queensland 4700 www.beadsqld.com Email: [email protected]

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PROJECT

MATERIALS

Make a power statement with this leather cuff by Bead Street

118cm x 1mm wire

50 x leather clamps – 5x5mm open sided 4 x 5 hole spacer bars 22.5cm x 4mm natural braided leather bolo cord 65cm x 4mm brown braided leather bolo cord

TOOLS

STEP ONE

STEP EIGHT

Cut 5 x 23.5cm lengths of 1mm wire

Repeat steps 4-7 with the other four lengths of natural leather.

STEP TWO Thread on one spacer bar onto all pieces of wire, placing it 9.5cm from end.

STEP NINE

STEP THREE

STEP TEN

Cut 5 x 4.5cm lengths of the natural leather.

Cut 10 x 2.5cm and 10 x 3.5cm lengths of brown leather.

Side cutters

STEP FOUR

Round nose pliers Chain nose pliers

Place a leather clamp on either end of one piece of the leather but don’t crimp closed – it’s just to stop the ends from fraying.

Length of finished piece: 20-22cm

STEP FIVE Thread that piece of leather onto the outermost length of wire.

STEP SIX Position it so that it is next to the spacer bar, which should be sitting 9.5cm from the end of the wire.

STEP SEVEN Once in position, clamp the leather clamps closed.

Thread next spacer bar.

STEP ELEVEN Using the 2.5cm lengths repeat the process as Steps 4-7 for five pieces; place another spacer bar on. Repeat this with the remaining 5 x 2.5cm pieces for the opposite side of the natural leather section.

STEP TWELVE Now repeat this process with the 3.5cm lengths, placing one section of five on each side of the cuff.

STEP THIRTEEN Once all sections have been crimped into position, trim the ends of the wire so that there is 7-8mm remaining over the edge of the leather.

STEP FOURTEEN Using the round nose pliers, form a loop with the 7-8mm of wire on each of the 10 wires.

STEP FIFTEEN Bend the cuff to suit your wrist shape.

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Bead Street www.beadstreet.com.au [email protected] Phillip: 61-63 Dundas Court, ACT 2606 Phone 02 6282 9441 Belconnen: 10 Walder Street, ACT 2617 Phone 02 6251 0950 Fyshwick: 8/196-198 Gladstone Street, ACT 2609 Phone 02 6280 5566

Leather Power Cuff

PROJECT

MATERIALS

Craft line 10lb (approximately 60cm) 2 x oval jump rings

Introduce yourself to thread work with this easy cross thread technique, using Swarovski crystals. The result is not only fun but beautiful. Designed by Helen Everett.

1 pair end closing calottes 1 clasp

BEADS

20 x 6mm Swarovski bicone drop crystal beads 10 x 5mm Swarovski bicone crystal beads Delicas (approximately 1.5g)

TOOLS

Flat nose pliers Scissors Length of finished piece: 17cm

DESIGNER’S NOTE To adjust length, increase or decrease the number of beads added in Step 7.

STEP ONE Cut the craft line in half. Hold the two ends together with sticky tape or Blu-Tack, approximately 15cm from the ends.

STEP TWO Thread on one 5mm bicone onto one strand and sew through the bead with the other strand in the opposite direction so that the craft line crosses through the bead.

Diagram 1

Remove the tape from the start ends and repeat to finish the bracelet. Kits available, $34.00.

STEP FOUR

Helen Everett Phone 08 9294 2639 Web: www.aurorabeads.com.au Email: [email protected]

STEP FIVE Thread one 6mm bicone drop onto each strand, then repeat Step 4. Keep the tension tight so that the two central bicone drop beads are pointing upward and the other two pointing outward.

STEP SIX

Creative Beading

Repeat Step 3. Hold both strands together and thread on one delica, and an end closing calotte. Thread a delica onto one strand and tie a knot around the delica, so that the delica sits in the calotte cup. Knot 2-3 times, dab knot with nail polish, trim the craft line and close the calotte using flat nose pliers. Use pliers to curl over the end of the calotte into a loop. Open a jump ring, attach one half of the clasp to the calotte and close the jump ring.

Thread six delicas onto each strand.

Thread on one 6mm bicone drop onto one strand and sew through the bead with the other strand in the opposite direction so that the craft line crosses through the bead.

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STEP EIGHT

STEP NINE

STEP THREE

Rating

only five delicas on each strand between each bicone.

Repeat Step 3, then Step 2, Step 3, Step 4 and Step 5 until you have five clusters of bicone drops.

STEP SEVEN Repeat Step 3 and then Step 2. Repeat Step 7 twice more, but thread on

Delicate Swarovski

AUTUMN TRENDS

Chilly Beads As the weather turns back into the familiar icy chill of autumn and winter, we are sometimes forced to layer on more clothes than we’d like to, so it’s only fair to keep your accessories as visible as they deserve to be. Sarah Ezzy-Dickson uncovers some beading trends to inspire you to warm up your fingers and get to work.

Mixed textile jewellery is a kinetic approach to wearing art.

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THE COOLER WEATHER generally brings darker colours – black, brown and navy – however there are variations on your typical winter theme that are worth giving consideration to, such as bold red, peacock blue, fern green and antique sage. Semiprecious stones are popular, and the colder seasons aren’t any exception. Carnelian will add a dash of bright colour, from red to orange, while turquoise looks stunning against a black outfit when teamed with either gold or silver. Emerald and jade will satisfy any lust for

green, and either Lapis Lazuli or sodalite will fit the bill for the perfect winter blues that won’t make you frown. Large semi-precious nuggets used individually can make outstanding feature beads, or smaller nuggets linked together with thin coiled wire looks quite dainty. The irregularly shaped semi-precious nuggets give an earthy feel to a piece of jewellery, while finely faceted ones tend to look more feminine and refined. While resin jewellery has been popular for a few years now, with thanks to the likes of

Dinosaur Designs, it is enjoying resurgence in the spotlight with many jewellery designers creating their own style of resin jewellery. Chunky pendants made up of layers of bold opaque colours glazed with glitter, shaped into ice cream cones and flowers are being seen around the necks of young and old. Resin jewellery isn’t limited to designers with studios and specialised equipment at their disposal … ice-cube trays make excellent moulds for resin pendants (just ensure the tray isn’t liable to melt when you pour the resin into it). Experiment with different sized round take-away containers placed inside each other, with resin poured in the well left between the containers for bangles of varying width and height. With a bit of sanding, the edges will be smooth enough to wear. Big, chunky brass or pewter pendants in antique brass, gold or silver on long chains look really effective when worn under a scarf, and smaller charms and stampings are also proving to be very popular in accessories. Fans, dragonflies, leaves and large groups of circles look great in gold or silver, and filigree bead caps and beads are also beautiful additions to clusters of charms on a necklace; on earrings; or as features on their own. Vintage themed pieces were becoming popular towards the end of last year, but with winter around the corner vintage will be at its best. Strands of pearls tied with black satin or silk ribbon are classic pieces that will add glamour to any old jumper. Cameos attached to metal cabochon stations, then used as features for earrings or necklaces, can be made to really stand out by combining with crystal drops and ribbon. Lace and ribbon can also be incorporated into jewellery – try weaving it through the links in some chain; use leather ends to turn pieces into chokers; or turn some of your lace offcuts into textile earrings (to keep the lace stiff, dip it in liquid starch and then iron). Mixed textile jewellery is a kinetic approach to wearing art; it moves with the breeze and the movement of your body and it is interesting

to touch. There are brilliant types of wool and thread available on the market, and some are specially targeted at being used as scrapbooking decorations, but who’s to say that’s where it ends? Plaiting several strands of ‘furry’ thread together, with beads scattered along the strands, makes a simple, eye-catching single strand necklace. Shorter strands of thread or wool secured into folding leather ends and hung from earring hooks would make great matching earrings. Winding several different textured threads, wools or leather around a wooden bangle base can give a very ‘natural’ feeling to an outfit, which could then be taken further with a long strand of wood and crocheted beads. Continuing with the textile jewellery theme, feathers are also great accessories – worn as charms in necklaces, as earrings or in hair accessories, they add a delicate touch to a thick coat or jacket. To keep your feathers in good condition when you’re not wearing them, put them into zip-lock bags – this will also keep mischievous kitties out of the equation! To add a bit of glam to the feathers, a little bit of glitter hairspray will add the sparkle, and it will also help to keep the feathers stiff. Scarves can sometimes get a little boring, but they do come in handy when the wind gets icy. If you’re a knitter, when knitting a scarf try adding a bead every stitch or so. If you’re not a knitter, stitching beads onto a pre-made scarf is fairly easy … however you do it, the effect is the same – your own unique scarf! Other ways to add pizzazz to your woollen neckwear are to add beaded tassels to the ends, or to make a pretty beaded brooch to keep a scarf or poncho in place. Diamantes add sparkle to everything you wear, and many of the big designers have embraced diamantes to the extreme, creating crystal encrusted brooches and earrings that could light your way in the dark. Less is more a lot of the time though, and just a few diamante rondels added in between round Czech glass beads can be just as stunning.

Chunky pendants made up of layers of bold opaque colours glazed with glitter, shaped into ice cream cones and flowers are being seen around the necks of young and old. Creative Beading

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Finding special focal beads is always exciting, and this winter is perfect to showcase your beauties, even just the bead strung on an interesting chain can be very effective. Clusters of beads and charms have been growing in popularity for months and these styles of earrings and necklaces are also good ways to show off a matching set of special beads. Buttons are often quite pretty, and readily available in sewing and haberdashery shops. They can be salvaged from deteriorating clothing and found in antique and brica-brac stores. Some can have faux pearls and diamantes set in them, while others are in the shapes of cute animals. However they come, there’s no excuse to leave them out of your accessories! Necklaces made up of brightly coloured buttons on top of different coloured

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buttons look striking against black and other neutral shades, and when linked with jump rings through the thread holes, make an altogether different look entirely. Buttons that have the thread loop at the back can be used in wire working, and turned into hair accessories, brooches or bracelets. They can even be used as they were intended; as buttons! Instead of using a standard clasp for a necklace or bracelet cuff, try making a button loop out of tiger tail and seed beads and adding a button instead. In the same vein, buckles make great accessories too. Used traditionally, you can incorporate them into beaded belts. Alternatively, use them as focal points in necklaces to hang other bits and pieces from, or several small buckles linked together to form a chain. They can also be used as a base to begin wire working from, to create an interesting frame to be used in jewellery or as decoration around the home. Whatever you choose to make your beautiful beaded masterpieces with, make sure that they’re on show during the colder seasons, as a little bit of jewellery can brighten anyone’s day!

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BEAD CLASS

Wire Workshop CREATING JEWELLERY USING WIRE HAS BEEN DOCUMENTED BACK THROUGH THE CENTURIES. TODAY THERE IS AN INCREASING NUMBER OF VARIOUS TYPES OF WIRE THAT CAN BE USED TO CREATE JEWELLERY. Selecting the right wire for a project will make the difference between it turning out looking great or having problems trying to obtain a good finish.

SAFETY WHEN WORKING WITH WIRE

Two things to remember when selecting wire: 1. Pick the right gauge. – The smaller the gauge number, the thicker the wire plus the harder it will be to work with. These gauges will support higher stress levels. – The higher the gauge number, the thinner the wire. – The gauge of wire will also have an affect on the type of wrapping techniques used, which in turn affects the overall design. 2. The choice of wire used – should it be solid and plated wire, gold, copper, or base metal? Each of these types varies in malleability. Softer wires bend easily, yet may lack strength under stress.

1. Use safety glasses for: – Cutting wires; and – Coiling/wrapping long strands of wire. 2. Always cut wires with the flat side of wire cutters facing up, with the piece being cut facing down away from the body. 3. Use a nail file or metal file to smooth off sharp points from wire to prevent it sticking into things.

TOOLS

As a precaution to prevent eye injuries, the use of Safety Glasses is HIGHLY RECOMMENDED.

WIRE CONVERSION In a number of countries the Gauge System is often used, while here in Australia we use the Metric System. This can often lead to confusion in trying to convert gauges to millimetres. There are two systems of Standards recognised internationally with regard to wire sizes.

Wire Cutters – If using heavy thick wires, use heavy-duty cutters and for finer wires use regular jewellery wire cutters. Chain Nose Pliers – Holding wire. Round Nose Pliers – Making coils, bending into shapes. Nylon Jaw Pliers – These pliers have a nylon jaw, which won’t mark wire when used. Use for straightening kinks or holding wires when wrapping.

MAKING A WIRE WRAPPED EYE & ‘S’ HOOK CLASP

Optional Items Different sizes of knitting needles/wooden dowels are all excellent for use in making jump rings, creating coils etc. Film canisters are great for creating shapes.

Use 20 gauge (0.32mm) wire. 1. Cut one length of wire 4cm long. 2. Bend approximately .5cm from one end and bend to create an eye at this end.

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Wire Wrapped Eye

‘S’ Hook

WIRE WRAPPED EYE

WHAT WIRE FOR WHAT PROJECT GAUGE

WIRE THICKNESS

BASIC DESCRIPTION GUIDE OF USES

14 to 16

Very thick and heavy, often requiring heavy-duty tools to shape the wire.

Unsupported shapes, lampshades forms, neck wires and bracelet bases. Styles requiring a solid framework.

18

Medium thick, can hand shape, yet also requires tools (regular) to assist.

Making clasps. Wire wrap larger beads with larger holes. Chain making. Home deco – candle sticks, wine bottles etc.

20

Medium wire. Use regular tools.

Good general purpose wire. Make head pins, ear wires, wire wrapping. Wig Jig work.

22

Medium Thin wire. Use regular tools.

If 20g is too thick then this gauge is ideal. Good for wrapping with Austrian Crystals or semi precious gems. Often preferred for ear wires.

24

Thin wire. Use regular tools.

Wire wrapping of smaller crystals, pearls, semi precious gems to chain. Wire wrap Gem Trees. Viking knitting.

26

Very Thin. Finer tip tools, including nylon jaw pliers.

Wire wrapping for hair combs, tiaras, coiling over 20-22g wires. Free form work.

28 to 30

Very Very Thin. Finer tip tools, including nylon jaw pliers.

Perfect for weaving, free form wire wrapping using small beads. Use for some types of crocheting, knitting, Viking knitting.

32 to 34

Very Very Thin. Finer tip tools, including nylon jaw pliers.

More suited for crocheting and knitting yet can be included in combination with other wires of more structure.

4. Make a bend at right angles .5cm below the eye. 5.Make another eye at this bend. 6.Now wrap the wire around the gap between the two eyes.

Wire Wrapped Eye is now complete.

‘S’ HOOK CLASP Use 20 gauge (0.32mm) wire. 1. Cut one length of wire 4cm long. 2. Mark the centre of the wire. 3. Halfway from the centre, using the thickest part of the round nose pliers, bend the wire over the pliers to make a U-shaped bend. 4. Create another U-shaped bend at the other end of the wire facing the opposite direction. 5. Trim the ends of each U-shape so that they align with the center markings. 6. At the tips of each U-shape, turn the wire back onto itself 0.2mm (file off any sharp edges). 7. Gently position each end towards the centre marking so you have created an ‘S’ shape. Don’t forget to remove any markings on the wire. Now completed.

MAKING COILS Decide on what you want to do with the coils. This is up to the imagination. • Decoration to add to a chain; • Use as spaces in a multi-strand necklace; • Make jump rings. Adding ‘coils’ sections to a chain for added effect, along with drops. 1. Note: Drops are completed last after you have added the coils, hence creating sections on the chain of drops/ coils/drops. 2. Work out the diameter of the chain (3mm) then add 2mm so that the coils will slide up and down on the chain. Total diameter required to make is 5mm. 3. Use a knitting needle of the coil diameter required. 5mm knitting needle. 4. Now decide on the gauge of wire (22 gauge/.025mm). 5. Decide length of coiling required for adding to the chain (1-3cm sections). 6. Work in metre lengths of wire to create the coiling (less likely to end up being kinked and easier to handle). Or you can choose to wrap straight from the roll of wire until you have reached the desired length required. 7. Take one end of the wire, place it on the needle and hold in place with fingers. Use the other hand to begin Creative Beading

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BROWN & SHARPE GAUGE 14 16 18 20 22 24 26 28 30 35 34

INCHES .064 .050 .040 .032 .025 .020 .015. .012 .01 .0079 .006

MILLIMETRES 1.62 1.27 1.01 .81 .63 .50 .38 .30 .25 .19 .15

STANDARD WIRE GAUGE 14 16 18 20 22 24 26 28 30 35 34

INCHES .080 .064 .048 .036 .028 .022 .018 .015 .0124 .0108 .0092

MILLIMETRES 2.03 1.63 1.22 .91 .71 .56 .46 .38 .31 .27 .23

Reference: Textile Techniques in Metal by Arline M. Fish

wrapping around the knitting needle with the length of wire. Do 6-8 wraps, then push these wraps up close against where you began. Note: This will give you a uniform coil of wraps. Note: Keeping a medium tension on the wire will also give uniformity of coils. 8. Continue to wrap until you have the desired length. 9. Slide the wrapped coils slowly off the needle to the

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desired lengths and cut with wire cutters. Don’t forget to file any sharp edges. 10. Now you add the coil sections to your chain, by sliding them on. 11. Make drops onto the chain in sections dividing your added coils. 12. Completed.

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BAsIc InsTrucTIons

Basics and ‘all that o er stuff ’ you need to kno … eventually by Annlee Butler

I Am AlwAys AmAzed at how many talented beaders and wire workers we have in Australia. Again this year our Inspiration Beading book is filled with projects to fuel your creativity. The diagrams and techniques described here will provide you with a general guide to complete the projects in this book and have been developed by trial and error over many years of beading and teaching. Sometimes it is the smallest things that can make your beading time more enjoyable – like being able to thread a beading needle first go, or rolling neat loops, or being confident that your knots will not come undone. Even if you are an experienced beader I hope that this information is helpful to you. Price verses Quality: Remember, the same is true in beading as in all aspects of product purchasing.

As a general rule, if it’s ‘cheaper’ it is because the quality is not as good or as consistent as a comparable more ‘expensive’ item. If your project does not require uniform beads or you do not use wire tools very often, try to get the best you can in quality for the price you are willing to pay.

Tools The most important thing … make sure your tools are comfortable to hold. I like my tool handles to come past the end of my thumb muscle. I once turned 700 eye pins in one day and used a shorter handled pair of tools. The bruise in the palm of my hand was a spectacular blue and black for a week.

These are the tools I would recommend as a general kit: Chain nose pliers: These pliers are available straight or bent and have a flat surface in the middle and a rounded outside edge. They are ideal for opening and closing jump rings, pulling a needle through beadwork, and are the first step in forming any loops. See diagrams.

Wire cutters: Come in two forms – flush cutters or side cutters. Flush cutters are useful for cutting straight lines and side cutters form a point on the wire end … a lot of cutters have both these cuts. Look closely – if one side is straight and the other forms a 90 degree angle, you will be able to use both by just turning the tool to the side you wish to use.

Crimping pliers

re

Beading

Round nose pliers

Nylon jaw pliers: Have two jaws that are made of nylon and are used for tensioning wire or work that requires special care to leave no marks.

Chain nose pliers

Crimping pliers: Have two shaped holes specifically designed to achieve a folded crimp.

Round nose pliers: Have two round cone shaped jaws and are used for second steps in forming loops.

Wire cutters

Cutter for memory wire: Memory C wire will ruin your good cutters so I recommend you purchase an inexpensive pair from a hardware store.

Nylon jaw pliers

BAsIc InsTrucTIons ThreAds silimides: C-lon, S-lon, and Nymo have a one way warp. What does that mean? Just like materials, if it is threaded the wrong way to the warp it will be difficult to use; it will constantly spiral into a knotted mess. If you are not sure if your thread has a warp or not, thread it as if it does and you can’t go wrong. To make sure you thread correctly: Pull 10cm of thread off the bobbin and thread your needle on this 10cm; now pull off the rest of the thread of the bobbin and cut the thread. This is a good practice to get into. If you have to answer the telephone, you will know which end is the correct working end as your needle will already be on. Fireline: Use this thread if you are working with crystals or bugles. I definitely recommend it for strength and durability. Glues: Please do not use superglues, they crack and will break threads and knots when they crack. The best glues are ones that are safe to wear on the skin, such

Beads in a gram Types of bead 15 seed Cylinder seed

290

11 seed

110

8 seed

38

6 seed

15

The metallic style are heavier so there will be fewer

How many beads strung per linear measure Type of bead

How many per cm

For you inch people

15 seed

9

24

Cylinder seed

7

20

11 seed

7

18

8 seed

5

13

6 seed

4

10

How many beads per square area Type of bead

Per square cm

oTher Tools Beading needles: Come in a variety of sizes and lengths. As a general rule, if you are working with size 11 to size 6 beads, a size 12 will pass easily through a couple of times with thread. If you are working with size 15 beads, a size 13 is more comfortable but will bend much quicker; keep a few on hand and think about changing sizes while you work if you find a size 13 slower to work with. Fine pointed scissors: A fine pointed pair of scissors such as patchworkers or embroiderers use are really great – they usually have a cover and the small pointed ends allow you to get tight up to the bead work to trim thread. Awl, for pearl knots and others: This small device allows you slip your knot into place before tightening. I have found the best awl is an extra large paper clip – pull one end of the paper clip wire straight, the remaining bent section is a good finger-holding size and the wire diameter is perfect.

how mAny BeAds?

How many per gram approx

190 to 220 *

as Hypo-cement, E6000 and just plain clear nail polish for spotting knots.

Per square inch

15 seed

54

330

Cylinder seed

42

285

11 seed

35

216

8 seed

20

108

6 seed

12

70

how many is enough? stupid question … never enough. I once made a lamp shade fringe with size 11 seed beads, and not really knowing how many beads I needed to make it, I purchased two kilograms of the main colour and 500 grams of the other colours combined. Now, how many should I have bought? There were 525 drops of 15cm each, so using the chart below I could have calculated this way: 1cm = 7 beads. 15cm x 7 beads = 105 beads per drop. 105 beads x 525 drops = 55,125 beads. 55,125 beads divided by 110 beads per gram = 501.1 grams. Just a little less than the 2.5 kilograms I bought. To get a square area, multiply width by height. So, if I had a loom amulet bag that was 5 x 6 cm for one side, I would go: 5 x 6 cm = 30cm 30 cm x 2 sides = 60 using cylinder beads: 60 x 42 = 2520 beads divided by 200 average 12.6 grams needed – so I would most likely purchase 15 grams. By the way, I am still using up the rest of the leftover two kilograms of beads I bought for the lamp.

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BAsIc InsTrucTIons BRICK STITCH

WRAPPED LOOPS

1.

After forming ladder to start. Begin each brick stitch row with 2 beads go under thread between the second and third bead on the ladder, go up through the second bead added, then down4.the first. Come back up the second bead. Continue by adding one bead and passing the needle under the next loop of thread on the row below.

CRIMPS

OPENING AND CLOSING JUMPRINGS

2.

3.

4.

Using roundnose pliers grip wire above bead press with fingers to right angle. Place pliers in upright position and pull wire over top of pliers and back to right to form neat round loop. The size of your loop will vary on where you place the pliers on the wire. So when wrapping a number of loops that you require the same size, draw a line across your pliers with a ink marker at the point you wish to wrap at. Move pliers to hold loop just formed. Pull wire firmly up to bottom of circle and wrap wire in tight circle motion around wire above bead, cut and trim excess wire.

LOOP TURNING AND TRIMING Position crimp and wire in pliers cup shaped hole. This is usually closest to handle. Squash crimp. Move squashed crimp to circle shaped hole at front of pliers, with cup facing sideways like a back to front “C” gently compress to form a ball. Test to ensure crimp is secure.

1.

To open a jumpring grasp the open ring either side of the opening with flat or chainnose pliers. Bring one pair of pliers toward you and push the other away. To close a jumpring reverse this movement. Apply slight pressure inwards on rings that are widely opened. Never pull rings apart outwards as this will distort shape and weaken jumpring.

FLAT EvEN COUNT PEyOTE Thread on an even number of beads. This forms 1st and 2nd row. This can be done with any number of beads as long as it is an even number.

Diagram 1

2.

Pick up 1 bead and thread back through 2nd bead from needle in opposite direction this is the 3rd row. Pick up 1 beads and skipping 1 bead go through next bead. Pick up 1 bead, skip next bead and go through last bead.

STOPPER BEADS

A stopper bead is used to temporarily secure beads at the start or finish of work, Choose a different colour bead than your work unless it is to stay in bead work. Leave approx 10 – 15cm of thread and go back through bead in the same direction a couple of times for tension. To remove after work is finished roll bead in your hand and loosen with your needle. 80

reative Beading

3.

4.

Cut head or eyepin leaving approx 1 cm of wire above bead (or as project instruction). Bend to right angle. Grip tip of wire with roundnose pliers and curl inwards to bead hole moving slowly place downward pressure to get a rounded shape that sits directly above bead hole.

Diagram 2

Next, and all following rows, pick up 1 bead and going into the first high bead. Pick up 1 bead and go through next high bead, continue across row to complete.

BAsIc InsTrucTIons HOW TO MAKE A LOOP EyEPIN OR WRAPPED EyEPIN

BEAD CONES

SQUARE STITCH BASICS String the required number of beads for the first row. String 1st bead of row 2. Go through the last bead of row 1 in a circular direction going also through 1st bead of row 2. This bead will sit on top of the last bead of the 1st row.

Cut a section of wire at least 3 cm longer than the bead/s you wish to use, turn a simple loop on one end, thread bead/s complete with a simple loop for the second end. To wrap eyepin cut wire 4 cm longer than the bead/s to be used, turn a wrapped loop on one end of wire, thread bead/s, complete with a wrapped loop for the second end, do not forget to add next link or clasp before completeing.

BRICK STITCH

Diagram 1

Continue picking up 1 bead and in circular direction pick bead up from row below. Continue until the end of the row. Create a wrapped loop as in diagram, on one end of wire. A “wrapped loop” is better than a loop as this will stop stringing from slipping out. Place stringing onto loop, attach using knots or crimps as per your necklace design. Slip wire and stringing into cone as high as possible. Create a second wrapped loop on the top of the cone using wrapped loop instructions, do not forget to add clasp if needed before completing wrap.

KNOTS After forming ladder to start. Begin each brick stitch row with 2 beads go under thread between the second and third bead on the ladder, go up through the second bead added, then down the first. Come back up the second bead. Continue by adding one bead and passing the needle under the next loop of thread on the row below.

Diagram 2

At the end of the row simple turn your work over and complete diagram 1 and diagram 2 for the next row. It is important to turn your work as this will give you correct tension and your work will not have a sideways slope.

1.

2.

At the end of each third row run your thread through the row below where you finished and the row you are on now back to the same position.

FLATTENED CRIMP

Square knot: bring left-hand thread over the right-hand thread and around. Cross right over left and go through the loop. Spot glue all knots.

CHARLOTTES

Position crimp gently with chainnose pliers, making sure that wires are tensioned correctly gently flatten crimp using pliers, so it remains in alignment with wire in a neat square shape. Test to ensure crimp is secure before proceeding.

Surgeon’s knot: bring left-hand thread over the right hand thread and around. Form a loop and go through the loop. Go through again. Move knot to exact spot you require it before tightening, this knot is very secure and will not undo easily. Spot glue all knots.

Thread tiger tail or thread through charlotte hole. Place a flattened crimp on tiger tail or knot thread so that it sits in the cup area. Trim excess. Using chain nose pliers fold cups sections together. Creative Beading

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BASIC BEAD GLOSSARY Beads are three-dimensional objects and are often described in a combination of two and sometimes three dimensions ie; flat round; long thin tube.

Barrel So-called because of its resemblance to a wine barrel or beer barrel, these oval shaped beads are generally flat on the ends. They ca n also be slightly more cylindrical and still be called a barrel.

Cabachon/Cabochon A cabochon (also spelt cabachon or cabouchon) does not have a hole, and features a convex top with a flat back. It is traditionally smooth and not faceted, however, in popular use, cabachon is also applied to faceted flat backed beads, ie; a domed cabochon or a faceted cabochon.

Cube A square with the same width, height and depth. They can be centre or diagonally drilled.

Drop/Teardrop Drops are wider at one end, and mostly shaped like a teardrop or pear. The hole can be through the length of the center of the bead (vertical drill) or at the top end (top drilled).

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Bicone A bicone is essentially two cone shapes joined at the base. Bicones can be long or short, smooth or faceted. When a bicone is long it is often called a diamond.

Chaton A chaton has no hole and is multi-faceted on one side with a pointed back for gluing into a metal stamping, or capturing in claws.

Diamond Diamond beads are shaped like a ‘baseball’ diamond with the hole either along the long axis, or top drilled.

Drum A short cylindrical bead which is flat top and bottom.

Bone A bone is also called bamboo or hourglass and the hole is generally drilled on its long axis.

Chips Chips are small irregular shapes and sizes, generally shell or semi-precious stone.

Disc Discs are generally flat-sided with either a rounded or straight edge, unlike rondelles which are curve-sided. The hole is across the flat dimension of the bead.

Flat Square A flat square has four even sides but is flat. The hole is through the long axis.

Branch Generally made from shell, coral and pearl, branches are characterised by being top drilled and irregular in shape.

Coin Coins are flat round beads with the hole through the long axis.

Donut A donut bead, as its name suggests looks like its sweet namesake with a large hole which is side drilled (the hole is across the flat dimension of the bead).

Hairpipe Generally made of bone or horn, hairpipes are long barrel shaped cylinders with a large hole and were traditionally braided into the hair of indigenous peoples.

BASIC BEAD GLOSSARY In addition, a feature of the bead is often used to describe its characteristics ie; hexagonal tube, twisted oval; faceted bicone, carved barrel.

Irregular Generally refers to beads with irregular angular cuts (ie; more like sharp facets, not curves, or twists.

Pillow A pillow is generally square or slightly rectangular with two angled sides, so it resembles a pillow.

Rice Some rice shaped beads look exactly that – a grain of rice, but rice shaped pearls are similar to potato except they are more ‘oval’ in shape than ‘rounded’.

Triangle A tri-sided flat bead, triangles can be vertical or top drilled, with square cut or slightly rounded edges.

Melon The melon bead is generally round but it can be in other shapes – it is called Melon because of the grooves along its side.

Pony Beads made of glass or plastic, typically slightly oval in shape, with a large hole. They are also called crow beads. The word pony is also used to describe shaped acrylic beads with large holes – ie; flower pony, heart pony, star pony and butterfly pony.

Rondelle/Saucer A rondelle (also called saucer because of it’s resemblance to a flying saucer) is a pillow-shaped, rounded bead. It can be faceted or smooth and is side drilled (the hole is across the flat dimension of the bead).

Tube A tube has the hole drilled on its long axis and is also called a cylinder. Other types of tubes are hexagonal tubes.

Nugget As the name suggests nuggets are of a random shape and size with soft or rounded edges.

Potato A potato bead is an irregular shaped round bead, and resembles its namesake.

Round Shaped like a ball, rounds have an even diameter. Other types of rounds are flat round and faceted round. Smooth round beads are also called druk.

Twist

Oval Ovals are even-diameter egg shaped with rounded edges (not flat like barrels). Other types of ovals are a flat oval and a faceted oval.

Rectangle Unlike a cube, a rectangle is a square or rectangular shaped bead with uneven dimensions. Other types are flat rectangle and faceted rectangle.

Shield Shields are flat and oval-shaped with angular edges, so called because of their resemblance to ancient Viking shields.

When giving dimensions of a bead it is customary for the first measurement to be the axis where the hole (or aperture) is located, so for example if a bead is 25mm x 10mm x 6mm, the hole would run through the 25mm axis.

A twist can be a bead of almost any shape that looks like it has been grasped at either end and twisted in opposite directions. Also sometimes called a swirl. Creative Beading

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