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Learn To Bead and Make JewelryLEARN TO BEAD . NETThe Design Approach ToLearning

STITCH OF THE MONTHNdebele (aka Herringbone)Mother's Celebration Bracelet Instructor: Warren FeldToday we will learn to make a bracelet using the NdebeleStitch. Sometimes this stitch is called Herringbone. We learnflat Ndebele, increasing and decreasing, both rapid and slow,and three different ways to create spiraling tubes.

Palette 2: Green/Olive/Fuchsia/Lilac

This Ndebele bracelet is a symbolic representation of joy in a woman's life.The selection of colors for the 3 central tubular components representthings which the woman celebrates in her life, about her life, and aroundher life. These may be colors associated with children, grandchildren orfriends. They may be favorite colors, or colors of favorite flowers or otherobjects. They may be colors associated with important emotions, rituals ortimes. They may be colors associated with events or places experiencedwhen traveling.

While the "design" of the bracelet is from the woman's perspective, the"wearing" of the bracelet is unisex. A man would be equally as comfortablewearing this bracelet, as would a woman.

STITCH OF THE MONTHNDEBELE STITCHMOTHER'S CELEBRATION BRACELETBW1-3-SOM-Ndebele (Herringbone)

This set of instructions is organized as a series ofJewelry Design Choices:

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I. Planning Your ProjectIA. Conceptualizing Your PieceIB. MeasurementsIC. Selecting MaterialsID. Sketching a Pattern or GraphIE. Identifying Potential Areas of Weakness within Your PieceIF. Visualizing Your ProcessIG. Organizing Your Work Space

II. Begining Your ProjectIIA. Basic StepsIIB. Dealing with ContingenciesIIC. Finishing Touches

III. Summary of Learning Objectives You Have MetAfter Accomplishing This Project

IV. Next StepsIVA. Suggested Readings

What You Will Learn:- History of Ndebele- Ndebele bead weaving basics- Managing Thread Tension- Reading a Pattern/Creating asimple figural representation- Flat and Tubular and Spiraland Fanning Ndebele variations- Increasing and Decreasingwith Ndebele- Adding a simple edging effect- Adding a button clasp, andcreating a negative space aspart of the clasp assembly- Discussion of when Ndebeleworks well

Prerequisites:- Orientation To Beads &Jewelry Findings

TimeFrame:This bracelet takes about 15hours to complete

These Instructions are written from what is called The DesignPerspective.

They first guide you through the kinds of choices to be made, whendesigning this particular piece. This gives you a sense of how the artistthought through the development of the project. This provides you witha better understanding and some insights about what kinds of thingsyou would need to consider, when designing a similar piece, or addingpersonal touches to this project.

Then step-by-step, easy-to-follow instructions for completing thisproject are presented.

Finally, the skills learned by doing this project are summarized.

Supplies To Make a 7 3/4" Bracelet:

GENERIC ITEMDESCRIPTION

THIS PROJECTPalette #2.Green/Olive/Fuchsia/Lilac

YOUR PROJECTVARIATIONS

For the Bracelet: You will need:Up to 7 coordinating colors (A thru G) of 11/0 seed beads (Japanese are easier to use, butCzech will work fine)

COLOR A: 11/0 seed bead(3 grams or 324 beads)

COLOR A: TOHO 11/0-2113,silver lined milkypomegranate (3 grams)(in kit, 4 grams)

COLOR B: 11/0 seed bead(3 grams or 324 beads)

COLOR B: TOHO 11/0-1209,marbled opaque



avocado/pink (3 grams)(in kit, 4 grams)

COLOR C: 11/0 seed bead(6 grams or 630 beads)

COLOR C: TOHO 11/0-1204,marbled opaque lightblue/amethyst (6 grams)(in kit, 8 grams)

COLOR D: 11/0 seed bead(6 grams or 630 beads)

COLOR D: Miyuki 11/0-2005, matte metallic copperiris (6 grams)(in kit, 8 grams)

COLOR E: 11/0 seed bead(6 grams or 630 beads)

COLOR E: Miyuki 11/0-2033,matte opaque olive green (6grams)(in kit, 8 grams)

COLOR F: 11/0 seed bead(3 grams or 324 beads)

COLOR F: Miyuki 11/0-2066,matte metallic dark greeniris (3 grams)(in kit, 4 grams)

COLOR G: 11/0 seed bead(3 grams or 324 beads)

COLOR G: Miyuki 11/0-308,sapphire gold luster (3grams)(in kit, 4 grams)

COLOR H: 15/0 seed bead(1 gram or 255 beads)

COLOR H: Metal Seed Beads,size 15/0-copper(1 gram)(in kit, 2 grams)

COLOR I: 8/0 seed bead(.5 grams or 20 beads)

COLOR I: Miyuki 8/0-251,light topaz AB (.5 grams)(in kit, 1 gram)

COLOR J: 11/0 Delica Bead(cylinder bead)(.2 grams or 20 beads)

COLOR J: Miyuki Delica11/0-461, galvanizedcopper (.2 grams)(in kit, 1 gram)

COLOR K: 10/0 Delica Bead(cylinder bead)(.3 grams or 20 beads)

COLOR K: Miyuki Delica10/0-010, black (.3 grams)(in kit, 1 gram)

Additional Supplies1 button (3/4" diameter(size 8) or 1/2" diameter(size 6) would work fine)

(in kit, 1 button)

FireLine cable thread in sizeD, either smoke grey orwhite, whichever wouldshow the least with yourcolor palette of beads

FireLine, Size D (.008”),Smoke Grey(in kit, 1 50-yd spool)

Size #10 and Size #12English beading needles(good to have a few of eachon hand)

(in kit, 4ea Size #104ea Size #12)

Bees Wax or MicrocrystallineWax (optional)Scissors, Ruler, WorksurfaceBic lighter or thread zapperBead to use as "stop bead",or a bead stopper or clamp

(not included in kit)



MOTHER'S CELEBRATION BRACELET

I. PLANNING YOUR PROJECTThinking about the types of choices made for this project

The Ndebele Stitch, (also known as the Herringbone Stitch or Basketweave Stitch), originates from South Africa from the Ndebelepeople. This stitch is known by the herringbone or zig-zag pattern the beads make when stitched together.

This stitch is very versatile. There are many variations on the stitch, which can result in different patterns and textures, as well aslooser or tighter tension. The Ndebele stitch is easy to incorporate with other beadweaving stitches, such as peyote, right angle orbrick, off the ndebele weave.

The stitch is very soft and fluid. It results in a very beautiful texturing and patterning. A lot of thread shows in this stitch, and, in thiscase, is a charming part of the whole effect.

The beads sit in regular columns in angled pairs, forming a "V" (thus, herringbone,) shape.

Ndebele usually begins by creating a row or two of ladder-stitched beads. The stitch will work with any shape or size bead. Evenlysized beads will result in evenly sized beadwork. Round beads (as opposed to more squarer shapes) show less gaps between eachpair of diagonally-stacked beads. With round beads, the piece feels a little more flexible.



Ndebele is easily worked flat or tubular.

In our Mother's Celebration Bracelet, we get an opportunity to learn several variations on Ndebele. These include 3 different ways tomake tube shape, including a basic tube, a basic spiral tube, and a soft spiral tube. We learn to increase the number of beads in thewidth of our piece using a gradual increase strategy. We also learn to decrease the number of beads in the width of our piece usinga rapid decrease strategy. We learn to make a fan or arc by varying the sizes of our beads within our rows. We learn to create a"negative space" in order to provide a "button hole" for our clasp. We also learn to make a simple decorative edging effect on thesides of our bracelet.

IA. Conceptualizing Your Piece

Ask yourself these questions:Purpose?Is this to be for a Woman (6 ½ - 7 ½”) or man (7 ½ - 8 ½”)? What is the Context/Setting the bracelet might be worn in?

Sizing?Size of wrist? How loosely should it fit -- very loose, somewhat loose, tight?Given who is wearing the piece, what width should the bracelet be? 1/2", 3/4", 1", more?

Design and Color Issues?Do I want to use an odd number or an even number of beads across this width? Do I want to vary the width along the length of the bracelet?Do I want to work flat or tubular?How stiff or flexible do I want the piece to be? Do I want to use the same bead throughout, or do I want to create a pattern?



How much surface embellishment or edge treatment do I want to do? how elaborate do I want to get? What colors do I want to use? Metal colors? Glass bead colors?

Materials? What types and materials of beads do I want to use? glass, gemstone, metal, mix? What size(s) and shape(s) of beads do I want to use?What kinds of stringing materials do I want to use, and do I want to wax the cord?What will the clasp assembly look like, and where and how will I attach the clasp?

Wearability?How easily will the woven beads, once the project is finished, conform to and feelcomfortable on the wrist?

This bracelet may be worn by a woman or a man. The design is more informal than formal, but equally contemporary andtraditional. The design is easily adaptable to create different bracelet lengths, although any one bracelet will be a fixed(and not adjustable) length.

The width of the bracelet varies along the length. The bracelet begins with a reverse arc or fan at 1" (25mm), and quicklynarrows to 3/4" (18mm). Then the bracelet gradually wides to 1 1/2" (38mm) along most of its length. At the other end ofthe bracelet, this size-pattern reverses, back down to 3/4", then quickly flaring out to 1".

Ndebele works best when beads are patterned in pairs, so an even number of beads across the row is used.

Since the basic stitch is relatively simple to do, I thought that it would be fun to try some variations on the stitch within thebracelet. Besides creating an arc (or fan) by varying the sizes of the beads within adjacent rows, this bracelet includesboth flat and tubular sections. The bracelet includes three tubes within its center frame. Each tube utilizes a differentstrategy for creating a spiral tube effect.

Traditional Ndebele beadwork can also be very flat and 2-dimensional. In contemporary jewelry design, adding a sense of3-dimensionality, as well as movement, are important design elements. Here the somewhat free-flowing flat strips andtubes, as well as the raised button, help contemporarize the piece.

I wanted the bracelet to be very fluid and flexible, and not stiff. So, the basic stitch here would be a called a 1-drop. Weadd 2 beads, go down 1 bead, and up 1 bead. If I had wanted to make the piece stiffer or tighter, I could do a 2-drop oreven a 3-drop stitch, where I added 2 beads, went down 2 (or 3) beads and up 2 (or 3) beads.

In this piece, I use Japanese seed beads and delica (cylinder) beads in a few different sizes. Japanese seed beads aremore regular in size and shape than Czech seed beads, so are easier to use. This is a beginning project, and I thoughtthe Japanese beads would be better to use here. However, had I used Czech seed beads, the irregularities in the beadswould have made the bracelet look more ethnic-looking, and give it even more of a hand-made look.

The seed bead and delica beads used are all glass, except for the 15/0's, which are metal seed beads.

This bracelet is strung on a cable thread called FireLine (size D). I prefer using FireLine with the Ndebele stitch, ratherthan other beading threads like Nymo or C-Lon. Ndebele is a very loose stitch. It is often difficult to control your threadtension -- that is, keeping your beads tightly together and aligned correctly. Otherwise, they tend to slip. FireLine keepsthe beads much more tightly aligned on the thread while you work the stitch. You do not have to wax the Fireline.

When I was conceptualizing the piece, I immediately pictured it with a button clasp. As I was experimenting with puttingthe bracelet together, I decided to create a button clasp with a negative space (open space) for a button hole within thebracelet. This felt right -- better than adding a loop on the end of the bracelet.

I wanted to add a simple edging to give the piece a sense of "framing" or border-boundary. The variations in the Ndebelestitch -- flat vs tubular, increasing and decreasing, arc/fanning on the side edges, negative and positive spaces -- all addto the sense of dimensionality, movement and flow of the piece. I thought any more elaborate or extensive embellishmentwould detract from the piece as a whole.

The Mother's Celebration Bracelet is a natural study in the use of colors. The selected colors have personal meaning. Andthey must hold up artistically. In the colors selected for this bracelet, I decided to give a nod to the Ndebele in SouthAfrica, and use ritual colors important to them and which are used to welcome the baby into childhood, the child intoadolescents, the adolescent into young adulthood, the young adult into middle age, the middle aged into maturity, and themature into the fully mature..



IB. Measurements

Ask yourself these questions:Are there visually-apparent structural properties that I can define as "rows" and as "columns"?What length and width bracelet do I want to end up with? How many Ndebele paired-bead columns did I want to create?At what point along the bracelet do I begin to increase and then decrease?Do I need any definable center points?Do I want the piece to be flat, relatively flat, slightly curved, domed, or tubular?Will there be any variation in the actual sizes of the beads, from bead to bead? How wide and long do I want my center tubes to be?How do I want to space out the beads in my edge treatment?What size button should I use as part of my clasp assembly?Where should I position my button?How wide and long do I want my negative spaces (open spaces) to be? What should be the appropriate size and shape of the buttonhole? At what point along the length should I locate the button and the button hole?

The basic Ndebele stitch allows you to easily visualize it as a series of rows and columns. Each column is paired andconsists of two paired-beads, which will sit tilted towards each other, and creating a small gap between them. A rowconsists of one or more of the paired-bead columns. We work this stitch row by row.

For this project, I wanted to make a bracelet approximately 7 3/4" (194mm) long, and then identify a simply way of addingor subtracting rows to modify the length. With 11/0 seed beads, there are approximately 7 rows to the 1/2". Thus, toreduce the length by 1/2", you would delete 7 rows from the pattern.

I decided that the bracelet would look more taylored and designed if I tapered the two ends and increased the width of thebracelet in the middle.

I wanted to have 7 bands of color along the length of the bracelet. However, If I started and ended with 7 bands, thebracelet would have been wider than I had wanted at either end. So I began (and ended) with 5 bands of color, andincreased (then decreased) along the length to add (then subtract) 2 bands of color.

The bracelet is very symmetrical. I created a center negative space (open space) that is approximately 4" (100mm) longby 1/2" (13mm) wide. Within this space, I build 4 four-bead-around tubes, extending approximately 4". The fluid nature ofthe stitch allows these 3 tubes plus the two flat horizontal bands of Ndebele to flare out in the center.

In deciding where to begin and end this negative space, I considered the following. First, when designing a bracelet, youwant the bracelet to look good, no matter where it positions itself on the person's wrist, or at what angle the viewernotices it. So, the part of the bracelet with the negative space and flowing flat and tubular bands must look as good as thepart of the bracelet without it. The worst thing is if the bracelet looks incomplete from any angle. My rule of thumb here isthat the bracelet should look good and complete when viewing it at the center when worn, and when viewing it at theclosure when worn. I thus wanted to allow about 2" (50mm) from either end before beginning (and ending) this negativespace. That is, roughly 4" of positive space and 4" of negative space.

One characteristic of contemporary (as opposed to Traditional) design, is that the piece have a sense of dimensionality.Most bead weaving stitches, including Ndebele, can be terribly flat looking. To add dimensionality, I created "tubes",allowed the tubes to flow freely, created a staccato edging along the horizontal sides, created the arc (fan) with a



progression of increasingly-larger beads.

By varying the sizes of the beads, you vary how the Ndebele stitch asserts itself. At either end, we create an arc (or fan)shape by varying the sizes. For one of the spiral tubes, we vary the beads sizes to create a subtle spiraling effect.

I did not want the edging to compete with the central focus of the bracelet -- that is the bands of color. So I added a small15/0 seed bead between every 2nd bead.

I used a 3/4" button (size 8). A 1/2" (size 6) button would have worked OK, as well. To design the size of the button holeyou want, you want the hole to slip over the button snugly, not tight. I decided to make the shape of the button holetriangular, rather than rectangular. Often, with rectangular button holes, the button can slip back through the opening,releasing the bracelet. The squared end of the triangular shape allows the button to slip more easily through the hole, andthe triangular end seats the button more securely.

As the button relates to either end of the bracelet, I want the edge of the bracelet upon which the button rests to extendpast the edge of the button by at least 3-5 rows of beads. [In our pattern, we would want rows F1-F3, and perhaps R1and R2 as well, to not be visually blocked by the button itself.] I also want to position the button, so that when the braceletis worn, both ends of the bracelet meet, as if forming a complete circle, and little skin shows.

MEASUREMENTSDescription This Project Your Project VariationsLength, including clasp 7 3/4" Ndebele rows per inch Roughly 7 rows per 1/2" # of bands of color 7 Width 1 ½” at center of

bracelet

Size of Center NegativeSpace

4” long x ½” wide

Length of positive spacefrom one end of braceletto where negative spacebegins

2” of positive spacefrom either end ofbracelet before negativespace begins

IC. Selecting Materials

Ask yourself these questions:Types of beads? Glass, metal, other?Sizes of beads? Shapes of beads?Stringing material? beading thread, cable thread?Clasp? Make my own or use a manufactured clasp?

For this project, I chose Japanese glass seed and delica beads, because these are very consistent in size. Ndebele iseasier to control while stitching when the beads are all the same size and shape.

Most of the bracelet uses 11/0 seed beads. The general shape of these beads creates many gaps of light between eachpair of beads. They allow greater fluidity. Had I used most 11/0 delica beads, there would be much smaller gaps of light.The bracelet would also have been stiffer.

On either edge, I use delicas with seed beads, as well as vary the sizes of the beads to create a fanning out effect, and toshow you some of the differences the two shapes of beads create.

FireLine - a cable thread - allows for more control of the beads while stitching. It holds them more tightly, and keeps them



locked in place better. I almost always use FireLine with the Ndebele stitch, because of these properties. FireLine isavailable in only a few colors. The smoke grey (black) works best in most cases. Since the thread shows a lot with thisstitch, the black color is seen more as a "shadow" than an exposed thread.

A clasp that feels as a natural, organic part of your piece will always be more satisfying. That is why I chose a matchingbutton, rather than use a manufactured clasp.

ID. Sketching a Pattern or Graph

We can begin to make a simple figural pattern for our piece. In our figural pattern that we use here, you read the pattern from the topand left to the bottom and right. This pattern is set up on a grid. We work row by row. We work each row from column 1 throughcolumn16, until we split off our flat strips and tubes. At this point, we work each flat strip and tube, one at a time, until they reach thepoint where they are to be reconnected again on the other side of the bracelet. Then we again work each row all the way acrossfrom column 1 through column 16.

The bracelet has the following sections:(a) F3, F2, F1 ==a decorative ndebele fan at one end(b) R1-R32 == a flat strip, first beginning with 5 ndebele paired-bead columns, and gradually increasing to 7 ndebele paired-beadcolumns; a button is added later; 15/0 beads are used as decorative edge on one side(c) roughly 4" of ndebele flat strips and tubes-- (c1) Flat strip with colors A and B (73 rows)-- (c2) Soft Spiral Ndebele tube, using 11/0 and 15/0 beads (66 rows)-- (c3) Basic Spiral Ndebele tube, using 11/0 beads (76 rows)-- (c4) Basic ndebele tube, to be twisted later, before attaching, using 11/0 beads (66 rows)-- (c5) Flat strip with colors F and G (73 rows)(d) R104-R133 == a flat strip, first beginning with 7 ndebele paired-bead columns, creating a "negative space" for a button hole, anda rapid decrease to 5 ndebele paired-bead columns; 15/0 beads are used as decorative edge on one side(e) F1, F2, F3 == a decorative ndebele fan at the end

Our figural pattern and sketch for our project will begin to look like this:

NOTE: A "*" next to a rowindicates that there is a color,bead or pattern change in thisrow

Pink area is to be reinforcedbefore adding a button

R1 and R2 are your 2-beadladder rows.

Begin gradual increase with R8,and ending with R10R11 begins regular Ndebele



pattern with 7 paired-beadcolumns

(There are 7 rows per inch)For 7" bracelet, delete 10 rowsR15-R19, and R106-R110For 6 1/2" bracelet, delete 18rows R15-R23, and R106-R114

Repeat the pattern of R19 thruand including R31

R32: For each paired-beadcolumn of colors C, D and E, wewill create a 4-bead ladder stitchoff of this row. From each ladderstitch, we will stitch an Ndebeletube.

Begin:Flat strip with A and BSoft Spiral TubeBasic Spiral TubeRegular Tube (later to be twistedbefore attachment)

(There are 7 rows per inch)For 7" bracelet, delete 10 rowsR15-R19, and R106-R110For 6 1/2" bracelet, delete 18rows R15-R23, and R106-R114

R117, begin creating negativespace for button hole. The actualfinal shape of this negative spacewill be a triangle.

R130, begin rapid decrease,



going to 5 paired-bead columns.Reinforce around the beadsoutlining the button holeExtra reinforcement around theR129, R130, R131 B-C-D-E-Fcolored beads at end of buttonhole

Our Initial Sketch:

IE. Identifying Potential Areas of Weakness within Your Piece

Identify potential points of weakness within your piece. These are areas within your piece that you will want to add some extrareinforcement.

In our project, any section of an Ndebele piece that will take any kind of pulling, tugging or other pressure, will be apotential point of weakness. In these areas, we want to reinforce them. Otherwise, the pressure will begin to stretch thebead-woven beads, and perhaps cut some of the threads.

In our piece, these areas include:

- The beads encircling our button hole- The beads at the outer end of the button hole (where the bead will rest)- The beaded area below where we locate our button- Both inner-sides where the spiral Ndebele tubes are attached to our flat left and right sides

[If we had been adding the clasp and loop at the ends of the bracelet, we would also have wanted to reinforce thebeginning and ending 2-3 rows, before we attach anything to them.]



IF. Visualizing Your Process

Holding the piece. I work the piece over my fore-finger. Thus, my finger becomes likea little easel. I use my thumb as a clamp to hold the developing beadwork in place. I am righthanded,so use my left hand and fore-finger as my easel, and work the needle and threadwith my right hand. It is good to hold (that is, clamp between your thumb and forefinger) your developing project very close to theedge you will be adding the next pair of beads on, or bead you are working your thread through.

In which direction do you want to work – away from you/towards you; towardsyou/away from you; side to side, clockwise, counterclockwise?

I am right-handed. For this piece, I like to work in a counterclockwise direction, and work the beads goingfrom close to my body towards away from my body. When I get to the end of the row, Iflip the piece, so that I can continue to work counterclockwise, and in a direction away from my body.

If you are left-handed, you will want to do the opposite of this, and work clockwise.

Where the thread goes in and where it comes out.With Ndebele, we put 2 beads on the needle, go down 1 bead in our column, and then up 1 bead in the next column.

When we get to the end of the row, we make a turn. We come down that 1 bead, snag the thread on the edge, and then come backup through that previous bead.

I find it useful that, when I get to the end of the row, I flip the piece over, then make my turnaround, and then step up to positionmyself for starting the next row. This lets me continue to work in the same direction -- always going from side 1 to side 2, instead ofgoing side 1 to side 2 and then side 2 to side 1.



A size #10 English beading needle is the easiest one to use. Occasionally, in some sections of your piece, especially where you arereinforcing a section, you may want to switch to the thinner size #12 English beading needle.

How to SNAG A THREAD-LOOP

You will find thread-loops between each bead. You want to work your needle under thethread. You DO NOT want your needle to pierce the thread,because this will cause the thread to fray.

At this point, you can do one of two things.

Anchoring: One thing you can do, after you snag the thread-loop,is tie an overhand knot around the thread, in order to anchor yourmain thread to the piece.

Reversing Direction/Making a Turn-around: Another thing you can do, after you snag thethread-loop, is double back with your needle and thread, to reversedirection on the same row.

NOTE: If you want to trim your thread at this point, first zig-zag a waysthrough some other beads. Never trim the thread at the same point where you



have tied a knot.

Do you want to work from one end to the other, or complete the piece in stages, orcreate a series and components, and then attach them together?In this project, we work a section at a time.

First, we create a 2-bead ladder.Next, off one edge, we create an ndebele fan.We work back to the other edge and begin one side of the flat section of of bracelet.From the point where we begin our free-flowing tubes, and to the point where we begin our next flat section, we - finish 2 colors flat- create soft spiral tube- create basic spiral tube- create basic tube (and twist it)- finish last 2 colors flatWe begin the other side's flat section, and connect to each of the flat and round tubes- As part of this section, we create a button holeAt the far edge, we create an ndebele fan.We add the button

I like to tie off the thread when ending a section, and begin with a new thread to start a new section.

Create a few sample base rows with edging. This gives you a chance to pre-test your ideas and strategies,before barging in to the full task. This lets your body/mind feel/understand the control you need over the thread's tension. [See thebasic instructions below.]

Set your mantra going.Organize the “flow” of your work in your mind. Create a pattern and rhythm in yourhead, utilizing such things as shapes, sizes, and colors, and noting where thread goes inand where thread comes out, and whether you are working clock-wise, counter-clockwiseor in a figure 8 motion.

In this example, I created this mantra:

Starting Going forward:Add 2, down 1, up 1Add 2, down 1, up 1Add 2, down 1, up 1Add 2, down 1, up 1Add 2, down 1, up 1Add 2, down 1, up 1Add 2, down 2Flip Piece

Going back:Make the turnaroundAdd the edge beadUp 2, Add 2, down 1Add 2, down 1, up 1Add 2, down 1, up 1



Add 2, down 1, up 1Add 2, down 1, up 1Add 2, down 1, up 1Add 2, down 2Flip Piece

Going forward again:Make the turnaroundAdd the edge beadUp 2, Add 2, down 1Add 2, down 1, up 1Add 2, down 1, up 1Add 2, down 1, up 1Add 2, down 1, up 1Add 2, down 1, up 1Add 2, down 2Flip Piece

IG. Organizing Your Work Space

Get your beads, stringing materials, tools, ruler, work surface, handy pen and paper, and thelike, altogether in one place.

For this project, I like to arrange my 7 11/0 colors in neat piles next to each other, and in a line. Below that, I pour out piles of myother beads and colors.

II. BEGINNING YOUR PROJECT

IIA. Basic Steps

Cut an arm's to arm's length of FireLine (about 6'). Put your thread on the needle. I am going to use a size #10 needle for as much ofthe work as possible. Where things start to get tight (that is, there is a lot of thread in the beads), you'll need to switch to the size #12needle.

We will be using a single thread, size D, FireLine (or other cable thread).

We do not need to wax the cable thread.

Let's Get Started ...

Ndebele usually begins by creating a ladder row. A ladder row can be any number of beads wide. Most people start Ndebele from a1-bead or 2-bead wide ladder row. We will be using a 2-bead ladder row.

1. Pick up 4 beads of color A. 2. Make a circle so that you end up with 2 side-by-side stacks of 2 beads each.3. Circle around these 4 beads again. Tie a knot with the thread-tail and thread-spine.4. Your needle will be coming out of A. Add 2 color B, circle back down through the previous stack of 2 A beads, and then upthrough the new stack of 2 B beads.5. Add 2 more B. Circle back around and forward. Continue the ladder by adding 2 D, 2 D, 2 F, 2F, 2G and 2 G.



6. Circle one more time around your 2 stacks of G beads.

Now you are ready to begin to Ndebele stitch off your ladder.

Basic Ndebele Steps: Let's review the basic steps in the Ndebele stitch. Get your beads out. Create your 2-bead ladder. Andlet's Ndebele:

We are coming out of color G on the ladder. So pick up 2 more G. Go down through 1 G, and up through 1 F.Add 2 more F. Go down through 1 F, and up through 1 D.And so forth down the row.

When you get to the end of the row, you will have added 2 A, and gone down through 1 A.Flip the piece, so that you can continue to work in a counterclockwise direction (if you are right-handed), or clockwise (if you are left-handed).Make a turnaround. Snag the thread between 2 beads to change directions.Go back up through that 1 A. Add 2 more A, go down through 1 A, then up through 1 B, and so forth back down your new row.

Make a few rows until you are comfortable with the stitch and its rhythm.

Now we are ready to make your bracelet. Put your stitch-sample aside. Create another 2-bead-ladder row, with 10 stacks of beads(2 stacks of A, 2 of B, 2 of D, 2 of F and 2 of G)



NOTE: As you add 2 beads, and weave them in, proceeding to the next paired-bead column, you want to make sure of a couple ofthings:First, you want the beads to sit next to each other, and not stacked on top of each other. You can pull your thread to pull them inplace. You can use your finger or the needle to knock them in place. Second, you do NOT want the 2 beads to twist around. You want the first bead to lay first, and the second bead to lay second. If thetwo beads get twisted, untwist them, before continuing to bead-weave some more.Third, you want to be sure that the 2 beads are sitting upright in the correct top-down direction. You want to be sure you go downfrom top to bottom, and up from bottom to top.

Beginnning Our Mother's Celebration Bracelet...

1. Review our Graph Pattern above. In the layout of this pattern, we start at the top left and work our way down to the bottomright. Make note of what in the graph represent rows and what in the graph represent columns. Rows with an "*" next to themindicate that there is a change in either beads, thread-path, or colors.

Determine the length you want the bracelet to be. If you want your bracelet to be shorter (or longer) than 7 3/4", then youneed to delete (or add) rows. There are roughly 7 rows per 1/2", so you will want to delete (or add) half on the left sideand half on the right side.

If 8 1/2", then add 5 more of R15 and 5 more of R106.If 7 3/4", then follow the pattern as is.For 7" bracelet, delete 10 rows R15-R19, and R106-R110For 6 1/2" bracelet, delete 18 rows R15-R23, and R106-R114

2. Build your 2-Row Ladder, 10 beads wide.Rows R1 and R2

Here you will be picking up 4 beads of each of COLORS A, B, D, F and G, 2 at a time.

3. Create an Ndebele Fan (or Arc) along the outer edge.Rows F1-F3

When you vary the size of the beads in adjacent rows, your rows will begin to fan out or arc.

Your thread is coming out of color G bead on the end of your ladder. We have labeled the next row as F1, which is created using size 11/0 delica beads.Add 2 color J beads and Ndebele with all J across row F1.

Flip your piece over.Make the turnaround to begin row F2, which is created using size 10/0 delica beads. Add 2 color K beads and Ndebele with all K across row F2.

Flip your piece over.Make the turnaround to begin row F3, which is created using size 8/0 seed beads. Add 2 color I beads and Ndebele with all I across row F3.



NOTE: As you add each pair of beads, especially the size 8/0 seed beads, be sure to know each bead into its correct position, beforeadding the next pair of beads.

4. Begin the flat Ndebele section. Reposition your needle, and come out the far edge on the other side, out of a Color Abead. Rows R3 thru R7

It's a good idea here to snag one of the threads, say between the J and A beads, and tie a knot. Continue so that you exit out of theA bead on the edge.

Beginning with R3, create 5 more Ndebele rows, mirroring the color pattern of 2A, 2B, 2D, 2F and 2G. This time we will be adding adecorative edge to the outer-side A beads and the outer-side G beads.

-- Adding the 15/0's as decorative edging

We begin adding our size 15/0 edge beads (color H) between R1 and R2, and then after every 2 outer beads.

R3: Ndbele, ADDING 2A, 2B, 2D, 2F and 2G. At the end of the row, go down 1 bead. Flip your piece over. And make yourturnaround.Then add 1 color H (15/0 edge) bead.Then go up 2 beads. [Technically, you are going up 1 bead and the "stepping up" through a 2nd bead into the new row.]

You always make the turnaround first before adding your edge bead. Add your edge bead, and step up to position yourself to beginthe next row.

Go back, adding 2G, and Ndebele across the row (R4).

You will be adding a 15/0 edge bead (color H) after every 2 beads, so between R1 and R2, between R3 and R4, etween R5 and R6,etc.

For many reasons, it is easy to get off track with the rhythm as you add edge beads on either side. If you can keep to the exactrhythm, terrific. Otherwise, you get out of sync. Sometimes you may need to go down 2 beads before making the turnaround, then



adding the 15/0. Othertimes, 3 beads or 1 bead. But keep to the general pattern. At the edge, go down a sufficent number of beadsin order to make the turnaround at the correct point. Then add your 15/0. Go back up. Ndebele across the next row.

5. Begin a Gradual Increase in Row 8.Row R8

We are going to gradually widen our bracelet, going from 5 bands of color (and 3/4" wide) to 7 bands of color and 1 1/2" wide).

It will take 3 rows in order to complete this gradual increase.

We will add 1 bead (a C and an E) on either side of color band D in this row.We will increase the next row (R9) by 1 bead (a C and an E) on either side of color band D.We will add 2 beads (2 C and 2 E) in row (R10) on either side of color band D.In the fourth row (R11), we will return and Ndebele all across the row.

NOTE: Here we are doing what is called a "between column increase." As you get more experience with the Ndebele Stitch, you'lldiscover that there are many variations on techniques for increasing and decreasing.

Row 8 Instruction:Your thread should be exiting the edge-side bead in color band G.Ndebele with 2G, then 2F. Before you come up again through a D bead, you want to add 1 E bead.Now go up through the D, add 2 more D, and down through the 1 D.Before stepping up into the B, you want to add 1 C. Now go up through the B and Ndebele through the B and A columns.Go down beads on the edge to position yourself to add the edge bead. Flip your piece over. Make your turnaround. Then add thatedge bead.Come up to the top bead, positioned to weave Row 9.



6. Row 9 continues this Gradual IncreaseRow 9

Row 9 Instruction:Your thread should be exiting the edge-side bead in color band A.Ndebele with 2A, then 2B. Before you come up again through a D bead, you want to add 2 C beads.Now go up through the D, add 2 more D, and down through the 1 D.Before stepping up into the F, you want to add 2 E. Now go up through the F and Ndebele through the F and G columns.Go down one bead on the edge, flip your piece over, make your turnaround, add your edge bead, if appropriate, and then proceedup.Come up to the top bead, positioned to weave Row 10.

7. Row 10 finishes this Gradual IncreaseRow 10

Row 10 instructions:Row 10 is similar to Row 9.Your thread is exiting the edge-side bead in color band G.Ndebele with 2G, then 2F. Before you come up again through a D bead, you want to add 2E beads.Now go up through the D, add 2 more D, and down through the 1D.Before stepping up into the B, you want to add 2 C. Now go up through the B and Ndebele through the B and A columns.Go down one bead on the edge, flip your piece over, make your turnaround, add your edge bead, if appropriate, and then proceedup.Come up to the top bead, positioned to weave Row 11.

8. Beginning with Row 11Row 11 thru Row 31



Pick up on the regular Ndebele Stitch across all 7 colors. Keep adding rows until you have reached the desired length for this side. Inour example, for a 7 3/4" bracelet, you would be adding 22 rows.

NOTE: If you are creating a shorter (or a longer) bracelet than 7 3/4", then it is within these rows that your either delete (or add) rows.

There are roughly 7 rows per 1/2", so you will want to delete (or add) half on this side and half later on the other side, after you havecreated and reattached your tubes and flat strips.

If 8 1/2", then add 5 more of R15 and 5 more of R106.If 7 3/4", then follow the pattern as is.For 7" bracelet, delete 10 rows R15-R19, and R106-R110For 6 1/2" bracelet, delete 18 rows R15-R23, and R106-R114

End your thread. Snag a thread-loop and tie a knot. Take your needle down through several beads in a column of beads on either side where you tied a knot. Come out of the beads, tieanother knot, go back through several more beads in that same column. Come out and trim your tail.

9. Create a flat strip with colors A and B, a tube with color C, a tube with color D, a tube with color E, anda flat strip with colors F and G.Starting with Row 32

NOTE: This will also determine which side of your piece is the front, and which is the back. Each tube will be 4 beads around. Thefront will show the top of the tube extending seamlessly from your earlier beadwork. The back will have the bottom of the tubeextending down the thickness of an 11/0 seed bead from the surface plane.

9A. Continue the Flat Ndebele Stitch with colors F and G, continuing to add 15/0 edge decoration on oneside, for 73 more rowsBeginning with Row 32.73 Rows of flat Ndebele for colors F and G bands

Start a new thread (wing-span length). Somewhere below where you want to come up, snag a thread loop, tie a knot and leavingabout a 6" tail, come up through several beads, positioned to where you want to continue, in this case, coming out the top and edge-side of color band G.

Stitch 73 rows of Ndbele, including Row 32. Add the edge beads along one side, as you have done before.

When you have Ndebele stitched 73 rows, tie off your thread, bring the thread down several beads into one column, come out, tie a



2nd knot, go back through several more beads, and the trim your tail.

9B. Basic Plain Tube (66 rows)66 Rows of tubular Ndebele with color E plus 30-40 beads of colors D and C mixed in, starting with Row 32.NOTE: Before we re-attach this tube on the other end of the bracelet, we are going to twist it a bit by hand, in order to create the"twist".With 11/0 seed beads, there are approximately 14-15 rows per inch.

In the Basic Plain Tube, the spiralling occurs by manually twisting the finished tube, before re-attaching it.

Create a Color Mix: You will need about 300 beads of color E to create this tube. Also mix in 30-40 beads total of colors D and C.

We need to go from a 2-bead flat surface plane to a 4-bead tubular plane. To get here, we first Ndebele 2 beads off of Row 31, andthen add 2 more beads using the ladder stitch, and finally securing these 4 beads into a circle (tube). We then need to do a littlereinforcement of the area where we are beginning our tube.

Follow these steps and illustrations:

Create Your 2-bead 2 row Ladder.

NOTE: Use your size 12 needle to start this tube and create our 4-bead tubular ladder.

Start a new thread (wing-span length). Somewhere below where you want to come up, snag a thread loop, tie a knot and leavingabout a 6" tail, come up through several beads, positioned to where you want to continue, in this case, coming out the top and left-side of 2-bead color band E..

First Ladder Row:Add 2 color E-mix beads, and Ndebele to your right. Come down through 1 bead, make a turn-around, and come back up.

Add 1 color E-mix bead, and ladder stitch it to the previous bead.Add 1 more color E-mix bead after this, and ladder stitch it to the previous bead.

1. Add 2 and Ndebele for new row 32

2. Add 1 and ladder stitch to previousbead



3. Add another 1 and ladder stitch toprevious bead

4. Close the circle, and reinforcearound the circle and down through

R31 and perhaps R30.

Close the circle, by attaching your 2nd ladder-stitched bead to the 1st Ndebele-stitched bead.

We will label the two Ndebele-stitched beads as the FRONT (1 and 2),and the two ladder-stitched beads as the BACK (1 and 2).The FRONT beads are linear with the surface plane of your piece. The BACK beads extend out from the surface plane of yourpiece.NOTE: You need to remember, when creating and re-attaching the tubes, which side is FRONT and which side is BACK.

Circle around B1 and F1. When coming down F1 again, go down 2 or 3 beads in the column. Make a turn-around. Continue back upthe column, coming out F1.Circle around F1 and F2. When coming down F2 again, go down 2 or 3 beads in the column. Make a turn-around. Continue back upthe column, coming out F2.Circle around F2 and B2.Circle around B2 and B1.Circle around B1 and F1, go down 1 bead, make a turn-around, and coming back up through F1.

Second Ladder Row:We want to add one more 4-bead ladder row about these four beads.

Again, you are coming out of F1.So, pick up 2 beads, and come down through B1.Circle back, up through F1, then down through B1.Continue up through B2.Add 1 bead, and circle around between B2 and B1, coming up through B2.Add 1 bead, and continue down F2. Circle around between F2 and B2.Come out through F2, circle around F1, then circle around to B1.You want to end up coming up out of B1. You may need to make a turn-around, to position your needle.

Now, you have finished adding a 2-bead/2-row ladder,and you are coming up through B1.



You are now positioned to begin to Ndebele-Stitch your straight tube.NOTE: If you want, you can switch to the size #10 English Beading Needle.

Create Your Ndebele Basic Plain Tube

Again, you are coming out of B1. Add 2 beads, and go down 1 bead through B2.Come up 1 bead through F2.Add 2 beads, and go down 1 bead through F1.Come up B1 through 2 beads. (You are coming up 1 bead, then stepping up through a 2nd bead, to position your needle for thenext row).

NOTE: This gets us working in a counter-clockwise direction, which is good if you are right-handed. For left-handed people, it iseasier to work clockwise, so you would reverse the steps above.

Your mantra:Add 2, down 1, up 1Add 2, down 1, up 2

[Note: If I added 2, went down 2, up 2, then added 2, down 2, up 3, I would end up with a stiffer tube.]

Continue to Ndbele this 4-bead wide tube for 64 more rows (for a total of 66 rows, including the 2 ladder rows).While you are working this stitch, clamp your thumb/forefinger near the top of the developing tube, to get the most control over yourstitching.

Tie off your thread, bring the thread down several beads into one column, come out, tie a 2nd knot, go back through several morebeads, and the trim your tail.

9C. Basic Spiral Tube (76 rows)76 Rows of spiral tubular Ndebele with color D plus 30-40 beads of colors C and E mixed in, starting with Row 32.With 11/0 seed beads, there are approximatley 16-17 rows per inch.

In the Basic Spiral Tube, the spiralling occurs because of the lopsided placement of the beads.

Create a Color Mix: You will need about 300 beads of color D to create this tube. Also mix in 30-40 beads total of colors C and E.

Again, as done in step 9B, we need to go from a 2-bead flat surface plane to a 4-bead tubular plane. To get here, we first Ndebele 2beads off of Row 31, and then add 2 more beads using the ladder stitch, and finally securing these 4 beads into a circle (tube). Wethen need to do a little reinforcement of the area where we are beginning our tube.

Follow the instructions for creating this 2-bead/2-row Ladder from Step 9B.

After you have finished creating your 2-bead/2-row ladder, you are ready to Ndebele again. Follow these steps to create your BasicSpiral Tube.

Now, you have finished adding a 2-bead/2-row ladder, and your needle is coming up through B1.

You are now positioned to begin to Ndebele-Stitch your Basic Spiral Tube.NOTE: If you want, you can switch to the size #10 English Beading Needle.

Create Your Ndebele Basic Spiral Tube



Again, you are coming out of B1. Add 2 beads, and go down 2 beads through B2.Come up 1 bead at a diagonal through F2.Add 2 beads, and go down 2 beads through F1.Come up B1 through 2 beads at a diagonal. (You are coming up 1 bead diagonally, then stepping up through a 2nd bead, toposition your needle for the next row).


Your mantra:Add 2, down 2, up 1 Add 2, down 2, up 1 and step up 1 more (like going up 2 beads)


Continue for 76 more rows (=2 ladder rows plus 74 ndebele rows for 76 total rows)

While you are working this stitch, clamp your thumb/forefinger near the top of the developing tube, to get the most control over yourstitching.


9D. Soft Spiral Tube (66 rows)66 Rows of soft spiral tubular Ndebele with color C plus 30-40 beads of colors D and E mixed in, starting with Row 32.With three 11/0 seed beads and one 15/0 seed bead per row, there are approximatley 16-17 rows per inch.

In the Soft Spiral Tube, the spiralling occurs by varying the size of the beads within each row. In this case, we place 3 11/0 and 115/0 seed bead in each row.

Create a Color Mix: You will need about 300 beads of color C to create this tube. Also mix in 30-40 beads total of colors D and E.

Again, as done in step 9B, we need to go from a 2-bead flat surface plane to a 4-bead tubular plane. To get here, we first Ndebele 2beads off of Row 31, and then add 2 more beads using the ladder stitch, and finally securing these 4 beads into a circle (tube). Wethen need to do a little reinforcement of the area where we are beginning our tube.



Follow the instructions for creating this 2-bead/2-row ladder from Step 9B with ONE MODIFICATION.In your first 4-bead ladder row, before you attach it to create a circle, your first 2 beads will be 11/0 sead beads, your 3rd bead will bea 15/0 seed bead, and your 4th bead will be an 11/0 seed bead.

Now, you have finished adding a 2-bead/2-row ladder.

You are now positioned to begin to Ndebele-Stitch your Soft Spiral Tube.NOTE: If you want, you can switch to the size #10 English Beading Needle.

Create Your Ndebele Soft Spiral Tube

Follow the same Ndebele steps as for the Basic Plain Tube (9B), but this time, first add 2 11/0 seed beads and Ndebele, and thenadd 1 11/0 and then 1 15/0 seed bead, and Ndebele. [NOTE: the 15/0 seed bead will always be the 2nd bead in this side's pairing.]

Again, you are coming out of B1. Add 2 beads (an 11/0 and a 15/0), and go down 1 bead (a 15/0) through B2.Come up 1 bead (11/0) through F2.Add 2 beads (both 11/0's), and go down 1 bead (an 11/0) through F1.Come up B1 through 2 beads (both 11/0's). (You are coming up 1 bead, then stepping up through a 2nd bead, to position your needle for the next row).


Your mantra:Add 2 (11/0's), down 1, up 1Add 2 (an 11/0 and a 15/0), down 1, up 2 (That is, add 1 bead and step up 1 bead ready to start the next row).


Continue to Ndbele this 4-bead wide tube for 64 more rows (for a total of 66 rows, including the 2 ladder rows).While you are working this stitch, clamp your thumb/forefinger near the top of the developing tube, to get the most control over your



stitching.


9E. Flat Ndebele with colors A and B, continuing to add 15/0 edge decoration on one side, for 73 rowsBeginning with Row 32.73 Rows of flat Ndebele for colors A and B bands

Start a new thread (wing-span length). Start in the 2nd column (furthest from the edge) of Color A. Somewhere below where youwant to come up, snag a thread loop, tie a knot and leaving about a 6" tail, come up through several beads, positioned to where youwant to continue, in this case, coming out the top of color band A. Go down the first bead in the edge column of Color A, make aturnaround, and come back up through this bead, ready to Ndebele across Colors A and B.

Stitch 73 rows of Ndbele, including Row 32. Add the edge beads along one side, as you have done before in Step 9A.

When you have Ndebele stitched 73 rows, tie off your thread, bring the thread down several beads into one column, come out, tie a2nd knot, go back through several more beads, and the trim your tail.

10. Reconnecting all the flat and round tubes, with Row 104Row 104

NOTE: When you create each Ndebele tube, the final length can vary, depending on whether your tension is tight or looser, or on theactual sizes of your beads. Not every 11/0 bead is the exact same size as all other 11/0 beads. You may find yourself wanting to



add 1 or more rows to one or more of your Ndbele tubes, to equal out their lengths. There is a lot of "stretch" to this stitch; however,we want the tubes to end up not too tight, nor not too loose.

Start a new thread. Come up the non-edge column of Color Band A. Snag a thread loop, tie a knot, continue up to the top of thecolumn. Work your thread over one column to the edge, and go down the first bead. Make a turnaround. Come back up through thatfirst bead, and you are ready to start Row 104 and reconnect all the flat and round tubes.

Be sure to try to keep everything as tightly fit together as possible. [With the next Row 105, you will have a 2nd chance to geteverything positioned tightly together.]

First, Ndebele across Color Bands A and B. ADD TWO, DOWN 1, UP 1 PATTERN

Twist your Soft Spiral Tube to get the twisted look you like, before you attach this.You want to attach your tubes through the front 2 beads, so you need to determine which is the front and which is the back side. Theback side at the beginning of the tube will have 2 beads protruding out. The front side does NOT protrude out.

You are coming down through what is now the 2nd bead from the top of Color Band B. You want to come up through the first bead inColor Band C -- Your Soft Spiral Tube.Add 2 Color C beads, down 1.

Your Basic Spiral Tube probably needs no adjustment, or a very minor adjustment, before attaching it. You want to attach thisthrough the front two beads, not the back two.

Come up through the first bead in Color Band D - Your Basic Spiral Tube. Add 2 Color D beads, down 1.

Your Basic Plain Tube needs to be twisted to put a spiral in it. I'd suggest twisting it about 5 times. [Twist more or less, depending onwhat you personally like.] You want to attach this through the front beads, not the back two.

Come up through the first bead in Color Band E - Your Basic Plain Spiral.Add 2 Color E beads, down 1.

Come up through the first bead in Color Band F -- part of your flat Ndebele.Add 2 Color F beads, down 1, up 1 into Color Band G. Add 2 Color G beads, down 1, turnaround, come back up, positioned to Ndebele Row 105.

11. Beginning our 7-Color-Band Flat Ndebele with Row 105Row 105

Ndebele back across your whole piece. This row gives you a chance to tighten up everything, so that the flat andround tubes fit together well.

NOTE: When you add beads to where your round tubes were attached, be sure you are continue to go through the Front beads, and not theBack beads.

12. Continuing with our 7-Color-Band Flat NdebeleRows 106 -116.

If you are adjusting the size of your bracelet -- larger or smaller than 7 3/4", you will be adding or subtracting rows here. You will add or subtract the same number of rows as in STEP 8 above (Row 11).

Ndebele across the entire piece, and for the number of rows you need, given your length.

13. Creating the Row which defines the bottom of our butotn hole.Row 117.



The color pattern changes in this row. [We want to end up with a box of one color encircling our button hole.]

Ndebele across the entire piece, following this color pattern:

Add 2 A, down 1, up 1.Add 2 B, down 1, up 1.Add 1 C and 1 D, down 1, up 1.Add 2 D, down 1, up 1.Add 1 D and 1 E, down 1, up 1.Add 2 F, down 1, up 1.Add 2 G, down 1, turnaround, come back up and positioned for Row 118.

14. Creating our Button Hole (Negative Space) Rows 118-129

We are going to create 12 Ndebele rows with a negative space in the middle, in place of what would have been the 4th Color Bandwith Color D.[We need 12 rows or negative space to accommodate the size of the button. ]

Start with D/E, F and G:One side will be 12 rows of1D and 1E, 2F and 2G Ndebele over 3 Color Bands, make turnaround, step up, begin next row.Don't forget to continue adding the 15/0 edge beads, where appropriate. (You can continue using your current thread, or tie it off and start a new thread. When finished, tie off this thread.)

Then do A, B and C/D:



The other side will be 12 rows of:2A, 2B, 1C and 1D(Start a new thread to begin this section.) Ndebele over 3 Color Bands, make turnaround, step up, begin next row.Don't forget to continue adding the 15/0 edge beads, where appropriate.

In Step 15, we will continue with the same thread. Position your needle so that it is coming out the edge-side bead of Color Band A.

15. Close the Button Hole (Negative Space) by beginning Rapid Decrease with Rows 130 and 131Rows 130, 131, and 132

When we began our bracelet, we gradually increased the width over four rows. Here, we are going to rapidly decrease the widthover two rows. We are going to go from 7 bands of color back down to 5 bands of color.

In Row 130, first we reduce the number of 2-bead-color bands from 7 to 6:

Add 2A, down 1A, up 1B.Add 2B, down 1B, up 1C.Add 1C and 1D, down 1D, pull the gap closed, hold the thread tight, and go up the next D.Add 1D and 1E, down 1E, up 1F.Add 2F, down 1F, up 1GAdd 2G, down 1G, (add a 15/0 edge bead, if appropriate), and up 1G ready to begin Row 131.

Before continuing to Row 131, get your button. Test the hole size. Will your button slip the hole. Ideally you want a fit where there islittle to no resistance, but that the hole is not noticeably wider than that of the button.

In Row 131, we reduce the number of 2-bead-color bands from 6 to 5:

Add 2G, down 1G, up 1F.Add 2F, down 1F, Skip over the 1E bead, and go up the 1D bead, and pull your thread tight.Add 2D, go down 1D, Skip over the 1C bead, and go up the 1B bead, and the pull your thread tight.Add 2B, down 1B, up 1A.Add 2A, down 1A, (add a 15/0 edge bead if appropriate), turnaround, back up 1A, positioned to start Row 132.



In Row 132, we lock in our 5-color band pattern.

Add 2A, down 1A, up 1B.Add 2B, down 1B, up 1D.Add 2D, down 1D, up 1F. Pull your thread tight.Add 2F, down 1F, up 1G.Add 2G, down 1G, (add a 15/0 edge bead if appropriate), turnaround, back up 1G, positioned to start Row 133.

Before continuing with Row 133, we need to do some reinforcing, first around the entire button hole, and next around the area of theend of the button hole that comes to a V-shape, and against which the button sits, and will pull when the bracelet is worn.

Reinforce Around The Button HoleYou should be in Row 132, coming out of a color G bead.

You may want to switch to your size #12 English Beading Needle.



Work your way over the 2G, the 2F, and into the first D.Do a turnaround by snaggin the thread between the 2 D beads.Go down this first D column all the way to the bottom of the button hole.Work your way over the next two D beads, and up the next D bead in the C/D pairing column.Come back all the way up this D column.

Make this same circle with your needle/thread again.

As you are making this 2nd circle, look closely at the squared side of the button hole. If the beads are not sitting tightly next to eachother, you should reinforce the beads in the 1 or 2 rows below this squared side.

Circle R116 and R117, the paired C/D and 2D columns. Circle R116 and R117, the paired 2D and 2D columns.Circle R116 and R117, the paired D/E and 2E columns.

Make the same circle a 3rd time.

Your needle should be exiting Row 132, the first D bead in the Row.

Reinforce The V-Shape tapered end of the Button Hole



Go over and down through the next D bead. Take your needle down a total of 3D beads, into Row 130.Come back up the D bead in the previous column.

Test the fit of your button one more time. If a loose fit, you may want to go down one more row to R129; otherwise continue with theinstructions.Circle around these beads twice.

Go up to the D in Row 131. Circle the paired D's once.

Go up to the D in Row 132. Circle the paired D's once.

Work your way over to the edge-A in the paired A color band.Go down 1 A, make a turnaround, (add a 15/0 edge bead, if appropriate), and come back up the A, positioned to begin Row 133.

16. Row 133

Ndebele across the row2A, 2B, 2D, 2F, 2G

17. Add Ndebel Fan (or Arch) to end

Follow the instructions as in Step 3 above.

When you have finished making these 3 rows, snag a thread loop, tie a knot, go down a column of beads, come up and tie anotherknow. Continue down the column, and trim your thread.

18. Add Button

Start a new thread. You may want to use a size #12 English Beading Needle. Come out between R2 and R3, ready to go into the2nd B bead in color band B.

We want to locate our button above the middle column of beads, between Row 4 and Row 5.

Before we can attach our button, we need to reinforce the area of beadwork below where the button will sit.



Reinforcing our "Button Launch Pad"

Go up Column 7 through B in R3, R4, R5 and R6.Come down Column 8 through D in R6, R5, R4 and R3.Go up Column 9 through D in R3, R4, R5 and R6.Come down Column 10 through F in R6, R5, R4 and R3.

Make a turnaround. Repeat these steps in reverse, going up and down through 4 columns.

Come up so that your needle/thread is coming out the TOP-SIDE of the bracelet., between R4 and R5 in Column 8 (color D).

Put 3 size 15/0 seed beads on your thread. Slide your button on the thread, and add 2 more size 15/0 seed beads.Some button shanks will slide over the 15/0's, and this is OK. If not, that's OK, too.

Take your needle/thread through the color D bead in Column 9, between R4 and R5. Pull tight.

Continue circling around from D/Column 8, through 3 15/0, through the button, through 2 15/0, through D/Column 9.

Circle one more time.

Tie off your thread. Zig-zag a bit, and trim.

Your Ndebel Mother's Celebration Bracelet is Done.

Give It The Once Over...

Once your bracelet is done, look it over carefully. Now is the time to get out your thread zapper or lighter. All of those tiny threadsthat peak out from between beads will scream sloppy! Zap them all! or bring the flame on your lighter close to, but not touching, thethreads, so that they shrivel and ball up.

IIB. Dealing with Contingencies

1. Running out of thread – Adding Thread -- Finishing Off The End Of Your Thread

When it looks like there is about 12” of thread left, I start to plan to tie it off and beginanother thread, if I am not at the end of my project.

To tie off the old thread, I snag a thread-loop, tie an overhand knot, then run it down a column of beads from there.

After several rows, I pull the needle/thread out, snag the thread loop at that point, and tie another overhand knot. I then continue torun down some more rows of this column, before pulling the needle/thread out and trimming it off.

To add a new thread, I start back a few rows. I go through 2-3 beads, then snag a thread-loop, tie a knot whileleaving an 8-10” tail, and zig-zag up to where I want the thread to come out, and continuewhere I left off.

When I am finished with the project, I put a needle on the tail, snag a thread loop and tie an overhand knot. I run it up a column ofbeads, or zig-zag my way up through several rows, befroe cutting off the tail.



NEVER cut the thread at the point you have tied a knot.

2. Some areas of your piece feel too loose, or are pulling apart

I snag a thread-loop and tie off a new thread a few rows below where the problem is.

I take this thread up through one column to just above the problem, and then down through the column of beads beside it.

I tie off the thread, and finish weaving it through a few more beads in the column, before trimming it.

3. I've missed a row, or mis-counted my rows

Visually, Ndebele is very forgiving. This mis-counting will become part of the overall charm of your piece.

4. Your piece is too short or too long

With this bracelet, you don't have that much leeway. You might cut off the button, and reposition it elsewhere.

5. Some threads are poking out

Use a cigarette lighter or a thread zapper.

6. My Button Hole Is Too Small

Buttons are funny creatures, and any unusual shaping or their thickness, might affect their fit, beyond the usual diameterconsiderations.

You can cut the thread between the two D beads that you have reinforced in Row 130 (or Row 129, if you went down that far). Test the fit.If still too tight, you can continue and cut the thread between the two D beads that you have reinforced in Row 131.

IIC. Finishing Touches

IIC1. Signature bead or embellishment

I think it is always a good idea to use a signature bead in your projects. This might be a uniquebead added near the beginning or end of the piece, or incorporated within each link, or anengraved tag added as part of the clasp assembly. You want your signature bead to identify thepiece as your own, but you don’t want your signature bead to compete with or detract from yourpiece.

The general structure of this Ndebele Bracelet was created by Warren Feld.Any personalization you might do – choice of beads, choice of patterns, choice of stringingmaterial, choice of clasp, choice of color scheme, choice of embellishments – are your owntouches, and deserve your signature.



III. Learning Objectives MetAfter Accomplishing This Project

LEARNING OBJECTIVES STITCH OF THE MONTHNDEBELE STITCHMOTHER'S CELEBRATION BRACELETBW1-3-SOM-Ndebele

BEGINNER INTERMEDIATE ADVANCED

TECHNICAL MECHANICS

1. Managing Thread Tension BEGINNER

2. Holding Your Piece To Work It BEGINNER

3. Reading Simple Pattern, Figure and/or Graph BEGINNER

4. Selecting Materials BEGINNER

5. Identifying Areas of Potential Weakness, and Strategies for Dealing With These

BEGINNER

6. Determining Measurements, including Width and Length of aPiece, Especially In Relationship To Bead Sizes

BEGINNER

7. Finishing Off Threads in Piece or Extending by AddingThreads

BEGINNER

UNDERSTANDING CRAFT BASIS OF STITCH

1. Starting the Stitch BEGINNER

2. Implementing the Basic Stitch BEGINNER

3. Finishing Off Your Piece With A Clasp Assembly BEGINNER

4. Creating Simple Surface Embellishment BEGINNER

5. Creating a Simple Edging or Fringe BEGINNER

6. Working Stitch in Flat Form BEGINNER

7. Increasing and Decreasing BEGINNER

8. Working Stitch in Tubular Form BEGINNER

9. Working Stitch To Create Open (Negative Spaces), and SplitForms

BEGINNER

10. Elaborately Embellishing the Stitch, including Fringes, EdgeTreatments, Surface Treatments, Bails, Straps and Connectors

11. Working Stitch in Circular Form

12. Working Stitch in Spiral Form

13. Working Stitch in Diagonal Form

14. Working Stitch in 3-Dimensions (sculptural)

UNDERSTANDING ART & DESIGN BASIS OF STITCH



1. Learning Implications When Choosing DifferentSizes/Shapes of Beads, or Using Different Stringing Materials

2. Understanding Relationship of this Stitch in Comparison toOther Types of Bead Weaving Stitches

3. Understanding How Bead Asserts Its Need For Color, UsingThis Stitch

4. Creating Your Own Design with This Stitch, in Reference toDesign Elements and Jewelry Design Principles of Composition

5. Creating Shapes, Components and Forms with This Stitch,and Establishing Themes

6. Building in Structural Supports, and Other SupportElements, into the Design

BECOMING BEAD WEAVING ARTIST

1. Developing A Personal Style

2. Valuing or Pricing Your Work

3. Teaching Others The Stitch

4. Promoting Yourself and Your Work

5. Advocating for Jewelry as "Art" and as "Design"

IV. Next Steps

IVA. Suggested Readings:

Creative Bead Weaving, (Carol Wilcox-Wells), Lark Books, 1996Beyond Beading Basics, (Carole Rodgers)The Complete Guide to Beading Techniques, (Jane Davis), Krause Publications, 2001 Mastering Beadwork: A Comprehensive Guide to Off-Loom Techniques, (Carol Huber Cypher)Beading With Herringbone Stitch, (Vicki Star)DVD: Beadwork Herringbone Stitch: Basics and Beyond, (Melinda Barta)Teach Yourself Visually: Jewely Making and Beading, (Chris Franchetti Michaels)Teach Yourself Visually: Beadwork, (Chris Franchetti Michaels)

This pattern is for personal use only. Instructors interested in teaching this pattern should request permission.

All jewelry, artworks, images, designs, copy, Copyright 2011 Warren Feld. All rights reserved. LearnToBead.Net

Phone: 615/292-0610Website: www.learntobead.net Email: [email protected]


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