best of beadwork

More wonderful stringing projects are available at www.interweavestore.com©2010 Interweave. Not to be reprinted. All rights reserved.

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Best of

modern vintage projects12

Ms.Silva

Typewriter

Marta S.

© 2010 Interweave Press LLC. Not to be reprinted. All rights reserved.

page 1

More wonderful beadwork projects are available at www.interweavestore.com

luscious linkss h e l l e y n y b a k k e

project

techniques:: right-angle weave:: peyote stitch

See p. 35 for helpful technique information.

Shelley jokes that her passion for beading is her “ball and chain.” With chain in mind, she uses right-angle weave to create links of metal seed beads. She wears this bracelet proudly as a sign of her life sentence as a beader!


page 2

1) Primary rings. Work 2 rounds of right-angle weave, then join the top of Row 1 to the bottom of Row 2 during Row 3:Round 1, Unit 1: Use 4' of thread to

string 4 beads. Pass through the first 3 beads again to form a circle, leaving an 8" tail.

Round 1, Units 2–19: Work right-angle weave (Fig. 1).

Round 1, Unit 20: Join the first and last units to form a ring; do not twist the ring. String 1 bead, pass through the end bead of Unit 1, string 1 bead, and pass through the end bead of the last unit. Pass through beads to exit the bottom of Unit 1 (Fig. 2).

Round 2, Unit 1: String 3 beads; pass through the nearest edge bead of the previous row and the first bead just strung (Fig. 3a).

Round 2, Units 2–19: String 2 beads; pass through the next edge bead of the previous row, the last bead passed through in the previous unit, and the 2 beads just strung. Pass through the next edge bead of the previous round (Fig. 3b); string 2 beads, pass through the last bead of the previous unit, the edge bead just passed through, and the first bead just strung. Repeat around.

Round 2, Unit 20: Pass through the next edge bead of the previous round and the end bead of the first unit in Round 2. String 1 bead and pass through the current and next unit to exit from a side bead (Fig. 4).

Round 3, Unit 1: Push the center of the right-angle-weave panel inward so the edges curl up and the side beads meet in the middle. String 1 bead, pass through the correspond-ing side bead in Round 1 (Fig. 5a), and string 1 bead. Continue through the first bead strung.

Round 3, Units 2–19: Pass through the next side bead (Fig. 5b); string 1 bead

and pass through the corresponding side bead in Round 2. Pass through the first seed bead added in Unit 1 of this round and continue through the bead just strung. Repeat around.

Round 3, Unit 20: Pass through the last side bead, but do not add a new bead; pass through the second bead strung in the first unit of this round. Pass through the last side bead on the opposite side and pass through the last bead strung for Unit 19. Exit through a side bead.

2) EdgE bEads.Round 1: String 1 bead. Pass through

the same round’s next side bead. Repeat around (Fig. 6).

Round 2: Pass through beads to exit a side bead on the opposite side. Repeat Round 1. Weave through beads and trim.

Repeat Steps 1 and 2 three times for a total of 4 rings with 20 units each (A). Repeat Steps 1 and 2 twice making only 18 units in Step 1 (B). Repeat Steps 1 and 2 twice using a base round with 16 units (C).

3) ConnECtor rings. Use 8' of doubled thread to work a panel of right-angle weave 11 units long. Pass the panel through 1 B ring and 1 C ring; join the ends into a ring as in Round 1, Unit 20. Repeat Round 1 of Step 2, adding edge beads. Weave through beads and trim.Repeat Step 3 six times using connector rings to join the links in this order (Fig. 7): C-B-A-A-A-A-B-C. Add 1 C ring if a longer length is needed.

4) togglE. Use 8' of doubled thread to string 12 beads. Work 12 rows of flat even-count peyote stitch. Zip the first and last rows together to form a tube. Weave back through beads to exit the seventh bead in from the side.Work 12 rows of flat even-count peyote stitch 2 beads wide. Pass the end of the strip through 1 C ring and attach it to the peyote tube. (The C ring on the other end of the bracelet acts as the toggle ring.) F

Shelley Nybakke is the owner of The Bead Parlor in Bloomington, Illinois, where she teaches a variety of classes. She also sells her own jewelry at several juried shows in the area each year.


Fig. 1: Starting a ring

Fig. 2: Working Unit 20

Fig. 4: Finishing Row 2

Fig. 6: Adding edge beads

Fig. 7: Joining the rings

Fig. 5: Working Round 3

b a

Materials36 g size 11° metal seed beadssmoke 10 lb braided beading thread

toolssize 10 short needlesscissors

FiniShEd SiZE: 9"

Fig. 3: Starting Row 2

b a

ReSouRceSCheck your local bead shop or contact: Metal seed beads and FireLine beading thread: The Bead Parlor, (309) 827-7708, www.thebead parlor.com.


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artsy angles

m i c h e l e a n d e r s o n

project

techniques:: peyote stitch:: brick stitch:: square stitch:: ladder stitch:: tension bead


This necklace was inspired by a humbug (a soft and hollow triangular-shaped beaded adornment) by Valerie Campbell-Harding.

Delica beads were chosen for their clean, perfect fit and their irresistible, jazzy galvanized colors. The result is a perfect accessory

for any simple black dress.


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1) Pillow bEads. Use 4' of thread to string 1 bead; pass through it again to form a tension bead, leaving a 12" tail. Peyote-stitch a strip that is 14 beads wide by 28 rows long using A and d beads as shown in Chart a. Remove the tension bead and stitch the first and last rows together to form a tube.

2) trianglE Ends. Flatten one end of the tube and use the working thread to whipstitch the edge beads together, passing under each pair of connecting threads (Fig. 1).

Using the whipstitched thread as a foundation, brick-stitch 7d along the flattened end of the tube. Work 5 more rows of decreasing brick stitch to make a triangle with 2d in the final row (Fig. 2a). Remove the needle, but don’t cut the thread.Work a triangle at the other end of the tube using the tail thread, flatten-ing the open end of the tube perpen-dicular to the first end. Set aside.Repeat Steps 1 and 2 for a total of 6 pil-low beads, two of each color with silver accent (d) beads.

3) rECtanglE bEads. Repeat Step 1 to peyote-stitch a tube 18 beads wide by 28 rows long following Chart b and using A and d beads. Work a brick-stitch triangle at each end as before, but flatten the entire tube so that the ends are parallel.

Repeat entire step twice for a total of 3 rectangle beads, one in each color with silver accent (d) beads.

4) squigglE bEads. Repeat Step 1 to make a tube 26 beads wide by 12 rows long following Chart C and using A and d beads. Cut 1¼" of wire and whipstitch each end of the tube to secure the wire inside. Use your fingers to bend the tube into a subtle S shape.Repeat entire step twice for a total of 3 squiggle beads, one in each color with silver accent (d) beads. Set aside.

5) bEadEd Chain. Place a needle on the leftover working thread of 1 beaded bead. Note: Start and end threads within the beaded beads rather than within the beaded chain to avoid gaps. String 2d; pass down through the adjacent bead, up through the last bead exited, and through the first bead just strung to make a square stitch (Fig. 2b). Repeat six times to make a 2-bead-wide chain with 2d in each stitch; work one stitch with 2B, seven stitches with 2d, one with 2C, seven with 2d, one with 2A, and seven with 2d. Pass through the 2 beads at the end of another pillow, then weave through the beads again to reinforce the connection. Secure the thread and trim. Repeat entire step to connect each of the beaded beads with varying lengths of beaded chain. F

Michele aNdeRSoN has been a bead artist and instructor for the last seven years. She teaches bead embroidery and knitting with beads at Stitcher’s Crossing in Madison, Wisconsin. Visit her website, www.beaded cottagestudio.etsy.com.

Fig. 1: Joining the edge beads

Fig. 2: Creating the ends

a

bMaterials5 g each galvanized size 11° cylinder

beads in raspberry (a), olive (b), and tangerine (c)

15 g galvanized silver size 11° cylinder beads (d)

3¾" of silver 20-gauge wiresmoke 6 lb braided beading threadartist-quality clear fixative spray

(optional)

toolssize 10 beading needlesscissors

FiniShEd SiZE: 42"

a r t i s t ’ s t i pGalvanized bead finishes are very unstable and tend to rub off. To help prevent color loss, lightly spray the galvanized beads with artist-quality clear fixative and allow to dry thor-oughly before working with them.

rEsourCEsCheck your local bead shop or contact: cylinder beads and Fireline braided beading thread: Fire Mountain Gems and beads: (800) 423-2319, www.fire mountaingems.com.

Chart a

Chart b

Chart C


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disco squares braceletm a r c i a d ec o s t e r

project

techniques:: right-angle weave:: stringing


Layered right-angle weave is the secret behind the square links in this exuberant bracelet strung on stretch cord.


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1) layErEd squarE. Use doubled thread and right-angle weave to make a layered square:layer 1: Use frosted lavender size 11°s

to work 1 square, 7 units wide and 7 rows long.

layer 2: Exit the left (horizontal) side bead of the bottom-right unit, toward the center of the beadwork. String 1 matte aqua size 11° and pass up through the next horizontal bead in the column of right-angle-weave units. Work 5 more stitches with 1 matte aqua size 11° in each to complete Column 1, adding a total of 6 matte aqua size 11°s. Weave through beads to exit down through the horizontal bead at the top of the next column of units. String 1 matte aqua size 11° and pass down through the next horizontal bead in the column. Repeat as before to complete Column 2, adding a total of 6 matte aqua size 11°s. Repeat this step to add 4 more columns of matte aqua size 11°s (Fig. 1). Use fuchsia-lined

clear AB size 11°s to create right-angle-weave units that incorporate the beads added in Columns 1–6 (Fig. 2).

Note: Each unit consists of matte aqua side beads and fuchsia-lined clear AB top and bottom beads.

layer 3: Following the method used in Layer 2 and excluding the first and last rows, stitch white-lined lime size 11°s between the vertical fuchsia-lined clear AB beads to work five 4-bead-wide rows on top of Layer 2. Use turquoise bicones to complete the right-angle-weave units (Fig. 3).

Embellishment: Stitch 1 gold size 15° between each bicone (Fig. 4). Weave through beads to exit an edge bead of Layer 1. do not cut the thread; set aside.

2) basEs. Use right-angle weave and matte aqua size 11°s to work 1 square, 7 units wide and 7 rows long. Secure the thread and trim; set aside. Repeat using hot pink size 11°s for a second base.

3) squarE assEmbly. Join the lay-ered square, matte aqua base, and hot pink base using right-angle weave: base connections: Match the layered

square and the matte aqua base; use the working thread of the layered

square to string 1 white-lined lime size 11°; pass through the matching edge bead of the matte aqua square. String 1 white-lined lime size 11°; pass through the last bead exited on the layered square to form a right-angle-weave unit. Pass through the next 3 beads in the unit and the next edge bead on the layered square. Continue around the square, using size 11°s to complete right-angle-weave units that connect the layered square and matte aqua base (Fig. 5).

Use the same method and white-lined lime size 11°s to join the edges of the hot pink base to the matte aqua base.

Fig. 1: Adding Layer 2 vertical beads

Fig. 2: Completing the Layer 2 right-angle-weave units

Fig. 3: Working the Layer 3 rows (blue thread) and completing the units with bicones (red thread)

Fig. 4: Embellishing Layer 3

Fig. 5: Connecting the layered square to the matte aqua base

Materials1 g each of matte aqua, white-lined

lime, fuchsia-lined clear ab, hot pink, frosted lavender, and frosted lime size 11° seed beads

1 g each of silver-lined lime and gold size 15° seed beads

20 each of amethyst ab2X, light ame-thyst ab2X, blue zircon ab, turquoise ab2X, and dark red coral ab2X 3mm crystal bicones

44 light siam ab 3mm crystal bicones

12 mottled turquoise 6×4mm fire-polished rondelles

crystal 4 lb braided beading thread

20" of clear 1mm stretch elastic cord

Jewelry cement

toolsscissors

size 12 sharp needle

Wide-eye needle

pointed tweezers

FiniShEd SiZE: 6"


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Embellishment: Weave through beads to exit an edge bead of the layered square. String 1 gold size 15° and pass through the next edge bead. Repeat around the layered square. Use the same method and lime size 15°s to embellish the edges of the hot pink base. Secure the thread and trim. This completes Square 1.

4) squarEs. Repeat Steps 1–3 five times for a total of 6 squares using the following colors of size 11°s and bi-cones in Step 1; continue to embellish Layer 3 and the edge of the layered square with gold size 15°s as before:square 2: Work Layer 1 with matte

aqua. For Layer 2, work Columns 1 and 6 with frosted lavender and Columns 2–5 with white-lined lime; complete the right-angle-weave units with frosted lavender. Work the Layer 3 rows with fuchsia-lined clear AB and complete the right-angle-weave units with dark red coral bicones. Note: For this square, use frosted lavender size 11°s instead of matte aqua for the base between the layered square and hot pink base.

square 3: Work Layer 1 with fuchsia-lined clear AB. For Layer 2, work Columns 1 and 6 with white-lined lime and Columns 2–5 with frosted lavender; complete the right-angle-weave units with white-lined lime. Work the Layer 3 rows with matte aqua and the right-angle-weave units with light Siam bicones.

square 4: Work Layer 1 with frosted lav-ender. For Layer 2, work Columns 1 and 6 with fuchsia-lined clear AB and Columns 2–5 with matte aqua; complete the right-angle-weave units with fuchsia-lined clear AB. Work the Layer 3 rows with frosted lime and the right-angle-weave units with amethyst bicones.

square 5: Work Layer 1 with fuchsia-lined clear AB. For Layer 2, work Columns 1 and 6 with hot pink and

Columns 2–5 with frosted lime; complete the right-angle-weave units with hot pink. Work Layer 3 rows with frosted lavender and the right-angle-weave units with zircon bicones.

square 6: Work Layer 1 with matte aqua. For Layer 2, work Columns 1 and 6 with fuchsia-lined clear AB and Columns 2–5 with frosted lav-ender; complete the right-angle-weave units with fuchsia-lined clear AB. Work Layer 3 rows with frosted lime and the right-angle-weave units with light amethyst bicones. Note: For this square, use frosted lavender size 11°s instead of matte aqua for the base between the lay-ered square and hot pink base.

5) braCElEt assEmbly. Use 10" of elastic cord to string 1 light Siam bicone, 1 rondelle, and 1 light Siam bicone. Place a wide-eye needle at the end of the elastic and pass

through the side of one square in the space between the second and third white-lined lime size 11°s that join the bases. Exit between the cor-responding beads on the opposite side. Remove the wide-eye needle. Repeat entire step five times to con-nect all 6 squares.Repeat entire step, passing through the square between the sixth and sev-enth white-lined lime size 11°s that join the bases.Tie the ends of the first cord together using a tight overhand knot as close to the beads as possible; repeat using the second elastic. Secure the knot with a drop of cement and allow to dry. Use tweezers to push the knots into the squares’ interiors. F

MaRcia decoSteR is a bead artist, bead-weaving instructor, and author of Marcia DeCoster’s Beaded Opulence: Elegant Jewelry Projects with Right-Angle Weave (Lark Books, 2009). She lives in San Diego and con-siders her job perfect: sharing her knowledge with others, meeting interesting beaders, and playing with beads. Visit Marcia’s website, www.marciadecoster.com, or read her blog at www.maddesignsbeads.blogspot.com.

ReSouRceSCheck your local bead shop or contact: Seed beads and Swarovski crystals: Out On A Whim, (800) 232-3111, www.whim beads.com. Rondelles: York Novelty Imports, (800) 223-6676, www.yorkbeads .com. Stretch Magic elastic cord and G-S Hypo jewelry cement: Michaels, (800) 642-4235, www.michaels.com.

a r t i s t ’ s t i p s• You may find it helpful to use

a short (also called a sharp) needle when working the top layers of the squares.

• As configured here, this bracelet fits a small wrist. You can adjust the size by chang-ing the size and/or quantity of the accent beads strung be-tween the squares. For a large wrist, you might also want to make a seventh square.

e d i t o r ’ s t i pInstead of finishing the bracelet with elastic cord, use .018 or .019 beading wire, crimping pliers, and 2mm crimp tubes to secure the beads to a 2-strand clasp.


page 8


antique connections cuff

m e l i n d a b a rta

project

techniques:: ladder stitch:: circular square stitch


With a nod to art deco, this attention-grabbing cuff boldly mixes unique brass findings with lustrous seed

beads and pearls using circular square stitch and ladder stitch. Snaps are hidden inside a custom clasp

for a clean finish.


page 9


1) sEEd-bEad ConnECtor basE. Work the base of the connectors using seed beads and circular square stitch:round 1: Use 18" of conditioned size B

thread to string 8A. Tie a knot to form a tight circle. Pass through the first bead strung.

round 2: String 2A; pass through the last bead exited and the 2 just strung. String 2 beads and pass through the next bead in the previ-ous round and the 2 beads just strung (Fig. 1); repeat around for a total of 16A. Pass through all of the beads in this round.

round 3: Work 2 stitches with 1A in each, then work 1 stitch with 2A. Repeat four times for a total of 20A. Work the last stitch with 2A (Fig. 2).

Pass through all the beads and check that a bead cap will fit inside of this round before pulling too tight. The beadwork will slightly cup. Secure the thread but do not trim; set aside.

Repeat entire step twice for a total of 3 circles.Joining: Use the thread of one circle to

square-stitch 2A of Round 3 to 2A of a second circle’s Round 3 (Fig. 3a); secure the thread and trim. Weave the thread of the circle just added

through beads to exit the bottom center A of Round 3. Square-stitch the bottom 2A of this circle to 2A of the final circle’s Round 3 (Fig. 3b).

Secure and trim the working thread and the thread of the final circle.

2) round 4 (outlinE). Square-stitch contrasting seed beads (B) around the 3 circles of the connector base:top: Secure 3' of thread that exits the

right side of the middle circle’s 2A that connect to the top circle. String 1B; pass through the next 1A of the top circle and the 1B just strung. Repeat around the edge of the top circle, stitching 1B or 2B as necessary to keep the work flat (Fig. 4 and Fig 5a).

middle (first half): Pass through the 4A that join the top and middle circles

in a counterclockwise direction to set up for the next outline. Square-stitch the last 1B added to the near-est 1A of the middle circle. Repeat around as before (Fig. 5b) until you reach the connection of the middle and bottom circles.

bottom: Repeat as for the first half of the middle, but this time continue stitching all the way around the circle. When you reach the next connection point, pass through the 4A that join the bottom 2 circles,

Fig. 1: Beginning Round 2

Fig. 2: Working Round 3’s final stitch with 2A

Fig. 3: Connecting the circles

a

b

Fig. 4: Starting the outline

Materials12 g white-lined dark green teal size 11°

seed beads (a)

5 g transparent dark amber gold luster size 11° seed beads (b)

12 gold-lined teal size 6° seed beads (c)

240 bronze 2mm seed pearls

5 antique brass 13×48mm filigree con-nectors

15 antique brass 9mm bead caps

brown sizes o and b nylon and smoke 6 lb braided beading threads

3 metal 8mm snap sets

thread conditioner

toolssize 12 beading needles

scissors

FiniShEd SiZE: 17⁄ 8" × 67⁄ 8"

Fig. 5: Starting to outline the middle circle

a

b


page 10


once again in a counterclockwise direction (Fig. 6). Square-stitch the last 1B added to the nearest 1A of the middle circle.

middle (second half): Continue stitching around to complete the outline, passing through the 4A that join the top 2 circles as before to secure the connection.

3) bEad CaPs. Embellish each circle of the seed-bead connector base with bead caps and seed beads:Caps: Use 2' of braided beading thread

to string 1C; tie several knots to secure. Pass up through the center of a circle. String 1 bead cap (back side first) and 1B; pass back through the bead cap, circle, and the 1C (Fig. 7).

Pull the thread tight so that the bead cap fits snugly in the circle (Round 3 will cup around the cap’s edges). holding the cap in place, repeat the thread path several times. Secure the thread and trim.

Repeat entire step twice to embellish the 2 remaining circles.Repeat Steps 1–3 three times for a total of 4 bead-cap embellished seed-bead connectors.

4) ClasP. Make additional seed-bead connectors for a concealed clasp:top half: Repeat Steps 1 and 2. Repeat

Step 3 using size B thread and omit-ting the 1C, stitching into Round 1 when securing the bead caps. Stitch the male half of 1 snap to the back of each circle, passing through Round 2 when securing the 4 holes of the snaps. Repeat the thread paths several times.

bottom half: Repeat Steps 1 and 2. Repeat Step 3 using size B thread and the female half of the snaps instead of the bead caps, omitting the C and stitching into Rounds 2 and 3 when securing the 4 holes of the snap. Repeat the thread paths several times.

5) assEmbly. Join the seed-bead and brass filigree connectors using strips of embellished ladder stitch:ladder-stitched loop: Start 2' of condi-

tioned size B thread that exits near the top right of a seed-bead connec-tor, 7B up from the 2A that join the top and middle circles. Ladder-stitch a strip 1B high and 6B long (Fig. 8). Pass the needle and beads

through the top-left opening in 1 fil-igree connector. Ladder-stitch the last 1B of the strip to the last 1B exited on the seed-bead connector to form a loop.

Pearl embellishment: Exit 1B of the con-nection; string 1 pearl and pass through the next 1B from the same side of the strip. Repeat around the loop twice in a zigzag pattern to add a total of 12 pearls (Fig. 9).

Use the same method to attach the bottom right of the seed-bead con-nector to the bottom left of the fili-gree connector.Repeat entire step to join the remain-ing seed-bead and filigree connectors, attaching one half of the clasp at each end and making sure the clasp snaps face each other. Secure the threads and trim. F

MeliNda baRta is editor of Beadwork magazine. She is the author of the best-selling books Custom Cool Jewelry (Inter-weave, 2008) and Hip to Stitch (Interweave, 2005) and coauthor of Mixed Metals (Inter-weave, 2009). Visit www.melindabarta.com.

rEsourCEsCheck your local bead shop or contact: Teal seed beads: Luna’s Beads & Glass, (970) 668-8001, www.lunasbeads.com. Gold seed beads and FireLine braided beading thread: FusionBeads.com, (888) 781-3559. Connectors and bead caps: Kabela Design, (610) 459-5816, www .kabela design.com. Snaps: Jo-Ann Fabric and Craft Stores, (888) 739-4120, www .joann.com. Seed pearls: TA Pearlstone, (415) 505-9148, www.tapearlstone.com.

a r t i s t ’ s t i pSwitch to the size O thread and a size 13 needle if you find it hard to pass through beads at any time. Otherwise, you may accidentally force the beads to break.

Fig. 7: Attaching a bead cap

Fig. 8: Forming the ladder-stitched loop

Fig. 9: Embellishing the loop with pearls

Fig. 6: Completing the bottom circle’s outline


page 11


retro ruffles cuffr a c h e l n e l s o n - s m i t h

project

techniques:: ladder stitch:: brick stitch


This brick-stitched bracelet design was inspired by the oval braided rugs Rachel remembers

in the home of a childhood friend. Personalize yours by varying the ruffle pattern and adding

a special button.


page 12


1) basE. Ladder-stitch the bracelet’s center, then add the button/loop clasp:Center: Leaving a 6" tail, use 4' of dou-

bled thread and d to work a ladder-stitched strip long enough to fit comfortably around your wrist plus 10d. don’t trim the working thread.

button: Place a needle on the tail thread and, if needed, weave through beads to exit the end d. String 3A, the but-ton, and 3A; pass through the end d again (Fig. 1). Repeat the thread path several times to reinforce. Secure the tail thread and trim.

loop: Exit the working thread through the final d of the center strip. Pass through the eleventh-to-last d, the tenth-to-last d, and the final d to form a loop for the button (Fig. 2).

Note: Check that the loop fits snugly around the button; if not, add or remove d before closing the loop. Secure the thread and trim.

2) body. Use C to work brick stitch off the base:row 1: Start 6' of doubled thread that

exits from the end d near the but-ton. String 2C; pass under the exposed thread loop between the next 2d and pass back through the second C just added. String 1C; pass under the exposed thread loop between the next 2d and pass back through the C just added (Fig. 3); repeat to work brick stitch down the first edge of the ladder- stitched strip, around the loop, and

back down the other edge of the ladder-stitched strip. Note: The C and d differ in size so, in order to avoid gaps, you will need to occa-sionally work two stitches into the same exposed thread loop.

row 2: String 2C; pass under the exposed thread loop between the final 2 beads of the previous row and pass back through the second C just added (Fig. 4). String 1C; pass under

the exposed thread loop between the next 2 beads of the previous row and pass back through the C just added; repeat to work brick stitch along all of Row 1. Form the last stitch by stringing 1C; pass under the exposed thread loop between the first 2 beads of the previous row a second time and pass back through the C just added (Fig. 5a). Note: The beginning and end of this row make a row-end increase, angling the bracelet’s end.

row 3: Repeat Row 2 (Fig. 5b).

row 4: Repeat Row 2, this time using A. Note: The A and B differ in size so, in order to avoid gaps, you will need

to occasionally work 2 stitches into the same exposed thread loop. To keep the beadwork as flat as pos-sible, avoid adding too many As.

row 5: Repeat Row 2, this time alter-nating 1B and 1A. ideally, the last bead added in the row will be a B.

row 6: Repeat Row 2 in a 1B/1B/1A/1A pattern until you reach the loop. Use A to work brick stitch around the loop, then continue the 1B/1B/1A/1A pattern down the other edge of the bracelet’s body (Fig. 6). Note: Before resuming the

pattern after working the loop, check the pattern so that when you form the stitches, the colors are symmetrical with the first edge.

Fig. 1: Attaching the clasp button

Fig. 2: Forming the clasp loop

Fig. 3: Brick-stitching Row 1

Fig. 4: Brick-stitching Row 2

Fig. 5: Working the row-end increase for Row 3

a

b

Fig. 6: Working Row 6 on both edges and around the loop

Materials10 g matte opaque aqua size 11°

Japanese seed beads (a)

10 g bronze metallic size 11° Japanese seed beads (b)

7 g bronze metallic size 8° round Japanese seed beads (c)

50–60 matte dark gray size 6° Japanese seed beads (d)

toolsscissors

2 size 12 beading needles

thread burner (optional)

FiniShEd SiZE: 71⁄4"


page 13


3) ruFFlE. Work patterned, brick-stitched rows back and forth on one edge of the bracelet body to form a ruffle:row 7 (increase): String 2B; pass under

the exposed thread loop between the final 2 beads of the previous row and back through the second B just added. String 1B; pass under the same exposed thread loop of the previous row and pass back through the B just added to form a mid-row increase. String 1B; pass under the exposed thread loop between the next 2 beads of the previous row and back through the B just added (Fig. 7). String 1A; pass

under the exposed thread loop of the next 2 beads of the previous row and back through the A just added. Continue increasing with brick stitches along the edge in the same manner, repeating the 1B/1B/1B/1B/1A pattern until you reach the solid As in Row 7 where the loop starts. Note: depending on your band length, the final beads may not be 2B; instead, choose the bead needed to maintain the 1B/1B/1B/1B/1A pattern. notice that the 4B added side by side in this row are centered over the Bs added in Rows 5 and 6 and are beginning to form a wedge shape.

row 8: String 1A and 1B; pass under the exposed thread loop between

the final 2 beads of the previous row and back through the 1B just added to form an end-row increase (Fig. 8). String 1B; pass under the

next exposed thread loop of the previous row and back through the B just added. Repeat to work another stitch with 1B. Continue to work brick stitch down the edge in a 1A/1A/1B/1B/1B pattern. Note: notice that the 3B added side by side in this row are centered over the 4B added in Row 7 and are con-tinuing to form the wedge shape. if you find this is not true after work-ing the first few stitches of this row, it means you altered the pattern at the end of Row 7 and need to remove beads to readjust your starting pattern.Work the end-row increase as be-fore: form the last stitch by stringing the 1B or 1A that fulfills the pattern (depending on your band length), passing under the exposed thread loop between the first 2 beads of the previous row, and passing back through the last bead added.

row 9: Repeat Row 8 in a 1A/1B/1B/1B/1B pattern, making sure the Bs added side by side in this row and the following rows are centered over the Bs of the previous rows.

row 10 (increase): Repeat Row 7, this time creating a pattern with 1A/1A/1B/1B/1B/1B.

row 11: Repeat Row 8, this time start-ing with 1B and 1A and continuing

the row with a 1B/1B/1B/1B/1B/1A pattern. Secure the thread and trim.

Start a new thread at the end of Row 6 on the other edge of the bracelet. Re-peat Rows 7–11 to form the second ruf-fle in a mirrored pattern. Secure the thread and trim. F

Rachel NelSoN-SMith designs beadwo-ven and wireworked jewelry with the jewelry-making enthusiast in mind. She continues to teach and discuss her work at speaking engagements around the United States and provides kits and materials on her website. Learn to fuse beadweaving and wirework with the exciting projects in her book, Seed Bead Fusion: 18 Projects to Stitch, Wire, and String (Interweave, 2009).

Fig. 8: Starting Row 8

ReSouRceSCheck your local bead shop or contact: FireLine braided beading thread or Silamide nylon beading thread: FusionBeads.com, (888) 781-3559. Kits with beads and all other findings: Rachel Nelson-Smith, (831) 427-1227, www .rachelnelsonsmith.com.

Fig. 7: Working an increase in Row 7

a r t i s t ’ s t i p s• As you brick-stitch beads to the

thread of a previous row, note that every exposed thread loop should have a stitch. The only ex-ception is the curve between the straight edges and clasp loop; you may need to skip a loop here to avoid unwanted ruffling.

• Bead widths vary, even within the same size. Keep this in mind as you brick-stitch the beads. The illustrations will help as a suggestion for placement, but chances are you will need to se-lect your bead placement to fit your particular bead choices.

• Shape the beadwork by using your fingers to pull the B of the ruffle forward and the A away from you.


page 14


1) basE. Form the bracelet’s base using odd-count peyote stitch:rows 1 and 2: Use 6' of thread to string 2B,

1C, 2B, 1C, and 2B, leaving a 4" tail. row 3: String 2B; pass back through the

nearest C of Row 2; repeat. String 2B; pass through the first 2B of Row 1 (Fig. 1).

row 4: String 1C and pass through the next 2B; repeat once.

row 5: String 2B and pass through the next 1C; repeat once. String 2B, loop around the exposed edge thread between the previous two rows, and pass back through the 2B just added (Fig. 2).

rows 6–119: Repeat Rows 4 and 5 fifty-seven times. Note: if you need to shorten or lengthen the bracelet, just add or subtract rows, but be sure to end with a row identical to Row 5. Secure the thread and trim.

2) layEr 1. Use cubes to form the first layer of right-angle-weave embellishment:unit 1: Start 4' of new thread that exits the

first C of Row 2. String 1C; pass through the nearest C of Row 4; string 1C; pass through the C of Row 2 last exited, the first C just added, and the nearest C of Row 4 (Fig. 3).

units 2–58: Continue using C to work right-angle-weave units off the base C down the left side of the bracelet.

techniques:: peyote stitch:: right-angle weave:: picot:: square stitch


project

metallic ribbon braceletv e n e t i a p e r ry

This classic bracelet can go casual or dressy. The tumbled appearance of the metallic cornerless cubes provides an attractive contrast to the perfect symmetry of the matte hex beads.

Fig. 1: Stepping up for Row 3

Fig. 2: Working Rows 4 and 5

Fig. 3: Stitching Unit 1, Layer 1

BeFORe COMMITTING TO AN eNTIRe

BRACeLeT, TeST DIFFeReNT COLORWAYS BY STITCHING SeVeRAL

SMALL SAMPLeS.

a r t i s t ’ s t i pFor a different look, make 1-inch sections and join them together with jump rings.


page 15


units 59–116: Weave through beads to exit the nearest C on the other side of the bracelet. Use C to work right-angle-weave units down the right side of the bracelet as before. Exit toward the end of the bracelet from the last C added.

3) layEr 2. Use seed beads to form the second layer of right-angle-weave embellishment:unit 1: String 1A; pass up through the

nearest C from Layer 1’s Unit 116. String 1A; pass down through the first C exited. Pass through the first A just added and up through the next C of Unit 116 to complete a new right-angle-weave unit (Fig. 4a).

unit 2: String 1A; pass down through the nearest C in Layer 1’s Unit 1. String 1A; pass up through the first C exited. Pass through the first A just added and down through the next C of Unit 1.

unit 3: String 1A; pass up through the first C of Layer 1, Unit 1. String 1A; pass down through the second C of Unit 1. Pass through the first A just added, up through the first C of Unit 1, through the second A just added, and up through the nearest C of Layer 1, Unit 2 (Fig. 4b).

unit 4: String 1A; pass down through the second C of Layer 1, Unit 2; the nearest A from Layer 2, Unit 3; and up through the first C exited in this unit (Fig. 5a).

unit 5: String 1A; pass down through the nearest C of Layer 1, Unit 115; the nearest A from Unit 2, Layer 2; the first C exited in this unit; the A just added; and down through the nearest C of Layer 1, Unit 115; the second A added in Layer 2, Unit 1;

and up through the nearest C from Layer 1, Unit 115 (Fig. 5b).

unit 6: String 1A; pass down through the nearest C from Layer 1, Unit 115; the second A added in Layer 2, Unit 1; up through the nearest C from Layer 1, Unit 115; the A just added; and the nearest C from Layer 1, Unit 114 (Fig. 5c).

Continue adding A and working units off the C of Layer 1, maintaining the figure-eight right-angle-weave thread path with each stitch. Secure the thread and trim.

4) Finishing. Add a picot edging along the outside edges of the brace-let and the clasp: Picot edging: Start 6' of new thread that

exits out through a corner B. String 3A, pass down through the next 2B stack, and up through the following 2B stack (Fig. 6); repeat down the edge of the bracelet. On the final stitch, pass down through 2B at the end of the bracelet.

socket: String 1A and pass through the next 2B at the end of the bracelet; repeat. Weave through beads to exit from the nearest A of Layer 2 at the end of the bracelet. Pass through the second A added in this section and the A just exited to square-stitch the beads together (Fig. 7). *String 3A, the socket half of the clasp, and 3A; pass through the mir-rored A of Layer 2 on the other side of the bracelet. Square-stitch this A

to the first A added in this section, exiting through the first A added. Repeat from * to add a second loop of beads through the same clasp half (Fig. 8). Repeat thread path sev-eral times to reinforce.

Picot edging, second side: Exit from the corner B at the other edge of the bracelet. Repeat the picot edging to mirror the first side.

ball: Repeat the socket thread path to add the ball half of the clasp. Secure the thread and trim. F

VeNetia PeRRy uses bead therapy to unwind from her busy health-care job. Her work may be viewed at www.jdnative.etsy.com.

Fig. 4: Working Units 1–3 of Layer 2 embellishments

a

b

Fig. 5: Working Units 4–6 of Layer 2 embellishments

a

b

c

Materials3 g metallic dark bronze size 11° seed

beads (a)10 g matte dark bronze size 8° hex

beads (b)240 brass 2.5×2.2mm cornerless cubes (c)1 antique brass 10mm ball-and-socket

clasp with attached 5mm jump rings smoke 6 lb braided beading thread

toolssize 12 beading needlescissors

FiniShEd SiZE: 73⁄ 8"

Fig. 6: Adding the picot edging

Fig. 7: Setting up to add the clasp loop

Fig. 8: Completing the clasp loop

ReSouRceSCheck your local bead shop or contact: Cornerless cubes: Hands of the Hills, (206) 232-4588, www.hohbead.com. Clasp: Jane’s Fiber & Beads, (888) 497-2665, www.janes fiberandbeads.com. FireLine braided beading thread: Beyond Beadery, (800) 840-5548, www.beyondbeadery.com.


page 16


fire flower braceletc a r o l e o h l

project

techniques:: fringe:: peyote stitch


Make separate flower components and link them together to form this pretty bracelet. Experiment with color to turn the flowers from sunflowers to daisies or asters.

detail The back of the bracelet.


page 17


1) FlowErs. Weave flower compo-nents:base: Place a tension bead at the end of

6' of thread. String one 8mm round and 10B; pass through the 8mm round. String 10B, allowing the seed beads to lie on the opposite side of the 8mm round. Pass through the 8mm round and the first set of 10B. Remove the tension bead and tie a square knot with the working and tail threads (Fig. 1–blue thread). Pass through the 8mm round and all the Bs, pulling them into a tight circle. Exit the third B away from the 8mm round’s holes (Fig. 1–red thread).

Petals: String 1E (small end first) and 1A, then pass back through the E and through the next 2B of the base round; repeat around the base to add a total of 10 teardrop fringes. Exit from the first base B after the final fringe (Fig. 2).

back center (pearl fringe): String 1C and 1A, pass back through the C, and through the next 2 base Bs (Fig. 3); repeat around the base to add a total of 10 pearl fringes. Weave through beads to exit through the first A added in this round.

String 1B and pass through the A at the tip of the next pearl fringe; re-peat around to connect all the pearl fringes into a circle (Fig. 4). Pull tight

with each stitch so the beads snug around the 8mm round. Repeat the thread path to reinforce. Weave through beads to exit 1B of the base round.

Front center: String 1B, skip the next base B, and pass through the fol-lowing one; repeat around to work peyote stitch around the base. Step up through the first B added in this round. Work a second round of peyote stitch, this time using 1A in each

stitch (Fig. 5). Using firm tension, repeat the thread path to reinforce. Weave through the beadwork to exit 1A at the tip of a petal.

outer ring: String 2A, 1d, and 2A, then pass through the 1A at the tip of the next petal, pulling snug; repeat around to connect all the petal tips (Fig. 6). Repeat the thread path at

Materials2 g bronze size 14° Japanese seed

beads (a)3 g matte green bronze iris size 11°

Japanese seed beads (b)74 bronze 3mm crystal pearl rounds (c)60 siam 3mm crystal bicones (d)60 dark topaz 5×7mm pressed-glass

teardrops (e)6 siam or garnet 8mm crystal rounds1 antique brass 9mm ball-and-socket

claspsmoke 6 lb braided beading thread



Fig. 1: Forming the base

Fig. 2: Adding the petal fringe

Fig. 3: Adding pearls to the back of the flower

Fig. 4: Connecting the pearl fringe

Fig. 5: Peyote-stitching the front

Fig. 6: Adding the outer ring

e d i t o r ’ s t i pFeel free to use glass 3mm rounds in place of the crystal pearls. Since these beads are hidden by the petals, this is one place you can easily make some penny-saving substitutions.


page 18


least twice more to reinforce and pull the flower into a dome shape, down over the round of pearls. Exit between the first 2A added in this section. Set aside.

Repeat entire step five more times for a total of 6 flowers.

2) FlowEr Chain. Use the working thread of 1 flower to string 1C; pass through the second A added in the outer ring of a second flower and the nearest 2A. String 1C; pass through the third A added in the outer ring of the first flower, toward the center. Repeat the thread path at least twice to reinforce, connecting the 2 flowers (Fig. 7a). Secure the thread and trim, or, if the thread is long enough, weave through beads to exit from the outer ring of the second flower, directly opposite the connection just formed. Repeat this step to join each flower.

3) ClasP. Weave the working thread of an end flower to exit directly oppo-site the last connection. String 1C, 1B, and one half of the clasp; pass back through the B. String 1C; pass through the middle 3A at the end of the final

flower (Fig. 7b). Repeat the thread path to reinforce. Secure the thread and trim. Repeat this step at the other end of the bracelet. F

caRole ohl lives in Dayton, Ohio, where she has been a freelance graphic designer for more than thirty years. She teaches her designs at her local bead store, The Bead Cage, in Kettering, Ohio, and sells many of her design patterns online at www.bead-patterns.com. Contact Carole at [email protected].

a

b

Fig. 7: Connecting two flowers and the clasp

ReSouRceSCheck your local bead shop or contact: Teardrops: Shipwreck Beads, (800) 950-4232, www.shipwreckbeads.com. Seed beads: Charlene’s Beads, (760) 530-9436, www.cbbeads.com. FireLine braided beading thread and Swarovski crystal pearls and bicones: Fire Mountain Gems and Beads, (800) 423-2319, www .firemountaingems.com.

a r t i s t ’ s t i p s• To get a teardrop to sit

flush to the circle of seed beads, pull on the size 14° at the tip of the petal with one hand as you pull your working thread with the other hand, just after adding the teardrop.

• The more passes of thread you can make in the outer circle, the more stable the flower will be. Keep in mind, however, you will still need to be able to stitch through those beads when assem-bling the components.

• Use one flower to create a pendant to complement your bracelet.

option

For a darker bracelet, make the flowers with iridescent

bronze teardrops, Pacific opal 8mm rounds, olive seed

beads, and jonquil AB bicones.


page 19


ribbon blossom broocha r l e n e b a k e r

project

techniques:: two-needle right-

angle weave:: wireworking


Grande dames of the Gilded Age flaunted significant jewelry such as this striking brooch.

You’ll reap compliments as your reward for choosing to wear such a sophisticated

feminine accessory.

• You may substitute size 10° or 11° seed beads for the size 9° beads used here. Increase the number of As used in each unit of the band as needed to completely cover the wire.

• When passing the wire back and forth through the filigree, you can help avoid kinks by inserting a toothpick under the wire when it’s nearly through the opening. Pull the wire over the toothpick, remove the toothpick, and give the wire a quick, sharp tug when you make the final pull.

a r t i s t ’ s t i p s


page 20


1) daP. Place 1 disc facedown on a similarly sized indentation on the dap-ping block. Place the curved end of the dapping peg against the disc’s center and gently hammer the peg to evenly curve the filigree into a domed shape.

2) bands. Use two-needle right-angle weave to form a band of wire and beads:unit 1: Use 27" of 30-gauge wire to

string 10A and slide the beads to the center of the wire. Use one wire to string 1B, 1A, and 1B and cross the other wire back through the beads; pull tight. Use your fingers to pinch the initial 10A to form a point above the 1B/1A/1B (Fig. 1).

unit 2: Use each wire end to string 3A. Use one wire to string 1B, 1A, and 1B and cross the other wire back through the 1B/1A/1B; pull tight. Manipulate the beads so the Bs are centered and the As form a neat bor-der on each side of the unit (Fig. 2).

units 3–9: Repeat Unit 2 seven times to form a band. Use the wire straight-ener on the working wires between units as necessary.

End: Use each wire to string 5A and slide them down the wires to touch Unit 9. hold the beads in place, cross the wires close to the beads, and tightly twist the 2 wires together twice (Fig. 3a).

loop: Pass one wire through the end point above Unit 1. Adjust the wire so it’s wedged between the 2A that form the end point and gently pull until both end points meet. hold the points together, cross the wires close to the beads, and tightly twist four times (Fig. 3b). don’t trim the wire ends; set aside.

Repeat entire step six times for a total of 7 bands.

3) FiligrEE ConnECtion. Pair the wire ends of one band and pass them down through the front (convex side) of the dapped disc through any hole in the filigree marked in blue on Fig. 4.

Pull the wires so the band’s end points rest against the disc. hold the band in place and pass both wire ends up through the disc’s center hole. Press the wire flat against the back of the filigree.Separate the wire ends. Push the right wire down through an opening imme-diately to the right of the hole marked in blue; push the left wire down through an opening immediately to the left of the hole marked in blue. Pull the wires tight (Fig. 5). Cross one wire over the other close to the back of the disc and tightly twist for ½"; trim to ¼". Press the trimmed wires

flat against the back of the disc, pointing toward the center.Repeat entire step to add each band to the filigree disc, passing each through a different hole marked in blue; set aside. Note: Since there is an odd number of bands and an even number of filigree holes on the disc, it will be necessary to pass down through some of the openings in the filigree twice.

4) Knot. Form the brooch’s centerpiece:wire: Cut five 14" pieces of 28-gauge

wire. Form an overhand knot at the end of each wire.

strands: Use one wire to string 4" of A, knot the wire end, and set aside; repeat with the remaining wires.

twists: Lay the 5 beaded wires side by side. Slide the beads to the center of the wire. Twist the bare wires together for ½" on one side of the beads, making the twist loose enough so it can be untwisted later, but tight enough so the beads stay in place. Turn the strands over so the beads slide toward the twisted wires. Straighten the strands so they don’t cross each other. hold the bare wires between the beads and knots and

Fig. 4: Filigree connection points

Fig. 5: Connecting a band to the dapped filigree

Fig. 1: Completing Unit 1

Fig. 2: Finishing Unit 2

Materials5 g gray size 9° 3-cut seed beads (a)126 hematite 5mm fire-polished rounds

(b)2 silver 34mm flat filigree discs with

center hole1 silver 32mm pin back with 2 holes18' of silver 30-gauge craft wire11' of silver 28-gauge craft wire

toolsWooden dapping blockWooden dapping peghammer Wire cuttersWire straightenerschain-nose plierstoothpick

FiniShEd SiZE: 21⁄ 2"

b aFig. 3: Forming

the band into a loop


page 21


gently twist the bare wires together for ½", leaving a 2-bead slack between the beads and this section of twists. Note: The slack ensures no beads will break when tying the knot. Again, these wires must be untwisted later, so tighten only enough to secure the beads in place. Smooth and straighten the strands so they lie side by side. Trim just the knots off the wire ends close to where they were made, leaving about 4" of bare wire on each side of the beads (Fig. 6).

Knot: Treating the 5 strands as one, use both hands to tie an overhand knot. Keep the strands side by side as you gently tighten the knot, first pulling one end and then the other to achieve a pleasing size and shape. Use a toothpick to adjust and round the strands as necessary.

Finish: Carefully untwist the wires com-ing out of the underside of the knot and remove any extra beads that extend beyond the knot’s edge. hold the beads that remain on the wires securely in place and retwist the wires tightly together for ½"; trim to ¼". Tuck the trimmed wires underneath the knot. Gently fold the wires at the top of the knot over the knot’s edge so the final twist will be concealed under the knot, keeping the strands smooth, curved, and close to one another to avoid distorting the shape of the knot. Carefully untwist the wires and remove any extra beads that extend beyond the knot’s center. hold the remaining beads in place while retwisting the wires tightly together for ½"; trim to ¼". Press the trimmed wires flat

against the bottom of the knot. Gently readjust the knot, using a toothpick to shape the strands.

5) CEntEr. Cut two 11" lengths of 30-gauge wire. Slide one wire so it crosses through the bottom center of the knot, catching as many of the beaded strands as possible without distorting the beadwork. Pull the wire through the knot until both ends are of even length. Cross the other wire through the bottom cen-ter of the knot in a similar fashion so the 2 wires are perpendicular.Pass the 4 wire ends down through the dapped disc so the wires are evenly spaced and pass through the openings in the filigree that surround the center hole (Fig. 7). Pull the wires

down until the knot nestles in the center of the bands. hold the knot in place and twist together the ends of the first wire for ½"; trim to ¼". Press the trimmed wires flat against the back of the disc, pointing toward the center. Repeat with the second wire.

6) Pin baCK. Cut two 8" pieces of 28-gauge wire. Fold each wire in half. Open the pin back and place it on the front of the flat disc to the right of the center hole, toward the upper edge, with the catch on the left side. Align the pin-back holes with filigree holes. Pass the ends of one wire up through the disc from back to front, through one set of corresponding filigree holes; continue up through the matching holes on one end of the pin back. Repeat for the other wire and other end of the pin back. Even the wires and pull tight. Open each pair of wires and press them down flat against the pin bar.

Pass the top right wire down through the filigree, next to the clasp, and pass the bottom right wire down through the filigree, next to the clasp; pull the wire tight (Fig. 8). Cross the wires close to

the back of the disc and tightly twist for ½"; trim to ¼". Press the trimmed wires flat against the back of the disc. Repeat with the left wires.

7) Finishing. Cut four 2" pieces of 28-gauge wire. Fold the wire in half. Line up the 2 discs with wrong sides together. Choose four equidistant points around the edge of the discs. At one of those points, pass the ends of one wire through the flat and dapped discs. Pull tight so the wire is flat against the flat disc. Cross the wires close to the dapped disc and tightly twist for ½"; trim to slightly less than ¼". Press the trimmed wires flat against the front of the dapped disc. Repeat to connect the flat and dapped discs at the remain-ing points, taking care to keep the discs evenly aligned (Fig. 9). FaRleNe bakeR is a needlework and bead artist, designer, teacher, and longtime contributor to Beadwork. She is the author of Beads in Bloom (Interweave, 2001).

Fig. 7: Connecting the center knot

Fig. 8: Attaching the pin back

Fig. 6: Twist-ing strands into position for creating the knot

Fig. 9: Connecting the flat and dapped discs

ReSouRceSCheck your local bead shop or contact: All beads and findings: Arlene Baker, [email protected], (562) 928-3583. Beads, wire, and pin back: Shipwreck Beads, (800) 950-4232, www .shipwreckbeads.com. Similar filigrees: Vintaj Natural Brass Co. (wholesale only), www .vintaj.com, or Ornamentea, (919) 834-6260, www.ornamentea.com.


page 22


1) layEr 1. Keeping relatively loose thread tension, use 4' of thread and a variation of right-angle weave to work loops of seed beads into a fan shape:loop 1: String 10C; pass through the

first C again to form a circle, leaving a 6" tail. Tie a knot between beads and pass through the next 2C.

loop 2: String 2A, 1C, 2A, 3C, 1B, 1C, and 1B; pass through the second C just added to form a loop (Fig. 1).

loops 3 and 4: String 3A, 1C, 3A, 1C, 1B, 1C, 1B, and 2C; pass through the second C just added to form a loop. String 2A, 1C, and 2A; pass through the last C exited in Loop 1 and the next 2C in Loop 1 (Fig. 2).

loops 5 and 6: String 2A, 1C, 2A, 1C, 1B, 3C, and 1B; pass through the sec-ond C just added to form a loop. String {2A and 1C} three times. String 2A; pass through the fourth C in Loop 2. String 2A; pass through the nearest C in Loop 4. String 2A; pass through the last C in Loop 1 exited and the first 2A and 1C added in Loop 6 (Fig. 3).

techniques:: right-angle weave

variation:: fringe


deco lotus earrings

g W e n f i s h e r

project

This design’s beautiful fan shape is achieved using a variation of right-angle weave. Reminiscent of the upright flower

motifs found in both Art Deco and ancient Egyptian lotus designs, these double-layered

earrings are simply gorgeous.

option

1

2

Fig. 1: Adding Loop 2

4

3

2

1

Fig. 2: Working Loops 3 and 4


page 23


Loops 7 and 8: String 2A; pass through the nearest C in Loop 5. String 3A, 1C, 3A, 1C, 1B, 1C, 1B, and 2C; pass through the second C just added. String 2A, 1C, and 2A. Pass through the nearest C in Loop 1 (Fig. 4a). String 2A; pass through the nearest C in Loop 6. Weave around Loop 8 until you exit the bottom C just added (Fig. 4b).

Loop 9 (dangle): String 2A; pass through the bottom right C in Loop 1 (Fig. 5a). String 3A, 1B, 1 size 4°, 1B, 6A (or enough A to reach from the top of the marquis to its hole), 1 marquis, and 6A (or the same number of A

just added); pass back through the last 1B/size 4°/1B to form a fringe. String 3A; pass through the bottom-left C in Loop 1 (Fig. 5b).

Perimeter: Use A to connect the loops, cre-ating the earring’s perimeter: String 2A; pass through the bottom C of Loop 4. String 2A; pass through the bottom 1C/1B/1C of Loop 3. String 5A; pass through the leftmost C of Loop 4. String 5A; pass through the top C of Loop 2. String 3A; pass through the upper-left C of Loop 6, then continue through the next 2A/1C/2A/1C. String 3A; pass through the top C of Loop 5. String 5A; pass through the right-most C of Loop 8. String 5A; pass through the bottom 1C/1B/1C of Loop 7. String 2A; pass through the bottom C of Loop 8 (Fig. 5c).

2) Layer 2. Repeat the entire Step 1 thread path, this time adding only A and passing through the already-placed B and C. Don’t add A to the dangle portion (Fig. 6). Note: Adding this sec-ond layer of A gives the piece dimension and creates a “double outline” around each loop. Balance your tension so the beads sit evenly on the front and back of the earring. Secure the threads and trim.

3) Finishing. Use 1 jump ring to con-nect the top C in Loop 6 to an ear wire.Repeat Steps 1–3 for a second earring. F

Gwen Fisher is a mathematical artist and jewelry designer. She creates innovative beadweaving designs, specializing in beaded beads, and writes patterns for them. See more of Gwen’s beadwork, patterns, and kits at her website beAd Infinitum, www.bead infinitum.com. Contact Gwen at gwenbeads @charter.net.

6 52

4

31 Fig. 3: Adding

Loops 5 and 6

Fig. 4: Stitching Loops 7 and 8

1

4

3

62

8

5

7

a

b

Materials2 g green teal luster size 15° seed

beads (A)3 g chartreuse luster size 15° seed

beads (B)2 g gunmetal size 15° cylinder beads (C)2 g metallic green iris 1.5mm cube

beads (D)8 blue zircon 3mm crystal bicones2 metallic sage 3×4mm potato pearls1 pair of gold-filled ear wires with

3mm ballSmoke 6 lb braided beading thread

toolsSize 12 beading needlesScissorsChain- or flat-nose pliers

FiniSheD Size: 13⁄4"

A r t i S t ’ S t i p S• Work Layer 1 with thread tension

that is reasonably loose to keep the beadwork flexible and to allow enough slack in the thread for the Layer 2 beads to fit nicely. If your tension is too tight, the double out-line will not be balanced on the front and the back.

• To achieve nice smooth curves, choose seed beads that are as uniformly shaped as possible. Avoid cylindrical seed beads and favor those with more oval, rounded profiles.

1

2

3

4

56

7

8

a cb

Fig. 5: Adding Loop 9 and the perimeter

resourcesCheck your local bead shop or contact: Jump rings: Monster Slayer, (505) 598-5322, www.monsterslayer.com. Nymo nylon beading thread and all beads: Naturally Jennifer’s Beads and Gallery, (805) 547-1578, www.naturally jennifer.com.

Fig. 6: Starting Layer 2


page 24


rivoli renaissancel a u r a m cc a b e

project

techniques:: peyote stitch:: netting


The rings that form the centerpiece of this necklace celebrate circles, one of the most basic and most appealing of shapes, while a variation of netting forms the neck strap with triangular

and square shapes.

a r t i s t ’ s t i p s• Swarovski chatons (#1012/1028), crystals with a similar shape but different facets,

may be substituted for the dentelles.

• Having good tension is essential. If you find that your tension is generally loose, use microcrystalline wax; the sticky nature of this wax helps keep thread from retracting once it has been pulled through the beads, thus better maintaining a tight tension.


page 25


1) rings. Work peyote stitch to form a ring:rounds 1 and 2: Use 3' of waxed thread

to string 36A, leaving a 6" tail. round 3: Work flat peyote stitch with 1A

in each stitch, forming a small strip. Pass through an A at the other end of the strip to form a loop (Fig. 1).

round 4: Work tubular peyote stitch with 1C in each stitch. Step up for the next (and each subsequent) round by passing through the first bead added in the current round.

rounds 5– 7: Work tubular peyote stitch with 1E in each stitch to form three rounds. Weave through beads to exit from Round 1.

round 8: Repeat Round 4.rounds 9–11: Work tubular peyote stitch

with 1E in each stitch to form three rounds.

round 12: Work tubular peyote stitch with 1F in each stitch (Fig. 2).

Zip: Pass through the nearest E of Round 7, then the following F of Round 12; repeat around to zip Rounds 7 and 12 together (Fig. 3). Weave in the tail thread and trim, but do not trim the working thread. Set aside.

Repeat entire step twice for a total of 3 rings (these rings will be used in Step 2). Repeat entire step four times, but this

time secure the working thread and trim; set aside (these “open rings” will be used in Step 3). Repeat entire step once more, this time using 1E in place of one of the Fs in Round 12 (this final ring will be used for the clasp in Step 6).

2) bEZElEd dEntEllEs. Embellish 3 rings by adding dentelles and bezel-ing around them:bezel rounds 1 and 2: Weave the working

thread of 1 ring through beads to exit a C of Round 4. Place the dent-elle into the ring, point side down, and work two rounds of tubular peyote stitch with 1C in each stitch. Note: You may find it easier to use a size 15 needle when bezeling.

bezel round 3: Work tubular peyote stitch with 1A in each stitch.

bezel round 4: Work tubular peyote stitch with 1B in each stitch. Tie a half-hitch knot between beads to hold the ten-sion. Weave through beads to exit from Bezel Round 1 (Fig. 4).

Embellishment: String 1G and pass through the next C of Bezel Round 1; repeat around to embellish the bezel (Fig. 5). Secure the thread and trim. Set aside.

Repeat entire step twice for a total of 3 dentelle-embellished rings.

3) CEntErPiECE. Connect all rings: ring 1: Start 4' of new doubled waxed

thread that exits from an F in Round 12 of one of the open rings. Working clockwise, string 1G and pass through the next F in the round; repeat seven times to peyote-stitch a total of 8G.

ring 2: String 1G, 1 bicone, 1F, 1 bicone, and 1G; pass through an F in Round 12 of a dentelle-embellished ring. Working clockwise, string 1G and pass through the next F in the round; repeat four times to peyote-stitch a total of 5G (Fig. 6).

ring 3: String 1G, 1 bicone, 1F, 1 bicone, and 1G; pass through an F in Round 12 of a second open ring. Working clock-wise, string 1G and pass through the next F in the round; repeat four more times to peyote-stitch a total of 5G.

ring 4: String 1G, 1 bicone, 1F, 1 bicone, and 1G; pass through an F in Round 12 of another dentelle-embellished

Fig. 1: Finishing Round 3 by pulling the strip into a ring

Fig. 3: Zipping the side of the ring together

Materials3 g dark bronze size 15º czech char-

lottes (a)3 g light bronze size 15º czech char-

lottes (b)8 g metallic dark plum size 15º Japa-

nese seed beads (c)3 g gilt-lined teal size 15º Japanese

seed beads (d)10 g silver-lined dark topaz size 15º

cylinder beads (e)5 g metallic dark purple size 11º Japa-

nese seed beads (f)5 g gilt-lined teal size 11º Japanese

seed beads (g)34 dark red coral ab2X 3mm crystal

bicones3 aqua unfoiled 48ss (about 11mm)

crystal dentelles smoke 6 lb braided beading threadmicrocrystalline wax

toolsscissorssize 13 and 15 english beading needles


Fig. 2: Working Round 12

1191357

Fig. 4: Weaving through beads after working Bezel Round 4

Fig. 5: Embellishing the bezeled dentelle with G


page 26


ring. Working clockwise, string 1G and pass through the next F in the round; repeat five times to peyote-stitch a total of 5G.

ring 5: Repeat as for Ring 3 using a third open ring.

ring 6: Repeat as for Ring 2 using the final dentelle-embellished ring.

ring 7: String 1G, 1 bicone, 1F, 1 bicone, and 1G; pass through an F in Round 12 of the final open ring. Working clockwise, string 1G and pass through the next F in the round; repeat fifteen times to peyote-stitch a total of 16G (Fig. 7a).

bottoms: String 1G and 1 bicone; pass through the F between Rings 6 and 7. String 1 bicone and 1G; pass through the F in Round 12 two beads below the one last exited in this ring. Working clockwise, string 1G and pass through the next F in the round; repeat eight times to peyote-stitch a total of 9G (Fig. 7b). Repeat this section along the bottoms of the remaining rings, work-ing as many peyote stitches with 1G in each stitch along the edges as required to completely encircle each. Secure the thread and trim.

4) straPs. Use seed beads and modi-fied netting to weave the necklace straps. The edges of the straps are finished differently to cause the bead-work to curve around the neckline:start: Leaving a 12" tail, use 10' of new

waxed thread to string 3C, 1G, 1 bicone, 1F, 1 bicone, 1G, 3C, 1G, and 1 bicone; pass back through the F just added. String 1 bicone, 1G, and 1C; pass through the first 11 beads strung to exit from the sec-ond set of 3C from left to right (Fig. 8).

unit 1: String 1d, 1G, 1E, 1G, 1d, 3C, 1d, and 1G; pass back through the E just added. String 1G and 1d; pass through the 3C along the bot-tom side of the unit, from left to right, then through the first 8 beads added in this unit to exit the 3C from left to right (Fig. 9).

units 2–12: Repeat Unit 1 eleven times or until long enough to form half of the necklace strap. Note: An addi-tional unit on each side of the neck-lace adds ½" to the overall length.

Connector loop: String 1F, 12C, and 1F; pass through the 3C last exited. Repeat the thread path to reinforce. Weave through beads to exit down through a corner d (Fig. 10a).

inside edge: String 1B, 1E, and 1B; pass down through the nearest corner d of the same unit. String 1F; pass down through the nearest corner d of the next unit. Repeat to add beads between the stitches along one side

of the beadwork (Fig. 10b) until you reach the first stitch. Pass through the 3C that separate the first and second stitches and up through the nearest d on the opposite corner.

outside edge: String 1B, 1d, and 2B; pass up through the nearest corner d of the same unit. String 1F; pass up through the near-est corner d of the next unit. Repeat to add beads between the stitches along the side of the beadwork, curving the strap (Fig. 10c). Secure the work-ing thread and trim; don’t trim the tail. Set aside.

Repeat entire step to form a second strap.

Fig. 7: Connecting the bottoms of the rings

a

b

Fig. 8: Starting a necklace strap

Fig. 9: Working Unit 1 of a neck-lace strap

Fig. 6: Connecting the tops of the rings

Fig. 10: Strap loop and edges

a

bc


page 27


5) assEmbly. Work strips of peyote stitch to connect the centerpiece to the strap: strip: Using the 12" tail thread that

exits from the first C at the beginning of one of the straps, work a strip of peyote stitch 2C wide and 28 rows long (Fig. 11).

Picots: String 3B, pass down through the next C along the edge of the strip just made, and up through the next one; repeat down the edge (Fig. 12). Weave through the 3C at the end of the strap and add picots along the opposite edge of the strip in the same manner.

Connection: Pass the peyote-stitched strip through one of the open rings at one end of the centerpiece, then fold it back on itself so the first and last rows touch. Note: Be sure that

the peyote-stitched strip is placed so that it and the centerpiece curve with the neckline. Zip the final and first rows of the strip together to form a loop (Fig. 13).

Repeat entire step to connect the re-maining strap to the other end of the centerpiece.

6) ClasP ring. Weave the working thread of the clasp ring set aside in Step 1 through beads to exit a 1E of Round 12. Work a strip of peyote stitch 2E wide and 20 rows long off the side of the ring. Repeat the picot embellish-ment from Step 5. Pass the strip through the connector loop at the end of one of the straps. Zip together the final and first rows of the strip to form a loop. Secure the thread and trim.

7) bar. Peyote-stitch and embellish the bar half of the clasp:tube: Use 2' of new waxed thread to

peyote-stitch a rectangle 14E wide by 12 rows long; zip the final and first rows together to form a tube.

Edging: Exiting an edge E, string 1B, 1 bicone, and 3C; pass back through the bicone. *String 1B, pass down through the next E at the edge of the tube, and up through the following one. String 1B, pass through the bicone, 3C,

and back through the bicone (Fig. 14). Repeat from * around to seat the bicone in the center of the tube. Repeat edging at the other end of the tube.

Connector: Weave through the tube beads to exit from the sixth bead in a row. String 1E and pass through the eighth bead in the same row. Peyote-stitch a strip off the tube 2E wide and 20 rows long. Repeat the picot embellish-ment from Step 5. Pass the strip through the connection loop at the end of the open strap. Zip the final and first rows of the strip together to form a loop. Secure the thread and trim. F

lauRa Mccabe is a primarily self-taught beadweaver with an education in anthro-pology and historical costume reproduction and restoration. Laura exhibits her work in national and international beadwork exhibi-tions and sells finished work at boutiques and galleries throughout the United States. She maintains a working studio in Old Mystic, Connecticut, and teaches beading workshops across the United States and throughout the world. Visit Laura’s website, www.justletmebead.com.

Fig. 11: Peyote- stitching the strip at the bottom of a strap

Fig. 12: Edging the strip with picots

Fig. 13: Zipping the loop

Fig. 14: Embellishing the end of the toggle bar

ReSouRceSCheck your local bead shop or contact: Kits including Swarovski #1200 dentelles, Delica cylinder beads, FireLine braided beading thread, and all other beads and findings: Laura McCabe, www.justletme bead.com.

a r t i s t ’ s t i pUse a size 13 needle for working the rings and strap, but switch to the size 15 needle if necessary when bezeling the crystal dentelles.


page 28


endless circles necklacea r l e n e b a k e r

project

techniques:: wireworking


Sparkling pressed-glass beads are woven with

wire to fashion this elegant necklace of continuous circles.

The back of the necklace. detail

a r t i s t ’ s t i p s• Maintain an even tension as you work the wire around and through the beads. Keep the beads snug

on the wire. Straighten the wire frequently to avoid kinks that can cause the wire to break. Do not overwork the wire.

• If making a variation that would look best with warmer-colored wire, use brass wire, not gold-colored copper craft wire, as Arlene did here with brown iris beads. Use 24-gauge brass wire for the founda-tion as 26-gauge brass wire is too soft.


page 29


1) basE. Use wire and beads to form the base of the necklace:Foundation strand: Straighten the

26-gauge wire. Form a wrapped loop 22" from one wire end; do not trim the wire. Use the short end of the wire to string 36B. Knot the wire end to prevent the beads from slid-ing off. Set aside.

wrapping wire: Straighten the 28-gauge wire. Fold the wire in half. Slip the fold over the foundation wire directly below the wrapped loop. Cross the wrapping wire’s ends so they tightly encircle the foundation wire (Fig. 1).

Foundation wrap: Push 1B toward the wrapped loop. While holding the bead securely in place, bring the long 26-gauge foundation wire down along the right side of the bead, then wrap it over and under the foundation wire (Fig. 2). Repeat thirty-two times to

secure 33B. Note: To temporarily keep the wrapping wires out of the way, loosely coil each end and secure with a piece of transparent tape or small clip.

Circles: if necessary, straighten the 28-gauge wrapping wire. Use one wire end to string 3A and the other end to string 4A. Slide the beads down to meet the wrapped loop and cross the first wire through the fourth A added to the second wire. Snug the beads so there are no gaps. Fit the beaded

circle on top of the first B on the foun-dation strand. Cross the wrapping wires behind the foundation wire between the first and second B (Fig. 3). Working with even tension, continue adding circles of A that surround each B on the foundation strand to make a total of 33 circles. Note: Frequently pull the foundation wire, simultane-ously pushing the completed circle units toward the wrapped loop.

2) Finishing. Complete the wire wrapping at the end of the necklace:End: Untie the knot at the end of the

foundation wire and string the remain-ing 3B next to the last encircled B. Use the foundation wire that was used to string the B to form a wrapped loop that holds these beads snugly in place; do not trim the wire. Use the wire tail to wrap the 3B as in Fig. 2.

Circles: Use A and the remaining 28-gauge wrapping wire to form cir-cles around the final 3B as before. To secure the final circle, cross the wire ends through the end wrapped loop, back through the end A, through 3A on either side of the circle (Fig. 4), and wrap them behind

the foundation wire between the last 2B. Pull the wires sharply up toward you to lock them in place. Carefully trim these wire ends close to the beads, burying the ends.

wire ends: hide the ends of the remain-ing wires by pulling each one sharply up toward you to lock them in place. Carefully trim the wire

ends close to the beads, burying the ends. Turn the wrapped loops on each end so their loops lie perpen-dicular to the face of the circles.

Chain: Use 1 eye pin to string 1A and form a simple loop; repeat thirteen times for a total of 14 beaded links. Opening and closing the eyes as you would jump rings, connect the links to form one 4-link chain and another 10-link chain. Connect each chain to a wrapped loop at one end of the necklace. Connect the clasp hook to the free end of the 4-link chain. Use the head pin to string 1B and form a simple loop that connects to the free end of the 10-link chain.

shaping: Gently curve the necklace to fit around your neck. F

aRleNe bakeR is a needlework and bead artist, designer, teacher, and longtime contribu-tor to Beadwork. She is the author of Beads in Bloom (Interweave, 2001). Contact Arlene at [email protected].

Fig. 1: Adding the wrapping wire

Fig. 2: Wrapping the foundation strand

Fig. 3: Adding the circles

Fig. 4: Adding the final circle

Materials266 vintage rose ab 4mm fire-polished

glass rounds (a)37 vintage rose ab 8mm fire-polished

glass rounds (b)14 silver 1" eye pins1 silver 1" head pin1 silver 6×12mm clasp hook5½' of silver 26-gauge craft wire8' of silver 28-gauge craft wire

toolsWire cuttersround-nose plierschain-nose pliersWire straighteners

FiniShEd SiZE: 15" (AdJUSTABLE TO 183⁄4")

ReSouRceSCheck your local bead shop or contact: All beads and findings: Shipwreck Beads, (800) 950-4232, www.shipwreckbeads.com, or Fire Mountain Gems and Beads, (800) 355-2137, www.firemountaingems.com. Wire: Michaels, (800) 642-4235, www.michaels.com.


page 30


floral wreaths bracelet

projects

techniques:: right-angle weave:: netting:: wireworking:: fringe


Business partners Barbara Falkowitz and Amy Haftkowycz share more than just a bead store; they have a similar

aesthetic for combining vintage-inspired brass elements with seed beads, crystals,

pearls, and pressed-glass beads. Here Barbara and Amy show you two

beautifully complementary ways to combine these elements.

hearts & rosettes necklace

b a r b a r a fa l k o W i t z and a m y h a f t k o W y c z


page 31


1) largE bEadEd bEad, First sidE. Use fire-polished rounds, seed beads, a pearl, right-angle weave, and netting to form one face of a flat beaded bead:unit 1: Use 3' of thread to string 1 aqua

4mm round, 1 rose 6mm round, 1 aqua 4mm round, and 1 beige 3mm round, leaving a 4" tail. Pass through the beads again to form a circle. Tie a square knot to secure and pass through the first aqua 4mm strung.

unit 2: String 1 rose 6mm round, 1 aqua 4mm round, and 1 beige 3mm round; pass up through the last aqua 4mm round exited and through the 6mm and 4mm just added (Fig. 1).

unit 3: String 1 beige 3mm round, 1 aqua 4mm round, and 1 rose 6mm round; pass down through the last aqua 4mm round exited and through the 3mm and 4mm just added (Fig. 2).

units 4 and 5: Repeat Units 2 and 3 once.unit 6: String 1 rose 6mm; pass through

the nearest 4mm of Unit 1. String

1 beige 3mm; pass through the 4mm at the end of Unit 5 and continue to weave through beads to exit a 3mm (Fig. 3).

Center: Pass through all of the 3mm rounds to form a tight center ring. Pass through the next three 3mm rounds in the ring (Fig. 4a).

Pearl: String one 4mm pearl; pass through the 3mm directly across from the last 3mm exited and con-tinue through the nearest 4mm so the thread exits toward the outside of the beadwork (Fig. 4b).

netted embellishment: String 2 size 15°s, 1 topaz 3mm bicone, and 2 size 15°s, then pass down through the next 4mm so the thread exits toward the outside of the bead-work (Fig. 5); repeat five times to add a total of 6 diagonal strands. Weave through beads to exit from the nearest 6mm.

hearts & rosettes necklaceb a r b a r a fa l k o W i t z

Fig. 1: Working Units 1 and 2

Fig. 2: Adding Unit 3

Fig. 3: Completing Unit 6

a

b

Fig. 4: Adding a pearl

Fig. 5: Embellishing the first side

Materials2 g dark bronze size 15° Japanese

seed beads1 g gold luster size 11° seed beads25 aqua celsian 3mm fire-polished

rounds18 opaque beige 3mm fire-polished

rounds13 rose gold luster 4mm fire-polished

rounds12 aqua celsian 4mm fire-polished

rounds6 rose gold luster 6mm fire-polished

rounds2 gold luster 8mm fire-polished rounds12 light colorado topaz 3mm crystal

bicones2 aqua celsian 4mm crystal bicones1 aqua celsian 6×10mm crystal briolette4 copper 3mm glass pearls2 copper 4mm glass pearls4 brass 8×3mm bead caps2 brass 14×31mm heart filigree

connectors2 brass 5mm jump rings1 brass 1" head pin1 brass 5×30mm toggle bar1 brass 17mm toggle ring2" of brass 24-gauge wire7" of brass 4×6mm ladder chainsmoke 6 lb braided beading thread

toolssize 10 or 12 beading needlescissorsround-nose plierschain- or flat-nose pliersWire cutters



page 32

2) largE bEadEd bEad, sECond sidE. Form the second face of the beaded bead: unit 1: String 1 aqua 4mm round, 1 beige

3mm round, and 1 aqua 4mm round; pass through the last 6mm exited, the 3 beads just added, and the next 6mm (Fig. 6). Flip the loop to the

unembellished side of the beaded bead and turn the work so the embel-lishments face away from you.

unit 2: String 1 aqua 4mm and 1 beige 3mm; pass through the nearest 4mm of the previous unit, the last 6mm exited, and the first 4mm added in this unit.

unit 3: String 1 beige 3mm and 1 aqua 4mm; pass back through the next 6mm on the outer edge and through the last 4mm exited from the previous unit, the 2 beads added in this unit, and the next 6mm on the outer edge.

units 4 and 5: Repeat Units 2 and 3 once.unit 6: Pass through the nearest 4mm of

Unit 1. String 1 beige 3mm round and pass through the nearest 4mm from Unit 1 to complete the ring (Fig. 7).

Repeat the center, pearl, and netted embellishment sections from Step 1. Exit from a 6mm.

Edging: String 1 beige 3mm round and pass through the next 6mm; repeat around to add a total of six 3mm (Fig. 8). Using tight tension, repeat

the thread path at least twice to reinforce and stiffen the bead; secure the threads and trim.

3) small bEadEd bEad. Repeat Steps 1 and 2, replacing rose 6mm rounds with rose 4mm rounds, aqua 4mm rounds with aqua 3mm rounds, beige 3mm rounds with size 11°s, and copper 4mm pearls with copper 3mm pearls. When adding the netted em-bellishment, string 1 size 15°, 1 size 11°, and 1 size 15° for each net (in-stead of the size 15°s and topaz 3mm bicones). Repeat to form a second small beaded bead.

4) FoCal assEmbly. Stitch the beaded beads together to form a focal piece:drop: Start 2' of new thread that exits a

3mm at the edge of the large beaded bead. String 3 size 15°s, the

briolette, and 3 size 15°s; pass through the last 3mm exited to form a loop (Fig. 9a). Repeat the thread path twice to reinforce. Weave through the next 6mm, 3mm, 6mm, and 3mm at the edge of the beaded bead.

bead cap connector: String 5 size 15°s, 1 bead cap (narrow end first), one 8mm round, 1 bead cap (wide end first), and 5 size 15°s; pass through an edge size 11° of a small beaded bead. String 5 size 15°s; pass back through the cap, 8mm, and cap. String 5 size 15°s; pass through the last 3mm exited on the large beaded bead (Fig. 9b). Repeat the thread path to reinforce. Weave through the next 6mm, 3mm, 6mm, and 3mm at the edge of the large beaded bead. Repeat this sec-tion to add the second small beaded bead to the other side of the large beaded bead. Secure the thread and trim.

Filigree connector: Start 12" of new thread in one of the small beaded beads that exits from an edge size 11° opposite the size 11° with the bead-cap connector. String 3 size 15°s, 1 aqua celsian bicone, and 3 size 15°s; pass through the bottom loop of 1 heart filigree. String 3 size 15°s; pass back through the aqua celsian bicone. String 3 size 15°s; pass through the last size 11° exited on the small beaded bead


Fig. 7: Completing the units of the second side

Fig. 8: Finishing the outside edge

a

b

Fig. 9: Connecting the beaded beads

Fig. 6: Working Unit 1 of the second side

a r t i s t ’ s t i pWhen working the second side of the beaded bead, remember it is a carbon copy of the first side, but you are sharing the 6mm rounds along the outside edge.


page 33


1) lEntil. Use tight thread tension to stitch beaded discs:round 1 (outside): Use 3' of thread to

string {2 size 11°s and 1 rose 4mm round} eight times, leaving a 6" tail. Pass through the beads again to form a circle and tie a square knot with the working and tail threads to secure (Fig. 1a). Pass through the first size 11° added. Note: This round forms the outside edge of the beaded disc.

round 2 (fringe): String 1 rose 4mm round and 1 size 11°; pass back through the 4mm round and through the next size 11°/4mm/size 11° of Round 1. Repeat around

to add a total of 8 fringes. Weave through beads to exit the size 11° at the tip of the first fringe (Fig. 1b).

floral wreaths bracelet A M Y H A F T K O W Y C z

(Fig. 10). Repeat the thread path to reinforce. Secure the thread and trim. Repeat this step to add a fili-gree connector to the other small beaded bead. Set the focal piece aside.

5) nECKlaCE assEmbly. Add chains to complete the necklace:toggle-bar chain: Use the head pin to string

1 aqua 3mm round and the toggle bar ( front to back); form a simple loop that connects to one end of one 3½" piece of chain. Use 1 jump ring to connect the other end of the chain to the top of 1 heart filigree.

toggle loop: Use 2" of wire to form a wrapped loop that attaches to the loop of the toggle ring. String 1 rose

4mm round and form a wrapped loop that connects to one end of one 3½" piece of chain. Use 1 jump ring to connect the other end of the chain to the top of the remaining heart filigree. F

baRbaRa Falkowitz is co-owner of Artful Beads Studio and Workshop in Pennington, New Jersey. She enjoys teaching and sharing her designs with others and especially loves the challenge of creating new projects. Barbara feels lucky to be a part of the bead world.

Fig. 10: Connecting the heart filigree

ReSouRceSCheck your local bead shop or contact: FireLine braided beading thread and all beads and findings: Artful Beads Studio and Workshop, (609) 737-1077, www .artfulbeadstudio.com.

VaRiatioNSBecause the beaded beads are double-sided and lie flat, they are extremely versatile. Make a wonderful bracelet by stringing the beaded beads with other beads and findings or turn them into excellent earrings.

Materials8 g silver-lined brown size 15° seed

beads6 g antique gold-lined clear size 11°

seed beads24 opaque rose gold luster 4mm fire-

polished rounds24 soft green luster 4mm fire-polished

rounds29 beige gold luster 4mm fire-polished

rounds16 olivine 3mm crystal bicones16 black diamond ab 3mm crystal

bicones16 antique rose satin 3mm crystal

bicones3 brass 25mm floral-print rings1 brass 8mm jump ring1 brass 9.5mm etched jump ring1 brass 7×13mm lobster claspsmoke 4 lb braided beading thread


FiniShEd SiZE: 8"

a

b

Fig. 1: Stitching Rounds 1 and 2


page 34


round 3 (inside): String 1 size 11° and pass through the size 11° at the tip of the next fringe; repeat around to add 8 size 11°s, pulling tightly to connect the fringe tips into a circle, forming a dome. Repeat the thread path several times to reinforce. Weave through beads to exit between 2 size 11°s in Round 1 (Fig. 2).

rounds 4 and 5: Repeat Rounds 2 and 3 to form a dome on the other side of the beadwork. Weave through beads to exit from a 4mm in Round 2, toward the outside edge of the beaded disc.

netted embellishment: String 2 size 15°s, 1 olivine bicone, and 2 size 15°s; pass down through the next 4mm in Round 2, toward the outside edge of the beaded disc (Fig. 3). Repeat

around to embellish one side of the beaded bead. Weave through beads to repeat this section on the other side of the beaded disc; exit from a 4mm in Round 1. Secure the thread, but don’t trim.

Repeat entire step to form a second beaded disc using green 4mm rounds and black diamond bicones and a third beaded disc using beige 4mm rounds and rose bicones.

2) assEmbly. Use the working thread of the first beaded bead to string 3 size 15°s, 1 beige 4mm round, 12 size 15°s, and 1 ring; pass back through the 4mm round. String 3 size 15°s and pass through the last 4mm exited on the beaded bead to form a loop. Repeat the thread path twice to reinforce. Weave through the Round 1 beads to exit the 4mm opposite the one with the loop. Repeat the loop sequence, adding a second ring (Fig. 4). Secure the thread and trim.Repeat the loop sequence to connect the green beaded bead to the second ring just placed, then repeat to add a third ring to the other side of the green beaded bead. Repeat the loop sequence to connect the beige beaded bead to the third ring, then repeat it to connect the other side of the beige beaded bead to the clasp. Connect the 9.5mm jump ring to the first ring added; connect the 8mm jump ring to the 9.5mm jump ring. F

Co-owner of Artful Beads Studio and Workshop in Pennington, New Jersey, aMy haFtkowycz is a self-taught (and published) lampworker as well as a certified PMC artisan. Amy has enjoyed reaching out in many new directions since opening Artful Beads in 2006. Developing class projects, learning countless techniques, and forging new friendships have made the Artful Beads experience truly one of a kind. She lives in Pennington, New Jersey, with her husband and six cats.

Fig. 2: Working Round 3 on the inside of the disc

Fig. 3: Adding the embellishment

detail

ReSouRceSCheck your local bead shop or contact: FireLine braided beading thread and all beads and findings: Artful Beads Studio and Workshop, (609) 737-1077, www .artfulbeadstudio.com.

Fig. 4: Connecting the rings

a r t i s t ’ s t i p s• Make smaller beaded discs

by replacing the 4mm fire-polished rounds with 3mm fire-polished rounds and replacing the size 11° seed beads with size 15° seed beads. When adding the netted embellishment for a smaller disc, string 1 size 15°, one 3mm bicone, and 1 size 15°.

• For variety, you can replace the 3mm crystal bicones with 3mm glass pearls.


page 35


F R i N G eExit from your foundation

row of beads or fabric. String a length of beads plus 1 bead. Skipping the last bead, pass back through all the beads just strung to create a fringe leg. Pass back into the foun-dation row or fabric.

l a d d e R S t i t c h

String 2 beads and pass through them again. String 1 bead. Pass through the last stitched bead and the one just strung. Repeat, adding 1 bead at a time and working in a figure-eight pattern. Use this stitch to make strings of beads or as the foundation for brick and herringbone stitches.

b R i c k S t i t c h

Begin by creating a foundation row in ladder stitch. String 2 beads and pass under the closest exposed loop of the found ation row and back through the second bead. String 1 bead and pass under the next exposed loop and back through the bead just strung; repeat.

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

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

R i G h t- a N G l e w e aV e ( d o u b l e N e e d l e )

To begin double-needle right-angle weave, use one needle on each end of the thread to string 3 beads to the center of the thread. *Use one needle to string 1 bead, then pass the other needle back through it. String 1 bead on each needle, then repeat from * to form a chain of right-angle units (A).

To turn at the end of the row, use the left nee-dle to string 3 beads, then cross the right needle back through the last bead strung (B). Use the right needle to string 3 beads, then cross the left needle back through the last bead strung (C). To continue the row, use the right needle to string 2 beads; pass the left needle through the next bead on the previous row and back through the last bead strung (d).

start

a b C

d

R i G h t- a N G l e w e aV eFor single-needle

right-angle weave, string 4 beads and pass through the first 3 beads again to form the first unit (A). For the rest of the row, string 3 beads, pass through the last bead passed through in the previous unit, and the first 2 just strung; the thread path will resemble a fig-ure eight, alternating directions with each unit. To begin the next row, pass through beads to exit the side bead of the last unit. String 3 beads, pass through the last bead passed through, and the first bead just strung (B). *String 2 beads, pass back through the next edge bead of the previous row, the last bead passed through in the previous unit, and the last 2 beads just strung (C). Pass through the next edge bead of the previous row, string 2 beads, pass through the last bead of the previous unit, the edge bead just passed through, and the first bead just strung (d). Repeat from * to complete the row, then begin a new row as before.

a

b

C

d

N e t t i N G ( S i N G l e t h R e a d )

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

techniques

S t R i N G i N G

Stringing is a technique in which you use beading wire, needle and thread, or other mate-rial to gather beads into a strand.

S q u a R e S t i t c hBegin by string-

ing a row of beads. For the second row, string 2 beads, pass through the se c ond-to- l ast bead of the first row, and through the second bead just strung. Continue by string-ing 1 bead, passing through the third-to-last bead of the first row, and through the bead just strung. Repeat this looping technique to the end of the row.

For circular square stitch, string the first round of beads and pass through them a g a i n t o f o r m a circle. Start a new round by string-ing 2 beads; pass through the last bead of the f irst round and through the 2 beads just strung. Repeat all around, passing through the next bead of the previous round for each 2 new beads strung. At the end of the round, pass through the whole round again to tighten the beads. Start a new round by stringing 2 beads; pass through the last bead of the previous round and through the 2 beads just strung. String 1 bead and pass through the next bead of the previous round and the bead just strung. Repeat around, stitching 1 or 2 beads to each bead of the pre-vious round, adjusting the count as necessary to keep the work flat.


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techniques

F l at P e y o t e S t i t c h

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

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

t e N S i o N b e a dA tension bead (or stop-

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

w i R e w o R k i N GTo form a simple loop, use flat-nose

pliers to make a 90° bend at least ½" from the end of the wire. Use round-nose pliers to grasp the wire after the bend; roll the pliers toward the bend,

but not past it, to preserve the 90° bend. Use your thumb to continue the wrap around the nose of the pliers. Trim the wire next to the bend. Open a simple loop just as you would a jump ring (see below).

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

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