Professional Documents
Culture Documents
CREATE THIS
Brilliant
Bezeled ALL
NEW
Necklace Fast &
Stitch a Clever Fabulous
3-in-1 Design STRINGING
Bracelet SECTION ii
p. 67
Necklace
Wrap
Use Crescents
LIKE NEVER
BEFORE p. 42
HOW TO MAKE A
Mosaic Tile Necklace p. 56
Parade of
Daisies
p. 38
BEAD THIS
ZIGZAG CUFF
Well Show
You How p. 20
Introducing
Manufacturer, Distributor, Wholesaler
3-Hole Czech Glass
Cali
TM
John Bead
EXCLUSIVE
The Latest
Spring Fling
Features
6 20TH ANNIVERSARY CELEBRATION:
Stories that Inspire
16 QUICK-START GUIDE
to Seed Beads & Seed Beading
Departments
4 Passing Through
8 Cool Stuff
11 Stitch Tips
42 24
33 Bead Artist: Cristie Prince
85 Techniques
85 Stitch Index
88 Bead Buzz Projects
12 SIMPLY SEEDS: SATURN 45 PIP PETAL PENDANT
CONNECTIONS Kim West
Carole Ohl 48 VICTORIAN ROSE CORSAGE
34 EBOOK EXCERPT: QUEEN OF Danielle Clarke
DIAMONDS BRACELET
52 LACY CABLES BRACELET
Cristie Prince
Barbara Falkowitz
36 POPPY DELIGHT EARRINGS
56 CRYSTAL RAIN NECKLACE
Suz Klumb
Annette Holbert
38 PARADE OF DAISIES
60 CLEMATIS VINE BRACELET
Alice Haron
Jacqui Higgins
42 SERPENTINE CUFF
Marie New KITS
AVAILABLE
On the Cover
Parade of Daisies Saturn Connections
by Alice Haron
page 38
by Carole Ohl
page 12
2 WWW.INTERWEAVE.COM
28 36 48
56 71 73
45 74 67
Cheers!
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Whats Cookin in the Beadwork Office? VP, MANUFACTURING & LOGISTICS Phil Graham
NEWSSTAND SALES Scott T. Hill, scott.hill@procirc.com
Designs in this issue of Beadwork are for inspiration and personal use only. Beadwork
does not recommend, approve, or endorse any of the advertisers, products, services, or
views advertised in Beadwork. Nor does Beadwork evaluate the advertisers claims in
any way. You should, therefore, use your own judgment in evaluating the advertisers,
Youll want to snatch up products, services, and views advertised in Beadwork. Exact reproduction for commercial
one of the stylish Saturn purposes is contrary to the spirit of good craftsmanship.
Connections bracelet kits Beadwork (ISSN 1528-5634) is published bimonthly by Interweave, a division of F+W Media,
before theyre gone! Find the Inc., 4868 Innovation Dr., Fort Collins, CO 80525-5576. (866) 949-1646. USPS #018-351.
Periodicals postage paid at Fort Collins, CO 80525, and additional mailing offices. 2017
kit at www.interweave.com F+W Media, Inc. All rights reserved. Reproduction in whole or in part is prohibited, except by
and instructions for making permission of the publisher. Subscription rate is $29.95/one year in the U.S., $34.95/one year
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Visit www.interweave.com/beading
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4 WWW.INTERWEAVE.COM
Traditional Czech Beads
PRECIOSA HillTM
QHZUHSROLVKHGEHDG
'(6*1%<0&+$/3$3(
To celebrate the
twentieth anniver-
sary of Beadwork
tammy lawson:
magazine, were
publishing inspira-
tional stories from
you, our readers!
We would love to
hear how beading
GUIDING LIGHT
W
has changed your hen I was six years old, my par-
life, how youve ents ran a seafood restaurant
used beading to where my older sisters worked as
change someone
waitresses. Every night after work they
elses life, or any Below: Tammys studio
would count their tip money, and I would be
other inspirational
story related to sad that I didnt make any money to count.
beading. Find the So, my mother taught me how to make neck-
first inspirational laces using metallic thread, beads, and a sim-
stories of this series ple chain stitch. My father, Carl Pee Wee
in the December Wilson, made a display for my necklaces in
2016/January 2017 the restaurant, and I sold them to customers
and February/ for $1 each. That way, at the end of each
March 2017 issues night, I would have money to count, too.
6 WWW.INTERWEAVE.COM
Introducing 3 New Shapes:
CzechMates 3-Hole Beam
CzechMates 2-Hole Cabochon
Starman 1-Hole Prong
Protect Me Bracelet
by Iulia Postica 3/5mm Prong
New TrendSetter classes featuring the latest beads manufactured by Starman. Available through your local bead store.
Sunower Earrings Fireworks Pendant Cabochon Bracelet Cypress Leaf Bracelet Queen of the Night Bracelet
by Olga Haserodt by Kathy Simonds by Kim Leahy by Jacqui Higgins by Miyuki Oitate
ASK YOUR LOCAL BEAD STORE FOR STARMAN BEADS OR ORDER FROM:
Artbeads Bead & Glass Boutique Bobby Bead Fusion Beads Potomac Bead Company
www.Artbeads.com www.BeadAndGlass.com www.BobbyBead.com www.FusionBeads.com www.PotomacBeads.com
Aura Crystals Bead Unique Design & Adorn Beading Studio Just Bead It Red Panda Beads
www.AuraCrystals.com www.BeadUniqueAZ.com www.DesignAndAdorn.com www.JustBeadItConcord.com www.RedPandaBeads.com
Baubles & Beads Bello Modo Eclectica Lima Beads AUTHORIZED DISTRIBUTORS
www.BaublesAndBeads.com www.BelloModo.com www.EclecticaBeads.com www.LimaBeads.com
Beadaholique Beyond Beadery Eureka Crystal Beads Midwest Bead & Supply
www.Beadaholique.com www.BeyondBeadery.com www.EurekaCrystalBeads.com www.MidwestBeads.com
3
2
7
8
1. Inspired by Americas national rich colors and finishes, including strung designs. Visit www.czech 5. Use classic stitches and basic
parks, such as Redwood, Denali, and red dark travertine and green beads.com (wholesale only) or check materials to create wearable but
Shenandoah, the high-relief charms turquoise dark travertine, shown your favorite bead retailer. elegant beaded jewelry for any
of the Nature Collection by Nunn here. Visit www.beadsmith.com 4. Give your beadwork the look of occasion in Eve Leders Casual
Design feature plant and animal (wholesale only) or check your metalwithout the weightwith Bead Elegance, Stitch by Stitch
imagery, organic shapes, and an favorite bead retailer. the new fire-polished micro spacers (Kalmbach). Organized by stitch, this
antiqued finish. They are available 3. Inspired by the colors of vintage from the The BeadSmith. These project-focused book will take you
in copper, gold, and silver at www California fruit-crate advertisements, spacers are 23mm and come in from simple to more complex
.nunndesign.com (wholesale only) the beads of the Pacifica collection eight metallic colors and finishes. Use technique applications, making it
or check your favorite bead retailer. by Starman are available in a variety them alongside metallic Silky beads, a great resource for beaders of all
2. The new 35mm fire-polished of shapes. With soft, glowing colors, which are now available in 5mm. Visit levels. Available at your favorite
donuts from The BeadSmith feature the new 14mm cushion rounds are www.beadsmith.com or check your bead or book store.
a lovely faceted texture and twenty beautiful in both beadwoven and favorite bead retailer.
THE STAFF OF BEADWORK INVITES YOU TO SEND YOUR NEW BEADWORKING PRODUCTS FOR CONSIDERATION IN COOL STUFF.
8 WWW.INTERWEAVE.COM
HANDPICKED FAVORITES IN THE
9
In Global Style Jewelry, Anne
Potter traverses the globe in search
of jewelry inspiration. Follow along
and create a colorful tile bracelet
inspired by the mosaics of Gaud or
hand-dyed Incan-style beads for a
stunning neckpiece. With detailed
step-by-step instructions and clear
photos, this book will let you
explore diverse jewelry-making
techniques such as stringing,
beadweaving, wirework, macram,
metal stamping, and chain maille.
Make this book your ticket to a
world of jewelry adventure! Find
it at www.interweave.com.
www.interweave.com
6. Its not hard to be charmed by the 7. Unlike a small tube of mixed 8. The bronze kumihimo clasps by black, citrine, red, and clear at
Dahlia beads from Nirvana Beads. beads, the new seed bead palettes Kim Fox Jewelry Design are so www.halsteadbead.com.
Theyre a perfect 14mm in diameter from Fusion Beads can be used to striking and unique that they can 10. With mixes such as Sapphire Ice,
and are available in an array of pretty create an entire project from start to easily double as a focal. Held together Cleopatra Gold, and Black Tie, the
colors and finishes, such as Picasso, finish, with beads to spare. A palette by strong rare-earth magnets, they new Swarovski crystal and pearl
silver, gold, turquoise, and mercury includes ten 5-gram bags of size 8 are exceptionally secure with a designer blends are so pretty that
glass. Theyre great for stringing but or 11 seed beads in expertly coordi- pleasing heft. Visit www.phxfox.com. youll be tempted to leave them
can also be used as a button or in nated colors. Find the Bouquet 9. Available as two-sided charms, in their tubes. Find them in
bead embroidery. Find them in palette pictured here, as well as links, or chains, the new checker- 3mm, 4mm, and 6mm sizes
twenty-six colors at www.nirvana fifty-six others, at www.fusion board cubic zirconia crystals from at www.artbeads.com.
beads.com (wholesale only) or check beads.com. Halstead offer expansive design
your favorite bead retailer. possibilities. Find them in amethyst,
PLEASE SEND ALL SUBMISSIONS TO BEADWORK@INTERWEAVE.COM AND INCLUDE COMPLETE PRODUCT INFORMATION.
10 WWW.INTERWEAVE.COM
stitch tips
LESSONS IN BEADWEAVING
Thread Tension
Jean Cox
DOUBLED THREAD
Cutting an extra long length of thread and
pulling the needle to the center so you can
work with doubled thread is another way to
ensure good thread tension. Youll fill the bead
holes more quickly, which gives your work Tension Beads
more structural support. When you use dou- Youll sometimes see instructions that start
bled thread, make sure the project doesnt re- with the advice Add a tension bead. A
tension bead is any bead that you string on the
quire multiple thread passes through beads
end of your thread to keep newly added beads
too small to accommodate them. from falling off. In my opinion, this is actually
misnamed; although temporarily anchoring a
A WORD ABOUT WAX REINFORCING THREAD PATHS bead at the start is a great way to stop beads
No matter what type of thread you use, wax Passing through the beads after theyve been from slipping off (the alternative name for this
is a stop bead or stopper bead), it absolutely
it before you use it. I like to use good old- stitched in place is a great way to reinforce your
does not provide tension to your beadwork.
fashioned beeswax, even on my FireLine. The beadwork and firm up the tension. Because the
stickier the wax, the more it helps hold your beads are already placed, its easier to pull your
thread in place. (Note that thread conditioner thread tight without having to hold onto newly
works, too, but its primary benefit is to make placed beads. And, as with doubled thread, fill-
threads slick and demagnetized and to keep ing the bead holes with more thread passes
them from fraying. These are all wonderful and adds body to your work.
important attributes but not necessarily ideal
for helping to increase the thread tension.)
SEE P. 94 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 4 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 11
simply seeds
SPOTLIGHT ON SEED BEADS
KITS
ARE NOW
AVAILABLE FOR
Saturn Connections THIS PROJECT AT
www.interweave.com
Carole Ohl
Main
Colorway
TECHNIQUES 1) COMPONENTS. Use circular herringbone Round 3: String 2B and pass down through
circular herringbone stitch stitch and ladder stitch to make the the next B of the previous round to form a
ladder stitch components: herringbone stitch, then string 4C and pass
PROJECT LEVEL Round 1: Use 2' of thread to string 16B, leav- up through the following B of the previous
ing a 4" tail. Pass through the beads twice to round; repeat three times (Fig.2, red
MATERIALS
0.5 g light smoky pewter galvanized form a circle and exit through the first B thread).
size 15 seed beads (A) strung (Fig.1, green thread). Round 4: String 2B and pass down through
5 g light smoky pewter galvanized size Center: String 1D; pass back through the the next B of the previous round to form a
11 seed beads (B) eighth through first beads strung in herringbone stitch, then string 6C and pass
2 g matte metallic blue slate AB size 11
cylinder beads (C) Round1 (Fig.1, blue thread). Pass through up through the following B of the previous
9 polychrome orchid aqua 6mm the D; pass through the ninth through six- round; repeat three times (Fig.3, green
pressed-glass rounds (D) teenth beads strung in Round 1. Pass thread).
1 silver 1610mm 2-strand tube clasp through the first 2B of Round 1 (Fig.1, red Round 5: String 2B and pass down through
Smoke 4 lb FireLine braided beading thread). the next B of the previous round to form a
thread
Round 2: String 2B and pass through the next herringbone stitch, then weave through
TOOLS 4B of Round 1 to form a herringbone stitch; beads to pass up through the following B of
Scissors
repeat three times. Note: For this and subse- the previous round; repeat three times.
Size 11 or 12 beading needle
quent rounds, step up through the first Weave through beads to exit from the near-
FINISHED SIZE bead added in the current round (Fig.2, est 5C of Round 4 (Fig.3, blue thread).
7"
blue thread).
12 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
Fig. 2: Working Rounds 2
and 3 of a component
Fig. 3: Finishing Rounds 4 and 5
and the link of a component
artists tips
Use only galvanized round seed
beads. Different finishes can affect
the size of seed beads, which
might result in an uneven look.
Knots arent required in this
project. Numerous thread
reinforcements keep the beads in
place and provide the structure
needed for the turnarounds.
Using tight tension is
recommended.
Link: String 4B; pass through the last 4C the top B of Round 5 at the herringbone- next to the last B exited (Fig.4, green
exited and the 4B just added (Fig.3, red stitched corner above the link (Fig.4, pink thread). String 3B; pass up through the mir-
thread). Pass through the last 4C exited thread). *Align 1 new component next to ror B of the first component and weave
and the 4B just added to reinforce. Secure the previous component, with the new through beads to exit down through the 4B
the threads and trim. Set aside. components link to the right. String 3B; of the first components link (Fig.4, blue
Repeat this entire step eight times for a total of pass down through the mirror B of the thread).
9 components. new component and weave through Center Connection: Pass up through the
beads to exit up through the B of the new center 4C of the nearest edge in the new
2) ASSEMBLY. Use ladder stitch to connect component next to the last B exited component. Pass through the last 4B exited
the components: (Fig.4, orange thread). String 1A; pass on the previous component and the last 4C
Top Connection: Add a stop bead to 6' of down through the mirror B of the first com- exited on the new component. Weave
new thread, leaving a 16" tail. With the com- ponent and weave through beads to exit through beads to exit up through the top B
ponents link to the right, pass up through down through the top B at the end of the of Round 5 at the herringbone-stitched cor-
the top 5C at the left side of 1 component. herringbone-stitched corner below the first ner above the new components link (Fig.4,
Note: The center 6mm round will be raised components link (Fig.4, purple thread). red thread).
on one side of each component, creating Bottom Connection: String 1A; pass up Repeat from * seven times to connect the re-
the front; when connecting the components, through the mirror B of the new compo- maining components, but after the last repeat,
take care that each component is faceup. nent and weave through beads to exit weave through beads of the last component
Weave through beads to exit up through down through the B of the new component added to exit up through the 4B of its link.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 13
Saturn Connections
Alternate
Colorway Materials
3) CLASP 1. String one loop of one half of
the clasp and pass back through the last 4B
AMBER
exited (Fig.5, blue thread); repeat, stringing
0.5 g pewter galvanized size 15 seed
beads (A) the second loop of the same half of the clasp
5 g pewter galvanized size 11 seed (Fig.5, red thread). Repeat the thread path CAROLE OHL has been a beader, teacher, and
beads (B) of this step twice. Secure and trim the beadweaving designer since 2003. She also
2 g dark amber sparkling size 11 working thread. served as a Starman TrendSetter in 20152017.
cylinder beads (C)
9 rose gold topaz luster opaque 6mm
She owns a bead store in Kettering, Ohio, called
pressed-glass rounds (D) 4) CLASP 2. Remove the stop bead. Add a Bead Stash that serves to inspire and preserve
1 antiqued brass 1610mm 2-strand needle to the tail thread. String 4B and pass the communitys love of beading. Contact Carole
tube clasp through the last 4C exited and the 4B just at caroleohl@gmail.com and find her tutorials at
Smoke 4 lb FireLine braided beading
thread added; repeat the thread path to reinforce. www.openseed.etsy.com.
Repeat Step 3, using the second half of the
MULTICOLOR
clasp and taking care that the halves are posi- RESOURCES Check your favorite bead
0.5 g metallic dark bronze size 15 seed
beads (A) tioned to close properly. retailer or contact: Seed beads, Delica
5 g metallic dark bronze size 11 seed cylinder beads, and thread: Charlenes Beads,
beads (B) (760) 530-9436, www.cbbeads.com. Pressed-
0.5 g turquoise AB size 11 cylinder glass rounds: Aura Crystals, (888) 213-9484,
beads (C; use for 2 components)
0.5 g lilac AB size 11 cylinder beads
www.auracrystals.com.
(C;use for 2 components)
0.5 g metallic rhubarb luster
size 11 cylinder beads (C; use for
2components)
0.5 g mallard luster size 11 cylinder
beads (C; use for 2 components)
8 bronze clay oxidized 6mm pressed-
glass rounds (D)
1 antiqued brass 13mm toggle clasp
Smoke 4 lb FireLine braided beading
thread
Fig. 5: Attaching
the clasp
14 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
FREE Pattern Downloads
quick-start guide
TO SEED BEADS
& SEED BEADING
Tammy Honaman
16 WWW.INTERWEAVE.COM
seed beads example, a size 11 Delica does not
Seed beads have been around for equal a size 11 seed bead. And a
ages, originally used as a commodity in Czech size 11 is not necessarily the
trading for other goods and services. same size as a Japanese size 11. They
These tiny pieces of glass are available are close, but if you are looking to
in colors beyond the spectrum, thanks Cylinder beads create a pattern using a specific size
to finishes and layering techniques, and and manufacturer, and want the design
in sizes and shapes unheard of until to be exactly the same, be sure to buy
recently, thanks to manufacturers push- beads in the specified size and by the
ing boundaries and developing new same company whenever possible.
beadmaking techniques.
Seed beads used in beadweaving and
jewelry making are manufactured primar-
ily in glass factories in the Czech Republic shaped seed beads
and Japan. Each bead has its own unique Its fun to work other shaped beads
properties, and each manufacturer has a into a design, and its fun to see how
niche. Beads are sold in tubes and con- Czech beads exchanging a seed bead for a triangle
tainers, as hanks, and in bags. or a hex bead completely changes the
look of a finished design. (Triangle and
Japanese seed beads are generally hex beads are sized the same as seed
more uniform in shape, the donut be- beads, so this is an easy swap and a
differences among ing larger, more square, and taller than good example of a simple substitution.)
manufacturers in Czech seed beads. These beads are Heres an overview of a few of the
cut to be precise, but from time to time other shapes available to us today.
Czech seed beads are typically donut- you do need to cull misshapen beads.
shaped and more irregular than Japa- Japanese seed beads can also be CUBES these look like mosaic tiles when
nese seed beads. This difference, an found in a cylindrical shape called cyl- worked into a woven design; commonly
attribute we use to our advantage, inder beads. These beads look almost available in 1.5mm, 3mm, and 4mm sizes.
makes Czech seed beads perfect for use square from the side, they have a larger
in freeform work, stringing projects, and hole end to end, and their precise cut
anywhere a more organic feel will work. means you will rarely have to cull mis-
Czech beads are sold by the hank. Cubes
shapen beads.
Czech Charlotte beads are also Cylinder beads are beautiful in wo-
donut-shaped with a facet cut onto the ven designs, creating a smooth finish
surface of the bead (just one facet), of- (almost fabric-like), as well as yielding a
fering a little sparkle as the facet catches lighter-weight piece because the walls
the light. of these beads are much thinner than in
traditionally shaped seed beads.
BUGLES long tubes of glass available in
a variety of lengths; these work well in
beaded strands, as fringe, and stitched
seed bead sizing to fabric or leather. Bugles typically have
Czech and
Charlotte Seed beads are sold by size; the larger sharp edges, so either string a round
the bead, the lower the number. Each seed bead on either end of a bugle
manufacturer and each type of bead bead to protect the thread or
uses a different metric for measuring, use a stronger stringing material,
so this area can be a bit tricky. For such as FireLine or WildFire thread.
Japanese and
cylinders
nishes
Seed beads are available in every color
imaginable. Finishes added to these
colors create an even greater color pal-
ette. Heres the rundown of words used
to describe seed bead colors and their
finishes.
18 WWW.INTERWEAVE.COM
THREAD most patterns will offer you
the best suggestion on which thread
to use for the beads in the design. This
advice is usually offered based on trial
and error.
OPTION
CREATE A CUFF WITH MORE
THAN ONE FLOWER.
Main
Colorway
20 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
Use tubular diagonal peyote stitch and herringbone
stitch to form two multicolored zigzag cuffs, then connect
them and attach a three-dimensional flower made with
the same techniques.
1) INSIDE CUFF. Use tubular diagonal pey- Rounds 5 and 6: Repeat Round 4 twice. TECHNIQUES
ote stitch to form the inner layer of the cuff: Round 7: String 2C; pass down through the tubular herringbone stitch
Rounds 1 and 2: Use 5' of FireLine thread to next C of the previous round to form a her- tubular diagonal peyote stitch
string {3C, 15D, and 15E} eight times, leav- ringbone stitch (Fig.2, orange thread). fringe
ing a 4" tail. Use the working and tail Work 7 peyote stitches with 1D in each right-angle weave variation
threads to tie a square knot to form a loose stitch. Pass down through the nearest cor- PROJECT LEVEL
circle, and pass through the first C strung ner 5D of the previous rounds to exit from
MATERIALS
(Fig.1, green thread). Note: When tying the nearest D of Round 1 (Fig.2, purple
0.5 g orange semi-glazed size 15 seed
the knot, leave a 3-bead-wide gap in the thread). String 1H and 1B; pass back beads (A)
thread; the next 2 rounds will be easier to through the H to form a fringe and pass 0.5 g gold-lined crystal size 15 seed
stitch and the beadwork will tighten as up through the nearest corner 6E of the beads (B)
you work and close the gap. previous rounds to exit from the nearest 4 g metallic olive opaque size 11
Round 3: String 2C; skip the nearest C of the E of Round 6 (Fig.2, green thread). Work cylinder beads (C)
previous rounds and pass down through 7peyote stitches with 1E in each stitch 7 g matte metallic gold iris size 11
the next C to form a herringbone stitch. (Fig.2, blue thread). Repeat from the cylinder beads (D)
Work 7 peyote stitches with 1D in each beginning of this round seven times 7 g metallic light bronze size 11
cylinder beads (E)
stitch. Skip the next 1D/1E and pass up (Fig.2, red thread). 7 g zest (lime) galvanized Duracoat
through the following E. Work 7 peyote Rounds 812: Repeat Round 4 five times. size11 cylinder beads (F)
stitches with 1E in each stitch. Repeat from Rounds 1322: Repeat Round 4 ten times, 7 g matte metallic olive gold size 11
the beginning of this round seven times. using E for D and D for E. cylinder beads (G)
Note: Step up for this and subsequent Round 23: String 1C, 1H, and 1B; pass back 16 California gold-rush 2mm fire-polished
rounds by passing through the first bead through the H to form a fringe. String 1C; rounds (H)
added in the current round unless other- pass down through the next C of the previ- 22 24k gold-plated 2mm fire-polished
rounds (J)
wise noted (Fig.1, blue thread). Take care ous round to form a herringbone stitch
1 polychrome olive mauve 8mm pressed-
that the beadwork isnt twisted. (Fig.3, purple thread). Work 7 peyote glass round
Round 4: String 2C; pass down through the stitches with 1E in each stitch. Pass up Smoke 4 lb FireLine braided beading
next C of the previous round to form a through the nearest D of the previous thread
herringbone stitch. Work 7 peyote stitches round (Fig.3, green thread). Work 7 pey- Contrasting color sewing thread
with 1D in each stitch. Pass up through the ote stitches with 1D in each stitch (Fig.3,
TOOLS
nearest E of the previous round. Work blue thread). Repeat from the beginning Scissors
7peyote stitches with 1E in each stitch. of this round seven times (Fig.3, red Size 10 beading needle
Repeat from the beginning of this round thread). Secure the threads and trim.
seven times (Fig.1, red thread). Set aside. FINISHED SIZE
7 " (inside circumference)
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 21
2017 OPTION
YOU CAN MODIFY THE LOOK AND SIZE OF
designer THE FLOWER BY ADJUSTING THE NUMBER OF
of the year REPEATS IN ROUNDS 1 AND 2. TRY REPEATING
THE SEQUENCE FIVE, SEVEN, OR EIGHT TIMES
FOR A FLOWER WITH FEWER OR MORE PETALS.
Fig. 4: Adding
temporary
connection stitches
2) OUTSIDE CUFF. Use tubular diagonal 4) CUFF CONNECTION. Note: The follow-
peyote stitch to form the outer layer of ing stitch will form the permanent cuff con-
the cuff: nection. Use 2' of FireLine thread to connect
Rounds 17: Repeat Step 1, Rounds 17 the outside cuff to the inside cuff by weaving
artists tips using G for D, F for E, and J for H. through beads of both cuffs around the cir-
Rounds 812: Repeat Step 1, Round 4 five cumference of the beadwork. Secure the
Use a regular sewing needle to add times using G for D and F for E. threads and trim. Remove the temporary
the temporary connection stitches in
Round 13: Repeat Step 1, Round 23 using G threads from Step 3. Set aside.
Step 3. Sewing needles are stronger
for E, F for D, and J for H. Secure the
and will be able to push through the
cuff layers more easily. threads and trim. 5) FLOWER. Use tubular diagonal peyote
stitch and right-angle weave to stitch a
This bracelet fits over a medium- 3) TEMPORARY CONNECTION. Note: flower:
sized hand and wrist. Each set of
The following stitches will keep the bead- Rounds 1 and 2: Note: The flower is worked
3beads/15 beads/15 beads added in
Rounds 1 and 2 of the cuffs adds
work aligned when forming the permanent in the same manner as the cuffs. Use 5' of
about 1". To shorten the bracelet, cuff connection and will be removed after FireLine thread to string {3C, 13G, and 13F}
string 3 beads/13 beads/13 beads in Step 4. Flip the outside cuff upside down six times, leaving a 4" tail. Use the working
Rounds 1 and 2; each set will add ". and slide it over the inside cuff so that the and tail threads to tie a square knot to
herringbone-stitched corners are aligned form a loose circle and pass through the
and the points of the cuffs alternate accord- first C strung. Note: When tying the knot,
ing to Fig.4. Taking
T care that the outside cuff leave a 3-bead-wide gap in the thread; the
is centered at the middle of the inside cuff, beadwork will tighten with each subse-
use short pieces of sewing thread quent round and close the gap.
to add
a loose temporary stitches Round 3: String 2C; skip the nearest C of the
around the circumference of the
arou previous rounds and pass down through
bead
beadwork that connect the cuffs the next C to form a herringbone stitch.
(Fig.4).
(Fig. Work 6 peyote stitches with 1G in each
stitch. Skip the next 1G/1F and pass up
through the following F. Work 6 peyote
stitches with 1F in each stitch. Repeat from
OPTION the beginning of this round five times.
MAKE A BRACELET WITH Note: Step up for this and subsequent
ONLY ONE CUFF LAYER BY rounds by passing through the first bead
OMITTING STEPS 24. added in the current round unless other-
wise noted. Take care that the beadwork
isnt twisted.
22 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
artists tips
The circumference of the cuffs
will be larger when you firstt start
en
stitching than it will be when
you finish. As you work eachh
subsequent round, the cuffss will
tighten to the finished size.
If youre unsure whether thishis
all
bracelet will fit, stitch a small
sample. Use size 11 cylinder er
beads to string five repeats of
3 beads/15 beads/15 beads; then
work seven rounds of peyotee
stitch. Measure the space off each
nsion
repeat to make sure your tension
Fig. 5: Forming the is the same as the sample.
seams of the flower
Round 4: String 2C; pass down through the of the previous round. String 1A; pass up 6) FLOWER CONNECTION. Stitch the cen-
next C of the previous round to form a through the next F of the previous round, ter of the flower to the center of the cuff by
herringbone stitch. Work 6 peyote stitches pass through the nearest A of this seam, weaving back and forth through beads of
with 1G in each stitch. Pass up through pass down through the last G exited in the the flower and the outside and inside cuffs.
the nearest F of the previous round. Work previous round, and pass through the A Reinforce the connection. Secure the
6peyote stitches with 1F in each stitch. just added (Fig.5, green thread). Repeat threads and trim.
Repeat from the beginning of this round from * twice (Fig.5, blue thread). Weave
five times. through beads to exit down through the AGNIESZKA WATTS is a jewelry designer and
Rounds 5 and 6: Repeat Flower, Round 4 second C added in the previous round at teacher. She resides in Lemont, Illinois, but also
twice. the next herringbone-stitched corner spends time living in her home country, Poland.
Round 7: String 2C; pass down through the (Fig.5, red thread). Repeat from the She became an Illinois Artisan in 2014, and she is
next C of the previous round to form a beginning of this seam five times, making an associate instructor for Art Clay World in Oak
herringbone stitch. Work 6 peyote stitches sure the beadwork folds in the same direc- Lawn, Illinois. Agnieszka is a member of the
with 1G in each stitch. Pass down through tion each time to create a flower. 20142017 Starman TrendSetters team. Contact
the nearest corner 5G of the previous Center: Push the center of the flower her at me7asia@yahoo.pl and visit her website,
rounds to exit from the nearest G of toward the back so that the ends with J www.agnesse.weebly.com, and Etsy shop,
Round 1. String 1J and 1B; pass back face up and out and the seams are set www.agnesseartistry1.etsy.com.
through the J and pass up through the back. Stitch the 8mm round to the center
nearest corner 6F of the previous rounds of the flower by passing through opposite RESOURCES Check your favorite bead
to exit from the nearest F of Round 6. Work beadsds at the cen
center hole of the flower. retailer or contact: Seed beads, Delica
6 peyote stitches with 1F in each stitch. Reinforce
nforce the stitch multiple
multipl times to rein- cylinder beads, and thread: Beyond Beadery,
Repeat from the beginning of this round force.
rce. Exit the working thread toward the (800) 840-5548, www.beyondbeadery.com.
five times. back
ack of the flower. Fire-polished
Fi rounds and pressed-glass round:
Rounds 813: Repeat Flower, Round 4 six Agnesse Artis
Artistry 1, www.agnesseartistry1
times. Pass down through the second C .etsy.com.
added in Flower, Round 13 (See the tur-
quoise start dot in Fig.5).
Seams: String 1A; pass up through the near-
est C of the previous round at the next OPTION
TO MAKE A BROOCH, ATTACH A PIN TO
herringbone-stitched corner. String 1A;
THE BACK OF A FLOWER; YOU CAN USE
pass down through the last C exited and
Back off TUBULAR HERRINGBONE STITCH TO
pass through the first A just added (Fig.5, brooch MAKE A STEM. FOR A PENDANT, ADD
turquoise thread). *Pass down through A SMALL LOOP TO THE END OF ONE
the nearest F of the previous round. String CORNER OF A FLOWER AND ATTACH
1A; pass up through the next G of the pre- A BAIL USING JUMP RINGS.
vious round, pass through the nearest A of
this seam, pass down through the last F
exited in the previous round, and pass
through the A just added (Fig.5, purple
thread). Pass down through the nearest G
Main
Colorway
24 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
Swirling bezels of crescent beads, netting, picots, and right-
angle weave draw the eye to sparkling crystal rivolis that look
like an entrancing gateway into the past.
1) EARRING. Use netting, picots, and right- Round 5: String 9A and pass down through TECHNIQUES
angle weave to bezel and embellish a rivoli: the nearest 5B of Rounds 1 and 2, then tubular and circular netting
Round 1: Lay 7D horizontally on your work pass through the next 2C of Round 4 and picot
surface with each beads inside curve fac- pass back through the following B of right-angle weave
ing down. Working counterclockwise, use Round 1 to exit toward the center of the PROJECT LEVEL
4' of thread to string 3B and 1D (right beadwork (Fig.4; back of beadwork
MATERIALS
hole); repeat six times, leaving a 6" tail. Use shown); repeat six times. Pass through the
1 g purple permanent-finish size 15
the working and tail threads to tie a knot first 5A of this round. Note: Youll now
Japanese seed beads (A)
and pass through the first 3B strung begin working clockwise. 2 g silver-lined light gray size 11
(Fig.1, blue thread). Round 6: String 4B and pass through the Japanese seed beads (B)
Round 2: String 2B; pass through the second fifth A of the next 9A set in the previous 2 g nickel size 11 Japanese seed beads (C)
(inside) hole of the nearest D. Skip the next round; repeat six times. Pass through the 14 metallic blue saturated 103mm
2B of the previous round and pass through first 4B of this round (Fig.5, blue thread; 2-hole crescent beads (D)
the following B. Repeat from the begin- back of beadwork shown). 2 foil-back tanzanite 12mm crystal rivolis
ning of this round six times. Pass through Round 7: String 2C and pass through the 24 blue iris 2mm fire-polished rounds (E)
the first 2B of this round (Fig.1, red next 4B of the previous round; repeat six 2 silver 22-gauge 4mm jump rings
thread). Pull the thread snug to tighten times. Pass through the first C of this round 2 silver 2220mm ear wires
the beadwork. (Fig.5, red thread). Flip the beadwork 13" of silver-plated 1.3mm curb chain
Purple One-G nylon beading thread
Round 3: String 2C and pass through the faceup. Note: Youll now begin working
second B of the next 2B in the previous counterclockwise. TOOLS
round; repeat six times (Fig.2, blue Scissors
thread). Note: Take care that the thread Size 12 sharp (short) beading needle
and the C pass under the D of Round 1. FINISHED SIZE
Repeat the thread path of this round to 3"
reinforce, tightening the beads into a ring.
Pass through the nearest D (inside hole)
and pass down through the following 3B,
exiting toward the back of the beadwork
(Fig.2, red thread). Flip the beadwork
over. Insert 1 rivoli facedown into the
beadwork so the front of the rivoli touches
Round 3.
Round 4: String 2C and pass back through
the first B of the next 3B in Round 1 to exit
toward the center of the beadwork; repeat
six times (Fig.3; back of beadwork shown). Fig. 1: Stitching
Note: Take care that the thread and the C Rounds 1 and 2
pass under the D of Round 1. Fig. 2: Working
Round 3
Fig. 5: Stitching
Fig. 3: Forming Fig. 4: Adding Rounds 6 and 7
Round 4 Round 5
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 25
2017
designer
of the year
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 27
2017 Interchangeable Herringbone Bracelets
designer
of the year
Main
Colorway
28 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
MELISSA GRAKOWSK Y SHIPPEE
the first A strung (Fig.1, blue thread). Round 4 of the bracelet four times. 4 g matte metallic carnival size 15
Japanese seed beads (A)
Round 3: String 2A and pass through the
0.5 g dark antique bronze gold luster
nearest A, then skip the next 2A and pass 2) CLASP. Create a hidden closure for the size11 Demi Round seed beads (B)
through the following A; repeat. Note: For bracelet: 1 g dark antique bronze gold luster size 8
this and subsequent rounds, step up by Round 1: String 2A and pass down through Demi Round seed beads (C)
passing through the first bead added in the next A of the previous round, then 40 metallic green turquoise Picasso 3mm
the current round unless otherwise noted string 1A and pass up through the follow- fire-polished rounds (D)
(Fig.1, red thread). Manipulate the bead- ing A; repeat. Step up through the first A of 2 silver-plated 410mm magnetic clasps
work into 2 columns by pulling the work- this round, then pass down through the Brown One-G nylon beading thread
ing and tail threads in opposite directions. second A of this round (Fig.4; only TOOLS
Round 4: String 2A and pass down through Round 81 of the rope shown for clarity). Scissors
the next A of the previous round, then Clasp: String one half of the clasp. Pass down Size 12 beading needle
pass up through the following A of the through the fourth A added in Round 81 of
FINISHED SIZE
previous round; repeat (Fig.2). the rope and pass up through the first A 638" (bracelet); 1238" (extender)
Rounds 515: Repeat Rope, Round 4 of the added in Round 81 of the rope (Fig.5,
bracelet eleven times. blue thread; only Round 81 of the rope
Round 16: String {1A, 1B, 1D, 1C, 1D, 1B, and Round 1 of the clasp shown for clar-
and1A} twice, then pass down through ity). Pass through the same half of the OPTION
FOR A DRESSIER LOOK, USE
the next A of the previous round and pass clasp. Pass down through the third A
3MM PEARLS OR CRYSTAL
up through the following A; repeat. Step added in Round 81 of the rope and pass
BICONES OR ROUNDS FOR
up through the first 1A/1B/1D/1C/1D/1B/1A up through the second A added in THE FIRE-POLISHED ROUNDS.
added (Fig.3, blue thread; only previous Round 81 of the rope (Fig.5, red thread).
round of the rope shown for clarity). Weave through beads to reinforce the
Round 17: String 2A, then pass down clasp multiple times. Exit from the first A
through the next A of the previous round added in Round 1 of the clasp (see the pur-
and pass up through the mirror A of the ple start dot in Fig.6).
previous round; repeat (Fig.3, red
thread).
Fig. 4: Adding
Clasp, Round 1 of
the bracelet
Fig. 5: Attaching
Fig. 3: Working Rope, the clasp to the
Rounds 16 and 17 of bracelet
the bracelet
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY
Y 2017 29
2017
designer
of the year
30 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
OPTION
TRY INCORPORATING
OTHER BEADS INTO YOUR
BRACELET, SUCH AS FOUR-
HOLE QUADRALENTILS.
Rounds 1828: Repeat Rope, Round 4 of the MELISSA GRAKOWSKY SHIPPEE is a RESOURCES Check your favorite bead
bracelet eleven times. Note: When working beadwork designer, instructor, and author retailer or contact: Toho seed beads: Beyond
Round 18, the 4A at the end of Round 17 inspired by mathematics and nature. She has Beadery, (800) 840-5548, www.beyondbeadery
will act as a previous herringbone round. won numerous awards for her elaborate beaded .com. Demi Round seed beads: Fusion Beads,
Rounds 2992: Repeat Band, Rounds 1328 jewelry and masks. As a Starman TrendSetter she (888) 781-3559, www.fusionbeads.com.
of the extender four times. creates exciting new beadwoven jewelry using Fire-polished rounds and thread: Out On A
Czech beads. Contact Melissa through her Whim, (800) 232-3111, www.whimbeads.com.
2) CLASP. Repeat Bracelet, Step 2. website at www.mgsdesigns.net. Clasps: MGS Designs, www.mgsdesigns.net.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 31
2017 ~ Free Stringing Designs! ~
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32 WWW.INTERWEAVE.COM
bead artist
BY TAMMY HONAMAN AND LAVON PETERS
Cristie Prince
Cristie Princes beadwork is unlike any youve seen before.
Her designs have the feel of fine jewelry that could be passed
down from one generation to the next. We recently interviewed
Cristie about her style and the designs in her latest eBook,
Bead Royale: Elegance in Beadweaving.
Q: Do you sketch your designs ahead of time, Q: When creating an intricate new design,
or do you just pick up needle and thread, how many times do you stop and restart
then surround yourself with beads and see before you figure out the pattern and are sat-
what happens? isfied with the result?
A: I rarely sketch. Im more of an experimenter. A: It depends. Sometimes, when I see a piece
When I attempt to bead what Ive visualized, of fine jewelry, Ill automatically visualize
the beads dont always stitch together the way some component or shape from the design
I had in mind. When that happens, I experi- already beaded with certain beads. Other
ment with other sizes and shapes. Sometimes, times, I just try new shapes in unconventional
the end result isnt at all what I was going for, ways to see what happens. Often, Ill come up
but often I like it better than what Id originally with a component but not have a clear idea of
Q: How did you get started beading? been trying to create. And then other times, how to use it, and Ill revisit it at a later date.
A: I grew up in a family of makers, so Ive I stubbornly hold on to the vision in my head This was the case with the star-shaped com-
always valued handmade over mass produced. until I either come up with a solution or a new ponent with a pearl in the center that became
And I love to learn new skills, so my interests bead shape comes along to help make that the Corona Necklace.
have taken me on a long and winding creative image a reality.
journey. Ive done sewing, macram, counted Q: How do you achieve the look of heirloom-
cross-stitch, stained glass, and lampwork- quality fine jewelry while using materials all
ingto name a fewbut jewelry making has beaders have access to and techniques we
been in my life the longest. I remember can all master?
stringing seed beads on elastic thread as early A: Beaders today are so lucky to have such a
as kindergarten, making chokers as gifts for vast variety of beads, pearls, crystals, and com-
my classmates. ponents to work with. Many of these materials
In the late 1990s, I was doing stained glass but have the feel of the materials that were used to
looking for something to do that was easy to create the treasures of the past.
cart around and work on while I waited for my
kids at their sports practices. A friend showed Q: Do you have a favorite tip to share?
me a peyote-stitched amulet bag, and I was A: Sure! For better tension control when bead-
amazed that beads, when woven together, weaving, tighten the thread after each stitch in
could create a glass fabric. Ive been bead the same direction as the stitch was made.
obsessed ever since! Beadweaving is the per- Often, without realizing it, beaders will make
fect activity for me, since I love jewelry, its por- a stitch and then, when pulling the thread
table, and it fulfills my need to create. through the beads, they pull away from the
direction theyve stitched, which pulls on the
bead holding the most recent stitch and results
in loose tension.
FOR A BONUS PROJECT
from Cristie, see her Queen of For more of Cristies designs, visit her website:
Diamonds Bracelet on page 34 www.glassyjewels.com.
(excerpted from Bead Royale:
Elegance in Beadweaving, which is
available at www.interweave.com).
beginner
friendly!
Main
Colorway
Bead Royale
by Cristie Prince
In her latest eBook, Bead Royale: Elegance in Beadweaving, Cristie Prince outdoes herself with ten projects
that are truly fit for royalty. These designs, with their rich materials and impeccable workmanship, are easily
Elegance
in Beadweaving mistaken for high-end fine jewelry. Stitch a variety of regal necklaces, bracelets, and earrings in this eBook,
including the stunning but simple Queen of Diamonds Bracelet featured in this exclusive preview.
Bead Royale is available from www.interweave.com. To learn more about Cristie, see page 33.
34 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
1) COMPONENT 1. Work the first segment 2) COMPONENTS 211. Repeat
TECHNIQUE
of the bracelet: Component 1 ten times, using the last E
right-angle weave variation
Ring: Use 3' of thread to string {1E, 1A, 1D, exited in the previous component as the first
PROJECT LEVEL 1B, 1D, 1C, 1D, 1B, 1D, and 1A} twice, leav- E of the new component.
MATERIALS
ing an 8" tail. Pass through the first (inner)
1 g silver size 15 seed beads (A) hole of the first E strung and the next 3) CLASP. String 2A, the first then second
2 g nickel-plated size 11 metal seed beads (B) 1A/1D/1B (Fig.1). holes of one half of the clasp, and 2A; pass
2 g nickel-plated size 8 metal seed beads (C) Center: String 1F through the top 2 holes; through the last E (outer hole) exited, the
88 silver 3.81mm O beads (D) pass through the nearest 1B/1D/1A/1E nearest B, the same E (inner hole), and the
12 silver 36mm Infinity beads (E) (inner hole)/1A/1D/1B of the ring. Pass next B (Fig.4, blue thread). String 1A; pass
11 clear 4mm chaton montes with 4 holes (F) through the bottom 2 holes of the F, then back through the next 2A/clasp (both
1 silver 1024mm silver fold-over clasp with pass through the next 1B/1D/1A/1E (inner holes)/2A just added. String 1A; pass through
rhinestone inlay hole)/1A/1D/1B (Fig.2, blue thread). the nearest 1B/1E (inner hole) (Fig.4, red
Crystal 6 lb FireLine braided beading thread Repeat this thread path to reinforce, then thread). Repeat the thread path to reinforce;
TOOLS weave through beads to exit from the sec- secure the working thread and trim.
Scissors ond E (inner hole) of the ring (Fig.2, red Use the tail thread to repeat Step 1, Link, at
Size 12 beading needle thread). Note: Its best at this point to hold the other end of the bracelet. Repeat this
the chaton monte down inside the ring of entire step, using the second half of the clasp
FINISHED SIZE
beads and tug gently on the thread to lock and taking care that the clasp is positioned to
7"
the chaton monte inside the circle and close properly.
keep it flush with the top of the beads.
Link: String 1B; pass through the second CRISTIE PRINCE creates beaded jewelry that
editors tip (outer) hole of the last E exited. String 1B; captures the look and feel of heirloom fine
After stringing all the beads in Step 1, pass through the inner hole of the E, the jewelry pieces. Her work has been published
Ring, use the working and tail threads first B strung, and the outer hole of the E internationally, and she teaches beadweaving
to tie a knot before passing through (Fig.3). classes across the United States. To see more of
the next 1E/1A/1D/1B. Cristies work, visit www.glassyjewels.com.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 35
Poppy Delight Earrings SUZ KLUMB
beginner
Use circular brick stitch to embellish the
edges of vibrant leather flowers, then friendly!
add a ring of seed beads to the centers
and adorn with smaller leather flowers
for an easy pair of earrings.
36 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
blue thread). Note: Because this round
TECHNIQUE
requires more beads than the previous
circular brick stitch
round, youll sometimes need to form an
PROJECT LEVEL increase by passing under the same thread
MATERIALS
between 2 beads of the previous round.
2 g tutti-berry mix size 11 seed beads (A) Pass down through the first A of this
2 gunmetal 4mm jump rings round, pass under the nearest thread of
4 gunmetal 7mm jump rings the previous round, and pass up through
1 pair of gunmetal 912mm ear wires the first A of this round (Fig. 2, red
2 orange 12mm leather flowers thread). Secure the threads and trim.
2 turquoise 25mm leather flowers Center: Use 24" of new thread to string 1A,
Smoke 6 lb FireLine braided beading thread leaving a 4" tail. Pass up through the cen-
ter hole in the flower from back to front.
TOOLS
Scissors String 1A; pass down through the center
Size 10 beading needle hole in the flower from front to back. Use
2 pairs of chain- or flat-nose pliers the working and tail threads to tie a knot.
Pass through the first A added in the cen-
FINISHED SIZE
ter, pass up through the center hole in
2 18"
the flower, and pass through the second
A added (Fig. 3, purple thread). String blue thread). Pass through the 6A just
3A and pass through the last A exited added and the last A exited to form the
(Fig. 3, green thread); repeat (Fig. 3, beads into a snug ring (Fig. 3, red thread).
Pass down through the nearest hole in the
flower, pass through the A at the back of
the flower, pass up through the opposite
hole in the flower, and pass through the
nearest A in the ring (Fig. 4, green
thread); repeat twice (Fig. 4, blue then
red threads) to secure the ring of 6A to
the flower. If necessary, pass through the
ring of 6A again to snug the beads.
Secure the threads and trim.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 37
Parade of Daisies ALICE HARON ON
THE
Bezel large rounds with tubular right- COVER
angle weave and peyote stitch, then
use circular herringbone stitch to form
daisy-like petals.
38 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
1) COMPONENTS. Use tubular right-angle Round 1: String 1C and pass through the top
TECHNIQUES
weave, tubular peyote stitch, and circular A of the nearest base unit; repeat twelve
tubular right-angle weave
herringbone stitch to form the components: times. Note: For this and subsequent
tubular peyote stitch
Base Strip: Use 3' of thread to string 1B, 1A, rounds, step up by passing through the
circular herringbone stitch
right-angle weave variation 1B, and 1A, leaving a 4" tail; pass through first bead added in the current round
the first 1B/1A/1B of this unit (Fig.1, green unless otherwise noted (Fig.4, purple
PROJECT LEVEL thread). String 1A, 1B, and 1A and pass thread; beadwork shown flat and K
MATERIALS through the last B exited in the previous removed for clarity).
1 g bright gold size 15 seed beads (A) unit and the first 1A/1B of this unit (Fig.1, Round 2: Work 13 peyote stitches with 1F
1 g silver-lined blue size 15 seed beads (B) blue thread); repeat ten times for a total in each stitch (Fig.4, green thread).
1 g matte aluminum galvanized permanent- of 12 units (Fig.1, red thread). Round 3: Work 13 peyote stitches with 1G in
finish size 15 seed beads (C) Base Ring: String 1A; pass up through the each stitch (Fig.4, blue thread). Weave
1 g rust-lined crystal gold luster size 15 first B of the first right-angle-weave unit. through beads to exit from 1A at the bot-
seed beads (D) String 1A; pass down through the last B tom of 1 base unit (Fig.4, red thread).
1 g matte starlight galvanized permanent-
exited in the previous unit, pass through Note: Rounds 13 fold down toward the
finish size 15 seed beads (E)
1 g rust-lined crystal gold luster size 11
the first A just added, and pass up through bottom edge of the base; the base forms
seed beads (F) the first B of the first unit (Fig.2; beadwork the inside edge of the bezel.
1 g turquoise luster size 11 seed beads (G) shown flat for clarity). Round 4: String 1C and pass through the
3 g silver-lined light amethyst size 11 seed Center: String 1K; pass down through the bottom A of the nearest base unit; repeat
beads (H) opposite B of the base ring (Fig.3, blue twelve times (Fig.5, green thread;
24 Aztec gold 6mm 2-hole DiscDuos (J) thread). Pass back through the K and pass beadwork shown flat and K removed
2 turquoise 8mm faceted rounds (K) up through the last B exited. Repeat the for clarity).
37 turquoise 3mm crystal pearl rounds (L) thread path of this center to reinforce. Pass Round 5: Work 13 peyote stitches with 1F
46 turquoise 4mm crystal pearl rounds (M) through the A at the top of the first base in each stitch (Fig.5, blue thread). Weave
13 bright gold 5mm crystal pearl rounds (N) unit (Fig.3, red thread). through beads of Rounds 3 and 5 to zip
1 dyed jade 8mm crystal pearl round (O)
the beadwork and connect the rounds,
2 turquoise 8mm crystal pearl rounds (P)
exiting from 1G of Round 3 (Fig.5,
1 bright gold 11mm toggle clasp
red thread).
Smoke 6 lb FireLine braided beading thread
TOOLS
Scissors
Size 11 beading needle
FINISHED SIZE
18 "
Fig. 3: Adding the center Fig. 4: Working Rounds 13 Fig. 5: Stitching Rounds 4
of the component of the component and 5 of the component
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 39
Parade of Daisies
artists tips 2) STRAP CENTER. Use the working thread petals at the bottom of the component
You can use beige nylon thread of 1 component to string 1L, 1J, and 1L; pass between the connection and the strap. In
for Steps 24 if you dont want through the nearest F of Round 9. Pass back this and the following units, take care that
the thread to show. through the last 1L/1J (first hole) added. the 3mm pearls are at the inside of the
Use medium and even tension. Pass through the second hole of the J strap in order to achieve proper curvature
(Fig.7, blue thread). String 1L; pass through in the necklace. String 1M, 1J, and 1L; pass
1F of Round 9 on 1 new component. Pass through the nearest F of Round 9. Pass
back through the last L added and the J back through the last 1L/1J (first hole)
Round 6: String 2H and pass through the (second hole). String 1L; pass through the added. Pass through the second hole of
last G exited, the nearest F of Round 2, and nearest F of Round 9 on the new component. the J (Fig.8, brown thread).
the next G of Round 3; repeat twelve times. Pass back through the last L added and the J Unit 2: String 1L, 1J, and 1M; pass through
Note: For this and subsequent rounds, step (second hole) (Fig.7, red thread). Secure the last J (second hole) exited and the first
up by passing through the first bead and trim the working thread. 1L/1J (first then second holes) of this unit
added in the current round (Fig.6, purple Repeat this entire step three times to con- (Fig.8, pink thread).
thread). Note: Youll now begin working nect the remaining components to the pre- Units 310: Repeat Unit 2 eight times
clockwise. vious components, using the working thread (Fig.8, orange thread).
Round 7: String 2H and pass down through of each new component; dont trim the Unit 11: String 1M, 1N, and 1M; pass through
the next H of the previous round and pass working thread of the last component. Note: the last J (second hole) exited and the
up through the following H to form a her- Take care to leave 4 herringbone-stitched 1M/1N just added (Fig.8, purple thread).
ringbone stitch; repeat twelve times petals at the top of each component and 5 Unit 12: String 1M, 1N, and 1M; pass through
(Fig.6, green thread). herringbone-stitched petals at the bottom the last N exited and the 1M/1N just added
Round 8: Repeat Round 7 (Fig.6, blue of each component between each connec- (Fig.8, green thread).
thread). tion in order to achieve proper curvature in Unit 1317: Repeat Unit 12 five times (Fig.8,
Round 9: String 1H, 1F, and 1H and pass the necklace. Arrange the color sequence of blue thread).
down through the next H of the previous the components as desired. Clasp: String 3E and the ring half of the
round, then string 1D and pass up through clasp; pass back through the 3E just added
the following H of the previous round; 3) STRAP 1. Use a variation of right-angle and the last N exited. String 3E and pass
repeat twelve times. Exit from the first F of weave to stitch the first strap: through the ring half of the clasp; pass
this round (Fig.6, red thread). Secure and Unit 1: Weave the working thread of 1 end back through the 3E just added and the
trim the tail thread but dont trim the component through beads so that it exits last N exited (Fig.8, red thread). Repeat
working thread. Set the component aside. from 1F of Round 9 opposite the previous the thread path of this clasp to reinforce.
Repeat this entire step. Repeat this entire connection. Note: Take care to leave Secure the working thread and trim.
step using O for K. Repeat this entire step 4herringbone-stitched petals at the top of
twice using P for K. the component and 5herringbone-stitched
40 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
4) STRAP 2. Use a variation of right-angle
weave to stitch the second strap:
Units 116: Starting on the other end of the
strap center, repeat Step 3, Units 116.
Clasp: String 5E, 1L, 2E, and the toggle half of
the clasp (Fig.9, green thread); pass back
through the last 2E/1L/2E added (Fig.9,
blue thread). String 3E; pass through the
last N exited (Fig.9, red thread). Repeat
the thread path of this clasp to reinforce.
Secure the thread and trim.
OPTION
YOU CAN USE DISCDUOS FOR
THE ENTIRE LENGTH OF THE
STRAPS INSTEAD OF USING
PEARLS AT THE ENDS.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.. BEADWORK APRIL/MAY 2017 41
Serpentine Cuff MARIE NEW
Main
Colorway
42 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
1) BASE. String a simple base: 2) EMBELLISHMENT. Form picots to add
TECHNIQUES
Base Row 1: Position each E vertically on frilly embellishments to the base:
stringing
your work surface with its inside curve fac- Embellishment Row 1: String 1B, 1C, 1F, 1C,
picot
ing to the left. Add a stop bead to 4' of and 1B, then pass through the last D exited
PROJECT LEVEL thread, leaving a 6" tail. Working from right and the next 1E (top hole)/1D (Fig.2, tur-
MATERIALS
to left, string {1E (top hole) and 1D} six quoise thread); repeat four times (Fig.2,
1 g matte plum transparent size 15 Japanese times, then string {1E (top hole) and 1A} purple thread). String 1B, 1C, 1F, 1C,
seed beads (A) sixtimes (Fig.1, orange thread); repeat and1B; pass through the last D exited and
1 g higher metallic violet iris size 15 Japanese four times (Fig.1, turquoise thread). weave through beads to exit from the next
seed beads (B) String 1E (top hole). Snug the beads of this D of the base (Fig.2, green thread).
2 g silver-lined lavender opal size 11 Japanese row up to the stop bead; pass through the Repeat from the beginning of this row
seed beads (C) second (bottom) hole of the last E added four times. Weave through beads to exit
6 g magenta-lined black diamond size 6
(Fig.1, yellow thread). Note: Youll now from the first D of Base Row 2 (Fig.2,
Japanese seed beads (D)
61 matte metallic lava 103mm 2-hole
begin working in the opposite direction. blue thread).
crescent beads (E) Base Row 2: String 1D and pass through the Embellishment Row 2: Repeat
60 metallic pink suede 3mm pressed-glass next E (bottom hole); repeat five times Embellishment Row 1, this time exiting
melon rounds (F) (Fig.1, green thread). String 1A and pass from the first B of Embellishment Row 1
1 silver 1014mm 3-strand filigree box clasp through the next E (bottom hole); repeat (Fig.2, red thread).
Black One-G nylon beading thread five times (Fig.1, blue thread). Repeat
TOOLS from the beginning of this row four times.
Scissors Snug the beadwork. Pass through the top
Size 12 beading needle hole of the last E exited and the nearest D
(Fig.1, red thread). Note: Youll now begin
FINISHED SIZE
working in the opposite direction.
7"
Fig. 1: Stitching
the base
Fig. 2: Embellishing
the base
Back
of bracelet
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 43
Serpentine Cuff
artists tip
Alternate To tighten the beadwork,
Colorway Materials weave through the beads of
Base Row 1 and Base Row 2
at each curved section of the Fig. 4: Attaching
base for the length of the the clasp
BLUE
bracelet.
1 g turquoise opaque size 15
Japanese seed beads (A)
1 g metallic Polaris permanent-
finish size 15 Japanese
seed beads (B) 3) FINISH. Strengthen the embellishments the clasp from back to front (Fig.4, blue
2 g aqua-lined light jonquil and attach the clasp: thread). String2A; pass through the end
size 11 Japanese seed Reinforcement: Pass back through the loop of the clasp just strung from front to
beads (C) nearest 1C/1F/1C of the current row; back. String 2A; pass back through the
5.5 g silver-lined repeat five times, connecting the embel- lastE (bottom hole) exited and the near-
milky dark peridot lishment beads, but skipping the B (Fig.3, estB (Fig.4, red thread).
size 6 Japanese
seed beads (D) green thread). Pass through the nearest B Repeat this entire step to reinforce Embel-
61 blue iris 103mm and weave through beads to exit from the lishment Row 2 and to attach the second half
2-hole crescent next B of the current row (Fig.3, blue of the clasp to the other end of the bracelet,
beads (E) thread). Repeat from the beginning of this taking care that the clasp is positioned to
60 dark milky peridot 3mm row four times, exiting from the last E (top close properly. Secure the working thread
pressed-glass melon rounds (F) hole) of the base (Fig.3, red thread). and trim. Remove the stop bead; secure the
1 antiqued brass 1014mm
Clasp: String 2A; pass through one end loop tail thread and trim.
3-strand filigree box clasp
Black One-G nylon beading thread of one half of the clasp from front to back.
String 2A; pass through the center loop of MARIE NEW is a United Kingdombased textile
PINK the clasp from back to front (Fig.4, purple teacher, an award-winning beadwork designer,
1 g hot pink Ceylon size 15 thread). String 2A; pass through the first and a Starman TrendSetter. She loves experi-
Japanese seed beads (A)
loop of the clasp just strung, from front to menting with colors and texture. Contact
1 g opaque yellow-lined crystal
size 15 Japanese seed beads (B) back. String 2A; pass back through the Marie at www.maztexdesigns.co.uk.
2 g fuchsia-lined crystal size 11 lastE (top hole) exited. Pass back through
Japanese seed beads (C) the last E (bottom hole) exited, away from RESOURCES Check your favorite
5.5 g pink-lined light topaz the beadwork (Fig.4, green thread). bead retailer or contact: Toho seed beads,
size 6 Japanese seed String2A; pass through the opposite end crescent beads, and thread: Artbeads.com,
beads (D) loop of the clasp from front to back. (866) 715-2323. Melon rounds: Bead Haven,
61 turquoise Picasso
String2A; pass through the center loop of (989) 652-3566, www.beadhaven.com.
103mm 2-hole
crescent beads (E)
60 Capri blue
iris luster 3mm
pressed-glass
melon rounds (F)
1 brass 1014mm
3-strand filigree box clasp
White One-G nylon beading
thread
44 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
Pip Petal Pendant KIM WEST
Main
Colorway
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 45
Pip Petal Pendant
46 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
Fig. 4: Finishing Rounds 10 and 11
Round 10: Add a needle to the tail thread KIM WEST became interested in beading when
Alternate and, if necessary, weave through beads to a coworker taught her peyote stitch during a
Colorway Materials exit from 1C of Round 1. Work 19 stitches lunch break in the mid-1990s. She is the owner
with 1B in each stitch (Fig.4, green of Stony Creek Bead in Ypsilanti, Michigan, where
thread; back of beadwork shown). Pull the she teaches classes and creates new designs.
1 g champagne galvanized permanent- thread tight. Contact Kim at stonycreekbead@hotmail.com.
finish size 15 seed beads (A) Round 11: Work 19 stitches with 1B in each
1 g higher metallic dragonfly size 11 stitch (Fig.4, blue thread); pull tight and RESOURCES Check your favorite bead
seed beads (B) repeat the thread path to reinforce. Weave retailer or contact: Size 15 Toho seed beads,
2 g pink-lined light amethyst size 8 through beads to exit from 1C of Round 3 Size 11 and 8 Miyuki seed beads, Lunasoft
seed beads (C)
(Fig.4, red thread). Rotate the beadwork Lucite cabochon, and all other materials:
19 topaz AB 57mm Pip beads (D)
so the thread exits at the top. Stony Creek Bead, (734) 544-0904,
1 grape 24mm Lucite cabochon
www.stonycreekbead.blogspot.com.
1 antiqued brass 45mm wireguard
2) BAIL. String the wireguard and pass
1 antiqued brass 413mm bail
1 antiqued brass 45mm oval jump ring
through the last C exited (Fig.5; back of
Smoke 6 lb FireLine braided beadwork shown); repeat the thread path
beading thread multiple times to reinforce. Secure the thread
and trim. Use the jump ring to attach the bail
to the wireguard.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 47
Victorian Rose Corsage DANIELLE CLARKE
beginner
Use backstitch bead embroidery to adorn
romantic filigree connectors with fire-polished friendly!
rounds and a sweet resin rose for a vintage-
inspired bracelet.
48 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
through Hole 9 (Fig. 2, green thread). (Fig. 3, turquoise thread). String 1A; pass
TECHNIQUE
String 1A; pass down through Hole 11. down through Hole 5. Pass up through
backstitch bead embroidery
Pass up through Hole 9 (Fig. 2, blue Hole 9 (Fig. 3, orange thread). String 1A;
PROJECT LEVEL thread). Pass back through the 6A added pass down through Hole 7. Pass up
MATERIALS
in this half (Fig. 2, red thread). Pass through Hole 12 (Fig. 3, purple thread).
28 green turquoise luster Picasso 3mm through the ring of 12A and pull the String 1A; pass down through Hole 9. Pass
fire-polished rounds (A) thread snug to close any gaps in the up through Hole 14 (Fig. 3, green thread).
2 champagne luster opaque 4mm fire- thread. Pass down through the nearest String 1A; pass down through Hole 12.
polished rounds (B) hole in the filigree, toward the back. Pass up through Hole 16 (Fig. 3, blue
1 cream 12mm resin rose Secure the threads at the back of the fili- thread). String 1A; pass down through
3 brass 14mm domed square filigree links gree. Dab the knot with adhesive; let dry. Hole 14. Pass up through Hole 1 and pass
2 brass 1521mm diamond filigree links Trim the threads. through the first 2A added in the ring
1 brass 30mm 6-petal flower filigree link Center: Use a toothpick and adhesive to (Fig. 3, red thread).
12 brass 4mm jump rings attach the back of the resin rose to the First Corner: String 1A; pass down through
1 brass 6mm jump ring
front of the flower filigree, centered within the hole at Corner A. Pass up through
1 brass 610mm lobster clasp
the ring; let dry. Flip the filigree over. Hole9. Pass through the third A added in
3 " of brass 2mm teardrop chain
Back: Use a toothpick and adhesive to attach the ring, toward Corner A (Fig. 4, green
3 " of gold-plated 3423mm wire-
wrapped green rondelle chain 1 domed filigree to the center of the back thread). Pass through the last A added and
Dark brown size A Silamide waxed nylon of the flower filigree so that the convex pass down through Corner A. Pass up
beading thread surface faces out. Set aside. through Hole 7 (Fig. 4, blue thread). Pass
Clear craft adhesive through the third through fifth beads
2) DIAMOND FILIGREES. Use backstitch added in the ring, toward Corner B (Fig. 4,
TOOLS
Scissors
bead embroidery to embellish the diamond red thread).
Size 7 sewing needle filigrees: Second Corner: String 1A; pass down
Toothpicks Ring: Use 24" of thread to pass up through through the hole at Corner B. Pass up
2 pairs of chain- or flat-nose pliers Hole 1 of 1 diamond filigree, leaving a through Hole 1. Pass through the sixth A
4"tail. String 1A; pass down through added in the ring, toward Corner B (Fig. 5,
FINISHED SIZE
Hole4. Use the working and tail threads to purple thread). Pass through the last A
7 "
tie a square knot. Pass up through Hole 7 added and pass down through Corner B.
Pass up through Hole 13 (Fig. 5, green
thread).
Center: String 1B; pass down through Hole 5.
Pass up through Hole 13 (Fig. 5, blue
234 thread). Pass through the last B added and
16 1 5 2 3
pass down through Hole 5 (Fig. 5, red
6
15 4
thread). Secure the threads at the back of
1 the filigree. Dab the knot with adhesive; let
14 13 8 7 16 5
12 15 6 dry. Trim the threads.
9 B A Back: Use a toothpick and adhesive to attach
14 7 1 domed filigree to the back of the dia-
11 10 13 8 mond filigree so that the convex surface
12 9
faces out and the corners and edges of
11 10 each filigree are aligned. Set aside.
Fig. 3: Forming the diamond Repeat this entire step to form a second dia-
filigrees ring
mond filigree.
gree.
Fig. 4: Adding the first corner
of the diamond filigree
1 2 3 artists tips
4
Increase or decrease the
16 5
15 6
finished size of the bracelet
by adjusting the length of
B A the chains.
14 7
13 8 To make a matching pair
12 9 of earrings, stitch two
11 10 diamond filigrees and
attach an ear wire to one
Fig. 5: Finishing the second corner corner of each filigree.
and adding the center of the
diamond filigree
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 49
Victorian Rose Corsage
3) ASSEMBLY. Connect the filigree compo- DANIELLE CLARKE lives in New Jersey with
nents as a focal and attach the chains: her husband and their two sons. She works in
Focal: Use one 4mm jump ring to attach information technology, and she is a member of
another 4mm jump ring to Corner A on the Bsue Boutiques Creative Group. Contact
1 diamond filigree. Use one 4mm jump Danielle at www.opalrosebydanielle.etsy.com.
ring to attach the previous jump ring to
the end of 1 petal on the flower filigree. RESOURCES Check your favorite bead
Use one 4mm jump ring to attach another retailer or contact: Fire-polished rounds:
4mm jump ring to the end of the opposite Eureka Crystal Beads, (401) 603-0983, www
petal on the flower filigree. Use one 4mm .eurekacrystalbeads.com. Diamond links,
jump ring to attach the previous jump ring similar flower link, teardrop chain, and similar
to Corner B on the second diamond rondelle chain: Beadaholique, (866) 834-4618,
filigree. www.beadaholique.com. Resin rose, domed
Chains: *Attach one 4mm jump ring to square links, and all other materials: Fire
Corner A on the last diamond filigree Mountain Gems and Beads, (800) 355-2137,
added. Use one 4mm jump ring to attach www.firemountaingems.com.
one 1" piece of teardrop chain and one
1" piece of rondelle chain to the previous
jump ring. Use one 4mm jump ring to
attach the ends of both chains to the lob-
ster clasp. Repeat from *, attaching chains
to Corner B on the first diamond filigree
and using the 6mm jump ring instead of
the lobster clasp.
Visit www.interweave.com
50 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
BEADWORK APRIL/MAY 2017 51
Lacy Cables Bracelet BARBARA FALKOWITZ
Main
Colorway
52 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
1) BASE. Use a variation of right-angle
TECHNIQUES
weave to stitch the base:
right-angle weave variation
Row 1, Unit 1: Use 3' of thread to string {1D
picot
and 1C} four times, leaving a 4" tail. Pass
netting
through the beads (same holes of the D)
PROJECT LEVEL again to form a tight circle; use the work-
MATERIALS ing and tail threads to tie a square knot
2 g metallic antique bronze size 15 seed and pass through the first (inside) hole of
beads (A) the first D strung. Pass through the second
1 g silver-lined aqua size 15 seed beads (B) (outside) hole of the last D exited (Fig.1,
4 g metallic antique bronze size 11 seed green thread).
beads (C) Row 1, Unit 2: String {1C and 1D} three
7 g turquoise Picasso 42mm 2-hole times. String 1C; pass through the last D
MiniDuos (D)
(outside hole) exited in the previous unit Back of
55 rose gold luster opaque 4mm fire- bracelet
polished rounds (E) and the first 1C, 1D (inside hole), 1C, and
36 crystal Picasso 3mm pressed-glass 1D (inside then outside holes) of this unit
rounds (F) (Fig.1, blue thread).
1 antiqued copper 22mm 3-strand box clasp Row 1, Units 319: Repeat Row 1, Unit 2
Smoke 6 lb FireLine braided beading thread seventeen times, exiting toward the bead-
TOOLS
work from the first D (inside then outside
Scissors holes) of Row 1, Unit 19 (Fig.1, red Row 2, Unit 2: String 1C; pass through the D
Size 10 beading needle thread). (outside hole) at the bottom of the next
Row 2, Unit 1: String {1C and 1D} three unit in the previous row. String {1C and 1D}
FINISHED SIZE times. String 1C; pass through the last D twice. String 1C; pass through the last D
6 " (outside hole) exited in the previous row (outside hole) exited in the previous unit of
and the first 1C/1D (inside then outside the current row, and weave through beads
holes) of this unit (Fig.2, green thread). to exit from the first D (inside then outside
holes) of this unit (Fig.2, blue thread).
Row 2, Units 319: Repeat Row 2, Unit 2
seventeen times, exiting away from the
Fig. 1: Stitching beadwork from the second D (inside then
Row 1 of the outside holes) of Row 2, Unit 19 (Fig.2,
base red thread).
Row 3, Unit 1: String {1C and 1D} three
times. String 1C; pass through the last D
(outside hole) exited in the previous row
and weave through beads to exit from the
third D (inside then outside holes) of this
unit (Fig.3, green thread).
Fig. 2:
Row 3, Unit 2: String {1C and 1D} twice.
Working
Row 2 of String 1C; pass through the D (outside
the base hole) at the bottom of the next unit in the
previous row. String 1C; pass through the
last D (outside hole) exited in the previous
unit of the current row, and weave through
beads to exit from the second D (inside
then outside holes) of this unit (Fig.3,
blue thread).
Row 3, Units 319: Repeat Row 3, Unit 2
seventeen times, exiting away from the
beadwork from the first D (inside hole) of
Row 3, Unit 19 (Fig.3, red thread).
Fig. 3: Forming
Row 3 of the
base
artists tip
Keep consistent
tension when
stitching the base.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 53
Lacy Cables Bracelet
OPTIONS
USE 2MM FIRE-POLISHED ROUNDS,
23MM CRYSTAL RONDELLES, OR 3MM PEARLS
FOR THE 3MM PRESSED-GLASS ROUNDS.
USE ONE COLOR OF SIZE 15 SEED BEADS
INSTEAD OF TWO.
2) EDGE 1, ROW 1. Use picots and netting 4) EDGE 1, ROW 3. String 1B, 1C, 1F, 1C,
to embellish one edge of the base: and 1B and pass through the second A of the
End 1: String 2A; pass through the last D next 3A set in Edge 1, Row 2 (Fig.5, orange
(outside hole) exited (Fig.4, black thread); repeat seventeen times. Weave
thread). through beads to exit from the second A
Stitch 1: String 3A; pass through the last D of the nearest 3A set in Edge 1, Row 1 (Fig.5,
Alternate (outside hole) exited (Fig.4, pink thread). purple thread).
Stitch 2: String 1A, 1E, and 1A; pass through
Colorway Materials the next edge D (outside hole) (Fig.4, tur- 5) EDGE 1, ROW 4. String 1B and 1C and
quoise thread). pass back through the nearest F of Edge 1,
Stitches 337: Repeat Stitches 1 and 2 Row 3, then string 1C and 1B and pass
4 g teal purple iris size 15 seed beads seventeen times. Repeat Stitch 1 (Fig.4, through the second A of the next 3A set in
(Use for A and B.)
purple thread). Edge1, Row 1 (Fig.5, green thread); repeat
4 g wisteria luster size 11 seed beads (C)
End 2: String 2A; pass back through the seventeen times (Fig.5, blue thread). Weave
7 g turquoise blue bronze Picasso 42mm
2-hole MiniDuos (D) nearest C and the next 1D (inside hole), through beads to exit from the mirror D
49 amethyst opal luster 4mm fire- 1C, and 1D (inside hole) (Fig.4, (inside hole) at the other edge of the base,
polished rounds (E) green thread). away from the beadwork (Fig.5, red thread).
32 bordeaux pastel 2mm fire-polished
rounds (F) 3) EDGE 1, ROW 2. String 3A and pass 6) EDGE 2, ROWS 14. Repeat Steps 25.
1 silver 22mm 3-strand box clasp through the last D (inside hole) exited, then Weave through beads to exit from one end
Smoke 6 lb FireLine braided beading weave through beads to exit from the next D C of Row 2 in the base (see the blue start dot
thread
(inside hole) of the current row; repeat seven- in Fig.6).
This variation has 17 units in each base row.
teen times (Fig.4, blue thread). String 3A;
FINISHED SIZE pass through the last D (inside hole) exited
6 " and the first 2A of the last 3A added (Fig.4,
red thread).
54 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
Fig. 5: Working Edge 1, Rows 3 and 4 Fig. 6: Stitching the centerline
7) CENTERLINE. String 1A, 1E, and 1A and the last D (outside hole) exited (Fig.7,
pass through the diagonal C of the current red thread). Secure the threads and trim.
unit in Row 2 of the base, then weave Repeat this entire step at the other end of
through beads to exit from the mirror C of the bracelet, using the second half of the
the next unit in Row 2 of the base (Fig.6, clasp and taking care that the clasp is posi-
blue thread); repeat eighteen times (Fig.6, tioned to close properly.
red thread). Secure the threads and trim.
BARBARA FALKOWITZ is a designer, teacher,
8) CLASP. Start 2' of new thread that exits and former bead store owner. She has been
from one end D (outside hole) of Row 1 in the teaching since 2006 and was a Beadwork
base, away from the beadwork, leaving a 4" Designer of the Year in 2015. Barbara is currently
tail. *String 3A, the end loop of one half of teaching in the Pennsylvania and New Jersey
the clasp, and 3A, then pass through the areas and can be contacted at bkfalkowitz@
lastD (outside hole) exited; repeat the thread gmail.com.
path of the 3A/clasp loop/3A to reinforce.
Weave through beads to exit from the next D RESOURCES Check your favorite bead
(outside hole) at the end of the base (Fig.7, retailer or contact: Seed beads, MiniDuos,
green thread). Repeat from *, stringing the fire-polished rounds, pressed-glass rounds,
next loop of the same half of the clasp (Fig.7, and thread: Fusion Beads, (888) 781-3559,
blue thread). String 3A, the last loop of the www.fusionbeads.com. Clasp and kits: Diva
same half of the clasp, and 3A; pass through Beaders, www.divabeaders.etsy.com.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 55
Crystal Rain Necklace ANNETTE HOLBERT
56 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
1) COMPONENTS. Use circular netting and
TECHNIQUES
picots to stitch the components:
circular netting
Round 1: Use 2' of thread to string {3B and
picot
1E} four times, leaving a 4" tail. Note: Take
PROJECT LEVEL care to string each E so the convex side is
MATERIALS
faceup. Pass through the beads (first/inside ide
1 g silver permanent-finish size 15 seed holes of the E) again to form a tight circle;
le;
beads (A) use the working and tail threads to tie a
3 g matte teal iris size 11 seed beads (B) square knot. Pass through the first 2B
3.5 g matte teal iris size 8 seed beads (C) strung (Fig.1, orange thread).
12 silver 3.4mm Japanese drops (D) Round 2: String 1A, 1F, and 1A, skip the he
20 petrol pastel 6mm 2-hole diamond Silky next 1B/1E/1B, and pass through the he fol-
beads (E) lowing B; repeat three times. Passs through
40 aquamarine 3mm crystal bicones (F) the first 1A/1F of this round (Fig.1,
.1, blue
3 Caribbean blue 713mm crystal
thread). Pass through the 4F of this round
briolettes (G)
1 silver 1327mm leaf-motif toggle clasp
to snug the beads into a ring att the cen-
4 silver 46mm oval jump rings ter. Pass through the next 1A/1B 1B (Fig.1,
13 silver 6mm 20-gauge jump rings red thread).
12" of silver 36/23mm long-and-short Round 3: String 1F and 1B, then en pass back
oval chain through the F just added and nd pass
Smoke 6 lb FireLine braided beading thread through the last B exited in n Round 1 and
the next 1B/1E (inside hole)/2B
le)/2B (Fig.2,
TOOLS
Scissors
purple thread); repeat three
hree times. Pass
through the first 1F/1B of this round
Size 10 or 12 beading needle OPTION
2 pairs of chain- or flat-nose pliers (Fig.2, orange thread).). PLAY WITH THE NUMBER,
Wire cutters Round 4: String 3B and pass ss through the CONNECTION STYLE, AND
second (outside) hole of the next E, E then LAYOUT OF THE COMPONENTS
FINISHED SIZE
string 3B and pass through the following B IN YOUR NECKLACE.
19 "
of Round 3 (Fig.2, blue thread); repeat
three times. Pass through the first 3B of
this round (Fig.2, red thread). ng to string 1D,
Dangle: Use 1 round jump ring
Round 5: String 5B and pass through the 1G, and 1D; attach it to the center C off the
nearest 7B (Fig.3, purple thread); repeat 3C set in Round 6 along the bottom flat
three times. Pass through the first 3B of edge of the component.
this round (Fig.3, orange thread). Repeat this entire step twice for a total of
Round 6: String 3C and pass through the last 3large-dangle components. Repeat this
B exited and the next 6B to form a picot entire step twice, this time stringing 3D in
(Fig.3, blue thread); repeat seven times the dangle instead of 1D/1G/1D for 2 small-
(Fig.3, red thread). Secure the threads dangle components.
and trim.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 57
Crystal Rain Necklace
Alternate
Colorway Materials
PURPLE NECKLACE
1 g copper permanent-finish size 11
seed beads (A)
3 g purple iris size 11 seed beads (B)
4 g purple metal size 8 seed beads (C)
There is no D in this colorway.
24 Bordeaux pastel 6mm 2-hole Back
diamond Silky beads (E) of necklace
2) ASSEMBLY. Connect the components
48 purple rainbow 34mm crystal
rondelles (F) and attach the chain:
1 Alexandrite blue 1018mm crystal Connect: Use 1 round jump ring to connect
briolette (G) the center C off the top-right picot on
1 copper 1025mm hook-and-eye clasp 1large-dangle component to the center
8 copper 46mm oval jump rings C of the top-left picot on 1 small-dangle ANNETTE HOLBERT has an associate degree d gree
1 copper 8mm jump ring component, then connect the right-side in nursing, but she now creates and repairs
10" of antiqued copper 12mm oval/3mm picot on the large-dangle component to jewelry and teaches classes on beading, wire,
ball link chain the left-side picot on the small-dangle metal, and polymer clay. Annette works and
Smoke 6 lb FireLine braided beading
thread
component in the same manner; repeat displays her jewelry at A Better Bead and Crafts in
three times, connecting each new compo- Brevard, North Carolina. With the encouragement
DARK BLUE EARRINGS nent to the last component added and of her family and friends, she publishes her own
1 g silver permanent-finish size 11 seed alternating large-dangle and small- jewelry patterns.
beads (A)
dangle components.
2 g dark cobalt transparent size 11 seed
beads (B) Straps: Use 1 oval jump ring to attach one RESOURCES Check your favorite bead
2 g jet AB size 8 seed beads (C) half of the clasp to one 6" piece of chain, retailer or contact: Seed beads and Silky
There is no D in this colorway. then use 1 oval jump ring to attach the beads: Cindys Crafts, (423) 926-0050,
8 jet Azuro 6mm 2-hole diamond Silky other end of the chain to the center C of www.beadlady.biz. Japanese drops:
beads (E) the top-outside picot on one end compo- Bead-therapy.com, (423) 509-1907.
16 metallic blue 3mm crystal rondelles (F) nent in the focal; repeat for the other end Swarovski crystal bicones, clasp, jump
2 Alexandrite blue 611mm crystal of the necklace, using the other half of rings, and chain: A Better Bead and Crafts,
briolettes (G) the clasp. (828) 884-5920, www.abetterbead.com.
1 pair of silver 911mm ear wires briolettes: Cherry Tree Beads,
Crystal brio
4 silver 5mm jump rings 505-2328, www.cherrytreebeads.com.
(828) 505-2
Smoke 6 lb FireLine braided beading
thread
TEAL EARRINGS
OPTION
1 g silver permanent-finish size 11 seed THE LIGHTWEIGHT COMPONENTS
beads (A)
MAKE GREAT EARRINGS, OR YOU CAN
2 g matte teal iris size 11 seed beads (B) CONNECT MULTIPLE COMPONENTS
2 g matte teal iris size 8 seed beads (C) INTO A BRACELET.
6 silver 3.4mm Japanese drops (D)
8 petrol pastel 6mm 2-hole diamond Silky
beads (E)
16 aquamarine 3mm crystal bicones (F)
There is no G in this colorway.
1 pair of silver 911mm ear wires
4 silver 5mm jump rings
Smoke 6 lb FireLine braided beading
thread
58 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
Explore
Cubic Right-Angle
Weave
with Marcia DeCoster
ac
Br
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Prismatic Right-Angle
2
15 0 win
F+ vie
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CHA 2016
In
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Al
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Prismatic Right-Angle
V
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sD
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erv
Thi
Too
ed.
WINNER
with MARCIA DeCOSTER
DESIGNER
Create fantastic
of the Year SERIES
woven designs quickly!
www.beadalon.com
www.interweave.com
Main
Colorway
60 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
1) COMPONENTS. Use circular netting to Round 4: String 1C and pass through the
TECHNIQUES
create the components: next C (outside hole); repeat (Fig.4,
circular and flat netting
Round 1: Lay 1D on your work surface with orange thread). String 1B; pass through
peyote stitch
the holes oriented vertically and the round the next C (outside hole) (Fig.4, purple
PROJECT LEVEL side faceup. Add a stop bead to 3' of thread). String 1C and pass through
MATERIALS
thread, leaving a 6" tail. String the D (left the next C (outside hole); repeat twice
1 g silver size 15 Japanese seed beads (A) hole) and 3C (Fig.1, green thread); pass (Fig.4, green thread). Repeat from the
4 g white opaque funky blue size 11 back through the D (right hole) (Fig.1, beginning of this round (Fig.4, blue
Japanese seed beads (B) blue thread). String 3C; pass through thread). Pass through the first C (inside
10 g nebula chalk 52.5mm 2-hole theD (left hole) (Fig.1, red thread). then outside holes) of this round (Fig.4,
SuperDuos (C) Round 2: Working counterclockwise, red thread). Note: Youll now begin work-
6 chalk white baby blue luster 6mm 2-hole string3C; pass back through the first ing counterclockwise.
cabochons (D)
(inside) holes of the next 3C and the D End 1: String 1C and pass through the next C
12 crystal chrome 4mm crystal bicones (E)
(right hole) (Fig.2, blue thread). String 3C; (outside hole) of the previous round;
1 silver-plated 18mm toggle clasp
pass back through the D (right hole) and the repeat (Fig.5, pink thread). Weave
Crystal 6 lb FireLine braided beading thread
next 3C (inside holes) (Fig.2, red thread). through beads to exit from the last C
TOOLS Round 3: String 1B and pass through the (inside then outside holes) added, toward
Scissors nearest 3C (inside holes) (Fig.3, green the first C just added (Fig.5, orange
Size 11 or 12 beading needle thread); repeat three times (Fig.3, blue thread). String 1C; pass through the next C
FINISHED SIZE thread). Pass through the second (outside) (outside hole) (Fig.5, purple thread).
8" hole of the last C exited (Fig.3, red Weave through beads, following the green
thread). Note: Youll now begin working thread path in Fig.5 to exit from the oppo-
clockwise. site C (outside hole) of Round 4 (Fig.5,
green thread).
End 2: String 1C and pass through the next C
artists tip
(outside hole); repeat (Fig.5, blue thread).
Before adding a Weave through beads to exit from the
two-hole bead to lastC (inside then outside holes) added,
your work, pretest toward the first C just added (Fig.5, red
each hole to make
thread). Remove the stop bead; secure
sure that neither is
clogged.
and trim the tail thread but dont trim the
working thread. Set aside.
Repeat this entire step five times for a total
of 6 components. Use the working thread of
the last component to string 1C; pass
through the next C (outside hole) of End 2.
Fig. 1: Working Fig. 2: Forming Round 2 Secure and trim the working thread of the
Round 1 of a of a component last component.
component
Fig. 3: Adding Round 3 Fig. 4: Stitching Round 4 Fig. 5: Finishing the ends
of a component of a component of a component
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 61
Clematis Vine Bracelet
Back
of bracelet
Fig. 7: Stitching
Edge, Row 1
2) ASSEMBLY. Note: Take care that each 3) EDGES. Use netting and peyote stitch to round four times. String 1B, 1A, 1E, 1A,
component is faceup. Use the working add edges to the bracelet: and1B; pass through the next C (outside
thread of 1 component to string the last C Row 1: Start 6' of new thread that exits up hole) of Round 4 (Fig.8, purple thread).
(outside hole) added in End 1 of 1 new com- through the second (outside) hole of the Weave through beads of the end compo-
ponent. Pass through the next C (outside last C added on the end component in nent to exit from the first C (inside then
hole) of the first component (Fig.6, blue Step 2. Following the blue thread path in outside holes) of Round 4 at the bottom
thread). Pass through the mirror C (outside Fig.7, add sets of 3B to the edges of each of the component, toward the beadwork
hole) of the new component, the last C component and connection point where (Fig.8, green thread). Repeat from the
(inside hole) added in End 1, and the next C indicated in the figure (Fig.7, blue beginning of this row along the bottom of
(outside hole). Pass through the mirror C thread). Weave through beads to exit from the components. Weave through beads to
(outside hole) of the first component (Fig.6, the nearest C (inside then outside holes) of exit from the first B of the first 15B set in
red thread). Repeat the thread path of this Round 4 at the top of the end component, this row (Fig.8, blue thread).
join to reinforce the connection. Secure and toward the beadwork (Fig.7, red thread). Row 3: Work 7 peyote stitches with 1B in
trim the working thread of the first Row 2: String 1B, 1A, 1E, 1A, and 1B; pass each stitch. Weave through beads to exit
component. through the next C (outside hole) of from the first B of the next 15B set in the
Repeat this entire step four times to join Round 4. String 15B; pass through the previous row (Fig.8, red thread). Repeat
the remaining components, taking care nearest C (outside hole) of Round 4 at the from the beginning of this row nine times
that the last component formed in Step 1 top of the next component (Fig.8, orange to peyote stitch in each set of 15B along
is at the end. thread). Repeat from the beginning of this the top and bottom of the bracelet. Secure
the threads and trim.
62 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
Alternate
Colorway Materials
4) CLASP. Start 24" of new thread that exits through beads to exit from the first 3B exited JACQUI HIGGINS is a member of the Starman
from 1 set of 3B added in Row 1 of the edges in this clasp (Fig.9, red thread). Repeat the TrendSetters team. Her designs have been
at one end of the bracelet. String 3B, one half thread path of this clasp to reinforce. Secure published in Beadwork and she teaches at bead
of the clasp, and 3B; pass back through the the threads and trim. shops throughout the U.S. and at national events.
last 3B exited. Weave through beads to exit Repeat this entire step at the other end Contact Jacqui about workshops, patterns, and
from the next 3B at this end of the bracelet of the bracelet, using the second half kits at dreaminbeads@gmail.com.
(Fig.9, blue thread). String 3B; pass through of the clasp.
the same half of the clasp. String 3B; pass RESOURCES Check your favorite bead
back through the last 3B exited. Weave retailer or contact: All materials: Lucys
Bead Boutique, (848) 232-3690, www.lucys
beadboutique.com.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 63
Get started beading
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with these project packed
pattern collection eBooks. DECO DELIGHT
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SantaFe.BeadFest.com
ets e riends
fast & fabulous EASY-GOING INSPIRATION
Weathered
Hues
Cody Westfall
This delightful beaded necklace features
an assortment of glass beads in soft colors
for a stylish accessory thats perfect for
any spring or summer outfit.
Fantastical
Frida
Anne Potter
Add a pop of color to a mostly chain
necklace design by incorporating paper
and raku beads in saturated hues.
68 WWW.INTERWEAVE.COM
fast & fabulous
Nestled
Rejetta Sellers
Celebrate springtime by creating a
necklace with colorful components
that lend themselves to a fun,
sprightly design.
Gray Garden
Anne Perry
Sweet touches such as the
mother-of-pearl clasp and shimmery
pearls give this darling necklace a
soft, feminine feel.
70 WWW.INTERWEAVE.COM
fast & fabulous
Spring Tapestry
Erin Prais-Hintz
This artist used an assortment of
lavender English-cut rounds and
green agate slices for a beautiful
springtime palette.
Summer Marigold
Andria McKee
Showcase a standout pendant by combining it
with an assortment of gemstones in
corresponding colors for a truly vibrant
necklace.
72 WWW.INTERWEAVE.COM
fast & fabulous
Love More
Lorelei Eurto
Use a mix of glass beads and polymer
clay components to string this airy
springtime necklace.
Use similar
techniques
to make matching
earrings.
Madagascan Sunset
Kristina Hahn Eleniak
This designer combined soft suede lace and
colorful beads to perfectly accent the
striking pendant.
74 WWW.INTERWEAVE.COM
fast & fabulous
peanut beads, the Lucite nugget, the purple 1 mother-of-pearl 2-strand 23mm floral box clasp
Gladiola flowers, 1 pressed-glass leaf, 1 small Lucite 12 copper 24-gauge 2" head pins
melon, 1 wood oval, 2 ceramic discs, the ceramic 2 silver 4mm jump rings
leaf, and the small bronze melon. String 1 crimp 4 antiqued brass 7mm jump rings
tube, 1 small jump ring, and 1 wireguard; pass back 1 copper 8mm jump ring
through the tube. Crimp and cover. 2 antiqued brass 2mm crimp tubes
3. Attach the chain to the previous small jump ring. 2 brass 68mm cord ends
Attach the remaining small jump ring to the free 17" of mauve/gray 6mm silk cord
end of the chain. 19" of bronze .015 beading wire
TOOLS
2 pairs of chain- or flat-nose pliers
Round-nose pliers
Crimping pliers
Nestled
Wire cutters
Rejetta Sellers
Scissors
TECHNIQUES
REJETTA SELLERS is a wife and stay-at-home mom of Jewelry cement
simple wireworking two children. In her free time, she creates jewelry and FINISHED SIZE
crimping sculpts rustic animal beads out of polymer clay. Find 17"
stringing her work at www.jettabugjewelry.etsy.com.
MATERIALS
RESOURCES Check your favorite bead retailer or 1. Use 1 head pin to string 1 rice/potato/coin pearl;
2 metallic purple 42mm peanut beads
contact: Similar peanut beads: Jasmine Tea Designs, www form a wrapped loop. Repeat eleven times for a total
1 oxidized bronze 5mm pressed-glass melon (small) of 12 pearl dangles.
.jasmineteadesigns.etsy.com. Pressed-glass melons, Gladiola
1 oxidized bronze 8mm pressed-glass melon (large) 2. Attach 1 brass jump ring to the top loop on the
flowers, and leaves: Vintaj, (888) 592-6272, www.vintaj.com.
2 purple 125mm side-drilled pressed-glass box half of the clasp. Use the beading wire to string
Mint green and yellow pressed-glass flowers: House of Twinkle,
Gladiola flowers
www.houseoftwinkle.etsy.com. Similar wood ovals: Beads and 1 crimp tube and the previous jump ring; pass
1 mint green 146mm pressed-glass flower back through the crimp tube and crimp. String
Honey, www.beadsandhoney.etsy.com. Similar ceramic discs:
1 yellow 146mm pressed-glass flower 70magatama drops and 1 copper round. String
Intealectual Destash, www.intealectualdestash.etsy.com. Ceramic
2 green 1214mm pressed-glass leaves leaf: Gaea, (805) 640-8989, www.gaea.etsy.com. Vintage Lucite {1rice pearl and 1 brass seed bead} sixteen times.
2 gray 824mm side-drilled wood ovals melons and nugget: MK Supplies, www.mksupplies.etsy.com. String 1 rice pearl, 1 copper round, 70 magatama
4 mint green 132mm Greek ceramic discs Vintage Lucite rondelle: Mimis Beads, www.mimisbeads.etsy drops, 1 crimp tube, and 1 brass jump ring. Pass
1 pink 1417mm ceramic leaf .com. Bird pendant: Artincendi, www.artincendi.etsy.com. Clasp: back through the crimp tube and crimp. Use 1 silver
2 magenta 12mm vintage Lucite melons (small) AD Adornments, (773) 338-3818, www.adadornments.com. Eye jump ring to attach the previous brass jump ring to
1 magenta 16mm vintage Lucite melon (large) pins, crimp tubes, crimp covers, and wireguards: Hobby Lobby, the top loop on the tab half of the clasp.
1 iridescent lavender 1810mm vintage (800) 888-0321, www.hobbylobby.com. All other materials: 3. Attach the copper jump ring to the pendant. Use
Lucite rondelle Lima Beads, (734) 929-9208, www.limabeads.com. the silk cord to string half of the pearl dangles, the
1 mint green 1820mm vintage Lucite nugget pendant, and the remaining pearl dangles.
1 enameled 2235mm copper bird pendant 4. Use 1 brass jump ring to attach 1 cord end to the
1 brass 820mm hook clasp bottom loop on the box half of the clasp. *Place a
2 brass 24-gauge 2" eye pins dab of jewelry cement into the cord end and insert
2 etched 7mm brass jump rings (small) one end of the silk cord; let dry.** Trim the silk cord
1 etched 9mm brass jump ring (large) so the total length is 16". Repeat from * to **.
2 brass 5mm wireguards 5. Attach 1 brass jump ring to the free cord end. Use
2 brass 2mm crimp tubes 1 silver jump ring to attach the previous jump ring
2 brass 3mm crimp covers to the bottom loop on the tab half of the clasp.
13" of copper 5mm double cable chain
8" of bronze .021 beading wire
TOOLS
2 pairs of chain- or flat-nose pliers
Crimping pliers
Wire cutters Gray Garden
Anne Perry
FINISHED SIZE
TECHNIQUES ANNE PERRY is a professional educator who lives in
20"
crimping Southern California. She has been beading in her spare
stringing time ever since her best friend cleaned out her craft
1. Use 1 eye pin to string the mint green pressed- closet and gave Anne all of her beads.
glass flower and form a simple loop; repeat using simple wireworking
the yellow pressed-glass flower. Attach the large MATERIALS RESOURCES Check your favorite bead retailer
jump ring to the bird pendant. 16 antiqued brass size 11 seed beads or contact: Magatama drops: Beads and Magic Wishes,
2. Use beading wire to string 1 crimp tube, the 140 silver 34mm magatama drops (858) 578-2273. Pearls and E-6000 adhesive: Michaels,
clasp, and 1 wireguard; pass back through the tube 17 gray 56mm rice pearls (800) 642-4235, www.michaels.com. Pendant: C-Koop Beads,
and crimp. Cover the crimp tube with 1 crimp cover. 12 assorted ivory/gray/pink 511512mm pearls (218) 525-7333, www.ckoopbeads.com. Clasp: Fire Mountain
String the large bronze melon, the flower dangles (rice, potato, coin) Gems and Beads, (800) 355-2137, www.firemountaingems.com.
from Step 1, 1 pressed-glass leaf, 1 small Lucite 2 copper 4mm rounds Silk cord and cord ends: Ornamentea, (919) 834-6260,
melon, 1 wood oval, 2 ceramic discs, the Lucite ron- 1 copper/silver/pink 40mm stamped aluminum www.ornamentea.com. All other materials: Beadaholique,
delle, the large Lucite melon, the pendant, both pendant (866) 834-4618, www. beadaholique.com.
FINISHED SIZE 3. Use 1 eye pin to string 1 size 6 seed bead, the
19" (with 2" focal) black lampwork rondelle, and 1 size 6 seed bead;
1. Attach 1 jump ring to the toggle bar; set aside. form a simple loop. Use one 3mm jump ring to
2. Use 1 jump ring to attach the wide end of the attach the beaded link just formed to the silver jump
feather to the loop on the toggle ring. Use 1 jump ring on the right side of the pendant.
ring to attach the polymer clay pendant to the other 4. Use the remaining eye pin to string the remain-
side of the toggle ring. ing size 6 seed beads and all of the size 11 seed
3. Use the beading wire to string 1 crimp tube, beads in desired order; form a simple loop. Use one
12 seed beads, and the narrow end of the feather. 3mm jump ring to attach the beaded link just
String 11 seed beads; pass back through the crimp formed to the beaded link formed in Step 3. Use one
tube and crimp. String {1 faceted-glass round and 7mm jump ring to attach the free end of the beaded
2 seed beads} twenty-nine times. String 1 faceted- link just formed to 1 ribbon crimp end.
glass round, the egg bead, and 1 seed bead. String 5. Insert one end of the black flat leather into the
{1 faceted-glass round and 2 seed beads} six times. previous ribbon crimp end, then use needle-nose
String the silver rondelle, 1 crimp tube, and the pliers to squeeze the ribbon end closed, securing
jump ring attached to the toggle bar; pass back the leather; repeat using the remaining crimp end
through the crimp tube and crimp. Madagascan Sunset on the free end of the leather. Use one 7mm jump
Kristina Hahn Eleniak ring to attach another 7mm jump ring to the previ-
TECHNIQUES ous crimp end.
simple wireworking 6. Use the 12" piece of suede lace to form a larks
knotting head knot on the previous 7mm jump ring. Gather
MATERIALS
all 4 strands of the suede lace and string the silver
tube. Form an overhand knot at the end of each
10 matte pink size 11 seed beads
strand. Slide the tube to adjust the length of the
9 matte pink size 6 seed beads
necklace.
1 black 128mm lampwork rondelle
1 orange 128mm lampwork rondelle
2 pink 5mm tigereye rounds
1 silver-and-glass 2844mm moth-wing pendant
1 Bali-style 79mm silver tube
2 antiqued 2" brass eye pins
3 antiqued copper 3mm jump rings
12 antiqued copper 7mm jump rings
3 silver 15mm jump rings
2 antiqued bronze 125mm ribbon crimp ends
40" of brown 3mm flat suede lace
6" of black " wide flat leather
4" of antiqued bronze 20-gauge wire
TOOLS
2 pairs of chain- or flat-nose pliers
Needle-nose pliers
Round-nose pliers
Wire cutters
Scissors
FINISHED SIZE KRISTINA HAHN ELENIAK is a Canadian designer
LORELEI EURTO works in her home studio in 27" (adjustable) and the creative force and founder of Peacock & Lime.
upstate New York, creating mixed-media art jewelry She loves to create pieces that combine craftsmanship,
and jewelry components. You can purchase her work 1. Use 1 silver jump ring to string four 7mm jump style, and wearability while evoking an emotional
at www.loreleieurtojewelry.etsy.com and rings, the moth-wing pendant, and four 7mm jump response from the wearer. Find her work at
www.loreleieurtojewelry.com. rings; close the silver jump ring. Attach a second sil- www.peacockandlime.com.
ver jump ring to 4 of the previous 7mm jump rings;
RESOURCES Check your favorite bead retailer repeat using the remaining silver jump ring and the RESOURCES Check your favorite bead retailer
or contact: Faceted-glass rounds: Allegory Gallery, (724) remaining 4 previous 7mm jump rings. or contact: Seed beads, tigereye rounds, and silver tube:
610-3770, www.store.allegorygallery.com. Lampwork egg: 2. Use one 4" piece of wire to form a wrapped loop. Bedrock Supply, (800) 661-3988, www.bedrocksupply.com.
SueBeads, www.suebeads.etsy.com. Pendant and feather link: String 1 tigereye round, the orange lampwork ron- Similar lampwork rondelles: Grace Lampwork Beads, (888)
SwoonDimples, www.swoondimples.etsy.com. Clasp: Stinky delle, and 1 tigereye round; form a wrapped loop. 965-9966, www.gracebeads.com. Pendant: Debras Divine
Dog Beads, www.stinkydogbeads.com. All other materials: Use one 3mm jump ring to attach the beaded link Designs, www.debrasdivinedesigns.com. 3mm jump rings:
Fusion Beads, (888) 781-3559, www.fusionbeads.com. just formed to the silver jump ring on the left side of Beaducation, (650) 261-1870, www.beaducation.com. 7mm
the pendant. Attach one 7mm jump ring to the free jump rings: Treasure Stone Beads, (780) 486-7543, www
end of the beaded link. Cut the suede lace into one .treasurestonebeads.com. Silver jump rings and ribbon crimp
12" piece and one 28" piece. Use the 28" piece to ends: Cindy Chan, www.cindychan1.etsy.com. Eye pins and
form a larks head knot on the previous 7mm wire: Vintaj, (888) 592-6272, www.vintaj.com. Suede lace:
jump ring. Beadaholique, (866) 834-4618, www.beadaholique.com.
Black flat leather: Tandy Leather, (877) 532-8437,
www.tandyleather.com.
beadonitboards.com
Glass seed beads 11 to 24
exclusive Czech molded beads
books, videos & innovative supplies
PREMIER CLASSIFIEDS
We have
Kits!
Artists & Teachers:
2017
BRINGING GEM SHOWS TO
YOUR PART OF THE COUNTRY
Minneapolis, MN
March 20-21
Livonia, MI
March 24-25-26
West Springfield, MA
April 21-22
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SEE P. 78 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 4 FOR PROJECT-LEVEL INFORMATION. BEADWORK APRIL/MAY 2017 79
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Oklahoma
Begin a midproject peyote-stitch increase round. For the following rounds, string increasing the number of A beads as nec-
by working a stitch with 2 beads in one row. 1bead and pass through the next bead of essary to keep the work flat, and stepping
Master the basics. In the next row, work 1 bead in each stitch, the previous round; repeat, stepping up at up by passing through the first half of the
splitting the pair of beads in the previous the end of each round. first net.
Sharpen your skills. row. For a smooth increase, use very narrow
Learn more must-know beads for both the two-drop and the one-
techniques from drop between.
Melinda Barta.
MORE
*String 2beads; pass back through the next
circle for the foundation round and pass
top bead of the previous row, the last bead
through the next 1B. *String 1A, 1B, and 1A;
exited in the previous unit, and the 2beads
For even-count tubular peyote stitch, skip 3beads and pass through the follow-
STITCHES
just strung. Pass through the next top bead
string an even number of beads and knot ing bead in the previous round to form a
of the previous row. String 2beads; pass
the tail and working threads to form the net. Repeat from * twice, then step up for
through the last bead of the previous unit,
& TIPS!
first 2rounds; pass through the first 2beads the next round by passing through the first
the top bead just exited, and the first bead
strung. To work Round3, string 1 bead, skip 2beads of the first net. String 2A, 1B, and
just strung. Repeat from * to complete the
1bead, and pass through the next bead; 2A; pass through the middle bead of the
row, then begin a new row as before.
repeat around until you have added half nearest net in the previous round. Repeat
the number of beads in the first round. twice, then step up for the next round by
Watch free videos at Stepup through the first bead added in this passing through the first 3beads of this
round. Work each round the same way,
www.interweave.com
to learn valuable
beading tips and
techniques.
86 WWW.INTERWEAVE.COM
CRIMP BEADS SQUARE KNOT WRAPPED-LOOP
Crimp beads are serrated metal beads. This knot is the classic sturdy knot suitable LINKS
Twisted crimp tubes and crimp beads can for most stringing materials. Make an over- Link a wrapped loop to
Our editors
be secured by squeezing them flat with hand knot, passing the right end over the another loop by passing
also recommend
chain- or flat-nose pliers. left end. Make another overhand knot, this the wire through the pre-
time passing the left end over the right end; vious loop before wrap-
pull snug. ping the tail down the
CRIMP COVERS neck of the wire.
Crimp covers hide crimp tubes and give a
professional finish. To attach, gently hold a
crimp cover in the front notch of the crimp-
ing pliers. Insert the
crimped tube and
WIREWORKING
gently squeeze the WRAPPED-LOOP BAILS
METAL WIRE comes in many finishes and
pliers, encasing the Wrapped-loop
gauges. The lower the gauge number, the
tube inside the bails turn side-
thicker the wire. The hardness or softness of
cover. drilled beads,
wire is called temper. Most wire comes in
usually tear-
dead-soft, half-hard, and hard tempers.
drops, into pen-
Unless otherwise noted, wire used in this issue
dants. Center the
is half-hardthe best temper for making
bead on a 2" or
CRIMP/CORD ENDS strong loops and other shapes. Stringing Style
longer piece of
Crimp/cord ends consist of
wire. Bend both by Jamie Hogsett
a loop attached to a tube.
ends of the wire up the sides and across the
Dab the leather, plastic, JUMP RINGS
top of the bead. Bend one end straight up
ribbon, or other cord with Jump rings con-
at the center of the bead, then wrap the
jewelry glue, then place it nect holes and
other wire around it to form a couple of
in the crimp/cord end. If loops. Open a
coils. Form a wrapped loop with the
youre using a crimp end, jump ring by
straight-up wire, wrapping it back down
crimp it as you would a grasping each
over the already-formed coils. Trim the
crimp tube. side of its open-
excess wire.
ing with a pair of
pliers; dont pull
WIREGUARDS apart. Instead, twist in opposite directions
CONES
Wireguards provide a smooth metal chan- so that you can open and close without dis-
Use cones to finish a multistrand piece.
nel to protect the stringing material from torting the shape.
Attach each strand of beads to a wrapped
chafing against a con-
loop or an eye pin. Use the wrapped-loop
nector. String a crimp
wire or eye pin to string the wide end of a
tube, then pass up HEAD PINS/EYE PINS
cone, covering the ends of the strands; form
through one half of the Head pins are straight wires with a flat disc,
a wrapped loop at the tip of the cone that
guard and down the ball, or other shape at one end. Eye pins are
attaches to a clasp.
other half. Pass the straight wires that end in a loop. Stringing Style 2
guard and wire by Jean Campbell
through the loop of
the connector, pass
the wire back
through the crimp tube, snug the tube up
AVAILABLE AT
to the guard, then crimp.
www.interweave.com
OVERHAND KNOT
This is the basic knot for tying off thread. COIL SPIRAL
Make a loop with the stringing material. To make a coil, use one hand to hold the To start a spiral (or scroll), make a small loop
Pass the cord that lies behind the loop end of your wire against a mandrel (or at the end of a wire with round-nose pliers.
over the front cord and through the loop; whatever object you want to coil around). Enlarge the piece by holding on to the spiral
pull snug. With the other hand, wrap the wire around with chain-nose pliers and pushing the wire
WRAPPED-LOOP DANGLES the mandrel. When finished, slide the coil over the previous spiral with your fingers for
Dangles can be off the mandrel. as many revolutions as desired.
strung as they
are, attached
using jump rings,
LARKS HEAD KNOT or linked to other
Larks head knots are great loops. Use a
for securing stringing head pin or eye
material to another piece, pin to string the
such as a ring or a donut. bead(s), then
Fold the stringing material form a simple or wrapped loop.
in half. Pass the fold
through a ring or donut,
then pull the ends through
the loop created and pull snug.
Beads, whether they are flying through In recent years, the Mardi Gras bead and donating the proceeds to a local
the air or embroidered onto an Indian dog has inspired sculptors, jewelry charity. Jewelry artists have gotten in
headdress, have been a staple of New artists, and even a childrens book. The on the fun as well, making cute wear-
Orleans Mardi Gras since the 1890s. bead dog reigned in 2012 when these able dogs out of beads, crystals, and
Originally made with Czech and colorful tokens of Mardi Gras spirit pearls.
Japanese glass, throw beads became adorned the streets of New Orleans as
ubiquitous when parade revelers part of a public art project called Paws It isnt surprising that beads, with all
discovered a cheaper, more lightweight on Parade, put on by the Louisiana their color and personality, would
plastic alternative. After a parade, the Society for the Prevention of Cruelty to become emblematic of such a grand
streets would be filled with plastic bead Animals. Many of the sculptures remain, party, and that the bead dog, with its
strands, and children soon learned that and a local bakery called Haydels playful and spontaneous origin, would
they could twist them, like a balloon continues the tradition by commis- emerge as the new Mardi Gras icon.
animal, into small shapes. Thus the sioning a New Orleans artist to create a
Mardi Gras bead dog was born. new bead dog every year, raffling it off
88 WWW.INTERWEAVE.COM
TOHO BEADS proudly presents
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Fire Mountain Gems
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