Issuu on Google+

Quick + Easy

p. Q+E 16 Making Tracks by Gina Cooper

p. Q+E 12 Petite Charm Pendant by Nancy Zellers

p. Q+E 30 Crossover Bracelet by Phyllis Dintenfass

p. Q+E 3 Gateways Bracelet by Phyllis Dintenfass

p. Q+E 28 Lucky Clovers by Rachel McEnroe

APRIL/M AY 2011 SUBSCRIBER BONUS PROJEC T DOWNLOADS

GATEWAYS BRACELET Phyllis Dintenfass

Q+E 28

SPARKLING MEDALLIONS Amy Haftkowycz

Q+E 30

Q+E 8

CATCH ME A CATERPILLAR Doris Coghill

Q+E 34

Q+E 12

PETITE CHARM PENDANT Nancy Zellers

Q+E 38

Q+E 16

MAKING TRACKS Gina Cooper

Q+E 3 Q+E 6

Q+E 19

Create this intriguing textured cuff using peyote stitch, cylinder beads, and twisted bugles These classic earrings are easy to make using simple fringe and netting techniques Combine tubular herringbone stitch and embellished fringe to create this fabulously fun bracelet Embellish a crystal rivoli with right-angle weave and peyote stitch for a simply elegant necklace String together tubular beaded beads in several colors for a fantastic casual look

SPECIAL ADVERTISING SECTION

Q+E 42 Q+E 46 Q+E 48

©2011 Interweave Press LLC. Not to be reprinted. All rights reserved.

Hybrid SectionOpener_download.indd 1

LUCKY CLOVERS Rachel McEnroe

Wear a little Irish luck with sets of four emerald crystals embellished on a right-angle-weave base of pearls

CROSSOVER BRACELET Phyllis Dintenfass

Construct this intricately patterned bracelet by linking multiple herringbone-stitched components

VICTORIAN PEARL MEDALLION Barbara Falkowitz

Channel the elegance of another era with a beadembroidered medallion in pearl and gold

STAR-CROSSED BRACELET Laina Goodman

Defy the fashion fates with a bracelet featuring herringbone-stitched petals crossed under a faceted crystal stone

CLASSIC QUARTET Roxanne Rogers

Use peyote stitch and picots to form the simple band and stylish focal of this charming ring

GATHERINGS: Portland Bead Society MORE TECHNIQUES

beadworkmagazine.com

2/16/11 4:49 PM

02162011164951


BW QE02 miyuki ad_QE.indd 2

2/10/11 11:43 AM

02102011114336


gateways bracelet Phyllis Dintenfass

TECHNIQUES odd-count peyote stitch two-drop peyote stitch ladder stitch See pp. Q+E 48 and 94 for helpful technique information.

BEADWORK QUICK+EASY

BW QE03-05 Dintenfass_QE.indd 3

april/may 2011

Q+E 3

2/10/11 11:44 AM

02102011114507


ENVISION PEEKING THROUGH A GATED window as

you create this modern cuff with twisted bugles and cylinder beads. Alternate rows of one- and two-count peyote stitch to make the beading interesting and provide rich texture.

MATERIALS 10 g matte black size 11° cylinder beads (A) 1 g each size 11° cylinder beads in gold-lined clear (B), brown luster (C), bronze luster (D), terracotta (E), matte salmon metallic (F), antique gold luster (G), transparent brown matte (H), gray opal (I), silver (J) 1 g bronze matte size 11º seed beads (K) 1 g gray luster size 8º seed beads (L) 1 g bronze matte sparkle size 2 (6mm) twisted bugle beads (M) 1 bronze 20mm decorative button with shank White size D nylon beading thread

TOOLS Scissors Size 12 beading needle FINISHED SIZE: 7½"

1) CLOSED SECTION. Peyote-stitch the

ARTIST’S TIPS • If you’re using similar colors for the “dots,” lay them out in a row to keep track. • Be sure that the beads snap into place in each peyotestitched row. • It’s best to end and begin new threads in a closed section rather than in an open one. • To shorten the bracelet, add fewer rows of dots in the first section. To lengthen, add more rows of the background color on the button end. • I use contrasting-color thread to accentuate the pixilated nature of this design.

Q+E 4

first portion of the cuff: Use 6' of thread to string 14A, leaving a 2' tail. Row 3: String 2A, skip the 2A previously strung, and pass through 1A; repeat three times to add a total of 8A. String 2A and tie a knot with the working and tail threads to secure the beads. Pass back through the last 2A added. Row 4: String 1B and pass back through the next 2A from the previous row; repeat three times to add a total of 4B. Row 5: String 2A and pass back through the nearest bead added from the previous row; repeat to add a total of 10A. Form a turnaround to step up for the next and subsequent rows by looping the thread around the exposed thread between beads from the previous two rows and passing back through the final 2A added in the current row. Rows 1 and 2:

Repeat Row 4, substituting A for B. Row 7: Repeat Row 5. Rows 8–39: Repeat Rows 4–6, substituting the next cylinder-bead color in the materials list for the B in Rows 8, 12, 16, 20, 24, 28, 32, and 36. Rows 40–43: Repeat Rows 4–7 (Fig. 1). Row 6:

2) OPEN SECTION. Form an opening

in the base: String 2A; pass through the last 2A exited in the previous row and the 2A just added; repeat seven times, using tight tension to form a ladderstitched strip 8 pairs long (Fig. 2— green thread). Connector: String 12A (Fig. 2—blue thread). Strip 2: String 2A; pass through the last 2A exited on the connector and the 2A just added; repeat six times to form a matching ladder-stitched strip Strip 1:

beadworkmagazine.com

BW QE03-05 Dintenfass_QE.indd 4

2/10/11 11:44 AM

02102011114508


Fig. 1: Finishing the first closed section

Fig. 3: Adding the posts

Fig. 2: Adding the strips and connector

Fig. 4: Attaching the button and forming the decreases

to Strip 1. Stitch the last pair of 2A to the first 2A in Row 43. Repeat the entire thread path to reinforce. Weave through beads to exit from the last pair of 2A added, toward the inside of the opening (Fig. 2—red thread).

added in the Step 1, Row 4 repeats. Repeat Step 1, Rows 3–43, through Step 3 again, then repeat Step 1, Rows 3–43, reversing the order of the colored beads in the Step 1, Row 4 repeats. 4) CLASP LOOP. Ladder-stitch an

3) POSTS. Add bugle and seed-bead

strands inside the opening: Post 1: String 1K, 1L, 1M, 1L, and 1K; pass through the mirror 2A directly across the opening. Weave through beads, forming a hidden turnaround, skip the next 2A, and pass through the next 2A, toward the inside of the opening. Posts 2–4: Repeat Post 1 three times to add a total of 4 posts. Weave through beads to exit from the nearest end 2A of the connector (Fig. 3). Repeat Step 1, Rows 3–43, through Step 3, reversing the order of the colored beads

opening for the button by repeating Step 2 and adding enough pairs of 2A to each strip so the opening is large enough to accept the button. Repeat Step 1, Rows 6, 5, and 4, to finish the square. If the space is too large, repeat Step 3, Post 1, to close the opening’s size. Repeat the entire thread path again to reinforce. Secure the thread and trim. 5) BUTTON. Use the tail thread and A to peyote-stitch 2 rows or enough to adjust for size, working in the same two-drop/one-drop pattern. Work another row, stringing the shank of the

button to form the center stitch instead of using 2A. Work 2 more rows of peyote stitch in the same fashion, incorporating the button shank into the rows. Once the button is fully incorporated into the beadwork, work rows of peyote stitch with one decrease at the beginning of each row (Fig. 4). Secure the thread and trim. ✦ PHYLLIS DINTENFASS designs jewelry, publishes patterns, and teaches beadweaving throughout the United States. Her work has appeared in numerous magazines and books and in juried exhibits internationally. For other available patterns and kits, visit www.phylart.com. RESOURCES Check your local bead shop or contact: Japanese cylinder beads: Joan Painter Gallery, (360) 569-2644, www.painterartbeads .com. All other seed beads and Nymo or One-G beading thread: Whim Beads, (800) 232-3111, www.whimbeads.com. Buttons: Jo-Ann Fabric and Craft Stores, (888) 739-4120, www.joann.com.

BEADWORK QUICK+EASY

BW QE03-05 Dintenfass_QE.indd 5

april/may 2011

Q+E 5

2/10/11 11:44 AM

02102011114523


sparkling medallions Amy Haftkowycz

ARTIST’S TIPS TECHNIQUES fringe netting See pp. Q+E 48 and 94 for helpful technique information.

• These beaded components work wonderfully when stitched together for bracelets and necklaces. • Replace the 3mm crystal bicones and 3mm rounds with 3mm crystal pearls for a different look.

BW QE06-07 Haftkowycz_QE.indd 6

2/10/11 11:46 AM

02102011114639


THESE EASY EARRINGS are a beautiful

nod to vintage sparkle. 1) DANGLE. Use tight thread tension

String 1 pearl; pass through the B directly across from the last B exited and the nearest D in Round 2, toward the outside edge of the bead disc (Fig. 2—red thread). Netting: String 2A, 1E, and 2A; working counterclockwise, pass through the next D in Round 2, toward the outside edge of the beaded disc (Fig. 3). Repeat around to add a total of 7 strands. Working clockwise, string 2A, pass up through the nearest E, string 2A, and pass down through the next D in Round 2 (Fig. 4). Repeat around to complete the netted crosses between each D. Weave through beads to exit from 1C of Round 1. Hanging loop: String 6A; pass through the last C exited to form a loop (Fig 5). Repeat the thread path several times to reinforce. Secure the thread and trim. Adding the pearl:

to stitch a beaded disc: Use 3' of thread to string {1A, 1C, 1A, and 1B} seven times, leaving a 6" tail. Pass through the beads again to form a circle, tie a square knot with the working and tail threads, and weave through beads to exit the second A added (Fig. 1—blue thread). Trim the tail. Round 2: String 1D and 1B, pass back through the D, skip the next B of Round 1, and pass through the following A/C/A of Round 1, pulling tight to form a fringe; repeat to form a total of 7 fringes. Weave through beads to exit the B at the tip of the first fringe (Fig. 1—red thread). Joining fringe: Pass through the B at the tip of the next fringe; repeat around to connect the fringe tips into a circle, pulling tightly to form a dome (Fig. 2— blue thread). Repeat the thread path several times to reinforce. Round 1:

MATERIALS 1 g silver-lined brown size 15° seed beads (A) 1 g soft gold–lined clear size 11° seed beads (B) 14 antique rose gold luster 3mm fire-polished rounds (C) 14 beige gold luster 4mm fire-polished rounds (D) 14 padparadscha satin 3mm crystal bicones (E) 2 cream 3mm glass pearls 2 brass 8×18mm swirl links 2 brass ½" lever-back ear wires Smoke 4 lb braided beading thread

TOOLS Scissors Size 12 beading needles Flat-nose or chain-nose pliers FINISHED SIZE: 21⁄8"

2) ASSEMBLY. Use 1 jump ring to attach the beaded disc to one end of the swirl connector. Attach 1 ear wire to the other end of the swirl connector. Repeat Steps 1 and 2 to form the second earring. ✦

Fig.1: Stitching Rounds 1 and 2

Fig. 2: Joining Round 2 and adding the center pearl

Fig. 4: Adding the second layer of netting

Fig. 3: Stitching the first layer of netting

Fig. 5: Forming the beaded loop

Co-owner of Artful Beads Studio and Workshop in Pennington, New Jersey, AMY HAFTKOWYCZ is a self-taught lampworker as well as a certified PMC artisan. Amy has enjoyed reaching out in many new directions since opening Artful Beads in 2006. Developing class projects, learning countless techniques, and forging new friendships have made the Artful Beads experience truly one of a kind. She lives in Pennington with her husband and six cats. RESOURCES: Check your local bead shop or contact: Braided beading thread and all beads and findings: Artful Beads Studio and Workshop, (609) 737-1077, www.artfulbeadstudio.com.

BEADWORK QUICK+EASY

BW QE06-07 Haftkowycz_QE.indd 7

april/may 2011

Q+E 7

2/10/11 11:46 AM

02102011114639


catch me a caterpillar Doris Coghill

TECHNIQUES tubular herringbone stitch ladder stitch fringe square stitch See pp. Q+E 48 and 94 for helpful technique information.

BW QE08-10 Coghill_QE.indd 8

2/10/11 11:47 AM

02102011114810


A SLITHERY HERRINGBONE BRACELET gets its playful

appeal from lush, leggy fringes embellished with drops.

MATERIALS 2 g light brown luster size 11° seed beads (A) 20 g forest green size 11° seed beads (B) 28 g transparent matte olive size 8° seed beads (C) 85 light amber 4×6mm teardrops (D) 85 black 4×6mm teardrops (E) Khaki size B nylon beading thread Beading wax

TOOLS Scissors Size 10 beading needle FINISHED SIZE: 7"

1) TUBE. Form a herringbone-stitched and embellished tube: Round 1: Use 7' of thread to string 2C, leaving a 10" tail; pass through both beads and manipulate them to sit side by side, forming a ladder stitch. Repeat to form a strip 4C long. Ladder-stitch the last C to the first C to form a ring (Fig. 1). Lightly wax the thread.

Fig. 1: Forming Round 1

String 1C, 1A, and 1C; pass down through the next C in the previous round and up through the following C; repeat once. Step up for the current and subsequent rounds by passing up through the first C added in this round (Fig. 2). Round 3: String 1C, 1A, and 1C; pass down through the next C in the previous round, string 1D, and pass up through the following C in the previous round; repeat once (Fig. 3). Round 2:

Fig. 2: Working Round 2

OP TION S • Use a mix of matte and shiny beads to enhance the design. • Contrasting colors enrich the layered textures.

Fig. 3: Stitching Round 3

BEADWORK QUICK+EASY

BW QE08-10 Coghill_QE.indd 9

april/may 2011

Q+E 9

2/10/11 11:47 AM

02102011114810


Fig. 4: Working Round 4

String 1C, 1A, and 1C; pass down through the next C in the previous round; string 10A, 1E, and 10A; pass up through the following C in the previous round; repeat once (Fig. 4—blue thread). Repeat the thread path again to secure the round, this time omitting the fringe loops (Fig. 4— red thread). Rounds 5–62: Repeat Rounds 3 and 4 thirty times or to the desired length. Note: The clasp adds ½" to the length. Round 4:

Fig. 5: Stitching

Fig. 6: Forming

the strip

2) FINISHING. Close the tube and add

the closure: Close tube: Work a ladder-stitched thread path on the last Cs added to pull the tube together. Exit up through 1C. Beaded button closure: String 1C, 1A, and 1C and pass down through the next C in the round, making sure the fringe loops sit on each side of the stitch. Catch the thread between beads and pass back up through the last C added (Fig. 5); working with loose tension,

Q+E 10

the button

repeat six times for a total of 7 rows. Stitch the last row to the first row added in this section to form a thick loop (Fig. 6). Stitch 1C to each of the open sides of the loop to close the loop into a beaded bead. Secure the working thread and trim. Loop: Thread a needle on the tail thread and weave through beads to exit out from a C in Round 1. String 12C and pass down through the next C in the round so the loop has one fringe on

Fig. 7: Adding the loop

each side (Fig. 7). Repeat the thread path several times to reinforce. Secure the thread and trim. ✦

DORIS COGHILL left the corporate world in 2000 to pursue beading full time. She keeps busy with her website (www.beadsbydee.com), designing, and teaching. RESOURCES: Check your local bead shop or contact: Teardrop beads: Shipwreck Beads, (800) 950-4232, www.shipwreckbeads.com.

beadworkmagazine.com

BW QE08-10 Coghill_QE.indd 10

2/10/11 11:48 AM

02102011114811


SWAROVSKI FLAT BACKS – THE DIFFERENCE IS CRYSTAL CLEAR For years Swarovski has been on the cutting edge of innovation always paving the way for outstanding trends and designs. With Flat Backs from the SWAROVSKI ELEMENTS assortment you can create your own style from scratch using loose crystal elements. A myriad of shapes, colors and effects is a vailable to bring a delightful sparkle to your creations. Swarovski Flat Backs feature unique cuts, can be combined perfectly with each other and are applied easily to a wide range of carrier materials.

Interested in this sparkling product? Head to WWW.CREATE-YOUR-STYLE.COM to find out more!

WWW.CREATE-YOUR-STYLE.COM

BW QE11 swarovski ad_QE.indd 11

2/10/11 11:48 AM

02102011114841


petite charm pendant Nancy Zellers

TECHNIQUES flat and circular right-angle weave tubular peyote stitch See pp. Q+E 48 and 94 for helpful technique information.

BW QE12-14 Zellers_QE.indd 12

2/10/11 3:08 PM

02102011150844


THE PEARLY CROWN OF SEED BEADS framing the

pendant, along with the delicate look of the chain, create a very wearable, feminine piece of jewelry with a Victorian feel.

MATERIALS ½ g smoky gold bronze metallic size 15° seed beads (A) 2 g smoky gold bronze metallic size 11° seed beads (B) 1 g pearl size 11° seed beads (C) 1 amethyst 14mm crystal rivoli 2 brass 4mm jump rings 1 brass 7×13mm filigree oval box clasp Gold size D nylon beading thread

TOOLS Scissors 2 size 12 beading needles Chain- or flat-nose pliers FINISHED SIZE: 20¾" (necklace);

1" (pendant)

1) PENDANT. Use right-angle weave to

form the back of the beaded bezel and secure with peyote stitch: Round 1: Use 4' of thread to string 6B, leaving a short tail. Pass through all the beads again and exit from the first B strung (Fig. 1—blue thread). Round 2, Units 1–6: String 4B; pass through the last B exited and the first B just added to form the first rightangle-weave unit. *String 3B; pass back through the next B of Round 1, through the side B of the previous unit, the 3B just added, and the following B of Round 1. String 3B, pass through the side B of the previous unit, the last B just exited in Round 1, and the first B just added. Repeat from * twice to add a total of 5 units. To form the last unit, string 2B, pass

through the side B of the first unit, the next B of Round 1, the side B of the previous unit, and the first of the 2B just added (Fig. 1—red thread). Round 3: String 3B; pass through the last B exited and the first B just added to create the first right-angle-weave unit. *String 3B; pass back through the next B of Round 2 and pass through the side B of the previous unit, the 3B just added, and the next B of Round 2. String 2B; pass through the side B of the previous unit, the last B exited in Round 2, and the first B just added. Note: The right-angle-weave units in Round 3 will alternate between regular and increase units. Repeat from * four times for a total of 11 units. To form the last unit, string 2B, pass through the side B of the first unit,

Fig. 1: Working Rounds 1 and 2

BEADWORK QUICK+EASY

BW QE12-14 Zellers_QE.indd 13

april/may 2011

Q+E 13

2/10/11 3:08 PM

02102011150845


back through the next B of Round 2, and through the side and top B of the previous unit (Fig. 2—green thread). Round 4: Use A to work 1 unit of circular right-angle weave off each top B in each unit of Round 3 for a total of 18 units. Note: Every other unit in Round 3 has 2 beads; weave 1 unit into each of them (Fig. 2—blue thread). Round 5: Use A to work 1 unit of circular right-angle weave off each top A of Round 4 for a total of 18 units (Fig. 2— red thread). Round 6: Insert the rivoli face up in the beadwork. Work tubular peyote stitch with 1A in each stitch between each top A of Round 5 for a total of 18A. Pass through all the beads in Round 6 again to reinforce (Fig. 3—blue thread). Weave through beads to exit a top A in Round 4. Embellishment: Work tubular peyote stitch with 1C for a total of 18C. Weave through beads to exit the next A in Round 4 (Fig. 3—red thread). Bail: Use B to work a strip of right-angle weave 5 units long. String 1B; pass through the bottom A of the last rightangle-weave unit exited in Round 4 (Fig. 4). String 1B and pass through the end bead of the final unit just formed. Add C in some of the gaps between units if desired. Secure the threads and trim. Set the pendant aside.

Fig. 2: Adding Rounds 3–5

Fig. 3: Securing the rivoli and embellishing the pendant

Fig. 4: Forming and attaching the bail

Fig. 5: Making the six-bead loop and embellishing with C

2) CHAIN. Form the chain using right-

angle weave: Chain: Use 4' of thread to work a strip of right-angle weave about 19" long or to the desired length. String 6B; pass through the last B exited to form a loop (Fig. 5—blue thread). Embellishment: Working back along the length of the chain, add 1C between every other right-angle-weave unit, alternating sides (Fig. 5—red thread). Q+E 14

String 6B; pass through the last B exited to form a loop. Secure the thread and trim. 3) FINISHING. String the pendant on the chain using the bail. Use 1 jump ring to connect one loop at the end of the chain to one half of the clasp. Repeat at the other end of the necklace using the other half of the clasp. ✦

NANCY ZELLERS has been designing bead jewelry and teaching for about fifteen years. See more of her jewelry designs at www.nzbeads.com or in her recent book, Bead Tube Jewelry (Kalmbach, 2011). Nancy lives in Aurora, Colorado, where she has a studio decorated in hot pink and lime green.

RESOURCES Check your local bead shop or contact: All materials: Beyond Beadery, (800) 840-5548, www.beyondbeadery.com.

beadworkmagazine.com

BW QE12-14 Zellers_QE.indd 14

2/10/11 3:08 PM

02102011150846


®

Let Your Creativity Flow

With thousands of seed bead choices and endless focal elements, Artbeads.com is sure to get your creaƟvity flowing. You’ll be inspired by capƟvaƟng focal pieces and our vast selecƟon of TOHO™ and Miyuki seed beads to create your next jewelry masterpiece. YO U R T R U S T E D S O U RC E FO R E XC E P T I O N A L B E A D S & S U P P L I E S

TM

ar t b e a d s . c o m

®

Free Shipping in the USA on Orders $10 or More! Great International Rates with $1.99 Shipping to Canada Phone: 253.857.3433 or Toll-Free: 1.866.715.BEAD (2323). Email: support@artbeads.com

BW QE15 arbeads ad_QE.indd 15

2/10/11 11:51 AM

02102011115058


making tracks Gina Cooper

TECHINQUES ladder stitch herringbone stitch See pp. Q+E 48 and 94 for helpful technique information.

BW QE16-18 Cooper_QE.indd 16

2/10/11 11:53 AM

02102011115358


CONNECT EASY HERRINGBONE-STITCHED

tubes with crystals for a quick and casual bracelet.

MATERIALS 6 g opaque dark lavender 11° cylinder beads (A) 5 g opaque matte blue rainbow 11° cylinder beads (B) 4 g opaque black luster size 11° cylinder beads (C) 30 jet black 4mm round or bicone beads (D) 1 silver 3×15mm 2-to-1 etched connector 2 silver 4mm jump rings 1 silver 5×20mm floral toggle bar 1 silver 15mm floral toggle ring Smoke 6 lb braided beading thread

TOOLS Scissors Size 10 or 12 beading needles Flat- or chain-nose pliers FINISHED SIZE: 7¾"

1) BEADED TUBES. Herringbone-

stitch beaded tube beads: Round 1: Use 3' of thread to string 2C, leaving a 4" tail. Pass through the beads again. String 1C and pass through the last bead exited and the one just strung; repeat three times to form a ladder-stitched strip 6C long (Fig. 1). Pass up through the first bead added, down through the last bead

Fig. 1: Ladder-stitching Round 1

added, and up through the first bead again to form a ring (Fig. 2). Round 2: String 4A, pass down through the next C in Round 1, and up through the following C; repeat twice to add a total of 12A. Step up for the next and subsequent rounds by passing up through the first 2A added in the current round (Fig. 3).

Fig. 2: Joining the bead

ARTIST’S TIP If you’re new to herringbone stitch, it may help to insert a thin straw, wooden skewer, or rolled-up piece of paper into the beadwork. This internal base gives you something to hang onto as you form additional rounds.

Fig. 3: Working Round 2

ladder in a circle

BEADWORK QUICK+EASY

BW QE16-18 Cooper_QE.indd 17

april/may 2011

Q+E 17

2/10/11 11:53 AM

02102011115359


String 4A, pass down through the next top A from the previous round, and up through the following top A; repeat twice to add a total of 12A (Fig. 4). Round 4: String 2C, pass down through the next top A from the previous round, and up through the following top A; repeat around to add a total of 6C. Round 3:

Fig. 4: Adding Round 3

Repeat Rounds 2–4, using B in place of A for Rounds 5 and 6. Weave through the final round in a ladder-stitched thread path. Secure the thread and trim. Repeat entire step 13 times for a total of 14 beaded beads. To add variation between beads, switch the sections in which A and B are used.

Rounds 5–10:

2) ASSEMBLY. Begin a new 2' thread on a beaded bead that exits up through a bottom bead in Round 3. String 1D and one loop of the 2-to-1 connector; pass back through the D just strung and the tube bead just exited, then weave through beads to exit down through the top bead in the same Round 3 stack. Pass through the D and connector, then back through the D and through the side of the beaded tube to exit between the top and bottom beads of Round 3 on the opposite side of the tube (Fig. 5—blue thread). *String 1D, pass down through a bottom bead in Round 3 of another beaded tube, and weave through beads to exit down through the top bead in the same Round 3 stack. Pass back through the D just added and pass up through the mirror top bead of the first beaded tube.

Q+E 18

Fig. 5: Attaching the connector and beaded beads with jet beads

ARTIST’S TIP You can also create the bracelet using single-drop tubular herringbone stitch for all the rows. Just pick up 2 cylinder beads instead of 4.

Weave through beads to exit up through the nearest bottom bead of the same stack, then pass through the last D added and through the side of the second beaded tube (Fig. 5— red thread). Repeat from * to connect the remaining beaded beads, finishing with 1D and the other connector. Repeat entire step, incorporating the other side of each connector and weaving between the top and bottom beads in Round 8. 3) FINISHING. Use 1 jump ring to

attach one connector to the toggle bar. Repeat with the remaining jump ring and toggle ring. ✦

GINA COOPER is a mostly self-taught artisan beader who specializes in free-form beadwoven peyote jewelry and bead embroidery. Originally from Blackpool, England, she now resides in Florida, perfecting “beach beading,” where she hosts a local beading group and teaches for local bead stores. Gina also creates stained-glass mosaics and life-casting sculptures. See more of her work at www.creationsbygina.weebly.com. RESOURCES Check your local bead shop or contact: Seed beads: Fusion Beads, (888) 781-3559, www.fusionbeads.com. All other materials: Fire Mountain Gems and Beads, (800) 355-2137, www.firemountaingems.com.

beadworkmagazine.com

BW QE16-18 Cooper_QE.indd 18

2/14/11 2:54 PM

02142011145431


A DV ER TOR I A L

presents

the Inspired

Beader’sStudio BW QE19-27apr11Advert_QE.indd 19

2/10/11 11:59 AM

02102011120215


A DV ER TOR I A L

PF Beads ELIMINATE PROBLEMS WITH FADING OR FLAKING Mix It Up with GEMSTONES, PEARLS, GEMSTONES PEARLS WOOD, AND SHELLS Share your love of Mother Nature by mixing gemstone chips, nuggets, and simple cuts with earthy beads and pendants made of wood, freshwater pearls, and shells. Knot these gorgeous gemstones onto silk or cord or string them on beading wire for an elegant multistrand necklace or a bold, chunky bracelet. Try these combinations for spring: • Embrace the lushness of a forest by pairing wood beads with red creek jasper, African turquoise, labradorite, or crazy lace agate. • Evoke a cool ocean breeze by combining silver leaf, picture jasper, or amazonite with freshwater pearls and natural shells. • Mimic bright, floral gardens by choosing rose quartz, amethyst, olive jade, or yellow jade paired with colorful pearls.

As most beaders know, those pretty galvanized and Ceylon silver-lined finishes on seed beads eventually fade or flake over time. It’s frustrating to put hours (or months) into a project only to have the beads fail. Luckily, Toho has created a seed bead with a new durable finish. If you’ve been avoiding those seed-bead finishes because you want to create lasting, heirloom-quality jewelry, you’ll want to try Toho’s PF beads. This durable finish is available in eighteen galvanized colors and fourteen matte-galvanized. Shades such as aluminum, silver gray, and rose gold are perfect for beaders who love the look of metals in their jewelry. This same durable finish is also available for more than two dozen colors of silver-lined beads. Choose soft pinks, lavenders, and mint greens for sweet spring bracelets, earrings, and necklaces. Selected PF beads are available in a variety of shapes, including rounds, triangles, cubes, magatamas, 3-cuts, bugles, charlottes, and more. For a full list of available colors and shapes of PF beads, visit www.tohobeads.net.

In addition to its huge selection of semiprecious gemstones, FusionBeads.com offers the best online selection of Swarovski Elements products, charms, sterling and Thai hill tribe silver, artisan-handcrafted beads, seed beads, glass beads, and much more. Be inspired by new jewelry designs each week and enjoy free standard shipping on all U.S. orders.

Q+E 20

beadworkmagazine.com m

BW QE19-27apr11Advert_QE.indd 20

2/14/11 2:56 PM

02142011145601


A DV ER TOR I A L

BW QE19-27apr11Advert_QE.indd 21

2/10/11 11:59 AM

02102011120216


A DV ER TOR I A L

Select the BEST BEADING WIRE for Your Jewelry The number of beading wire options can seem overwhelming, but there’s a simple trick to choosing the right spool: the larger number of strands, the more flexible the wire will be. A long elegant crystal necklace may require maximum flexibility for it to drape correctly when worn, while a short choker with chunky gemstones may require less.

Create a Stunning BEADED CUFF BRACELET Begin your unique cuff bracelet with Lacy’s Stiff Stuff, a washable, shrink-resistant material that feels like stiff felt. If you like, you can dye it and then cut out the shape you need. You can also sketch your design on it or just go with your creative flow. Next, choose a lightweight aluminum cuff, from a sweet ½" band to a bold 2" statement. Finally, select your focal pieces from a huge range of options. Choose a brilliant Swarovski rivoli or a handful of dramatic rhinestones. Or follow one of the biggest jewelry trends by selecting resin and glass cabochons and cameos. Small resin flowers and vintage-style cameos provide color and class without weighing down your designs. Finish your piece by embroidering Toho and Delica seed beads around your focals and attaching Lacy’s Stiff Stuff to the cuff with a jewelry adhesive.

U.S.-made Beadalon offers three choices of strong nylon-coated wire. Beadalon 49, the choice of professional jewelry designers, has the most flexibility, while economically priced Beadalon 7 has the least. If you’re not sure how much flexibility your design needs, Beadalon 19 is a good choice with its perfect combination of strength, flexibility, and affordability. Once you’ve chosen the type of wire, choose the largest diameter wire possible that will fit through the smallest bead hole in your design. Try .010 beading wire for tiny, lightweight seed beads and .036 for heavy gemstones and large glass beads. For more beading wire tips, including how to use findings such as EZ-Crimps, Wire Guardians, and Bead Bumpers, visit www.beadalon.com.

Visit Artbeads.com today and turn your imaginative ideas into a gorgeous reality. With free shipping on qualifying orders and hundreds of free design ideas, Artbeads.com is your source for colorful seed beads, unique focal pieces, and inspiration.

Q+E 22

beadworkmagazine.com

BW QE19-27apr11Advert_QE.indd 22

2/10/11 11:59 AM

02102011120217


A DV ER TOR I A L

BW QE19-27apr11Advert_QE.indd 23

2/10/11 12:00 PM

02102011120218


A DV ER TOR I A L

Indulge in Everyday Luxury with 100% PURE SILK CORDS Pearl knotting on silk is a classic jewelry-making technique that’s often reserved for special occasions. Why limit yourself? Try knotting this durable and stretchresistant 100% pure silk cord in between small gemstones or delicate crystals for everyday bracelets or necklaces. Snug the beads against the knots or leave longer gaps between the knots to show off the vibrant colors of these twisted three-ply cords. Choose from classic black and white cords in ten sizes (00, 0, A, B, C, D, E, F, FF, FFF) or sixteen colors in sizes E, F, FF, and FFF. The cord comes in ½ ounce spools or on cards. Colors include a range of gemstone-inspired tones including amethyst, turquoise, and jade. Match the silk cord to your favorite beads for a unified look or choose a contrasting hue to add an unexpected pop of color. This luxuriously smooth pure silk cord feels lightweight and comfortable, making it the perfect base for warmweather jewelry. Find a bead shop near you at www.beadsmith.com.

Introducing 22 New Colors of GALVANIZED ROUND ROCAILLES AND DELICAS If you love the metallic look of galvanized seed beads, you’ll be delighted to learn that round rocailles (sizes 6°, 8°, and 11°) and size 11° Delicas now come in twenty-two colors. For pretty spring necklaces, bracelets, and earrings, choose shades such as pink blush, sea foam, and dusty orchid. If the mixed metal or steampunk jewelry trends are more your style, take note of the silver, gold, and pewter shades now available. Miyuki’s Duracoat Galvanized ® beads solve that annoying problem of a finish that quickly wears off or fades. Duracoat ® is an extra-durable coating on the bead’s surface. As with any delicate glass beads, these beads still require gentle care, but now they are suitable for use in jewelry that is worn, not only museumquality pieces that must be admired from afar. Delicas in size 8° and 10° with the Duracoat ® finish will be available this spring. Additional bead shapes such as magatamas, drops, and squares will be added in the future. Keep up with the latest news at www.miyuki-beads.co.jp/english.

Q+E 24

beadworkmagazine.com

BW QE19-27apr11Advert_QE.indd 24

2/10/11 12:00 PM

02102011120219


A DV ER TOR I A L

BW QE19-27apr11Advert_QE.indd 25

2/10/11 12:00 PM

02102011120219


A DV ER TOR I A L

Discover MUST-HAVE HOW-TO resources The best companion to your beading and jewelrymaking adventures? Beautifully illustrated instructional books, of course. Interweave is happy to offer a wide variety of books that are packed with fun projects and helpful tips. Filled with step-by-step photography and gorgeous designs, each book will educate and inspire you. Plus, there’s something for every skill level. Try your hand at metal clay with Kate McKinnon, take a 101 through wire with Denise Peck, perfect your copper work with Sharilyn Miller, personalize your metal jewelry with Lisa Niven Kelly, or discover the beauty of glass beads with Stephanie Sersich. Interweave’s expert authors will teach you everything you need to know to make beautiful handcrafted jewelry.

Add Drama to Your Jewelry with SWAROVSKI FLAT BACKS With the touch of an iron or heat-setting tool, you can affix Swarovski Flat Back Hotfix onto many different types of fabric, including wool, cotton, linen, Lycra, silk, and denim. The flat back of the crystal has a layer of hot-melt adhesive that bonds with the fabric. It’s easy to add crystals to ribbons for springtime bracelets and necklaces, but don’t stop there. Using a two-part epoxy for the best bond, glue Swarovski Flat Back No Hotfix to metal pendants, flat-glass cabochons, shell discs, wooden pendants, resin beads, or almost any other surface you desire. You could attach individual Flat Backs in Capri Blue to a metal cuff for an oceaninspired bracelet or add tiny SWAROVSKI ELEMENTS in Sunflower inside earring bezels. Another idea is to attach a large Flat Back to ultrasuede and surround it with brick stitch to create a dramatic custom focal. Swarovski Flat Backs come in a huge range of colors, sizes, and cuts, including a beautiful butterfly perfect for spring jewelry. For more inspiration, visit www.CREATE-YOUR-STYLE.com.

Q+E 26

Build a library that you can reference time and time again with Interweave’s outstanding books. For more information, visit www.interweavestore.com/ Beading-Jewelry/Books.

beadworkmagazine.com

BW QE19-27apr11Advert_QE.indd 26

2/10/11 12:00 PM

02102011120235


A DV ER TOR I A L

d

BW QE19-27apr11Advert_QE.indd 27

2/10/11 12:00 PM

02102011120235


lucky clovers Rachel McEnroe

ARTIST’S TIPS • Select a similar color for the pearls and size 11° beads to make the crystal flowers appear more vibrant. • To strengthen the bracelet, pass back through the base a second time.

TECHNIQUES right-angle weave netting See pp. Q+E 48 and 94 for helpful technique information

BW QE28-29 McEnroe_QE.indd 28

2/10/11 12:04 PM

02102011120506


CRYSTAL FLOWERS appear to float across

this elegant right-angle-weave bracelet.

MATERIALS

1) BASE. Right-angle weave a base of

pearls and seed beads: Unit 1: Use 6' of thread to string {1D and 1A} four times, leaving a 3" tail. Pass through all again to form a circle and tie a square knot. Weave through beads to exit from the third D (Fig. 1— blue thread). Unit 2: String {1A and 1D} three times, then string 1A; pass through the last D exited from Unit 1 and the first four beads added in this unit (Fig. 1— red thread). Units 3–15: Repeat Unit 2 thirteen times. Don’t trim the thread. 2) EMBELLISH. Add a layer of bicone

“flowers” to the base: String {1A and 1B} twice, then string 1A; pass through the last D exited to form a loop. Weave through

Flower 1:

the next A/D/A/D in the base unit (Fig. 2—blue thread). String 1A and 1B, pass through the middle A of the loop just added, then string 1B and 1A and pass through the last D exited (Fig. 2— red thread). Flower 2: Repeat Flower 1 to embellish the next base unit, this time using C instead of B. Flowers 3–15: Repeat Flowers 1 and 2 to embellish the entire base. Finish with a Flower 1 embellishment. 3) CLASP. Form a button/loop clasp:

String 5A, the button, and 5A; pass through the last D exited (Fig. 3). Repeat the thread path to reinforce. Secure the working thread and trim. Loop: Start a new 8" thread that exits from the D at the other end of the bracelet. String 26A or enough to Button:

3 g clear silver-lined crystal size 11° Japanese seed beads (A) 32 Indian sapphire 4mm crystal bicones (B) 28 emerald 4mm crystal bicones (C) 46 light gray 6mm crystal pearls (D) 1 clear 13mm glass faceted button Crystal 6 lb braided beading thread

TOOLS Scissors Size 10 beading needle FINISHED SIZE: 7"

loop snugly around the button; pass through the last D exited (Fig. 4). Repeat the thread path to reinforce. Secure the tail thread and trim. ✦ RACHEL McENROE, a senior in high school, has been beading for three years. Besides beading, Rachel’s other hobbies include language lessons (Russian, Arabic, and Chinese), pottery, and spending time with her many pets. Rachel lives in central New Jersey with her parents, one brother, and one sister. RESOURCES Check your local bead shop or contact: Swarovski pearls and crystals, seed beads, and FireLine braided beading thread: Fusionbeads.com, (888) 781-3559, and Beadaholique, www.beadaholique.com.

Fig. 1: Stitching Units 1 and 2 of the base

Fig. 3: Adding the button

Fig. 2: Stitching the first flower

Fig. 4: Forming the loop BEADWORK QUICK+EASY

BW QE28-29 McEnroe_QE.indd 29

april/may 2011

Q+E 29

2/10/11 12:05 PM

02102011120507


crossover bracelet Phyllis Dintenfass

TECHNIQUES herringbone stitch See pp. Q+E 48 and 94 for helpful technique information.

BW QE30-32 Dintenfass_QE.indd 30

2/10/11 12:08 PM

02102011120852


HERRINGBONE-STITCHED COMPONENTS line

up to form this bracelet. Stitch two extra components and you’ve got a cute pair of earrings to complete your ensemble.

1) FIRST COMPONENT. Use tight

tension to herringbone-stitch a slightly domed component: Round 1: Use 2' of thread to string 4A, pass through all the beads again to form a circle, and exit through the second A strung, leaving a 4" tail to weave in later. Round 2: String 2A and pass through the next A from the previous round; repeat three times. Step up for the next and subsequent rounds by passing up through the first A added in the round. Adjust the beads so the holes sit above the ones below to begin the herringbone-stitched rib (Fig. 1). Round 3: String 2A, pass down through the next A from the previous round, and pass up through the following A; repeat three times (Fig. 2—blue thread).

String 2A, pass down through the next A from the previous round, then string 2B, and pass up through the following A; repeat three times (Fig. 2—red thread). Round 5: String 2A, pass down through the next A from the previous round, through the nearest 2B, and up through the following A; repeat three times (Fig. 3—blue thread). Round 6: String 2A, pass down through the next A from the previous round, then string 4B, and pass up through the following A; repeat three times (Fig. 3—red thread). Round 7: String 1A, 1C, and 1A; pass down through the next A from the previous round, through the nearest 4B, and up through the following 2A; repeat three times (Fig. 4). Don’t trim the thread. Set aside. Round 4:

MATERIALS 5 g each size 11º seed beads in mixed matte olive (A) and metallic peacock (B) 1 g mixed matte olive size 8º seed beads (C) 1 brass 15mm button with shank Black size D nylon or smoke 6 lb braided beading thread

TOOLS Scissors Size 10 beading needle FINISHED SIZE: 7"

ARTIST’S TIP Passing through beads a second time and keeping your stitching tight will help form the subtle domed shapes of the components in this project.

Fig. 1: Adding Round 2

Fig. 4: Stitching Round 7

Fig. 2: Stitching Rounds 3 and 4

Fig. 3: Forming Rounds 5 and 6

BEADWORK QUICK+EASY

BW QE30-32 Dintenfass_QE.indd 31

april/may 2011

Q+E 31

2/10/11 12:27 PM

02102011122730


2) SUBSEQUENT COMPONENTS.

Repeat Step 1, Rounds 1–6. Repeat R d 7 for f r three of the points only Round only, then work the final point by stringing 1A, passing through 1C from the previous component, stringing 1A, and passing down through the next A in the current component. Weave through the herringbone-stitched rib to form a turnaround (Fig. 5). Repeat the thread path to reinforce. Secure the thread and trim. Repeat the entire step five more times to form a total of 7 components or enough to fit the wrist minus the width of the button.

Fig. 5: Connecting components

3) CLASP. Stitch a button/loop clasp:

Begin a new 1' thread that exits from 1C at the other end of the bracelet. String 6A, the button, and 6A, then pass through the last C exited to form a loop (Fig. 6); repeat the thread path several times to reinforce. Secure the thread and trim. Loop: Begin a new 1' thread that exits 1C at the other end of the bracelet. String 26A or enough to fit snugly around the button, then pass through the last C exited to form a loop (Fig. 7); repeat the thread path several times to reinforce. Secure the thread and trim. ✦ Button:

ARTIST’S TIP It helps make cleaner beadwork if you put the tip of your nail between each herringbone stitch as you work it, manipulating it into its classic V shape.

PHYLLIS DINTENFASS designs jewelry and publishes her patterns in magazines and books as well as teaches nationwide. Her work has been juried into numerous competitions, and she welcomes individual commissions. Check her website for current kit information: www.phylart.com. RESOURCES Check your local bead shop or contact: Button: Joann Fabrics and Crafts, (888) 739-4120, www.joann.com. All other materials: Beyond Beadery, (800) 840-5548, www.beyondbeadery.com.

Q+E 32

Fig. 6: Adding the button

Fig. 7: Forming the loop

beadworkmagazine.com

BW QE30-32 Dintenfass_QE.indd 32

2/10/11 12:08 PM

02102011120853


Make it easy for you to makeGreat Jewelry

We

NEW! Shaped Wire for Wire Wrapping Round Fancy Round Half-Round Square ®

Create Something Great™ www.beadalon.com J[^

To find a Beadalon retailer near you, please visit www.beadalon.com/locatewheretobuy.asp

BW QE33 beadalon ad_QE.indd 33

Fancy Square Available in Non-Tarnish Brass (Gold Color), Non-Tarnish Silver, and T316L Stainless Steel.

Helpful Wire Wrapping Instructions are printed on the backs of the wire packages, and complete instructions in two new booklets: Beginning Wire Wrapping and Component & Stone Setting.

2/10/11 12:09 PM

02102011120923


victorian pearl medallion

IN

th th

Barbara Falkowitz

TECHNIQUES bead embroidery stringing wirework See pp. Q+E 48 and 94 for helpful technique information.

BW QE34-36 Falkowitz_QE.indd 34

2/10/11 12:11 PM

02102011121208


INSPIRED BY MIRIAM HASKELL’S UNIQUE WORK,

this bead-embroidered necklace features modern components that capture the essence of her jewelry designs. 1) MEDALLION TOP. Stitch the small

filigree to Ultrasuede and embellish it: Attach: Layer the 30mm filigree flower, a 40×40mm piece of Ultrasuede, and the beading foundation, taking care to center all three. Tie a thick knot at the end of 3' of thread and place a needle at the other end. Pass up through the foundation, Ultrasuede, and inside one of the edges of the flower. Pass over the edge of the flower and pass down through the Ultrasuede and foundation. Continue around the flower, and pass down tacking the filigree edges to the Ultrasuede and foundation. Stitch through the foundation to exit up through an opening in the filigree near its center. Center embellishment: String 2I and slide them to the flower; lay the beads down so they fill the filigree opening and stitch down through the fabric layers. Pass up through the layers to exit up through another opening in the filigree. Continue to fill the center openings of the flower with I. Repeat with C and A to fill the outer petals of the flower in a pleasing design (Fig. 1).

Fig. 1: Embellishing the filigree center

ARTIST’S TIP If you have trouble stitching the medallion to the large filigree, try using a short beading needle. It may help you get closer to the opening in the filigree. If you have trouble getting through the seed pearls, use a smaller needle, such as a size 12 or 13.

Note: Use less, rather than more, beads so they lie flat in the given space. Stitch through the foundation to exit from the outside edge of the filigree. Outline: String 4I, slide them to the fabric, and lay them along the filigree’s edge. Pass down through the layers next to the last I strung. Pass up through the layers between the second and third beads just added, then pass through the third and fourth I just added. String 2I, slide them to the fabric, lay them along the filigree edge, pass down through the layers next to the last I strung, and up through the 2I just added (Fig. 2); repeat, working backstitch bead embroidery with I around three petals of the flower. On the fourth petal, work backstitch bead embroidery with C. Continue using I on petals 5–7, then C on the eighth petal. Stitch through the foundation to exit between a C and an I on the fourth petal. Fringe: String 1D and 1A, then pass back through the D to form a fringe; repeat on the other side of the fourth petal and on each side of the eighth petal

MATERIALS 1 g matte silver-lined amber 15° seed beads (A) 1 g gold luster red size 15° seed beads (B) 2 g rose luster size 11° cylinder beads (C) 4 topaz AB 3mm bicones (D) 12 Montana blue AB 4mm fire-polished rounds (E) 16 melon crystal luster 5mm rounds (F) 12 opaline pink 5mm rondelles (G) 12 amber 9mm rondelles with diffusion ends (H) 2 g white 2mm seed pearls (I) 14 cream 6mm glass pearls (J) 8 brass 3mm large-hole beads 8 brass 4×1mm spacers 20 brass 6mm scalloped bead caps 1 brass 30mm 8-petal filigree flower 1 brass 50mm round filigree with 13mm center opening 2 brass 23mm × 12mm filigree connectors 6 gold 3mm crimp tubes 1 brass 25mm square floral toggle ring 1 brass 5×30mm floral toggle bar 1 brass 1" head pin 4 brass 4.5mm jump rings 4" of brass 3.5×4mm flat cable chain 40×80mm piece of periwinkle Ultrasuede 40mm square piece of beading foundation Smoke 6 lb braided beading thread 40" of gray .014 beading wire 4" of bronze 22-gauge craft wire

TOOLS Scissors Size 10 beading needle Round-nose pliers Flat- or chain-nose pliers Wire cutters Crimping pliers FINISHED SIZE: 14¾"

Fig. 2: Working backstitch bead embroidery

BEADWORK QUICK+EASY

BW QE34-36 Falkowitz_QE.indd 35

april/may 2011

Q+E 35

2/10/11 12:11 PM

02102011121209


ARTIST’S TIP Different styles of filigree can be substituted for the ones listed. You need the smaller filigree to be approximately two-thirds the size of the larger one to accommodate the embroidery and picot edging.

Fig. 3: Stitching the outline

for a total of 4 fringes (Fig. 3). Secure and trim the thread on the fabric back. 2) FOCAL ASSEMBLY. Finish the

necklace’s centerpiece: Prepare backing: Carefully trim the Ultrasuede to ¼" from the pearl outline on the medallion top. Take care to avoid clipping any stitches. Turn the piece over and trim the beading foundation to 1⁄8" inside the Ultrasuede’s edge. Trace the outline of the Ultrasuede onto another 40×40mm piece of Ultrasuede and trim along the line. This is the medallion’s backing. Picot edging: Place the medallion top, filigree side up, on top of the backing. Secure a 3' thread onto the backing and sew through the medallion top, very near the edge. String 3B; pass through the backing and medallion top, one bead’s width from the last stitch. Pass back through the last bead strung. String 2B, pass through the backing and medallion top (one bead’s width from the last stitch), and back through the last B added; repeat around the backing to finish the medallion (Fig. 4). For the last stitch,

Fig. 4: Adding the picot edging Q+E 36

Fig. 5: Forming the final picot-edging stitch

add 1B, pass down through the first B added in this section, and weave through the backing (Fig. 5). Secure the thread and trim. Finishing: Secure a 3' thread onto the back of the medallion near the center. Tack the medallion to the 50mm filigree through the middle opening in several places, reinforcing the stitches. Secure the thread and trim. 3) NECKLACE ASSEMBLY. Form a

chain to hang the focal piece: Connectors: Use 2" of craft wire to form a wrapped loop that attaches to the upper-left side of the large filigree. String 1G, 1 bead cap (narrow end first), 1J, 1 bead cap (wide end first), and 1G; form a wrapped loop that connects to the narrow end of 1 filigree connector. Repeat this section to add the other filigree connector to the upper-right side of the large filigree. Decorative chain: Use 1 jump ring to attach 2" of chain to the large filigree in the opening just below the wrapped loop on the upper-left side. Use 1 jump ring to connect the other end of the chain to the upper-left side of the filigree connector. Repeat this section to add another 2" chain to the upperright side of the large filigree and filigree connector. Set the assembly aside. Toggle bar: Use the head pin to string

1A and the toggle bar (front to back); form a wrapped loop. Set aside. Bead chain: Use 10" of beading wire to string 1 crimp tube; pass through the upper-left side of one filigree connector, then pass back through the tube and crimp. Repeat to attach a second 10" piece of beading wire to the upper-right side of the same filigree connector. Use the left beading wire to string 2 brass 3mm beads (to cover crimps), {1H, 1 bead cap (narrow end first), 1J, 1 bead cap (wide end first), 1F, 1E, 1F} twice using G in place of F the second time, and 3A; repeat with the right beading wire. Use both strands to string {1H, 1 spacer, 1J, 1 spacer, 1F, 1E, 1F} twice. Use both wires to string 1 crimp tube and the wrapped loop of the toggle bar; pass back through the tube and crimp. Repeat entire section using the right filigree connector and toggle ring. ✦ BARBARA FALKOWITZ is co-owner of Artful Beads Studio and Workshop in Pennington, New Jersey, where she designs and teaches original work. A trip to Prague and Jablonex served as a great source of inspiration, and Barbara feels lucky to be a part of the bead world. RESOURCES Check your local bead shop or contact: Fireline beading thread, Soft Flex beading wire, Delicas, and all other beads and findings: Artful Beads Studio and Workshop, (609) 737-1077, www.artfulbeadstudio.com.

beadworkmagazine.com

BW QE34-36 Falkowitz_QE.indd 36

2/10/11 12:11 PM

02102011121209


CRYSTALS

TECHNIQUES

GEMSTONES

FREE SHIPPING! NO MINIMUM ORDER!

INSPIRATION

MIXED MEDIA

SEED BEADS

COLOR IDEAS

TOOLS

FusionBeads.com INSPIRING SELECTION

EXCEPTIONAL QUALITY

GUARANTEED SERVICE

FREE SHIPPING! NO MINIMUM ORDER! NEW JEWELRY DESIGNS EVERY WEEK ON OUR INSPIRATION PAGE!

BW QE37 fusionbeads ad_QE.indd 37

2/10/11 12:12 PM

02102011121310


star-crossed bracelet

Laina Goodman

LAYERS OF HERRINGBONESTITCHED PETALS surround

a ruby crystal in this antiqueinspired bracelet. The floral centerpiece can also become the focal piece for a necklace. 1) BEZEL. Work tubular peyote stitch to

bezel the square stone: Rounds 1 and 2: Use 3' of thread to string 32F, leaving a 6" tail. Tie a square knot to form a circle and pass through the first 2F to clear the knot. Pass the tail through a few beads and trim it close to the work (Fig. 1—black thread). Round 3: String 1F, skip the 1F previously added, and pass through the following F; continue to work tubular peyote stitch with 1F in each stitch for a total of 16F. Step up for the next round by passing through the first bead added in this round (Fig. 1—purple thread). Round 4: Work tubular peyote stitch with 1F in each stitch for a total of 16F (Fig. 1—green thread). Round 5: Work tubular peyote stitch with 1A in each stitch (Fig. 1—blue thread). Pass through the 16A just added to tighten (Fig. 1—red thread). Weave through beads to exit from Round 1.

ARTIST’S TIP TECHNIQUES tubular peyote stitch herringbone stitch fringe stringing crimping See pp. Q+E 48 and 94 for helpful technique information.

This bracelet should fit snugly, so include the clasp when you measure the length of the band. For example, the clasp and crimp covers take up about 1", so the band should measure 5¾" for a 6¾" bracelet.

BW QE38-40 Goodman.indd 38

Fig. 1: Working Rounds 1–5 and tightening Round 5

Work tubular peyote with 1A in each stitch. Place the square stone into the beadwork faceup, then pass through all the As just added to tighten. Weave through beads to

Round 6:

2/10/11 12:15 PM

02102011121510


Fig. 2: Securing the stone

Fig. 3: Stitching Row 1 of the large petal

MATERIALS

exit from Round 3 (Fig. 2). Note: These rounds are worked out of order, with Round 6 attached to Round 1. Take care when setting up for the petals to exit the correct round. 2) OUTER PETAL BASE. Work tubular herringbone stitch to set up a base for the petals: Round 1: String 2B and pass through the next F in Round 3; repeat fifteen times to add 32B. Step up for the next and subsequent rounds by passing up through the first B added in the current round. Round 2: String 2B, pass down through the next B of the previous round and up through the following B; repeat fifteen times to add a total of 32B. Round 3: Repeat Round 2.

Fig. 4: Stitching Row 2 of the large petal

String 1C and pass down through the next B/I/B of Row 10; repeat twice. String 1C and pass down through the next B in Row 10. Weave through beads to exit the first B of the next herringbone-stitched stack in Round 3 of the petal base (Fig. 5). Repeat this section three more times to create 4 petals around the base. Weave through beads to exit the bezel’s Round 2 from a bead that’s centered over a large petal.

Picots:

3) OUTER PETALS. Work flat herringbone stitch to form individual petals: Row 1: String 2B, pass down through the next B of Round 3 in Step 2, then string 1C and pass up through the following B of Round 3; repeat twice. String 2B and pass down through the next B in Round 3. To step up for the next and subsequent rows, loop the thread between beads of the previous rounds and pass back up through the last 2 beads exited (Fig. 3). Row 2: String 2B and pass down through the next B, C, and B of Row 1; repeat twice. String 2B and pass down through the next B of Row 1; step up (Fig. 4). Rows 3–10: Repeat Rows 1 and 2 eight times, substituting G for C in Row 3, D for C in Row 5, H for C in Row 7, and I for C in Row 9.

1 g sparkling silver size 15° seed beads (A) 3 g gray gold luster size 15° seed beads (B) 1 g metallic copper size 15° seed beads (C) 1 g turquoise bronze luster size 11° seed beads (D) 1 g beige bronze luster size 11° seed beads (E) 1 g steel blue size 11° cylinder beads (F) 1 g dusty rose size 11° cylinder beads (G) 57 crystal 2.5mm crystal bicones (H) 20 indigo 2.5mm crystal bicones (I) 15 champagne 3mm crystal bicones (J) 46 crystal gold luster 4mm fire-polished rounds (K) 75 antique cream 4mm pearls (L) 1 ruby 10×10mm faceted, foil back, square crystal stone 1 sterling 15×10mm 2-strand filigree bow clasp 4 sterling 2×3mm spiral crimp tubes 4 sterling silver 4mm crimp covers Smoke 4 lb braided beading thread 36" of nylon .014 braided beading wire Transparent tape

TOOLS Size 12 beading needle Scissors Chain- or flat-nose pliers Wire cutters Crimping pliers FINISHED SIZE: 6¾"

BEADWORK QUICK+EASY

BW QE38-40 Goodman.indd 39

aapril/may 2011

Q+E 39

2/10/11 12:15 PM

02102011121526


4) INNER PETALS. Herringbone-stitch the small petals: Row 1: String 2A, pass through the next F of the bezel’s Round 2; repeat once. String 2A and pass through the following F of Round 2. Form a hidden turnaround at the end of this and subsequent rows as with the large petals. Row 2: String 2A, pass down through the next A of Row 1, string 1C, and pass up through the following A; repeat once. String 2A and pass down through the next A of Row 1. Row 3: String 2A, pass down through the next A/C/A of Row 2; repeat once. String 2A and pass down through the next A of Row 1. Rows 4–9: Repeat Rows 2 and 3 three times, substituting F for C in Row 4, E for C in Row 6, and I for C in Row 8. Picots: String 1C, pass down through the next A/I/A of Round 9; repeat once. String 1C and pass down through the next B in Row 9. Weave through beads to exit the nearest F on Round 2 of the bezel. Repeat this section three times to form 4 inner petals. Weave through beads to exit from Round 1 of the bezel. 5) CENTER EMBELLISHMENT. String

1C, 1H, and 1C; pass back through the H. String 1C and pass through the next F in Round 1 of the bezel. String 1A, 1C, and 1A; pass through the next F in Round 1 (Fig. 6). Repeat this section around the bezel for a total of 8 fringes and 8 picots. Weave through beads to exit 1A in Round 5.

ARTIST’S TIP If you don’t want to string the beads for the band in a random order, make up two patterns and alternate them when you put them through the bail of the flower.

Q+E 40

Fig. 5: Adding Rows 3–10 and

Fig. 6: Embellishing the flower’s center

the picot of the large petal

Fig. 7: Forming the bail

6) BAIL. Peyote-stitch a bail to the back

of the flower: String 1B and pass through the next A in Round 5 of the bezel; repeat three times (Fig. 7—green thread). Row 2: String 1B and pass back through the last A added in Row 1 of the bail; repeat three times (Fig. 7—blue thread). Rows 3–16: Repeat Row 2 fourteen times (Fig. 7—red thread). Zip: Lay the beadworked strip across the back of the stone. Match the beads of Row 16 to those of the bezel’s Round 5 so they interlock like a zipper. Weave through the beads of both Row 16 and Round 5 to form a seamless join (Fig. 8). Pass through all the beads added in this step again to reinforce. Secure the thread and trim. Row 1:

7) FINISHING. Cut a 9" length of wire

and place a piece of tape 1" from the tip; repeat three times. On each wire, string H, J, K, and L in random patterns using half of the beads needed for the desired length of the band, then string 12B on

Fig. 8: Attaching the bail

each wire. Gather the open wire ends and string the flower’s bail, centering it on the Bs just strung. Separate the wires again and string H, J, K, and L in random order on each wire to form the other half of the band. Use 1 crimp tube to connect each wire end to half of the clasp; repeat with the remaining 3 wires, placing 2 wires on each clasp loop. Remove the tape from the other wire ends and use crimp tubes to connect to the other clasp half. Add the crimp covers to every 2 crimps. ✦ With a background in fashion design, LAINA GOODMAN has a passion for all media, including beadweaving, metalwork, metal clay, sewing, felting, and more. As co-owner of Artful Beads Studio and Workshop in Pennington, New Jersey, she has the opportunity to teach classes and share her enthusiasm for everything artistic. Laina lives in Hillsborough, New Jersey, with her husband and their cat. RESOURCES Check your local bead shop or contact: Braided beading thread, Delicas, and all beads and findings: Artful Beads Studio and Workshop, (609) 737-1077, www.artfulbeadstudio.com.

beadworkmagazine.com

BW QE38-40 Goodman.indd 40

2/10/11 12:15 PM

02102011121526


BEADWORK

BW QE41 toho ad_QE.indd 41

april/may 2011

41

2/10/11 12:16 PM

02102011121556


A

w p

classic quartet Roxanne Rogers

TECHNIQUES odd-count peyote stitch picot See pp Q+E 48 and 94 for helpful technique information.

BW QE42-44 Rogers_QE.indd 42

2/10/11 12:18 PM

02102011121812


ACCENT A FOUR-CRYSTAL CENTERPIECE

with a sparkling margarite, then finish it with an odd-count peyote-stitched band to create a beautiful vintage-style ring. MATERIALS 2 g antique gold size 15° seed beads (A) 4 Indian pink 3mm crystal bicones (B) 4 burgundy 6mm crystal bicones (C) 1 foil-backed volcano 5mm margarite Smoke 6 lb braided beading thread

TOOLS Scissors 2 size 12 beading needles FINISHED SIZE: 22mm (ring top)

1) RING TOP. Stitch the crystal and

seed-bead ring top: Use 4' of thread to string {1A and 1C} four times, leaving an 8" tail. Tie a knot to form a circle and pass through beads to exit from the first C added (Fig. 1—blue thread). Round 2: String 9A and pass through the last C exited to form a loop, then pass through the next A and C; repeat three times to form a total of 4 loops. Weave through beads to exit from the first 5A added in this round (Fig. 1— red thread). Round 3: String 3A and pass through the last A exited and the next 4A added in the previous round to form a picot. String 1B and pass through the following 5A from the previous round. Repeat to add a total of 12A and 4B. Weave through beads to exit from the first B added in this round (Fig. 2). Round 4: String 5A, pass through the last B added, and weave through beads to exit from the following B added in the previous round; repeat to add a total of 20A (Fig. 3). Secure the thread and trim. Round 1:

Fig. 1: Stitching Rounds 1 and 2

Fig. 2: Adding Round 3

ARTIST’S TIP Use firm tension when working the band so the ring holds a tight shape. Fig. 3: Forming Round 4

BEADWORK QUICK+EASY

BW QE42-44 Rogers_QE.indd 43

april/may 2011

Q+E 43

2/10/11 12:25 PM

02102011122529


ARTIST’S TIP Add or subtract 2 beads in the band length for each half-size adjustment. For example, 41 beads would make a size 8½ ring; 43 beads would make a size 9.

Place a needle on the tail thread and pass through the nearest C. String 4A, the margarite, and 1A; pass back through the margarite. String 4A; pass through the C opposite the last one exited (Fig. 4). String 4A; pass through the margarite and 1A and pass back through the margarite. String 4A; pass through the C adjacent to the last one exited (Fig. 5— blue thread). Repeat the thread path on the opposite side to reinforce and center the beads (Fig. 5—red thread). Secure the tail thread and trim. Set aside.

Center:

2) BAND. Work odd-count peyote stitch

to form the ring band: Strip: Use 5' of thread to peyote-stitch a strip 31A wide (or an odd number of A long enought to fit around the back of the finger) and 7 rows long, leaving a 6" tail. Weave through beads to exit from an end A in Row 3. Connection: String 4A, pass back through the first A of one picot of the ring top’s Round 3, the nearest A from Round 2, and the third A from the same picot. String 3A, pass back through the first A added in this section, and pass through the end A in Row 5 of the strip. Repeat the thread path to reinforce and weave through beads to exit up through the end A of Row 1 (Fig. 6). Picots: String 3A and pass back through the last A exited on the strip to form a picot. Weave through beads to exit from the end A in Row 7. String 3A and pass back through the last A exited (Fig. 7). Repeat the Connection and Picots sections to connect the other end of the strip to the ring top. ✦

Q+E 44

Fig. 4: Stitching the

Fig. 5: Finishing

first strands onto the center

and reinforcing the ring top

Fig. 6: Connecting

Fig. 7: Adding

the strip to the ring top

the picots to the band

ROXANNE ROGERS is a self-taught beader and has been beading for about four years. Her inspiration comes from her son and daughter-in-law. RESOURCES Check your local bead shop or contact: All materials: FusionBeads.com, (888) 781-3559.

beadworkmagazine.com

BW QE42-44 Rogers_QE.indd 44

2/10/11 12:18 PM

02102011121827


BEADWORK

BW QE45 beadsmith ad_QE.indd 45

april/may 2011

45

2/10/11 12:19 PM

02102011121858


YOUR BEADING COMMUNITY

gatherings Michelle Mach

PORTLAND BEAD SOCIETY

L

ongtime Portland Bead Society member Carol Perrenoud recalls the group’s first meeting back in 1988. “It was standing room only. We didn’t know so many people cared about beads.” Now that this Oregon group has grown to about 400 members, she says that it’s unusual to have fewer than 100 people at their meetings, most of which feature nationally recognized speakers, such as Valerie Hector, Gail Crosman Moore, and Sharilyn Miller.

To raise money for its activities, the organization hosts a two-day bead show each November, attracting more than 75 vendors and 1,200 shoppers. A second annual show, Art and Elegance in Beads, gives members a venue for selling their finished work. This show is held jointly with other guilds in the area, but the society’s support for the creative community doesn’t stop there. They also purchase beadwork for Portland’s Museum of Contemporary Craft and the Bead Museum in Glendale, Arizona. Not surprisingly, members generously share their beading skills. One member, Bobbye Brown, aka The Bead Lady, regularly visits schools, shelters, and children’s groups, using beads as a way to educate people about history and geography. Others volunteer to teach classes at the children’s hospital and homeless shelters.

From her booth at the society’s annual bead show, Bobbye Brown shows off a colorful display of beadwork from around the world.

Access to inspiring speakers is just one benefit. Members can apply for education grants to fund bead classes or borrow from a library of 1,300 books, magazines, videos, and DVDs housed at a local bead shop. They can attend the group’s annual retreat or compete in its bead challenge. Last year, the society sponsored a traveling display of its members’ beadwork that rotated to area libraries.

Q+E 46

Carol Perrenoud took first place with her whimsical purse in the 2010 Margaret Scovil beaded bag competition held at the society’s annual retreat.

The society purchased Jennifer Gallagher’s Sweet Glass Basket through funds raised for its museum gift program. The piece will go to the Bead Museum in Glendale, Arizona. (You can see more of Jennifer’s work on page 40.)

For one member joining the Portland Bead Society was a life-changing event. When Teresa Sullivan joined nearly twenty years ago, she was mainly interested in trade beads and their history. But exposure to seed-bead artists, such as David Chatt and Joyce Scott helped develop her interest in beadweaving. Now, Teresa teaches and exhibits internationally, her interest in beads transformed from a sideline to a full-time career. Society President Karen Bettin notes that with so much going on the challenge for members is “keeping a balance between helping out with these wonderful activities and still having time to do what we love: bead.” Learn more about the Portland Bead Society at www.beadport.com.

beadworkmagazine.com

BW QE46 Gatherings_QE.indd 46

2/10/11 12:21 PM

02102011122059


\

What If Your Workbench Could Talk? From setting up your workspace and selecting proper tools and materials to mastering techniques and exhibiting your work, The Workbench Guide to Jewelry Techniques is your trusted companion for all your creative jewelry projects. Inside you’ll find: t"OFYUFOTJWFEJSFDUPSZPGUPPMTBOENBUFSJBMT t%P[FOTPGUFDIOJRVFTPVUMJOFEJOTUFQCZTUFQQIPUPHSBQIZ t"HVJEFUPUIFEFTJHOQSPDFTT QIPUPHSBQIJOH BOEQSPNPUJOHZPVSPXOXPSL t"IJTUPSJDBMJOUSPEVDUJPOUPKFXFMSZ t"OJOEFYPGHFNT BHMPTTBSZ TUBOEBSETJ[FTBOENFBTVSFNFOUT conversion tables, and an extensive list of resources t"HBMMFSZPGJOTQJSBUJPOBMBOEDVUUJOHFEHFEFTJHOT

"MMJOPOF BNB[JOH volume!

The Workbench Guide to Jewelry Techniques $34.95, 320 pgs, *4#/

Find The Workbench Guide to Jewelry Techniques as well as a great selection of other Interweave products at your local bead shop or independent craft retailer.

BW QE47 workbench guide ad_QE.indd 47

2/10/11 2:04 PM

02102011140419


more techniques B E A D E M B RO I D E RY

For single stitch embroidery, begin by passing the needle through the fabric, from wrong side to right side, at the place where the first bead is to go. String a bead and pass the needle back through the fabric right next to the bead. Pass the needle back through the fabric where the next bead is to go, string 1 bead and pass back down through the fabric. Continue. Note: Use bugle beads between 2 seed beads to protect the thread from the sharp edges on bugle beads and single-stitch as one bead. TENSION BEAD

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

WIREWORKING

To form a simple loop, use flat-nose pliers to make a 90° bend at least ½" from the end of the wire. Use round-nose pliers to grasp the wire at the tip; roll the pliers toward the bend, but not past it, to preserve the 90° bend. Adjust the pliers as needed to continue the wrap around the nose of the pliers. Trim the wire next to the bend. Open a simple loop just as you would a jump ring (see below).

The overhand knot is the basic knot for tying off thread. Make a loop with the stringing material. Pass the cord that lies behind the loop over the front cord and through the loop. Pull tight. S Q U A R E K N OT

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

The square knot is the classic sturdy knot for securing most stringing materials. First make an overhand knot, passing the right end over the left end. Next, make another overhand knot, this time passing the left end over the right end. Pull tight. S U R G E O N ’ S K N OT

The surgeon’s knot is very secure and therefore good for finishing off most stringing materials. Tie an overhand knot, right over left, but instead of one twist over the left cord, make at least two. Tie another overhand knot, left over right, and pull tight.

FRINGE

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

O V E R H A N D K N OT

To open a jump ring, grasp each side of its opening with a pair of pliers. Don’t pull apart. Instead, twist in opposite directions so that you can open and close without distorting the shape. H A L F - H I TC H K N OT

Half-hitch knots may be worked with two or more strands—one strand is knotted over one or more other strands. Form a loop around the cord(s), pull the end through the loop just formed, and pull tight. Repeat for the length of cord you want to cover.

G LU I N G

Place a sparing amount of glue on knots to secure them (we recommend G-S Hypo Cement or clear nail polish) or use enough glue to completely secure beads to a surface (E6000, Terrifically Tacky Tape). Allow any glue to dry thoroughly before continuing. Seal large glue-beaded surfaces with Mod Podge.

These basic instructions are for techniques used in this issue’s projects and are from The Beader’s Companion (Interweave, 2005). Don’t have this popular book? Call (800) 272-2193 or visit interweavestore.com. Q+E 48

beadworkmagazine.com

BW QE48 More Techniques_QE.indd 48

2/10/11 12:21 PM

02102011122159


Quick&easy 2011 04 05