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EASY PEYOTE PEYOTE STITCH!
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Departments
Features
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Editor’s Letter
94
131
Bead-by-Bead Tutorial
Colorworks by Margie Deeb
140
Basic Stringing and Wireworking Techniques
129
Patina 101
142
Contributors
Loop De Loop by Martha Aleo
99 Pod Necklace by Judy Dunn 2
best of step by step beads
by Lora Hart
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Projects 10
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20
23
28
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32
34
36
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Lucie’s Branching Out by Tarlee Scholl & The Hole Bead Shoppe
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Tandem by Carole Rodgers
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Peaceful Dreams by Lorelei Eurto
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The Look of Links by Patricia C. Vener
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Striking Jasper Melody Marie Murray
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Eccentric Concentric by Leslie Rogalski
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Crystal Raindrops by Jordana Hollander
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Hollywood Chandeliers by Bonnie Clewans
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Silver Waters by Pat Wexelblat
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Bugles & Beads by Robin Cowart
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Starfish by Lynn Davy
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Crystal Buckles by Anne Jackson
Spiceberry by Jenna Colyar-Cooper Silky Sensation by Lucy Arnold Equator Beads by Leslie Rogalski Blue Jean Queen by Carole Rodgers Hoopla! by Beth Kraft Rainforest by Terri Wlaschin Silver Comet by Leslie Rogalski Loop De Loop by Martha Aleo Crystal Wave by Bonnie Clewans Sparklefest by Meri Nash Aderhold
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23 Hoopla! by Beth Kraft
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Comet Anemone by Leslie Rogalski
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112 Focal Frame Pendant by Helen Breil
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Turn It Over by Gabrielle E. Neijman
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Eternity Circles by Cathi Tessier
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Tangled Vines by Robin Cowart
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Heart to Heart by Carol Dean Sharpe
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Hip to be Square by Marilu Morency
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River Cuf by Lynn Davy
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Starburst by Leslie Rogalski
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Poodle Beads by Leslie Rogalski
86 Have a Ball! Allison and Tracy Stilwell 4
best of step by step beads
ON THE COVER
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76
Equator Beads by Leslie Rogalski
River Cuf by Lynn Davy
Projects 104
Basketweave Pendant by Jana Roberts Benzon
Braided Choker by Lucy Arnold
108
Dancing Arcs by Ronna Sarvas Weltman
Mod Pods by Leslie Rogalski
112
Focal Frame Pendant by Helen Breil
116
Hammered Silver Pendant Jennier Kahn
121
Two Views by Lora Hart
125
Precious Findings by Lora Hart
86
Have a Ball! Allison and Tracy Stilwell
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BONUS CLAY PROJECTS! 99
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Pod Necklace by Judy Dunn
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editor’s letter
tm
Beadweaving with Friends I remember the first time that my good friend, and former editor in chief of Step by Step Beads , Leslie Rogalski taught me even-count peyote stitch. Everything seemed so slippery to me, and I couldn’t tell which beads were supposed to be up or down. Then, she showed me a nifty trick that you’ll find on page 132 in the Bead by Bead section—no doubt, the best-illustrated tutorials for learning bead weaving. Recently, I saw Leslie demonstrate this peyote technique in the new eMag, Fabulous Peyote Stitch Jewelry with Crystal Accents , and I began to think about how much I have learned from Step by Step Beads . Not only have I learned all kinds of new designs and techniques, but I’ve found a whole new circle of artists and friends, all woven together through our common love of beads. While putting together this beautiful second volume of the Best of Step by Step Beads , I was put in touch, once again, with all the artists I had worked with so closely while I was managing editor. Looking at the projects and all the wonderful photos and illustrations, it was like going through a family scrapbook. I remember the joy of watching the projects come together from start to finish, and now, many years later, I have updated the photos and bios so you can see where our friends have been for the past few years. The Best of Step by Step Beads brings together, in Volumes 1 and 2, some of the editors’ favorites designs. For those of you who collected all the past single issues, or for those who learned about us late in the game, we have brought you beautiful, tidy, special collections to treasure and enjoy for many years to come!
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EDITORIAL
EDITORIAL DIRECTOR James B. Bogner, III EDITOR-IN-CHIEF Denise Peck GUEST EDITOR Jane Dickerson MANAGING EDITOR Karla Rosenbusch EDITOR, BEADINGDAILY.COM Jennifer VanBenschoten PUBLISHING
PUBLISHER, ART & JEWELRY DIVISION John P. Bolton ADVERTISING MEDIA SALES DIRECTOR, ART & JEWELRY DIVISION Jim McIntosh SENIOR ADVERTISING SALES MANAGER
Marilyn C. Koponen ADVERTISING MANAGER Debbi Simon ADVERTISING COORDINATOR Jennifer Samsell CLASSIFIED ADVERTISING Monica Turner AD TRAFFICKERS Melissa Marie Brown, Tina Rolf MARKETING MANAGER Christan Humphries MARKETING ASSISTANT Jessi Zilk CIRCULATION MANAGER Barbara Naslund CONSUMER MARKETING BUSINESS MANAGER
Tammy Gorham ART AND PRODUCTION
ART DIRECTOR Gail Olsheski ASSISTANT ART DIRECTOR Oceana Garceau
Best wishes,
PRODUCTION DIRECTOR Trish Faubion SENIOR PRODUCTION COORDINATOR Chad Blichfeldt PRODUCTION EDITOR Nancy Arndt TECHNICAL ILLUSTRATION Bonnie Brooks PHOTOGRAPHY Jim Lawson, Todd Murray
Jane Dickerson, Guest Editor former Managing Editor/Editor in chief of Step by Step Beads
Designs in this issue of Step by Step Beads are for inspiration and personal use only. Step by Step Beads does not recommend, approve, or endorse any of the advertisers, products, services, or views advertised in Step by Step Beads . Nor does Step by Step Beads evaluate the advertisers’ claims in any way. You should, therefore, use your own judgment in evaluating the advertisers, products, services, and views advertised in Step by Step Beads . Exact reproduction for commercial purposes is contrary to the spirit of good craftsmanship. All contents of this issue of Step by Step Beads (ISSN 1549-0688) are copyrighted by Interweave Press, LLC, 2011. Interweave Press, LLC, 201 E. Fourth St., Loveland, CO 80537-5655; (970) 669-7672. All rights reserved. Reproduction in whole or in part is prohibited, except by permission of the publisher.
Download a copy of all the latest eMags at interweavestore.com/Jewelry/Magazines/eMags.html
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best of step by step beads
FOUNDER Linda Ligon CEO Clay B. Hall CFO Troy Wells SENIOR VPS John P. Bolton, Bob Kaslik, Stephen Koenig VP, EVENTS AND EDUCATION Sara Dumford VP, PRODUCTION Trish Faubion VP, TECHNOLOGY T. J. Harty VP, PEOPLE OPERATIONS Aaron Wilmot
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make it easy for you great jewelry
We to make
This design was made by Katie Hacker using Beadalon 19 Strand Silver Color Wire, Remembrance™ Memory Wire, Chain, and Findings. You can learn how to make this design at: http://www.beadalon.com/fairytalecollection.asp . . .
Making your own jewelry is fun, easy, and very gratifying. Save money and express your style by creating your own earrings, bracelets and necklaces. Visit our website for hundreds of design ideas, step-by-step instructions, product videos, and inspirational ideas to discover how easy it is for you to Create Something Great™.
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Create Something Great™ www.beadalon.com To find a Beadalon retailer near you, please visit www.beadalon.com/locatewheretobuy.asp J[`
necklace
PEYOTE STITCH, STRINGING & FRINGE
Lucie’s Branching Out Tarlee Scholl & The Hole Bead Shoppe
Did you know? Lucie is the nickname for Lucite?
This leafy necklace is made in three stages: Work small, evencount peyote strips and zip them into tube beads. String them with crystals and large seed beads on a wire. Use a needle and thread to sew a second strand through those wired beads to add crystal dangles and little branches of fringe with Lucite leaves.
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WHAT YOU NEED • 34 assorted Lucite leaves: 15x15mm, 22x13mm • 7 g green matte size 6° seed beads • 5 g matte olive rose size 11° seed beads • 2 g matte olive rose size 11° Japanese cylinder beads (color A) • 1 g rainbow transparent cranberry size 11° Japanese cylinder beads (color B) • 2 satin rose 8mm Swarovski crystals • 4 burgundy 8mm Swarovski crystals • 12 vitrail 8mm Swarovski crystals • 21” of flexible beading wire • 2 sterling silver 2x2 crimp tubes • 1 sterling silver toggle • Matching color size D beading thread • Beeswax
learn the lingo
• Size 12 beading needles
Conditioning: Usually running beeswax or a product such as Thread Heaven along a length of thread going with the grain. Conditioning straightens and strengthens thread and helps prevent tangling.
• Chain-nose pliers • Wire cutters • Ruler • Scissors • Bead Stopper or stopper bead • Crimping pliers Finished size: 16”
Peyote stitch the tube beads 1. Pattern 1, wide red stripe center (figure 1): Cut 12” of thread, condition it, and thread the needle. String a stopper bead leaving a 4” tail. Work even-count peyote to make a small panel 8 beads wide, with 3 stripes: String 3A, 2B, and 3A, beads 1–8. String 1A, pass through bead 7. String 1A and pass through bead 5. Pick up 1B and pass through bead 3. String 1A and pass through bead 1. Continue for 4 more rows, until you have 5 beads along each side. Curl the panel into a tube and zip the ends together. Repeat for 1 more tube. 2. Pattern 2, two thin red stripes (figure 2): Cut 12” of thread, condition, and thread the needle. String a stopper bead leaving a 4” tail. String 2A, 1B, 2A, 1B, and 2A. String
Figure 1
1A and pass through bead 7. String 1B and pass through bead 5. String 1A and pass through bead 3. String 1A and pass through bead 1. Continue for 4 more rows, until you have 5 beads along each side. Curl the panel into a tube and zip the ends together. Repeat for 1 more tube.
3. Pattern 3, two wide red stripes (figure 3): Cut 12” of thread, condition and thread needle. String a stopper bead leaving a 4” tail. String 1A, 2B, 2A, 2B, and 1A. String 1A and pass through bead 7. String 1B and pass through bead 5. String 1A and pass through bead 3. String one 1B and pass through bead 1. Continue for 4 more rows, until you have 5 beads along each side (Figure 3). Curl the panel into a tube and zip the ends together. Repeat for 1 more tube.
Figure 2
String beads on the wire 4. Measure and cut 21” of beading wire. Place a stopper bead 2” from one end of the wire. String 26 size 6°s. String 1 vitrail crystal, 1 size 6°, 1 peyote-tube Pattern 1, 1 size 6°, 1 vitrail crystal, and 3 size 6°s. String 1 vitrail crystal, 1 size 6°, 1 peyotetube Pattern 2, 1 size 6°, 1 vitrail crystal, and 3 size 6°s. String 1 vitrail crystal, 1 size 6°, 1 peyote-tube Pattern 3, 1 size 6°, 1 vitrail crystal, and 3 size 6°s. Repeat pattern, reversing the order of the peyote tubes, starting with peyote Pattern 3, then 2, then 1. String 26 size 6°s.
Crimp on the clasp 5. On the wire, string 1 crimp tube and one part of your clasp. Pass the wire back through the crimp tube and several of the size 6° beads. Pull the wire end so your toggle and crimp tube snug gently together against the beads; allow room in the wire loop for the toggle to swing freely. Use the crimping pliers to crimp the tube firmly. Trim wire tail with wire snips.
Figure 3 beadworkmagazine.com
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project
LUCIE’S BRANCHING OUT
6. Remove the stopper bead rom the other end o the wire. Repeat Step 5 but don’t pull the crimp tube too snugly against the seed beads. Leave a little bit o extra play in your strung work because you will be using a needle and thread to add the ringes and leaving the extra play makes it easier to pass your needle between the strung beads. Use the crimping pliers to crimp the tube firmly and trim tail with wire snips.
Add crystal dangles 7. Thread a needle with 1 yd o conditioned thread. Work rom let to right along your strung beads. Tie a square knot between the second crystal and the size 6° seed bead next to the tube (figure 4a). String 8 size 11°s, 1 rose crystal, and 1 size 11°. Skip the size 11° and pass back through the crystal and 2 size 11°s (figure 4b). String 6 size 11°s and pass (moving clockwise) between the first crystal and size 6°, through the size 6° (figure 4c), peyote tube, and size 6°. Pass a second time through the entire dangle section to reinorce.
Did you know? What’s the diference between vintage Lucite and resin? Diferences are subtle and technical but could influence which you buy. And what does “vintage” mean? Both resin and Lucite are plastic compounds made up o chemical components. However, resin can be a natural material as well as synthetic, or manmade. Synthetic resin is a thermal–set plastic, created rom a group o chemicals that when mixed together create an end product that cannot be heated or changed to make another product. The manuacturing process o resin is stringent to ensure the final product is homogeneous in structure. I all the components are not mixed correctly, the final product may break down. Resin hardens by the use o a hardening agent; the chemicals are heated to the correct temperatures, injected or poured into a mold, then cooled. Lucite is a trademark name or a thermal–orm plastic, a finished product that is heated to a melting temperature and injected into a mold to make a shape. A thermal–orm plastic can be heated again and reshaped in a diferent mold, which makes Lucite recyclable. We classiy Lucite as “vintage” i it was produced over orty years ago and is no longer being created in that orm. Any vintage stock should be a finite supply. We do not consider “made with a vintage mold” truly vintage. Vintage Lucite in mass is truly hard to come by, and many genuine vintage stockpiles have long been depleted. As with any purchase, know your vendor, ask questions, and have un with beads!
8. Pass through the next crystal, 3 size 6° beads, crystal, size 6°, peyote tube, and size 6°. Exit between the crystal and size 6° (figure 4d). Repeat Steps 7 and 8 or the remaining sections, using burgundy crystals or the 4 middle dangles and another rose crystal on the end. Tie of the thread with a square knot between beads onto an existing thread or the beading wire, weave the ends back into the beadwork, and trim.
Add the fringes with leaves 9. Fringes are added in the sections o 3 size 6° beads. The first long ringe has 24 beads in its stem, with 1 lea at the end and 3 leaves on short “branches” added along the stem. Secure 1 yd o conditioned thread on your wire strand o beads by tying the end o the new thread in a square knot between a crystal and the first o the 3 size 6° seed beads (figure 5a). Pass through the first size 6°. (Weave in the tail later by threading it on another needle and passing through the strung beads on the wire.) String 24 size 11°s, 1 lea, and 3 size 11°s. Skip the last 3 size 11°s, the lea, and 3 size 11°s beore the lea, and pass through the next 5 size 11°s (figure 5a to 5b). The size 11°s you skip orm a little loop holding the lea to the stem. 12
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Figure 4
10. First branched lea: String 2 size 11°s, 1 lea, and 1 size 11°. Skip the last size 11°, pass back through the lea and 2 size 11°s. (The size 11° you skip will sit on one side o the lea; too large to pass through the hole o the lea, it’s holding it to the ringe.) Pass up the stem through the next 5 size 11°s. Repeat this step to add 2 more short branches with leaves. Pass through the last 5 size 11°s, through the second size 6°, and exit between the second and third size 6° (figure 6a to 6b).
Figure 7
11. Create a second ringe with 1 lea at the end and 1 short branch with a lea (figure 7): String 14 size 11°s, 1 lea, and 3 size 11°s. Skip the lea and the last 3 size 11°s beore the lea. Pass up through the next 8 size 11°s. String 2 size 11°s, 1 lea, and 1 size 11°. Skip the last size 11° and pass back through the lea and the 2 size 11°s. Pass through the last 3 size 11°s, through the last size 6°, the crystal, the next size 6° and through the peyote tube. Exit the first size 6° ater the next crystal. 12. Repeat Steps 10 and 11 to create a second set o ringes or this next 3-bead section o size 6° beads.
Figure 8
13. Create two long, branched ringes in the center o the necklace (figure 8): String 30 size 11°s, 1 lea, and 3 size 11°s. Skip the last 3 size 11°s and pass up through 8 size 11°s. 14. Make your short branched lea ringes the same as in Steps 10 and 11: String 2 size 11°s, 1 lea, and 1 size 11°. Skip the last size 11°, pass back through the lea and 2 size 11°s. Pass up through the next 5 size 11°s. Repeat to add a total o 4 short branched ringes. Exit through the last size 11°s, through the size 6°, crystal, the size 6°, and through the wired beads to the next 3-bead section o size 6° beads. Exit between the first and second size 6° beads. 15. Repeat Step 9 (figure 5) in reverse to add short ringes to the remaining 3-bead sections between peyote tubes on the other side o the necklace. Tie of your thread in a secure knot to existing thread or the beading wire; weave the tail through several size 6° beads on the wire, trim. RESOURCES: The Hole Bead Shoppe, theholebeadshop.com.
Did you know?
Rows o peyote stitch can be counted two ways. The traditional method counts on the diagonal.
Many artists count rows along the sides
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bracelet
EVEN-COUNT PEYOTE
Spiceberry Jenna Colyar-Cooper
Add a twist to a basic peyote bracelet! Strips o basic even-count peyote are braided together to create an intricate-looking bracelet.
Arist’s Tip Use a single strand o FireLine to allow or a little more give in each strip o peyote. I you find you have dif culty keeping your tension steady, or are concerned about durability, try doubling your FireLine.
WHAT YOU NEED • 3 g transparent garnet size 11° Delicas (DB0105) • 3 g galvanized rose gold size 11° Delicas (DB0460) • 3 g matte galvanized golden copper size 11° Delicas (DB1165) • 3 g matte galvanized berry size 11° Delicas (DB1167) • 3 g matte galvanized plum frost size 11° Delicas (DB1174) • 1 gold-filled 31mm 5-strand tube clasp • 40’ of smoke gray size D FireLine braided bead thread • Size 10 or 12 beading needles • Scissors Finished length: 7 ¼”
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Peyote–stitch the strips 1. Thread a needle on a 5’ piece o beading thread. Work evencount peyote 4 beads wide and 8” long or each o the five colors. Start a new thread or each strip.
4. When all loops are stitched to your peyote cuf, pass back through existing thread paths o the 2 ull rows you created in Step 2 and 1 more row. This secures the strips or braiding.
Braid the peyote strips 5. Anchor the clasp to something that will tolerate being tugged on as you braid. Tape the clasp to your work table, or instance.
2. Line the strips up matching their ends side by side in the ollowing order: copper, garnet, plum, gold, and berry. Use remaining working thread rom your last strip or start a new 5’ piece o thread: stitch the ends o the strips together in order, creating 2 new ull rows o peyote. Be sure to pick up the correct colors to match the strips as they’re laid out. Pass back through the last row you created in Step 2 so your needle is exiting the first bead in the last hal row (Figure 2).
6. Starting with the copper on your let as in the illustration, take the copper (strip 1) over the garnet (strip 2) and under the plum (strip 3). The copper (strip 1) is now the middle strip.
Artist’s Tip As you braid the 5 strands, make sure to turn the strips so they lay nicely.
7. Take the berry (strip 5) over the gold (strip 4) and under the copper (strip 1). The berry should now be the middle strip. 8. Take the garnet (strip 2) over the plum (strip 3) and under the berry (strip 5). The garnet should now be the middle strip.
Copper 1
Garnet 2
Plum 3
Gold 4
Berry 5
9. Take the gold (strip 4) over the copper (strip 1) and under the garnet (strip 2). The gold should be the middle strip. 10. Continue to braid, moving the outside strips over and under adjacent strips. A piece o masking tape may help keep the braid in place as you work.
Attach one bar clasp 3. Line up the 5-strand tube bar clasp so that the edge o the first loop sits behind the bead your needle is exiting. Using your remaining working thread, stitch around outside edge o the loop 4–5 times. Pass the needle through the next 2 beads so your needle is exiting the third bead in the row (Figure 3). Repeat the process or the remaining clasp loops.
Complete the cuf 11. When you’ve completed the braiding, temporarily bind the braid with tape about ½” rom the ends o the strips. 12. Line up the strips flat next to each other in the order they’re braided, similar to the way you lined them up in Step 2. Reposition the piece o tape i that helps to ree up the ends to complete your braid. 13. Thread a needle on a new 4’ piece o thread. Repeat Step 2 to stitch 2 new rows o peyote, making sure to string the correct colors as you work the row.
Copper 1
Garnet 2
Plum 3
Gold 4
Berry 5
14. Repeats Step 3 to attach the other part o your clasp to the peyote cuf. Be sure the clasp is acing the right way on the strip to fit correctly when the cuf goes around your wrist! RESOURCES: All materials
and tools rom www.FusionBeads.com.
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bracelet
RIGHT-ANGLE WEAVE VARIATION
This bracelet uses a variation o right-angle weave, creating a lovely, smooth bracelet. Matte, semi-matte, and lustre beads in diferent sizes bring a nice mix to the pattern.
Silky Sensation Lucy Arnold
WHAT YOU NE ED •18 g size 8° green matte AB seed beads (A) •4 g semi-matte silver-lined purple Delica
seed beads (B) •2 g size 11° purple/fuchsia gold lustre seed
beads (C) •1 silver hook-and-eye clasp •Size A twisted beading thread •Beading needle •Scissors
Finished size: 7”
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1. Determine the length of the bracelet by measuring your wrist and subtracting the length of the clasp.
Artist’s Tip On the second, third, and fourth rows, an extra Delica will be inserted between each stitch, creating the pattern of 4 Delicas between the large beads. The extra Delica is added either right before beginning or ending a stitch, since right-angle weave alternates direction.
2. Thread the needle with 2–3 yards of thread. 3. String 1B and 1A. Repeat 4 times for a total of 8 beads. Leaving a 6” tail, pass the needle back through all the beads from the beginning to form a circle. Continue through the next A bead. 4. String 1B, 1A, 1B, 1A, 1B, 1A, and 1B (7 beads). Pass back through the same bead that the thread exited. Pass through the next 4 beads. (Figure 1). 5. Repeat Step 4 for the length of the bracelet (about 26 total stitches) or for the length desired.
1
5
2
6
3
7
4
8
6. Pass through the beads of the last stitch of the first row exiting from the top A bead. This is where the second row begins. String 1B, 1A, 1B, 1A, 1B, 1A, and 1B (7 beads). Pass through the same bead that the thread exited. (Figure 2). 7. Pass through 6 beads of the new stitch, exiting from an A bead. (Figure 3). 8. String 1B. Pass through the A bead of the next stitch of the first row. (Figure 4). 9. String 1B, 1A, 1B, 1A, and 1B (5 beads). Pass through the A bead on the previous stitch. 10. Work the second, third, and fourth rows, repeating the previous steps as needed. 11. When the fourth row is completed, stitch around one side of the bracelet, stringing 2C beads between the A beads. (Figure 5). 12. At one end of the bracelet, exit from the first C bead. String 3C. Pass through the next 2C. String 3C. Pass through the last bead of the next set of C. (Figure 6). 13. Weave through the beadwork and emerge from the middle bead of one set of 3C beads. String 3C, one end of the clasp, and 3C beads. Pass through the middle bead of the second set of C beads. Weave through the beadwork and go through these beads again a few times to reinforce. (Figure 7).
14. Stitch along the second side of the bracelet, repeating Step 11. (Figure 8). 15. Repeat Steps 12 and 13 at the other end of the bracelet using the other half of the clasp. 16. Weave thread ends into the beadwork and trim all threads. RESOURCES: Check your local bead store.
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bead
BEADWORK
EQUATOR BEADS Leslie Rogalski
It couldn’t be easier to make plain round beads your own by embellishing them with seed beads. Any type of round bead works from wood to resin to Lucite. String two rings of seed beads to sit over the holes of the larger bead, then string spokes of cylinder beads to “cage” the wood bead. Add an equator of bright colored, contrasting size 8° seed beads between each spoke. Bet you can’t make just one! This tutorial is for a 16mm center bead. Other sizes of beads will need adjustments to the number of seed beads in the rings, spokes, and equator beads.
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best of step by step beads
WHAT YOU NE ED •1 size 16mm round bead: wood, resin, Lucite, etc. •3g each black (A) and one color (B) size 11° cylinder beads •12 size 8° seed beads (non cylinder) in contrasting color (C) • WildFire .006 beading thread • Beading needle 10 or 11 • Scissors •Rolled paper tube or straw to fit through wood bead
Stitch the spokes (Figure 1) 1. Pass a rolled tube of paper through the wood bead. The paper tube is simply a tool to hold the beads in place over the bead holes until the spokes are stitched. 2. Ring 1 (Figure 1, top ring): On a 10” piece of thread string a ring of 13A, leaving a 4” tail. Tie a simple square knot with the tail and working thread. Do not trim yet. Place over the paper tube at the “bottom” bead hole. 3. Ring 2 (Figure 1 bottom ring): On a 20” piece of thread string 13B leaving a 4” tail. Knot the tail and working thread to form a ring. Place over the paper tube at the “ top” bead hole. Pass through a bead adjacent to the knot. Work in the same direction adding spokes around both rings, clockwise or counterclockwise. If you pass clockwise through a bead in Ring 1, be sure to pass clockwise in a bead in Ring 2 after stringing each spoke. TIP:
4. Spoke 1: String 14 beads starting with color A alternating colors A and B. Pass through a bead in Ring 2. 5. Spoke 2: Starting with color B string 14 beads alternating colors A an B. Pass through the next bead in Ring 1. 6. Repeat Steps 4 and 5 for a total of 12 spokes. Pass through the final ring bead.
Figure 1
Add equator beads (Figure 2) 7. Pass halfway down into the first spoke stitched, exiting between the fourth color B and fifth color A beads (including the ring bead). 8. Make a loop around the thread of the spoke between the cylinders—not through the spoke beads—and string 1C bead. Pass around the thread in the next spoke between the fourth color B and fifth color A bead. String 1C. Continue to add C beads between all the spokes by looping around the threads for a total of 12 equator beads. The beads should sit spaced evenly between the spokes. 9. To finish, weave the working thread through a spoke and exit a ring bead near a tail thread at either bead hole. Knot the working thread to one tail, weave in the ends and trim. Weave in any other remaining tails and trim.
RESOURCES: Wood beads are readily available at bead and craft
stores and online. Seed beads and Beadalon WildFire: check your local bead shop.
Figure 2
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necklace
TWO-NEEDLE RIGHT-ANGLE-WEAVE
Blue Jean Queen Carole Rodgers
Kyanite is a lovely, lustrous mineral. Varying from blue to green with pearly white streaks, it looks especially good with denim! Use two needles to create a rightangle-weave heart and string it from easy-to-make asymmetrical straps. Make this pendant to wear with your favorite comfy jeans!
WHAT YOU NE ED • 11 flat oval 18x13mm kyanite beads • 43 flat round 8mm kyanite beads • 72 faceted round 4mm hematite beads • 26 flat 4mm Bali daisy spacers • 15 round 2.5mm sterling silver beads • 1 sterling silver toggle clasp • 2 sterling silver clamshell bead tips • 3 sterling silver 5mm split rings
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best of step by step beads
• 2 sterling si lver 2mm crimp beads • DandyLine .011” black beading thread • 2 size #10 beading needles • Gem-Tac Permanent Adhesive • Scissors • Round-nose pliers • Chain-nose pliers • Split-ring pliers • Bead sorting dish or cloth
Figure 5
A note about illustrations This project reers to the black needle and the red needle, as indicated in the illustrations, to show the diferent thread paths.
Make the heart shape 1. Cut as long a piece o thread as is comortable, about 2 yd. Thread a needle on each end. Pull up so there is an even amount o thread on each needle. 2. On the black needle, string to the center o the thread 1 hematite and 1 round kyanite, our times. 3. Pass the red needle in the opposite direction through the last kyanite bead strung. Pull snug, making a square (Figure 1). 4. On the black needle, string 1 hematite, 1 kyanite, 1 hematite, and 1 kyanite. 5. On the red needle, string 1 hematite, 1 kyanite, and 1 hematite. Pass this needle through the last kyanite bead you picked up on the black needle. Pull up snug, making a pattern that looks like a figure eight, or 2 squares connected at a corner (Figure 2). 6. On the black needle, string 1 hematite, 1 kyanite, 1 hematite, and 1 kyanite. 7. On the red needle, string 1 hematite, 1 kyanite, and 1 hematite. Pass the needle through the last kyanite strung on the black needle (Figure 3). 8. Turn the corner to start the second row: on the red needle, string 1 hematite, 1 kyanite, 1 hematite, 1 kyanite, 1 hematite, and 1 kyanite.
10. On the black needle string 1 hematite, 1 kyanite, 1 hematite, and 1 kyanite. 11. On the red needle, string 1 hematite. Pass through the side kyanite bead o the middle square in the first row. String 1 hematite and pass through the last kyanite rom Step 10. Pull snug (Figure 5). 12. Finish the second row by picking up 1 hematite and 1 kyanite on the red needle. On the black needle, string 1 hematite, pass through the side kyanite bead rom the first pattern, and string 1 hematite, 1 kyanite, and 1 hematite. Pass through the kyanite on the red needle (Figure 6).
Figure 6
13. Turn the corner by repeating Steps 8 and 9 (Figure 7). 14. Make the last square: on the red needle, string 1 hematite bead and pass through the kyanite bead in the middle square o the second row. String 1 hematite and 1 kyanite. On the black needle, string 1 hematite, 1 kyanite, 1 hematite, and pass through the last kyanite bead just strung on the the red needle needle (Figure (Figure 8).
Figure 3
Figure 7
9. On the black needle, string 1 hematite and pass through the last kyanite you picked up on the red needle. Pull snug (Figure 4).
Figure 1
Figure 4
Figure 8
Figure 2 . N O S W A L M I J : O T O H P G N I N E P O
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project
BLUE JEAN QUEEN
15. String 1 hematite and pass through the kyanite bead in the top square of the second row. (See Figure 11.) Leave the ends hanging for now.
Invite
Figure 9
your own home!
Make a dangle 16. Cut 4’ of thread and thread a needle on both ends.
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17. On either needle, string 1 round silver bead to the 17. middle of the thread. 18. On both needles together, string 1 silver spacer, 1 kyanite oval, 1 spacer, 1 round kyanite, and 1 hematite. Separate the needles and on each individual needle, string 1 hematite, 1 round kyanite, and 1 hematite (Figure 9).
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Figure 10
19. Crisscross both needles in opposite directions through the bottom hematite bead, exiting into the kyanite beads on either side (Figure 10).
Katieie Hacke Kat Hacker r Kri Kristal stal Wick
20. Work up through the piece, follow existing thread paths around each square (don’t cross through the middle of your squares!) and exit through the top 2 kyanite beads (Figure 11). Thread each of the long threads already there onto the needles; now there are two threads on each needle.
Create straps 21. On one needle, string 1 round silver, 1 spacer, 1 round kyanite, 1 hematite, 1 kyanite, 1 hematite, 1 kyanite, and 1 spacer. Repeat six more times. End with 1 hematite and 1 round silver. 22. String through the underside of 1 clamshell bead tip and exit from the inside. String 1 crimp bead and knot both threads securely around the crimp bead. Trim thread ends and glue the knot. Close the clamshell. 23. Use split-ring pliers to attach 1 split ring to the loop end of the toggle. Close the clamshell loop around the split ring with round-nose pliers. 24. On the other needle, string 1 round silver, 1 spacer, and 1 hematite.
Cand ie Candie Cooper Coop er
Mark Nelson Nelso n
Lesli e Leslie Rogalski i Rogalsk
LEARN MORE Figure 11
ABOUT THE SHOW & WHEN YOU CAN WATCH AT
BeadsBaublesandJewels.com CLAUDIA CHASE
25. String 1 oval kyanite, 1 hematite, 1 spacer, and 1 hematite. Repeat eight more times. End with 1 oval, 1 hematite, and 1 round silver. 26. Repeat Step 22 to attach the clamshell. 27. Repeat Step 23, using 2 split rings and the bar 27. end of the toggle. RESOURCES: Kyanite beads: Country Arts & Jewelry, 15864
Nauvoo Rd. Middlefield, OH 44062; (440) 632-5343.
H O U R S “ 6 F U L L E L AI LAB A L S O AV ” O N D V D
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best of step of step by step beads
beaded slider
SINGLE-NEEDLE SINGLE -NEEDLE RIGHT-ANGLE WEAVE WEAVE AND BRICK BRI CK STITCH STI TCH
Hoopla! Beth Kraft
Single-needle right-angle weave and brick stitch are used to combine fire-polished beads and seed beads with lead-ree solder rings, creating stylish slider beads and beaded end caps. Solder rings, sold in hardware stores, come in many diferent sizes and types, including anodized aluminum, base metal, and precious metals. Make sure they’re lead ree! Experiment with diferent ring sizes but remember—the number o fire-polished beads will change depending on the ring size. Use opaque fire-polished beads or the richest color.
Artist’s Tip Each design begins with a variation o right-angle weave that will join 2 solder rings together together..
WHAT YOU YOU NEED NE ED Small slider: •4 colors size 11° seed beads (A, B, C, D) •18–20 3mm fire-polished beads •2 lead-free solder rings, 1 ⁄ 2” size Large slider: •4 colors size 11° seed beads (A, B, C, D) •28–30 3mm fire–polished beads •18–20 4mm fire–polished beads •2 lead-free solder rings, 1 ⁄ 2” size •2 lead-free solder rings, 3 ⁄ 4” size Beaded end caps: •4 colors size 11° seed beads (A, B, C, D) •56–60 3mm fire-polished beads •4 lead-free solder rings, 1 ⁄ 2” All: •FireLine 6lb or 8lb •Size 12 needles •Thread Heaven or beeswax •Thread Zapper or scissors
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project
HOOPLA!
Small slider 1.Thread a needle with 5’ of FireLine or as long a length as is comfortable. 2. Pass the tail end of the thread through the center of one 1/2” solder ring. Use a surgeon’s knot to tie the thread onto the ring, leaving a 4” tail to be worked in and trimmed later. 3. Pick up 1 small fire-polished bead. Pass the needle through
8. Pick up 1B, 1 small fire-polished bead, and 1A. Pass through the second small fire-polished bead, the second B, and through the third small fire-polished bead just added. Pass between the rings and through the center of the first ring. Bring the thread to the outside of the first ring and pass back through the third fire-polished bead; continue through the center of the second ring. Bring the thread to the outside of the second ring and pass back through the third fire-polished bead; you are in position for the next RAW unit. Repeat to encircle the rings with fire-polished and seed-bead RAW units.
the center of the second 1/2” solder ring, bring the thread to the outside of the second ring and pass back through the same fire-polished bead. The 2 rings will be parallel with the bead between them.
4. Pick up 1A (blue) seed bead and 1 small fire-polished bead. Pass between the rings and through the center of the second ring. Note: The rings and thread will show
between the beads and along the edges as you stitch and will be visible in the finished piece.
9. Add a seed bead on each ring to link the first and last fire-polished beads into a RAW unit. 5. Bring the thread to the outside of the second ring; pass back through the second fire-polished bead and continue through the center of the first solder ring.
6. Bring the thread to the outside of the first ring and pass back through the second fire-polished bead. Pull the thread taut. Pick up 1B (purple) seed bead; the seed beads should be positioned on the sides of each ring with the fire-polished beads held firmly between the rings.
Brick stitch edge Use seed bead color C (pink) to add brick-stitch edging to the rings.
10. Pass thread down through the center of the ring; pass under the ring to exit between 2 fire-polished beads on the outside edge of the ring. Pick up 2C and pass down through the center of the ring, continue under the ring between the A seed beads already in position and pass back up through the second C added. Position the 2 C so they lie on the top edge of the ring. Pass down through the first C bead from the top to the bottom and pass back up through the second C bead, bottom to top. The thread will be exiting from the top of the second C bead. The extra pass around is only for beginning brick stitch on the ring and helps stabilize the beads. 11. Pick up 1C, pass down through the center of the ring, under the ring, up between the next A beads on the outside of the ring, and back up through the C bead just added.
7. Pass through the first fire-polished bead, the A seed bead, and exit the second fire-polished bead to complete the first round of RAW; you are in position to start the next RAW unit.
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best of step by step beads
12. Repeat Step 11 to cover the top of the ring, usually between 18–22 seed beads. Join the first and last seed beads together.
18. Repeat Step 17, decreasing by a single bead in regular intervals 3–4 times around the circle. Join the first and last seed 22 beads together. Weave the thread into the beads and trim. 13. To complete Side Two, turn the slide over, pass up through the nearest fire-polished bead, and exit moving from right to left through a B seed bead. Repeat Steps 10–12. Weave the thread into the beads and trim.
19. Repeat Steps 15–18 to complete Side Two of the large slider. Beaded end cap.
Large slider
20. Follow small slider Steps 1–12 for Side One of the beaded end cap.
14. Repeat Steps 1–8 using two 3/4” solder rings to create a larger slider; use 4mm fire-polished beads for the center beads and 3mm fire-polished beads instead of seed beads in the RAW units. 15. Repeat Steps 10–12 to complete one round of seed-bead brick-stitch edging on Side One of the large slider. When finishing the brick stitch rounds do not cut the thread but continue with the next step. 16. Exit from the top of the first round of brick stitch. Pick up 2C. Pass from inside to outside under the thread between the next 2 seed beads in the previous row and up through the second seed bead just added. Pass up through the center of a 1/2” ring, around the outside edge of the ring, and pass back down through the second seed bead just added. Pass under the thread between seed beads on the previous row again and exit up through the second C bead.
21. Exit from the top of the first round of brick stitch. Use D (orange) seed beads to add a second row of brick stitch. Pick up 2D. Pass from inside to outside under the thread between the next 2 seed beads in the previous row and up through the second seed bead just added. 22. Pick up 1D, pass under the thread between the next 2 seed beads in the previous row, and pass back up through the seed bead just added. Complete this second row of brick stitch on Side One of the end cap. Pass through the beads to exit between the fire-polished beads under the second ring to position thread for next step. 23. Do not work a row of seed-bead brick stitch on Side Two of the end cap; instead brick stitch about ten 3mm fire-polished beads inside the ring. Exit under the second ring and to the outside between the RAW beads; pick up 2 fire-polished, pass down through the center of the ring and out under the ring between the seed beads. Pull or poke the fire-polished beads to lie along the inside rim of the ring. Pass back up through the second fire-polished bead just added. Pass through the first fire-polished bead from the top to the bottom, and pass through the second fire-polished bead, from 25 bottom to top. The thread will be exiting from the top of the second fire-polished bead. The extra step stabilizes the beads when starting brick on the ring.
17. Pick up 1C, pass under the thread between the next 2 seed beads in the previous row and pass back up through the seed bead just added. Pass up through the center of the small ring, around the outside edge of the ring, pass down through the seed bead, under the thread and back up the seed bead.
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project
HOOPLA!
24. Pick up 1 fire-polished and pass under the ring. Pass thread over the ring edge and up through the fire-polished from the bottom (ring side) to the top. Repeat around to fill the ring with fire-polished beads. Join the last 2 beads together exiting at the top of a fire-polished bead to position thread for the next round.
26. Pick up 1C, pass under the thread between the 2 fire-polished beads in the previous row, and pass back through the seed bead just added. Repeat to complete a row of brick-stitched seed beads inside the circle, on top of fire-polished beads, decreasing if needed. Pass through the first bead from top to bottom and the last bead added from the bottom to the top. Weave the thread into the beads and trim.
25. Pick up 2C and pass under the thread between 2 fire-polished beads in the previous row. Pass through the second seed bead from bottom to top. Circle between the seed beads and exit from the top of the second seed bead just added.
RESOURCES: Nordic Gypsy Beads & Jewelry, nordicgypsy.com.
fabulous fabric. glitter. glamorous
TURN ORDINARY MATERIALS INTO EXTRAORDINARY DESIGNS
TURN ORDINARY MATERIALS INTO EXTRAORDINARY DESIGNS
FROM WIRE AND YARN to crystals and charms be amazed at the stunning outcome of simple materials. Kristal Wick takes you on a trip into her studio to learn mixed media jewelry like never before.
Get Started Today with this must-have, easy-to-follow jewelry resource you’ll use again and again!
O P
W AT C H A P R E V I E W A T
InterweaveStore.com/BeadedBraceletsDVD
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best of step by step beads
h t i w k c l W i a t s i r K
necklace
WIREWORK AND STRINGING
Rainforest Necklace Terri Wlaschin
A neat twist on simple stringing, this stretchy necklace allows for an adjustable size. The design is inspired by rainforests, whose riches provide lush habitats to more than two thirds of all plant and animal species on earth. The variations of blues and greens in this necklace evoke the spirit of those great forests.
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best of step by step beads
WHAT YOU NE ED • 15 g size 8° seed beads (color A)
• 8” strand of matching gemstone chips
• 10 bead-stopper springs or clips
• 8 g size 11° seed beads (color B)
• 8” strand of matching 8mm rondelles
• Crimping pliers
• 8 g size 11° seed beads (color C)
• 3” of medium to lightweight link chain
• Wire cutters
• 8 g size 15° seed beads to match (color D)
for the clasp
• 8 g size 15° seed beads to match (color E)
• 4 crimp tubes
• 8 g size 3 /8” bugle beads to match
• .014 beading wire
Finished length: 14”; will
• 32 size 6° bicone crystals to match
• Clasp to hook on chain
“stretch” to 18”.
1. Cut 5 strands of beading wire each 22” in length. Pull each wire individually over one jaw of the round-nose pliers to curl it, the same way you use scissors to make curling ribbon. Leave about 2” of uncurled wire at the start of each wire. 2. Place a bead stopper 3” from the end on the curly end of each strand. On the uncurled end of each wire, string beads down to each stopper as follows and be sure to place a second bead stopper at the other end after stringing each strand! Strand One: 5A, 5B, 5C, 5A, 1 gemstone chip. Repeat 10 times. Strand Two: 1 chip, 15D. Repeat until you have 37 chips. Strand Three: 1 bicone crystal, 1 chip, 1 bicone crystal, and 5 random beads including 1 bugle bead. (Shown: 1B, 1A, 1 bugle, 2D.) Repeat until you have 15 bugle beads. String 1D, 1A, and 2C. Strand Four: 5A, 5B, 5C, 5A, and 1 gemstone chip. Repeat until you have 10 gemstone chips. String 5A, 5B, 5C, 5A. Strand Five: 5A, 1 gemstone chip, 5A, 1 bugle, 5E, 5D, 1 bugle, 5A, and 1 gemstone chip. Repeat until you have 9 gemstone chips. String 5A, 1 bugle, 5E, and 3D.
3. Place strands side by side on your beadwork surface. Strands should be about 10 ½" curled but can vary within ½". Remove or add beads as
• Long chain-nose pliers
needed but leave at least 3" of beading wire on each end for ease of crimping.
4. Turn one strand so its straight end is aligned with the 4 curly ends. This wire will be used to finish the necklace. Remove all 5 bead stoppers on the 4 curly strands and the straight strand. String all 5 strands through 1 crimp tube. Keep the wire ends as even as possible and crimp firmly. Trim only the 4 curly ends. Do not cut the straight wire. 5. On the straight uncut wire end, string 1 crystal, 1 crimp tube, and one half of the clasp. Pass the wire back through the crimp tube and crystal, if possible. Snug the clasp up to the beads so they snug against the first crimp. Use your crimp pliers to secure the crimp; trim the straight wire end. 6. Make sure the bead stoppers on the other wire ends are secure before proceeding! Hold up the necklace by the clasp end so the strands hang freely. Choose the longest strand and twirl it around the other strands until it reaches the end. Place the necklace down on the mat without untwisting the necklace. Remove the bead stoppers and string all 5 strands through 1 crimp tube, leaving at least one strand with enough wire to repeat Step 5 to finish this end of the necklace. Crimp firmly. Trim only 4 ends. Do not cut the fifth wire. 7. Repeat Step 5 with the other part of your clasp. RESOURCES: Accents Beads, accentsbeads.com.
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earrings
FLAT RIGHT–ANGLE WEAVE
Silver Comet Leslie Rogalski
These dramatic earrings are actually just 90° turns of basic flat RAW; they hang askew on the ear wire like zigzags of the night sky!
WHAT YOU NE ED For 1 3 ⁄ 4” earrings: • 32 Swarovski Jet 4mm bicones • 9 Swarovski Comet Argent light 4mm bicones • 2 closed 3mm silver jump rings • FireLine 6lb fishing line • #12 bead needle • 1 pair silver ear wires • Scissors
. N O S W A L M I J Y B O T O H P
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best of step by step beads
1.Thread your needle on a 4’ length of FireLine. String 4 crystals, leaving a 6” tail: 1 light, 1 Jet, 1 light, 1 Jet. Tie a knot with your working thread and tail, for ming a snug circle of bicones (beads 1–4). 2. Working counterclockwise around this circle, pass through beads 1, 2, and 3. Pick up 1 Jet, 1 light, and 1 Jet (beads 5, 6, and 7) and pass clockwise through beads 3, 5, and 6. 3. Pick up 1 light and 2 Jet (beads 8, 9, and 10) so your colors turn the corner, and pass counterclockwise through beads 6 and 8.
Artist’s Tips Right–angle weave is always worked in a circular motion, changing from clockwise to counterclockwise with each round. Each round includes 4 beads but will share beads with the previous round: You actually pick up 3 new beads, not 4, with each round in this project. Notice in Steps 3 and 5 when the color turns the corners to keep the mirror stripe of Comet Argent light in the middle of your zigzag!
6. Pick up 1 Jet, 1 light, and 1 Jet (beads 20, 21, and 22). Pass counterclockwise through beads 17, 20, and 21. 7. In this last round, you attach the closed jump ring for your ear wire. Pick up 1 Jet, 1 light, 1 jump ring, and 1 Jet. Pass twice clockwise through beads 21, 23, 24, the jump ring, and 25. Knot the thread discretely but securely between beads 25 and 21 and weave the end through existing thread paths, in a circular motion. Trim carefully.
4. Here’s your first 90° turn, where you start working the second leg of your zigzag: Pick up 1 Jet, 1 light, and 1 Jet (beads 11, 12, and 13) and pass clockwise through beads 8, 11, and 12. Pick up 1 Jet, 1 light, and 1 Jet (beads 14, 15, and 16) and pass counterclockwise through beads 12, 14, and 15. 5. Here’s another corner turn for color: Pick up 1 light and 2 Jet (beads 17, 18, and 19). Pass clockwise through beads 15 and 17. You’re now ready to start working your third leg of the zigzag.
8. Gently twist open the loop of one ear wire, string on the jump ring and earring, and close the ear–wire loop. Repeat for your second earring. RESOURCES: Check your local bead store.
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necklace
SIMPLE FRINGES
Loop De Loop Martha Aleo
This necklace is a wonderful way to use up odd beads and play with color, shape, and design at the same time. It’s easy to make and fun to wear. And the beauty of this necklace is that there is no right or wrong way to make it. Use the beads in your stash and let your imagination go wild.
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best of step by step beads
WHAT YOU NEED • 1-2 g size 11° seed beads in colors of your choice
• 1 shank button
• 1 tube size 6° seed beads in color of your choice
• Size 13 beading needle
• 2 large glass beads with holes big enough to cover
• 20” of flexible beading wire
the folded crimps • Bead soup using 4–12mm beads: Czech pressed
• Beige Sylamide thread
Artist’s Tip
• Beeswax
To add more thread, wax and double another 36” length of Sylamide. Tie a secure square knot to the thread you are using, bury the ends in a size 6° seed bead, then continue.
glass, crystals, top-drilled beads, leaves, daggers,
• Crimping pliers
tube beads, bicones, druks and any other type and
• Wire cutters
shape that strikes your fancy • 2 crimp tubes
1. Cut 30” of beading wire. String 1 crimp tube and the shank button on the end of the wire. Bring 2–3” of wire back through the crimp tube. Secure the crimp with crimping pliers.
Finished length: 24”
4. Bring the wire back through the crimp tube, the big–hole bead, and 2–3” of seed beads. Pull the wire to remove any slack. Secure the crimp with crimping pliers and trim the excess wire. If the loop is on the large side, it won’t matter because the weight of the necklace will hold the button and loop closed.
7. Pick up 20 size 11° seed beads then go up into the next size 6° seed bead. Repeat for 5 times. 8. Pick up 30 size 11° seed beads then go up into the next size 6° seed bead. Repeat to make a few more loops. 9. Start adding big beads to the bottom of each loop as you make them. Make larger graduated loops as you reach the center of the necklace. Increase the size of the larger beads as you go, using the largest ones at the center of the necklace. See Illustration.
2. String 1 big–hole glass bead to cover the crimp and 24” of size 6° seed beads, covering the 2–3” tail. 5. Wax 3’ of Sylamide and thread the needle. Double the thread and knot it securely on the end. Secure the thread between 2 size 6° seed beads about 6 beads in from one of the ends of the necklace.
3. String 1 big–hole bead, 1 crimp tube, and enough size 6° seed beads to make a loop big enough to go around the button.
10. Work your way up the necklace on the opposite side, doing everything in reverse. When you are about 8 size 6° seed beads from the end, secure the thread with a knot. Take the needle and pass back through several beads, tie another knot, then trim the thread close to your work. RESOURCES: Check your local bead store.
6. Bring the needle out of 1 size 6° seed bead, pick up 10 size 11° seed beads, then go up into the next size 6° bead. Repeat 8 times.
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bracelet
TWO-NEEDLE LADDER STITCH
Crystal Wave Bonnie Clewans
Using two needles makes this bracelet look like right-angle weave, but technically it’s a ladder stitch, created by crisscrossing the two needles through select beads. Create a ladder base of larger crystals, then weave back through the base adding wavy embellished edges of smaller crystals. This method works up so symmetrically it’s easy for beginners to learn and fun for anyone to make! Crystal color shown: Swarovski Blue Zircon (5000) Crystallized Elements
Did you know? The holes in crystal elements can sometimes be sharp. Take care when pulling your thread snug to avoid cutting or abrading the thread. Braided and thermally bonded threads are the most durable threads for use with crystals.
WHAT YOU NE ED • 53 round 6mm crystals • 66 round 4 mm crystals • 8 round 3mm crystals • 1 toggle clasp (bar and ring) • 2 silver 10mm oval jump rings • 2 yd braided crystal (color) bead thread, 10 lb test, .006 dia. • 2 size 12 beading needles • Scissors • 2 pair chain-nose or round-nose pliers • G-S Hypo Cement or Super Glue Finished size: 7”
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Figure 1
Artist’s Tip I always cut an extra long piece of thread, so I can make several passes through the crystals to be sure my beadwork is securely reinforced.
Create the ladder base 1. Use your pliers to open one jump ring and attach it to the toggle-bar loop. Repeat for the toggle bar ring. Set both aside. 2. String one needle on each end of a 2 yd piece of thread, leaving 6” tails. 3. On one needle, string one 4mm crystal, two 3mm crystals, the jump ring with the toggle bar attached, and two 3mm crystals. Slide everything to the middle of the thread. 4. Pass the other needle through the 4mm crystal in the opposite direction from the first needle, forming a loop holding the clasp. Your needles should crisscross through the 4mm crystal, exiting both holes pointing in opposite directions (figure 1).
Continue adding 6mm crystals, crisscrossing in this ladder-stitch technique, until you reach about 1” short of your desired length, allowing for the clasp.
Figure 2
String the toggle–ring clasp 7. String one 4mm crystal on one needle and crisscross the other needle through it. String two 3mm crystals on both needles. String the jump ring with the toggle ring attached on one needle. Pass both needles in opposite directions through all the crystals, as in the other clasp loop in Steps 4 and 5. Both needles will exit on opposite sides of the 4mm crystal as in figure 1.
Make the waves
Did you know?
8. Pass one needle all the way back through the ladder to reinforce, following the zigzagging thread path. When you reach the toggle, remove the needle temporarily just to avoid accidental sticks.
Braided beading thread such as WildFire or FireLine is created in a way to be stronger and with less stretch than other beading threads. The larger the diameter number, the thicker the thread. The test weight is how much it will bear before breaking.
9. Use the other needle to make the waves: Pass through the next two 6mm crystals, add four 4mm crystals, and pass through the next crossover 6mm crystal (figure 3). Repeat for the length of the bracelet.
Figure 3
Finish 5. Pass both needles in opposite directions through all the crystals again to strengthen the loop, crisscrossing again through the 4mm crystal. 6. String one 6mm crystal on each needle. String a third 6mm on one needle and crisscross the other needle through it (figure 2) as you did with the 4mm in Step 4.
10. When the clasp end is reached, pass through the ladder-stitch base until the threads meet. Knot the threads together positioning the knot close to a crystal. Rethread a needle on the loose tail and weave both tails through a few crystals following thread paths; trim. Dab the knot with glue. RESOURCES: Check your local bead shop.
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bracelet
TRIANGLE WEAVE
Sparklefest Meri Nash Aderhold
This super-sparkly band of “flowers” is an easy-to-learn variation of right-angle weave. Each flower has 6 trianglestitched “petals.” Once you become comfortable with triangle weave, you’ll never want to stop, and the color variations are limitless!
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best of step by step beads
Artist’s Tips • Triangle weave is worked in a circular motion, changing stitch direction from clockwise to counterclockwise. • When working with a long length of thread, wax frequently to minimize tangling. • Use wintry-hued and AB crystals as the outside color for the look of snowflakes. Use green crystals around the outside and richer colors inside to evoke flowers.
WHAT YOU NE ED
Figure 1
• 4 g of size 15° seed beads: silver, gold, or clear AB
• 1 size 5–7mm split ring
• CRYSTALLIZED Swarovski bicone elements (5301):
• Size 13 beading needles
• 52–58 color A (outside color) 4mm
• WildFire beading thread
• 2 color A, (outside color) 3mm
• Beeswax or Thread Heaven
• 60–66 color B (inside color) 4mm (10–11 flowers,
• Scissors to cut WildFire
1
depending on wrist size, 6 crystals per flower) • 1 size 10–12mm lobster clasp
1. Thread a needle to the middle o 4 yd o well-waxed WildFire. Tie the ends together in a square knot. Wax the thread again now that it is doubled. Prevent tangling by re-waxing ater every 3 flowers. 2. String 5 seed beads, the lobster clasp, and 5 seed beads. Form a snug circle by tying a knot. Exit next to the knot.
. N O S W A L M I J Y B O T O H P
3. String one 3mm bicone (bead 1), 5 seed beads, one 4mm A (bead 2), and 5 more seed beads. Work in a figureeight path: pass counterclockwise back up through bead 1, clockwise around the clasp circle o 5 seed beads, the clasp, and the next 5 seed beads, and exit through bead 1. Pass counterclockwise through the next 5 seed beads, the 4mm (bead 2), and exit the next seed bead. Your clasp end is now secure (Figure 1). 4. Triangle stitch 1, the first “petal”: String 1 seed bead, 1B (bead 3), 2 seed beads, 1B (bead 4), and 1 seed bead. Close the triangle: pass clockwise through a seed bead, bead 2, and the next seed bead. Pass clockwise through the remaining beads in the triangle; exit through bead 3 and the next seed bead (Figure 2).
Finished length: 6½”, without clasp
10), and 1 seed bead. Close the triangle: pass counterclockwise through a seed bead and bead 8. Continue around the triangle to exit bead 9 and the next seed bead (Figure 5).
8. Triangle stitch 5: String 1 seed bead, one 4mm A (bead 11), 2 seed beads, 1B (bead 12), and a seed bead. Close the triangle: pass clockwise through a seed bead and bead 9. Continue around the triangle to exit bead 12 and the next seed bead in the center. Pass through the seed bead next to bead 4 and through bead 4; exit the next closest seed bead (Figure 6).
2
Figure 3
Figure 2
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1
2
2
4
5
Figure 4
Figure 5
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2
4
5
5
6. Triangle stitch 3: String 1 seed bead, one 4mm A (bead 7), 2 seed beads, 1B (bead 8), and a seed bead. Close the triangle: pass clockwise through a seed bead and bead 5. Continue around the triangle to exit bead 8 and the next seed bead (Figure 4). 7. Triangle stitch 4: String 1 seed bead, 1B (bead 9), 2 seed beads, one 4mm A (bead
12. String 4 seed beads; pass through the seed bead next to bead 10, through bead 10 and the next seed bead (Figure 8). Pass through all the beads in Steps 9 and 10 several times to secure. 13. Weave the remaining tail back into the piece through existing thread paths to secure and trim.
9
7
8
7
8
10
1
Figure 6
2
10. Repeat Steps 4–9 to make 9–11 more flowers (depending on wrist size). Try diferent colors o B beads around the outside or more variety! 11. String 4 seed beads, one 3mm A, 9 seed beads, and the split ring. Form a circle o seed beads through the split ring; pass back through the 3mm.
6
3
4
6
3
6
3
4
12
5
9
11
5. Triangle stitch 2: String 1 seed bead, 1B (bead 5), 2 seed beads, one 4mm A (bead 6), and 1 seed bead. Close the triangle: pass counterclockwise through a seed bead and bead 3 (4mm). Continue around the triangle to exit bead 5 and the next seed bead (Figure 3).
1
2
9. Complete the first flower: string 1 seed bead, one 4mm A (bead 13), and 1 seed bead. Close the triangle and the whole flower: pass counterclockwise through the seed bead next to bead 12, through bead 12, and the next seed bead in the center. Pass clockwise through the next center seed bead and bead 9. Pass counterclockwise through 2 more seed beads and bead 10; exit the next seed bead (Figure 7).
6
3
4
3
7
8 10
Figure 7
Figure 8
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12
2 11
14
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8
7
6
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10
12 11
5
9
5
9
8
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10
RESOURCES: All materials rom Fire Mountain
Gems and Beads, www.firemountaingems.com. beadworkmagazine.com
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bracelet
STRINGING
Tandem Carole Rodgers
Beads with more than one hole ofer unlimited design possibilities. You can weave them or string them in unusual ways and have a lot o un designing with them.
WHAT YOU NE ED: Hematite Bracelet • 31 hematite 3.5x13mm 2-hole bar beads • 35 silver-plated 4mm round fluted metal beads • 32 silver-plated 2x4mm disc spacer beads • 1 silver 15mm 3-strand round box clasp • 6 silver 2mm crimp beads • 27” of .018 sterling-plated flexible beading wire WHAT YOU NE ED: Red Tortoise Shell Bracelet • 44 red tortoise shell 3.5x13mm 2-hole dome-top beads • 43 gold-plated 1x4mm disc spacer beads • 6 gold-plated 4mm round fluted metal beads • 1 gold 3-strand clasp • 6 gold 2mm crimp beads • 27” of .015 gold-plated flexible beading wire • Wire cutters • Crimping pliers • Bead sorting dish or cloth Finished size: 7”
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best of step by step beads
Hematite bracelet 1. Cut the beading wire into three 9” pieces. String 1 fluted bead and 1 crimp bead. Pass the wire through the middle hole of the clasp and back through the fluted bead and crimp.
2. Push the wire up so you have about a 4mm loop around the clasp loop and about a ½” tail. Secure the crimp with crimping pliers and trim the excess wire. 3. String 1 silver disc alternating with 1 hematite bead until you have used all 32 silver discs and 31 hematite beads. String 1 crimp and 1 fluted bead and pass the wire through the middle loop of the clasp. Leave a little ease so the bracelet will bend comfortably. Bring the wire back through the fluted bead and crimp, leaving a 4mm loop of wire around the clasp loop. Secure the crimp and trim the excess wire. 4. Place your bracelet on a flat surface. Adjust the hematite beads so they alternate directions through the length of the bracelet, starting with 1 bead pointing up.
Eye on Midnight by Sharon Borsavage
g n e i s s s i e o l u B q r e u n e T l s r a é r T M y b
~ Free
5. Attach the second wire to the outside loop of the clasp that is closest to a bead that is pointing up. You will have 16 up beads and 15 down beads. 6. String 1 hematite bead and 1 fluted bead. Continue across bracelet passing through 1 hematite and picking up 1 fluted bead as you go. When you reach the end of the bracelet, make sure the wire is the same length as the middle one. Attach the wire to the loop on the clasp as before, secure the crimp with crimping pliers, and trim the excess wire.
and crimp. Secure the crimp and trim the excess wire.
2. String the dome beads alternating with the gold spacer discs. Use alternate holes on the dome beads so all the domes face up. Continue stringing until all the dome and spacer beads have been used. 3. String 1 crimp tube, 1 fluted bead, and the middle loop on the other clasp. Secure the strand as before and trim the excess wire.
7. Attach the remaining strand as you did the previous strands. Starting with a bead that is pointing down, string 1 hematite bead and 1 fluted bead until you reach the other side of the bracelet. Secure this end of the beading wire as before and trim the excess wire.
4. Because the domes all have to face up, your beads should already be in an alternating pattern. Place the beads on a flat surface and attach 1 wire to the outside loop of the clasp. String the remaining holes on the dome beads and secure the wire to the other end of the clasp. Repeat for the final strand.
Red tortoise shell bracelet 1. Using gold wire, string 1 crimp, 1 fluted
RESOURCES: Focal bead: abeadstore.com.
bead, and the middle loop of the clasp. Bring the wire back through the fluted bead
All other resources: Fire Mountain Gems and Beads, firemountaingems.com.
Stringing Designs! ~
Download your FREE eBook today:
5 FRE E
Beading Projects to Learn How to Bead
h e s e u t t C h e c k o d e s i g n s, r i n g i n g r m a e s t k e o p i c k o n a ! h e m l l t
GET YOUR FREE PROJECTS AT:
www.BeadingDaily.com/ FreeStringingProjects Sorbet in August by Michelle Mach
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necklace
WIREWORK
Peaceful Dreams Lorelei Eurto
Create a simple wire-wrapped beaded necklace with several handmade artisan-jewelry components.
WHAT YOU NE ED • 7 bronzite 10x7mm rondelles • 2 faceted yellow jade 5-6mm rondelles • 6 smoky quartz 10x6mm beads • 2 etched cream 10x7mm lampworked glass rounds • 2 bronze-colored size 11° glass seed beads • 1 carved bone round • 1 bird pendant • 1 oxidized copper U component • 1 ceramic message stick connector
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best of step by step beads
• 1 brass 22mm hammered ring • 1 brass filigree 11mm tube bead • 2 brass 4mm melon beads • 3 brass 4mm jump rings • 1 brass 2” eye pin • 36” of copper Artist wire • Round-nose pliers • Chain-nose pliers • Wire cutters
Artist’s Tip Before starting this project, cut all eighteen 2” pieces of copper wire and lay out all the supplies on your table.
1. Gently open one loop on the U compo-
4. Cut 2” of wire and begin a wrapped loop
7. Open one 4mm jump ring and thread it
nent using round-nose pliers. Slide the bail of the bird pendant onto the U, then close the loop. Note: Be careful not to mar the copper U with the pliers. (Figure 1)
at one end. Attach the loop to the end of the Peace link, then complete the wrap. String 1 bronzite rondelle and form a wrapped loop. Attach 3 more bronzite rondelle links, connecting each to the previous wrapped loop; do not wrap the final loop on the last link. Attach this loop to the U component, then complete the wrap. (Figure 4a/4b)
into and out of two centrally located holes in the side of the filigree tube bead. Close the jump ring and attach 2 more jump rings to that main jump ring, creating a small threeloop chain.
2. Connect 1 jump ring to the hammered ring. Cut 2” of copper wire and begin a wrapped loop at one end. Connect the loop to the jump ring and complete the wrap. String 1 quartz bead onto the wire and form a wrapped loop on the other end. (Figure 2)
3. Cut 2” of copper wire and begin a wrapped loop at one end. Connect the new loop to the previous wrapped loop, then complete the wrap. String 1 quartz bead onto the wire and form a wrapped loop on the other end. Repeat this step, stringing 1 lampworked round instead of the quartz bead. Repeat this step, stringing 1 quartz bead, but don’t wrap the second loop. Attach the second loop to the Peace link, then complete the wrap. (Figure 3)
8. Create 1 quartz link, attaching the first loop of the link to the last loop on the necklace; do not wrap the second loop. Attach the second loop to the last jump ring on the toggle clasp, then complete the wrap. Trim the excess wire.
5. Cut 2” of copper wire and make 1 bronzite link, attaching the first loop to the U component. Continue adding links to this side of the necklace in the following order: 1 faceted jade bead, 1 bronzite rondelle, 1 lampworked bead, 1 bronzite rondelle, 1 carved bone round, 1 quartz bead, 1 jade bead, and 1 quartz bead.
RESOURCES: Bird pendant: Expedition D
(Lynn Davis), ExpeditionD.etsy.com. Fly Away message connector: Earthenwood Studio, earthenwoodstudio.com. Bronzite beads: Buy
6. Stringing the following onto the eye pin:
Happiness Beads, bhbeads.etsy.com. Faceted jade: Gemme Tresor, gemmetresor.etsy.com.
1 brass melon bead, 1 bronze seed bead, 1 brass filigree tube, 1 bronze seed bead, and 1 brass melon bead. Trim the eye pin, leaving just enough wire to create a simple loop using round-nose pliers. (Figure 5)
Quartz nuggets: Ollie and Jo, ollieandjo.etsy.com. Lampworked glass: Cindy Hoo at Fallen Leaf Creek Jewelry, cindyhoo.etsy.com. Vintaj Brass Co. findings: FusionBeads.com, fusionbeads.com. Copper wire: Michaels, michaels.com.
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4a
4b
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bracelet
BEAD STITCHING
DID YOU KNOW? Seed-bead quantities are usually counted or measured in grams, using the symbol “g,” as in, 3 g. There are about 120 size 11° beads in a gram. Always have extra on hand!
The Look of Links Patricia C. Vener
This cleverly designed “chain” looks like separate beaded links but is actually stitched in one piece. Supple and graceful, it entwines your wrist like a delicate vine.
WHAT YOU NEED • 3 g purple iris or purple fuchsia gold luster size 11° seed beads (A) • 1 g gold-colored or gold-lined size 11° seed beads (B) • 1 vermeil toggle clasp • 2 gold-filled jump rings • Braided or other strong beading thread to match beads • Beading needle #12 (thin) • Scissors • 2 pairs of pliers, round-nose or chain-nose Finished size: 6½” To lengthen this bracelet: There are 4 ½ “links” or loops per inch, 15A beads and 4B beads per loop. Obtain extra beads (about 68A ( ½ g) and 18B beads) for each inch of desired extra length.
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Make the links 1. Thread a needle on 5’ of thread. Place a stopper bead, leaving a 10” tail.
2. String 3A (purple), 1B (gold), 3A, 1B, 3A, 1B, 3A, and 1B for a total of 16 beads.
7. Repeat from Step 4 to complete the length you desire for your bracelet (Figure 3). If a pair of loops make more of a figure eight than a loop, push the loops toward each other at the connecting point and wiggle the new loop back into its chain-link form.
final link. Reinforce by passing around the loop again. Pass back into the chain and tie a secure surgeon’s knot between two beads. Weave threads around through a couple links to hide the tails and trim.
3. Pass through all beads again to reinforce. Exit the first gold bead strung.
3
Loop 1
2
4. Pull the loop snug. String another set of 16
1
beads as in Step 1: 3A, 1B, repeat for a total of 16 beads, ending with a gold (B) bead.
5. Pass up through the inside of the previous loop, bringing several of the last beads just strung through the existing loop as well. Hold the loop and those last beads firmly between your thumb and forefinger. Pass through the first 3A and 1B strung in this loop to close the loop that links through the previous one.
Artist’s Tip Tip to tighten thread: Gently roll beads between your thumb and forefinger as you tighten thread whenever you have to pull beadwork snug—it helps ease the bead friction so the thread can pull tighter.
10. Remove the stopper bead on the other end of the bracelet. Using the tail thread, repeat Step 9 to capture the remaining jump ring and clasp on the last beaded link. RESOURCES: Check your local bead shop.
Loop 2
Add the clasp Loop 1
6. Grasp the newly formed loop at the gold bead where the working thread exits; pull snug to tighten the loop so any connecting thread from one loop to the next is as short as possible. It may take practice.
8. Use two pliers to gently twist open a jump ring and close it securely through the loop of one part of your clasp. Repeat with the second jump ring and the other clasp. Set aside. 9. Check the bracelet for fit, allowing about 1” for the clasp. Create a final loop but string 1 jump ring in the middle of the loop: String 3A, 1B, 3A, 1B, and one part of your clasp. String 3A, 1B, 3A, and 1B. Repeat Step 5 to connect this loop as the
Learn the Lingo Vermeil–“vermay”
is silver that has been gold–plated. (Gold plate can often be used on metal base.)
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necklace
EVEN-COUNT PEYOTE & STRINGING
Striking Jasper Melody Marie Murray
This easy project teaches you how to peyotestitch your own beaded beads to string, then use peyote again to make the bail for a striking donut pendant. The end result is elegant with its simple gray-and-white color scheme accented with both black and silver.
WHAT YOU NEED • 1 jasper 45mm donut (fossilized crinoid jasper shown) • 70 mother-of-pearl 4mm round beads • 6 hill tribe silver beads, 5x4.5mm round with rope ends • 4 hill tribe silver 8mm overlapping round beads • 10 jet 4mm round faceted Swarovski crystal beads • 8 clear 4mm round faceted Swarovski crystal beads • 2 jet 6mm rondelle faceted Swarovski crystal beads • 4 g matte rainbow medium gray Delica DB307 beads (color A) • 1 sterling silver 15.5x5.5mm lobster clasp with j ump ring attached • 1 sterling silver 6mm jump ring (2 if clasp does not include a jump ring) • 2 silver clamshells • 2 silver crimp beads • 8 lb size D smoke FireLine • Round-nose or chain-nose pliers • Scissors • Needle • Jewelry glue
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best of step by step beads
Make small tube beads 1. Cut 3’ of FireLine and thread the needle. Add a stop bead, if desired. String 4A. Work even-count peyote to make a strip 4 beads wide by 14 rows long or 7 beads on each side. Zip the ends together to make a tube. Repeat for a total of 2 beads.
Make the bail strip 4. Cut 3’ of FireLine and thread the needle. Add a stop bead, if desired. String 4A and work even-count peyote for 10 rows or 5 beads on each side. Stitch one end of this strip to the donut-strip beads, working in peyote. Stitch the other end of the strip to the bail, working in peyote.
6. String 5 mother-of-pearl beads, 1 round jet crystal bead, 5 mother-of-pearl, 1 round silver bead, 5 mother-of-pearl, 1 round jet crystal, 5 mother-of-pearl, 1 round silver, 5 mother-of-pearl, 1 clear crystal, 1 large (10x7) peyote tube, 1 clear crystal, 2 mother-of-pearl, 1 round jet crystal, 1 small (4x7) peyote tube, 1 round jet crystal, 3 mother-of-pearl, 2 silver 8mm overlapping round beads, 3 motherof-pearl, 1 clear crystal, 1 large (10x7) peyote tube, 1 clear crystal, 1 mother-ofpearl, 1 round silver, 1 jet rondelle crystal, and 1 round jet crystal. 7. String on the focal bead, passing the thread through the bead bail. 8. String 1 round jet crystal, 1 jet rondelle crystal, 1 mother-of-pearl, 1 round silver, 1 mother-of-pearl, 1 clear crystal, 1 large (10x7) peyote tube, 1 clear crystal, 3 mother-of-pearl, 2 silver 8mm overlapping round beads, 3 mother-of-pearl, 1 round jet crystal, 1 small (4x7) peyote tube, 1 round jet crystal, 2 mother-of-pearl, 1 clear crystal, 1 large (10x7) peyote tube, 1 clear crystal, 5 mother-of-pearl, 1 round silver bead, 5 mother-of-pearl, 1 round jet crystal, 5 mother-of-pearl, 1 round silver, 5 mother-of-pearl, 1 round jet crystal, and 5 mother-of-pearl.
Make larger tube beads 2. Cut 3’ of FireLine and thread the needle. Add a stop bead, if desired. String 4A. Work even-count peyote to make a strip 10 beads wide by 14 rows long or 7 beads on each side. Zip the ends together to make a tube. Repeat for a total of 4 beads. 3. Make the donut strip: Cut 5’ of FireLine and thread the needle. Add a stop bead, if desired. String 6A beads. Work evencount peyote to make a strip 6 beads wide by 54 rows long or 27 beads on each side. Wrap the strip around the donut through the hole and zip the ends together. The strip will move freely around the donut.
9. Pass through a clamshell bead tip, then pass through a crimp bead. Knot your thread securely around the crimp bead, dot with glue, and trim ends. Close the clamshell around the crimp bead. 10. Using pliers, close the loop hook of 1 clamshell around a jump ring. Close the loop hook of the other clamshell around the jump ring of the clasp. RESOURCES: Focal bead: abeadstore.com.
All other resources: Fire Mountain Gems and Beads, firemountaingems.com.
String the necklace 5. Cut about 6’ of beading thread. Move the needle to the center of the thread and bring the ends together to work doubled. Knot the ends of the thread securely around a crimp bead, dot with glue, and trim ends. Pass through a clamshell bead tip from the inside so the crimp and knot sit inside the clamshell. Close the clamshell around the crimp bead. beadworkmagazine.com
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pendant
STRINGING
Eccentric Concentric Leslie Rogalski
Here’s a fast necklace project with a billion variation possibilities! A simple strand of seed beads tied in a loop is all it takes to connect concentric sizes of O-ring, sewn through any fun accent beads with large enough holes to accommodate the thread or cord and hide the knot. Play with other types of accent beads, varying sizes of O-rings within O-ring—this project has no limits, but watch the weight of the pendant so your O-rings don’t sag into O-vals!
WHAT YOU NE ED
• Size 8° or 6° seed beads, 2 colors, 1 g or more each
• Rubber O-rings, several sizes
• 2 accent beads with largish holes (lightweight, such as resin,
Shown:
Lucite, or wood) 3
• 3 small thin rings OD ½” ( /32 CS)
• Rubber cord with clasp attached
• 1 medium thin ring OD 7 /8” (3 /32 CS)
• Waxed linen to fit through seed beads or beading thread
• 1 medium thicker ring OD 1 • 1 large thick ring OD 1
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7
1
1
/32” ( /8
3
/8” ( /16” CS)
best of step by step beads
CS)
and needle • Scissors
Artist Tips • Choose thick or thin rings visually and don’t fret over the actual CS numbers, but make a note of what you use in case you need more of a similar size. Use thinner CS rings for inner concentric rings and extra dangles, and larger CS rings for the supporting rings. • Make sure to have one or more rings large enough to fit as bails over your cord. • Choose lightweight materials for beads, such as the resin shown here. Lucite, seed–beaded bead, single medium–sized crystals, shells, and wood are also fun. Remember, bead holes need to accommodate your cord or needle and thread.
Did you know? O-rings are measured in inches and mm by their inner and outer diameters (ID and OD) and by the thickness of the ring, the cross section (CS). CS measurements are tiny fractions 1 3 16” and /32”. such as / CROSS SECTION (CS)
INSIDE DIAMETER (ID)
OUTER DIAMETER (OD)
1. Attach a stop bead on a 10” piece of cord, leaving a 5” tail. String 1 accent bead, and 13 seed beads, alternating colors, starting and ending with the same color. String the line of seed beads through 2 small O-rings, and pass the cord back through the accent bead. Pull so the seed beads meet at the hole of the accent bead, forming a loop with the 2 small rings on it. The 2 small rings will become your bail. 2. On the working cord exiting the accent bead, string 13 seed beads alternating colors as in Step 1, again starting and ending with the same color. Pass this length of seed beads through the 2 medium O-ring, with the smaller one inside the larger one. 3. Bring your working thread with the seed beads and 2 O-ring to meet the tail thread hanging from the accent bead. Remove your stopper bead. Knot the working thread and tail together in a tidy square knot. Keep the knot as close to the hole of the accent bead as possible. If you can, poke the ends back through the accent bead, pull the knot into the accent bead hole, and trim the ends (Figure 1). 4. Repeat Step 1 to add another dangle: string your seed beads through the 2 concentric medium O-ring, then finish your strand by passing through the remaining tiny O–ring and the largest O–ring. Knot as in Step 3.
Try This! Did you make the Poodle Beads from page 82? I used mine as the focal beads in a version of the Eccentric Concentric necklace!
RESOURCES: Rubber O-rings: Harbor
Freight, harborfreight.com. beadworkmagazine.com
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bracelet
BEADWORK
Crystal Raindrops Jordana Hollander
Create beautiful beaded raindrops to surround delicate bicone crystals, then finish with an even-count peyote toggle clasp.
Create the raindrop crystal band 1. Thread the needle onto 4 yd of thread. Add a stop bead, leaving a 10” tail.
WHAT YOU NEED • 50 bicone 4mm crystals: about 7 crystals per inch, plus 2 for the toggle bar
2. String 6A and 1 crystal down to the stopper. Pass through the 6A again, starting at the first bead and working towards the crystal. Hold the work between your thumb and index finger with the crystal on top.
• 5 g size 11° seed beads (A) • Braided beading thread
STOP BEAD
• Size 10 beading needle (thin) • Stop bead any color • Scissors
3. String 3A and 1 crystal. Pass through the last 3A of the previous 6 beads. Flip work to hold with the new crystal on top.
Finished length: about 7 ½” with clasp STOP BEAD
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4. Pass through the last 3A added. You will now see a V surrounding the crystals; 3A on each side of the crystal.
10. Pass through the loop several times to reinforce. Use halfhitch knots to secure the tail and working thread, weave in the ends and trim.
Make the toggle bar
STOP BEAD
5. Repeat Steps 3-4 until all the crystals are used. Snug the thread after each stitch to remove any slack. 6. Work back along the bracelet to form the “raindrop” enclosures of seed beads. String 6A. Pass through 3A on the left side of the V. This forms the first raindrop around the crystal. Turn your work to hold the raindrop between your thumb and index finger.
11. On a new 1yd length of thread, work A beads in even-count peyote for a strip 10 beads wide by 6 rows. Zip into a tube. See the peyote zip-up Bead by Bead on page 60. Secure the tube with a half-hitch knot; exit from inside the end of the tube. String 1 crystal and 1A. Pass back through the crystal; exit the other end of the tube. String 1 crystal and 1A. Pass back through the crystal into the tube and exit the other crystal and A bead. Repeat several times to secure the crystal-seed bead ends of the tube. Exit a center seed bead in the middle of the tube. 12. String 4A. Pass into an A bead on the end of the bracelet. Pass completely through all A beads around the crystal. String 4A; pass into an A bead on the toggle tube adjacent to the one exited, forming a two strand, 4-bead “neck” connecting the toggle to the bracelet. Repeat the thread path several times to secure; weave in ends and trim.
STOP BEAD
7. String 6A. Pass through 3A on the right side of the V of the next crystal and 2A of the previous raindrop. The next crystal to be “raindropped” is on the top, so flip the work over as needed to continue.
re 7 RESOURCES: Check your local bead store. STOP BEAD
igure 6 8. Repeat Step 7 to “raindrop” all crystals.
Make the clasp loop 9. String 11A. Pass through the second and first A from Step 7 to form a loop the width of the bracelet.
STOP BEAD
Figure 7
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earrings
NO-NEEDLE CRISSCROSS WEAVE
WHAT YOU NE ED • 6 round 10mm crystals • 6 round 8mm crystals • 6 round 6mm crystals • 8 round 4mm crystals • 8 round 3mm crystals • 4 sterling silver 1x1mm crimp tubes • 1 pr horseshoe lever-back earrings • 2 pieces of .010 nylon-coated wire, 16” each • Fine chain-nose pliers • Fine wire cutter Finished length as shown, excluding ear wire: 2”
Hollywood Chandeliers Bonnie Clewans
Fast and fabulous, these easy earrings use a no-needle, crisscross technique you’ll love. With graduated sizes of glittering crystals or sparkly faceted glass beads, the red carpet look is minutes away!
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best of step by step beads
1. String three 10mm beads to the middle of 1 strand of wire. 2. Crisscross the wires through one 8mm bead in opposite directions (figure 1). 3. String one 8mm bead on each wire end and crisscross through one 6mm bead. String one 6mm bead on each wire and crisscross through one 4mm bead. String one 4mm bead on each wire and crisscross through one 4mm bead (figure 2). Figure 1
4. Thread 1 crimp bead and two 3mm beads on each wire. Crisscross through an ear wire and pass each wire through the beads and crimps on each side (figure 3). Figure 3
Figure 2
5. Snug the wires to pull the beads into a nice position without gaps, but not too tightly that the beads don’t dangle gracefully. Use chain-nose pliers to squash the crimp beads. Use the wire cutters to trim any excess wire. RESOURCES: CGM Findings, cgmfindings.com.
Bead Gallery, beadgallery.com.
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necklace
BEADWEAVING
Silver Waters Pat Wexelblat
Fast and fabulous! No needles needed for this shimmering, feminine necklace. Use flexible beading wire and a crisscross technique.
Artist’s Tips • Be sure to keep all the larger crystals on one side of the silver loops and all the smaller crystals on the other side. This allows your necklace to curve gracefully. • If your work doesn’t lie flat, the wires inside the beads are twisted. If this happens, remove some beads to get back to the uneven section. Roll each wire between your fingers until the bend disappears. If you don’t correct it, the bend will be permanent.
WHAT YOU NE ED • 40 sapphire 3mm Swarovski crystal bicone beads • 40 sapphire 4mm Swarovski crystal bicone beads • 320 sterling sil ver 2mm round hollow beads, with holes big enough for 2 wire passes • 39 sterling silver 3mm round hollow, with holes big enough for 4 wire passes • 2 sterling si lver 2x2mm size 2 crimp tubes • 1 sterling silver foldover clasp • 5½’ of .014 or .013 flexible beading wire • Chain-nose pliers • Crimping pliers • Wire cutters • Clamp or bead stopper clip Finished length: 16”
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1. Cut the 5½’ of wire in half. Insert 2” of each wire in opposite directions through a crimp tube. Use the crimper to roll the tube into a small tight cylinder. Don’t flatten the tube with pliers, or it won’t fit inside the clasp ring.
A
B
5. Using the long wire that exits the crossover bead toward the small crystal side, string 2 silver 2mm, 1 small crystal, 2 silver 2mm, and one silver 3mm crossover bead. 6. Remove the clip from the other wire. String 2 silver 2mm, 1 large crystal, and 2 silver 2mm beads. 7. Pass this wire through the 3mm silver crossover bead on the other wire and pull the ring closed.
First ring 2. On one long wire (A), string 2 silver 2mm, 1 small crystal, 2 silver 2mm, and 1 silver 3mm bead. Move all the beads down the wire to the crimp tube, covering the short wire end as well. Put a clip onto the wires beside the last bead added. A
11. Gently pull the two wires protruding from the crossover bead wire ends to close the final rings. Put clips on the wires close to the crossover bead to hold the rings in place. Use the crimp pliers to crimp the tube firmly into a snug cylinder. The crimp tube will end up inside the loop of the foldover clasp, so be sure to crimp as tight a roll as possible.
B
Add foldover clasp
The 3mm silver beads are the crossover beads, through which both wires will crisscross as you work the length of this necklace. Note:
3. On the other wire, string 2 silver 2mm, 1 large crystal, and 2 silver 2mm beads. Move them down to the crimp tube, covering the short wire end on that side. 4. Crisscross the wire just used through the 3mm silver bead on the first wire, in the opposite direction. Pull to create your first ring. Make sure the beads have covered the short wire ends protruding from the crimp tube.
8. Repeat Steps 5–7 until there are 38 rings, or two fewer than your planned total length. (Remember to keep all the small crystals on one side, the large crystals on the other side.) Place clips on the wire ends, then hold your necklace up to check for length. Allow for the final ring and clasp.
12. Open the clasp and position it over the crimped tube so that the pretty side shows when the clasp is closed. Use chain-nose pliers to roll the clasp ring around the crimp tube until it holds but still can rotate around the crimp tube. Use the first beaded loop as your clasp loop when wearing the necklace.
Final rings 9. On the wire that exits the same side as the last small crystal strung, string 2 silver 2mm, 1 small crystal, 2 silver 2mm, 1 crimp tube, 2 silver 2mm, 1 large crystal, and 2 silver 2mm. Pass through the 3mm silver crossover bead in the previous loop. Do not pull the loop tight yet. 10. Pass the other wire in the opposite direction through all the beads and crimp tube just added and through the crossover bead in the opposite direction to the first wire.
RESOURCES: Silver beads: Rio Grande,
riogrande.com. Swarovski crystals: Atlantic Gems, Inc., atlanticgems.com. Clasp: Rings & Things, rings-things.com.
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bracelet
LADDER STITCH & PICOT
Bugles & Beads Robin Cowart
Add glitter to your glamour with this beautiful little bracelet. This easyto-make design uses a bugle-bead base with seed beads and crystals forming a lovely picot edge.
WHAT YOU NEED • 4 g size 3 bugle beads • 2 g size 15° seed beads • 80 (about) size 4mm crystal bicones • Clasp • Size 12 beading needle • 6 lb braided bead thread • Beading glue • G-S Hypo Cement Finished size: 7”
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best of step by step beads
1. Cut 2 yards o beading thread and thread the needle. Add a stop bead, leaving a 6” tail.
6. String 3 seed beads, 1 crystal, and 1 seed bead. Pass back through the crystal.
2. String 2 bugle beads and slide them down to the stop bead. Pass through the first bugle strung so the beads are sitting next to each other. Pass through the second bugle bead.
3. String 1 bugle bead, pass back through the second bugle, and through the bugle bead just added.
4. Repeat the ladder stitch until you’ve reached your desired length, minus the clasp. 5. String 6 seed beads, the clasp, and 6 seed beads. Pass through the last bugle rom the opposite side. Pass through the seed beads and the clasp again to reinorce.
7. String 3 seed beads and pass through the next bugle. Repeat until to the end o the bracelet. 8. Repeat Step 5 to add the second part o the clasp. 9. Weave the thread into the beadwork and bind of with a hal-hitch knot. Remove the stop bead rom the other end o the bracelet and thread the needle onto the tail. Weave the thread back into the beadwork and bind of. Secure all knots with beading glue, let dry, and trim the tails.
RESOURCES: Check your local bead store.
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earrings
HERRINGBONE & PEYOTE STITCH
Starfsh Lynn Davy
A combination of peyote and herringbone stitches in two seed– bead sizes gives this quick-and-easy starfish its seashore shape!
WHAT YOU NE ED • Seed beads in two adjacent sizes, 1 g small size 8° (A), 2 g large size 6° (B) • 2 jump rings, 6mm • 1 pair ear wires • Beading thread to match
Learn the Lingo stepping up: When you pass through a stitched bead to be in position for the next round or row.
• Beading needle • Scissors • Round–nose pliers
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best of step by step beads
stack: A column of beads, most commonly used to refer to pairs of beads in herringbone stitch.
1. Thread a needle with 3’ of beading thread. String 5B and form a circle of beads by knotting together the working and tail threads in a double overhand knot, leaving a 6” tail. Pass through the first bead again.
5. Repeat Step 4 to add a third round of B beads. Make sure to pass through the entire column and the A beads from the second row.
2. Work in peyote stitch: Exiting from the first bead in Step 1, string 1A. Pass through the next B. String 1A, pass through the next B. Continue in peyote, adding 1A between each B bead of the previous round. When you reach the first bead, step up by passing through the first A bead of this round again.
3. Work in herringbone to form the arms of the starfish. Exiting the A bead from Step 2, string 2B, skip the B in round 1, and pass through the next A. Continue to string 2B and pass through the next A, around the circle. Step up at the end of the round by passing through the first B strung.
6. Switch to the smaller A beads and work in herringbone to add 2A on top of each stack, continuing to pass through all the edge beads between the stacks each time. 7. Repeat Step 6 to add a second round of A beads. 8. For the final round, add 1A to the tip of each stack, or starfish “arm.”
4. Stitch 2B on top of each stack of the previous round passing through all the edge beads between the stacks.
9. Weave the working thread through existing thread paths to the tail, knot securely, and weave ends into the beadwork. Trim. 10. Use round-nose pliers to twist open a jump ring and slide it through the bead at the tip of one of the arms. Close the ring. Open an ear wire loop and string on the jump ring. Close the ear wire loop. Make your matching earring! RESOURCES: Check your local bead shop.
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earrings
EVEN-COUNT PEYOTE
Did you know? Diferent brands o cylinder beads are not the same size. For a consistent piece o beadwork, work the entire project using the same brand. Aiko beads are slightly larger than Delicas, or instance, and mixing them will afect the look o your work.
Crystal Buckles
Here’s a un project i you’re new to peyote or just
Anne Jackson
end o the peyote strip to a neat little pointed tip.
WHAT YOU NEED • 2 square or round 14mm Swarovski crystal frames • 3 g size 11° Delica or Aiko cylinder beads • 2 earring posts or French ear wires • 2 closed 5 or 6mm jump rings • Size 12 beading needles • Smoke 6 lb size D FireLine thread • Scissors to cut FireLine • 2 pliers (either round-nose or flat-nose)
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want something ast and abulous! Make a simple strip o peyote, then wrap it through lovely Swarovski crystal rame components. Learn how to decrease the
Start the peyote strip 1. Thread a needle with 1 yd o thread. String 4 cylinder beads, leaving a 12” tail. Use a stopper bead i needed temporarily to keep the beads rom slipping of. String bead 5 and pass through bead 3. Add bead 6 and pass the needle through bead 1. The tail thread and the working thread should both be exiting bead 1.
4. String 1 bead and make a peyote stitch, passing through the last edge bead on the lower right side o the beaded strip.
tail thread
Make the basic peyote strip 2. Working rom let to right, continue in even-count peyote stitch until you have a total o 19 beads on each side o the beaded strip. For more about counting peyote rows, see page 47. Hold the strip so the tail thread exits the top right edge bead o the strip and the working thread exits the lower let edge bead o the bottom o the beaded strip.
5. String 1 bead and pass back rom right to let through the bead you added in Step 4. The tip is completed. To secure the thread, weave the working thread into the beadwork ollowing existing thread paths. Trim.
Connect the strip to the crystal 7. Wrap the non-angled top edge o the strip around the top o the crystal rame so the back (non-sparkly) side is acing you. Stitch the top edge o the strip to the (back) side o the strip acing you, “zipping” it closed around the crystal rame: Count 10 edge beads up rom the short side o the bottom o the strip and pass through the tenth edge bead. Stitch through beads alternating rom edge o strip to body o strip. Weave the thread back through the same beads you just “zipped” (red line) to exit the same tenth edge bead where you began. See page 48 or a lesson in peyote zip-up.
back o crystal 10th edge bead
Decrease the end of the strip Decreasing requires repositioning the needle to exit a specific bead: In this project, your needle must exit bead D, the second bead in on the end. Notice how the two end beads on the bottom let already orm the start o an angle. edge beads
working thread
3. To start the decrease: Pass through the bead directly above the last lower bead on the let side o the beaded strip (bead A). Pass through the third bead rom the bottom in the next row over (bead B). Pass through bead C, the bead directly below the bead you just exited, rom right to let. Pass through bead D rom let to right. This puts the needle and working thread into position to begin the tip o the beaded strip.
When you make the second earring, Steps 7–9 will be reversed so that the tips o the earrings will be opposite each other when attached to the ear wire. Note:
6. Thread a needle on the tail thread that should be exiting the right side o the beaded strip, on the longest edge o the point. Working right to let, peyote-stitch 2 beads, one at a time. The thread should now be exiting out o the let side o the beaded strip, on the shortest edge o the strip.
8. Still working on the back side o the beaded strip, pass through the edge bead just above the tenth bead. Weave the thread through the beads on the diagonal so the needle exits the ourteenth edge bead rom the short side o the beaded strip.
14th edge bead back o crystal
10th edge bead
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project
CRYSTAL BUCKLE EARRINGS
Create the beaded bail 9. Stitch a 2-bead-wide strip onto the main beaded strip attached to the crystal. This will become the bail for the earring: Pass through the bead immediately above the fourteenth edge bead on the short side of the strip. Peyote-stitch bead 1 and pass through the next bead.
2
1
back of crystal back of crystal
back of crystal
14th edge bead
Attach earring to ear wire 10th edge bead
10. String and stitch bead 2 and pass back through bead 1. Pass through the bead directly below bead 1 (black line) and on a diagonal down through the bead directly below bead 2 (red line). Pass through bead 2 to reinforce the first 2 beads of the bail.
11. Continue in peyote stitch until you have a 2-bead-wide strip with 6 edge beads on each side. 12. Pass the bail strip through a closed 5mm or 6mm jump ring. Roll the 2-bead strip to the back side of the beadwork and zip it to the first row of the 2-bead strip, weaving back and forth between the end beads and the beadwork itself as you did for the earring strip in Step 7. Weave the thread into the beadwork to secure. Trim on the back side of the beadwork.
13. Using your two pliers, gently twist open the loop of an ear wire. String the closed jump ring of the beadwork earring. Use the pliers to twist the earring loop closed. Remember, the second earring tip will angle in the opposite direct from the first earring you made, for mirror symmetry in the pair! RESOURCES: Swarovski crystal frames: Fire Mountain
Gems and Beads, firemountaingems.com. Aiko seed beads: Bobby Bead, bobbybead.com. Miyuki Delica Beads: Caravan Beads, caravanbeads.com.
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bracelet
FRINGE
. N O S W A L M I J Y B O T O H P
Comet Anemone Leslie Rogalski
My favorite anemone bracelets contrast the tip beads against the fringe stem beads for a truly lush look. I’m a fan of matte metallic against matte frosted colors, or light, bright tips against dark fringe. This dazzler of a project shows brilliant crystals against rich matte black for optimum sparkle.
WHAT YOU NE ED • 30 g size 6° matte black seed beads (for fringe stems and core beads) • 230–250 Swarovski Comet Argent light 4mm bicones or rounds (for tips) • Matching silver or crystal–set clasp • 2 crimp tubes • .018 flexible beading wire • FireLine 8lb • Beading needle • Scissors • Crimping pliers • Wire cutters • Bead Stoppers
Artist’s Tip To make this bracelet, crimp clasps onto a core strand of beads, then sew fringes between the beads.
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project
COMET ANEMONE
Determine your bracelet length 1. Make the core finished length at least 1/2" to 3/4” larger than your desired length because the fringes fill out space and will otherwise cause the bracelet to be too tight. Always add at least 6” of extra wire to allow a 3” tail at both ends for easier crimping of your clasp and then subtract the clasp’s length. Example: For a 7” bracelet with a 1” clasp, subtract 1” for a subtotal of 6”, then add 3/4” of extra fringe space for a subtotal of 6 3/4”. Now add the extra 6” for crimping ease, and your wire total is 12 3/4”. Better-safe-than-sorry tip: Cut a piece of wire longer than needed!
Crimping the core strand of beads 2. Thread 3” of beading wire through a crimp and one clasp loop. Go back through the crimp and pull the wire so the crimp rests close to the clasp loop but leaving the clasp loose enough to swing freely. Crimp tightly with crimp pliers. 3. String on enough core beads as desired for length (minus the other half of the clasp) but do not crimp the other clasp yet! Place a Bead Stopper close to the last bead, leaving a generous length of tail to crimp later on. Allow about a bead’s width of space between the stopper and the bead next to it. By waiting to crimp the other end of the core, you’ll be able to adjust the length of your bracelet if you need to add or subtract to the core. As you add fringe, your core beads will spread out along the wire, and you may need to reposition the Bead Stopper once or twice for your ideal length.
Note: Fringes should sit in
a cluster against the core beads; don’t try to pull them in between the core beads. Only your working threads come from the wire between core beads. Pull each fringe close in to the core bead by holding the tip crystal and gently pulling your working thread so the fringe stem slips down into position. Remember to also pull in the tip crystal against the stem beads before continuing. As your fringes fill out around each core bead, fringes will not come all the way to the core beads: This is correct. The last few fringes in each cluster may rest against previous fringes.
6. Create fringe 2: Pick up 2 black stem beads and 1 crystal. Pass back through the stem beads and back through core bead C, exiting between core beads B and C. 7. Create fringes 3 and 4: Pick up 2 black stem beads and 1 crystal and pass back through the 2 stem beads. Pass through core bead C to exit again between C and D.
Adding the fringe You will create 8 fringes at a time, 4 between each core bead, before moving down the length of the bracelet. Hold the fringed part of your bracelet in your non-sewing hand as you work to keep your thread from getting tangled in the fringes.
4. String a comfortable length of thread onto a needle. Starting at the crimped clasp end, leave a 5” tail and stitch through the first core bead. Tie a double square knot with your tail and working thread between the first 2 beads of your core (beads A and B in the diagram). 5. Stitch through the second core bead (B) exiting between the second and third core beads (B and C). Create fringe 1: Pick up 2 black beads (these form the stem of the fringe) and 1 crystal (for the tip). Pass back through the 2 stem beads and continue through the third core bead (C), exiting between core beads C and D. 62
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8. Create fringe 4 by repeating Step 6, exiting between core beads B and C. You now have 4 fringes, 2 between core beads B and C, and 2 between core beads C and D.
9. Repeat Steps 5 to 8 between the same core beads, adding 4 more fringes: Add 2 between core beads B and C, and 2 between core beads C and D. After picking up your fringe beads for fringe 8, sew through the next core bead, bead D.
length of thread, making a surgeon’s knot or double square knot as close as possible to the core, where it will be hidden by fringes. Thread the new thread on a needle and stitch back through the core beads to the next-to-the-last fringes you just stitched. Follow the thread path through a fringe and return forward through the core beads to resume making fringes. Pull your new thread so the knot is hidden inside a core bead, weave both tails into the core beads, then carefully trim any exposed tail ends. Continue adding fringe.
Finishing 11. When you’re satisfied your bracelet length is comfortable (remember to include the length of your clasp in that fit), add your crimp and clasp on the other side following Step 1. Leave a little room between the last few beads so you can fit your needle through.
10. Continue adding 4 fringes between each core bead, working your way toward the Bead Stopper end. About 8 core beads before your Bead Stopper, measure the bracelet around your wrist to see if you need to add or subtract core beads for a correct length. Shake your hand so the fringes flatten out against your wrist a bit for the truest test of fit. You’ll notice now how the fringes add to the bulk of the bracelet!
Your last fringes should be between (you know what I mean) the last 2 core beads. Knot your tail snugly around that last bead as you did when you began your fringes in Step 3 and weave in the remaining thread through one of the fringes; trim carefully. At the other end of the bracelet, thread your starting tail on your needle and weave into a fringe to obscure; trim carefully. Your bracelet may seem snug when you first put it on, but the fringes will flatten out against your wrist. Nice work!
How to add thread
RESOURCES: Check your local bead shop for all beads,
When you’re down to about 8” of working thread, exit the base of a fringe at the core beads. Knot the tail onto a new
crystals, and findings. FireLine fishing line may also be found at Wal-Mart or Cabelas.com.
Try This! Create bunches of fringes around size 6 core beads strung between 10–12mm rounds. Make random length, spiked fringes with bugle beads and varied sizes of seed beads. Blast your bracelet with texture using a mix of coordinated colors and varied bead surfaces.
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pendant
SQUARE STITCH
Turn It Over Gabrielle E. Neijman
Square-stitch a versatile two-sided pendant with three tiers of tiles and a matching bail, ready to slide onto a cord of your choice.
WHAT YOU NE ED • 12 g white-lined crystal size 11° Japanese seed beads (A) • 1 g each: white-lined turquoise size 11° Japanese seed beads (B) white-lined green size 11° Japanese seed beads (C) white-lined purple size 11° Japanese seed beads (D) white-lined pink size 11° Japanese seed beads (E) • Beading thread to match color A • Size 12 beading needle • Scissors • Cord of choice
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Tiles
Artist’s tips
1. Thread your needle with about 6’ o thread.
• Don’t use transparent beads or the reverse side will show through.
2. Use color B to square-stitch 2 rows, 10
• Square-stitched tiles: Stitch these flat, then old
beads across.
over to create a two-sided tile. • Remember at the end o each square-stitched row
3. Follow the color chart to complete Tile 1 in square
to go back through your previous row and the row
stitch as shown.
just stitched beore starting the next row.
S S i d i d e e A A
S i d e A
S S i d i d e e A A
S S i i d d e e B B
S i d e B
S S i d i d e e B B
F i g u r e
Tile 2
Tile 3
4
Tile 3
4. Close the tile into a two-sided orm: Fold the tile
6. Pass through the last row o beads to exit rom the
panel in hal and match the B and D beads along the short edge. Square-stitch the newly stacked edge-row beads together to close the tile side.
bottom o Tile 1. Repeat Step 5 to close the bottom o the tile.
7. Follow the color charts to complete Tiles 2 and 3, repeating Steps 1–6. Tie of threads and trim.
Bail
8.Thread your needle with about 6’ o thread. Use color 5. Evenly match the edge beads along the top and bottom o Tile 1. Exit B1, pass down through D2, up through D3 and cross over to pass down through B2, and pass up through B3. Follow the arrows to zigzag between the layers to close the top o the tile. ROW 1 B . N O S W A L M I J Y B O T O H P
ROW D
1
2
2
A to square-stitch 18 beads across or as many rows as are needed to fit onto a cord o your choice. Remember at the end o each row to go back through your previous row and the row just stitched beore starting the next row.
Connector tubes
3
9.Thread your needle with about 2’ o thread. Use color
3
A to square-stitch a panel 4 rows, 4 beads across. Fold the panel in hal and square-stitch together the top and the bottom rows (as in the tiles) to orm a rectangular tube. Weave in ends and trim. Repeat Step 9 two times or a total o 3 connector tubes.
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project
TURN IT OVER
Connect the tiles 10. Thread your needle with about 6’ o thread. Pass down through the first column o beads in one connector tube; leave a 4” tail. Pass down through Tile 1, Side A, Row 5. Pass down through the first column o beads in a second connector tube. Pass down through Tile 2, Side A, Row 5. Pass down through the first column o beads in the third connector tube. Pass down through Tile 3, Side A, Row 5. Pass back up through Row 6 in all tiles and the second column o beads in all connector tubes to exit at the top o the first connector tube.
Turn the pendant over. Cross thread over diagonally to pass down through the first column o the first connector tube. 1
2 Connector tube top view.
Repeat Step 10 to add connector tubes to Side B. Do not tie of thread.
Attach the bail Side A
Side B
11. Using your working thread, stitch the top 4 beads on the first connector tube to beads 9 and 10 in Rows 7 and 8 located near the center o the bail panel. Tie of thread and trim. Evenly match the top and the bottom rows o the bail and repeat Step 4 to square-stitch the rows together to orm a tube. Tie of thread and trim. Slide onto your choice o cord!
Tile sides shown separately for clarity.
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best of step by step beads
RESOURCES: Check your local bead shop.
necklace
SQUARE STITCH
Eternity Circles Cathi Tessier Photo by Jim Lawson.
Eternity Circles presents a clever and easy way to embellish a simple square-stitch strip. Once you learn the basic technique, you’ll have fun trying all the variations. Make this stylish “chain” to link your love of beading to a hot fashion trend!
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project
ETERNITY CIRCLES
WHAT YOU NEED • 6 g rainbow gold silver-lined size 11° seed beads • 8 g rainbow silver silver-lined size 11° seed beads • 1 small magnet closure or clasp of your choice
Artist’s Tips
• WildFire 0.20 beading thread
• Use a heavier gauge beading thread to add body to the circles so they hold their shape. • In square stitch, beads stack directly on top of each other.
• Size 10 beading needle • Scissors Finished length: optional for bracelet or necklace
Square-stitch strip 1. Thread 2½ yd of thread on a needle. String 4 gold beads, leaving a 10” tail for adding the clasp later on. (This will be enough thread for a bracelet. You will need to add thread for a necklace. See How to Add Thread on the next page.) 2. Pass through all 4 beads again. Tie the tail and working thread in a knot to secure. Use your finger to push the first and fourth beads to stack on top of the second and third beads. Pass through the second pair again.
Figure 1
Figure 2
3. String 2 gold beads. Pass through the second pair and the pair just added in a circular motion. Notice that you circle in the opposite direction from the previous stitch (Figure 1). 4. Stack 2 silver beads for the next row. Again, note that your stitch direction moves in the opposite direction from the previous row. Working in square stitch, stitch another 3 rows in gold and one in silver (Figure 2). Figure 3
Add circles 5. String 8 silver beads and pass through the previous silver row, forming a semicircle along the side of the strip (Figure 3). String 8 more silver beads. Complete the circle with a semicircle on the other side of the strip, passing through the last 2 silver beads just added in the strip. Do not pass into the beads of the first semicircle you created (Figure 4). 6. Repeat Steps 2–5 for as long a length as desired, less 1” allowance for the clasp, ending with 3 rows of gold beads (Figure 5).
Figure 5
Figure 4
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How to add thread
When you have about 4” remaining, cut a new length of thread. Tie the new thread to the remaining tail in a secure square knot, placing the knot as close as possible to a bead. Thread a needle on your new working thread and continue for a few rows. The knot should be pulled inside a bead. Thread the tails on a needle and weave them into the beadwork; trim. Continue with your new thread.
Closure 7. String 3 gold beads, 1 clasp loop, and 3 more beads. Pass through the last 2 gold beads in the strip, forming a loop (Figure 6). Pass through the 3 gold beads, clasp, 3 gold beads and 2 strip beads several times to reinforce the loop.
Once you have mastered this technique you can create your own unique designs by varying the colors or size and shapes of the circles. Have fun with it!
9. Thread the tail thread at the other end of
I found it easier to first create the entire strip, adding the rows of silver (or other color for circles) randomly along the way. When I reached the end, I started a new thread and wove back down my strip adding swirls, circles, and figure eights (Figure 7).
the bracelet onto a needle. Repeat Steps 7 and 8 to add the other half of the closure.
RESOURCES: Check your local bead shop.
8. Weave through existing thread paths into a few rows of the square-stitch strip to secure the thread; trim carefully.
Figure 6
Editor’s Note:
Try This! • Vary the color of the circles. • Vary the placement and shape of the circle; create doubles, filled in circles, swirls, and figure eights. • Change the number of beads in your circle to make them more or less round, more or less elliptical. Figure 7
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bracelet
BEADWEAVING
Tangled Vines Robin Cowart
This is ast and abulous! Add our rows o simple swags to a strung core o beads or a lush bracelet or necklace rope. Use diferent clasps or toggles or added interest. This project makes a bracelet. To make a longer rope or a necklace, increase the amount o beads and wire. To make both, be sure to double your crimps and clasps.
WHAT YOU NE ED • 6 g size 6° seed beads (for the inner core) • 6 g size 8° seed beads • 3 g size 11° seed beads • Nymo thread to match your beads • Beading needle • 15” of medium-weight flexible beading wire • 1 toggle clasp set with jump rings • 2 crimp tubes • Chain-nose pliers or crimping tool • Wire cutters • Scissors • Thread Heaven • Hypo cement or jewelry glue Finished size: as long as desired. Allow about 1” for clasp.
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Make the base row 1. String 1 crimp tube on the beading wire. Pass about 2” o wire through the jump ring on the toggle ring and back through the crimp tube. Crimp tightly with pliers and trim the beading wire. 2. String 60–75 size 6° seed beads or enough to make a comortable length or your bracelet. Allow or the length o the other part o the clasp in the total length. Repeat Step 1 to attach the remaining clasp. 3. Cut a 4’ piece o thread, condition it with Thread Heaven, and thread your needle.
4. At one end o the base row, pass through beads 1 and 2, leaving a 5” tail. Tie a hal-hitch knot with the working thread around the beading wire between beads 2 and 3. Pass through 4 more beads and knot again around the wire. Repeat, knotting between every 4 beads or so. Exit between the last 2 beads.
Stitch the vines 5. String 1 size 8°, 2 size 11°, and 1 size 8°. Skip 2 base-row beads and pass through the next size 6° bead. Tie a hal-hitch knot around the wire. Repeat to the end o the base row, exiting through the last bead or next-to-last bead. Tie a hal-hitch knot.
6. Reverse direction and repeat Step 5. Repeat 2 more times or a total o 4 vines. Do not try to make the vines lie side-by-side; it will have a uller look i they do not. Separate and “fluf” the vines when finished. 7. End the last vine row with a hal-hitch knot around the wire and work the thread back through the base row, securing with hal-hitch knots as needed. Trim the tail. Glue the final ew knots. RESOURCES: Check your local bead store.
knots around core wire
Download your 7 FREE Peyote Stitch Patterns ~ Master the beading stitch beaders love most! ~ Discover seven peyote stitch patterns that will Finger Food by Leslie Rogalski
expand your beading skills. ~ Learn how to create unique seed bead jewel ry.
B ea d i n g D ai y l is y our C om munit y f or Inspir at io n, How -t os, F re e P ro jec ts & Mo r e!
It’s time to peyote stitch! Get your free projects at:
The Illusion by Julie Ann Smith
Banded Tapestry Cuf by Kathy King
www.BeadingDaily.com/freepeyotepatterns
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bracelet
BRICK STITCH
Heart to Heart Carol Dean Sharpe
Follow the pattern to create a cuf o stylized hearts using increasing and decreasing brick stitch. For the perect ending, brick-stitch a separate heart-shaped “button” or a button-loop closure.
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. N O S W A L M I J Y B O T O H P
WHAT YOU NE ED • Size 11° Delicas in the ollowing colors: • 3 g gold dark l uster red (DB-105) • 2 g bright 24k gold-plated (DB-31) or metallic yellow gold (DB-410) • 2 g transparent safron luster (DB-118) • Beading thread to match • Needle • Scissors Finished length: 7 1/2”
Attach the heart-shaped button
Attach the beaded loop
1. Ater completing the cuf: on a new 12” length o thread, string a stopper bead leaving a 4” tail. Pass through one o the two gold tip beads at the end o the cuf. Exit to the ront. 2. String 1 gold bead. Pass rom back to ront through one o the two gold outline beads in the “V” between the lobes o the heart. Pass ront to back through an adjacent bead. String 1 gold seed bead. 3. Make sure the heart is acing the same direction as the hearts where it will attach, so it blends into the design o the cuf. Pass rom ront to back through the other gold tip bead o the cuf end. Pull the heart button snug to the cuf. Weave the thread into the cuf beadwork to secure and trim. 4. Remove the stopper bead rom the tail and thread a needle on the tail. Pull to urther snug the button; weave tail end into the beadwork to secure and trim.
5. On a new 12” piece o thread, string a stopper bead leaving a 4” tail. Exit one o the two gold tip beads on the end o the cuf. 6. String 30 beads or enough to loop firmly over the button. Pass into the other gold tip bead at the end o the cuf. Repeat once more or security. I you desire to leave a simple loop, weave the thread into the beadwork to secure and trim. 7. For a peyote loop, ater securing the simple loop with one repeat, exit the first gold tip bead where the loop began. Pass through the first bead in the loop. 8. Work in peyote stitch around the loop: string 1 bead, skip the second loop bead, and pass through the third bead. String 1 bead, skip a bead, and string the next bead. Continue in peyote stitch around the loop. To finish, pass back into the beadwork and weave in the thread to secure; trim.
A great tip! Use a new piece o thread to attach any closure. I something goes awry, you won’t need to rework any o the main piece o beadwork!
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bracelet
SQUARE STITCH
Hip to be Square Marilu Morency
This clever variation on square stitch works up ast because you string 2 cubes at once in each row! A little bit o sparkle goes a long way with crystal montées strung between the units o matte cube beads. Complete this chic cuf with easy two-needle weaving in a crisscross method.
WHAT YOU NE ED • 10 g matte metallic dark green iris 4mm cube beads • 1 g iris green size 8° seed beads • 8 or more 4mm crystal AB roses montées • 1” long sli der clasp with 2 connector loops • Silkon #2 thread • 2 Big Eye needles • Scissors Finished size: 7”
Learn the Lingo Montées (pronounced “montayz”) are flat-backed crystals already attached to components that have 4-way thread or wire channels, ready or stringing or attaching.
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Artist Tip • Pin down the top end of the bracelet to a bead mat, using a quilter’s pin.
Make the cube-bead unit 1. String a needle onto both ends of 3 yd of thread. 2.
Row 1: String 3 cube beads to the center of the thread.
String the montée connection 6. On left needle, string 2 seed beads, 1 montée, and 2 seed beads. On the right needle, string 2 seed beads and crisscross through the montée from the opposite side. String 2 seed beads.
3.
Row 2: String 2 cube beads on the needle on the right side. Pass back counterclockwise through beads 2 and 3 on Row 1. Pass a second time through the 2 beads just added, beads 4 and 5. String 1 bead, bead 6.
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5
4
1
2
3
4. Pass the left needle through beads 6 and 5 and clockwise through beads 2 and 1. Pass through all the beads on Row 2, exiting bead 4.
7.
String 3 cube beads on the left needle. Pass in the opposite direction through the beads with the right needle.
8. Repeat Steps 3 through 7 until the bracelet is the desired length.
6 1
5 2
4 3
5.
Row 3: On the left needle, string 2 cubes, beads 7 and 8. Pass clockwise through beads 5 and 6 of Row 2. Pass through the beads just added, beads 7 and 8. String 1 bead, bead 9. Using the right-side needle, pass through all the beads of Row 3. One unit of cubes is now complete.
Add the clasp 9. Weave back into the last unit of cubes following existing thread paths to secure the thread, exiting between cube beads in the last row. String one of the loops of one part of the clasp and pass under the threads between cube beads in the last row. Repeat several times to secure. Pass through the cubes in the last row to exit between the other 2 cubes and repeat this step to attach the other loop of this part of the clasp. Knot to an existing thread in the cube unit and weave the end into the beadwork to secure. Trim.
10.
Add a new 12” length of thread to the opposite end of the bracelet. Repeat Step 9 to attach the other half of the clasp. RESOURCES: Swarovski roses montées: Dreamtime Creations,
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8
9
6
5
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2
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dreamtimecreations.com. Silkon and cube beads: Fire Mountain Gems and Beads, firemountaingems.com.
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bracelet
EVEN-COUNT PEYOTE
River Cuff Lynn Davy
This simple even-count peyote cuf was inspired by a river sparkling with raindrops. Seed beads in random colors are enhanced by clear glass rondelles, and a little picot edge hints at ripples on the water. The closure cleverly vanishes when the cuf is worn, giving the illusion that the river is endless!
Artist’s Tips When choosing the beads, pick a mixture o diferent finishes(silverlined, opaque, ceylon, matte) to add depth and interest to the colors. This is a great way to use up letover “bead soup” rom other projects. ter stitching on 2–3 rondelles, knot the thread between beads. This ■A helps to avoid the accent beads working loose while worn, and also means that i one catches and is pulled of, you don’t lose all o them. se beads with a shiny finish or the clasp loops and theshanks o the ■U clasp rondelles. Matte beads tend to ray the thread more over time. ■Try using natural colors to mimic a pebbly riverbed, and arrange the accent rondelles randomly instead o in pairs. You could also use rondelles o diferent sizes, or a mixture, and try out diferent colors, too. ■
WHAT YOU NE ED • 10 g size 11° seed beads, mixed blue, turquoise, and teal colors • 5 g size 8° seed beads, mixed colors to tone with the smaller beads • 26 clear 10mm pressed-glass rondelles with central holes • Beading thread that matches the beads • #12 beading needle • Scissors or thread clippers
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1. Thread a needle with 6’ o thread and tie on a stop bead, leaving a 12” tail to attach the closure later on.
side edge
2. Mix all seed beads together to distribute the colors evenly; pick beads at random rom the mix as you work.
1
3. String 16 seed beads, including 1 size 8° in a random position. Pass back through the thirteenth bead strung to leave a picot on the side edge (Figure 1). 4. Work a row in even-count peyote: Pick up 1 size 11° seed bead, skip a bead, and pass through the next bead. Continue working peyote to the end o the row; use 1 size 8° at random in the row. 5. At the end o the row, pick up 2 size 11° seed beads (to make the single bead picot on the other side edge) beore starting the next row. Pass through the next seed bead in the previous row and continue working peyote, picking up another size 8° along the row at random (Figure 2).
2 3 4 5 e g d e d n e
6
e g d e
7
d n e
8 9 10
4
11 6. Continue working in even-count peyote, picking up 1 size 11° along each row in random positions. Pick up 2 size 11° beads at ends o the row to make picot turns along the side edges. Make the cuf long enough to fit comortably around your wrist. Keep the tension even and snug but not too tight that the cuf buckles. 7. When your cuf is the desired length, weave through existing thread paths to exit a bead 4 rows up and 4 beads over rom the end edge bead (not counting the picot bead) (Figure 3).
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14 16 15
14 16 15
Figure 1
Figure 2
side edge Figure 3
Add the closure rondelles
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8. Pick up 1 size 8°, 1 rondelle, and 1 size 11°. Pass back through the rondelle and size 8°. Pass through the bead in the cuf you exited in Step 7 (Figure 4). Repeat the thread path through the bead-rondelle-bead combination to reinorce. The added bead between the rondelle and strip leaves room or the loop closure later.
in bead row
7 6 5 4
9. Weave through the cuf to exit a parallel bead on the other corner, parallel to the one just added. Repeat Step 8 to add a second bead-rondelle-bead. Remember to reinorce.
3 2
Add other rondelles 10. Place hal your remaining rondelles along one side o your cuf to estimate how many rows are needed between them to space them evenly along your cuf. From the rondelle just added, weave through the beads on a diagonal to exit at your selected number o rows (we count 8 rows here) and 4 beads in. To keep the rondelles even, remember to choose an “in” side bead i your first rondelle is on an “in” side bead. Repeat Step 8 but do not pick up a size 11° bead between the cuf and the rondelle: the remaining rondelles are stitched flat to the beadwork (Figure 5).
4
in bead row
1
Figure 4
Figure 5
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project
RIVER CUFF
on a needle. String enough size 11° seed beads to fit snugly but smoothly over a closure rondelle. Pass through an end edge bead 5 beads in rom the side o the strip (Figure 6). Check the loop fit over the rondelle. Undo i needed by removing the needle and pulling out the thread, adding or subtracting beads or a better fit over the rondelle, and repeating the stitching o the loop into the beadwork.
11. Repeat Step 10 to add an evenly spaced line o rondelles flat against the strip along one side o the strip. Adjust the last couple rondelles as needed to fill the remaining space on the strip. 12. Work through existing thread paths to exit a parallel bead on the other side. Add a parallel, evenly spaced line o rondelles. At the end, weave your remaining working thread into the cuf beadwork to secure, and trim.
14. Weave through the beads to exit a parallel strip bead on the other corner. Repeat the rondelle-bead stitch rom Step 13 to add the second closure loop.
Add the closure loops 13. Remove the stop bead. Thread the tail
RESOURCES: Rondelles: Land o Odds, landoodds.com.
Figure 65 Figure
still easy
after all these years.
LEARN MORE AT
shop.jewelrymakingdaily.com/EasyWireCD
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JEWELRY BY Sara Richardson, Gaea Cannaday, Jeanine Center, and Cindy Wimmer.
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pendant
ODD-COUNT PEYOTE & SQUARE STITCH
Starburst Leslie Rogalski
Create a crystal starburst around an exquisite wheel–shaped finding and learn to decrease odd–count peyote to a center point to display an accent dangle. Whip up an easy square–stitched bail and you’re ready to wear the pendant on your favorite cord.
WHAT YOU NEED • 1 rhodium–plated and cubic zirconia (CZ) 15mm (O.D.) wheel component • 1 rhodium–plated and CZ 6x8mm drop component • 24 jet 4mm Swarovski crystal bicones • 1 g rhodium–electroplated Delica (DB 0032) size 11° cylinder beads • .5 g matte black Delica size 11° cylinder beads • .5 g matte metallic green Delica (DB 0414) size 11° cylinder beads • 1 silver 3 or 4mm closed jump ring • Silver chain (or other cord) of choice • Smoke 8lb FireLine • Scissors to cut FireLine • Size 10 beading needle • Flat–nose pliers • Round–nose pliers • Jewelry glue • Small Bead Stoppers Finished pendant: 3” without bail
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pendant
STARBURST
Crystal starburst 1. Working with doubled thread helps stifen the ringes: Fold a 6’ length o FireLine in hal and thread your needle to the old.Tie a knot with the tails around 1 spoke o the CZ wheel, leaving 6” tails. 2. Pick up 1 crystal,1 green bead, 1 crystal,and 1 rhodiumbead. Skip the rhodium bead and pass back through all other beads. Pull the ringe snug to the wheel. Pass your needle into the wheel opening to the right o the knot and out the next wheel opening moving around the wheel.
Repeat around the wheel creating a total o 11 ringes. Make sure to pull each ringe very snug to the wheel. Ater stringing the last ringe, pass through the first wheel opening and knot securely to the tail thread.
Peyote panel and dangle 3. Gently work a closed jump ring into the open loop o the dangle teardrop. Use your flat–nose and round–nose pliers to close the loop. Set aside.
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4. Thread your needle on a comortable length o FireLine or at least 3’ long. String a stopper bead, leaving a 15” tail. String 1 rhodium, 2 black, 3 green, 2 black, and 1 rhodium beads. Work a panel in odd–count peyote until you have 14 rhodium beads along both sides o your panel. Remove the stopper bead ater a ew rows. 5. Weave through the beadwork to reposition your thread or the decrease: On the side you’re exiting, pass through the second–to–last rhodium bead and the third–to–last black bead. Pass through the second–to–last black bead and through the last black bead. Work peyote to the end o the row.
6. Continue to decrease to a center green bead. Exit the center bead; string the closed ring and dangle. Pass through the center green bead and closed jump ring 2 times to secure. Weave into the beadwork to secure; trim.
9. The starburst has 11 fringes: Place the starburst so one fringe points straight up and 2 fringes point down, symmetrically, toward you. Lay the panel flat below the starburst with the smooth rolled edge of the tube facing you—not the side you zipped up. Using the working thread exiting the rhodium edge bead, pass in a circular motion through the fringe tip rhodium bead and out through the rhodium edge bead. Repeat twice more to secure. Weave through the tube hollow to exit the other edge rhodium bead. Repeat to attach the other side of the tube to the other fringe.
7. Thread a needle on the tail thread. Fold over the non–drop end and “zip” it closed along the fifth rows of the panel, forming a narrow tube. See the Zip–Up Bead by Bead on page 22. Exit out the tube end from inside the hollow, not through a bead.
11. Row 3: String beads 7–9. Pass through the previous row and the row just strung.
12. Row 4: String beads 10–12. Pass through the previous row and the row just strung. Note: After the first 4 rows, thread the tail thread onto a needle and pass once through Rows 2 and 1 to tighten the first row. Do not trim. 13. Continue in 3–bead–wide square stitch for enough rows to fit around your chain or cord. If you want to change the cords, make the bail long enough to slide over a clasp. 14. When your bail is the desired length, pass through Row 1, the last row, and through Rows 1–4 (which will now be the back of the bail). Trim. Thread the tail on a needle and pass through the last few rows stitched on the front of the bail. Trim.
Bail 8. String 1 crystal and 1 rhodium bead; pass back through the crystal. Pass through the tube and pull the crystal and rhodium beads snug. String 1 crystal and 1 rhodium bead. Pass back through the crystal, the tube, and the beads on the other end. Repeat once. Weave thread through beadwork to exit one of the edge rhodium beads on the top of the tube.
10. Attach a 3–bead–wide square–stitched strip to the middle sunburst spoke: Rows 1 and 2: Leaving a 6” tail, string bead 1, pass through the tip bead of the fringe (bead 2) and string beads 3–6. Pass through all beads again. Pull the rows of beads snugly against each other. Pass through the previous row and the row just strung.
RESOURCES: CZ findings: Ezel Findings,
ezelfindings.com.
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beads
EVEN-COUNT PEYOTE & FRINGE
Poodle Beads Leslie Rogalski
A basic peyote tube takes on a un, new look simply by adding looped ringes around the edges. String one single bead as a pendant or make a bunch and string them with other beads or a bracelet or necklace. Try crystals instead o seed beads or the loops and give these puppies real personality! These beads were named by a dog-loving riend even though she does not shave her poodles into rufs. Ruf!
WHAT YOU NEED • 3 g size 6° seed beads (for the peyote tube) • Color shown: matte brown AB • 3 g size 8° seed beads (for the loops) • Color shown: matte olive green • Black .006 WildFire beading thread • Size 10 or 12 needle • Scissors • Bead Stopper
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Artist’s Tip Round seed beads (not cylinder beads) work best or the looping ringes, but cylinder beads work fine or peyote tubes.
Stitch a peyote tube 1. On a 4’ piece of thread, string 8 size 6° beads. Attach a Bead Stopper leaving a 6” tail. 2. Use only size 6° beads for the tube. String 1 bead, and pass back through the next-to-last bead just strung. This bead will sit directly above the b ead passed through. 3. String 1 bead, skip a bead, and pass through the next bead. String 1 bead, skip a bead, and pass through the next. Repeat, working in peyote stitch. The beads will push against the first beads you strung and give them a staggered appearance.
4. At the end of the row, reverse direction to work back for the next row: string 1 size 6°, skip the end bead, and pass through the next bead. 5. Pull the thread snug; wiggle the beadwork between your fingers to assist in allowing the thread to pull tighter. You should now be able to remove the Stopper. Continue in peyote stitch. 6. At the end of the row, reverse direction as in Step 3.
Make the peyote tube 8. Pass across the tube into the end bead opposite the side where your thread exits. Notice you pass into an “out” bead. Note: A paper tube is shown
here for illustrative purposes so the thread can be more easily seen. When you make your peyote tube you do not need this paper tube.
9. Crisscrossing back and forth, “zip” the two sides of the tube together, passing through the out beads.
7. Continue until you have a strip with 5 beads along each side.
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project
POODLE BEADS
10. Your thread should be exiting out the end
13. Make 5 loops, working around the five
bead of the side opposite the side with the tail. Tie the tail and your working thread together in a secure square knot. Do not trim any threads!
beads at the tube end; repeat for a total of 10 loops. Make sure your loops do not cross over each other, but lay beside each other.
Make the loops
14. When 10 loops are completed, tie the tail
11. Your needle needs to be exiting out one of
and working thread together as in Step 10.
the five end beads. Since tying the knot places your thread between beads, reposition the needle: pass in (toward the tube beadwork) through one bead next to the knot and out (away from the beadwork) through an adjacent bead.
15. Weave your needle through the tube beadwork, following the existing thread paths (on a diagonal) to exit a bead on the other end of the tube.
12. Use only size 8° seed beads for the loops.
16. Repeat to add 10 loops to this end. Weave
Loops are stitched on a diagonal. With your thread exiting out one end bead, pick up 5 size 8° seed beads and pass in a circular motion up through the next bead around the end of the tube.
back through the tube beadwork to the tail and knot again. Thread the tail onto the needle and weave in both ends simultaneously.
10
RESOURCES: Check your local bead shop.
13
Bracelet by Donna Kraidman.
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12
16a
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16b
learn the lingo Making a tube from a strip of peyote is called the “zip up” because the beads fit together like the teeth of a zipper, with alternate beads staggered to sit “in” and “out.”
Voilà! String poodle beads with other beads for fun, fast, finished jewelry.
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felt beads
EMBELLISHMENT
Have a Ball! Allison and Tracy Stilwell
Wool felt beads provide a “ready-to-go” embellishment surface for a fun variety of styles and materials. Here are three ways to embellish a readymade felt bead: felting, embroidery, and surface beading. Use embellished beads in necklaces, earrings, bracelets, as decorations for clothing, bags, books, cards, holiday ornaments, and anything else you can imagine! • Basic sewing skills will be very helpful in this project.
Learn the Lingo Wool roving: wool that has been washed, combed, and prepared for further use. Roving can be felted or spun into threads for weaving, knitting, and other fiber arts.
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Add Ad d dot dots s or or line lines s 1. Pull of a small piece o roving in the color o your choice. Roll the roving into a small loose puf ball or a dot or twirl it into a lightly packed string between your fingers or a line, then position it on the elt bead (Figures 1 and 2).
Figure 3
WHAT YOU YOU NEED NE ED • Wool felt beads • Wool roving • Felting needles • Small sharp scissors
2. Work the roving into the elt bead: poke the needle in and out o the color spot and the elt bead underneath. 3. Define the shape: old stray fibers inside the edge o the shape. Gently use your needle to clean up the uzzy edges. Continue working the roving into the elt (Figures 3 and 4).
Figure 1
Figure 4
4. When the shape is almost finished, move the end o the needle in a circular motion to gather the remaining fine wisps o roving together. Work those wispy ends into the bead. Clean up with scissors.
Figure 2
Artist’s Tip Make new colors easily by blending two or more roving colors. Gather little pufs o a ew colors together and pull the fibers apart with your fingers, keeping the ball o fluf together until the colors are mixed to your liking.
Felting needle tip A elting needle is very sharp, with a barbed tip that hooks the fibers together. Felting needles break easily when bent, so keep the needle motion straight as it is poked in and out o the roving. Poking can be in any direction as long as the needle is not bent. Most beginners break a ew needles!
Try This! Vary the sizes and colors on the same bead.
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project
HAVE A BALL!
Embroider a felt bead 1. Tie an overhand knot in the ends of 2 or 3 strands of embroidery thread. Stitch from the inside of the hole to the outside of the bead, hiding the knot inside the bead hole.
WHAT YOU NE ED • Embroidery or millinery needle • Cotton 6–strand DMC Embroidery Floss • Wool felt beads • Scissors
2. Make simple stitches by sewing straight through the bead surface, in and out, forming little “dashes” of color around the felt bead. Start each new stitch where the needle exits from the prior stitch. Cover the bead with random stitches or make linear designs. Finish with a small overhand knot; secure the tail inside the bead. Use any embroidery stitches—it’s easy to sew through wool felted beads!
Add buttons, beads, and sequins 1. Tie an overhand knot in the ends of 2 or 3 strands of embroidery thread. Stitch from the inside of the hole to the outside of the bead, hiding the knot inside the bead hole. Exit on the outside where you want to position your first sequin or bead. 2. String a sequin, small bead, or button and pass back down through the sequin hole. Pull the bead and sequin snug to the bead. Make a small overhand knot beneath the sequin to secure it to the felt bead. 3. Pass the needle into the felt bead beneath the sequin and exit the felt bead where you want to place your next sequin. Repeat around the bead as you desire. Vary the adornment for fun! 4. Finish: secure the last sequin or bead with a square knot. Exit the felt bead elsewhere and trim carefully so no thread tail shows.
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WHAT YOU NE ED • Assorted tiny sequins, buttons, beads • Beading needle • Beading thread to match or contrast • Scissors
RESOURCES: Wool roving, felt balls:
Ornamentea, ornamentea.com.
necklace
STRINGING
Braided Choker . r o h t u a e h t f o y s e t r u o c s o t o h p r e h t o l l a ; n o s w a L m i J y b o t o h P
Lucy Arnold
This braided choker works well with one, two, or even three colors. It’s a wonderul excuse to use a whole collection o diferent beads in your avorite color.
WHAT YOU NE ED • Bead soup: See Step 2 for details • 2 three-hole spacer bars • 2 eye pins • 4 1 ⁄ 4 yd of thin, flexible beading wire • 2 cone end caps • 6 crimp beads • Clasp • Cellophane or masking tape • Round-nose pliers • Chain-nose pliers • Wire cutters
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project
BRAIDED CHOKER
3. Divide the beaded strands into 3 pairs, putting dissimilar strands together. They may be dissimilar in size, shape, or finish. Color amily will be the one thing they all have in common.
Artist’s Tip These instructions are or a 16” choker. I beaded 14 1/2” strands, which resulted in 12 1/2” o braiding. In determining your finished length, remember to include the measurement rom the spacer bars to the ends o the clasp; mine was 1 3/4”. Thus, my final length was 12 1/2” + 1 3/4” + 1 3/4” = 16”. You can add or remove beads to make your choker longer or shorter.
1. Cut six 25” lengths o beading wire. Fold a small piece o tape around each piece o wire about 5” rom one end to prevent the beads rom slipping of. 2. String 14 1/2” o beads onto each wire according to the chart. Ater you have strung each strand, old a second piece o tape on the wire at the end o your beads. There should be a 5” wire tail at each end o the beading.
4. Select 1 pair and remove the tape rom one end o each strand. Put bot h wi re en ds through 1 hole o the 3-hole spacer bar.
5. Holding the wire ends together, string 5 size 8°s and 1 crimp bead. 6. Pass the 2 wires through the loop o 1 eye pin, then back down through the crimp bead and the 5 size 8°s. Remove any excess slack. Squeeze the crimp bead closed with chain-nose pliers and trim the wires as close as possible to the last size 8°.
Strand 1 104 size 11° metallic violet iris seed beads 100 size 8° light amethyst color-lined purple matte seed beads Pattern: Alternate size 11° and 8° beads, beginning and ending with a ew size 11° beads.
Strand 2 66 size 11° silver-lined light amethyst aurora borealis (AB) seed beads 44 size 2 (4mm) multi-iris matte bugle beads 21 size 6° amethyst matte AB seed beads Pattern: 1 size 11°, 1 bugle, 1 size 11°, 1 bugle, 1 size 11°, 1 size 6°. Repeat.
Strand 3 66 size 11° blue iris hexagonal cut seed beads 34 size 2 (4mm) silver-lined amethyst bugle beads 33 size 6° silver-lined amethyst seed beads Pattern: 1 size 11° hex cut, 1 bugle, 1 size 11° hex cut, 1 size 6°, beginning and ending with a size 11° or bugle beads.
7. Repeat Steps 4–6 with the remaining pairs. 8. String 1 cone end cap and 1 size 6° seed bead onto the eye pin.
Strand 4 115 size 11° lavender-lined Amy matte (AB) seed beads 106 size 8° purple/blue iris matte seed beads Pattern: Alternate size 11° and 8° beads, beginning and ending with a ew size 11° beads.
Strand 5 118 size 11° silver-lined light amethyst AB seed beads 22 size 2 (4mm) blue iris bugle beads 19 dark reshwater pearls Pattern: 3 size 11°, 1 bugle, 3 size 11°, 1 pearl, beginning and ending with size 11° beads.
Strand 6 125 size 11° purple/blue iris matte seed beads 38 (5mm) dark multi-iris matte nibblettes Pattern: Alternate 3 size 11° and 1 nibblette, beginning and ending with size 11° beads.
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9. Using chain-nose pliers, bend the eye pin down at a right angle against the size 6° bead. Trim the pin to about 3 ⁄ 8”.
10. Make a simple loop by gripping the tip of the eye pin with round-nose pliers. Rotate the pliers to form a closed loop.
13. String the pairs of wire ends through the second spacer bar, maintaining the braiding to the end.
14. Repeat Steps 5 and 6. 11.Tape this end of the choker to your worktable. Carefully braid the 3 pairs of beaded strands, keeping the tension even. Tape the end of the braid to the worktable.
15. Repeat Steps 8–10. 16. Attach one part of the clasp to each eye-pin loop.
12. Add or subtract a few beads from each strand as necessary so that they all end at the same length. Be sure the last few beads on each strand are size 11° seed beads or small bugles.
RESOURCES: Check your local bead store.
TRY THIS!
Have fun with variations in color, size, and shape!
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necklace
STRINGING
Mod Pods Leslie Rogalski
Match the scale and style of your designs with the right finding. This modern toggle with its dotted ring seemed the perfect way to compliment the energetic patterns in the pod beads. To keep the look clean use only 1 crimp tube with a larger hole for each pair of wires.
WHAT YOU NEED • 4 focal beads • 7g size 6° opaque white seed beads • 7g size 6° opaque black seed beads • 7g size 8° opaque white seed beads • 7g size 8° opaque black seed beads • 12 size 8° “accent” seed beads for each color to match your focal beads • 2 E or size 3° opaque black beads • Large, fun silver toggle • Fine flexible beading wire • 2 larger holed 3mm crimp tubes • Crimping pliers • Wire cutters • Bead Stoppers Finished size: 22”
. N O S W A L M I J Y B O T O H P
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Strand 1
1. Cut a 26” piece o wire and place a Bead Stopper on one end, leaving a 2” tail.
2. String 22 size 6° seed beads alternating black and white, 1 ocal bead, 8 size 6° seed beads alternating black and white, 1 ocal bead, and a 12–14” length o alternating black and white size 6° seed beads.
3. Check the length around your neck. Tip: Be careul; use a Bead Stopper to prevent accidental loss o strung beads. The other ocal beads will be strung next, so make sure your long black and white strand will be the right length or the ocal beads to be in a desired position. Add or subtract black and white beads as needed to lengthen or shorten your necklace.
4. String 1 ocal bead, 8 alternating black and white size 6°,
size 8° accent color, 1 black 8°, and 7 size 8° beads alternating black and white, starting with white. String a diferent accent color seed bead, 1 black 8°, and 7 size 8° alternating black and white beads starting with a white.
9. Pass the wire through the first ocal bead, the size 6° black and white beads and the second ocal bead.
10. String 9 alternating black and white size 8° beads starting and ending with black. String an accent color size 8°.
11. Repeat Step 8 to create a length o size 8° seed beads equal to the longest length o size 6° beads. Vary the color o the accent beads as you string.
12. When your strand o size 8° beads is long enough, pass
1 ocal bead, and 22 alternating black and white size 6° to mirror the section created in Step 2.
the wire through the third ocal bead, the size 6° beads, and the last ocal bead. String a section o size 8° beads with accent color beads to mirror the section strung in Step 8.
5. String 1 size 3°, 1 crimp tube, and the loop o one hal o
13. String a size 3° black seed bead and a crimp tube.
the toggle. Pass back through the crimp tube, the size 3°, and a ew size 6° beads. Pull the wire to snug up to the toggle but do not crimp yet. Set aside.
Strand 2
6. Cut a second 26” piece o wire. 7. Pass one end through the strung size 3° black bead, crimp tube, and toggle ring; pass back through the crimp tube and the black size 3°. Note: I you have trouble fitting all wires through the crimp tube, change the tube or another with a larger hole. Pull wires to even out the loops around the toggle ring, and crimp the tube firmly around all wires. The size 3° should slide down over the crimp tube.
8. On the second wire, string a section o size 8° seed beads equal to the 22-bead section o size 6° beads on the other wire. Make sure to slide beads over the tail o the wire let rom crimping. Alternate black and white beads, and string a couple accent color size 8° beads in the sequence as ollows: String 7 alternating black and white size 8°s starting with white (next to the size 3°) and ending with a black. String 1
Pass through the loop o the other part o the toggle and back through the crimp tube, the size 3°, and several size 8° beads. Place a Bead Stopper on the protruding tail to prevent slippage temporarily.
14. Remove the Bead Stopper rom the size 6 strand. Pass the wire through the size 3° just strung, the crimp tube, and the toggle loop. Pass back through the crimp tube, the size 3°, and through several size 6° beads. Replace the crimp with a larger holed crimp i you can’t fit all the wires through.
15. Pull the wires to snug the beadwork loosely but close to the toggle; hold the crimp tube in place gently with your pliers so it doesn’t slide into the beads. Crimp firmly around all wires, between the black size 3° and the toggle. Snip any protruding wire tails careully. Wear the toggle in ront! RESOURCES: Lampworked pods: Barbara Becker Simon,
bbsimon.com. Silver toggle: FusionBeads.com.
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COLORWORKS
Turning Inspiration into a Palette Adapted and abridged rom The Beader’s Color Palette (Watson-Guptill, 2008) By Margie Deeb
a M y b to o h P
You’re going about your day and stumble upon a combination o colors that you must use in your beadwork. But how can you match a premixed medium such as beads to the colors you see in real lie? First determine the overriding colors; squint your eyes to help recognize masses o color. Looking at the photo o trees in the mist, its easy to see the main color amilies: Light pinks and orange-yellows o sky; dark yellow-greens and brown o the earth; and rich browns o the trees and ence. Work out your colors using whatever medium you preer beore you begin beading. Spread out tubes o beads, swatches o colored paper, color with markers and pencils, or work on a computer. Now zero in on color nuances. The smooth gradation o the sky begins with a pinkish lavender then gradates down to light pink sliding into white and shimmering yellow. Many shades o brown and green lie in the grass. Determine what makes the color scheme sublime. Note the graceul movement o color within the gradations. By simply using a ew o these colors I can’t achieve this elegant movement. I’m limited by my medium o beads. Unl ess I’m weaving rows o seed beads into a tapestry, I accept that this movement o color will not be part o my final piece. Much o the beauty o the color scheme is the appearance o luminosity resulting rom the gradations, and the colors’ lightness and darkness in relation to each other. I’ll use lighter versions o bead colors to achieve more luminosity. Pay attention to the amount o each color relative to the other. I experiment with proportions, changing the
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m or f b e e D ei gr
. e t t e l a P r o l o C s ’ r e d a e B e h T
dominant, secondary, and accent colors until I arrive at proportions that eel balanced and whole. Lavender-pinks make this palette unusual, so I want to give them more voice. Pale pink will have more impact than white as the lightest color. I’ve reduced the amount o green and brown to accents. From what I’ve learned above I’ve selected a possible bead palette. Even though there’s no true lavender in the photo, light amethyst works beautiully with the beads I’ve chosen, as does the yellow green peridot. I’ve also included a couple o yellow possibilities, one transparent and one opaque. Because beads and gemstones are not the exact colors o the flat swatches, experiment not just with proportions but also how diferent finishes interact with each other.
Photo by Shutterstock from The Beader’s Color Palette, copyright © 2008 by Margie Deeb. Published by Watson-Guptill Publications.
The Beauty of Analogous Colors By Margie Deeb
Analogous color schemes involve two or more colors adjacent to each other on the wheel (including pure hues, shades, and tints). Blues are analogous to greens: they are neighbors sitting side by side on the color wheel. The beauty of analogous schemes fill our world: the iridescence of peacock feathers, the changing blues and greens under the ocean, and the yellow-to-pink gradations of a lotus blossom. The analogous palette has a mellifluous quality. Its colors swirl and flow into one another, defying boundaries. Where does blue end and blue-green begin? The analogous palette seeks no answer. It only revels in the mystery of movement. Because of their proximity, blues and greens (and all adjacent colors) are intrinsically harmonious, making them easy to combine successfully. Analogous schemes are grouped in a specified area of the wheel, tending toward warm or cool, allowing mood and emotion to step forth. And in the heat of summer, no scheme is more refreshing than analogous blues and greens. Blue is the coolest color of all, calm and relaxing. Life-giving green, nature’s background, is the easiest color for our eyes to view. Green restores harmony and balance and renews the weary soul. Together they are one of the most popular and easy to work with combinations. Combine light blues, like those of blue lace agate, with exotic deep blues, like lapis lazuli, azurite, or sodalite. Accents with one or two of the many available green gemstones: cool opaque malachite, mottled dull serpentine, translucent twinkling
Aqua blues and olive greens harmonize naturally. Seed beads stitched around glass and foil cabachone by Dema Designs. Necklace by SaraBeth Cullinan. Necklace designed for Margie Deeb’s “Color Report for Bead Artists Spring/Summer 2009.” Photo by Margie Deeb.
aventurine, lustrous over-the-top chrysoprase, or jade in its wide range of hues. Apatite and aquamarine are gorgeous cyanish colored gemstones that combine beautifully with purer green tones, like malachite and chrysoprase. Turquoise is the perfect in-between-color to close the gap when making a color scheme that gradates blue to green.
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COLORWORKS
Finding Inspiration in the Colors of a Culture By Margie Deeb Finding inspiration in a country’s color comes naturally to every artist. But how to translate that inspiration into a palette or beaded jewelry? Look not only to color, but texture, orm, composition, and design as well. Let’s take a brie virtual tour o India, a world o color. Its abrics sport daring blends o reds, pinks, yellows, blues, and greens. Men wear brightly colored turbans. Women’s saris are spectral extravaganzas. Buddhists in India’s Tibetan settlements regard safron yellow and auburn as sacred colors, and their robes reflect this. In parts o India, single colors, punctuated by architectural accents, uniy entire cities. Jaisalmer, built o yellow sandstone, is the “golden city.” Most buildings in Jodhpur, the “blue city,” are painted blue. And Jaipur, the “pink city,” uses ocher pink plasters to colors its walls. Fine detail and daedal ornamentation are common in architecture and jewelry. Patterns include paisley motis, scrollwork, and filigree. In jewelry, India’s passion or gold can be traced to very early times. SaraBeth’s “Beledi” necklace epitomizes the texture and detail o Indian jewelry. The colors o Margie Deeb’s “Twined Neon” necklace are saturated with the colors o vibrant estivals and marketplaces. Study books, photos, and travel sites on the Web to get a eel or a place that attracts you. Then, let your imagination take you there.
The mosque interior o the Taj Mahal inspired SaraBeth Cullinan to create “Beledi,” a necklace using shades o pink and detailed, intricate iligree. The green o the distant trees inds its way into the necklace as small pearl accents. Glass and vermeil. Photo by Margie Deeb.
m o c . k c o t s r e t t u h s . w w w : k c o t s r e t t u h S y b h p a r g o t o h P
Powdered pigments on sale in an Indian marketplace inspired the brilliant palette or “Twined Neon,” a loom-ed necklace designed by Margie Deeb. Loomwork by Frieda Bates. Photo by Margie Deeb.
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Using Dominance to Create Harmony By Margie Deeb Visual harmony is created when there exists a balance o similarities and diferences. Enough concordance and enough contrast must be at play to achieve dynamic tension. But too many diferences conuse the eye. What i every bead in your stash were dumped into one huge bowl? Though enticing, the arrangement wouldn’t be harmonious or well designed. Such a random mix ofers delightul textures and colors, but provides no visual harmony. Ater easting or a moment on that random mix, your eye will spot all the bright yellow (or white) beads and begin visually grouping them. You are seeking order. And you are finding order through concordance—colors that are similar. The dominance o an element—be it color, line, design, texture, or shapes and sizes o beads—unifies a finished piece, giving it a sense o oneness. Achieve harmony by elevating one or two elements above all others, making them dominant.
There are three easy ways to use color as your unifying element: 1. Establishing a single dominant color is the simplest
approach, as Kristy Nijenkamp has achieved in her lampworked bracelet. Each bead contains many colors, but the dominant color o the whole bracelet is the transparent peach, which unifies all the palette members. 2. The tonal approach uses dominant tones (muted or intense) rather than specific hues. The vivid colors o Margie Deeb’s “Spectral Tapestry” work as a group to achieve color dominance. No single color dominates: the piece is unified by the intensity the colors share: they are all ully saturated. The black outlines and rames each color, urther uniying the piece 3. Use a amily o analogous (similar) colors. “Mermaid’s Collar” by Margie Deeb eatures colors rom the same area on the color wheel. . .the cool side. They are similar enough that the naturally harmonize, and diferent enough to create interest. Now you know three ways to harmonize your work by consciously using color dominance. Find that exquisite balance between similarity and contrast, and you’re on your way to color mastery.
In her lampworked bracelet, Kristy Nijenkamp establishes single color dominance with the color peach.
The vivid colors o Margie Deeb’s “Spectral Tapestry” work as a group to achieve color dominance.
“Mermaid’s Collar” by Margie Deeb uses a amily o cool, analogous colors to achieve color dominance.
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COLORWORKS
Inspiration from Winter’s Contrasts By Margie Deeb
Winter is a time o contrast: angular, dark branches outlined against flat expanses o stark white; gust o biting cold wind outside, and the warmth o the hearth inside, sot snow against hard, crackling ice. In all these stark contrasts I sense lie pared down to its essence, a purity, that turns me inward to weave dreams and beads. The key to winter or us bead artists is to be inspired by this mysterious season o promise nestled in subterranean sleep. It’s a great time to spend many cozy hours conjuring new color combinations by the fireplace. Contrast (diference) is the opposite o concordance (similarity). A composition needs contrast because too much visual similarity becomes monotonous. The more contrast you use, the more bold, energetic, and dynamic your work will be (up to a point, beyond which “garish” may become a result). With winter as inspiration, aim or more contrast in many areas. To contrast with color, juxtapose complementary hues against each other, or emphasize value diferences by placing light colors against dark one. Contrasting design elements might mean weaving straight lines against curves, diagonals against horizontals, blocks o color against spheres o color. String patterned beads next to solid colored beads and squares shapes next to ovals. Play with contrasting finishes and materials. Combine smooth beads with aceted, irregular, or chunky beads. Place shiny metallics next to flat matte finishes, lusters next to transparents.
Festival of Fringe necklace rom The Beader’s Color Palette by
Margie Deeb.
Texture contrasts are both visually and tactilely ascinating. Everyone loves to touch ringe laden with diferent sized beads. Add texture to seed bead weaving by introducing larger beads, peyote ru es, kinky ringe, or netting. When exploring contrast, aim or balance and unity. The Festival of Fringe necklace abounds with contrast in color, value, bead sizes, shapes which create energy and pizzaz. In the Thai Colors bracelet o more muted tones, there is enough contrast in the values o these colors and the bead sizes and textures to keep visual interest.
Thai Colors multi-strand bracelet rom The Beader’s Color Palette by Margie Deeb.
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necklace
POLYMER CLAY
Pod Necklace Judy Dunn
This project uses the mica shift technique to create a subtle pattern on the surface of the clay. A metal leafing pen adds a gold highlight to the edges, then the components are stitched together using a variation of a stitch used in bookbinding.
WHAT YOU NE ED • 2 oz pearl Kato Polyclay
• Friction tube clasp
• Oval cutters: 1” x ¾” and 1¼” x 1”
• 2 oz translucent Kato Polyclay
• Cyanoacrylate glue (optional)
• 1 sheet of acid-free heavyweight paper
• Kato color concentrate for desired
• Cornstarch or spray water bottle
• Baking pan
• Beeswax
• Toaster oven (dedicated for non-
color • Size 6–11° seed beads in color to
• Pasta machine
food use)
• Acrylic roller
• 400-grit sandpaper
• Nymo thread in coordinating color
• Work surface
• Drill with 1–2mm drill bit
• Krylon leafing pen (this brand only)
• Texture sheet or textured rubber stamp
• Scissors
• .019 flexible 49-strand beading wire
• Flexible blade (rigid blade will not work)
match or contrast
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project
POD NECKLACE
Artist’s Tips • Use Kato Polyclay for this project. It is rigid and strong when cured so thin, and with the color concentrates, gives the best range of colors. • Use a Krylon leafing pen, others may react over time with the clay and soften it.
1. Blend the pearl and translucent clay together in a 1:1 mix. Mixing the translucent in with the pearl clay, creates space between the mica particles, and increases the depth in the mica shift pattern you will create. Use the Kato color concentrates as desired to reach whatever color you want. For this project, a tiny sliver of red was used to reach this shade of pink. For darker colors, slowly build up to your intended color; a little will go a long way. It is easier to add more color than to take it away. The process of fully blending the colors will also condition your clay. 2. Roll the sheet of clay out to thickest setting on your pasta machine. Texture the surface of the clay, using a texture sheet or a rubber stamp with an allover texture. If your texture sheet is thin and flexible, you may pass it through the pasta machine with the sheet of clay. Otherwise, use your acrylic roller to press the texture into the sheet of clay. You may find it easier to add a thin dusting of cornstarch or a spritz of water to the surface of your texture sheet first, for easier removal.
see the pattern created with the texture. This image is formed by the light reflecting from the surface of the mica particles embedded in the clay body. The process of texturing the clay “shifts” the angles of the particles in the clay so light is now creating the same pattern as the texture, but without the texture! This is called the “mica shift” technique.
4. Once you have removed all the raised areas on the sheet of clay, put the sheet through the pasta machine at the second or third setting down from the thickest setting. Turn the sheet 90°, and pass it through once more, at the next thinnest setting (the fourth or fifth setting on my machine).
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7. Gently fold the ovals about midway, across the shorter length of the oval, to about 90°, with the decorative surface on the inside. Place the ovals face down on the accordion folded paper. Continue with all the ovals.
8. Cure at the manufacturer’s recommended temperature for 45 minutes. The longer cure time will make a stronger piece, and as long as you do not exceed the recommended curing temperature, you will not harm the clay. 9. When the pieces have cooled, remove from the paper and use a damp piece of sandpaper to smooth any uneven edges caused by the seam on the oval cutters.
5. Lay the sheet of clay on your work surface and use the oval cutters to cut oval shapes from the sheet of clay. Cut at least 8 small and 4 large ovals. Remove the excess clay around the ovals.
3. Lay the sheet of clay flat on the work surface, textured side up. Using your flexible blade, carefully remove the raised portions of the clay sheet. The best way to do this is with the blade as close to horizontal as it shaves the surface of the clay. This will remove the textured surface and make a flat surface again. After you slice away the textured surface, you will
6. Accordion–fold the piece of paper with folds about 1” wide. Use acid-free paper because the acid in paper can yellow the clay during curing. Place the paper in your baking pan. Preheat your oven to the clay manufacturer’s recommended temperature.
Learn The Lingo cure: this is the proper term for what happens to polymer clay when it’s in the oven. Using the term “bake” is not an accurate description since it’s not food. When the clay cures, it forms bonds that cause the long polymer chains in the clay to lock together, making it rigid as opposed to soft.
10. Using the metal leafing pen, highlight the edges of the pods. Two coats are usually required.
11. Using the drill, drill 2 holes along the folded edge, about 4–5 mm from each outside edge for the small pieces, and 5–6 mm from the outside edge for the larger pieces. If desired, mark the hole placement prior to drilling.
12. Cut a 15–18” piece of Nymo thread. Use beeswax to coat the thread; this will minimize the risk of tangling and fraying ends as you work with it. Feed one end of the thread up through one hole on 1 oval.
13. You will now have two ends extending out of the back of the oval. They should be about equal in length. The next oval will be opposite this first one. String each end through the back of one of the holes of the second oval.
String enough seed beads to reach from one hole to the other. The number will vary depending upon the size of the beads. Feed the thread through the other hole. One strand will go across the front and out through the other hole.
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project
POD NECKLACE
On the other strand, string your beads as you did with the first oval, then go back down through the opposite hole. Pull the strands tighter, but leave a small amount of slack.
14. The third oval will go in between the first 2 ovals. Feed each strand of Nymo thread through 1 hole.
One strand goes back down through the opposite hole. The other strand is strung with enough seed beads to reach across the center, from hole to hole. This end is fed down and through the opposite hole.
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15. The last oval goes between the first 2 ovals, and opposite the third. It is strung in the same way as the previous ovals. One strand goes up and across, and back out through the back again. The other comes up and is strung with seed beads, then back down through the opposite hole.
16. Pull both ends so they are fairly snug. Bring the two ends to one side. Tie a square knot, double wrapping the second part of the knot. Bring the strands around to the opposite side of the pod and repeat the square knot. Trim the ends of the thread so they are not extending outside the pod.
17. Repeat this technique with the other ovals so that you have 2 small pods and 1 large pod.
18. Cut three 15” strands of beading wire; this will give you a finished length of 17”. If necessary, adjust the length of wire you cut to accomodate the type of clasp you are using and to reach the desired length. Slide the wire ends into the open ends of the clasp. Crimp the clasp in place.
19. To string the pods, pass the narrow end of the clasp through the center of the small pod, passing through the center of the stitching done earlier. Repeat with the large pod and finally another small pod.
20. Arrange the pods in whatever alignment is most visually pleasing to you. The pods can still be rotated along three diferent axes.
This creates numerous options or how you arrange the pods. Whether you line them up, or arrange them a bit more randomly, they will give you a diferent look. I you want the pods to be spaced out on your cord, place a dot o cyanoacrylate glue on the cable where you want the pod to sit. Slide the pod over the glue, and let set.
RESOURCES: Clay and oval cutters, pasta
machines: PrairieCrat.com, prairiecrat.com; Polymer Clay Express, polymerclayexpress. com; Munro Crats, munrocrats.com. Krylon leafing pens: Staples, staples.com. Friction tube clasps: Rio Grande, riogrande.com. Beading thread and cable: Rings & Things, rings-things. com; Fire Mountain Gems and Beads, firemountaingems.com.
A single pod, small or large, can make an attractive pendant—or or a bolder look, go or more pods clustered together or spaced apart.
Download your FREE eBook today: 5 FREE Beaded Bracelet Projects
Victorian Impressions [ Elizabeth Murray ]
h e s e u t t C h e c k o d e s i g n s, c e l e t e b r a k e o r m a p i c k o n a ! h e m l l t GET YOUR F REE PROJECTS AT:
Wooded Wonderland [ Jess Italia Lincoln ]
Lost and Found [ Yelena Yershova ]
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necklace
POLYMER CLAY
I was playing with some slices rom one o my avorite types o millefiori canes, the basketweave, and chanced upon of-setting one square slice o cane on top o another. Then the idea occured that this design lent itsel wonderully to a bolo-style necklace.... thus a new and interesting style was born!
Basketweave Pendant Jana Roberts Benzon
WHAT YOU NE ED • 2.5 oz. of polymer clay in purple, turquoise, black, and white • Cutting blade • Acrylic rolling tool or brayer • Acrylic block • Ceramic tile or cookie sheet to bake on • Knitting needle or other smoothing tool • Needle tool • Corn starch • 2mm Buna cord, 28” long or
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desired length (be certain that you use Buna cord as others may not be ovenproof) • Super glue • Point back rhinestone crystal • Pasta machine dedicated to nonfood use (instructions are given using a pasta machine with 9 settings, #1 is the thickest, #9 is the thinnest) • 3 ⁄ 32” drill bit • Optional: Latex gloves or finger cots (to prevent fingerprints in clay)
Condition clay and create a Skinner Blend. 1. Condition the clay by slicing thin pieces of o the block o clay, and then rolling the clay with an acrylic rod on your work surace. Run the pieces through the pasta machine on the thickest setting until the clay sotens and is pliable. You will be creating a Skinner Blend (named or its inventor, Judith Skinner). 2. At the thickest setting on the pasta machine, roll out a sheet o clay approximately 3” x 6” in the purple and turquoise colors, and approximately 2” x 6” in the black and white colors. Cut the triangles and lay them out as shown; the colors should be laid out rom darkest to lightest. This rectangle should measure approximately 5” wide x 6” long. This Skinner Blend is very orgiving, so don’t worry i your triangles aren’t exact. Blend the edges o each color together with your finger or a rounded tool. Run through the pasta machine on the thickest setting in the direction shown.
Create a blended loaf. 5. Now that you have a blended sheet o clay, old the sheet in hal, this time matching color to color (not the dark end to the light end).
8. Continue taking the sheet back and orth (accordion style) until you’ve ormed a loa. Roll each old to smooth out air bubbles. Ater you have completed the loa, square it up by slicing o the ragged edges on all our sides.
6. Using the thickest setting on the pasta machine, put the dark end o the sheet in the pasta machine irst and run through the machine. Continue running it through on our or ive successively thinner settings until you have a long, narrow sheet o gradated colors, dark to light. Be careul as you pass the sheet through the pasta machine that it doesn’t old over on itsel, or it may stick together and ruin the sheet. Trim both light and dark ends.
Divide and wrap the loaf. 9. Lay the loa on your work surace with the light color on the bottom, dark on top. Slice the loa in hal lengthwise making two long, thin rectangles. Place these two pieces together, matching up the light ends.
3. Fold the bottom o the clay sheet up to the top, making sure the sides line up. . R O H T U A E H T F O Y S E T R U O C S O T O H P R E H T O L L A ; Y A R R U M D D O T Y B O T O H P
4. Run this olded sheet through the pasta machine on the thickest setting. Repeat olding rom the bottom up (not side to side) and rolling through the pasta machine until the colors are blended, approximately 15–20 times. Always put the olded sheet o clay in the pasta machine in the same direction; do not rotate the sheet o clay. Remember to run the sheet through the pasta machine old first to prevent locking in air bubbles.
7. Fold this sheet into a loa using the “accordion old” method. Begin by placing 11/2” o the light end o the blended strip on your work surace while draping the rest o the blend over one hand. Fold the sheet over the top o the 1 1/2” section, making sure that you smooth out air bubbles with a brayer or smoothing rod.
10. Put a layer o white clay, rolled to a #5 (medium-thin thickness) on the pasta machine, on the top and bottom.
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necklace
BASKET WEAVE PENDANT
11. Now place a layer of black clay rolled to a #6 (thin thickness) on top of the white. Your loaf, hereafter called a “cane,” has a white and a black layer on both of the long sides. As the cane must be “warm” to reduce properly, proceed directly to Step 12.
13. Along with squeezing and pressing with the acrylic block, run your hands along the length of the cane to smooth and lengthen it. It is important to keep the edges crisp so that when the cane is fully reduced, it has a nice rectangular shape— with even sides, and the black and white have stayed in place, not “migrating” down the sides. Keep the edges crisp by periodically running your thumb and forefinger along the edges while reducing. Take your time in reducing the cane and apply all of the methods mentioned in this step to lengthen the cane to approximately 9”. At this point, it should be warm enough for you to grasp each end and gently pull, helping it to lengthen a little more.
15. Next, cut seven 11/2” strips from a sheet of black clay rolled to a #5 (medium thin) thickness on the pasta machine. Place these strips on the black sides of the seven pieces that “indent” in the cane’s four sides. These strips help to flatten and even up the four sides of the cane. It may still be somewhat indented, but that is okay.
Reduce the cane and slice into pieces. 12. The next step is to reduce the cane to a length of approximately 19”. Reducing a square cane requires using several different methods. You are basically trying to “coax” the cane into lengthening. It is important to flip the cane over and turn it often so that all portions of the cane receive the same pressure and lengthening, or the cane’s design may become distorted. Begin reducing the cane by gently pressing on the top and sides of the loaf with an acrylic block or ceramic tile and gently squeezing it with your fingers (do not press on the crisp edges of your cane; keep them squared up). Use your brayer on all four sides to help lengthen the cane.
Continue applying all methods of reduction until it is 19” long. Now cut the cane into twelve 1/2” sections, removing approximately 1/2” of “scrap” from each end.
Assemble and reduce the cane. 14. To assemble the cane, take each of your pieces and place them in a weave pattern with four pieces on each row, alternating the direction that each piece faces. You will notice “air gaps” between the individual pieces in the center...don’t worry about these yet.
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16. Begin reducing the cane by gently compressing opposite sides of the cane at the same time. Turn the cane and do the other two sides simultaneously, alternating back and forth between the sides until it is completely compressed. As you do this, the gaps will fill in.
17. Your cane may now be a bit concave on all four sides but this is okay, as they will flatten out during reduction. Now continue reducing the cane as described in Step 12–13 until it measures approximately 1/2” on each of the four sides (it will be approximately 10” in length). Cut off the ragged ends and slice the cane into four equal lengths.
20. Lay one piece on top of the other, rotating to form a bolo shape. Determine where you want the Buna cord to slide through, and mark these four spots on the top and bottom with a needle tool.
22. If your needle tool is too narrow to make a trench wide enough for the Buna cord, rotate the needle to widen the trench. Remember that the Buna cord should fit snugly in the trench, so do not make it too wide. Lay the Buna cord into the trenches and place the two slices together, matching up trenches to form a tunnel. Gently, but firmly, press the slices together everywhere that they touch, but avoid pressing in the trenches. Leave the Buna cord in place, as it will be baked with the pendant. Press the rhinestone crystal into the center of the front of pendant; you will glue it in place later.
18. Combine the four pieces of cane together, placing the slices so that a continuous weave pattern is formed. Gently compress so that the four pieces “fuse” together. Smooth all four sides with the brayer. Wrap this cane in a sheet of black clay rolled to a #6 (thin) thickness on the pasta machine.
Bake and finish neckpiece.
Assemble the bolo pendant. 19. After letting the cane rest for at least one hour (refrigerate to hasten cooling), cut two slices off of the cane, approximately 1/8” in thickness. After slicing, smooth the surface of each slice by gently rubbing with a finger that has been dipped in cornstarch. Rinse the cornstarch off of the cane slices and let them air dry before gently pinching the corners with your gloved fingers. Use your thumb and forefinger to exaggerate the four corners on each slice.
21. Lay both slices on the work surface with the inner side facing up. You will now form a “trench” for the Buna cord to lie in. Using the marks you made with your needle tool as a guide, lay the needle across the slice and gently press down forming a trench. Make two trenches in each slice, which will match up and form a hollow tunnel when the two sides are put back together.
23. Form stopper beads by rolling two large pea-size balls out of some of the matching scrap clay. Bake the stopper beads and Buna Cord filled pendant according to the manufacturer’s instructions. When cool, drill a hole by hand into the core of the beads with a 3/2” drill bit. Place a small dab of super glue on the tips of the Buna cord and then slide the stopper beads in place. Remove the rhinestone from the pendant then glue it back in place with a dab of super glue.
RESOURCES: Kato PolyClay, Nu-Blade,
lucite clay brayer: Prairie Craft Company, www. prairiecraft.com. Pasta machine, buna cord: Polymer Clay Express, polymerclayexpress. com. Acrylic block: Scrapbooking Supplies R Us, scrapbookingsuppliesrus.com.
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focal bead
POLYMER CLAY
Dancing Arcs Polymer Bead Ronna Sarvas Weltman
WHAT YOU NE ED • Clay-dedicated pasta machine or acrylic roller or brayer •Polymer clay: gold, green, blue, black, white, and brown •Tissue blade •Needle tool or bamboo skewer •Metallic powder •Small paint brush •Protective mask
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. R O H T U A E H T F O Y S E T R U O C S O T O H P R E H T O L L A ; N O S W A L M I J Y B O T O H P
Make a beautiul bead that is striking enough to stand on its own by creating the impression o movement within a simple design. In this bead,
4. Tear or cut the blended sheet o clay into a ew pieces, put them together, and blend again to achieve marbling. I the piece looks too bright green, add a bit o brown to tone it down.
the subtle complexity o marbling adds color movement, while the curved edges o triangular embellishments add a graceul flow to a shape that would otherwise be static. The gradations o the marbling and curves o the triangles give the bead a lively fluidity that is reminiscent o dance. Visual movement is heightened by adding metallic powders, which reflect light and add to the vibrancy o the bead.
Create a marble color blend 1. Create an olive color blend. Begin by gathering a bit o white, green, black, and blue.
5. Continue blending to orm a subtle marble efect, but don’t blend it too thoroughly because in the next step you will be blending it more.
Form a bead 6. Roll the clay into a round bead. Tip: It’s a good idea to orm the bead beore the clay is blended too well, because rolling it into a bead is going to blend it urther, and you don’t want it so well blended that you lose the marbling. You can always do a little more marbling to make your blend subtler, but you can’t go backwards i it’s blended too uniormly. I the blend isn’t quite subtle enough, flatten it with the pasta machine, the brayer or even your fingers, and roll a new bead.
2.Cut the clay into small pieces with a tissue blade, so you will be able to create a more evenly marbled bead.
3. Run the pieces through a pasta machine or roll with a brayer to blend the clay.
7. Now the marbling is blended enough to have some aesthetic subtlety but still has enough marbling to orm an interesting base bead.
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DANCING ARCS
8. Poke a hold into the bead. Gently grasp the bead with your nondominant hand and twist the needle tool back and forth with your dominant hand as you aim it at the middle of your index finger. Note: Be sure your index finger is placed exactly opposite the end where you’ve poked the hole. We all have little homing devices in our fingers that enable the point of the needle tool to aim straight for them. It’s all part of that eye-hand coordination thing. 12. Bend the tissue blade so it forms a curve. Cut out small triangles, slicing through the clay with the curved tissue blade. This will create triangles with curved edges, which adds a sense of movement to the bead.
9. After you’ve pierced a hole in the bead, feed the needle tool through the opposite side of the bead to ensure a smooth, clean hole on both ends of the bead. Keep the bead on the needle tool and set aside.
Create marbled triangle accents 10. To create a toned-down gold color, first gather some gold clay with a bit of white and black.
11. Run the pieces through the pasta machine. Be spontaneous! I only ran the colors through twice and loved the way the marbling turned out. You can run it through until the marbling suits you.
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Place triangle accents on the bead 13. Keeping the bead on the needle tool, gently place the triangle accents on the bead. By laying them on with a light touch, you can easily try out the placement and move them as necessary. When you’re happy with the placement, gently tap and smooth the triangle accents so they’re firmly adhered to the base bead.
Add metallic powder 14. Because metallic powders reflect light, they give beads a more “resonant” look. They will also make the marbling look subtler, since they add a sheer color layer. Caution: Metallic powders are dangerous to inhale, so always wear a protective mask around your mouth and nose when using them. 15. A little powder goes a long way, so use it sparingly. Using a small paintbrush, finely dust the bead with the metallic powder, adding extra powder to the sides of the
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triangles to give them a more finished look.
16. Bake your beads according to the manufacturer’s directions for temperature and for at least 40 minutes. RESOURCES: Bamboo skewers: Supermarket. All
other supplies: Dick Blick, dickblick.com or Michael’s, Michaels.com.
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pendant
POLYMER CLAY
Focal Frame Pendant Helen Breil
Nothing shows off your work better than an interesting frame. Create a customized insert for an antiqued pewter bezel called a Focal Frame, specially designed by Helen.
WHAT YOU NEED • 1 red Delica bead
• Cyanoacrylate gel glue
1 oz of light-colored (white,
• Santa Fe Red Piñata ink by Jacquard
• Needle tool
pearl, or light gray)
• Pearl Ex or Perfectly Pearls mica
• Craft blade
• Kato, Premo, or Fimo polymer clay:
1 oz of black polymer clay
• Pasta machine
• Verve Focal Frame with antique finish
• Gloss or varnish
• Toaster oven dedicated to non-food use
• 1 focal bead , about ¼” or 9mm in
• Liquid polymer clay
• Q-tips
• Cornstarch
• Rubber gloves
diameter 112
powders
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Prepare the focal bead This project uses an open-box bead filled with black polymer clay, and a red Delica has been embedded in the center o the clay. I using a ocal bead that does not require any “finishing” work, go to Step 2.
1. Condition your black clay. Roll it through the pasta machine on a medium setting (ourth largest setting). Place the sheet on your work surace. Apply a small amount o liquid polymer clay to the back o the red bead and place on the black clay so that the bead hole aces up. Using the end o your needle tool, push the bead partially into the clay. Position the box bead over the small red bead so that the red bead is centered in the box and press down firmly. Trim away the excess black clay around the box bead. Ensure the black clay is secured to the back o the box bead. Bake or 20 minutes at the manuacturer’s recommended temperature (Figure 1).
Create the starburst
2. The ront o the pendant insert will
. R O H T U A E H T F O Y S E T R U O C S O T O H P R E H T O L L A ; N O S W A L M I J Y B O T O H P
be light-colored clay and the back will be black. Condition the light-colored clay and roll out a small sheet at the third largest setting on your pasta machine. Do the same or a sheet o black. Stack them one on top o the other and put them through the pasta machine together on the largest setting. Put the sheet on your work surace, light color up. Cut the sheet to a 2 ¼” square. Make a starburst pattern, holding the needle tool at a 20° angle to the clay. Start by scoring a line top to bottom through the middle o the sheet and doing the same side to side, creating a cross. Bisect each o the resulting 4 squares in the same way. Once the lines become airly tight you might find it easier to create the lines working rom the center out to the edges. Don’t worry about being too neat through the middle. It will later be hidden by the ocal bead (Figure 2).
Attach clay to focal frame
3. The clay will need to be removed rom the Focal Frame ater baking, so you need to apply a release to prevent the clay rom sticking to the metal. Apply some cornstarch to the inside edges and back o the
rame. Place the Focal Frame over the clay, centering the starburst in the opening, positioning the bail at the top. Pick up the sheet o clay and begin pressing it into the inside o the Focal Frame. Use your finger to push the clay rom the back o the rame up toward you. Work your way around the entire inside edge at least two times. Use your pinkie finger in the tight spots. Note: Be careul not to press on the clay so hard that it tears or bulges over the top o the metal. Remember, you will need to remove the hardened clay ater baking. When you’ve completed all the edges and the clay is nicely pushed up into the rame, also push up gently in the middle o the starburst area. The more the clay has been “pufed” out, the more pleasing the sunkenin efect that is achieved when the ocal bead is inserted (Figure 3).
Figure 1
Figure 2
Trim the back
4. Trim the excess clay rom the back with a crat blade. Work your way around each “arm” o the rame, leaving a small border on the rame as shown. Ensure the clay is pressed well against the metal rame (Figure 4).
Figure 3
Apply mica powers
5. Alcohol inks will be applied ater baking. They are transparent, so adding mica powder to the clay adds a pleasing glitter that will shine through the ink. Using a small paintbrush, apply a mica powder that is as close to the light clay color as possible. Don’t worry about the powder getting on the metal rame, it can be washed of ater baking. Figure 4
Apply the focal bead
6. The ocal bead will also need to be removed ater baking, but no release agent needs to be applied because the mica powder will act as a release agent. Put the pendant down on your work surace with the bail at the top. Center the ocal bead over the center o your starburst pattern. Press the ocal bead firmly and evenly into the clay, all the way down to your work surace. You should have a nice rounded cavedin efect. Place the pendant into the oven and bake or 45 minutes at the manuacturer’s recommended temperature (Figure 5).
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FOCAL FRAME PENDANT
Remove the components
7. To protect the rame rom the ink and gloss, you need to remove the clay insert. Once the pendant has cooled down but is still warm, careully remove the ocal bead using the needle tool to pry it out. Working rom the back o the pendant, use the needle tool to gently ree the clay, working your way careully around each “arm.” Once removed, wash the metal Focal Frame with warm water and mild soap to remove the cornstarch and mica powders.
Apply the ink
8. For this project, you will be using Santa Fe Red Piñata ink by Jacquard. The red inks are the most transparent and easiest to work with. Some o the other colors can be too dark, and the radiating lines efect can
Figure 5
be lost. But thinning these other colors with rubbing alcohol can help alleviate this problem. Note: These inks stain, so wear rubber gloves and put down several layers o wax paper or tissue on your work surace. Apply a generous amount o Santa Fe Red directly rom the bottle and use the tip o the bottle to disperse the ink. A ball stylus is also a good tool to move the ink around. Pick up the excess ink pooling in the ocal bead area or around the outside edges with a Q-tip or the corner piece o a tissue. Let dry or about 30 minutes or until dry to the touch. Apply another layer o ink. The color will deepen with each application. You want the ink to pool in the radiating lines so that the lines are darker and thereore more pronounced. Let dry completely. I desired, apply a third layer. Here, the clay has been temporarily placed
Figure 6
back in the rame to show the vibrant shine o three layers o ink, beore the gloss is applied (Figure 6).
Apply the gloss
9. Once the ink has been applied and dried, you need a protective coating. There are many glosses on the market that can be used. See www.glassattic.com/polymer/finishes.htm or a list o some polymer–clay– compatible glosses. My personal avorite is All Night Media Plaid Liquid Embossing clear gloss finish or paper. It has a gel-like consistency that allows me to control the gloss application. Also only one coat o gloss is necessary with this product. Note: This product cannot go into the oven and takes 24–48 hours to dry. To protect the rame, apply the gloss to the clay insert component only. Apply your chosen gloss or varnish over the ink. Note: Avoid dripping onto the outside border area. I the gloss builds up in this area, your clay insert may not fit back into your metal rame. Use multiple coats o gloss i necessary. Some glosses may also work as glue. I applied one coat o gloss, including the ocal bead area, and reinserted the ocal bead while the gloss was still wet as a means to secure it.
Glue the insert in place
10. Once the gloss is dry, put the finished Figure 7a
Figure 7b
clay insert into the rame and ensure it still fits. Use cyanoacrylate gel glue to attach the clay insert to the Focal Frame. Your pendant is complete! Here are two other Focal Frame designs with a slightly modified technique or the clay insert (Figure 7a and 7b). RESOURCES: Focal rames, polymer clay, alcohol
inks, mica powders, needle tool, pasta machine, blades: Shades o Clay, ShadesoClay.com. Squarebox ocal bead (and all other ocal beads shown): Beadx.com, product code: tc94-5653-60; Antique Rhodium Metal Bead Frame, Small Double Dot Square.
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necklace
METAL CLAY
Hammered Silver Pendant Jennifer Kahn
The two techniques, hammering the disk pendant and setting the stone, are presented in separate sections. As you make the pendant, I suggest working from one section to the other as parts are drying — but be sure not to mix up your clays. If you have each wrapped in Saran Wrap and you’re not sure which is which, examine the color: the light one is PMC+ and the darker one is PMC3.
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WHAT YOU NEED • Approx. 1 ⁄ 2 o a 28-gram package o PMC+® • Pea-size amount o PMC3 ® • Rolling tool • Deck o cards • Teflon® Paper cut into a ew 3” x 5” pieces (available rom kitchen stores) • 1 transparen transparent, t, heavy-weight plastic report cover cut into 3” x 5” pieces (available rom r om ofce supply stores) s tores) • Olive oil • Plastic circle template with 2” circle (available rom r om ofce supply stores) s tores) • Pin tool • Ruler • Tissue blade • Spray bottle • Saran Wrap® ® • 3 ⁄ 16 16” and 9 ⁄ 32 32” Kemper circle cutters
(available rom polymer clay supply stores) You can also buy pieces o brass tube rom hobby stores or cut them yoursel rom lengths o tubing. • Very round cocktail straw (don’t use one that is misshapen or has a seam) • Needle file • 400-grit sandpaper • Kiln shel • Kiln • Ball peen hammer • Steel bench block • 6mm almandine garnet • Tweezers • Slip container (small plastic flip-top container) • Palette knie • Salon board (cushioned nail boards) • Small watercolor brush
• Cotton swabs (several) • Brass brush or brass brush wheel on polishing lathe • 1 sterling jump ring or the bail • Liver-o-sulur or other patinating solution • Baking soda • 1200-grit micron polishing paper, or alternate polishing materials • .014 beading wire • Your choice o beads, I used spinel and garnet chips and Thai silver spacer beads • 2 sterling jump rings, soldered closed to finish the beaded strands • 6 sterling crimp beads, 2mm • Crimping pliers • 2 chain nose pliers • Sterling S-hook clasp
The Hammered Disk Although large in area, this piece does not use a lot o PMC+® because it’s rolled out to only a 2-card thickness. The disk gains strength because hammering work hardens it. It’s bold, but delicate and it’s an easy piece to make.
Rolling out the clay
. O G A F E I L E C F O Y S E T R U O C S O T O H P R E H T O L L A ; S I T N A S E D K N A R F Y B E C A L K C E N D E H S I N I F F O O T O H P
1 2 o a 28-gram package o PMC+ ® on a 3” x 5” 1. Place ⁄ piece o Teflon® with a stack o cards, 2-cards high, on either side. On top o that, place a lightly oiled, 3” x 5” cut out section o transparent heavy-weight plastic report cover. I prefer the thickness and durability of the report cover. cover. Also, after it has been used for awhile it no longer needs oil to prevent it from sticking to the clay. Roll over the clay/plastic “sandwich” a ew times.
Cutting out the disk 2. Oil the circle template and place it (with the 2” circle opening) on top o the rolled out clay. Holding a pin tool perpendicular to the clay, cut out the disk. Beore removing the template, line up 2 straight-edge tools (ruler, tissue blade, etc.) with the quadrant guides on the template, then use your pin tool to mark the center o the circle. Remove the template, spray the excess clay with water, then wrap it in a piece o plastic wrap.
Rotate the clay 90° — this will help yield a rounder shape. Roll it a ew more times. Remove the cover and lit the clay of o the Teflon®, reposition it, then resandwich it between the plastic and Teflon®. Roll a couple more times to ensure uniorm thickness.
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HAMMERED SILVER PENDANT
Cutting out the center hole and bail hole 3. Position a ter mark made on your 2” disk — accuracy is important here if you want your stone to be centered. I you’re having trouble centering the hole, try gently pressing down with the cutter to create an impression, then pull back up and check your accuracy. Based on the impression you’ve made, judge how to correct your circle (i it’s slightly of). Repeat until you have a sense o where to the cutter should be placed or it to be centered. Press Press firmly on the cutter; once you’re happy with its placement, remove it. I the circle you’ve cut stays in place, use a pin tool to lit it out. Dampen the circle and add it to your wrapped scrap. You will be using the same circle cutter to cut out the hole in your bezel, so keep it handy. After the disk has been been fired and shrunk 12%, you’ll find the hole will be smaller too; this works to your advantage — creating a nice shelf for your stone to sit on after you’ve set it in your PMC3 ® bezel. Using a cocktail straw or 3mm brass tube section, cut out a hole or the bail approxi1 8” rom the edge, anywhere on the mately ⁄ disk. Set the piece aside to dry. As an alternative, use a flex-shat, Dremel ®, or hand drill to make a hole in the PMC ® when it’s leather-hard. 3 ⁄ 16 16” circle cutter over the cen-
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Drying and warping naturally,, it won’t 4. I you let the circle dry naturally warp. However, i you try to hasten the drying in any way (putting it under a light, on a warmer, turning it over), it will most likely warp. Ultimately this is not a problem, as it will flatten during firing. But i you need to refine the shape ater it’s dried, it must be flat. To correct any warps, spray the disk lightly with water, wait 30-60 seconds (or until the water disappears rom the surace), then place the disk between 2 sheets o Teflon ®. Place the Teflon® / /clay clay sandwich under under a heavy book; ater about 15-20 minutes, the clay should flatten out. Once flat, place it on a piece o Teflon® or another 10 minutes to dry.
Refining the disk 5. Ater the disk is completely dry, use a needle file to refine the 2 holes made in the disk. Hold a ull or hal-sheet o 400-grit sandpaper in a curve in your hand. Sand the entire edge o the piece by moving up and down against the matching curve o the sandpaper. Rotate the piece every ew passes until you’ve sanded the entire outside edge o the disk.
Firing the disk 6. Put the disk flat on a kiln shel and fire at 1650°F or 10 minutes.
Hammering the disk 7. Place the disk on a steel bench block and hold it in place with one hand. Starting on one side o the disk, hammer with the rounded end o a ball peen hammer, rotating the disk until the entire piece is hammere hammered. d. Don’t hit the edges too hard or they will distort and get too sharp. I this does happen, file the edge smooth with a jeweler’s file. Hammering this way causes the disk to curve like a potato chip. I like this added dimension, but i you don’t — you can flatten the disk with a rawhide or plastic mallet. Your hammered disk is now ready to be joined with the set stone.
Setting the Stone After becoming frustrated with my usual method of stone setting (rolling out a small snake and joining the two ends around the stone), I started exploring other more ef-
pick up the stone and place it over the hole, then push the stone down with your finger. Place the clay rom the cut-out hole into a small container with a ew spays o water and put it aside — you’ll need it later or slip.
ficient options. I tried working with a PMC3® syringe — but it was messy, deformed easily, and I still had to deal with joining the two ends. So, I set out to find a way to solve the problem by capturing the stone in a continuous circle of clay. It seemed logical to roll out a layer of PMC3®, cut out a circle, cut out an inner circle for the stone, and then push the stone into place. However, the force of all that caused the bezel to buckle and sometimes tear. With some experimentation experimentation,, I developed this simple method for making a uniform, seamless bezel. Regardless of what size stone you’re working with, you’ll need two circle cutters (or pieces of brass tube, or straws). You need one that is slightly smaller than the outside diameter of your stone base and
Making PMC3® slip
one that is about 1mm larger in diameter
11. While the bezel is drying, make some slip by adding a little water to the clay in your slip container. Mix the water and clay together with a palette knie until it’s the consistency o icing, adding water as needed. Let the slip sit or about 20 minutes beore using it so the clay has a chance to absorb the water thoroughly.
than your stone. For this project, I used a 6mm (15 ⁄ 64”) almandine garnet cabochon, and therefore used 3 ⁄ 16” and 9 ⁄ 32” circle cutters. Here, I used a garnet, but I’ve also successfully fired moonstone and peridot in PMC3® as well.
3 ⁄ 16”
circle cutter 6mm garnet 9 ⁄ 32” circle cutter
Rolling out the clay 8. Roll out a pea-size piece o PMC3 ® 5 cards high, working in the same manner as you did in Step 1. It’s important to roll the clay to a 5-card thickness. This ensures the bezel wall will be tall enough to hold the stone in place after the shrinkage occurs during firing.
Cutting a hole for the stone 16” circle cutter 9. Cut out a circle with the 3 ⁄ 16 (same one used or cutting the center hole out o the disk in Step 3). Using tweezers,
Refining the bezel Cutting out the bezel 32” circle cutter over 10. Position the 9 ⁄ 32 the stone. Press down gently to create an impression then pull back up to check your accuracy. I it’s not centered, use the impression you’ve made as a guide to correct your circle — gently press down again. Based on a ew impressions, you should be able to accurately position the cutter and cut out the second circle which will create the bezel. Be sure to keep the cutter perpendicular to the clay — this will ensure a uniform bezel. And don’t worry if the set stone remains in the cutter, cutter, simply use the plunger to release it. Place the bezeled stone aside to dry. Put your scrap in the slip container and spray with water.
12. Once the bezel is dry, sand the edge careully with a salon board. You can correct any unevenness in the bezel wall (i you were slightly of when you cut the bezel out) with a salon board. Clean of any clay on the back o the stone by scraping it with a pin tool or your fingernail.
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HAMMERED SILVER PENDANT
Attaching the set stone to the hammered disk 13. First, paint thick slip generously onto the back o the stone and setting. Line up the bezel with the hole in the center o your disk, and then press down firmly to attach the two. Remove any excess slip with a clean paintbrush dampened with water. Turn the piece over, holding the stone in place, and clean the hole in the back with your dampened paintbrush. Turn it over again (rightside up) and set it aside to dry. Ater it’s dry, paint an additional layer o slip where the bezel meets the disk — so there’s no gap. This step is crucial to ensure attachment. Remove any excess slip with a dampened brush. Once the slip has dried, clean any residual clay rom the metal with a damp cotton swab; use a dry cotton swab to clean the garnet with a dry cotton swab. Be sure to clean the front and the back. It’s important that no clay remain on the stone so that light can pass through it.
Firing the set stone to the hammered disk 14. Place the pendant (ace up) flat on the kiln shel. Fire at the lowest PMC3 ® setting, 1110°F, or 30 minutes. Because stones are subject to thermal shock, it’s best to cool your piece slowly. The saest way to do this is to crack the kiln door open about an inch at the end o the firing cycle, then let it cool or an hour. The stone will appear black but will change back to its original color as it cools. Do not quench the piece.
Finishing the pendant 15. Burnish with a brass brush and a little soap and running water, or use a brass wheel on a polishing lathe (no soap or water). This process will not harm the stone. Add a sterling jump ring or the bail. To get a dark, rich, black on the piece, dissolve a pea-
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size piece o liver-o-sulur gravel in about 2 cups o hot water. Patinate by alternately dipping in liver-o-sulur then cold water until the piece is black. Give it a final rinse with cold water, then wash with hot water and baking soda. Pat dry. Polish of the high points on the surace with 1200-grit micron polishing paper wrapped tightly around your salon board.
Stringing the necklace 16. I chose beads that complemented my set stone, and strung several strands to balance the boldness o the disk. Cut three 16” lengths o beading wire (I used Sot-Flex® .014). String 1 silver or spinel bead, 1 crimp bead, and a jump ring onto one o your beading strands. Bring the wire back through the crimp bead and your silver or spinel bead. Make sure there’s no excess slack between the crimp bead and the jump ring — you don’t want it stif, just close enough to the jump ring so excess wire isn’t showing. Once everything is in place, compress the crimp with crimping pliers. Repeat this process to add the other 2 wires to the same jump ring. 17. For the first strand, string spinel chips with a garnet interspersed every inch. For the second strand, string inch-long sections o tiny, Thai-silver beads interspersed with spinel chips. For the third strand, string hal-inch sections o tiny, Thai-silver beads with alternating chips o spinel and garnet. Each strand was strung hal way, then modified slightly in the center to accommodate the pendant. Continue stringing each strand, matching the second hal to the first 18. To finish the necklace, add a crimp bead to the end o each wire and then pass all 3 wires through a jump ring. One wire at a time — go back through the crimp bead and a ew spinel or silver beads. Gently pull the beading wire to take up any excess slack — remember, you don’t want your necklace rigid, just very little excess wire showing. Compress your crimp bead with crimping pliers to secure the strand. Repeat or the remaining two strands. Add a handmade, sterling S-hook to your jump ring and your necklace is ready to wear. RESOURCES: PMC, garnet, jump rings, clasp,
wire, pliers, liver o sulur: Rio Grande, riogrande.com.
pendant
METAL CLAY
Two Views Lora Hart
Women are complex creatures. We have many moods. We experience diferent aspects o our personalities rom day to day, and everybody knows it’s a woman’s prerogative to change her mind. The design o this reversible necklace allows us to dress or success no matter which persona we’re trying to present. Display the sensuous Cattails side when you’re indulging your Bohemian spirit, and the gem-set Intererence side on days when you take yoursel more seriously. Either way you spin it, you’ll enjoy making and wearing this twosided pillow-bead pendant.
WHAT YOU NEED •18 gram package of PMC ®+ •PMC®+ Slip/Paste •Speedfire™ Kiln •Brass wire brush •Tissue blade or rectangular cutter •PVC pipe roller •Reusable Parchment Paper •Badger Balm® •1 ⁄ 4” round stencil brush •4 mm cubic zirconia cabochon of your choice •12 oz. glass jar •Ziploc® bag •1 ⁄ 2 cup rice •Reusable parchment paper •Interference Texture Tile •Cattails Texture Tile •Cruciferious 1 series Texture Tips
•Kemper™ Lilac Cutter Tool •Sturdy plastic covered paper playing cards •320-grit sandpaper •400-grit sandpaper •600-grit sandpaper •1200-grit sandpaper •X-Acto knife •Emery board •Ink pad •Index card •Pencil •Round cocktail straw •Wire brush •Patina solution •polishing pad or cloth •Tumbler (optional) •Toothpick or chenille pipe cleaner (optional) •Small piece ceramic fiber blanket
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pendant
TWO VIEWS PILLOW BEAD
1. Beore beginning the project, lay out all the necessary tools and materials in ront o you. Spritz some water onto your hands and apply a light coat o Badger Balm ® to seal in the moisture. Lubricate all the nooks and crannies o each Texture Tile and Tip by using a small stencil brush that has been tapped into the Balm. Make a nest or the jar to rest on so it won’t roll around. I used a Ziploc ® bag partially filled with rice. This bead consists o our parts: ront, back, and two sides. We’ll be making each part separately and assembling them ater they are bone dry. Because the very structure o a bead gives it more strength than a flat item, we’ll be able to make the walls o our project two-playing cards thick. But since parts o the Texture Tiles will make a deep impression in the clay, we’ll start out a little thicker.
2. Use the PVC pipe to roll out a sheet o PMC+ ® threeplaying cards thick on a piece o reusable parchment paper, then discard one card rom each pile. Place the clay on top o the Intererence Texture Tile with two playing cards on either side, and roll over the sheet again. Make sure to place the playing card spacers on top o the tile, not next to it.
Tip: Playing cards are manuactured in various thicknesses. I you know you are using inexpensive thin plastic cards, add one extra card to the number quoted. I you are using better quality plastic-coated paper cards, roll on.
3. Gently remove the clay and place it ace up on the parchment. Use a tissue blade or rectangular cookie cutter to cut a shape approximately 3 ⁄ 4” X 11 ⁄ 8” and drape it sideways across the glass jar.
. R O H T U A E H T F O Y S E T R U O C S O T O H P R E H T O L L A ; Y A R R U M D D O T Y B O T O H P
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4. Repeat Steps 2 and 3 using the Cattails Texture Tile and allow both pieces to dry. Since the exposed surace o the clay will dry aster than the side that is in contact with the glass, it will take over an hour to firm up enough to remove i allowed to air dry. To speed up the process, place the jar in a toaster oven or ood dehydrator on its nest at about 150° or ten minutes. Apply gentle pressure with your fingernail to check i the piece is ready to remove. I there is any resistance, wait a ew more minutes. When you can, take the pieces of the jar and allow the underside to dry completely.
5. Place a piece o 320-grit sandpaper flat on the table. Imagine a compass on the bead pieces with “north” at one o the short ends. Working with one hal o the bead components, place your fingers at the base and begin to move it back and orth across the paper. Caution: I you put any orce on the domed area it may break. I find that trying to sand flat edges on both sides o the rectangle at once can be challenging, so I like to concentrate on one side at a time, applying gentle pressure with my fingertips on the north end. Then, I’ll flip the piece around to sand the “south” side. Repeat with the other hal o the bead. Sand enough material away so that when joined together, they orm a knie-edge. Save the sanding dust to add to your slip jar.
6. Brush some water along the sanded edges o one bead part and ollow with an application o slip. Immediately wet the edges o the other part and join the two together making sure that the sides are aligned and that the designs are acing the correct way. Gently pinch the ends together to make sure you have a nice tight fit. Let dry completely and sand i necessary.
7. Once the two joined halves are dry, sand the open eliptical sides to make sure they will create a flat, level base for the sides. 8. Now let’s make a template for the “east” and “west” sides of the bead. Tap the east side on the inkpad and stamp the outline onto the index card. Use scissors to cut the shape outside the lines. Because the two sides may vary slightly, mark both the template and the side of the bead it is intended for with a pencil mark and repeat this step to make a template for the other side.
9. Roll out a sheet of clay three-cards thick. For contrast, the sides will be given a mirror finish so do not texture the clay. Place one template on the sheet and trace around it with the X-Acto knife. Repeat with the other template. Use an oiled cocktail straw to make a hole in the upper third of each side part and let dry thoroughly.
10. To attach the sides to the body of the bead, brush some water along the East side of the bead following with a generous application of slip. Immediately wet the inside edge of the appropriate flat piece and join the two together. Then use a paintbrush to smooth away any slip that oozed out of the join. Repeat with the other side and when dry, file as necessary to match the contour of the bead. We intentionally made these pieces thick so the next step wouldn’t compromise their integrity. Laying one side of the bead flat on top of the sandpaper, sand the surface with 400-, 600- and then 1200-grit sandpaper. Make about 8–12 passes with each grit. I like to use the 3M ® Tri-M-Ite® Polishing Paper sold by Rio Grande ®, but you can
also find sandpaper in fine grits at an auto body shop. Repeat with the other side and use your damp fingerprint to “sand” all the edges. Use a wooden toothpick to sand the inside edges of the holes and follow with 1200-grit sandpaper.
11. Before starting the next section, create four tiny balls of clay. Roll out some clay one-card thick. Use the cocktail straw to cut four circles. Cover three of the circles with a damp paper towel so they don’t dry out. Pick up one of the circles and roll it into a ball using the finger of one hand in the palm of your other hand, then set aside to dry completely. Repeat with the other three circles.
12. To make the appliqué for the stone setting, roll out a sheet of clay three-cards thick. Press the Quatrefoil Texture Tip from the Cruciferious 1 series into it, and make a hole in the center with a cocktail straw. Use a straw that is just slightly smaller than the circumference of the cabochon so if the appliqué stretches a bit when you move it onto the bead, the hole will still be a good size. Use the 5 ⁄ 8” Lilac Kemper’s ® cutter tool to cut out the Quatrefoil shape; the two shapes will not be a perfect match. Brush some water in the center of the bead on the Interference side, apply slip to the back of the appliqué, and place it on the bead. Press down on the appliqué with a barely damp paintbrush to make sure it is fully attached to the bead.
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pendant
TWO VIEWS PILLOW BEAD
13. Use a pair o tweezers to place the 4mm cabochon in the hole. It should fit perectly. I there is some space around the sides o the stone, extrude a line o syringe clay around it, making sure it touches both the setting and the stone, then dampen the syringed clay with a brush o water. Let dry and sand as needed. 14. Dampen a spot in one crotch o the Quatreoil appliqué. Use the tweezers to pick up a dry, tiny ball. Dip the bottom in slip, then place it on top o the dampened clay. Repeat with the other three balls. Let dry and sand as needed.
The stove itsel gets quite hot, so use the usual common sense precautions to guard against burning. Be sure to read and ollow the manuacturer’s operating instructions beore setting up and operating the kiln. The Speedfire ™ is designed to operate at a room temperature o about 70°, so set it on a table in ront o the window or place it on the kitchen stove and turn on the hood vent to disburse the burnout umes. Flames may rise above the ceramic fiber cone while the binder is burning of, but will be contained within the cone during normal firing. I placed a small piece o painter’s tape on the gauge at 1650° so I could make sure the temperature didn’t rise above the maximum.
15. Fire the pillow bead on a small piece o ceramic fiber blanket at 1650° or ten minutes. I used the Speedfire ™ kiln to fire my bead. This small, camp stove type kiln works perectly in my apartment and I like the act that it has a pyrometer to maintain the correct temperature.
Set a timer or ten minutes and read a bit o a good book, glancing at the temperature gauge every ew minutes. This firing system requires more monitoring than a kiln, but less than torch firing and gives more consistent results than the Hot Pot or stovetop firing.
16. Let the piece air cool beore wire-brushing the entire bead, then sand the sides to a mirror finish using 400-, 600- and 1200-grit sandpapers. 17. Paint black oxidizing patina on the ront and back with a clean brush, leaving the sides bright silver. Emphasize the texture by removing the patina rom high points with a polishing pad or cloth.
RESOURCES: PMC supplies: PMC Supply, pmcsupply.com;
Whole Lotta Whimsy, wholelottawhimsy.com. Kemper R Cutter Tools: Polymer Clay Express, polymerclayexpress.com. Texture Tiles: CoolTools US, cooltools.us.
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findings
METAL CLAY
Precious Findings Lora Hart
WHAT YOU NEED . O L R A C I D A N O D Y B S O T O H P R E H T O L L A ; S I T N A S E D K N A R F Y B O T O H P
•18-gram package o PMC+® •PMC+® syringe •PMC+® slip •20-gauge fine silver wire, 2" •Acrylic roller, or 6" piece o PVC pipe •Flat acrylic sheet, 21 ⁄ 2" x 6" (or CD case) •Plastic page protector sheet •Sheet o parchment paper •#3 or #4 round watercolor-type paintbrush •#000 or #18/0 round watercolortype paintbrush •Drinking straws •Cofee stirrer straw (approx. 3.5mm in diameter) •Round wooden toothpicks •Deck o playing cards
•Olive oil/Badger Balm® •Scotch® tape •Circle template and X-Acto ® knie or small circle cutter •Needle tool (optional) •Tweezers •Tissue blade •Round nose pliers •Flat nose pliers •Rawhide mallet (optional) •Stainless steel wire brush •Emery board •400-grit wet/dry sand paper •Shot glass •Graphite pencil •Tumbler (optional) •Plastic wrap •Moist towelettes •Styrooam® block
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project
PRECIOUS FINDINGS
Sometimes, finding the perect components or a special design can be challenging. By learning to create your own original findings, you can move your jewelry making skills to a whole new level.
Creating a seamless tube bead. 1. Divide the package o PMC+® into 8 equal pieces and set 1 piece aside. Wrap the remaining pieces in plastic wrap and place them under a shot glass to stay resh and moist.
2. Using a lightly oiled PVC pipe or round acrylic roller, roll the clay 2-cards thick on a piece o parchment paper. Cut the clay, using the tissue blade, into a rectangle 1 approximately 3 ⁄ 4" wide x 1 ⁄ 4" long. Wrap the remaining clay in plastic wrap and set aside.
4. Lightly smooth the seam; it will be perected ater the bead is dry. Be careul not to nick the clay with your fingernail or use too much pressure, you don’t want to mar the shape while the clay is wet. Set the tube aside (still on the straw) to dry, placing it on a toothpick that has been inserted in a block o Styrooam®. Repeat Steps 1–4 to make 4 more beads. Feel ree to vary the lengths, i you wish. Tip: Water + clay = slip. You don’t want to get water between the clay and straw as you work, because it will create slip — and when dry, this will make it difcult to remove the bead. Also, the outside o the tube bead will dry aster than the inside, so use this to your advantage.
5. Wait about 5 minutes and then remove the semi-dry beads rom the straw using a twisting motion, as i you were trying to unscrew something. Note: You don’t want the bead to dry completely on the straw because shrinkage may cause it to be impossible to remove without damage. Use tweezers to hold the straw while gently twisting o the bead. Let the inside o the beads dry thoroughly beore moving on to the next step.
6. Ater the beads have dried, check the seam both inside and out to see i you need to do any additional filling with the syringe. You’re going or a perectly smooth and even thickness outside, and a smooth surace inside; this will prevent any interior snags that could damage the stringing material. Set aside to dry and repeat as many times as necessary.
3. Wrap the clay rectangle around a lightly oiled plastic drinking straw, overlapping one end on top o the other. Using the tissue blade, trim the excess length so the 2 edges meet exactly. Brush a little water in the seam with the paintbrush. Extrude a line o syringe PMC+ ® on top o the seam and pat into place with the #3 or #4 brush, making sure the extruded clay fills any void.
7. Ater the bead has been adjusted and dried, use a dry piece o 400-grit sandpaper to even out the edges, smooth any roughness, and perect the seam. Switch to a moist towelette to smooth the bead perectly. Take care not to get the bead too wet, or remove too much clay. Let dry thoroughly beore moving on to the next step.
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Applying slip. 8. Place the bead on a straw or handle o a paintbrush while working with it in a dry state. To prepare the bead or the slip decoration, draw a design(s) all around the tube with a graphite pencil. Tip: To avoid having slip build up on your brush (which may create unsightly globs on your work), periodically wipe the excess o your brush onto a metal surace, like a needle tool. Later, simply remove the dry clay bits rom the tool and drop them back into your slip jar to reuse at a later time.
9. Dip the tip o the #000 or #18/0 watercolor brush into the slip and careully paint over your pencil designs. Let the slip dry thoroughly then repeat 7–9 times, building up to the desired thickness. Repeat this decorating technique with all the beads.
12. Wait 1–2 minutes so the surace o the coil can solidiy but not dry completely. Using the tissue blade, cut down the length o the coil to make individual jump rings. Gently slide the jump rings o the straw and press them into a perectly round shape, making sure the ends are touching. I the rings eel too dry, brush a generous amount o water over them, cover with plastic wrap, and wait or them to re-hydrate beore pressing into shape. They should look like tiny Cheerios ®. Let dry thoroughly. Fill any voids with syringe clay and let dry, then sand the entire jump ring smooth.
Attaching the jump rings. 13. You will be attaching 3 jump rings to 1 tube bead, and 1 jump ring to each o the other 2 tube beads. Make sure all o the components are absolutely dry beore joining. Using a nail file, create a flat space on the jump ring, at the seam. Dampen the flat section with water and a paintbrush, then extrude a small line o PMC+® syringe on the flat section.
14. While the extruded clay on the jump ring is still Making jump rings. I like to make lots o jump rings at a time and save them in a little container so they’re right there anytime I want to use them. You’ll need 5 or this project.
moist, dampen a place on the tube bead with your paintbrush. Using tweezers, afx the jump ring to the tube bead by pressing the two together. Repeat to add the other 2 jump rings to this tube bead.
10. Place a page protector sheet on your work surace. Using a lightly oiled, flat acrylic sheet or CD case as your roller, roll a very thin “wire” o clay about 3” long. Mine was 2mm in circumerence, but yours can be thinner or thicker depending on your design.
11. Using a #3 or #4 paintbrush, brush water on top o and underneath the clay “wire” to avoid cracking when you orm the jump rings. Repeat until the clay begins to move like a snake. Cover with plastic wrap or about a minute, so the water is absorbed into the center o the clay and doesn’t evaporate. Next, coil the clay around a lightly oiled coee stirrer, keeping each wind close to, but not touching , the previous coil.
15. Using the #3 or #4 brush, smooth away any excess clay that has squeezed out rom underneath the connection point. Let dry. Finesse the join with more slip, syringe, or sandpaper, as needed. Repeat Steps 13–15 to attach the last 2 jump rings to the remaining tube beads.
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project
PRECIOUS FINDINGS
Creating a toggle clasp. Beore beginning the clasp, we will need to prepare 2 wire connectors. Two diferent shapes work well or use in a clasp, a Ushape and an Omega-shape. I’ve made one o each type or the male and emale parts o the toggle clasp. You may use either, or both, or a design o your own.
Using flat nose pliers, bend the wire ends back on themselves until they’re horizontal.
wire to urther strengthen the join. Let dry completely.
Making the male part of the clasp. 8. Use your fingers and a lightly oiled flat acrylic sheet (or a CD case) to roll a wire o clay approximately 3.5–4mm thick on a page protector sheet. Cut the ends with 1 your tissue blade to create a log about 1 ⁄ 4” long, then cut a shallow slit in the center o the log to allow or easier insertion o the Omega-wire. Use tweezers to implant the legs in the slit, leaving the “O” exposed.
U-shape connector. 1. Bend a piece o wire over the tip o the round nose pliers, orming a U-shape. Cut the “U” to approximately 3mm long, measuring rom the top o the curve to the tip o the “legs.” 1 4. Cut the wire ends to approximately ⁄ 2”, rom tip to tip. Squeeze the tips o the legs to flatten, using flat nose pliers; this will make it easier to insert them into the clay. Rough up the legs o the Omega-shape with sandpaper beore implanting into the clay.
Making the female part of the clasp.
2. Flatten the tips o the legs on the U by squeezing with flat nose pliers. This will help the wire slide easily into the clay and ensure that it won’t pull out ater firing. Rough up the ends o the wire with sandpaper beore implanting into the clay.
Omega-shape connector. 3. This connector resembles the Greek letter “Omega,” an open circle with a splayed leg on either side. Wrap a piece o wire entirely around the tip o your round nose pliers.
5. Roll out a piece o clay 5-cards thick on a piece o parchment paper. Cut the clay 1 into a rectangular shape 3 ⁄ 4” x 1 ⁄ 4” using the tissue blade. 6. Using a template and X-Acto ® knie or a 1 circle cutter, make a ⁄ 2” hole in the top hal o the rectangle. Use tweezers or flat nose pliers to guide the wire into the center o the clay at the other end o the rectangle. Check both sides o the clasp to be sure the wire is properly embedded. I the legs are sticking out, remove and reinsert them or bury them with some additional clay.
9. Using a paintbrush, fill the void with slip and then gently press together. Careful! You don’t want to dis tort the cylinder shape o the bar. Let dry completely. I necessary, continue to fill the void with syringe or clay. Let dry. Sand both parts o the clasp smooth and then decorate with slip. Let dry. 10. Fire the tube beads and toggle pieces or 10 minutes in a 1650°F kiln. The clay around the Omega-wire will shrink during firing and this may cause the bar to bend slightly. I like this efect, but you can use a rawhide mallet to gently hammer the bar straight again, i desired. 11. Remove your pieces rom the kiln and let them cool completely. Burnish to a satiny finish with a wire brush, and i you have a tumbler, tumble or additional polish.
7. Using the paintbrush, paint some slip into the holes where the wire entered the clay. Allow the slip to travel up onto the
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RESOURCES: PMC materials and tools: Whole
Lotta Whimsy, wholelottawhimsy.com; PMC Connection, pmcconnection.com.
feature
PATINA 101
Patina 101 Lora Hart
Patinas are one o the simplest ways to change and enhance the look o any metal element included in your beaded jewelry designs. Store-bought findings can also be customized with a dip in home-brewed patina. The two most common ormulas developed or use with either sterling or fine silver (PMC) are liver o sulur (LOS), which creates an array o vibrant colors, and hydrochloric acid (HA), commercially sold as Midas Black Max, Grith Silver Black, and Vigor, which produces a black, antiqued surace.
Safety First! Use common sense saety precautions when using any chemical solution. Work in a well-ventilated area, wear eye protection, use tweezers or dental floss to hold the piece or dipping, and keep clear, clean water nearby in case o splashes. You can also use a thin brush to paint the patina in target areas.
r o h t u a e h t f o y s e t r u o c s o t o h P
Before Because fire and polishing compounds can afect the process, adding patina should be the last step when finishing metal. Make sure your piece has been soldered and cleaned o any dirt or grease, with alcohol or ammonia, beore you begin. Wear latex gloves to ensure that no body oils prevent the patina rom adhering to the metal or be sure to handle only the edges.
resh rom the kiln
cleaned, tumbled, and ready to patina
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Liver of Sulfur The dry dark-green nuggets o liver o sulur (LOS) are light and air sensitive, and their efectiveness will deteriorate with prolonged exposure. Store LOS in a dark, airtight container (such as a brown bottle or black 35mm film container), and only make up as much solution as you will use in one session. Developing rom gold to brown to rose, violet, blue, and finally black, results appear more quickly when both the metal and solution have been heated. Dissolve a pea-sized piece o LOS in a cup o warm (never boiling) tap water and dip back and orth between the light yellow mixture and cool water until you reach the desired color. Dip one last time in very cold water to stop the progression. I you’re coloring many pieces at one time, prolong the workability o the LOS by placing it on a heating pad or cofee warmer. I it starts to look cloudy, it has lost its zip—pour it down the sink and start another batch.
gold
rose
When you’re satisfied with your oxidation, soak the acid-coated item in a mixture o boiling water and baking soda to neutralize. Ater use, you must dispose o the hydroHA with highlights removed chloric acid by clearly labeling the container and taking it to your local hazardous waste acility.
After I desired, remove the patina rom the high areas with a polishing pad such as Pro-Polish pads (the best in my opinion), and throw in a tumbler or a final high shine. Let the patina mellow naturally with wear or coat lightly with a sealant such as Krylon® Crystal Clear Acrylic Coating rom the art store or Futura® floor wax. Be aware that these treatments may slightly darken the appearance o the patina.
blue
Hydrochloric Acid This liquid solution should be used at room temperature in a wellventilated workspace. It is considered hazardous waste and must be handled with care. Pour about an inch into a dedicated, lidded, plastic dipping container. Use ull strength or a deep black color or dilute to achieve a lighter shade o gray. Add water, little by little, and test the result with a piece o scrap silver beore dipping your masterpiece. (Be sure to use tweezers as a dipping tool.)
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RESOURCES: Hydrochloric acid: Midas Black Max,
Gri th Silver Black, Vigor. Pro-Polish polishi ng pads: Whole Lotta Whimsy, www.wholelottawhimsy.com. Protective glasses, liver o sulur, jewelry tools, and supplies: Rio Grande, www.riogrande.com.
Bead by Bead
LEARNING THE BASICS ONE BEAD AT A TIME
Brick–stitched beads sit next to each other like tires flat on the ground, holes vertical. Repeated increases and decreases in brick stitch create a shape like a stepped pyramid. Like bricks in a wall, the beads sit over the space between two beads in a previous row, not directly on top of each other.
1. Always start brick stitch with a ladder: string 2 beads and pass through them both again so the working thread exits bead 2. Beads should lie flat, side by side. String 1 bead; pass up through bead 2 and down through the bead just strung, bead 3 (Figure 1). 2. Continue making the ladder to your desired width. Note how you circle around clockwise, then counterclockwise, with each new bead. Exit up from your last bead (Figure 2). 3. Always start a new row with 2 beads, which avoids exposing thread. String 2 beads and pass your needle under the thread loop that bridges between the last 2 beads of the previous row. Exit up through the second bead just strung and continue 1 bead per stitch. Note the natural increase in the new row, as the bead you just added sticks out beyond the previous row (Figure 3). 4. To decrease at the end of a row simply stop adding beads (Figure 4). 5. To decrease at the start of a row, string 2 beads and pass under the second thread bridge in from the end of the previous row (Figure 5). 6. To increase at the end of a row: after exiting the last bead, string another bead and pass again under the last thread bridge. Exit up through the new bead just strung. This makes a natural increase, with your new bead sticking out beyond the end of the previous row (Figure 6). 7. To increase at the beginning of a row: brick has a natural increase, as illustrated in Step 3 (Figure 7). 8. Alternating rows of increase and decrease creates an in-and-out pattern (Figure 8).
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Circular brick stitch is usually stitched around a center bead, with looping base threads around the center bead on which your stitching will grow.
1. Pass through your center bead twice, exiting the top. Separate the loops of thread to sit on opposite sides of the bead. 2. Always start a new row with 2 beads. String 2 beads. Pass under the thread loop and through the second bead strung. Snug the beads up to the center bead. 3. String 1 bead; pass under the thread loops and through the bead just strung. Continue to stitch 1 bead at a time around the center bead, back to the first bead strung. 4. Close the row by passing down through bead 1, around the thread loop, and out bead 1 again. 5. Start the next row with 2 beads. Pass under the thread “bridge” between the first 2 beads in the previous row; exit the second bead just strung. As you work larger rows, you may need to string 2 beads on the same thread “bridge” every few stitches to allow for the larger circumference of the row.
Peyote stitch works from side to side, usually in one direction. Most artists flip their work over for each row to stitch in the direction most comfortable for them.
1. Thread a needle with a comfortable length of thread. Pick up a stop bead and pass through the stop bead again. Pick up an even number of beads; these will make up the first 2 rows. This tutorial shows 6 beads across.
Tip: Run a long needle through every other bead to pull the first 2 rows apart, making the “in” and “out” beads easy to identify. Hold the needle in place with 2 pieces of tape or pieces of kneaded eraser.
2. Pick up bead 7, skip bead 6, sew through bead 5. Bead 7 sits directly over bead 6. 3. Pick up bead 8, skip bead 4, sew through bead 3. Bead 8 sits over bead 4. Pick up bead 9, skip bead 2, sew through bead 1. 4. Pick up bead 10, skip bead 1, sew through bead 9. When you reach the end of the row, just pick up another bead and sew back in the opposite direction, as you did in Step 2 with bead 7. Remove your stopper bead and the needle when you feel comfortable doing so.
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Easy turning method!
Here’s a cool trick to make odd-count peyote as easy as even-count peyote. String the first 2 rows (beads 1 -5). String the first bead in the next row (bead 6) and work peyote stitches back toward the tail (bead 7). Pass on a diagonal through the last 2 beads in the previous row (beads 2 and 1). String the first bead in the next row (bead 8) and simply loop around through the bead below (bead 1), exiting through the bead just added (bead 8). That’s it! Continue in peyote, making this loop turn to connect the new bead each time you return to the tail end of a row.
On a piece of flat peyote, every other bead on each end sticks out, resembling the teeth of a zipper. You need an even number of rows to have the teeth fit into each other when the sides of the piece are brought together.
1. To stitch a piece of flat peyote into a tube, position the thread so that it
exits the end “out” bead on one side of the piece (bead 1). 2. Pass through the corresponding “end” bead on the other side of the piece (bead 2). 3. Continue stitching through the end beads, alternating from side to side until the piece is closed. 4. Weave the end thread and the tail threads back into the piece following existing thread paths to secure.
Even-count tubular peyote makes horizontal rings. You can work clockwise or counterclockwise around your tube.
1. Thread the needle with a comfortable length of thread. 2. String an even number of beads and tie into a circle
with a firm knot (Figure 1). 3. Go through the bead next to the knot and begin adding beads as you would do in flat peyote.
Figure 1
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even-count tubular peyote cont’d
4. Each time a row ends, go through the last bead of the
previous row (a) the first bead of the current row (b) and than add a bead (c) to start the next row. This is called a “step up” or “step down” (Figure 2). 5. You may find that placing the ring of beads on a tubular support, such as a dowel or straw, will be helpful.
Figure 2
Right-angle weave, commonly referred to as RAW, works best with rounded, donut-shaped seed beads, not cylinder beads. Learn the rhythms of this popular stitch here, then try all of the great RAW projects in this issue!
1. Thread your needle with a comfortably long piece of thread;
about 24” should be plenty for this tutorial. Leaving a 6” tail, string beads 1, 2, 3, and 4, alternating colors A (gold), B (blue), A, and B. Tie the 4 beads in a snug circle and knot the thread below bead 1. 2. Sew in a clockwise direction through beads 1, 2, and 3 (Figure 1). 3. Pick up 3 new beads, beads 5, 6, and 7, alternating colors again so bead 5 is B, bead 6 is A, and bead 7 is B. Sew counterclockwise through beads 3, 5, and 6. You should be exiting out the top of bead 6 (Figure 2). 4. Continue to pick up beads alternating colors, following the illustrations. Pick up 3 new beads, beads 8, 9, and 10. Sew clockwise through beads 6 and 8. Notice how with each new set of beads your stitch direction alternates from clockwise to counterclockwise. Notice also how the color A beads sit so the holes are vertical, while the color B beads sit with their holes horizontal. The beads sit at right angles to each other (Figure 3). 5. To add a new row, you will change direction again. Pick up beads 11, 12, and 13. Sew counterclockwise through beads 8, 11, 12, and 13. Stitch clockwise through bead 7. Now pick up 2 new beads, 14 and 15, and sew clockwise through 13, 7, and 14. Pick up 2 more new beads, 16 and 17. Stitch counterclockwise through beads 2 and 14 and exit through bead 16 (Figure 4). 6. Repeat Step 5 at the end of each row and make this practice piece as long as you like. You may even stitch enough for a bracelet! Finish off your last row with a discrete knot, weave the tails back into the piece, and trim the ends. Stitch on the clasp of your choice.
Figure 1
Figure 2
Figure 3
Figure 4
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If you’re familiar with flat RAW, you’re ready for cubic RAW. Imagine a child’s block with 6 sides. Each side is made of a unit of 4 beads sewn in RAW. Beginning with 3 units of flat RAW, you will join the sides into a tube using common beads, and do the same to the top and bottom forming a 6-sided cubic unit of 12 beads.
1. Start with a comfortable length of thread on your needle, about 24”. String beads 1 –4 in alternating colors as shown, leaving a 6” tail. Tie a knot and pass through beads 1 and 2 again (Figure 1). 2. String beads 5 –7 counterclockwise in alternating colors as shown. Pass through bead 2 from the previous unit and pass through beads 5 and 6 again (Figure 2).
Tip: RAW stitching always alternates direction around the circle of beads, clockwise to counterclockwise.
3. String beads 8 –10 clockwise in alternating colors as shown. Pass through bead 6 from the previous unit and pass through beads 8 and 9 again (Figure 3). 4. Stitch these 3 units into a tube by stringing bead 11 and passing through bead 4 of the first unit. String bead 12 and pass through bead 9 of the third unit. Continue to pass through bead 11. Snug up the thread to make a wobbly tube (Figure 4). 5. Hold the cube so that the side with bead 11 (the bead that the thread is exiting) faces you. You will see 4 beads of the same color that are not stitched into a unit. Pass through beads 3, 5, 10, and then 11 again. Snug up the thread, and your wobbly tube will begin to feel more sturdy (Figure 5). 6. Pass through bead 4 on the corner and bead 12 on the opposite side of the cube (Figure 6). 7. Here you will see 4 more beads of the same color that are not stitched into a unit. The thread is exiting bead 12. Stitch these 4 beads into a unit by passing through beads 8, 7, 1, and 12 again (Figure 7). 8. Pass through beads 12, 8, and 7 again. Your cube should be feeling firmer now. Exit bead 2 (Figure 8). 9. Begin the second cube by stringing beads 13 –15 in alternating colors as shown. This unit shares bead 2 with the first cube. Pass through bead 2 and then through beads 13–14 again (Figure 9).
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cubic RAW cont’d
10. String beads 16 –18 in alternating colors as shown.
Pass through bead 14 again to make unit 2 of the second cube. Pass through beads 16 and 17 again (Figure 10). 11. String bead 19 and pass through bead 4 of the first cube. String bead 20 and pass through bead 17. Continue around by passing through beads 19, 4, and 20 again. Snug up the thread (Figure 11). 12. Turn the cube so that bead 20 faces you. Pass through beads 1, 15, and 16. Continue to pass through beads 20, 1, and 15 again. Pass through bead 14 on the corner (Figure 12). 13. Turn the cube to the other side. Pass through beads 18, 19, 3, and 13. Continue to pass through bead 18, and then through bead 17 on the corner (Figure 13). 14. Repeat Steps 9–13 to create more cubes.
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Square stitch lines beads up one on top of another, like loomed work. You pass through each bead several times, so be sure your bead holes will accommodate your needle and several passes of thread. Cylinder beads are great for square stitch. Your thread shows on the outer edges or your work, so choose a thread color accordingly.
1. String 4 color A beads (these are your core beads) and 3 color B
beads (these will be the outside beads, which spiral around the core beads). Bring your needle back up through the 4A to orm a loop. Pull tight, keeping the B (outside) beads to the right (Figure 1). 2. Pick up 1A and 3B. Bring these beads down to your beadwork and pass your needle up through the last 3A and the new A bead just added (Figure 2). 3. Flip the B beads to the right, pushing them next to the previous row. 4. Repeat Steps 2 and 3, continuing in spiral stitch to any desired length. The spiral becomes evident ater about the ourth row and will keep “stepping up” as it moves around your core beads (Figure 3). 5. To inish o, knot discretely and weave the end and tail into the piece. To create an endless circle, match the core bead ends together and stitch through existing thread paths several rounds into the piece. The spiral rounds should “step up” into each other naturally. Knot in an inconspicuous place and weave ends into the piece.
When you have about 6” o thread remaining, weave it into the beadwork, tying discrete hal-hitch knots between beads. Note where you are leaving of so you’ll know where to start your new thread. Trim the thread careully. String a stopper bead leaving a 6” tail and exit in position to continue; remove the stopper later and weave in the tail.
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For this tutorial, you will work of a base row as in a singlestrand necklace. The base row beads (a - j) are shown slightly larger. The netted sections are numbered (1 -68), and the intersecting beads are shown in gold.
1. String a base row o 10 base beads on a short piece o prac-
5. Pick up bead 1G (bead 25) and 2B (beads 26 and 27).
tice thread. In an actual project the ends would be attached to your clasp. For this tutorial, attach a bead stop or tape to each end o the thread to prevent the beads rom sliding o. 2. Cut a new piece o thread that is at least 24” long. Attach one end o the thread to the stop or tape on the let side o the base row. You will be working rom let to right. Thread a needle onto the ree end o your working thread. On the base row, pass through bead (a) rom let to right. String 13 beads alternating 1G (gold) and 2B (blue) beads. 3. Pick up bead 14 (B) and go back through bead 13 (G). Pick up 2B (beads 15 and 16), 1G (bead 17), and 2B (bead 18 and 19). Go through bead 7 (G), the irst intersecting bead. Pick up 2B (beads 20 and 21), 1G (bead 22), and 2B (beads 23 and 24). Go up through bead 1, another intersecting bead. 4. Moving rom let to right, go through beads (b) through (e) in the base row, exiting bead (e).
Go down through bead 22, an intersecting bead. Pick up 2B (beads 28 and 29), 1G (bead 30), and 2B (beads 31 and 32). Go down through bead 17, another intersecting bead. 6. Pick up 2B (beads 33 and 34), 1G (bead 35), and 1B (bead 36). Go up through bead 35 (G). Pick up 2B (beads 37 and 38), 1G (bead 39), and 2B (beads 40 and 41). Go up through bead 30. 7. Pick up 2B (beads 42 and 43), 1G (bead 44), and 2B (beads 45 and 46). Go up through bead 25 (G). Moving rom let to right, go through beads () through (i) in the base row, exiting bead (i) to start your next section o vertical netting. 8. Once you eel comortable with this technique, try varying the size, color, or style o intersection beads and base beads, and the number o beads within each section.
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Many of us have made “daisy chain” beaded jewelry at some point in our lives, a simple application of circular netting. The term “circular” may appear misleading, for the shapes created may look like a 6-pointed star or snowflake; however the stitch is worked around and around in a circular manner.
1. Thread your needle onto a comfortably long piece of thread;
about 24”. Leaving a 6” tail, string 6 beads and tie in a snug circle, with the knot between beads 1 and 6. This is Round 1. Exit through bead 1 (Figure 1). 2. Round 2: Sew clockwise picking up new beads between each bead on the central circle. Pick up bead 7; sew through bead 2. Pick up bead 8; sew through bead 3. Pick up bead 9; sew through bead 4. Pick up bead 10; sew through bead 5. Pick up bead 11; sew through bead 6. Pick up bead 12; and since this is the end of a round, you “step up” to start the next round by sewing through beads 1 and 7 (Figure 2). 3. Round 3: Continue working clockwise, making loops of beads that bridge the space between the beads in the round you just added. For this round, pick up 3 beads in each loop (or however many will fill the space). With the needle exiting bead 7, pick up beads 13–15 and sew through bead 8. Pick up beads 16 –18 and sew through bead 9. Pick up beads 19 –21 and sew through bead 10. Pick up beads 22 –24 and sew through bead 11. Pick up beads 25–27 and sew through bead 12. Pick up beads 28 –30 and sew through bead 7, then continue to step up for the next round, through beads 13 and 14. Exiting bead 14 puts you in the middle of the loop (Figure 3). 4. Round 4: This round will require larger loops of beads. Try 1 loop first to determine how many beads will keep the piece lying flat; larger loops will create a ruffle, but too few will pull the work and make it “cup.” Tip: It helps as a beginner to make loops an odd number of beads so you have an actual middle bead to exit in each loop. In the illustration there are 5 beads in this final round. Pick up beads 31 –35 and sew through bead 17 (the middle bead in the next loop). Pick up beads 36 –40 and sew through bead 20. Pick up beads 41 –45 and sew through bead 23. Pick up beads 46 –50 and sew through bead 26. Pick up beads 51 –55 and sew through bead 29. Pick up beads 56–60 and sew through bead 14. Finish by weaving the working end of the thread through existing thread paths and back to the tail end. Make a knot with the tail and working thread and weave both ends into the piece. Carefully trim the ends close to the beads (Figure 4).
Figure 1
Figure 2
5. Joining circles: Repeat Steps 1–3 as before, creating rounds
1–3. Round 4 will connect to the outer loops of the first circle. Work round 4 beginning with your thread exiting bead 14. Pick up beads 31 and 32 and sew through bead 53 in the first completed circle (this acts as bead 33 in the new loop you’re sewing). The first and second circles now have a common bead. Pick up beads 34 and 35 and sew through bead 17 of the second circle. Pick up beads 36 and 37 and sew through bead 48 of the first circle (this becomes bead 38 of the second circle). Again, the first and second circle now have a common bead. Continue around the second circle to complete round 4 as before, ending with bead 60 (Figure 5).
Figure 3
Figure 4
Figure 5
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basic stringing and wireworking techniques crimp tube Crimping Crimp tubes are seamless metal tubes used to secure the end o a beading wire. To use, string a crimp tube and the connection finding (i.e., the loop o the clasp). Pass back through the tube, leaving a short tail. Use the back notch o the crimping pliers to press the length o the tube down between the wires, enclosing them in separate chambers o the crescent shape. Rotate the tube 90° and use the ront notch o the pliers to old the two chambers onto themselves, orming a clean cylinder. Trim the excess wire. Crimp beads are serrated metal beads. Twisted crimp tubes and crimp beads can be secured by squeezing them flat with chain- or flat-nose pliers. Crimp covers hide crimp tubes and give a proessional finish. To attach, gently hold a crimp cover in the ront notch o the crimping pliers. Insert the crimped tube and gently squeeze the pliers, encasing the tube inside the cover.
Pass Through vs Pass Back Through Pass through means to move your needle (or beading wire) in the same direction that the beads have been strung. Pass back through Knotting
overhand
square
hal-hitch
surgeon’s
best of step by step beads
crimp/ cord end
wireguard
Crimp/cord ends consist o a loop attached to a tube. Dab the leather, plastic, ribbon, or other cord with jewelry glue, then place it in the crimp/cord end. I you’re using a crimp end, crimp it as you would a crimp tube. Wireguards provide a smooth metal channel to protect the stringing material rom chang against a connector. String a crimp tube, then pass up through one hal o the guard and down the other hal. Pass the guard and wire through the loop o the connector, pass the wire back through the crimp tube, snug the tube up to the guard, then crimp.
means to move your needle (or beading wire) in the opposite direction.
The overhand knot is the basic knot or tying of thread: Make a loop with the stringing material. Pass the cord that lies behind the loop over the ront cord then through the loop and pull snug. A square knot is the classic sturdy knot suitable or most stringing materials. Make an overhand knot, passing the right end over the let end. Make another overhand knot, this time passing the let end over the right end. Pull tight. The surgeon’s knot is a secure way to connect two threads: Wrap the two ends around each other twice, then wrap one around the other once in the other direction and pull snug. The half-hitch knot may be worked with two or more strands —one strand is knotted over one or more other strands. The knot may be worked rom right to let, let to right, or in a combination o the two.
Oxidizing Silver with Liver of Sulfur Always wear vinyl or latex gloves, work in a well-ventilated area (liver o sulur has an unpleasant odor that quickly dissipates), and careully read manuacturer’s directions when using chemicals. Wash all silver to be colored with soap and water. Mix liver o sulur nuggets in hot (not boiling) water according to manuacturer’s directions in a disposable container. Most suggest mixing 1 pea-size nugget or every 1 cup o water. A weaker solution will produce a lighter patina with warm hues; a stronger solution will produce a darker patina. For ease o dipping your silver into the solution, use 12" o beading or sewing thread to string the bead(s), chain, or finding(s) you wish to oxidize; tie the ends in an overhand knot. I coloring small items that cannot be strung (such as crimp covers), you will need to drop them in the solution and then quickly scoop them out with a plastic spoon.
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placing a crimp cover
Or, place small items on a paper towel and brush them with the solution; this method, however, oten results in uneven coloring. Dip the silver in the solution as many times as necessary to achieve the desired patina. I the silver becomes darker than desired, it can always be lightened later by bung or polishing. Rinse of the silver in cold water. To urther stop oxidation, dip the silver in a weak solution (1:4) o baking soda and water. Remove any threads you used to suspend the metal. Allow the silver to dry, then, i desired, use a polishing cloth or #0000 (extra fine) steel wool to buf and polish it. Store all used solution in the disposable container. Ater about a week, it will degrade enough to be washed down a sink (preerably a utility sink) with a lot o water. Contact your local hazardous waste acility or more inormation on disposing o the liquid saely.
flush/wire
round-nose
flat-nose
crimping
chain-nose
cutters
pliers
pliers
pliers
pliers
Wireworking
Metal wire comes in many finishes and gauges. The lower the gauge number, the thicker the wire. The hardness or softness of wire is called “temper.” Most wire comes in dead-soft, half-hard, and hard tempers. Unless otherwise noted, wire used in this issue is half-hard —the best temper for making strong loops and other shapes.
B
A
opening a jump ring head pins
eye pins
C
simple loop
D
E
double simple loop
wrapped loop
F
G wrapped-loop dangle
wrapped-loop links
H
I wrapped-loop bail
cone
J
A. Jump rings connect holes and loops. Open a jump ring by grasping each side of its opening with a pair of pliers; don’t pull apart. Instead, twist in opposite directions so that you can open and close without distorting the shape. B. Head pins are straight wires with a flat disc, ball, or other shape at one end. Eye pins are straight wires that end in a loop. C. To form a simple loop, use flat-nose pliers to make a 90° bend at least 1 2" from the end of the wire. Use round-nose pliers to grasp the wire after / the bend; roll the pliers toward the bend, but not past it, to preserve the 90° bend. Use your thumb to continue the wrap around the nose of the pliers. Trim the wire next to the bend. Open a simple loop just as you would a jump ring (see A). D. To form a double simple loop, make the 90° bend at least 1" from the end of the wire. Make a simple loop and continue wrapping the wire around the round-nose pliers to form two complete loops before trimming. E. To form a wrapped loop, begin with a 90° bend at least 2" from the end of the wire. Use round-nose pliers to form a simple loop with a tail overlapping the bend. Wrap the tail tightly down the neck of the wire to create a couple of coils. Trim the excess wire to finish. Make a double-wrapped loop by wrapping the wire back up over the coils, toward the loop, and trimming the wire tail at the loop. F. Dangles can be strung as they are, attached using jump rings, or linked to other loops. Use a head pin or eye pin to string the bead(s), then form a simple or wrapped loop. G. Link a wrapped loop to another loop by passing the wire through the previous loop before wrapping the tail down the neck of the wire. H. Wrapped-loop bails turn side-drilled beads, usually teardrops, into pendants. Center the bead on a 3" or longer piece of wire. Bend both ends of the wire up the sides and across the top of the bead. Bend one end straight up at the center of the bead, then wrap the other wire around it to form a couple of coils. Form a wrapped loop with the straight-up wire, wrapping it back down over the already-formed coils. Trim the excess wire. I. Use cones to finish a multistrand piece. Attach each strand of beads to a wrapped loop or an eye pin. Use the wrapped-loop wire or eye pin to string the wide end of a cone, covering the ends of the strands; form a wrapped loop at the tip of the cone that attaches to a clasp. J. To hammer, place your wire on a steel bench block or anvil. Use the flat end of a ball-peen or chasing hammer to flatten the wire, then use the ball end of the hammer to add texture.
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Contributors Meri Nash Aderhold is a competitive gymnastics coach and mom by day, and a jewelry artist by night. She has
Margie Deeb is the author o The Beader’s Guide to Color and The Beader’s Color Palette . Twice a year she publishes
been making jewelry or 10 years. Meri lives in Ridgewood, NJ with her husband, son, and golden retriever. See more o her work at moonlightrain.com.
the invaluable Color Report for Bead & Jewelry Designers in conjunction with Pantone, the world’s global color authority. She works with all kinds o beading methods, including on- and of-loom weaving and stringing. She is most known or her antastically colorul loom-woven pieces. Visit Margie’s website or her
Martha Aleo works in seed beads, polymer clay, glass, metal, and things she finds on the sidewalk. Her eature and project articles have appeared in Web publications, print magazines, and several books. She lives in Philadelphia with her husband Ken, and Plumpton, her eline housemate. Find Martha at
books, patterns, jewelry, inspiration, and more at MargieDeeb.com. Judy Dunn is a sel-taught artist, living in Acton, MA. She was drawn to working with polymer clay because o the rich
Lucy Arnold, has received numerous awards, and was
color and versatility o the medium, as well as its immediacy. While she is less involved in polymer clay these days, what she has learned about color rom polymer clay shows up in her work with fiber or with pastels.
eatured on HGTV. Her beaded jewelry, paintings, cards, and miniature antasy shoes can be seen at lucyarnold.com.
Lorelei Eurto is a sel-taught jewelry designer and co-
ornamento.wordpress.com and ornamentodeux.tublr.com.
Current art projects are updated at lucyarnold.blogspot.com.
Jana Roberts Benzon teaches workshops internationally, and sells her work at the Museum o Fine Arts, Boston, several other galleries on the East Coast, and in the Intermountain Region. Her articles and artist eatures have appeared in numerous publications. Jana creates rom her studio in the shadows o the majestic Wasatch Range Mountains in Utah. Helen Breil lives in Canada and has been working with polymer clay since 1997. She is a ounding member o the Southern Ontario Polymer Clay Guild and a member o the Toronto and Grand River Bead Societies. See more o Helen’s work at helenbreil.com.
author o Bohemian-Inspired Jewelry (Interweave, 2012). She is always trying new techniques and tricks to make unique jewelry. Working ull-time in an art museum, Lorelei is never more than a oot away rom beautiul artwork to inspire her designs. Read her daily blog at Lorelei1141.blogspot.com to see her latest designs, or shop her Etsy store at Lorelei1141.etsy.com. Lora Hart is the Artistic Advisor and one o 20 Senior Instructors or PMC Connection. Her work has been eatured in many books, magazines, and calendars. Her historically inspired jewels are sold in galleries and online. In 2010, Lora launched her Mentorial program to help creative entrepreneurs around the world discover, re-imagine, and refine their artistic voice; to learn more visit lorahart.com. Jordana Hollander is a sel-taught beadaholic. Her beadweaving designs have been published in several bead
Bonnie Clewans is an internationally known educator and designer. She has been published in numerous books and magazine, has served as a Consultant or Touchstone Crystal, and as an Ambassador or Create Your Style with Swarovski Elements.
Contact Jordana at
[email protected]. Purchase bead kits or finished bead projects at JordanaDreams.etsy.com.
Jenna Colyar-Cooper has enjoyed traveling the U.S. in
Anne Jackson and her husband Jim are currently an artist team living and working in southwestern New York State, making hand-turned woodwork with inlaid beadwork. Anne
the last ew years and has discovered a new passion or volunteering (although her passion or beads will never be
has been teaching beading or the past five years through a local shop called Imagine in Bemus Point, New York, some-
displaced!). Along the way she has learned to travel lightly, but keeps her beads and tools with her wherever she goes.
thing she has discovered that she truly loves to do.
Robin Cowart loves all styles o beading. She always encourages everyone who loves the crat to not be araid to try new stitches and styles. Robin enjoys lie with her amily and bead collection in Iowa.
Lynn Davy has been seed beading and writing projects or many years and has no intention o stopping anytime soon. She is inspired by the wildlie and countryside near her home in Dorset, UK. See more o her work at etsy.com/ shop/nemeton or nemeton.clara.co.uk.
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magazines and “best o bead books.” She is happily married with 3 wonderul daughters, and is a new grandma to Jack.
best of step by step beads
Jennifer Kahn was well-known artist Celie Fago’s apprentice and teaching assistant or nine years, accompanying her in her travels around the country and abroad. Jen has her own line o jewelry, which is sold at crat shows and in galleries across Vermont. See more o her work at jennierkahnjewelry.com.
Beth Kraft is the owner o Nordic Gypsy Beads & Jewelry in Rochester, MN. Her designs have been eatured in several national publications. She presents on Beads, Baubles, and Jewels and Bead.TV. Beth teaches bead weaving and wire work at several national bead shows and also at her store.
Carol Dean Sharpe has been the owner, designer, beader, inventory manager, and bookkeeper at sandfibers.etsy.com or the past six years. She specializes in creating peyote flatwork cufs (and the patterns or those cufs), with an occasional oray into brick stitch and right-angle-weave.
Visit nordicgypsy.com. Marilu Morency enjoys combining her skills in beadwork, painting, and fiber arts. She is a gallery artist and teacher, living with her amily in Southern Caliornia. Marilu’s beadwork has been on display at the Bead Museum, in Washington, DC. In addition to gallery and custom work, Marilu enjoys teaching others the art o beading.
Tracy and Allison Stilwell have been combining abrics, buttons, papers, ribbons, threads, paints, and any number o other materials or many years now. Wonderul quilts, dolls, postcards, reurbished chairs, jackets, jeans, and jewelry have all resulted rom those eforts. They both enjoy ollowing their creative bliss, running with sewing machines whirring, paints flowing, and threads weaving in and out o projects!
Melody Marie Murray is a bead artist specializing in
Cathi Tessier is the ounder o the Guild o American Bead-
sculptural peyote and interesting jewelry incorporating her own lampwork beads. She is currently experimenting
ers, a traveling movement o beaders who spread the skill o beadwork as an artorm. Cathi has traveled locally and
with ound pieces and the integration o disparate components into cohesive wholes. She lives in Oregon and sells
abroad, teaching bead classes or over 12 years at library ater-school teen programs, multi-cultural community pro-
her work at salamanderhouse.etsy.com. Follow her blog at salamanderhouse.blogspot.com.
grams, and home parties. Visit her website at lingeringbead. weebly.com or e-mail her at
[email protected].
Gabriëlle E. Neijman (Esther) lives in the Netherlands and spends her spare time seed-bead weaving. She sells her jewelry through her online store, GreenEnvyDesigns.nl, or visit
Patricia C. Vener is an artist and beadweaver who enjoys
her gallery, green-envy-designs.deviantart.com. To contact
vener-art.com, on her blog, Twitter, Facebook an page, in her Etsy shop (silverdragon.etsy.com), and soon, Zazzle, or
Esther, e-mail
[email protected].
manipulating light and shadow, and color and texture, to evoke a visceral emotional response. See Patricia’s art at
graphics on production items (shoes, mugs, prints, etc.). Carole Rodgers is an internationally-known designer, t eacher, and author. She is the author o 99 pattern leaflets and hundreds o magazine articles, as well as three ull-length beading books published by KP Books and our sel-published books on beading. Her newest book rom KP Books The Beaded Bracelet is due out in December 2011. To contact Carole, e-mail
[email protected].
Ronna Sarvas Weltman is a jewelry artist and the author o Ancien t Mode rn: Poly mer C lay + Wire J ewelry , and also polymer clay and wire jewelry DVDs. She is also a contributing editor to Step by Step Wire Jewelry magazine. Ronna teaches polymer clay, wire, and creativity classes in the United States and internationally. She lives outside Seattle, WA. Learn more about Ronna, her jewelry, and her workshops at ronnasarvasweltman.com.
Leslie Rogalski is an artist, editor, teacher, and media personality with a passion or creating jewelry. She is a Create Your Style with Swarovski ambassador and a design team member or Beadalon and John Bead Corp. She is the ormer editor in chie o Step by Step Beads and Beading Daily , and appears requently on Beads, Baubles, and Jewels and Jew elr y T V .
Pat Wexelblat’s work is getting more varied than ever, ater more than ten years playing with beads, clay, wire, and ideas, and she’s still having un doing it. Not only that, but she’s still married to her best riend!
Leslie is the creator o the original DoodleBeads DVDs, demonstrating top seed-bead techniques through her acclaimed teaching method.
Terri Wlaschin lives in the Rockville/D.C. metro area with her husband Pat and precious “pup” Raven. Her current
Tarlee Scholl is a member o The Hole Bead Shoppe Staf. She has been beading over seven years and loves working
muses are metal, gemstone, polymer clay, and artisan beads. Her shops can be ound at starseedjewelry.etsy.com
with crystals, pearls, and Lucies’. Lucies’ Branching Out is one project in a series o designs with the Lucies’ name.
and beads2die4.etsy.com. Terri can be reached via e-mail at starseedjewelry.etsy.com.
Tarlee sells kits and Lucies’ at theholebeadshoppe.com.
beadworkmagazine.com
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Bead store in historic downtown Branson, near the Bran son Landing. Direct importer of beads. Bulk strands, turquoise, coral, gemstone beads, pearls, glass. Findings, sterling beads, complete line of supplies, and friendly instruction. Custom jewelry. Open 7 days!
California San Gabriel Bead Co.—Arcadia www.beadcompany.com Beads, books, gourds, tools, workshops, metals, and friendly advice. Tue–Thu 12–9, Fri 12–6, Sat 10–6, Sun 12–5. 325 E. Live Oak Ave.
123 E. Main St.
New Mexico
(626) 447-7753
The Beading Heart of Santa Fe—Santa Fe
Illinois Ayla’s Originals Bead Bazaar—Evanston www.aylasoriginals.com Time stands still when you enter our sumptuous world of beads. Ext raordinary colors, shapes, and creative possibilities await. We welcome you with genuine service and helpful hands. Come and let your imagination run free. (877) 328-AYLA (847) 328-4040
1511 Sherman Ave.
Maine
www.beadingheartof santafe.com Largest selection of SEED BEADS in Santa Fe as well as numerous semiprecious strands, pearls, crystals, and Czech glass. We provide instruction and feature finished jewelry by well-known local artists. We offer weekly classes in a variety of techniques for all skill levels, and we car ry many pre-made kits. Our staff is friendly and knowledgeable and always welcome beaders to our “Community Table.” Mon–Sat 10–5:30. Email
[email protected] 939 West Alameda St.
Ornamentea—Raleigh
www.beadsonthekennebec.com
Advertisers Index Artbeads.com...............................................................c2 Beadalon.......................................................................9 BeadFX........................................................................51 Beadin’ Path, The.......................................................144 Cristina Leonard...........................................................51 Dreamtime Creations......................................................1 Ezel Findings................................................................51
333 Water St.
(207) 622-1666
Maryland www.mdbeadboutique.com Large variety of unique and quality semi-precious beads, Swarovski, lampwork, freshwater pearls, seed beads, findings. Precious metals, PMC, charms, and tools. Great prices. Free work tables. Classes. Parties. Share our synergy!
[email protected] 28 Solomons Island Rd. South
(410) 535-6337
Michigan
Texas Antiques, Beads & Crafty People—Pearland www.abcraftypeople.com Our crafty people can help with your selection from our full line of beadand jewelry-making supplies. Custom jewelry. Special orders welcome. Classes and parties. Mon–Sat 10–6. (S. of Houston) 2517 E. Broadway St.
BeadFX—Toronto
www.stonycreekbead.blogspot.com
2060 Whittaker Rd.
(734) 544-09 04
Missouri Plum Bazaar—Branson
(281) 997-3600
Canada
Stony Creek Bead & Gallery—Ypsilanti Twp.
Shiana..........................................................................51 Too Cute Beads..............................................................c3
(919) 834-6260
Bead Boutique—Prince Frederick
Rings & Things..............................................................27 Shipwreck Beads...........................................................39
www.ornamentea.com Visit us for our wide selection of beads in glass, stone, pearl, and metal with worktables, classes, and the most helpful staff anywhere. We also carry ar t clay silver, Kato c lay, glass-soldering supplies, paper-craft supplies, books, and unusual ribbons. We will be your favorite bead store! 509 N. West St.
Supporting the artist inside of you! Huge collection of Seed & Czech Beads. Bali, pearls, stones. Lampwork & Polymer Clay by MI artists. Classes, kits, books & so much more! I-94 to exit 183. South 1 mile. Tue - Fri 10-6, Sat 10-4, Sun 10-2 www.StonyCreekBead.blogspot.com
Fire Mountain Gems & Beads.........................................c4
(505) 988-8961
North Carolina
Beads on the Kennebec—Augusta Our customers say we’re the “best little bead shop in Maine.” An extraordina ry selection of beads, tools, supplies, books, and a friendly, helpful atmosphere. Birthday/bridal beading parties, classes for all levels. Tue–Fri 10–5, Sat 10–3.
(417) 337-7586 (PLUM)
www.beadfx.com A must-see destination. Open 7 days a week. Breathtaki ng selection, great prices, and knowledgeable, bead-obsessed staff. We are a full-service bead store with classroom, design area, and lampworking studio. From Art Glass to Zircon (Blue), Zoisite (Ruby), and Zinnias (Swarovski). New stuff every week. Crystals, Seed beads, Stone beads, Pearls, Sterling, Copper, Wire, Metal C lay, Tools—way too much to list! If you want it, we have it. If we have it, you want it. 128 Manville Rd., #9
www.plumbazaarbeads.com
e c n e i r e p e x
WIRE ART JEWELRY
CALIFORNIA-BASED JEWELRY DESIGNER SHARILYN MILLER presents 16 new wire bracelets, necklaces, pendants, and earrings. In Wire Art Jewelry Workshop , she shows you how to make each stunning gallery-level piece and offers expert tips on creating custom components and findings. Plus, get a bonus DVD of Sharilyn demonstrating each loop, twist, and bend for one-of-a-kind art jewelry.
includes instructional
DVD
Wire Art Jewelry Workshop Step-by-Step Techniques and Projects Sharilyn Miller 160 pages, 16 projects, 1-hour DVD
144
best of step by step beads
(877) 473-2323
t h e m a r k e t
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