Creative Beading Vol3 N6

Projects 1

2

Kalash -

1

4

Wendy Bergamin

1

6

Cosmic Beads -

Brocel^t

-

neckicce and earrings

earrings

20

Feeling Inspired -

24

Crystai

30

Beniamin's Crafts -

34

Get Beaded - neckbce

Pork

36

Hunn Pham

necklace and earrings

-necklace cofflinks

- choker

NSW - eanings

44

Beadshock

48

Mad Monnie

52

Feathers Nest Creations -

54

Beads

-

lariat

Direct - neckloce and

necklace

earrings

56

Terrene's Treasures -

60

All

62

Bohemia Beads - necklace and

78

About Beads -

necklace

and

Benjamin's Crafts -

eornngs

eornngs

80

That Bead Shop -

86

Aurora Beads -

90

Crystal

106

10 projects for under S10 each

Park -

eorrings

necklace ond eorrings

bracelet neckloce

and

earrings

necklace and earrings

orocelat

www.woodlondspublishing.com.au

94 1

What's

05

I

1

6

)

1

8

New

Kits

Swarovhsi Competrtion

Bead Search Bosic Instarctions

124

BeaoTips

125

Listings

128

Glossotv

13Q

Next Issue

You don't need

a

Quality findings available

In

sterling silver, silver place,

copper

plate,

gunmetal and

larnlsh-resIstanT brass. Free itmructior< For this dwlgn;

jlna-cMnB.W'ii Fproietts

DESIGNER QUEST DESIGNER QUEST #12 SPONSOR,

Dongiley

porticiponts

in

the

1

2th Beading Forum Oat

hod two colour rhemes to choose from

ftsrridponts

Bits

ond Things, pul together some challenging pacb

0 Christmos themed red and green pock and o pink

-

for

Com

and purple pock. With

this

designer quest funning into

December, tne red ono green pocks

Designer Quest,

wem o

choicel Packs contained glass pearls,

papulor

gemstone

chips,

glass beods, drops arid findings.

Beading Forum Dot of

utilising

Com members

did

on

gave members o wonderful opportunity to they

not hove attempted before.

may

sow mony

excellent |ob

The pocks

the materials supplied in the pocks.

different techniques

try

In this

o technique

quesr

used by members

we

-

from

stringing to wirework to peyote stitch-

As alwoys, judges had a two entries from to

all

Designer Quest

difficult

go

winner Jonelle Grimshaw, and olso

award winner

to recognftion

losk of choosing only

of those submitted. Congrculalions

#12

Chrissia for 'heir Christmos

themed necklaces.

done

Well

to

oil

those

Beading forum dot

members

to

its

who

com

entered!

dot ou welcomes

community- Registration

is

all

tree

new

and you

be surrounded by many like-minded baoders. Pleose

See our

latest

visri

us ot

www.beodlngforum.com.ou sooni

Designer quest at www.beo’dingforum.com.ou

brought to you with the kind support of Creative Beading mogozine.

www.beadingforunn.com.au

WIN!

A YEAR’S SUBSCRIPTION TO CREATIVE BEADING beading

ilovou'.

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Bo. 8035, Gl^nmere Paw

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F^ftOJEtp”

MATERIALS 140i head

I

Make

simple and pretty pearl bracelet

this

pins

licin ejlension

cliDin

designed by the team

Kalash Beads

at

iporroT dasp

4 iring almps 2Siin Tigetloll wire

STEP

ONE

noee

pliers

pin; usirsg

round

form a wrapped loop. See bosic

on wrapped loops. Choose the is pppropnote for tfie size

iristrucrlons

BEADS

through the two crimps. Flatten or fold crimps

Thread peorl bead onto

with pliers to complete the

end

with the

extension choin attached. Trim end of wire Jeff over.

pin length shot

120i jopproiimelety)

bead you ore using to rnrnimise wastage of

selerrlon of pearls

silver,

STEP FIVE

Trim any excess wire.

niliod sizes

IQ X (approximately} Igrgs size

rourds- pssrf shops

STEP

Round nose

TWO

Repeat pearl

TOOLS

STEP

process for remainder of selecfod

this

beads

unfll

120 small ond

1

you have apprcwimately 8 large beads completed.

SIX

Test length for ycrur wrist;

thread

STEP THREE Threod

I

x pearl onto wire ond loop

KfTS; Avoiiobfe.

it

through the end of the extension chain. Turn

ond close the loop

Kolosh Beads Telephone 07 4724 8229 www.fcolash.com.ou

using the pliers.

LENGTtf: 18cm

STEP

FOUR

Thread extension chain onto

Tlgerloil,

thread

two crimps on, make a loop, feed bock

cbsp

and crimps to complete the side. Loop bach through crimps and flotten

Tigertpil

or fold crimps-

pliers

-RtOJEcJiT-

Who

can

resist roses

This design by

and

crystoIsS

Wendy Bergomin has

both.

L‘iSriR.*F“”

S-““ L™S7.;i 2ia-4iniii gnid

fill

baodt

J

STEP

ONE

Thread nd daisy spocer and the

ig

last

It

is

I

STEP beod,

cjiecli that you haven't left Old onyffiing before you use the crimping pliers to floffen the crimps.

EARRINGS spacer onto head

floral

beod,

1

1

fle>r,

this

length of Soft Flex.

Designed by Wendy Bergomin Bergatnin Beods www.beorgamjnbectrs.com [email protected]

.com.au Buy Direct from the Importer!

Stock at MyBeads.com.au

Pandora Style Beads

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of Pandora style beads at just 10 beads! Bracelets also available.

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Large selection of beautiful hand-

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I

seed

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KITS: Avoliob/e

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following

STEP ELEVEN

New

x pink

ring.

Repent Step 4 through Step 9 on

i

1

STEPTTiREE Use a wire wrap loop to

Using the second length of Soft

Step 3; pin the Soft Fle« onto the side of the

jump

pin,

x daisy spacer.

x peridot rondelle,

X peridot rondelle.

the earring wire, Repeat for second earring.

STEP TEN

6mm

1

TWO

Thread

loop, Fold crimps.

always a good idea to double

.

x daisy

round roised

quartz bead,

making sure all of tbe beads are snug against each other and the French

hos formed Design nofe.

glass beads

starting at $ 2.50 per 10 beads!

Gemstone BeadsMany new styles added tc ever expanding range of gemstones • Including puffy heart beads $6.80 perstrandl

«.»r ioJElPT"

pHcM.

of

NECKLACE

Using a selection of noturol

MATERIALS Gunmetnl nidd-liK

this

eosy to malce design

is

style

mode

beads added

to brass chain

by Feeling Inspired.

bfon iho[n DIikI:

Tiganoil

Blodi crinpi

BEADS Twiaiad oval Agota

STEP

NECKLACE STEP

ONE

Uaing

flat

nosed

on Topaiing gloss cylinders

TWO

Cut length of pliers,

Carved tectangtilar booa becda

ptioir; slide ovol

open conneclmg

shape

oft.

ring

-

In this

Tigertoil to

case the

tvvisted

fis:

the feotore bead

ovol Agote - and

crimp onto the connector

EARRINGS

1

MATERIALS

BEADS Carveft recrangulai

4mm

bone

coloured opoc|us

EARRINGS

hods

2

MATERIALS 4on gunmelol hood

pine

STEP Giinmotol eor wires

STEP

BEADS BIpcJc^loss diogonDlt)r-

onto the head

nosed 4nim niouted opoque beads

ONE

TWO

Attach the loop to the ear wire. Repeot for

small To moke earrings, thread bead and then o block gloss bead pin.

pliers turn

.

Using the roomd

the end o( the pin into

Feeling Inspired Ph:

02 9999 6624

Bmoil: [email protected]

See your colours perfect natural day and night

0

in

light,

daylight^

Mix and mateqh perfect colours anytime of the dayl

|l

For more information: 07 3283 3092 or www.dayiightcompany.com

MATERIALS

Stunning dress thot

just

1 Tiluton Silvst Pretri'lwlit

1

-rad

Toggle 3lhin 1

Try this look created by

(oppei

medium

needs

simple design.

Angel Dreams for Crystal Park.

link Scicher

Choin-ted Eoppei 2

>;

crimp!

20cm

Onto 1

BEADS SilOimu

ONE

STEP

Tigertoil

SitoicKskl peods

0

Slip

20cm

onto one of the ngerloil loops; close

length of TigetTaii rhraocJ

Thread back through the

X crimp.

crimp, lerssion, form o smoll loop, ond

STEP FIVE

fold the crimp.

Adjust length of the chain either side to

opproximately lOiOmmCliThordRd - burgundr diTibelun bends

-

Silver

bl-iones

Squoch

STEP

TWO

link in the

Referring to the photograph, thread the beads

onto the other end of the

long by opening a

STEP SIX Repeat Steps 4 and 5 for the second

STEP THREE Thread Round nose

2cm

Tlgettni!,

red copper

TOOLS

1

chain; and, before closing,

attach one section of toggle.

1

x crimp,

threading Tigertoil back

Side of the necklace.

through the crimp to form another small loop. pliers

Flol nose pliers

Make and

sore

oil

fold the

beads strong

sit

close together

KfTS ovcifobfe.

crimp Crystal Port

Wire runers Crimping pliers

STEP Open

FOUR the

lost link

Street, Brown 07 3800 3825

9 Cosslo of the red

copper

Ph:

Ploins

www.crystalpork.com.ou LENGTH' T5-50cm

0

Qld

FEATURE

The

The most renowned area for

lompworked beads wos centred

in

Venice with

many

of

glass

making

its

techniques

hoving been developed throughout

those eras.

History of

FEATURE

Tn«pe

IS

significant

evidence o*

many

sophUticDtsd methods of lamD^odting such os

and wound beads doting os early 2340-2180 BC in Mesopotomio ond the

core formed os

Courasus region

IRussio),

More

methods such as mosoic or were de^^loped around 1

1

of

com(jlicnted

millefiori

,000 beads have been found

in

Nuzl (north

Baghaod) dating from before the

destrudion

in

1

beads

1500 BC and over

400 BC. There were

Ancient glass moking eras: Egyption,

site's

three mojor

Roman

ond Islamic influenced Eastern Mediterranean.

2181 BC - 21 60 6D. however a lorge commercial market only developed o'ound 1 400 BC and ’hen declined oround 1 200 BC, viPuoIfy disappearing with the foil of the New Kingdom in 085 The most common shooes of beads that the Egyptians produced early as

1

were

thin

the tubes,

tubes ond short cylinders cut from these were used for adorning

and

both the living ond the deed. After Egypt

fell

then held 0 clear

ihere was no porticulor culture monopoly on *he making of

lompwork, however there

is

I

lompworked beods wos oernred

in

Venice with

glass nnaking techniques having been

many o' its

develooed Inrougnout those eras.

[

The Egyotlons ore believed to ttave firs' begun lomoworfdng using faience, *he oldes* grlrficiat substance first created oround 5,500 years

ago,

it

has o core of quartz particles

that are fused together only (called sintering},

glass

is

applied.

where they touch

over which o glaze of thin

Many

faience based artefacts

lost their gloze due to the core and gloss ssponding and controding at different rates as

hove

It

nea's or cools

tormeo, gloss to

ond

They

later

developed the core

wound and mosaic metnods of using moke beoas and other decorations,

often

Egyptians

wos one cf these oreos and from 1200 BC to 2 BC Phoenician beads were made for both local use and for evport.

shapes of beads that the Egyptions

produced were thin tubes and short cylinders cut from the

tubes,

and

these were

lampwQrking occurred during the Rornan

used for adorning both

period, which Included mony of the gloss working centres Atroughout the Roman Empire (now Syria, Egypt, Italy, Switzerland, France

the deed.

The next major period

and England). One

m

of the

inventions of this period

the history of

most

Bignrticant

was the blow

pipe; o

long hollow tube that ollowed the artison to

expand o bead or gloss object from Inside, amount of gloss needed for the ellmrrtating the

used glass to imitate predoos stones lazuli and turquoise. The Ancient

core formed methods.

had been moking gloss beads as

Mediterroneon region hos sometimes bean

such os lapis

common

evidence of several

around the Mediterroneon Htat showed that beads were still being produced, Phoenicia (now known os Lsbonon) cultures particulorly

I

The most

The

Islamic influence of the Eostam

the living

ond

FEATURE the millefiori beads.

It

wos also around

this

time that lampworking begon fo be known os

lompworking There ore mony types of gloss used for

lime gloss

ond

(soft gloss)

borosillcole gloss

(hard gloss). Different coloured gloss somples

need to be with

eoch

cotefuffy selected tor compotibilily

both chemicolty and

other,

CTE). Glosses with incompatible

in

COE

terms

con

creofe stresses within o finished bead os cools, leading

it

rt

crock or violently shohet.

to

For example, sooo-lime gloss ond borosilicote

eoch

gloss ore not compotible with

some

Chemically

other.

colours con react differently

whert melted together, sometimes causing beautiful reactions

in

colour or creating

metallic sheens or web-effects.

Be warned though lampworking •

cause somewhat undesirobla lompworking, however manv of area hove quite

con also

It

such as (o

can oppeor on the surface beod when cooling). Most gloss ovoiloble for fampworkers

whitish 'scum' that

rnethods

distinctive

effects

discolouration, bubbling or devitricalion

their styles

are vastly different. The beads produced in this

of the

of decoration such as trailing, feathering, is

0 very

addictive

hobby you'll

coloured cores for the beods. site that

that

be

more than willing to

spend your hard earned

hos been found

One

particular

of Jerusolem where significont gloss rtioUng

appears

to

came

to

1

401

,

and the

Constaninople

of

fall

in

ip

Venice,

ovoiloble

os

frit,

in

and while bead moking had

is

tyoicolly

history, in

1

in

292

to the city

ond

to

hod been

lost

with time,

the gloss

shape the hof glass

or

one of

wooden

(usually

consistently.

Tungsten

picks ore used ns drag the gloss around

surfoce of the beads to

moke that

(rolling

shapes or for cooling the

apple or cheny wood) moulds con be used

the glass foctories

fire risk

protect the secrets of their ort. Venetian gloss

methods

also

is

known

for surfoce

lompworking include

used for morvering the gloss to create desired

to

order to reduce the

used

ranging

graphite or steel pods, rods ond other shapes

gloss). Brass, graphite

cash on! of eorly

In sizes

varying sized porticles,

which

The tools used

in

1453.

The most notable lampworking epoch took place

sthngers ore ovoiloble

decorations.

on

abrupt halt with the invosion of the Mongols

eight millimetres ocross, olthough pre-

from one to three millimetres Gloss

hove gone on between 661-1250

AD. The Islamic period of gloss making of both beods and decorative Items

ond

made

the Jewish quarter

is

moke pottems

on the

or to

0 hole through the beod. Graphite. tools

ore considered the best to use

in

iompworkirig

which was the hollow cone drown method,

os graphite hos on incredibly low density

o much faster and chegper way to moke beads. The explorotion ond settlement of the New World meant a greater

to prevent cracking ©r thermo! shock. After

which resulted

demond

for

settlers often

new

life,

in

beods to use used beads

which resulted

beod making industry beods were created

m

in

the beads hove been created they need to be

nneoled, which con be done

for trade. Eorfy to

in

boom in the Mony types of

in

Lonipworking hos gained huge

purchase slaves

o huge

Venice.

Venice oround

in

modem

in

Austrolia

o

kiln.

momentum

day iewellery making, especially

- and

ovoiloble from

beginnerS

mony

kits

ore readily

online or physicol stores

this time,

with the most notable being the chevron

ond

your

own omating

gloss creotions. There

Ota also lampworkers' guilds, sudi os the

Gloss Bead Makers GuiEd [wvav.

AustraEion

ussiebeQdmakers.coml or 5od9t»

erf

org) that

ffi©

Intemolional

Gloss Bead Mokers (ww.isgb.

you con

become o imo

of to shore

ond leom amongst like-mirxted arttsons. The Austrolion

Beading Forum (wvrw.beadingforum.

com.ou) hos a section dedicated to

bmpworkmg os

well that includes helpful tips,

of lovely

end swops; not to mention plerrty members alwoys ready to answer

even the

'silliest'

challenges

• ktinpwarkirtg you'll

be more

is

Be warned though

questions.

o very oddictive hobby that

thort wlllir^ to

spend your hard

earned cosh on!

GLOSSARY

OF TERMS

Core formed - beads creerring

core of

cloy,

or vessels formed by

which the glass Is rhen is then scroped

uses patterned gloss cones cut into small slices

and applied

Millefiori

to the surtoce of

meons thousand

o bead.

tiowers.

Folded - when the layers ot gloss ore folded over, creating patterns and often lumpy beods. Annealed/ Annealing - when the beods ore finished they need to be heated to a certoin lemperolure {depending on the gloss used) to

reach their

'stress relief point'

wrapped Ground. The core

cooled ogoin

oy> when the gloss

is cooL Drawn beads - uses the eloslic properties of is formed within the

Glass cone - a

molten gloss, o bubble

thin

or patterned

rod

to prevent

and then slowly

thermal shock.

thick rod of gloss that

and

(Jj

is

is

plain

stretched to form o very

MATERIALS 2i7grom

With so many designs being for women,

now lime

it's

to

Slow Dry Art Cloy

creote something nice for Ihot special

men

in

your

life.

Oyumoru St.

Slim Cull

Links

Ll>sr o! Sulphur

STEP

#

ONE

Creating Mould

Tha model used was

TOOLS

created from watch parts

and a $2.00

coin.

Use glue to

oil

stick

the ports together,

For the best

oil

of the

ports

rhot undercut ports

model may need

to be

iweezers saporotely. Should

oway ony

grind

copy

will

not

come

out

removed with

this

resin that has

the ports. Design note;

STEP THREE When mould is

result,

ensure that

con be removed. Note

ff

you

in

one

occur, cut or

formed between don't, the stiver

piece.

ready,

push the slow dry on together - so os to

cloy silver (7

per

ovoid urtdercutting the mould.

A

groms

cuff} into the

mould ond massage

clearter

mould can be ochieved by in oil

the cufflink finding sa

filling

the goDS

be^een

that port of the cloy

"he ports with a

hardening substance olthough

this

no*

is

necessary. This will help in the seporotion

of the model from the mould and creates a

is covering the disc. Smooth off the top for an even surface. Leave the clay in the mould for 24 hours to oir-dry. Do not opply heat to

cleaner copy. The coin

used as a base not fust for size * <

fhot

but olso to

FOUR

STEP

aim for o thickness the

will ollCFW for

embedding

bending bock the

cuJflirik

resinous moterial that

when heated

be reheated, ot

fine

if

In

reouired.

a time ond press

it

to

reduce

It

Heot up one

tignily

flex in the

work

of the

file,

carefully

like this

tiling

moy

it

otter cuffs

file

well

oil

ony burr

first.

out the rhe edges with

off;

be besr to do most

hove been

fired.

can

stick

over the model

to get tne negotive. The second

be used

becomes

boiling hot water

pull

while youTe bending back

With o fine

soft

Oyumoru etthe edges

Perhaps get someone to corefully

of the

Cufflink ports.

STEP TWO Ovumoru is c

stick

mould.

Ih© resin hos hardened again, the

should

Once

mod^

STEP FIVE Fire the dried

piece os per instructions

pocket. For srovetop,

minutes. Note

triot

turn block- This

is

I

recommend

on

five

the cufflink finding

normal tor

will

sterling silver.

Most of the off,

cufflinb

STEP SEVEN

tarnish can be easily polished will

spedol concern. the sanding

and

be oxidised so this is not File off any burrs, doing

cf all

polishing before oxidising the

cufflinks. Fine polishing with

cloth should

1 ^

Polishing After rinsing

ond

drying

the cufflinks, use 'Silvo

be

5

bicarbonate of soda for ^

more obrosive method. Design note: if you own o 0

fewe/ler's fJex

dri/f

or

0 'Dremof', use co/ico based pohsh/ng wheels together with red polishing

much

pujcker

and

compound

for a

brighter finish.

Health Warning: Please read instructions on the use of Liver of Sulphur cotefully. Use well ventilated area.

as they

will

damage

Avoid breathing

of

decay the

down

changed Aff

to

a

in

solution,

the droin

in

in

fumes,

your lungs. For dispose),

leave the solution out will

the open. Sunshine

which can be disposed

once the

solution has

clear colour.

products ovpi/able through Benjamin's

Crofts. Liver of Sulphur connof be purchased fhrough moil order. Please

contoci your local jewellers' supplier.

Benjamin's CraHs

$68 Beaufort Street, irtgfewood 08 9370 2132

WA

Ph:

www.benjominscroFts.com.pu

0

i

ke

III.

ii illl!

split rings, to

Get Beaded.

wrap up

this tribal

,

.

.

Designed by Sworovslci Creative Beading 2007

MATERIALS 3 1

34cm 24 goug«

holf lianl

1

34cm 20 gouga

holf hord

Huan Phom, 1

choker

this

is fit

Finalist

for any princess to wear.

SOgwire Chain to

liniih

3x jump

rings

Cloig of choke

DESIGN NOTE The amount of

used

crystal

will

STEP FIVE Moke one small

very greafly

depending on the length of the choker.

length ot

loop ol the end ot each

24 gouge

wire.

Thread horizontally

through the top row and the bottom row

ONE

STEP

BEADS

the montees. Refer to

Diagram

at

I

I

2. Finish wire

Form o small loop a' 'he end of the 20 gauge wire. Using 40cm length of 30 gouge wrap o loop around the 20 gauge

j

wire, wire.

Thread

montee,

x

t

30 gouge lost

4mm

x 4mm bi-cone, x 3.9mm 4mm bt-cone to eoch end of 1

1

wire.

Toke two ends through the

bi-cone on the other wire ends,

wrapping 20 gouge wire to

Diagrom

the process. Re*er

in

1

STEP SIX Use length of 30 gouge wire, thread verticolly first montees on top row, thread

through the

TOOLS Round

ivoca pliers

4 X

2mm

the

20 gouge

the

first

round

crystals. This will sit

on top

of j

LENGTH: 34-42cm aifanslon

1

STtP

TWO

Thread

1

gouge

top

Thread

bi-cone onto

drilled

montee,

x

1

bl-cone onto each end ot the

Thread two ends through the

x

1

30 gauge

4mm

last

20

briolette.

the process. Refer to Diogram

1

X

montee,

x

I

each end of 30 gauge ends through the the

20 gauge

Diogrom

STEP

lost

4mm wire.

4

mm

bl-cone on

Threod two wire

bi-cone, wrapping

wire in the process. Refer to

I

FOUR

Repeot Steps 2 and 3 of the

20 gouge

finish with

crystal briolette

wire.

until

reoching the end

Allow enough space

0 small loop

in

the

20 gouge

Do

to the

onto 30 gauge

bock of 20 gauge

wire,

not over tension. Finally thread

end through the

wire

bi-cone

1

STEP THREE Threod

wire; thread vertically through

montees of the bottom row. Thread

9x5mm

leaving behind o small loop aontoinrng the

4mm

on the other wire end, wrapping 20 gauge wire in

X

bottom row,

6mm

x

wire.

to

wire.

adding 9

gauge

x

2mm

first

montees at the fop row,

round

wire. Refer to

crystols to the

Diogrom

3.

30

STEP EIGHT Finish the

choins,

STEP SEVEN Repajl Step 6 In Itie 3rd, 5tti, 71K, 9th montees respectedly, so the drop sits oftset to the

6mm

top drilled crystal

in

the centre row.

choker

jump

to the desired length using

rings

ond cbsp as described

wire at the fapck of the work.

Gem-Jetnels Beefds enid Findings www.gemjewels.com.au Czech

Fire

Czech

0a^ brads

^^otened oeaas

Fndngs Bead Books

Aoyc bcadsf Svfarovsk beads

hite&rrore

in

Design note; When threading with 30 gouge wire, use 40cm length wire. Using a smoiler omouni 0 ^ wire oiJows you fa keep it kink 6ee. To odd new wire, simply go though 4mm crystols and wrop ends onto centre 20 gauge ,

PROFILE

BY

ARTIST,

SHARON QUILL

DESIGNER AND

TUTOR CAROLYNE BRENNAN HAS BEEN BUSY BEING CREATIVE FOR

MORE THAN

30 YEARS. BUT DON'T LOOK TWO PURPOSEFULLY

AT HER

STUDIOS (ONE FOR JEWELLERY AND ONE FOR CERAMIC AND GLASS WORK) AND CALL HER LUCKY BECAUSE SHE INSISTS LUCK HAD NOTHING TO DO WITH IT; BUILT BEAUTIFUL

PROFILE

Co'olyne creates her jewelleri using her

get inspiration from everywhere

"1

handmode ond uniauely decorated ceramic oaads Tne beads are mode with the some

DitywnerH. in

I

and

Brennan's

can get excited about the patterns

o bnek ar a shadow that may be cost. go into the city and take images of 'he

paints

and coloured cloy and hand

tops of buildings or toke imoges ot scribbly

each nem^ drawing from the elements

1 grew up with bush

all

Ground

me

has studied the period extensively.

More

You connot beat tlora and launo for colour

raw elements ond years

ot

expehence delivers stoking work that hos been erhibited across Austrolio

and

her

irscorporote dots,

Many

ter bridal work;

chonging

of her pieces

onimals and animal

she often uses crystals, pearls

lend thot she

me

Broome where Matso's

trips to

Gallery etrhibrred her work.

however

drows her

it is

prints,

pieces.

she has been working with

Her stunning new work which feotures

and years

of

and

"I

work that has been exhibited ocross

met Janice o few yeors ago

opals are a different cloy background,

I

story.

am

I

at

think

a bead orsd

because of my

attracted to the eatthmess

of thetn; you need to touch

and caress them and

and rhinestone for

they are G product Austrolio."

not only from the

"Jartico also cuts and drills to suit my needs and she showcases them at all her overseas

inspirotlon.

delivers striking

Janice Evert's boulder opals has toured

America and Jopan.

itrremationally,

Her pallet selection ranges Irom

kom

recently,

bolder opals to create wearable art neck

texture."

Brennan's blend

Irrspeed

elements experience

af the earth.

nd

blend of raw

I

often terracotta

Australia

and

internationally.

"

I

believe

shows. She

orte'iioting To

is

show "ho

public

believe everyone has a creotive side.

Someiimes

everyone has

set'Ing.

She

i&

opal, Corolyne

Sometimes just needs it

some

gentle

persuasion to

be

enticed out.

the boulder it

IS

drilled,

spends time looking

Tirst

ot

- its shape, its colour and how Then tne brewing ond designing

"Although the designing process

nature to me,

I

still

need

all

is

it

needs some gentle

|ust

oersuasion to be enticed out. Moving been

pushing boundories

To moise a [ewellery piece using o boulder

0 creotive side.

second

TAPE teocher

7 years,

1

am o hord Among the tips

and

I

my

run

n

closses

,

TAPE

outcomes

,

meet

to

I

tosk master,"

I

|

of the trade, Corolyne

odvises the importance of protecting designs, "For on

the surfoces to be

broken up ptnportionately First, draw, sketch and work out the proportions and the weigbr of

for

the vain of a certificote course at

in

iVy studen's hove leorning

artist,

obtaining copyright for your

I

how will sit and feel on moke up o template or o mock,

the piece, as well as the neck.

Than

I

it

un of the design, and

and

I

VQSt combination of

skills

welding; mould moking;

including ceromics;

silver

smbhing and

gloss fusing; tool making; design, poiriring

and build much more

b'icks

nd

|

her

someone

it's

o

plogiorism using

oit like

else’s design without pennission.

must grve c person

credit for inspiring

You

you' ideos |

select *ne moteriols

The pieces work on "ake many hours," To produce herwork, Corolyne bnngs together

colours.

to exploin but

own

kiln.

She shares

Intollacuol property,

some

and

this

with her students,

Corolyne olso odvises

god it

I

gladly poss

I

t

it

is

hove been working on

I

of these designs for

over2Q

[with

years

o

ond

so

smile) to oray

oskrng please, please, please

OK

this

time? Seriously though,

years hve been teaching

teach Creorivo Fashion Jewellery,

Dichroic Gloss Fusing and Wire Work.

or designs. For example,

designs to students so they con leom, but

they Qie protected under copynght."

failure.

And

I

nothing gives

let

,

.

me do

in the five

hove neve" had a

me

greater pleosure |

As well 05 0 sense of ochievement, Corolyne also offers her students a sanctuary to play

| in,

Botn her studios lead out to o beoutiful gordani

where people to

sir.

There

is

(often

former students)

on extensive

jewellery, pottery, glass,

on, drawing and IS

fully

lots

library of

ond design,

just

cornel

books on

I

foshion,

more, and her wo'ks'

u[.

stocked floor To ceiling with beods ono

findings so her studeirs get to

choose from on

"My favourites ore my Czech crystals. love 'hem and always use a splash of them in my I

|

seen beads. They ore sorrie of the most

of

imporoo' materials that

I

(not weeks)

then

use."

Ano her advice for those

storting

just

because fashion

threading beads

-

jewellery

is

more

not that there

is

anything wrong with threading beoidsi'

out?

'W you've otter a career, you hove to unoers'cnd rhot

it

does not happeri

Connor learn everything slowly.

and

quickly.

two lessons.

Hot Dot Designs by Carolyns Brennon

Vou

Creative Fashion Jeweftery Sctioof

Stort

Ceramie/Gloss/Jeweiiery Mist

Be o sponge. Look for good teachers not to copyl

try

S3 start

on

in

Of

somewhere, and students

their

Designer/Tutar Fslabiished 1986

course everyone needs

'eacher's style loro while

develop their own, but that tokes

will

Phi

toke

until

mony

02 9743 8300

they

Emar/r [email protected]

years

Web; www.tiotdotdesigns.com.au

Farcy gloss beads Gloss

&

ciystal

Pearls, shell,

beads

gemstones

Findirgs, wires

ond ihreods

Secure online shopping Biggest range, lowest prices

Subscribe online

now for as

little

as $29.85

www.wpco.com.au

-F^OJE<^—

ilil

ill 111 Forming Spirals

Form o small loop

o1 the -ery

end

o( the wire |

using the round post

STEP EIGHT Using I x toldover clasp, p< end of the leather strop wi

oway from the

leother.

Fot

the middle. Fold second

sic

STEP NINE Add

I

X

|ump

ring,

through the loop of the

foldover clasp. Close the

rirtg.

EARRINGS MATERIALS T

pair sarrtng books

?i 4sm

longths

3mm

choin

22iS(mlonglhsZ4gaug9 onisrk 2

wim

i7cm

loogtbs 24 goirge

BEADS 4 X 9inmfoceretl leordrmps 6 1

6

mm

i5mm

faceted rounds

fresbwoter peorls

6 1

4mm

Bu

Size B seed beads

bi-rooss

Form a loop of the seed

pliers

top

with the

and

STEP SEVEN

the loop into

lost link

Wrop

at the

bead

round nose

conned the

the

Connect the bead charms.

of the choin.

bop

into

o

coil

1

1

in total

eoch

earring, starting with the toceted teordroa_

arid trim the wire.

working up towards the top of chain using

STEP THIRTEEN

beads

larger beads towords the base ot the lop.

of opprosimotelv into

loop. Feed

obove the

piearl.

the wire into o

6cm and forming the end on 1 x pearl, form a loop Connect to the choin, wrap

coarl

and

KITS: Available

Ph;

trim,

07 3899 6997

www.modrrionnie.

STEP FOURTEEN Repeat Step

3 for each beaded

1

you have a complere

set of

charrry uhtif

charms.

Repeat fey the second side of the

leother.

EARRINGS STEP ONE Open •he loop nose

pliers

and

Close the loop

of the earring hook with the Rot link the

agom

chain into the bop.

with rneflat

nose

pliers.

and smoller

Repeol lor second earring.

CreoTe eye pins with wire by cutting p length

6

1

MATERIALS

Feature an Abalone clasp worn at the front,

Abalans ciaip

1

30

10

35 cm lins dioin

seamless look.

making

2i3lci1 end conoectcni

12i2Smin 21 1

1

25mm

e^e pins

hood pins

38mm hood

pin

2* 4mm jump

tings

2i5mm

jump

tings

mm|pmp

rings

2 i 6

21 inm

split rings

DESIGN NOTE Match the peorTs lo the colours of the

Abolone

STEP Open 3 X

BEADS 2

i4mm

40

1

Swororskl pearls

6mm

3>8mm

Svomvski peoils

eye

on one

pin,

sacttorr,

loP l°0P- '’1°'^® loop to

pitn

Round nose nose

complete eye pin. See basic instructions for forming on eye pin loop. Connect second eye pin with three pearls to the

4mm

X

jump

ring, join

top row of

Use

1

5mn

x

bolonce the curve of the choker so

will

will sit

pm;

first

two more rows.

finish

STEP FIVE Close dosp together ond repeat Step A

second

for

side.

Total of

TWO

Try

to

one connector

with o split ring

on for required length of choin. Cut choin second connedor with o spirt ring.

Repeol Step 1 lor second section of closp. When completed there will be three rows of two eye pins on both sections of closp.

joining to

STEP THREE

KITS: J32.80, post free.

Design note: leove

it

at

If

you ore unsure of length,

35cm - you con

always cut

rt

later,

pliers

LENGTH. 40-45cm

Piece 3 X

8mm

pearls

to the base of the

on heod

for connecting ore ot the

the clasp.

4mm, 2

Add

I

»

connect

pin,

main clasp with o loop. bock of

The holes

pin, forming o loop

WIN

side of centre drop.

i>

evenly.

STEP SIX Tom chain

STEP

pliers

1

This

form

Sitomvski pnoils

VOre cullers

FOUR

Using

jump ring, join middle loop of the connector and 1 X 6mm jump ring on bottom peorl row.

25mm

peoHs on eye

with loop. Repeat for

TOOLS

Clioin

X

1

6mm

STEP

pearls to lop loop of connector.

closp.

ONE closp and, working

conned

x

6mm

ond attaching

to to

Fealher's Nest Creations

Shop

2,

8

Farrell Street

head

•Vondlno Qld 456

each

Telephone 07 5472 7409 WWW. feofhersnesfcreotjons.com. 00

0

L

NECKLACE

Using a backbone of nylon cord, Q 'Figure 8' wrapping technique is used to add top drilled Orchard Rd crystals

MATERIALS 10.2m Beadsmirh n/lon - UoF Oreen

and seed beads.

Parrol closp

Scmeilenfion chain 1

1

bad

2iiump

NECKACE ONE

pin

seporoted, take

STEP

tings

working strand

Recid Instructions through

first.

lengths, leaving approsrimotely

Cut 4

s

4.5m

length of

to the

140cm up and Over

two

first

nylDn, Place two top drilled beads oeide for 100

>

6mm

lop

Orchard Rd d tirands

- Green

dill

led

down through

eorrmge.

crfslols

Hosoed

TWO

STEP

strands

o bead stopper on one end

Place lOgroms Be seod beads

Add

nylon length.

of a

five to eight size 1

1

4.5m

one

size

adding beads

Nail polish

left-

way

until all It

is

top drilled

important to

to the

middle of the

workings strands should continuous ‘Figure

8'.

together

tight

sit

Continue

until

in

a

3-4cm

of bockbone 'Figure 8' hos been mode See dlagrom. Desigr? note' (mogrne a 'Figure 8'

on

its

sWe, ond thot

is

the path of the threod.

sloppet

LENETh:34cm ettended

STEP THREE 40cm Holding 4 x

1

find the middle,

lengths of nylon together,

and, using

length with beads,

teaving a

2cm

EARRINGS

The work

storts in

MATERIALS

strands.

I

up and over

8 seed bead. Continue

in this

beods have been added.

odd encough seed beads between the top drilled beads. At random spots, leove out the top drilled bead - iust adding seed beads.

Stickr lope

ond under

seed

beods, one size B seed bead, one top drilled arystol,

TOOLS

bod

the

middle of the four beads

Iris

tie

tall

end of 4.5m

an overhended knot

on 4.5m working thread.

toil

the middle of the four

pair eoi hooLs

Z2 1 6cm

bod

STEP

pins

FOUR

Forming Loop

Ollnksalloige chain

Firmly attach four

stronds at

BEADS 2ilap

dill

led bi-cones

Assorted seed beads

from neikloie

left

over

knot

toil

edge

a

dose

to

work

table, using

of

sticky tope.

Four

strands

be

will

Desigrr note:

knot ol

hanging over edge of table; four

will

be

it

in

you ore able

If

rhis point,

not necessoty.

I

you

may

to

undo the

wish to

-but

start it

is

simply worked over the top of

the next step.

working oreo. These

STEP SIX

four strands are used as a bockbone tor

Holding two

lots

of four threads

slightly

woking 'R^ure

8'

-

the 'Rgure 9' working strand. Push beads

separated, continue

way

time goirtg to outside edge then up and over

from work; ’he first 3cm has no beads. Holding two lots of two stronds firmly, slightly

firet

four stronds

on the

right,

this

down through

beods Try

middle section painting

in the

not to bave too

mori, OS toey

to Ibe Irani.

many pointing down on on yoor

oib

will

the

I "

neck.

STEP SEVEN moke approximately 2-3cm

To complete,

backbone Finish

1

;

of

'Figure 6' without bends. Knot,

Using a leather end, clamp over

emi

and glue attaching ring and parrot clasp. To second side, attach extension choin with iurnpl " ring to loop formed in Step 5. Finish 2; Farm a second loop as in Step 5; weave ends bock through, knot ond glue. | Attoch lump ring with parrot clasp, to second |

jump

side ottach extension choin with

ring to |

in Step 5.

loop formed

STEP EIGHT Thread on one heod pin to extension

STEP

small beod, joinirta

*

chain for 0 dangle.

ONE

Creote o pendan*

boil for the

top drilled

.

bl'Cones by using o head pin. Cut the heod off the pin

and

titreod

|

on bi-cone. Place

bi-cone holfwoy olorrg wire ond bend the wire up on both sides of the hole. Cross wire over at top ond cut one side just below the crossover. Form o loop on the

remoining piece of wire, using the bosic loop technique.

STEP

the middle of the eight stronds

TWO

Attach three links of chain to both ear hooks.

and

|

Add bi-cone

under up ond over left=hond strands bock to

stronds.

Continue for

approximately Push beads

beads. Attach

.5cm.

1

fo bottom link of chain.

STEP THREE Moke up 20 random head

middle of*he eight

1

0 head

pins using seed

pins

randomly to

each choin, using the bosic loop techniaue

up working

-

making sure that both eorrings are the soma,

thread and, continuing

j

8' to use 'Figure tfiread poth,

wrap two or three

'Figure 0's with

beads induded,- the beads ore pushed to the Wrap two or three times without beods. this will tension ond keep bends

front of the choker.

hi

pkice.

Work

until

top

drilled

beads ore used

up or opwpoximotely 32cm. Design note:

Wfiife

wrapping with beads, position the top dn'ted

KITS: Avoiloble

Terrene's Treasores 1

70 Vincent

Street

Cessnock NSW Telephone 02 4990 5560 wynw.tenenastreasure.com.au

0

^-RSOJECJT-

NECKLACE MATERIALS i2liole dlDinontt spocsr

1

This easy tigerlial project drops from o

spacer from

All

diamonte

About Beads

6 1 crimps itoggle dosp

I

2 1

4Scm

lengths Tigertoil

NECKLACE STEP crimp,

BEADS 57i10mni 4

1

Bmm

tail,

«

1

in

bock through crimp leoving o short

flatten

TWO

Threod over

1

toll

6

1

Thread

x rondelle,

threading 1

first

x rondelle,

3

few

3 x

to

1

6min

10mm

glass pearl,

Using round nose

pliers,

gloss pearl,

4mrn

make

gloss peorf.

a plain loop

above the beads-

x glass pearls-

Threod Tgertail through one side of the two hole spacer, thread

LEN5TH;45-5D(m

ONE

rondelle,

x gloss pearls,

to hide.

gloss peorfs, nose pliers

glass pearls.

EARRINGS STEP

or fold the crimp to secure.

Thread onto heod pin

STEP

iiaitnd

thread

londelles

TOOLS

six

Ffeori necWoce looks greet one or multiple colours alternated.

Design note;

lersgth of Tigerlarl,

section of the clasp; bring the

1

Tigertoil gloss pearls

crimp, only thread on

ONE

Using one

x crimp;

pull Tigertoil

remove ony slack ond squeeze chmp

to

STEP Open

TWO loop of the earring hook; attach the

dangle ond close the loop. Repeat for second

secure; threod 7 « gloss pearls.

EARRINGS

Kits ovoiloble;

STEP THREE

MATERIALS 40mm

head gin

Shephsid hnok snitingi

i 16.00. Refer

to

Smm gloss

pearls for colour rttnge. slock,squeeze crimp to secure, cut

all

excess

Tigertoil off.

All

About Beads

wnvw.olloboutbeads.cotn-ou

STEP

FOUR

Repeot hr second side ol necklace. After threading other side ol two hole spacer ond

Q

were

inspiring colours

and

Antique

filigree brass

used by

Megan Mann from Bohemia Beads

in this

necklace and earrings. STEP SEVEN

ONE

STEP

Create Components Toke

<

1

pm and

eye

thread on;

I

x

4mm

Colorado Topaz bi*cone, Lampwork 1 x Light Colorado Topaz bi-cone, instructions on

Light

Facal Orb,

Creote the Neckloce Take 20.5cm length of chain. At one end

on

X

1

8mm

jump

ond the heed

rirtg

link

pin with

the etched toggle bar threaded from Step 5.

Form a simple loop- See basic

STEP EIGHT

forming loops.

On STEP TWO Take

x

1

eye pin and threod on,

Melon bead, bi-cone,

Open

1

x

3mm

Colorado Topaz Melon bead. Form o

other end of 20.5cm choin,

15mm

heed

jump

ring

pin from Step

on

link

ond the threoded

4 Place

aside.

x Light

1

3mm

x

i

this

X

1

loop with

pliers,

Isoop.

threod on the

STEP NINE 2cm chain, on one end Using X

1

link

1

Bmm

on

pin with

lump ring with the eye

the 'Inspire'

chorm ottoched, from Step

2.

STEPTWREE Take

aye pin and thread on;

x

1

bead,

1

x

Siam bi-cone, a loop

in

wire

1

x

6o seed

Melon beod, 1 x 5mm Light x 3mm Melon bead. Form

3mm 1

Open

loop with

pliers,

thread

STEP TEN Using one of the seporote choin

links

from

Step 6. link through the Wotar Lilly ring pnd the 8mrri jump ring from Step 9.

on Doisy charm.

STEP ELEVEN 2i4nmSun bMonss iLDniomtk FwnlOib

I

FOUR

STEP

At the other end of the

x 3mm I x heod pin and thread on; 1 Melon bead, I x 4mm Sun bi-cone. Form o

Take

loop

in the

pliers,

remaining wire.

threod on

1

x

8mm

Open |ump

1

2cm

choin, link the

eye pin threaded with the Lompwork Focal

Orb

[Step !]

loop with

ring.

STEP TWELVE Using the Other end of the eye pin from

TOOLS Round nose

Take Flat nose pliers 1

Wie

Step

STEP FIVE pliers

X

1

x head pin and thread on:

4mm

Son bi-cone,^f

x crimp,

1

etched

1

,

link

on the 4cm piece

STEP THIRTEEN 4cm To the end of

coneis

loop

In

the wire.

1

X

1

5mm

lump

of choin,

piece of chain,

STEP FOURTEEN

Divide Choir

Using the other separate choin

open the chain links into the following lengths; 20.5cm or 33 links, 4cm or 6 linb, 12cm or 19 links. There should be a small amount of chain left over, ensure you hove two separate links for

(Step 6), link through the

use during the creotion of the necklace.

from Step 14.

nd

1

X

link

ring.

STEP SIX Divide the chain by using pliers to

62 Cv

1

x crimp,

10mm lump

link

Woodland

Leof

ring.

STEP FIFTEEN Link Filigree ring onto the

1

0mm

jump

ring

4

Crystal

Feather's Nest Creations

Park

COMPETITION Creative Beading

chance

to win

is

some

giving you the of the projects

featured throughout the magazine.

WT

To be in the running to win you hove to

do

is

win that product.

write in

one of these greet accessories

25 words or

less

like to

with the

win on the back of an envelope to

Beods Glorious Beads Competition

PO Box 8035, Glenmore

all

why you should

Send your name ond address along

accessory you would

Park

No

NSW

18, Creotive Beoding,

2745. Please reod terms

and conditions of entry before entering.

PROFILE

My

study of

IN

A KINGDOM NOT SO FAR away

toir

lives

Suzanne began making beaded

Q

maiden header by the nom© of Suzanne snares with her lard in shining armour

jewellery

os port of

after studying silver smithing

historical

who

beads has been a greet

women

time (Jason], o love thot is entwined in where dynasties ruled, crusades were oplerrty. always ware veils and beer was ohten

nod completed a class with silversmith and jewellery moster Kathryn WardiU in 2003 that she was introduced to the world

served with breoWast.

of glass.

inspiration,

but

I

am

also

an approach to

Suzonne and Jason are medieval, enthusiasts. Both or© octive

members

"I

ot

inspired by

0 m©di©vol re*creation soclery called The

various

Jason

rather than externol stimuli.

memioned

to

wasn't

it

a friend

I

until

she

might buy

0 soldering torch and return to silver smithing ond she introduced

me

15 the

term

Society for Creative Anochronism (5CA)

and both recrea'a skills

and techniques,

her teaching degree but

is

crafts

a blockamith

and

historicolly

Now, the

from the period.

who custom mokes

medieval ormour and Suzanne (our profile header) handcrafts contemporary occura-e glass beods

fully qualified art

creates and sells her gloss

teocher

work online

to

morkets here ond overseas; teoches one-

was awarded on mternotionol scholarship atend the annual conference, the to

PROFILE

'Gjthenng', of the Intsmutional Society of

which she has kept lor herself arrd

G

favourite

Beodmokers

0S5

in

the United Snctes.

The Gotnering was

fantostic opportunity

mee" other beodmokers rhat

to

online for of fry

olmost

ms also

It

five years.

online friends

I

I

hod known

stoyed with two

and met many

others.

a great opportunity for learning,

Tne darnonstrotion lectures

were inspirational

ord informotive but the highlight for

bead oozaar.

'he

I

I

One

got -O meet of

my

o

lot

duties as

my

of

me wos

glass collection,

my

glass 'heroes'.

scholarship recipient

in

Gathering, and

the morning finish tnings in

I

'My

I

I

get a

one

interests

bit

i»

until

obsessive ond

a

inspirotion from

study ot historlcol beads

greot inspiration, but

lot of different

I

am

hvss

I

like to

draw

areos.

been a

olso Inspired by

and tecnniques, Often wo'k on

to various skills

rather than externol stimuli.

a series of beods to acquire ond extend

0 greot

everyone.

Suzonne creoted a number of oieces for the

skills,

and

I

in

am

always

by the range of colours

availoble

-

there are

sitting.”

are quite eclectic, so

my

booths while people

onference including o chainmaiHe necklace

am

"I

influenced

my beads silver

two

me to

otrozing experience."

a

particularly eye-

rhought that

worked on

My

on apnrooch

hod breaks which gave chance to circulote and chat The whole go‘henng was on

now

rs

her collection.

wonled to create a

chainmoille would complement those beods porticularlywell.

purchased ond traded

fo'increO’ble pieces for

ond

"I

catching piece of jewellery *o display ot the

differences

between the colour

I

my

always influenced by the range

of colours ovoilqble - there or^signrficant

dirterences between *ha colour palettes,

depending on which brand

significant

of glass

you use."

palettes,

depending on which brand of .

QlOSS yOU US6.

„

PROFILE

stondard; or to

this

ways of approaching accuracy in recreating

medieval crafts.

link.

for

ond

love the look of choinmoille [ev-ellerv,

“!

"There are various

W3S only my second attempt ot ihe Bysontrne hod been working on a series of beads

a

I

while that evolved from Ihe flome design

but the red

and block colour scheme

everyone. So

I

ployed with

bockground. As o

blues,

in

rt

experimented with drohro ond result, the

is

not tor

and then

silver leal in Ihe

idea progressed

try

and create the

bead by

bes*

"Generally, that's what

equipment so

I

try

I

do.

I

use

modem

con control the flame ond use

better quolrty gloss

- noturolly the

often better. There ore

many

results

ore

who

re-enoctors

and moke beads using period techniques.

would

moke a bead furnace and have but would never expect to moke

like to

experience,

beods

tor sole using that process,"

low Ihe variety ol teirlures in the one holf of the bead is glossy smooth,

moke

rrsnor olterofions, using techniques

chonged.

.

will

I

ond

I

while the other

often take a

is

recreote the

their raised dot decorations or

of

iri

a

her fovourite type

multitude of different

designs,

colours from the penod.

rtchlv textured."

Even though Suzanne enioys working

photograph, real or from a book, and attempt to

styles,

beads to moke ore compficated mosked

dot beods colled the 'Warning States' beads.

Named

aher a period of time

in

Chinese

history colled Ihe 'Warring Stoles’

(48!-

221 BC), these beads were distinguished by

is

techniques

she completed

end colours

accurate recreotion of various beods from

year that

Is

for

hove

I

a green tube with roked

may 'mfer can lines down the side. From thot make o green bead with diagonal cuts, or a I

I

blue bead with raked lines, os all the techniques " and colours were ovailoble ot that time For those of you interested in recreating

love os there

olso very proud ol a Viking necklace lost

and

'horned eyes'

formed by loyering gloss. She

For example,

documentation for o blue bead with diagonal cuts in the side,

on

historicolly

a very smoil market for selling

is

"My beads mainly sell once o year, at the SCA's Rowony Festival held over Easter although hove on occosion completed I

orcheologicol finds from the Viking period.

used."

"There are various woys ol approaching

accuracy

in

may museum

recreating medieval crafts.

lake a photograph ol a piece from a

I

or on image from a book, and attempt t^

and colours make a

they couldn't lind a local source. Selling beads

and teaching lonipworking within the SCA is o woy to explore and combine a hobby of just

lampworking and

used.

First

however,

I

hove to

decision whether to actually

reproduce an exoct

.,

1

...

the finished product,
depending on the

re-enoctment

beods however, Suzonne found being in

online beading forums very useful.

active

She

porticularly recommends the American beadmaking forum, Lompwork Etc, for

its

online marketing conversations.

"Beading

is

although not 0 very high technical

historical

For selling and marketing her cantemporary

recreate the designs, techniques

the

a

fast

yet os

USA, Since

I

growing hobby popular os

started

I

it

is

I

I

the

I

from flames to waves as the design and colours surface -

|

copying the colour ond design."

rn Australio,

currently in

hove seen beodmaking

|

» hd,

1

1

*

bbd,

STEP SEVENTEEN Middle Stringing Section

ond one side of a

connector;

shell coin

burgundy

second side of the

' csd,

1

dontrt snell connector

dose jump

ring.

Cut

Tigerlail into three pieces x

5cm

1

in length.

STEP ELEVEN Open 5mm [ump

odd on

ring,

jsid,

1

1

STEP EIGHTEEN

<

the second side of the burgundy shell coin connec*or, one side ol o block pearl bfd,

^ hd,

I

dose jump ring, Open I jump ring, odd on 1 x scd, 1 x csd,

coin connector;

Smm

« 1

x

cpd, the second side of the block pearl coin connector ond one side of o grey shell ovol

Take

I

*

length Tigertail, threod on

against eye pin. Repeat two times ort pin - total ot three lengths attached.

Threod onto

cpd,

ring,

odd on

1

x hd,

I

x

6mm

excess

Tigertoil

2

x

3mm silver

Tigertoil Into six pieces ol

Smm

through the beods.Tnreod 2 x crimp onto the TgertolL

beads,

crimp and

approximately

beads,

x

I

Threod through second eye

Cut

boll

loceted gloss beads, Ibreoaing

tail

silver boll

bbd; dose jumo rmg.

X

1

3 X

1

STEP THIRTEEN - STRINGING 2Dcm

eye

this

STEP NINETEEN

connector; close jump ring.

STEP TWELVE Open Smm jump

x crimp,

1

thread through loop on eye pin, bock through crimp, leaving a toil 2cm; fold crimp snugly

silver bolls,

pin,

bock through

block faceted glass

beads. Tension ogainreye pin removing gaps, fold crimp, cut excess Tigertisil. Repecri this step

in length,

on the other two strands,

STEP FOURTEEN Using one length ol Tigertoil, thread 1 x crimp, thread through loop of eye pin, bock through crimp, leaving o

toil

of

2cm;

flotten

or fold

crimp snugly against eye pin. Repeat this step - >0101 of three l«vo more limes on this eye pin lengths

on

this

STEP

Repeol

STEP

beads,

1

S

x

Threod 2 x

2 x

3mm

Open

silver boll

Open

through the beads.

silver ball

beads,

1

I

X

Smm

stringing section

faceted gloss beads,

tall

3mm

Tigerlail.

x crimp

lump ring, odd 1 x long and 1 x piece of the toggle. 1 , add crher end

top jump nng ot Side

of long stringing section; close

lump

ring.

Thread Tgertoil through

back *hrough crimp threading silver bolls and lour ijl the block faceted gloss beads. Tension ta remove

second eye

other end.

TWENTY-ONE

Assembly

Tigertoil

6mm

threading excess

onto the

ol

eye pin

STEP FIFTEEN Thread onto

TWENTY

Threod eye pin ottocheci to the stringing section through the wide end ot 1 x bead cone, form B wrapped loop ol the norrow end.

pin,

back through the

gaps, folding crimp. Repeat

this

step

on

the

othet tvto s*ronds,

STEP

TWENTY-TWO

At bottom end of Side 1 open lost jump ring, add one side of middle stringing section ond close lump ring. Open the lost jump ring on the bottom ot Side 2, odd second end of

middle stringing sec*ion; close |ump

STEP SIXTEEN Thread eye pin ottoched to the stringing section through wide end of 1 x beod cone, form 0 wrapped loop at the narrow end. Repeal second end.

STEP TWENTY-THREE Open tirsi jump ring on tne 2,

add on second long

jump

ring.

Open

Smm

ring.

top end of Side

stringing section,

jump

ring,

dose

odd on

.RjROJEGT-

MATERIALS 5tkm

2.

mode lampwork

a striking set with these unusual hand

Make

rigeitoll

beods- They are hollow glass

crimps

and

light tor their size.

STEP

ONE

filigree, very delicate but strong

BEADS 3 X LocB

Beads

SidmiiiSwatoxskl bl-cones

STEP TEN Remove

Pioce 0 bead stopper on the end of the

the bead stopper from the end of tne

|

Tigertoil.

bracetai. 5mrn SnarotiH

bl-

36 X

4mm

Swacovski

bi-

Thread on 2

22 X

3mm

Swacovski

bi*

X

6

1

1

cone, lOiiet-cryslolAS

I6x4mm

'

|

j

bi-cones,

bead,

1

x

3mm

bi-conea and slide to

1

x

3mm

form a small loop, ensuring there are no gaps between the beads before folding the

'

to

bi-

bi-cone and 2

d-ie

centre o+ the

i

crimp. Trim the excess Tigertail.

1

Tigertail.

EARRINGS

Swotovski pearls

STEP

Complete one

Cut

side o( the neckloce by

ONE

Tigertoil in

two sections eoch 7,5cm.

Holding the two ends of one piece of

TOOLS lusa pliem

x crimp ond second hoff of

1

the crimp and the end bead, teosian the wins

4mm

rc

T loce

I

4mm

STEP THREE

rm

Thread

•he clasp. Passing the Tigertoil back through

TWO

STEP

bl-cone,

X

6mm

x

1

4mm

bi-cone,

5mm

paorl,

1

STEP

FOUR

I

pearl,

x

1

I

3mm

bi-cone,

x

3mm

bi-cone,

bi-cone, 1

x

4mm

I

x

1

4mm

bi-cone.

'

together, thread

on

1

x

3mm

bi-cone,

4mm Qoorl, x loce beod, x 4mm 3mm bi-cone and one crimp. 1

1

Tigertail I

'

x

peed,

1

X

Bead stopper

Repeat Step

STEP

TWO

Slide the

2,

beads down the

small loop

STEP FIVE

EARRINGS MATERIALS 2 1

15cm

Tigerloll

2

icrimps

I

pair earring hooks

Repeat from

STEP '

“o

"

to " in Step 3.

x

4mm

and

STEP THREE Open the loop 1

Step 3,

in

bi-cone ond repeat from

on

Tigertoil

-

i

in

the earring hook, threod

loop created

in

Step 2, close the

earring loop. Repeot for second earring.

Repeor Step 6 once.

STEP SEVEN

BEADS

Finish with

2 X

4mm

bi-cones.

2 X Lacs Bsads 4 1 3[tini Swaiorxkl bi-cones

-

ctptol

4i 4mm

AB 3«aravski pearls

Contacf Helen

STEP EIGHT Repeat Steps 3 to 7 on the second side dj the necklace.

STEP NINE Threod Tigertail

x crimp,

I

section of the closp. Pass

1

back through the crimp and tension

to form a smell loop leaving

the crimp. Slide the

1cm

beods down

so that the abort end inside the

torm a

fold the crimp. Trim the excess

Tigertail. ’

SIX

Thread on

Tigertoil to

end beods.

ctf

toll.

to the

^he Tigertoil

is

Fold

crimp hidden

Telephone 08 9294 2639. www.ourorabeads.ee

^

i

BRACELET MATERIALS I

The colours

remind

in this set

me

on

of the sun sparkling

waters of the Greot Borrier Reef. Creofe your own with

divp

X

4 niBiru Qpprvpiimorelv 4

orb

lb

the

this

design by Donna of Gowjus Jewelz.

lb Flroliro

DESIGN NOTE The

STEP

end maferlols are

Ireetrudlone

10 groim Size B seeS beode

Uabuno

A

earrings allow almost triple

45cm

necklace and

STEP

ONE

less

Repeat Steps S and

for the

bracelet; to complete the necklace

and

b

beod motenate

tor

Beading needle

you have the

squired length for

your

than holt lor

10 graine Size 6 Mohuio

allowing

wrist,

for clasp. Design note;

seed beods C

TOOLS

until

spiml loop Id fhe to the left

right

As you work keep

the

adding each

ond pushing over to the right when this will keep the spiral neat.

completed -

Thread needle oslng a double length of threod for strength,

STEP EIGHT Whert you have reached the length required,

add on 7 X LENGTMi

lOcni biacelet

The

C

A seed

beads,

beads form the spine of the bracelet.

STEP NINE STEP THREE

Thread back through the

Leaving o

form a

tall

of

approxlmotel/ 20cm,

feed back

circle,

A

seed beads

down through

ie finishing with of least

thread the needle

two

to

the

knots

slip

between the beods. Cut the thread to

finish.

back up through the

STEP TEN To

firtlsh

with the

Ihe second end, rethread the needle tall,

odding on 7 x

A

seed beods and

repeat Step 9.

STEP ELEVEN Add 0 jump

ring to

both ends of the brocelet

formed with seed beads and

through

circle

add the

toggle.

NECKLACE Using instructions for bracelet, continue

working

STEP SIX odded and sit

irtclude the next

and the

C

lost

bead

set of three

three

Cs

only,

fkrll

beads

neotly next to the spine of the brocelet.

This

until

length

measures 36cm

to

•

45cm

Aftoch clasp of choice.

Take the needle up through Ihe the thread tight

will start

to form

o

will

EARRJNGS Using instructions for bracelet complete two small sections approximately

3cm.

joining to

spiral effect.

Seed

Sister?

J6 Hartdford Hoad. ZHImere Qid Ph:

07 3265 6I00

wwwr.beodsisters.com.ou

0

4034

MATERIALS 1

>

nbelon Silwr

Pislly

This geometrical design uses a simple right angle weove.

^ By Angel Dreams; designed for Crystal Park. ,

Twistioggie

3m

,

,

,

bedding thread

STEP THREE Thread on

6mm

the

*

t

4mm

bi-cone,

through bi*cones

15 X

6mm

the length,

a

3mm

3mm

until exiting

bi-

bl-cone.

FOUR

STEP

Repeot Steps 2 ond 3 ol

*

1

bi-cone from Steo 2. Needle

6mm

until

you hove a

totol

bl-cones, Design note: lb odjust

mohe

sure you s*ar1

and

finish with

bi-cone.

STEP FIVE After Step 4, threod through the tinol 6mrri

bl-cone, the next 2 x

4mm

ou*sid© of the brocele*

bl-cones on the

Add

cone, going through next 2

I

x

3mm bi4mm bi-cones x

on the outside of the bracelet. Continue adding of the

6mm

1

x

6mm

3mm

.

WIN

••

bt-cone to the space ot top

bi-cona

until

the second-lost

bi-cone ot the other end. Diagram

,

3.

/T>#-

|

.

BEADING TRENDS

i^e.^i-
.

.

ctf

O-^

BY LINDA BERNHARDT

WE TAKE A PEEK AT WHAT IS NEW AND POPULAR IN THE LAND OF BEADING AND FIND OUT WHAT WE SHOULD

THIS ISSUE

BE

SHOWING OFF

BESIDES

OUR

THE DAYS OF SEEING ONLY GOLD and silver findings in

bead

slores are long

gone.

BEADS!

Mony beading

retailers

with various platings

ond gold

sprouted rnony shopfront and online beading

not seen or heard of

Where once we

ond

we

jewellery

making

somawhot

retoilers.

limited To o

Nowodoys,

not only have mosses of exquisite beads

choose from, the range of findings and components available m Australia has greatly increased and continues to grow.

to

and

now

offer findings

finishes fnpm silver

to copper, bronze, brass, rose gold,

were law beod-telo'ed stores, the beading epidemic exploded Q few ^ors ago and with that

platinum, nickel, block nickel ond the newest

product to

to

moke

silver,

0

hit

trip

our shores, block this

to check

Black Thoi silver

silver Besides the

it

is

silver.

Having

product before,

I

had

outi Like Hilltribe

99

per cent pure

obvious colodr difference,

the main distinctness of Black Thai silver beautiful shiny finish

-

is

the

especially noticeoble

BEADING TRENDS

So you

see,

it

about the

really isn’t just

beads- Of course our precious Deeds are o

main

ingredient, but eye-catching findings

are equally Important

ploy or essential

ond

role in your designs. Don't hide them! off

your findings ond components

and don't be

afraid to mix

another type of

finish to

this

Snow season

metob. Adding

your collection

isn't

going to do any harm now, is it? What a good excuse to go baod shoppingl

HOT DESIGNERS: www.whiteg1ngeriewBls.C0Tn.au

wwvvanticamurrina.com.au

COLOUR The newest Sworovski colour additions to hit

the market

re

sand opal

ond mocco crystols and dork brown

rings]

ore idsol

moke

...

and they Gornet

fantostic joiners,

Cranberry

Continuing with a rounded rheme, go for coin, dime, Sense or

FAVOURrTES

Sworovski Mocco, Send Opol and Dark

you warn ro odd o

if

of 'bling' to voor creations

bit

lentil

Chorcoal

shaped beads

rother than rounds this season. These shopes

are

ell

Dark Grope

raodily available in gloss, crystol,

gemstone or handmade form. !t is just a motter of choosing tne sires and colours you would have. Out

lilie. If

Burnt

to

Oronge

thol

WHERE WE FOUND THEM:

Rounds ore olwoys handy to

you lend

buy the same thing,

•

Chain

in

voriousstyles

and

www,

finishes

beadandcrysfalheaven.com.au; www. a

bit

of voristy la your designs.

Sworovski

The newest Swaroveki colour oddrHons to hit the market are sand opal and mocca

peorls.

crystals

and dark brown Sworovski

beadworld.com.au Hole Heaven ond

Infinity

beads

•

Borosiiieate

•

BlockTtxiiSilver-www.cosmicbcads.com.au

•

Sworovski Squore Rings (Frames)

•

Lampwork Lentils and lozenge shaped beads - www.glossarrdsplintErs.corri.au Closps in vorious finishes ond platings

www.beadworx.cont.au

oearls.

Both tne dark brown pearls and the mocco bnjWn, quite stunning

-

crystols are a very rich

- esoedally sand opal

is

with gold or

o

little

copper

findings.

harder to describe,

pole, slightly milky beige.

It

is

It

The rs

a

along the (nes

•

-

of the grey opal but with yellowy beige tones.

Sand opal does look very dossy with the new mocca crystols, but would also look gorgeous witn shodes such as garnet, purple velvet

and o mixture of browns. Sand opol is o colour thot would be vary versotile as o 'third colour'. It is perfect ‘o breok things up a little

without taking the focus oh your primany

colours, but

still

very cbssy on

Its

own.

•

wvrvwpolymerclav.com.au Unusual beodsand pendents

Gemstone and Paua Donuts www.beadsvenue.com.Gu filock

Thof

silver

.

•

ond gemstone

corns

courtesy ot Cosmic fieods A/I (ewellery

fay

Linda flemliardt

C*

FEATURE

SARAH EZZY-DICKSON FINDS THE LINKS BETWEEN MODERN DAY AND CENTURY OLD CHAIN. The first chain-making mochine

wos invented in

the mid-

CHAIN HAS BEEN AROUND and

is

making was mechanised around 1 00 years ago.

2500

held gold jewellery dating to around

BC.

Among

intriccrle

700s, and the process of chain 1

fo' centuriss

many woysr For joining, and our favourite - adornment.

the treasures

found were

loop-in-loop chains, which

techrsique that

was

the Mediterranean eventually spread

o

lime

it

and broad

collar

neckloces, which were often buried

end

During the ero of the

often wealthy owners.

Roman

Empire, only

were permitted to wear gold chain

neckloces- By the end of the second century

new technique known as gold

piercing

at once, allowing

weolth and status

women

In society

ornote, decorated choins with charms ond

gemstones were worn by the very wealthy classes, while the middle

classes would only

that

around the world.

The Ancient Egyptiarp also used gold

women

this

to display fhelr

ond Western Asio

strond chains Into chokers

with their proud

During

wear many chains

and higher

oil

make it more decorative. became fashionable fo

the links of chain to

-

is

quite popular throughout

chains PS (©wellery, modifying the single

style

Q daintier, loce-like appeoronce. People also

utilised in

lood-beoring

The oldest examples of choin were found in Babylonia (now Iraq) where royal tombs

wear o

or lower

single, ploin chain.

Chains have been a popubr choice of adornment ever since. Henry VIII would present heavy chairts to those he favoured

and

in

the eorly Sixteenth Century

became

interested

in

men

draping themselves

in

often bulky gold chains to disploy lhairwealth

and

social stonding.

The

1

930s saw Coco style and

Chanel, an important dictotor of fashion, have

many people

embellishing thei-

persons with woist-length chains of varying thicknesses.

On« IS

most popular chain adornments

of the

that of a religious symbol,

which depending

bod

Oorid or euen q pentagram.

ond the

luck

devil

where your religious

...

in

luxury.

chain-moking machine was invented

first

ond

the mid-1 700s,

the process of chain

making was mechanised around 100 yeors ogo, eliminoTing in

much

Chains used

polladium and

they

keep

'0

platinum,

steel are also widely

ond

smalt, thin tube

melol core

•

used. These

Is

also

by,

mochine where

shooed

and are

is

i*

is

The wire

is

a

belt

links

and are

often

Rope chain creates on

chain Figaro

effect of

two

one link breaks the rest may come undone as well. is

twisting

mony of the

If

a popular variation of curb chain, links

precede

specifically

is

•

Herringbone has quite q liquid

formed with V-shoped lie •

effect

links that

and

enable

profile,

it

is

to

entirely flat.

Box

(also

known as

briolette chain)

is

similar

to a belcher chain except 'he links ore

treotments after manufacture, such as

which requires a flattened

q very tightly linked chain

threod or rope depending on the thickness •

furnace after the

Specific chain designs require different

i^

ond hos the appearance of a strand of

be

more commonly

Snake choin

that has a round or square cross section,

fed in

the links to

and con be

mode

in

are wider than their

is loid flat,

achieve facets on both sides,

strands twisted together, created by

been manufactured by mochine.

rierringborte

ore typically uniform

ond are generally round in shape. links interlock with each other

the chain

however

then cut, and

interwoven os the wire

Modern mochines allow

the links are soldered in

links

thickness.

where o number of stondord

sutomotically welded together by laser or a

chain hos

ovol or

small links which ore not completely |Oined;

rnicnoplasmo welding torch, but

mochines using round,

in acid.

a

variety of

olso considerobly

wrapped around

specialised

choin

Curb chain

when

fed continuously into the

steel formers.

the next link

ogain

created on

ofler

different styles of chain

and the

shape and

filed to

machines using round, ovoi

is

choins ore

also be

square wire

thickness

•

Wire

leoched out

is

many

produced

produce

pottemed

Interlocking

around o base metcl core;

belcher chain

popubr

either

is

•

come

cut or filed to

shope while retoining

Mass produced chains are created on

of pottems.

is

olso possible to produce

considered to be the simplest style

is

of chain

cheaper than precious metcb.

specialised chain

Trace

in

or amiqued tones. The

pose metal for most plated choins

easy to

diamond mochintng, m

is

available;

•

nickel

silver,

it

Mass

the finished chain

Facets on chain con also

of

Complex chains can

the chain has been manufactured, the bose

require mrnimal molntenance

keep theirshine. Plated chain

PS gold,

rolling

rrtrll.

lightweight, hallow chain through the use of a

used due to the fact that

their intricate

their strength

roHing

bright, clean facets

produced by bending and

There are

are typically

in jewellery

made from gold or silver; however particular metals ore

achieved by

is

which the finished chain

of the cost involved

purchasing high quolity precious metal

chains.

which

stampings of metal,

lie.

Tnese days, handmade chains ore o The

evil,

or simply to show

beliefs

tnrough

be produced by woy

on your religious standing could include a cross, the Star of

These symbols are often worn to ward off

tighter

and ore square

in

shape.

pottems.

FEATURE Crocheted chain

is

made

by using a crocheting

Bead

[olso

known as

bolt chorn]

is

ormed

lengths of wire

no longer than each bead.

Byzantine chain

is

links, with

crescent-shaped

often has

A

all

loops created are the

same

size.

mode

is

that feels quite square

and has

Fancy chain

mode

fl

popular form of choin weaving

Viking weave, where wire

form a three-dimensional chain

links to

os not

mode,

is

is

r'

chain which also helps to increase

Crocheted chain

by using

0 crocheting needle and often has a slightly random oopeoronce, as not oH loops created

enclosing the doubles.

links

mandrel and

plaited

is

called

woven around a

is

together simiiorto hie

'knitted'

some moy be fomiliqr Some Viking weove

twisted style of tn'ming tho"

random oppearance,

the crocheted or woven choin

then pulled through a drawolate *o reduce the

strength

formed by Having a

is

a chain of circulof

link in

size of the

very reminiscent of

oncient choln and

double

Spiga choin feotures figure-eight shaped

0 slightly

wrth

snsdl beads of metol joined togelder by small

needle and

shaped

is

usually

from unosuolly

together - for example

links joined

heart shaped links

- or

with every

second

with

if

they

necklaces

so

o gemstone. Cable (sometimes also known as onchor

it

is

knit

moy

with wool.

contain up to

1

8 metres of wire,

bes* to use smaller pieces of wire

and

link set with

be done withou* solder os mis

ends

locks in the

an anchor on a ship; aval

the finished piece con

links with

a

Examples of

horizontal link to divide eoch oval.

of

this style

Is

fluid-like feel to

some

types of chain can have

fixed links, limiting their

movement. These

particular styles of choin con

you wish

to

keep items

in

fixed link

be good

to use

is

worn although

sites in

hove been found

meaning

this

in

Scandinovta

and

other

may

omos

of

not hove

to the Vikings.

Chain, no matter the typs, foshionoble to use sizes

In

technique

lengths

in

alwoys be

even though

jeweliery

moy

vary over the years.

It

is

a

choin can sometimes break from

having too much pressure applied fo

it.

Chain con also be mode from crocheting or weoving wire, which gives the chain an intricate

similar chains

the world,

been unique if

your jewellery pieces

separate whan the jewellery

weaving

to derect.

dating bock to the Tenth Century AD; however

them

desirable for most wearers of jewellerv

choin; however

hod

be quite

of chain hove been found

ot various archaeolcgicai

Most chains have a which

style of

each piece of wire which

choin) copies the style of chain that holds

oopeoronce, ond usuolly

results in

quite a lightweight but sTrong choin.

Once

many

jewellery items

hair occessortes

ond

such as brocelets, onklets, tioras.

singlet strops or 'bling'.

Chain

is

sewn onto

can olso be used

It

with weorpble rterre such os

hondbag and added

clothes for

sure to never

go out

of style!

0

4

Continue to ’ok© the

Tigertail

through the

distance behveen the pporrot cIosr

and

the

cnmg

until

beods

5.

Using either a crimping fool or chain nose

6.

You ha-e

is

the

small.

pliers, flatten

just

finished

you design.

Toggle clasps These types of clasps are the most jewellery

making. Clasps

come

in

Now

it is

ready ro wear.

size

and metal Unish

to

common

used

in

vorious sizes and

bronze,

finishes, like gold, silver, nickel,

the crimp. Trim excess Tigertoil.

your design.

etc.

Motch the

you are creoting o

It

design using expensive precious stones, then finishing with

These are o couple of the most commonly known and used closures

sterling silver

or gold would be more suitable then using

ploted metal thot can tarriish

in jewellery finishings.

to these rypes of closures

chollenge for

Parrot clasps Parrot clasps

Think of

come

porrofis

in different styles.

beck and

some people

fime.

in

that they

rs

to

The disodvantoge can prove

to

^

open and

be

close, Split rings

ore often used with these types of closures.

this will

"V

'=r

be the key to recognising *hese types ot closure finishings.

These types of closures con be used as a feature piece of the design as

Ok

well as the closure.

they also

end

come

They tend

to

be

in different finishes

Phr07 3283-f7?6

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sizes.

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