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FREE TICKET

SPIKY BALLS

FUN TO

TO BIG BEAD SHOW! WORTH £7.50

MAKE

BEAD&jewellery APRIL/MAY 2018

ISSUE 85

£5.99

www.beadmagazine.co.uk

Fabulous! WE TALK TO TOP DESIGNER NIB BIT & EVA DOBOS WHO SHOWS US HOW TO MAKE A STUNNING NECKLACE PENDANT & RING

TRINITY

EDGAR LOPEZ

EARRINGS

BEADWEAVING

JOY OF SOUTACHE

ISSUE 85

HOT ON THE HIGH STREET

BEADWEAVING WIREWORK LAMPWORK PMC & MORE

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9 771750 163031

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contents www.beadmagazine.co.uk April/May 2018 l Issue 85 Bead&Jewellery magazine is published eight times per year by Ashdown.co.uk To reach us: Call +44 (0)1903 884988. Or write to: Bead&Jewellery, PO Box 2258, Pulborough RH20 9BA Great Britain email: support@ashdown.co.uk Website: www.beadmagazine.co.uk US office: Ashdown Inc., 68132 250th Avenue, Kasson, MN 55944, USA. Tel: 507 634 3143 email: usoffice@ashdown.co.uk Website: www.beadmagazine.net Editor: Vicky Roberts email: editor@beadmagazine.co.uk Editorial Director: Richard Jennings email:richard@ashdown.co.uk Advertisement sales: UK office: Maria Fitzgerald Email: maria@ashdown.co.uk US office: Sara Vix Email: sara@beadmagazine.net Design: Richard Jennings & Wendy Crosthwaite Subscriptions: UK: support@ashdown.co.uk US: usoffice@ashdown.co.uk ISSN 1750 - 1636. Printed in the UK. Distributed to the newstrade by Comag.

Subscription prices: Per year: UK £48.99 European and worldwide prices will be adjusted to local currencies. See online for details at www.beadmagazine.co.uk or please call +44 (0)1903 884988. All of our subscriptions are handled by us at B&J.

Reproduction in whole or part without the written permission of the publisher is prohibited. The written instructions, photographs, designs, patterns and projects in this magazine are intended for the personal use of the reader and may be reproduced for that purpose only. Any other use, especially commercial use is forbidden under law without permission of the copyright holder. All editorial contributions are welcomed by Bead&Jewellery but the publisher can accept no responsibility for loss or damage to contributions. Material is accepted solely on the basis that the author accepts the assessment of the publisher as to its commercial value. All material submitted is accepted on the basis that copyright of will be vested in the publisher who assumes all rights worldwide, in all forms and media. © Copyright ashdown.co.uk Postmaster: Send address corrections to Ashdown Inc., 68132 250th Ave., Kasson, MN 55944 USA. Canada Post International Publications. All rights reserved.

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Regulars

15 DELICATE BRACELET

6 BEADSTASH

Delightful bracelet you can wear everyday

12 COLOUR CRAZY

NIB BIT AND TRINITY NECKLACE Beautiful component necklace, that offers lots of options to your jewellery

20 HOT ON THE HIGH STREET

TALES FROM THE EAST Earrings full of eastern promise using metal clay and stone setting

The trends, the inspirations and the must try buys you’ll love

Colours that go together. Let us inspire you

Stunning bead embroidered necklace with draping chains.

34 DESIGNER PROFILE

We catch up with Edgar Lopez to see how his love of jewellery design has shaped his life

40

WE’RE TALKING ABOUT… Quadratiles and how we can use them

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42 QUEEN MARY EARRINGS

On the cover! These show stopper earrings will be sure to stand out in a crowd

54 ORIENTAL DREAMS CUFF

Stunning wirework cuff using beautiful jade beads and cabochon

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CRYSTAL BLOSSOM EARRINGS Swarovski encrusted flower earrings for that added bit of glitz to your spring wardrobe

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DRAGONS EYE BRACELET Miniduos, seed beads and crescent beads make up this stunning bracelet

MAKE ME TODAY, WEAR ME TOMORROW Easy to make cuff, with maximum impact SHOP PROFILE Get to know the lovely team at Gyöngysziget

82 WHERE IT ALL BEGAN

Becs Dean-Skinner tells us how she started her beading journey

Projects

8 UNICORN BALLS

A fun, spiky ball of happiness you’ll be addicted to making in no time

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64 PENNI PEARL NECKLACE

Learn how to weave ribbon with this pretty project

70 ROSA BARETETTE

Pretty hair piece that is ideal for weddings

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LOOMING WITH SHAPED BEADS A dazzling stepping stone pattern for all you loom lovers out there

78 FRAME IT

Go back to basics with seeds and pearls to make this lovely necklace

58

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“we make it simple...you make it special”

15 Welcome As I’m writing this, it’s freezing cold outside, and the only thing I want to do is curl up with my beads. Hopefully by the time you’re reading this spring will be starting to show, with tulips and daffodils bringing happiness and joy to everywhere we look. The other thing we’re also doing is getting ready for Spring Big Bead Show, which is a great time to stock up on all your much needed beads and jewellery supplies. Rather than give the designers a theme for this issue, we’re just having a celebration of beads and beautiful patterns. I think you’ll agree with me when I say you’ll be spoilt for choice with all the beautiful designs they’ve come up with for this issue.

Spring has sprung Firstly lets take a look at the designs that have been inspired by spring. Lets start with Deborah Hodoyer and her beautiful spring coloured bracelet using pretty

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pearls; it’s a must-have for everyday wear. Donna Sanders has designed a delightful spring bride inspired piece, which would also be lovely in matching bridesmaid colours. I’m bringing you my crystal blossom earrings, with matching bracelet instructions - sparkly flowers, whats not to love! Our Best in Show winner from the October 2017 Big Bead Show - Oonagh Gisbon, has treated us to a stunning wirework bracelet using jade beads and cabochon. Bringing in the wow factor is our cover design by Edgar Lopez. His Queen Mary earrings would not look out of place in the crown jewels. Becs Dean-Skinner has designed a fabulous spiky geometric ball and named it ‘Unicorn Balls’. I don’t know about you, but unicorns make me a very happy lady and this is definitely on my to-do list! Tracey Spurgin joins us with eastern inspired precious metal clay earrings, and Beadsmith Inspiration Squad designer Susan Sassoon shows us what to do with nib bits and trinity beads. This is a project to really get your teeth into.

Favourites Get yourself a cuppa, pop your feet up and have a read through our fab articles. Edgar Lopez tells us all about his life as a designer and his plans for the future. Regular contributor Zoltan Kisjuhasz shows us the other side of his business in his bead shop profile, and see ‘Where it all Began’ for Becs Dean-Skinner. We’ve also packed in all our regular favourites this issue, starting with an easy to make cuff bracelet in ‘Make it Today, Wear it Tomorrow’. ‘Hot on the High Street’ is a show stopping bead embroidered statement necklace, and ‘Colour Crazy’ is a fab double sided pendant in pretty spring colours. You can also catch up on all the latest must-have products to hit our stores in ‘beadStash’. I hope that you enjoy this issue, and that we’ve inspired you.

Vicky x

Vicky Roberts, Editor email: editor@beadmagazine.co.uk

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bead stash

THE TRENDS, THE INNOVATIONS AND THE MUST TRY BUYS

Sweet carousel ThreadABead is looking at a fun year of patterns and they have kicked it off with this stunning 3D Fairground Carousel Ornament, and of course like any good carousel it spins around! This pattern can also be made without the loop and tassel for use in a beaded village (see www. ThreadABead.com for all their fabulous 3D village buildings). The pattern is available from ThreadABead for £7.50 as a pattern download or use their Print & Post service to get the pattern direct to your door!

Demi delights Toho Demi Rounds are the latest addition to Jencel’s range of seed beads. Demi Rounds are a new bead from Toho. They are the same width as the round size 11s, just over 2mm, but about half the height at 0.9mm, giving a thinner profile. Demi Rounds work well with seed bead stitches, but also give a new texture when

Super sparkly Add sparkle and shine to your next jewellery project with these beautiful Sterling Silver charms. Made from solid 925 Silver, these stunning pendants are hallmarked for guaranteed high quality. Pendants vary in shapes and sizes suitable for a range of designs. Prices start at £1.39, visit www.beadsjar.co.uk for the full range.

Beautiful baroque cabochons We have introduced the range of Baroque cratered two hole cabochons to our Czech glass bead section. The range includes some beautiful backlit colours, which appear to glow from within as well as solid colours. These 7mm cabochons have two holes and are great for adding as spacers to your beaded chains, incorporating into your beadwork and are perfect in bead embroidery. Prices from £1.25 per pack of 10. www.stitchncraft.co.uk

we all

NEED

more b eads

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used on their own in a design, which allows for more creativity in your designs. They have the same size consistency and high quality of all the other Toho Seed Beads, and are available in size 11/0 and 8/0. Prices start at just 90p for 5 grams. Have a look at the selection of colours at www.jencel.co.uk

What’s on at Spoilt Rotten Beads? We’ve just released many more dates for our 2018 workshops, including this beautiful bead embroidered Robin workshop taught by Wendy Kean - taking place on the 27th October - places are filling up fast and tickets can be bought at www.spoiltrottenbeads.co.uk/jewellery-making-schoolevents Another key date for your diary is the 16th June for BeadFest - the Spoilt Rotten Beads festival of all things beady. A day packed with inspiration, free workshops, competitions, prizes and lots of beady fun. This year’s special guest is designer Jem Hawkes. Come and join us for this fun filled day.

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Competition winner The winner of our ‘Modern Romance’ competition is Hannah Walker with her lovely flower bracelet. The bracelet consists of several individual flowers made up of pip beads, superduo duets and size 11 seed beads. Congratulations Hannah! Would you like a chance to win a kit to make Vicky’s Crystal Blossom Earrings found on page 58. One lucky winner will receive this beautiful kit and all you have to do is send a high res photo of your favourite piece to editor@beadmagazine.co.uk by the 18th March and the kit could be yours. We look forward to seeing all your wonderful creations.

‘Home Sweet Home’ Needlecase Check out this beautifully decorated, fully operational Needlecase in the shape of a topiary tree and topped off with a gorgeous lampwork bird. The price for the full kit is £22.50 and is expected to be launched at the Oak Tree Crafts stand at the Big Bead Show in April. www.oaktreecrafts.com

Sparkly hill beads The new PRECIOSA Hill™ bead is a half-ball shape with a hole that goes from top to bottom, and the multiple facets enhance all the beautiful colours available. They come in two sizes - 6mm & 8mm, and the lower section makes it easier to sew around and to mutually link the bead with seed beads and other selected PRECIOSA Traditional Czech Beads™. Choose from the wide range of half-coatings and full-coatings to create your own collection. www.preciosa-ornela.com

Bigger is better

Luscious leaves Have you seen the new two hole leaf beads from the Old Bicycle Shop. Manufactured int he the Czech Republic, the leaves are 10mm by 7mm and are available in some lovely summery colours. The ones in the photo are a Gold Lustre and cost £1.75 for 20 leaves. They are available from www.oldbicycleshop.co.uk

Our plated large hole acrylic beads are made in the USA and are available in silver plate, gilt plate and copper plate. There are five sizes – 4mm, 5mm, 6mm, 8mm and 10mm, with hole sizes ranging from the 4mm beads (with a 1.8mm hole) to 10mm bead (with a 4.8mm hole). They are lightweight beads and are perfect for threading onto thicker stringing materials. Use them in kumihimo and chain maille designs, or just adding to jump rings. The beads are sold in two different quantities. As a guide to prices: the price for 4mm beads is £0.55 for 30, or £2.20 for 150 and the price for 10mm beads is £0.95 for 10, or £4.10 for 50 beads. www.beadsisters.co.uk

Pretty little paisley shape The 5x8mm zoliduo beads are a very distinctive and popular addition to Creative Beadcraft’s collection of multi-hole beads. The comma-shaped zoliduos have a left and a right hand version, which gives plenty of creative opportunities. Use just the left or right hand version to create lovely circular designs – they look stunning surrounding rivolis, or can make pretty flower motifs. Use both the left and right hand versions to create some

beautiful mirrored designs. They come in a lovely range of colours, including the popular matt metallics and subtle chalk shades. Creative Beadcraft offers very competitive prices which vary according to pack size. Wholesale prices are also available. For more information please call 01494 786924, email beads@creativebeadcraft. co.uk or visit www.creativebeadcraft.co.uk for details about their trade website.

VEIT! WELO

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BEAD-WEAVING

Unicorn balls Make yourself an exciting non-jewellery project that is fun to play with and looks like it should belong to a unicorn! DESIGNED BY BECS DEAN-SKINNER

You will need: n 12 x spike beads (size 7 x 17mm) (Jet lilac vega lustre) n 5g miniduo beads (lilac) (D) n 5g size 15 seed beads (pink) (A) n 2g size 11 seed beads (colour A) (lilac) (B) n 2g size 11 seed beads (colour B) (purple) (C) n Bead mat n Beading needle (size 12) n Thread (I use KO) n Scissors or thread-zap

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his super exciting project is a fun, spiky geometric ball that you can really get your teeth into. They look wonderful in all different colours and you can make one in a weekend for under £10. Becs originally made this design in all seeds and spikes, but decided to change it up using miniduos just for us. Having already completed my first ‘Unicorn Ball’ I can tell you they become addictive and I might even attempt to put one on a necklace. I also think they would look fab in a dish on the fireplace for decoration.

1 Pick up 1 spike, *3(A), 1(B)* repeat between * for a total of 5 times, then thread back through the spike to make a loop.

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3 Firm up the loop of beads around the spike by threading the opposite way through the (B) bead your thread was exiting in step 1. Continue threading through 3(A) and 1(B). Your thread is now exiting a (B) bead.

TOP TIPS

4 Pick up 1(A), skip 1(A) in the ring, and thread through the next (A). Repeat this around the spike, adding a total of 10(A) beads. Step up by threading through the first bead added in this step.

THREAD Try to match the colour of your thread to the colour of the miniduos TENSION Keep a tight tension for this project

2 Loop your seed beads over the flat end of the spike, thread through the middle (A) bead then thread back through the spike bead.

5 Pick up 1(A), skip 1(A) in the ring, and thread through the next bead in the ring (A). Pick up 1(B), skip 1(B) in the ring and thread through the next bead in the ring (A). Repeat this around the spike adding a total of 5(A) and 5(B) beads. Step up by threading through the first (A) bead added in this step.

6 Pick up 1(C), skip one bead in the ring and go through the next bead in the ring. Repeat this all around the spike, adding a total of 10(C) beads. Repeat steps 1-6 12 times. For 11 of the spikes, tie off and weave in the threads. For the 12th spike, step up through first bead added in step 6.

7 With the 12th spike: Pick up 2(D), go through the next (C), pick up 1(D), go through the next (C). Repeat this around the spike adding a total of 15(D) beads. Step up by going through the first (D) added in this round, then going through the unused hole in the (D) to change direction.

i

nspiration

I love geometric shapes, and find beadwork lends itself perfectly to some beautiful shapes. Sometimes 3D shapes don’t always lend themselves to jewellery, and this is definitely more of a plaything (not for children), than something to be worn.

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BEAD-WEAVING

8 The next stage is to join the spikes together using the (D) beads. The (B) beads on your beaded spikes mark the ‘corners’ of your ball/dodecahedron. First step is to add five beaded spikes around the 12th spike with the (D) ‘skirt’.

9 With your thread exiting a (D) bead, pick up one beaded spike, thread through 1(C), threading in the direction from a (B) bead to a (C) bead. Zip the two spikes together by threading through the next (D), the next (C) and the next (D). The diagram shows the thread loose, but pull yours tight, and keep the tension tight throughout.

10 To make a corner, pick up 1(D), go down through the other hole of the (D), and through the next (D) on the beaded spike. This leaves your thread in the right place to add the next spike.

10

11 Repeat steps 9 and 10 to add four more spikes and corners to your central spike. At this stage, the added spikes may be a little floppy, but will firm up when joined together.

12 To step up, you will need to make a ‘funky turn’; the diagram shows the thread path. This turn is used a lot in building up the structure. With your thread exiting the (D), go through 1(C), 1(D); turn to go through the other hole of the (D); go through 1(C), 2(D), 1(C), 1(D); turn to go through the other hole of the (D), 1(C), 2(D), 1(C).

BEAD NERD The unicorn ball is a dodecahedron, it has 12 sides, and each one is a pentagon with a spike in the middle. There are 20 corners; made up of a triangle of miniduo beads.

13 You will now add miniduos around the spikes added in steps 9-11. Pick up 1(D), go through the next (C), pick up 2(D) and go through the next (C). Repeat this around the spike until you join the central spike, then make the ‘funky turn’.

14 With your thread exiting a (C) bead zip the two spikes together by going through the first (D) and then the next (C) bead. Go through the next (D), pick up 1(D) and go through the next (C). Continue adding (D) beads all around the ball as in step 13 until you reach the beginning of this round.

15 To join the last two spikes, pick up 1(D), go through 1(D) from the first spike, and go through 1(C). Continue zipping the spikes together by going through 1(D), 1(C).

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BEAD-WEAVING

16 Make a ‘funky turn’ and work your thread so it joins two of the (D) in one of the Vs where two of the spikes join, creating a corner.

COLOURWISE Some of my favourite colour combinations: gold, pink and purple; turquoise, purple and copper; silver, black and red.

17 Attach another spike to the ball by going through 1(C) (from the direction of a B bead), continue zipping the two spikes together by going through 1(D), 1(C), 1(D). Pick up 1(D, go through the other hole in the (D) and then go through the next (D). This creates a corner, the same as in step 10.

18 Continue to add four more spikes in the same manner, zipping them on using the(D); adding an extra (D) or sewing two (D) together at alternate corners.

19 Make a ‘funky turn’ to get your thread in the right place to start adding the last round of (D) beads. With your thread exiting from a corner (D), pick up 1(D), go through 1(C), pick up 1(D), go through 1(C), pick up 1(D) and go through the next corner (D) and make a ‘funky turn’. Repeat this around the ring, finishing with a turn so you are ready to add the final spike.

20 Zip the final spike in place, lining up the (B) beads with the pairs of (D) which form the corners, working all the way around. Reinforce this thread path to keep the beadwork firm, then weave through the beadwork, making a few half-hitch knots as you go.

BEADLINK: beadsbybecs.blogspot.com I SS U E 8 5 n B E A D & J E W E L L E R Y

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COLOUR CRAZY

Flora pendant DESIGNED BY VICKY ROBERTS

1 Pick up 20(A) and tie a double over hand knot to make a loop.

I

n this feature, we’re going to be focusing on colour combinations. Sometimes it can be quite hard to work with multiple colours or to work outside of our comfort zone. With this in mind, I’ve decided to test out colours that we might not necessarily put together.

You will need: n 5g size 11 Seed Beads - Toho 121 (A) n 3g Size 15 Seed Beads - Toho Permanent Finish Rose Gold (B) n 2 x 8mm chaton - Moonlight (C) n 20 x 3mm Czech Rondelle - Luster Transparent Champagne (D) n 10 x Crescent Bead - Limpet Shell (E) n 20 x 3mm Bicone - Crystal abx2 (F) n 20 x 4mm Bicone - Crystal abx2 (G) n Chain n Fireline n Needle n Clasp

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For this issue I’ve decided to play with white, blue and champagne colours. Now, although these are not as ‘out there’ as some of the colours I use, I do find that it can be quite challenging to get the right balance when doing the more basic colours. There are many colours of beige to champagne and it needs to be the right shade to go with white in my opinion. I also think colours can inspire what we do to the design process. For this project, I was initially making up a pendant, but once the first side was done I knew that it would look amazing if you could see the same colours again on the other side. Thus, this two sided pendant was born. I would love to see what you create from this inspiration and to hear what some of your favourite colours are. Please send a high-resolution photo of your work to editor@beadmagazine.co.uk. Happy Beading!

2 Coming out of an (A) on your base row, pick up 1(A), miss the next (A) along on your base row and go into the next (A) along.

3 Continue adding (A) beads all the way around (this will give you 3 rows - an inside, a middle and an outside row).

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COLOUR CRAZY

Weave down into and (A) on the inside row.

4 Pick up 1(B) and go into the new (A) along on your inside row.

7 Coming out of an (A) on the middle row of (A) beads, pick up 3(B) and go into the next (A) on the middle row.

10 Pick up 3(A) and go into the next (D) along.

5 Continue adding (B) beads all around and the weave through to and (A) on the outside row, pick up a (B) and go into the next (A) along.

8 Continue step 7 all the way around. Step up into a middle (B) of a set of 3(B) from the previous round. Pick 1(B), 1(D), 1(B) and go into the next middle (B) of a set of 3(B) along.

11 Continue alternating steps 9-10 until you have 5(E) around your work. Come out of a (D) (this will be one that your (E) has just come off, so your next beads will essentially sit in front of the (E)), pick up 3(A) and go into the next (D) along.

6 Continue adding (B) beads all the way and then pop in your (C). Move through to a (B) on the row just added and pick up 1(B) and go in the next (B). If at this point your (C) is not sitting right at the back, go back through and add another row of (B) between the (B) beads.

9 Continue step 8 all the way around. Come out of a (D) bead and pick up 1(B), (E), 3(A) and go back into the other hole of the (E). Pick up 1(B) and go into the next (D) along. When you add your (E) bead, you want the curve to be on the top of your work.

12 Weave through the set of 3(A) from step 10 to the middle (A), pick up 3(A) and go back in through the middle (A) from the opposite side and weave forward through to the next (D).

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COLOUR CRAZY

TOP TIPS HOLE BLOCK Check all your holes before you start your project for any blockages TENSION Keep a firm tension through all of this project.

13 Continue adding (A) beads as in steps 11&12. Coming out of a (D) (this will be the one after you added the 3(A) in step 11), pick up 1(F) and go into the next (D) along and through the 3(A) afterwards.

14 Continue adding (F) beads all the way around and finish by coming out of a middle (A) added in step 12. Pick up 1(A), 1(G), 1(A) and go into the middle (A) bead above an (E).

17 Pick up 1(F) and go into the first 2(A) of the next set of 4(A) just added in previous round. Continue steps 16 & 17 all the way around and finished by coming out of a (B). Make another component from steps 1-15.

15 Continue step 14 all the way around. Now come out of an (A) before the (G) and pick up 4(A), jump the (G) and go into the next (A) after the (G). Weave through the next 3(A) along.

16 Continue step 15 all the way around, then move forward through 2(A) just added, pick up 1 (B) and go into the next 2(A).

18 To join the two components together come out of a set of 2(A) on your second component (this will be the last set of 4(A) added in step 15) and go into the (B) on component one from step 16, then go down the next set of 2(A) on component two. Go into the (F) on component one and back up the next set of 2(A) (from a set of 4(A)) on component two. Continue joining the two components together in this way.

SUPPLYSHOPS Stitchncraft Beads, The Studio, Chaldicott Barns, Tokes Lane, Semley, Dorset SP7 9AW Shop Tel: 01747 830666 Mail Order Tel: 01747 830666 www.stitchncraft.co.uk Jencel, Tel: 0114 250 9565 www.jencel.co.uk

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BEAD-WEAVING

You will need: n 6g seed beads in size 11° (Miyuki 574 - Dyed Lilac Silver Lined Alabaster) (A) n 128 x 4mm glass round beads in light green (B) n 0.5g seed beads in size 15° (Toho 141 ceylon snowflake) (C) n 20 x 4mm crystal bicones in light amethyst (D) n 2 x seed beads in size 8° (Toho 455 gold lustered pale wisteria) (E) n 1 x 14mm pewter flower shaped toggle clasp n 2 x 4mm silver tone jump rings Beading thread C-lon size D in chartreuse n Needle size 12 n Scissors n Flat nose pliers

Use right angle weave to make this smooth and elegant bracelet DESIGNED BY DEBORA HODOYER

delicate

bracelet

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his lovely little bracelet will make a wonderful addition to your daytime attire, but will still look good dressed up for an evening out. You can make it in just over a couple of hours and for around £10. Once you have understood the design, try experimenting with different colour schemes to match any outfit. For an added bit of sparkle try using 4mm fire polish beads instead of the round beads. I SS U E 8 5 n B E A D & J E W E L L E R Y

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BEAD-WEAVING

i

nspiration

I was inspired by right angle weave technique itself whilst I was playing with beads on my working table. I made first band and I had the idea to make another one and to join them using crystal bicones. Delicate and pale colours completed the design.

1 To make the first band of the bracelet we will work in right angle weave, using a total of 64 round beads. Use a comfortable length of thread (you’ll have to add some new thread during the work to avoid fraying). Pick up 1(A), 1(B), 1(A), 1(B), 1(A), 1(B), 1(A), 1(B) leaving a short tail. Pass back through all beads again to form a tight circle. Tie a couple of knots between the tail and the working thread, then weave through beads to reinforce the unit and exit from the rightmost (B).

2 Pick up 1(A),1(B), 1(A), 1(B), 1(A), 1(B), 1(A), pass through the (B) exited in the previous unit and weave through beads to exit from the rightmost (B) of the unit just added.

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3 Repeat step 2 nineteen times, to add a total of 21 units, then exit from the rightmost (B) of last unit added.

6 Repeat step 4 on this edge of the band, then fix the thread and trim it. Put this beadwork to one side.

4 Pick up 5(A) and sew through nearest 2(A).

7 Repeat steps 1-6 to make a second band.

5 Repeat step 4 to complete this edge of the band. Sew through leftmost (B) and exit from the following (A) set on the opposite edge.

8 Pick up one of the bands and add some new thread. Exiting from central (A) of a group of 5(A) added on step 4.

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BEAD-WEAVING

9 Pick up 1(C), 1(D), 1(C) and sew through central (A) of following group of 5(A) added on step 4.

10 Repeat step 9 adding a total of 20(D), then exit from the central (A) of leftmost group of 5(A) added on step 4.

13 Adding the first part of the clasp. Pick up 1(A), 6(C), 1(A) and sew through the (E) exited to form a beaded loop. Pass back through the loop to reinforce, then proceed through central (A) of the second band - this is highlighted in red on the diagram.

14 Continue weaving through following beads 1(C), 1(D), 1(C) of the central embellishment added on step 10 and then exit from following (A) of second band this is highlighted in red on diagram.

11 Pick up the second band and lay it on your working surface next to the first band 15 Repeat step 14 to join the two bands, weaving through beads of the central embellishment and through central (A) of the second band. Exit from rightmost central (A) of the second band.

12 Pick up 1(E), pass up through mirror (A) of second band and down through the (A) exited. Sew back through the (E) just added.

16 Pick up 1(E), pass down through mirror (A) of first band and up through the (A) exited. Sew back through the (E) just added.

17 Add the second half of the clasp. Pick up 1(A), 6(C), 1(A) and sew through the (E) exited to form a beaded loop. Pass back through the loop to reinforce and then weave through a few beads. Finish and trim the thread.

18 Use an open jump ring (open it using the flat nose pliers) to attach one half of the clasp to the loop on both sides of the bracelet.

SUPPLYSHOP Perles & Co - www.perlesandco.co.uk

BEADLINK: www.etsy.com/shop/CrownofStones I SS U E 8 5 n B E A D & J E W E L L E R Y

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  

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ADDING A LIT TLE LUXURY TO YOUR DESIGNS

Beads

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Bead Mag - June-July_Layout 1

    08/05/2017 17:28 Page 1

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SPECIALWHOLESALEPRICES 18 18_BEAD 85.indd 18

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Retail and trade

7,500 products including zoliduos, bow beads, CzechMates, Les Perles par Puca, nib-bits, cali beads and diamonduos. We stock Preciosa, Matubo, Toho and Miyuki seed beads and Swarovski crystal

Quality products at very competitive prices

www.creativebeadcraft.co.uk 01494 778818 • beads@creativebeadcraft.co.uk

Established Established 1920 1920 I SS U E 8 5 n B E A D & J E W E L L E R Y

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HOT High St. ON THE

Welcome to our feature of projects that have been inspired by what’s available on the high street

I

’ve spent many an hour pouring over magazines and looking at high street shops, to see whats about for this season. I can tell you, statement pieces are everywhere. Multiple stranded, embroidered and flower necklaces are just some of the pieces that are available. So here is my take of a version that is easy to make, but bang on trend! I decided to use a piece of bead embroidery as the main part and then use rows of chain to give it the statement feel. If the chain isn’t your thing you can stop after the embroidery and either add chain for the necklace part, or a beaded rope. Whatever you decide to do, this show stopper will be sure to get you noticed. I have used lots of beads to show all the different rows of beads, but you could pick a colour way of not as many colours or beads. Bead embroidery is down to personal preference.

2 Working in peyote stitch, coming out of an (A), pick up 1(A), miss the next (A) along on the base row and go through the (A) after (this will give you 3 rows of peyote stitch). 1 Glue down your cabochon and then back stitch a row of (A) beads around this. We are going to bezel this cabochon, so the initial row will have to be even numbered. To back stitch we come up through the backing, pick up two beads and go down in front of them. Then come back up before the 2(A) and go through them. Do not go down again. Repeat the process, but this time come back through 3(A).

3 Step up into an (A) bead on the new row. Add (A) beads into all the gaps. This is your forth row of peyote

You will need: n 1g Size 11 Delica Beads - Duracoat Galvanized Champagne (A)

n 2g size 11 Seed Beads - Duracoat Galvanized Eggplant (J)

n 1g Size 15 Seed Beads - Duracoat Galvanized Seafood (B)

n 10 x 3mm fire polished - Turquoise Moondust (K)

n 1g Size 15 Seed Beads - Duracoat Galvanized Eggplant (C)

n 1g 3mm Bugle Bead - White Pearl (L)

n 10g Size 11 Seed Beads - Duracoat Galvanized Champagne(D)

n 1 x Feather Charm

n 5g Tila - Turquoise Matte Picasso (E)

n 4 x jump rings

n 1 x pip bead - Crystal Copper (F) n 34 x 2mm Glass Round Bead Amethyst Luster (G) n 2g size 11 Seed Bead - Duracoat Galvanized Seafood (H) n 2 x 6mm pearl - White Luster (I)

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n 3 x focal beads for drop n 2 x metres 3x2mm chain n 1 x Clasp

4 Step up into an (A) bead on the forth row and now fill in the gaps with (B) beads all the way around.

n 1 x Eye Pin n Fireline n Needle n Laceys Stiff Stuff n Ultra Suede

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HOT ON THE HIGH STREET

5 Step up into a (B) bead on the new row and fill in the gaps with (C) beads all the way around.

6 Using a ruler, draw vertical lines on either side of your bezelled cabochon. Each line is about 6cm long. Draw two horizontal lines to join the verticals and measuring the distance between the two vertical lines, add a middle vertical line.

7 Put a mark 3cm away from each vertical line and the carefully draw in the curved lines to meet at the bottom middle vertical line.

8 Using a curved object (I used a dinner plate) put it about 2.5mm away from the top of your bezel and draw a curved line.

9 Starting in the middle of your template, backstitch on the first 2(D) just on the curved line.

10 Continue your backstitch all the way up. I used 50(D) on this side. Come back through all the beads to the middle again. Repeat on other side.

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HOT ON THE HIGH STREET

15 Place another (E) bead on an angle to see where to start the next row of (D) beads. Then backstitch in the (D) beads as before and come back with a line of (E) beads. Stitch in an (F) bead or an alternative of your choice.

16 Now backstitch in the (D) beads as before (using the drawn line) and come back with a line of (E) beads. Stitch in an (F) bead or an alternative of your choice.

11 Using the line of (D) beads, backstitch on 1(E) bead through both holes. Finish by coming of out the closest hole to the (D) beads. Repeat again using 1(E) at a time and remember to come through the previous (E) to attach the next (E). This will give them more security and help keep the line straight.

13 Move through to the bottom of your work and backstitch along the first curved line to meet the (D) beads at the top.

17 Coming up near the (F) bead, start a new line of (D) beads around your (E) beads. Repeat on other side

14 Now backstitch on a row of (E) beads to meet the (D) beads at the bottom 12 Once you have finished adding the (E) beads, come out of the last (D) bead on the row from step 10 and using (D) beads backstitch around all the (E) beads.

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TOP TIPS SIZING You don’t have to make your chain as long or as many strands as mine. STITCHING Always try to bring your needle up on the inside of the beads when doing back stitch. This will help when cutting out your template as it will make your stitches harder to cut through.

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HOT ON THE HIGH STREET

DESIGN NOTE Apart form the cabochon bezel which is peyote, the embroidery is all done in backstitch.

18 We’re now going to fill in the inside of the template. Backstitch a row of (G) beads around you cabochon. This does not have to be an even number as we’re not going to bezel this row.

25 Fill in the rest of the space using rows of (D) beads. Some places you may only be able to fit one.

22 Backstitch a row of (H) beads around the last row added. 26 Cut out your template as close to the stitches as possible.

19 Backstitch a row of (H) beads around the (G) beads.

23 Add a row of (D) beads around the (K) beads in the arcs by your cabochon. 27 Glue down to the ultra suede and wait for it to dry before cutting it out to the exact same size of the template.

20 Add a (I) bead to each corner of the top of the cabochon. Again we do this by just backstitching it on. Then add a row of (D), a row of (J) and a row of (K). This will give little arcs 24 The same way we did step 20 make little arcs under the ones already there using 1(G) and then a row of (J), a row of (D) and a row of (H).

21 Back stitch a row of (L) and (D) beads around the cabochon, alternating them as you go.

28 Taking a new thread, tie the end in a knot and cut off the excess thread of the tail. Bringing your needle up between the 2 pieces of material, coming out of the front of your template. Pick up 1(D).

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HOT ON THE HIGH STREET

29 Go back into the ultra suede and through the template again.

33 Attach your chain to a jump ring and attach to the loops.

30 Come up the (D) bead just added.

34 We’re now going to attach the pieces of chain. Please note. Although I attach 6 pieces on the tutorial, I did decide I’d rather just have 5 pieces and cut one off, but the choice is yours. Coming out of a (D), take your needle through the piece of chain and back up the same (D). Reinforce this step.

36 On an eye pin or a piece of wire, pick up 3 focal beads and attach a charm to the bottom. Using round nose pliers make the loop at the top.

37 Coming out of one of the (D) beads which falls under the (F) bead, Pick up 3(D) and go through the loop on your drop, pick up another 3(D) and go into the bead next to the (D) you originally came out of. Reinforce this step.

SUPPLYSHOPS

31 Pick up 1(D) and repeat steps 29-30. Continue doing this all the way around.

Stitchncraft Beads, The Studio, Chaldicott Barns, Tokes Lane, Semley, Dorset SP7 9AW Shop Tel: 01747 830666 Mail Order Tel: 01747 830666 www.stitchncraft.co.uk Spoilt Rotten Beads www.spoiltrottenbeads.co.uk

32 Coming out of top bead at the end of the template, pick up 7(D) and go into the bottom bead of this part of the template. It should be about 3(D) down for the bead you’re coming out of. Repeat on the other side.

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35 Leaving a gap between each piece of chain (I worked mine out to have 4 beads between each piece), add all pieces on one side and then as you work you way around, add them to the other side.

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Professional Quality Seed Beads

The Thin-Cut Complement to Classic Round Seed Beads Size 11/0 Demi Round™

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Braided necklace made entirely of TOHO® Demi Round seed beads. Created by Robynne Simons-Sealy

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Size 8/0 Demi Round™

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Starman Beads Europe www.SeedBeads.eu 25_BEAD 85.indd 25

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View all 100 Demi Round colors: www.facebook.com/TeamTOHO TM

06/02/2018 18:08


BEAD-WEAVING

NIB BIT AND

TRINITY NECKLACE

You will need: n 40 x 4mm x 8mm Trinity Beads (Lustre Gold) (A) n 3g 8/0 seed beads, (Miyuki Bronze duracoat 457) (B) n 80 x 2.5mm x 5mm Nib-Bit 2 hole beads (Lilac) (C) n 3g 11/0 seed beads, (Miyuki Bronze duracoat 457D) (D) n 7x 8mm Swarovski Pearls (Powder Rose) (E) n 24 x 4mm Swarovski Pearls (Powder Rose) (F)

Experiment with Nib Bits and Trinity Beads to make this showstopper of a necklace DESIGNED BY SUSAN SASSOON

T

rinity beads add dimension to help the rear end of the Nib Bit beads display themselves proudly around some beautiful Swarovski pearls. The components are held together by bezelled mini silky beads which form a silky chain around the neck. A crystal drop completes the necklace for an elegant look made up of new bead shapes. Try making a pair of earrings or a matching bracelet from the different components of the necklace. For a different colour way why not try using Pale gold Trinity Beads, Mini Silky Beads and Nib Bit beads paired with Eggplant pearls and Pastel Bordeaux Trinity Beads and Bronze seed beads. Follow the steps below to make 4 small components and 3 large components: Small component:

1 Thread a #10 beading needle with 30� of fireline. String the following sequence

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n 31 x 5mm Mini Silky Beads (Jet Dark Bronze) (G) n 1 x 7mm x 10mm crystal teardrop (golden shadow) (H) n Size 10 beading needle n 6 lb Fireline, smoke n Scissors

four times 1(A), 1(B), 1(C) (fat side), 1(B). Form into a circle and tie a double knot, leaving a 4� tail. Pass through a few beads to secure. Exit an (A).

2 Position all of the (A) beads and (C) beads so that they are in the same orientation with the skinny side of the (C) and the second hole of the (A) facing toward the centre of the circle. Pass through the second hole of the (A) (use the hole that is lying flat on your mat - not the one that is sticking up in the air). This will cause you to change direction. Without adding any beads, pass through the skinny side of the (C) from step 1. Pass through the next (A) and skinny side of the next (C). Repeat until you complete the round. Pass through this round one more time to tighten. Exit an (A).

3 String 1(C) (skinny side) and pass through the next (A) (using the hole that is on the inside of the circle). The (C) should be sitting directly on top of the (C) in the round below. Repeat three times to complete the round. Reinforce the round. Exit an (A).

4 Pass through the third (upper) hole of the (A). This will cause you to change direction. String 1(D) and pass through the next (C) (fat side). String 1(D) and pass

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BEAD-WEAVING through the next (A) (upper hole). Repeat three times to complete the round. Reinforce the round. Exit an (A) (upper hole).

5 String 1(E). Pass through the (A) (third / upper hole) that is directly opposite the one you are exiting. Pass back through the (E) and then pass through the (A) (third / upper hole) from the opposite direction that you exited at the beginning of this step. Repeat the thread path to tighten. Weave down to one of the (A) beads (use the hole that is on the outermost ring of the circle). If you have enough thread left, you can save it to attach the components later. If not, secure your thread and cut. Secure and trim the tail thread as well. Large component:

6 Thread a #10 beading needle with four feet of fireline. String the following sequence eight times: 1(A), 1(D), 1(C) (fat side), 1(D). Form into a circle and tie a double knot, leaving a 4� tail. Pass through a few beads to secure. Exit an (A).

TOP TIPS REINFORCE YOUR WORK As you work, pass through the beads an extra time, following the thread path you’ve created, to strengthen your work. This will insure a longer lasting, more durable piece that you can wear for years to come.

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BEAD-WEAVING

8 Using tight tension, string 1(C) (skinny side) and pass through the inside bottom hole of the next (A). The (C) should be sitting directly on top of the (C) in the round below. Repeat seven times to complete the round. Reinforce the round. Exit an (A).

9 Using tight tension, pass through the third (upper) hole of the (A). This will cause you to change direction. Without stringing any beads, pass through the next (C) (fat side) and the next (A) (third hole). Repeat seven times to complete the round. Reinforce the round. Exit an (A).

7 Position all of the (A)s and (C)s so that they are in the same orientation with the skinny side of the (C) and the second hole of the (A) facing toward the centre of the circle. Pass through the second hole of the (A) (use the hole that is lying flat on your mat - not the one that is sticking up in the air). This will cause you to change direction. String 1(D), pass through the skinny side of the (C) from step 1. String 1(D), pass through the next (A). Repeat until you complete the round. Keep your tension loose for this round. Exit an (A).

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11 String 1(F) and pass through the next (D). Repeat seven times to complete the round. Reinforce the round to tighten. Exit a (D).

12 String 1(D), 1(E) and 1(D). Pass through the (D) that is directly opposite the one you are exiting. Pass through the (D), (E) and (D) and then pass through the (D) that you exited at the beginning of this step. Repeat the thread path to tighten. Weave down to one of the (A) beads (use the hole that is on the outermost ring of the circle). If you have enough thread left, you can save it to attach the components later. If not, secure your thread and cut. Secure and trim the tail thread as well. Position the 3 large components so that they form a V shape as in the photo. Position 2 small components on each side of the V above the large components, again, following the photo. Connect the components together as follows: Connecting the components:

10 Using tight tension, square stitch a (D) to the top of each (A) as follows: Exit the upper hole of a (A) and string 1(D). Pass through the top hole of the (A) you just exited and the next (C) and next (A). Repeat seven times to complete the round. Step up through the first (D) in this round. This will cause you to change direction.

13 With your thread exiting a bottom outer

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BEAD-WEAVING hole of an (A), string 1(D), 1(G) and 1(D). (Check to see that your (G) bead has the raised textured side facing up.) Pass through the bottom outer hole of a (A) on the second component. String 1(D) and then pass through the second hole of the (G). String 1(D) and then pass through the (A) that you started with so that your thread forms a circle.

14 Pass through the next (D). String 4(D). Pass through the next (D), (A), (D). String 4(D). Pass through the next (D) and (A).

hole of an (A) (or (B)), string 1(D), 1(G), 1(D), 1(B), and 1(D). (Check to see that your (G) bead has the raised textured side facing up.) Pass through the second hole of the (G). String 1(D) and then pass through the (A) (or (B)) that you started with so that your thread forms a circle.

17 Pass through the next (D). String 4(D). Pass through the next (D), (A) (or (B), and (D). String 4(D). Pass through the next (D) and (B).

Necklace drop:

19 Add connector at the bottom of the centre large component following Chain Steps 16-18 above. Weave down through the (B) at the bottom of the connector. String 2(D), 1(H), and 2(D). Pass through the (B) again. Repeat this thread path to reinforce. Secure the thread and trim.

SUPPLYSHOP Potomac Beads, www.potomacbeads.eu

BEADLINK: www.etsy.com/shop/ sosassysusansassoon

15 Pass through the next 3(D). String 1(D). Pass through the next 3(D), (A), 3(D). String 1(D). Pass through the next 3(D). Reinforce the connection by passing through these beads again. Secure your thread and trim. Begin to form a chain at the top of each side of the necklace. Beginning at the top small component, follow the Chain Steps 16-18 below:

18 Pass through the next 3(D). String 1(D). Pass through the next 3(D), (B), 3(D). String 1(D). Pass through the next 3(D). Reinforce the connection by passing through these beads again. Step up through the next 7(D) and the (B). Repeat Chain Steps 16-18 as needed to get the length that you need. For an 18� necklace, you will need 12 links on each side of the necklace.

DESIGN NOTE

16 With your thread exiting a bottom outer

In the diagrams for this tutorial, the beads that are to be added in the current step are shown in full colour. The beads that were added in previous steps are shown in faded colour or black and white. A red dot is shown at the beginning of the thread path for each step and a black arrow is shown at the end of the thread path for each step.

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METAL CLAY

Tales East from the

U

se templates and texturising to make these gorgeous PMC stone-set earrings. Costing roughly ÂŁ16, these lovely little earrings will become your go-to pieces to wear on a daily basis. If this has whetted your appetite for metal clay, why not join Tracey on her online distance learning courses. With full detailed instructional videos, support documents and you can even interact with her to ask questions. A whole world of metal clay at your fingertips.

1 Prepare a work surface with a little badger balm and begin to roll out a piece of silver clay using the 1.5mm spacer bars.

You will need:

Use a temple inspired template to make these stunning earrings DESIGNED BY TRACEY SPURGIN

2 Apply the badger balm to two pieces of textured wall papers. Any textures will work, but the shallow relief from these wall paper textures are ideal. Sandwich the clay and 1mm spacers between two pieces of the wall paper and roll once again to pick up the texture.

4 Transfer the frames onto a grid mat and gently manipulate the frame to create an indent in the top. Use steps 1-4 to make the matching one. Leave to dry.

n 10g of silver clay n Ceramic tile work surface, n Roller, assorted Spacers. n Needle tool n Rubber tip tool n Water brush n Tissue blade n Circle Template n 2 x 5mm CZ friable gem stone n Chain & jump rings n Ear wires n Craftworx tube cutters

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3 This stencil provides the perfect shape for the design as the shapes graduate in size perfectly, use a needle tool to pierce out a larger and smaller piece to create a frame.

5 To add the gem stone. Measure the gem stone from the flat table of the stone to the cullet. This is the thickness you will need to roll out the clay. Stack spacer bars to the correct height and push in the gem stone so the table of the stone is level with the surface of the clay.

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METAL CLAY

t

6 Leave the spacer bars in place, using a circle template place this on top of the clay finding a size that will leave approximately a 3mm rim around the stone, Pierce in with the needle tool. Make a matching pair and allow to dry.

7 To make spot and dot embellishments roll out a piece of clay 0.75mm thick. Lift the clay and place onto a separate grid mat. Cover with cling film and use Craftworx tube cutters to press out the tiny dots. Remove the cling film and remove the excess clay, allow the dots to dry. The dots can be made in different sizes and stored ready for future use.

8 When all the component parts are dry, its now time to use files and sanding papers to refine the shapes and edges.

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METAL CLAY

TOP TIPS FIRING When setting any fireable gem stones double check they are suitable to be fired in place not all gemstones can withstand the heat of a kiln

13 To add a little belt and braces to secure the gemstone in place I have added one of my name plate component pieces. This is simply a piece of clay rolled out 0.5mm thick and cut with a small cutter, dried, refined then added with a little paste. You could leave this piece plain, or add a bit of detail of your own.

14 Once the piece has had one last drying. The pieces can now be fired. The options are to torch, gas hob or kiln fire. Follow the recommended firing schedule on the instructions in the packet. After firing begin polishing use a brass wire brush. Further options to polish are using polishing wheels, rotary tools or other devises. 9 Use a small drill to drill two holes at each side of the pieces, these will be for the jump rings later.

10 Once the gemstone clay has dried the clay will need to be refined, this can be done with files, sanding grit or even just a few gentle strokes with a baby wipe.

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11 Once all the pieces are refined use a little paste or syringe to join the gemstone to the piece. Dry thoroughly before continuing.

12 To add the spot and dot details apply a tiny amount of water. Pick up the dots and dip them in a little water too. Using tweezers, give the dot a wiggle until you feel the friction hold.

15 After polishing there are options to oxidise the piece. Mixed two drops of liver of sulphur in some hot water. Dip the pieces into the solution and then neutralise them by dipping into a solution of bicarbonate of soda and water. Dry the piece off and use a polishing cloth to buff.

BEADLINK: www.craftworx.co.uk

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www.spellboundbead.co.uk 47 Tamworth Street, Lichfield, Staffordshire, WS13 6JW 01543 417650 Shop open Tuesday to Saturday 10am to 4.30pm Closed Sundays and Mondays

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BEAD PROFILE

Beading is a way of life Vicky catches up with Edgar Lopez to chat about his wonderful designs and what inspires them BY VICKY ROBERTS Hi Edgar, Can you tell us about your background: I was born in a small town in the Dominican Republic. I lived there until I finished my schooling and then I moved to Santo Domingo, the main city of the country to study at college. Here I studied architecture and then fashion jewellery and design. I currently still live in Santo Domingo with my family and I have a design studio where I work making my designs and teach. I’m very lucky as jewellery is my full time job and my passion. What materials and techniques do you commonly use in your work? I really love to use crystals and semi precious stones. Larimar is my favourite because it is from my country and has a combination of blue shades, sometimes with a little green, white, even red who fit with almost everything. I’m mostly known for my beadwork, but I do a lot of different techniques. These

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include metal work, resin jewellery (one of my favourites), wire, polymer and metal clay. Mostly I really love and enjoy beading because it includes lots of interesting techniques, which give you the opportunity to build any shape you want and add colours and textures. One of my favourite techniques in beading is Cubic Right Angle Weave (CRAW). Making jewellery gives me the chance not only to make beautiful things, but also to express myself as a designer. Often designs tell stories with the colours or shapes without the need to speak. Jewellery has its own voice. Have you taken bead making or jewellery classes? First I studied architecture and then I realised that I wanted to learn more about design, but in a different area. From here I moved into jewellery design. First to study metalsmith and goldsmith, and then

I studied fashion jewellery design for two years. Finally I learnt beading and other jewellery techniques, sometimes taking classes, but mostly by myself. Learning jewellery/beading helped me to improve my patience. What would you say you are most known for, and do you have a piece that you are most proud of? Each of my designs are very special to me, but I think the most special to me (up to now) is my first big necklace named Caribbean Dreams. It was a tribute to the colours of my country and it uses Larimar. It took me almost three months to finish. I am mostly known for my body jewellery or big and colourful pieces. Do you make mainly finished jewellery or any handmade beads? I make fashion jewellery and fine jewellery as well, I don’t make beads but sometimes I make other

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BEAD PROFILE

kind of components; using resin, metal, leather or plastic. I use these to make my own jewellery and for others to make it too. Where do take your inspiration from? My inspiration comes from the nature, from

the colours and the shapes. I also take inspiration from the street, looking at the people and houses. Here in my country the people are very colourful and cheerful, that gives me inspiration. Do you teach and what do you enjoy about it? Part of my work as an artist is teaching others to make their own jewellery. I have been teaching for 15 years and normally I teach in my studio in the Dominican Republic, but I have also travelled around the world teaching workshops and master classes for bead shops. Sometimes I’ve taught as a guest professor in universities and design institutes. What I most enjoy when teaching is to

share with my students and learn from them. The students are not the only ones who learn in a class, the teacher also learns a lot from them. Have you written any books or been published in any magazines? Actually I don’t have any book written by me, but I’m

currently working on a compilation of my work to write a book. I have had my work published in many other books including; Marcia Decoster Presents, Showcase 500 Art Necklace and Iberoamerican Design Biennial. I’ve also had tutorials and interviews in many worldwide magazine publications.

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BEAD PROFILE

Do you work by yourself or have you collaborated with anyone else? As a jewellery designer I work mostly by myself, but sometime I have collaborated with fashion designers for their collections making jewellery for the clothes. Other times I’ve been part of art exhibitions. Are you working on anything exciting at the moment? I am currently in the process of a new project designing an entire beaded dress. It will take me a long time to finish it because I like to put a lot of detail in to my work, but that excites me a lot and it will be more like a piece of art. Do you have any goals related to designing that you would like to see become a reality within the next five years? Well, I am very passionate about teaching. In the near future I would like to have an art

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school, where I can teach different things to children and young people who do not have the economic resources. I believe that by educating the new generation we can build a better society. I’m working on trying to find a sponsor for the resources. What have been your biggest personal challenges, and accomplishments? My

biggest challenge has been to devote myself full time to my work as a jewellery designer and not to see it as a hobby, but as my way of life. I think that my greatest accomplishment has been earning the respect of people in terms of my work as an artist. What advice would you give to other beaders? I would advise people to always look around them. We can always learn a lot by looking at our environment, nature gives us beautiful and unusual combinations of shapes and colours. We should not feel afraid to experiment, or think we already know too much because we can learn new things from many different sources. BEADLINK: www.facebook.com/EdgarLopezDesigns/

B E A D & J E W E L L E R Y n I SS U E 8 5

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Inspired by architecture, the Pagoda tassel is a self supporting decoration worked in tubular peyote stitch with Miyuki Delica and seed beads. Pearls and crystals are used as accent beads. This design is suitable for beaders with experience of peyote stitch, full instructions are given for all the increases and decreases. The pattern includes the materials list for all three colour-ways pictured. Unit L, St Erth Business Park, Hayle, Cornwall, TR27 6LP 01736 751070 sales@gjbeads.co.uk

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B E A D & J E W E L L E R Y n I SS U E 8 5

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we’retalkingabout

*

*Q U A D R AT I L E S

You will need: n 27 x Czechmate Quadratile (A) n 25 x Bar Beads(B) n 5g Size 11 Seed Beads (C) n 25 x Czechmate Triangle Beads (D) n Needle n Fireline n Clasp

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here is a lot of talk about all the new beads currently on the market. Some people love the idea of working with new beads, but it’s not everyone’s cup of tea. There is always the question of What can I do with them? In this feature, we’re going to pick a bead each issue to test and talk about. So with that in mind, what

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TOP TIPS is a CzechMate Quadratile? Now I know this is not as new as some beads out there, but I did find that this little four-hole bead has much potential to be a staple in any stash. The Quadratile is 6mm in size, and each hole is evenly spaced apart giving this bead a design flexibility for adding structure and connectivity to your designs. It can be used as

a base to build off, or as a spacer for designs that need to be able to move in different ways. After having lots of fun with this bead, I decided to go for this very wearable little bracelet, which has the potential to be a bangle and also be a stacker bracelet. They are super quick to make and work in all colours.

HOLE CHECK Check holes of all multi-holed beads for blockages. Gently push through with a large needle if you find any blocked. LOOK OVER Keeping looking at your bracelet every few beads added, just to make sure you’ve not missed any of the sequence.

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go into the middle (B) of the set of 5(B) you just added in step 3.

1 Start by picking up a stopper bead (pick up a bead and go back through it). Pick up 1(A), 1(B), 1(C), 1(B).

2 Continue the sequence until you have a bracelet that will fit your wrist. Make sure to finish on an (A). Come back through the hole next to the one you’ve just come out of, pick up 1(B) and go into the (C) and then pick up 1(B) and go into the next (A).

3 Continue adding (B) beads all the way to the other end of your bracelet. Come out of the (A), pick up 5(B) and diagonally go into a top hole of the (A).

4 Come back out of other bottom hole and pick up 2(B),

5 Pick up 2(B) and go into the other top of the (A). This should give a what looks like a X on the (A) bead.

6 Coming out of the (A) bead on the inside, pick up 1(B), 1(D), 1(B) and go into the next (A) on the same side as you’ve just come out of the original (A).

7 Continue all the way down to the other end of your bracelet and then add the X shape on the (A) at the other end as in steps 3-5.

the next (A) along on the same side.

9 When you get to the other end of your bracelet. Weave through to come out of the middle (B) of your cross, then pick up 2(B), 1 half of your clasp and 2(B). Go back into the (B) you are coming out of from the opposite side.

11 Continue adding sets of 5(B) all the way down your bracelet and then add the clasp on the other end, as in step 9.

12 Add the sets of 5(B) on the other side of your bracelet the same as in step 10. Weave off threads. 10 Weave through your beads until you are coming out of the first (B) on the bottom of your bracelet, between the (A) and the (C). Pick up 5(B), miss the (C), (B), (A), (B), (C) and go into the next (B), (A), (B). You may need to wiggle your sets of 5(B) to get them to sit right.

SUPPLYSHOPS Stitchncraft Beads, The Studio, Chaldicott Barns, Tokes Lane, Semley, Dorset SP7 9AW Shop Tel: 01747 830666 Mail Order Tel: 01747 830666 www.stitchncraft.co.uk Jencel, Tel: 0114 250 9565 www.jencel.co.uk

8 Coming out of the (A) at pick up 1(B), go into he (D) and then pick up 1(B) and go into

I SS U E 8 5 n B E A D & J E W E L L E R Y

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BEAD-WEAVING

Queen Mary EARRINGS

You will need: n 7g 11/0 Miyuki seed beads (A) n 7g 15/0 Miyuki seed beads (B) n 70 x 1 mm rondelle crystal: 70 pcs (C) n 70 x 2 mm rondelle crystal: 70 pcs (D) n 30 x 4 mm bicone crystal, colour A (E) n 30 x 4 mm bicone crystal, colour B (F) n 30 x 4 mm bicone crystal, colour C (G) n 30 x 4 mm bicone crystal, colour D (H) n 70 x 3 mm bicone crystal, colour A (I) n 70 x 3 mm bicone crystal, colour B (J) n 2 x 30x17 Swarovski Navette Stone n 2 x 14x8 oval or square crystal n Needle n Thread n Scissors

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BEAD-WEAVING

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Beautiful bezelled earrings fit for a queen DESIGNED BY EDGAR LOPEZ

hese showstopper earrings do not need much of an introduction, they are simply stunning! Edgar has used two types of bezel to make them, the first being a cubic right angle weave, followed by a netted bezel. He’s then used a coral fringing to give them a unique feel. If the earrings seem a bit big for your taste, why not making one for a pendant and put it on a beaded rope. You could also use the smaller component to make a beautiful bracelet. Such a versatile pattern, with lots of options. Experience of craw is needed for this pattern.

1 Start by making a column of 15 units of cubic right angle weave (CRAW) using (A) beads.

2 Once you finished your 15 units column, come out of one of the sides of your cube (one of the four faces) and start a new column of 13. Follow the steps 2a-2e to do this.

TOP TIPS CRYSTALS Be aware when using bicones that they can cut through your thread. TENSION Keep a firm tension when doing craw.

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BEAD-WEAVING the first (A) of the last set of 2(A) added in step 2c.

2a Coming out of a side cube (this will be your base row), pick up 3(A) and go back into the (A) you’re coming out of. Move forward to the next (A) on your base row.

2b Pick up 2(A) and go down the first (A) of the set of 3(A) added in last step and the (A) you’re coming out of on the base row.

2e Reinforce the top of your new cube. Continue making the column of 13 cubes.

3 We’re now going to attach the top of the 13 units column with the inner side of the 15 units column. First you have to be sure, that both sides of you cubes are straight and match. Coming out of an (A) on one of the sides, pick up 1(A) and pass through the (A) in front on the other side.

2c Pick up 2(A) and go down the first (A) of the set of 32(A) added in last step and the (A) you’re coming out of on the base row.

3b Travel to the next (A) in the original group of 4(A), Pick up 1(A) and pass to the (A) in front on the other side. Go through that (A) and the one you’re coming out of.

3c Travel to the next (A) on the base row and repeat the same process from previous step.

3d For the last side of the cube you don’t need to add any (A) beads, just reinforce all 4(A) that should be there. 3a Pick up 1(A) and go back into the (A) you originally came out of.

2d Come up the first (A) of the set of 3(A) from step 2a, Pick up 1(A) and go down

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4 Travel to the inside row of the piece and fill the spaces of each unit, using (A) beads.

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BEAD-WEAVING

5 Coming out of 1(A) from the last row. Pick up 1(B) and go into the next (A) along.

5a Keep adding (B) beads all the way around as in previous step.

5b Coming out of a (B) from previous row, pick up 1(B) and go into the next (B) along. Continue adding (B) beads all the way around.

7 Travel to the 6th unit of the CRAW, and fill the spaces alternating between (C) and (D), until you have placed 10(C) and 9(D). Now travel to the unit in the centre of the piece.

10 Repeat steps 8 and 9 in all the crystals.

11 Add 24(B), 1(E), 1(B), pass back through the (E) and 2(B). 8 Travel to the (A) before the first crystal, add 4(B), and pass through the next (A) after the crystal.

9 Go back through the 4th (B) placed previously.

6 Travel to the opposite side of the piece and repeat step 4. Place the crystal navette in to your bezel and repeat step 5-5b. I SS U E 8 5 n B E A D & J E W E L L E R Y

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5 000+

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The Beading Classroom is full of workshops and demonstrations you won’t want to miss. Available on your desktop, mobile, iPad or tablet. Our tutors have years of experience to help you become a better beader. Filmed at our own studios in the UK and America, our talented team of presenters are waiting to help you with your creations.

Visit www.beadingclassroom.com today 46 46_BEAD 85.indd 46

Call Maria on +44 (0) 7730 622416 Email: maria@ashdown.co.uk www.beadmagazine.co.uk

Do you have anything new to tell our readers? Our beadstash pages are just the place. Call Maria now on + 44 (0) 7730 622416 or email: maria@ashdown.co.uk

B E A D & J E W E L L E R Y n I SS U E 8 5

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2018 Bead Festivals Beautiful and unusual clasps for bracelets and necklaces Affordable prices, excellent quality

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These events are a must for all beadwork enthusiasts and suppliers. Come along to buy supplies and 'Av a Go' Bead Groups - would you like to exhibit at one of our fairs? Contact us for more details. Go to our website for special offers.

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in the next units, adding 15, 10, 10 and 5, of the (B) beads, then travel to the other side and repeat the same process.

12 Then add 2(B), 1(F), 1(B), pass back through the (F), the 2(B) placed previously and go up through 2(B).

13 Repeat step 9 alternating between sizes and colours of the crystals (use (G) and (H) beads also), until you finish the 25 seed beads.

14 Go up through the next unit, add 20(B), and repeat step 10, continue this process

15 Making the second component. Using a new thread pick up 1(I), 1(B), 1(A), 1(B), repeat sequence until you have 8(I) and 8 groups of seed beads.

15a Make a circle and come out in one of an (A).

16 Pick up 5(B) and pass through the next (A), repeat this process 7 more times.

of 5(B) placed in the previous step (third (B)), Pick up 1(D), 1(B) and pass through the middle (B) of the next set of 5(B) from previous step.

18 Repeat step 17, but this time without the (B). Attach all the arcs of five (B), alternating between steps 17 and 18.

19 Travel to the (A) in the circle of step 15, add 7(B) and pass through the next (A), repeat this process 7 more times until you have 8 arcs of 7(B).

20 Move forward to the middle (B) of a set of 7(B) (4th seed bead), pick up 2(B) and pass through t the middle (B) of the next set of 7(B)

17 Move forward to the middle (B) of the arc

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20a Repeat this process 7 more times, then place the square crystal in before you tighten.

21 Travel to an (I), pick up 1(B), 1(J), 1(B) and pass through the next (I). Repeat this process seven more times.

22 Travel to the (B) placed before the (J), pick up 5(B) and pass through the (B) after the (J).

24 Come out on the top of the arc in the (I), pic up 1(B), 1(C), 1(B) and pass through the top of the arc on the top of the oval piece of the earring.

25 Add 1(B) and pass back through the (C) from previous step.

26 Travel to the top of the next arc of the button piece, and pass through the top of the arc in the centre of the oval piece, then pass back through the seed bead in the arc of the button piece.

27 Travel to the next arc in the button piece and repeat step 25. Now your components are attached, you can now glue an ear stud or a clip-on to your earrings.

SUPPLYSHOP

23 Coming out of the (B), pick up 2(B) and pass though the (B) after the (I).

25a Pick up 1(B) and pass through the (B) that we started at in the arc, but through the opposite side.

Stitchncraft Beads, The Studio, Chaldicott Barns, Tokes Lane, Semley, Dorset SP7 9AW Shop Tel: 01747 830666 Mail Order Tel: 01747 830666 www.stitchncraft.co.uk

BEADLINK: www. www.facebook.com/ EdgarLopezDesigns I SS U E 8 5 n B E A D & J E W E L L E R Y

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bead

Big Bead Show workshops, Sneak Preview!

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April 21st 2018

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As well as a great shopping day we offer inspirational taster workshops at The Big Bead Show. To whet your appetite, here's a flavour of what to expect:

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Julie Holt & Helen O’Neill

Just some of our top tutors who'll be at the show on the day to guide you through that technique you've always wanted to try. And there will be so much more. Visit www.thebigbeadshow.co.uk for full details and booking. Tel 01903 331013 email support@ashdown.co.uk

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* Polite reminder that the offer is strictly one ticket per person and per email address. Duplicates will be cancelled.

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george weil fine art & craft supplies from

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makemetoday wearmetomorrow Welcome back to our quick to make projects, that you can make in an hour or two and wear immediately DESIGNED BY VICKY ROBERTS

M

etal bangles are very popular at the moment and they seem to popping up all around - from the catwalk to the high end jewellery shop. So when The Bead-

You will need: n 1 x 5.5� Centerline Cuff n 1g size 11 seed beads (A) n 12 x 4mm fire polish beads n Fireline n Needle

FIGURE 1

FIGURE 4

52 52_BEAD 85.indd 52

smith sent me this fab cuff, I just knew I wanted to make something for this feature. I found that this project was ideal for using up any leftover beads from other projects. Finding the right size beads to fit the gap between the holes was probably the most challenging part of this project, but the 4mm fire polish beads fit perfectly. Mix it up with some gold seeds and I think the overall effect was opulence mixed with something you could wear everyday.

FIGURE 2

This bangle took me around 15 minutes to make and for under ÂŁ10, its one that I want to make in multiple colours. The bangle comes in 4 different metal finishes, and there are so many colours of fire polish beads out there you could make one to match every outfit. 1 As you can see the bangle has two rows of holes and a large gap in the middle. 2 Leaving a decent tail thread (for weaving in later), come through the first hole in the bangle from back to front. Pick up 1(A), 1(B), 1(A) and

FIGURE 3

go through the hole opposite from front to back. 3 On the back of the bangle, pick up 4(A) and go back through the opposite hole back to front (you will already have used these holes with your first set of beads). 4 Go through all the front beads again and back through the hole, front to back. Miss the next hole and go into the hole after - back to front. 5 Continue adding beads as in steps 2-4 and once you have completed your bangle, weave off all threads using half hitch knots.

FIGURE 5

B E A D & J E W E L L E R Y n I SS U E 8 5

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WIRE WORK

dreams ORIENTAL Wirework and a beautiful Jade cabochon make this intricate cuff DESIGNED BY OONAGH GIBSON

A

s we gear up for the next Big Bead Show. Our previous best dressed winner Oonagh has provided us with this fabulous wirework cuff. Using a stunning Jade cabochon, which has been the most highly esteemed stone for Energy, Growth, Expansion and New Beginnings, it also encourages creativity and is know as a protective stone. Experience of wirework is advantageous to this project.

6 This will secure your cabochon in place.

7 Using 2 of the remaining wires, continue the weave 3 x 3 to make the front design.

the middle wire, then the bottom wire, then again around the middle wire, finishing back at the top to start again. Take care to keep your work even and 1mm wires straight. 8 Pushing the weave closer together will make a neater finish.

1 Using a small mandrel make 10 coils approx 6â&#x20AC;? long with 0.6mm wire. 4 Continue weaving until enough to go around your Cabachon.

9 Gently push the weave to get the shape you want on the front.

2 Working with 3 x 12â&#x20AC;? lengths of 1mm wire, use 0.4mm wire to weave a 3 x 3 x 3 weave.

You will need: 5 Using your nylon pliers fold your work lengthways, so that it cradles your stone.

n 06mm wire n 0.4mm wire n 1mm wire n Jade Cabochon 30mm n Jade round beads n Wire cutters n Mandrel n Nylon Jaw Pliers

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3 To make a 3 x 3 x 3 weave, you wrap your wire 3 times around the top wire, then

10 Secure all ends by making a small loop at the cut end. This can easily be hidden and is less sharp.

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WIRE WORK

11 Take the coils you have made and cut into 28cm pieces. You will need 42 x 28ce coils for the main part of the bracelet and you will also need 2 x 35cm coils for the ends. This will make an average 7.5â&#x20AC;? bracelet.

12 Use your wire cutters to trim off the sharp cuts at this point.

14 Along each side of the 1mm wire add 2 lengths of 0.6mm wire approx 2 metres long and gently pushed through the back of your work.

by wrapping around the 1mm wire a couple of times, then pass them through each end of the coil and again secure again around the 1mm wire 3 times, at this stage you need to keep a firm grip on your work.

16 Closer look of the 0.6mm wire securing a coil. 13 Using 2 lengths of 1mm wire 12â&#x20AC;? long, gently push through the back of your work.

15 Secure 2 of the 0.6mm wires I SS U E 8 5 n B E A D & J E W E L L E R Y

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i

WIRE WORK

nspiration

I run a jewellery making group - Blaydon Jewellery and Crafters. My inspiration come from their friendship, as they are a very talented group.

20 All 42 coils are now attached.

21 Take a 24â&#x20AC;? length of 0.8mm wire and fold in half. Start a 3 x 3 weave with 0.4mm wire at the end. As your work progresses push it along to the fold.

17 Wrap the 0.6mm 3 times around the 1mm wire. Fixing at both sides to secure the coil in.

18 Thread the second coil the same way as before.

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19 After adding a couple of coils to one side, alternate and add a couple to the other side, this will help keep your work neat and even. Always remember to secure coils each end. Your work will build up quickly and try to keep work tidy at this point pushing wires together neatly keeping coils as straight as possible working evenly helps to keep straight

22 Gently turn the weave in your fingers to form a coil.

23 Stitch with 0.4mm wire to the front of your work. Do not cut until stitched in place as you may need a longer length.

24 Using 0.4mm wire again, add your jade beads to complete. Again finish the cut ends with a small loop and tuck in.

25 Take the 2 x 35cm coils to fix to each end of your piece the same way as we added the coils before.

26 I have added a hook for my clasp and I have threaded a 1mm wire and a 0.6mm wire through the coil for extra strength. 27 Once you have put a coil on each end, pinch all the ends in.

SUPPLYSHOP Jencel, Tel: 0114 250 9565 www.jencel.co.uk

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BEAD-WEAVING

blossom EARRINGS CRYSTAL

Step into spring with these crystal inspired flower components DESIGNED BY VICKY ROBERTS

I

love component jewellery, it’s quite possibly my favourite type of thing to make. I love all the options it gives the designer to take the design above and beyond. You can pop one component on a chain, make bracelet, or go big and make a statement necklace. The possiblities component jewellery gives are endless. I originally made this pattern as a pair of earrings, but it does make a spectacular bracelet. I’ve used some of my favourite colour of seeds and crystals to make mine, but this would be fab in pinks and whites for a much more spring inspired piece.

You will need: n 18 x 3mm Czech fire polish (A) n 18 x One hole Czech lentils (B) n 3g Size 11 seed beads (C)

1 We start by picking up a 9(A).

4 Move forward into the next (A) along.

2 Tie a double overhand knot to make into a ring and take your needle through the next (A) along

5 Pick up 1(B) and 1(C) and go down the previous (B) added and back into the (A) you are currently coming out of. This should cause the (C) to sit on top/between the 1(B).

n 2 x 14mm rivoli (D) n 2g Size 15 Seed Beads (E) n 18 x 3mm Swarovski bicone first colour (F) n 18 x 3mm Swarovski bicone second colour (G) n Fireline 6lb. n Needle n Ear wires n Magnetic Clasp

SUPPLYSHOPS Jencel, Tel: 0114 250 9565 www.jencel.co.uk Bead Stampede www.beadstampede.co.uk

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3 Pick up 1(B),1(C), 1(B). Go back through the opposite side of the (A) you are currently coming out of.

6 Move forward into the next (A) along. Keep your tension moderate in the next couple of steps, as you don’t want all your (B) beads bunching up. Don’t be worried that you can see thread.

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7 Continue adding (B) and (C) beads as in steps 5 & 6 all the way around, until you have 9(B) and are coming out of your last (A).

8 Pick up 1(C) and go down into the last (B) you added. Now go back through the (A) you were coming out of.

9 Come up through the first (B) again and into the first (C) added at the start of the ring.

10 Pick up 3(C) and go into the next (C) along. Again moderate tension is needed here.

11 Once you have gone all the way around, move forward to the second bead along in your first set of 3(C) (this will be the middle bead). Pop in your (D), shiny side up.

13 Continue adding sets of 3(E) all the way around as in step 12. When you have added all the (E) beads, move forward into the first 2(E) (again this is the middle bead).

12 Pick up 3(E) and go through the middle bead on your next set of 3(C) from the two previous steps. Tension needs be of normal tightness now.

14 Pick up 1(F) and go through the middle bead on your next set of (E) beads.

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BEAD-WEAVING

15 Continue adding (F) beads all the way around. Then move down to the first (C) from the set of three added in steps 10 and 11. This will be the (C) that is before the one youâ&#x20AC;&#x2122;ve used to add your sets of (E) beads from steps 12/13.

16 Pick up a 1(E), miss the (C) that is offset from adding the 3(E) in a previous step and go into the next 3(C) along

17 Continue adding (E) beads all the way around and finish by going into the first (E) added in this round.

18 Pick up 1(E), 1(G), 1(E). Go into the next (E) along from previous step.

21 Pick up a 1(E) and go into the next (G) along from step 19.

19 Continue step 18 all the way around then move up through the first (E) and into a the first (G) added in this round.

22 Weave down to a (C) that is directly below a (G). This will also be the (C) that joined the (B) together at the beginning of the pattern. Continue adding (E) beads all the way around from steps 20 & 21. Move down into the (C) that is sat directly under the (G). This will also be the (C) that connects the (B) from steps 3-6

20 Pick up a 1(E) and go into the (C) that was used as the middle to add the sets of (E) beads from step 12 & 13. This would also be the bead that was offset that we missed out when adding our single (E) in step

23 Coming out of the (C), pick up 7(C) and go back into the (C) from the opposite side to create your loop for the ear wire. 24 Make a second component using steps 1-23 and add ear wires to both.

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BEAD-WEAVING

Use single components to make a stunning set of jewellery

Dragon’s e BRACELET

DESIGNED BY ZOLTAN KISJUHASZ

M

aking component jewellery always gives many options. Once you have made the components, you can join whichever way you choose to get variations on pieces of jewellery. Zoltan has given a couple of options of how to join your bracelet and added how to make matching earrings. Depending on what you choose to make, this design will cost between £5 and £20 and takes anywhere between 30 minutes to 2.5 hours.

1 Pick up 1(A), 1(B) and repeat so that you have 8 each. Go through all the beads once more to create a circle. Reinforce to make sure it is secure. Leave a tail thread that you can finish off securely. Tie a knot to hold the circle in place. Transfer to any of the free holes of an (A) bead. Make sure to keep the line/thread tight while transferring, so that it will not be visible, but rather keeps nicely to the side of the (A) bead.

2 Pick up 1(D), 1(E), 1(D) and go through the free hole of the next (A) bead. Repeat 7 more times.

3 Coming out of the same hole used in the previous step (but passing the (D) bead) connect 1(A) and the free hole of 1(E) with 1(D). Repeat the same on the other side of the (D). Go around you work repeating this.

4 Still using the same hole as in the previous two steps (but passing the (D) from Step 3) come out of any (A) bead and pick up 1(D), 1(B), 1(E), 1(B), 1(D) and pass under the (A) bead and connect into the next (D) bead. Repeat, but this time use (F) beads instead of the (B)’s. Go around alternating these (see picture that shows view from the bottom).

You will need: n 8 x Starman Crescent Bead per unit plus unit connecting beads (A) n 2g Miyuki Seedbead 8/0 (B) n 2g Miyuki Seedbead 11/0 (C) n 2g Miyuki Seedbead 15/0 (D) n 8 x Matubo Miniduo Bead per unit (E) n 8 x Round Glass Bead or Swarovski Imitation Pearl (F) n 1 x 14mm Swarovski Rivoli (G) n Matubo Rulla Bead (for alternative connecting method) (H) n Miyuki Beading Needle

The crescent beads can go either way as shown in this bracelet.

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n Fireline, Beading Thread or 0.16 fishing line

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s eye 5 Connect the (E) beads from the previous step (these are supported by the (B) beads) with 1(D), 3(C), 1(D). Put the (G) in place before pulling the thread tight. Reinforce 2-3 times, making sure that the beads are tight and the stone is in place. Your Dragon Pendant base unit is ready. There are two options for joining the bracelet together. Either follow step 6, or step 7 depending on your preference.

6 Using a new thread, transfer to an unused hole of any of the outside (E) beads and pick up 1(F) + 1(A) + 1(F) and go into the free hole of any of the outside (E)s of the next unit. Whether the connecting (A) is facing up or down is up to you but I prefer it to be in the same position as the main unit(s). Pick up 1(F) and go through the free

BEAD-WEAVING

hole of the (A) and pick up 1(F) and go into the (E) you started out from. Transfer to the next (E) you want to connect.

7 Come out of an outside (E) bead (from between an (E) and (F)) from the hole you already used and pick up 1(D), 1(E), 1(D). Go into the same hole of the (E) on the next unit that you used for this one and turn back to the other free hole. Connect the 3(E) beads (RED line). Weave through an (E), (F), (D), (E), (B), (E), (B), then pick up 1(H). Alternatively you can pick up 1(D) before and after (H) if you like a tighter hold) and go through (B), (E), (B) of the other unit then back through the free hole of (H) (BLUE line). From here, transfer to the next (E) you want to connect and repeat the beginning of this step (ORANGE line).

8 Keep joining your components until your bracelet is at the desired length. Alternatively once you have completed a base unit, you might wish to make an earring. To do this attach an ear wire to one of the free holes of the outside (E) beads and a drop to the opposite (E). If you want to proceed making a pendant just attach a bail.

BEADLINK: https://gyongysziget.hu/en/ I SS U E 8 5 n B E A D & J E W E L L E R Y

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MIXED MEDIA

Penni

pearl NECKLACE

A perfect combination of woven satin ribbons to make this versatile necklace DESIGNED BY IRENE MCCARTHY

T

his stunning necklace is so simple, but effective and perfect for all age groups. The weaving braid is great for making a necklace of any length. If you want to make it shorter, just cut the braid using scissors, and complete by adding the end cap. This project is also excellent for using up any beads you have laying around. If you don’t want to the weaving by hand, Irene has designed The braid-it board, which means you can now weave with ease.

4 Take 8 o’clock ribbon (green) and go through the loop (Burgundy).

1 The ribbons have to be cut to 1 metre per strand. Knot the three ribbons together at one end. When weaving the ribbon, visualise a clock face. 12 o’clock, 4 o’clock and 8 o’clock. Hold the knot section between your thumb and middle finger.

2 Take 12 o’clock ribbon (Burgundy) and loop over 4 0’clock ribbon (gold). Hold the looped ribbon (burgundy) in place using finger tips and thumb of the holding hand.

You will need: n 3 x 3 metre of 3mm Stain double sided ribbon. (3 different colours)

n 1 x Finding clasp silver n 2 x jump rings

n 9 x Penni ring beads

n 2 Metres Nylon thread approx.

n 48 x 4mm pink pearl beads

n Scissors

n 24 x 4mm cream pearl beads

n Ruler

n 20 x 6mm pink pearl beads

n 1 small tube of Beacon 527

n 10 x 6mm cream pearl beads

n Braid-it 3 Round weaving board (optional - retail £9.99)

n 2 x End Caplets

3 Take the 4 o’clock ribbon (Gold) and place over 12 o’clock ribbon (Burgundy) and 8 o’clock ribbon (Green).

5 Pull ribbons flat until they sit neatly at the base finger tip area. Ensure the ribbons are not twisted. Repeat the weaving steps working clockwise until the length required and remember to cater for the piece that will fit in the end caplets. Secure the ends of the ribbons with a knot. Snip off unwanted ribbons using scissors.

BEADLINK: www.kelansh.com

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MIXED MEDIA

6 Continue steps 1-5 to make the length of your necklace. Please note: The ribbon colours will change the ‘o’clock’ place each time you complete a round.

7 To make the Penni Pearl Beads, string the pearls around a bead ring, make snug and knot a few times to secure. Working from the centre out words: the amount of bead rings are as follows:1 x 10x6mm cream beads 2 x 10x6mm pink beads. 2 x 12x4mm pink beads. 2 x 12x4mm cream beads. 2 x 12x4mm pink Slide onto the finished woven braid to look like image 7. Once in place check the length for necklace and snip off any length of the braid not required.

i

nspiration

8 Add some glue to your end caplets and place on the end of the ribbons. Allow to dry to manufacture instructions. Attach clasp to the caplets using jump rings.

I loved being able to use up my odd beads and this project means I can do just that. As well as being able to have any length of necklace, which can give a different look to any outfit and style I’m wearing.

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Take me away to Bead Island Vicky chats to Zoltan Kisjuhasz about the bead shop side of his business BY VICKY ROBERTS Hi Zoltan, can you begin by telling us how Gyöngysziget started? My wife Orsolya had the original idea to set up an online bead store back in 2007. She was really into beading at the time, but quality beads and supplies were few and far between in Hungary, so she usually ordered from abroad. Soon enough her friends started asking her to supply them - since she was buying anyway - and that was when she had the idea to take it a step further. Our brick and mortar shop -Gyöngysziget (Hungarian for Bead Island) opened in 2009, back then it was half its size with a tanning salon occupying the other half. She used to tell me how everybody had made jokes about the chances of a bead shop surviving in downtown Budapest and how the tanning salon would outlive the bead shop. Well, the tanning salon went bankrupt and she acquired the other half of the shop and the rest is history. I joined soon after this in 2010, originally as an investor. Orsolya was friends with my mum and was looking for someone who could help her with foreign suppliers. I have a degree in foreign trading and had several years of corporate experience as a legal advisor. I felt that this would be the perfect opportunity for a long sought after career change, so I suggested that I join in. Obviously, at first the world of beads was very distant and it took me a year or two to get into it, but it was when I got into beading and design that really meant the break through and gave me a much better understanding of the business. Today we are married and it is fair to say that beads played a great part in this.

general ethos behind it was to sell the latest and best quality products and we keep to that to this day. With over 15,000 products, ranging from seed beads to threads, tools, findings, adhesives, crystals, gemstones, mineral round beads, metal parts, Kumihimo discs, soutache cords, needles... you name it, we have it. We are proud to be a “Recommended Swarovski Retailer” and to have exclusivity in Hungary to sell Miyuki beads for wholesale customers (we have one of the largest selection of Miyuki beads in Europe). We are also one of the few stores in the region that sells Tierra Cast metal parts. Our assortment of custom made Czech beads, including pressed and fire polished rounds, flower and rose petals, daggers, tiles and other pressed beads and our unique selection of Table Cut beads, makes us the go-to shop for lovers of Czech beads. We are also an official launch partner of Starman Beads. Last but not least, we supply the complete bead and colour palette of Par Puca beads, including their cabochons. We do this wholesale and retail. One of our most popular product groups is our “More For Less” special, where we sell larger quantities of the same product at a discounted price. Our mixes and gift

packs are also quite popular, and we have just started selling our first kits for our own designs. We also started our wholesale business last year. Do you teach classes or design jewellery in-house? Gyöngysziget has weekly classes in our two workshops, that are located just above the shop. We try to cover as many techniques as possible, with the best available talent. Currently we have beading classes for beginners and advanced beaders, soutache, Kumihimo, bead embroidery, crotchet and the basics of jewellery making. We have many well known teachers (as well as in house teachers) that come to teach at our shop and our classes usually fill up quite quickly. We have a newsletter and a popular Facebook page, where information is regularly shared on forthcoming classes and our workshop curriculum. It also tells you about our specials, new beads, free patterns, jewellery created by our tutors or their students and useful beading info in general. How does being jewellery designers help you with your business? Like I said, beading gives us a great understanding of what we sell. The products you find in our

What beads and supplies do you sell? We are proud of being a 100% family run business that is constantly growing. When Gyöngysziget was originally set up the

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SHOP PROFILE

shop(s) are not merely goods for us, we live and breathe beading. We are crazy about colours and shapes and cannot wait to put our hands on new beads. We test them with the eyes of a beader and we work closely together with manufacturers and suppliers. We are among the first ones to test the new beads. We also give constant feedback regarding quality, colours and coatings coming from our own experience or through customer feedback. What have been your biggest hurdles in running your business? I guess it is very tricky to find the balance between beader and business (wo)man. With a new bead coming out every month or so and with 20 – 200 colours available, it is a great responsibility to stock up. Also at the pace we are growing, currently we already have beads hanging from the ceiling and there will be more, but I am

not worried. With the online boom, deliveries can be tricky too. We find this especially around the end of the year, with parcel services being overloaded. What have been your proudest moments and successes? We get a lot of positive feedback from our customers both on social media and in person, highlighting our selection of beads, our customer service and knowledge of beads and beading. We are really grateful to our co-workers and tutors for helping us create a family like atmosphere, where people like to come and spend hours talking about and / or doing what we all love: beading of one sort or another. We often get pictures of creations made using our beads, which we always share on our Facebook page. We have customers coming from far away countries from beading celebrities to beading enthusiasts, who tell us that while

drawing up their itinerary our shop was one of the focal points. People from all over the world come to visit us, either because they saw us on social channels or heard about us from people who visited us. In summer, during the festival season we often have groups of young people come in and make festival jewellery on the spot (we supply them with tools, bead mats and advice). We also have returning bead groups who travel all the way here to come and visit us. Any future plans? We would like more beads, more colours and to expand our wholesale selection even further. We’d also like to sell even more to our overseas customers. We would also like to boost our European sales. We’re currently fine tuning our English website and have plans to start making our kits and tutorials available to our foreign customers.

SUPPLYSHOP Zoltan Kisjuhasz and Orsolya Gyurcsak, Email: info@gyongysziget.hu Phone: +3619510251 Mobile: +36706376865 https://gyongysziget.hu/en/ Shop address: Jokai str. 5, Budapest H-1066, Hungary Opening hours: Monday 12pm – 6pm, Tuesday - Thursday 11am – 7pm, Friday 11am – 6pm, Saturday 10am - 2pm

I SS U E 8 5 n B E A D & J E W E L L E R Y

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rosa Barrette BEAD EMBROIDERY

A pretty, romantic hair piece for your special day DESIGNED BY DONNA SANDERS

You will need: n 1 x Lace rose motif (mine is 3 ½ x 2”) n 3g 15/0 seed beads for the rose (A) n 2g 15/0 seed beads for the leaves (B) n 1g 15/0 seed beads for the edging (C) n 3 x 4mm Swarovski glass pearls n 4 x 2 ½ Piece of Nicole’s Bead Backing (NBB) or similar n 4 x 2 ½ Piece of Ultrasuede or similar n 1 x 60mm barrette

A

re you looking for that stunning hairpiece for your special day? Well, look no further as Donna brings you this stunning bead embroidered barrette, that any bride or bridesmaid would love. Once mastered this technique can also be used to make bracelets, necklaces, and collars. It would look stunning stitched all in ivory and pale gold as a bridal piece or if you just want a spring piece, add a bit of colour as Donna has done here.

n Beading needle n Nylon beading thread such as KO, in a colour to match your lace n Pair of scissors n Pencil n E6000 glue or similar BEADLINK: www.delicatesparkles.co.uk

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1 Thread the needle with a comfortable length of thread and tie a knot in one end (I’m using black so that you can see it clearly, but ideally you should match it to your lace). Place your lace flat on top of the NBB and stitch it in place, going over the thicker parts of the lace following the direction of the threads so that it won’t show.

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BEAD EMBROIDERY

2 Finish off the thread by taking the needle through a small section of the NBB on the back, without going all the way through to the front, and tying a knot by going through the loop formed by the thread. Repeat to tie a second knot. Go through a few stitches, and trim the thread. Do this every time you need to finish a thread.

3 Prepare a new length of thread as before and bring the needle up through the NBB and the lace, from the back to the front and in the centre of the rose. Pick up a pearl and stitch it down, retracing the thread path a few times to make sure it is firmly attached. 4 Repeat Step 3 to add two more pearls in the centre of the rose.

5 Come up at the base of one of the innermost petals and pick up 2(A), take them down the thread and lay them on top of the lace. Then take the needle back down through the lace and NBB where they end.

6 Bring the needle back up in the same place you started from and go through both (A) beads again.

7 Pick up 1(A), take it down the thread and go back down where it ends.

8 Come up between the 1st and 2nd (A) beads added in this row and go through the 2nd and 3rd ones again.

TOP TIPS ADD THREAD It is a good idea to use

a new thread for each new section of beads so that you can remove them if necessary without disturbing the rest of the beadwork. STITCH IT DOWN I have stitched the lace to the NBB rather than gluing it because glue would make it much harder to stitch through as you would need to use the same areas of lace (the thicker ones). You might also see the glue through the unbeaded areas of lace. MAKE IT NEAT I have used single bead beaded backstitch to stitch the beads onto the lace. This is because it makes for a much neater line of beads. As you will be stitching over the thicker areas of the lace even adding just two beads at a time allows the beads to move slightly.

9 Repeat Steps 7 & 8 all around the line of the petal, picking up one bead and going back through two each time. This is single bead beaded backstitch.

10 Repeat Steps 7 - 9 to add one line of single bead beaded backstitch around the edges of the other inner petals.

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BEAD EMBROIDERY

11 Stitch two lines of single bead beaded backstitch around the edges of all the other petals, working from the centre out.

12 For the leaves use (B) beads. The central vein is one line of single bead beaded backstitch, and the outer edges are done with two lines.

13 Check the back of your work to make sure that all the threads are neatly trimmed and that there are none that are trailing outside the area of the lace. Then trim around the lace about 1mm away from the edge.

14 Place the ultrasuede on the back of the beadwork and position the barrette where you want it to be. Mark where the four upright pieces will be with a pencil and draw a line between the two at the opening end.

15 Cut along the lines to leave holes in the ultrasuede. Take the barrette apart and push it through the holes.

16 Put a layer of E6000 between the barrette and the ultrasuede and then glue the ultrasuede to the back of the beadwork. Leave to dry, then reassemble the barrette. I use soft-grip pegs to hold it in place while it dries.

17 Trim around the edge of the beadwork, about 1mm away from the edge.

18 Thread a needle with a comfortable length of thread and tie a knot in one end. Go through the NBB, from the back to the front right next to the rose, trapping the knotted thread in between the NBB and ultrasuede.

19 Pick up 2(C), take them down the thread and go through the ultrasuede and NBB where they end.

A stunning bead embroidered barrette, that any bride or bridesmaid would love. 72

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BEAD EMBROIDERY

20 Go back through the 2nd (C) in the opposite direction and pull the thread gently to sit it along the edge of the beadwork with the hole facing out.

21 Pick up 1(C), go through both layers as before, and back through the C bead to sit it alongside the others.

22 Repeat Step 21 all the way around the edge of the rose. After adding the last bead, go down through the first (C) bead, then through the fabric and back up through the bead to join the last bead to the first. Finish off the thread.

SUPPLYSHOP Stitchncraft Beads, The Studio, Chaldicott Barns, Tokes Lane, Semley, Dorset SP7 9AW Shop Tel: 01747 830666 Mail Order Tel: 01747 830666 www.stitchncraft.co.uk Jencel, Tel: 0114 250 9565 www.jencel.co.uk Crystal Idea, www.crystals.co.uk

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LOOM WORK

Looming with

shaped beads

A

dazzling stepping stone path with a split-loom button and loop closure, makes this bracelet a must-have make for any aspiring loom weaving addict. This will take roughly eight hours to make and will cost around £15. Knowledge of loom weaving is required to make this project. Warping the loom: Outer warps: String twice the desired length of the bracelet with size 11/0 Delicas in colour (B). Use a big eye needle and upholstery thread (or other heavy weight thread). Choosing a bright colour gives a pop of contrast to the overall design. For a small roller loom: Cut all warps to 17” (43cm) in length. Make sure to split the (B) Delicas in half before cutting the first warp thread. Save the

You will need:

Take your looming above and beyond with this fabulous bracelet pattern DESIGNED BY TAMARA ALLISON

remainder for the final thread. Proceed to tie all the threads together and attach to your loom, making sure to spread the warps evenly with the delicas on either end. Roll your threads tight and tie off the other end to the second pin. For a large loom: Simply tie a knot on a pin at one end, split beads in half for the first warp, loop eight plain warps, and place the remaining beads on the tenth warp. Tie off at the second end. Weaving the shaped bead path

n 6g size 11/0 Delica beads (A) n 2g size 11/0 Delica beads (B) n 60 x Tilas (C) n 91 x Superduos (D) n 1 Wire Shank Glass Button (2426mm) n Standard Beading Needle n Big Eye Beading Needle n Size D Nymo beading thread in colour to match Superduo beads n Upholstery thread in colour to match Tila beads n Scissors n Beading loom of choice

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1 Leaving a long length of working thread, tie your Nymo to the right hand side of the warps between 2(B). Make sure to do so about 2” (5cm) from the bottom of the string of beads. Pass up through the nearest (B).

2 Pass the thread under the warps. String 1(A), 1(C), 1(A), 3(D), 1(A), 1(C), and 1(A). Space the warp threads to accommodate the size of each bead. Pass up through a warp (B) on the left hand side. Make sure to do so about 2” (5cm) from the bottom of the string of beads. (Green thread path.) 2a Pass back through all the beads just added, making sure the thread is on top of the warps as you do so. Pass back up through the (B) you exited in step 2. Pass up through the following two warp (B). (Red thread path.)

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LOOM WORK

3a Pass back through all the beads just added, making sure the thread is on top of the warps as you do so. Pass back up through the (B) you exited in step 4. Pass up through the following warp (B). (Red thread path.)

3 *** Point all the two hole beads downwards. Pass the thread under the warps. String 1(A) and pass through the top hole of the first (C). String 1(A) and pass through the top hole of the first (D). String 1(D) and pass through the top hole of the third (D). String 1(A) and pass through the top hole of the second (C). String 1(A) and pass through the third warp (B) (two up from the last one used). (Green thread path.)

hole of the middle (D). String 1(D), 1(A), 1(C), and 1(A). Pass up through the next warp (B) on the left hand side. (Green thread path.) 4a Pass back through all the beads just added, making sure the thread is on top of the warps as you do so. Pass back up through the (B) you exited in step 6. Pass up through the following two warp (B). (Red thread path.) Repeat from *** until you have woven a band with 30(C) on either side. For a shorter bracelet, decrease the total number of (C) rows per side.

4 Point the middle (D) downwards. Pass the thread under the warps. String 1(A), 1(C), 1(A), and 1(D). Pass through the top I SS U E 8 5 n B E A D & J E W E L L E R Y

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LOOM WORK Weaving the button end of the bracelet

6a Pass back through all the beads just added, making sure the thread is on top of the warps as you do so. Make sure to span 2(A) across the single (D) in the space in the middle. Pass back up through the (B) you exited in step 3. Pass up through the following warp (B). (Red thread path.) Weave six more rows of 18(A). 8 Weave the final row with 18(B). Reinforce your thread in the beadwork and trim.

5 Point the middle (D) downwards. Pass the thread under the warps. String 8(A) and pass through the top hole of the middle (D). String 8(A) and pass through the next warp (B) on the left hand side. Make sure 4(A) fall in the spaces for the (C) and 2(A) fall in the spaces for the (D). (Green thread path.) 5a Pass back through all the beads just added, making sure the thread is on top of the warps as you do so. Pass back up through the (B) you exited in step 1. Pass up through the following warp (B). (Red thread path.)

6 Pass the thread under the warps. String 18(A) and pass through the next warp (B) on the left hand side. (Green thread path.)

7 Pass the thread under the warps. String 9(A), the glass button (wire shank side up), and 9(A). Pass through the next warp (B) on the left hand side. (Figure 7. Green thread path.) Pass back through all the beads just added, making sure the thread is on top of the warps as you do so. Pass back up through the (B) you exited in step 5. Pass up through the following warp (B). (Red thread path.) 7a Pass the thread under the warps. String 9(A), pass through the wire shank of the button, and string 9(A). Pass through the next warp (B) on the left hand side. (Figure 7. Purple thread path.) Pass back through all the beads just added, making sure the thread is on top of the warps as you do so. Pass back up through the (B) you exited in step 6. Pass up through the following warp (B). (Orange thread path.) Weave seven more rows of 18(A).

Weaving the split-loom end of the bracelet If using a table top loom: flip it around and thread your needle on the working thread. Pass up through the nearest warp (B). You will now be working from left to right. If using a standing loom: simply thread your needle on the working thread. Pass down through the nearest warp (B). You will still be working from right to left, but at the bottom of the beadwork instead of the top. Repeat steps 1-4 from the button end of the bracelet. Weave one row of 18(A).

9 Weave one row of 7(A), 4(B), and 7(A).

TOP TIPS LEFT OR RIGHT Instructions were written for right handed dominance and personal preference in thread path direction. Feel free to adapt to your own comfort. BEAD SHIFT Superduos may shift position during the weaving of this project. Simply use the tip of your needle to point them all in the same direction as you go.

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10 Split row side one: Pass the thread under the warps. String 7(A) and 1(B). Come up under warp #5. (Figure 10. Green thread path.) Pass back through all the beads just added, making sure the thread is on top of the warps as you do so. Pass back up through the (B) you exited in step 5. Pass up through the following warp (B). (Red thread path.) Weave fourteen rows of 7(A) and 1(B).

12a Reinforce the row and weave your thread to exit the nearest warp bead on the second split side. (Purple thread path.) Split Row Side Two: Weave fifteen rows of 7(A) and 1(B). Feel free to flip the loom upside down again here if it helps. Weave your thread into the beadwork and trim. Finishing the warp threads 14 Centre split loom warps: Skipping the end row of beads, insert your needle BETWEEN the wefts of ten rows of loomwork. Weave through eight beads towards the edges and trim.

11 Closing stretch: Weave one row of 7(A), 4(B), and 7(A). Weave two rows of 18(A).

12 Weave the end row with 18(B). (Green and red thread paths.)

13 Remove the work from the loom. Store any unused (B) beads back in their containers. Cut the loops of thread with your scissors so that you have 10 warps on each end. Edge warps: Using a big eye beading needle, weave each end warp through the final row of beads, up through six edge beads and inwards by eight beads. Trim.

15 Centre warps: Skipping the end row of beads, insert your needle BETWEEN the wefts of ten rows of loomwork. Pull snug. Repeat for all center warps. Trim all threads.

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BEAD-WEAVING

T

his is an excellent project for using up any left over beads. Using only seed beads and pearls, you could make a frame whenever you have a spare couple of hours and before you know it you could have enough for a necklace, or simply two for a pair of earrings. Colour wise you can really have fun with this one. Go for a bright rainbow mix of seed beads for a real modern, stand out piece or keep it classic with smooth metallicâ&#x20AC;&#x2122;s and pearls. Once you have the pattern in your head, try making bigger or smaller frames and use different size beads on the inside.

Frame it! Be it a photo, a painting or simply pearls a beautiful frame always enhances the beauty of things DESIGNED BY KLESHNA

1 Pick up 4(A) and make a circle by going through the first (A) again. Reinforce by going around again. Now tie a knot in end and working thread as this will create a cruciform shape as in Step 2.

3 Work the FRAW stitch 7 times so you have a row where you can count 9 centre beads.

2 Work around to the side of cruciform and pick up 3(A), circle back on yourself to put in the next row and then go around the circle again to reinforce. This forms the pattern of FLAT Right and Weave (FRAW). We will be doing both FRAW and CRAW (cubic right angle weave) to achieve our frame.

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4 To do a turn in FRAW, you simply pick up 3(A), (as there is a pre-existing bead in the previous row that forms the first bead in the group of 4) insert into the side bead and pull tight. Reinforce to avoid loose and gaping work. Work in FRAW to the end of the 7 stitches.

5 Turn again and work on the same 7 stitches back to the other end of the row.

You will need: n 8/0 Seed Beads (A) n 10mm Pearls or bead of your choice (B) n Wildfire in a colour to go with the Seed beads n Beading needles size 10

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BEAD-WEAVING

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BEAD-WEAVING

DESIGN NOTE

10 You will now have a role of FRAW which is a great way of starting off the frames. We are now going to start doing CRAW to provide the mitred corners that we need to make the frame. As you will see I have worked my needle to the back part of the cross of 4.

Now you have the technique for building the frame, you can make them bigger or smaller. I used them in an asymmetric pattern for this avant garde necklace, which I have found very wearable. I have also used them as centre pieces for bracelets and earrings.

11 Pick up 3(A) and circle back into the bead you came out of - you are now building upwards. Exit from the side bead in the group of four with the needle pointing upwards. This is the first side you have now created.

6 This is what your work will now look like. Exit the top bead, as we are now going to fold this little piece of FRAW to make it into a cube/circle shape. 8 As you can see more clearly now where the beads are sitting. You will now need to weave through to the next set of side beads as shown in Step 9.

7 I have inserted the white piece of paper so that you can see a clearer thread path. Pick up 1(A) and go through the correlating side bead on the opposite side of the piece of FRAW. Now pick up 1(A) and go back through the side (A) on the side you started on to join up the cross weave, as shown in Step 8. Reinforce this step.

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12 You are now on the second side of the CRAW. Pick up only 2(A) and circle around to sew the cross shape again. To make the third side of the cross do the same again. 9 Zip up the whole piece of FRAW now, reinforcing as you go.

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BEAD-WEAVING

13 I have laid the work on its side so you can see better. To put in the last bead in this first round of CRAW you will only need to pick up 1(A) as the other 3(A) are already there! You have just started to do CRAW. Work Step 11 – 14 for three more times.

14 I have stood up what looks like a leg of Beads! Work your needle through to the back part of the cross again. The reason I work from the back most bead is that it is easier to work from the back most corner facing forwards.

15 Work step 11 – 14 again until you have created the ‘9 middle bead length’ (see Step 11-14). to equal the other side you originally created in FRAW. You will then have 3 sides of your frame.

16 Simply repeat Step 11 – 14 to make the final part of the frame.

17 In the joining the corner row shown here please observe that you will not need the same amount of beads to join the corner of the frame as you will have a number of PRE-EXISTING beads in place.

18 This is the second side – on the 4th side you will need no additional beads simply to zip the thread through all 4 beads that you will find are in place.

19 You have now completed the frame and are ready to insert your pearls. Work thread to the second group of RAW along the side.

20 Put needle through the gap in the middle of the RAW and pick up 1(B) and go out the other side of the Frame. Carry on doing this at the appropriate intervals which will depend on your tension on your frame.

21 This shows the last (B) being sewn in. Thread back through the seed beads and cut off remaining thread.

TOP TIPS REINFORCE Be sure to reinforce, reinforce, reinforce as this will stop it gapping. Also don’t be afraid to join in extra thread, so you don’t have to work with a thread so long that it gets tangled. BEADLINK: www.kleshna.com I SS U E 8 5 n B E A D & J E W E L L E R Y

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LOOKING BACK

Where it all began.. Becs Dean-Skinner tells us all about how beading has become a big part of her life

What was your first ever beading project? When I was a teenager I made a few pieces of strung, beaded jewellery, but I didn’t start beading properly until I finished my Ph.D. I had a job, an income, and could afford to have a hobby! The first thing I made was a pair of earrings for a friend – she admired a pair of antique earrings I had, so I went to a local bead shop and asked if they could teach me how to make some similar. I left with a pair of earrings, a book and a bag full of tools and beads. I was totally hooked on the idea of creating beadwork – the book explained many techniques, but the one I fell in love with was bead weaving. So where did you go from here? I worked my way through an assortment of stitches – peyote, herringbone, spiral rope, netting, learning the techniques greedily, I just couldn’t get enough! Right Angle Weave tormented me for years before I was finally about to get my head around it, but others I picked up much quicker. I was learning exclusively from books, my favourite and the one I found most inspiring was “The Beader’s Floral” by Liz Thornton and Jill Devon, it taught me structural, 3D beading, layering and shaped beadwork like I’d not seen before and included elaborate projects which really inspired me. For the first year or so I didn’t know any other beaders, and it was only through Facebook groups that I came to know some wonderful beaders who were very encouraging.

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One of the bravest things I did as a new-ish beader was to go on a bead retreat, where I knew no-one else, but it was wonderful! I learnt loads; I made friends and had a great holiday. I’ve been on holiday with the ladies I met there several times, and have made friends for life. I found that I enjoyed beading both geometric and floral pieces, and although they may seem like opposite ends of the spectrum, they have a lot in common. I have made two large geometric beadwork pieces, each from sixty triangles – they were both finalists in international competitions. After a few years of bead weaving, I decided to branch out and learn bead embroidery; the first thing I made was a pair of earrings, which were too big to practically wear. I enjoyed the way you could ‘paint’ with beads using embroidery techniques. Four years ago I got married and decided to bead as much as possible for our wedding day; beaded flowers for the buttonholes, beadwork on my shoes, beaded tiara, and a bead embroidery handbag. We even had lampwork beaded figurines on top of our wedding cake! Over the years, I started designing, and I sell a selection of tutorials on etsy now.

I’ve also written tutorials for magazines and a bead shop. What advice would you give to other people who are just starting out in the world of beading? Don’t be afraid to try anything! YouTube is a wonderful resource; there are thousands of video tutorials out there which show you the basics, as well as how to do more complex techniques and designs. Join a beading group, either in person, online or both! You’ll meet fabulous people who will encourage you and who you can learn a lot from. Your local library may have a selection of beading books, and if they don’t you can ask them to order them for you. I’ve come to the conclusion that collecting beads is a hobby that goes hand-in-hand with beading… so set aside plenty of space for storage! BEADLINK: www.beadsbybecs.etsy.com

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DIAMOND

'Duchess Bracelet' by TrendSetter Penny Dixon. Pattern available on Etsy.

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