BW_OctNov_2011

INSPIRED DESIGNS FOR THE PASSIONATE BEADER

ELEGANCE IS EASY!

20 STUNNING JEWELRY DESIGNS ALL SKILL LEVELS

Learn to bezel a crystal rivoli p. 50 (Sneak peek from our latest DVD)

Wrap up a beaded-bead bracelet

Plus Better beading Get the tension right

Peyote-stitch a key-shaped

pendant p. 74

Love these

two-hole beads

p. 40

Stitch glamorous dangle earrings

More Designer of the Year projects

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Projects40 SLEEK IN SILVER Hatsumi Oshitani

43 WARRIOR RINGS Lynn Davy

52 PEARLVESCENT Kelli Rae Burns

56 JEWELED BACKLACE Alicia Shems

60 BRING ON THE BEZELS Csilla Csirmaz

63 DOUBLE-UP BRACELET Amy Brooks

66 BOLLYWOOD EARRINGS Melissa Grakowsky

69 AROUND THE BLOCK Barbara Falkowitz

76 WINDING PATH BRACELET Jann Christiansen

Designer of the Year Projects22 GYPSY GEM BRACELET Kelly Wiese

Enhance this striking bracelet with a large round crystal

26 BUBBLE WRAP Cynthia RutledgeBeaded beads lend a contemporary look to this wrapped bracelet

30 CLOCKWORK Sherry SerafiniBead-embroider a pendant that features an ammonite cabochon

34 VISION NECKLACE Carol Wilcox WellsMake a chain of stylized links for this lariat necklace

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Bring on the Bezelsby Csilla Csirmaz

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Gypsy Gem Bracelet by Kelly Wiese

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SPARKLING HIGHLIGHTS: CREATE YOUR STYLE workshops guided by CREATE YOUR STYLE

Ambassadors and other DIY experts learn more about new techniques

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Sparkling Make & Takes be creative!

Launch of the new 2012 CREATE YOUR STYLE Magazine

Sound nd out more!

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6 Passing Through

8 Contributors

10 Bead Buzz

12 Cool Stuff

13 Katies Finds Katie Hacker

14 The Challenge

Departments

Feature50 BRILLIANT BEZELS Melinda Barta

contents

ON THE WEB!bonus video Visit beadworkmagazine.com/videos to see Katies overview of basic clasp styles.

on the cover

Sleek in Silver by Hatsumi Oshitani

40

56

16 Custom Cool: Magnetic Attraction Clasp

18 Stitch Pro: Thread Tension

74 Simply Seeds Csilla Csirmaz

94 Techniques

96 Bead Artist: Dora Schubert Michelle Mach

STITCH INDEXBEAD EMBROIDERY 30, 56BRICK STITCH 30DAISY CHAIN 76FRINGE 40, 56HERRINGBONE STITCH 50, 52LADDER 50, 52NETTING 22, 26, 63PEYOTE STITCH 16, 22, 26, 30, 43, 50,

56, 60, 69, 74PICOT 22, 34, 69, 74, 76 RIGHT-ANGLE WEAVE 16, 34, 43, 56,

63, 66, 69ST. PETERSBURG CHAIN 40SPIRAL ROPE 56SQUARE STITCH 26, 56, 60WIREWORK 16, 30, 74

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REFINED RUFFLES

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PRINCESS PEARLS

CENTER OF AT TENTION

LIVELY L ACE

CRYSTAL KEY EARRINGS

CHANCE FOR ROMANCE

SEA BREEZE

THIS & THAT

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For advertising information, call Jim McIntosh at (513) 961-0034, email [email protected].

For sales information, call (800) 272-2193, email [email protected]. Visit the Interweave website at interweave.com. For editorial inquiries, call (970) 669-7672, email [email protected].

Beadwork (ISSN 1528-5634) is published bimonthly by Interweave Press LLC, 201 E. Fourth St., Loveland, CO 80537-5655. (970) 669-7672. USPS #018-351. Periodicals postage paid at Loveland, CO 80538, and additional mailing offices. 2011 Interweave Press LLC. All rights reserved. Reproduction in whole or in part is prohibited, except by permission of the publisher. Subscription rate is $29.95/one year in the U.S., $34.95/one year (U.S. funds) in Canada and $39.95 (U.S. funds) in other countries (surface delivery). Printed in the U.S.A. POSTMASTER: Please send address changes to Beadwork, PO Box 469105, Escondido, CA 92046-9107.

E D I T O R I A L

EDITORIAL DIRECTOR Jamie BognerEDITOR Mindy Brooks

SENIOR EDITORS Melinda Barta, Jean CampbellASSOCIATE EDITOR Mallory Zier

CONTRIBUTING EDITOR Michelle MachCOPY EDITOR Liz McGehee

P U B L I S H I N G

GROUP PUBLISHER, ART & JEWELRY DIVISION John P. BoltonADVERTISING MEDIA SALES DIRECTOR, ART & JEWELRY DIVISION

Jim McIntoshSENIOR ADVERTISING SALES MANAGER Marilyn C. Koponen

ADVERTISING MANAGER Debbi SimonCLASSIFIED ADVERTISING Monica Turner

AD TRAFFICKERS Melissa Marie Brown, Tina RolfDIREC TOR OF MARKETING Christan Humphries

MARKETING SPECIALIST Jessi ZilkSENIOR VP OF CIRCUL ATION Bob Kaslik

CONSUMER MARKETING BUSINESS MANAGER Tammy GorhamCIRCUL ATION MANAGER Barbara Naslund

A R T A N D P R O D U C T I O N

GROUP ART DIRECTOR Gail OlsheskiASSOCIATE ART DIRECTOR Connie PoolePRODUCTION DIREC TOR Trish Faubion

PRODUCTION Mark Dobroth, Kate BrownPRODUCTION EDITOR Nancy Arndt

TECHNICAL ILLUSTRATION Bonnie BrooksPHOTOGRAPHY/PHOTO STYLING Joe Coca, Ann Swanson

VIDEO MANAGER Garrett Evans

Designs in this issue of Beadwork are for inspiration and personal use only. Beadwork does not recommend, approve, or endorse any of the advertisers, products, services, or views advertised in Beadwork . Nor does Beadwork evaluate the advertisers claims in any way. You should, there-fore, use your own judgment in evaluating the advertisers, products, ser-vices, and views advertised in Beadwork. Exact reproduction for commercialpurposes is contrary to the spirit of good craftsmanship.

passing through

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Download 10 additional all-new projects and more at beadworkmagazine.com/superbead. This special subscriber-only download is available until March 10, 2012.

BONUS!

I spent a few hours in my bead room this weekend, clearing off surfaces and putting away trinkets and trea-sures. This room is on the second floor and toward the

back of the house. Its too small to have been a bedroom or nursery, so Im not sure what its original purpose was when the house was built in the 1920s. But I staked my claim as soon as I saw closets, cabinets, built-in drawers, and an original wall-mounted ironing board. Perhaps it was once a laundry room of some kind; it was certainly a womans space.

Over the years that weve lived in this house, Ive filled the room with my cache of beads and craft-related odds and ends. My family knows better than to comment on the narrow paths that sometimes form when stacks of books and magazines threaten to take over every inch of floor space. And they know that no matter how casual things look on the surface, its not a good idea to come in here to rummage around looking for miscellaneous supplies.

So, as I browsed through my containers of art beads and seed beads and findings, spending more time contemplating than truly organizing, I thought about the joy of having this space as my retreat. Its now a room set aside for play, not work, which it probably once was. Here, things can be messy without intruding on any other family members sense of order. Its private, but not separate. I believe that theres a certain creative optimism that lingers here, too, a feeling that this particular space is as much about daydreams and ideas as it is about anything else. Maybe the woman standing by that old ironing board decades ago felt it, too.

In the hands of talented bead artists, good ideas become great jewelry, and weve put together a wonderful assortment of projects to keep you busy and entertained. If youre looking for something quick, consider Jann Christiansens bracelet using a variation of the simple daisy chain or Csilla Csirmazs clever peyote-stitch key.

For a more challenging project, put Lynn Davys beaded chain maille necklace on your list. Her interwoven links, substantial enough to support her focal pen-dant, also have great potential as a bracelet. Alicia Shems originally designed her necklace to wear with the focal in back. Take a look at how she incorporates three strands worked in three different techniques into one cohesive piece.

As always, our Designer of the Year projects are enticing and compelling works. Sherry Serafinis bead-embroidered ammonite pendant is a handsome accessory for fall. Carol Wilcox Wells designed an elegant necklace in cubic right-angle weave. For a flash of crystal brilliance, youll want to make Kelly Wieses bracelet. And Cynthia Rutledges wrapped bracelet offers a new way to enjoy beaded beads.

Weve got a few great beading lessons in this issue, too. Senior Editor Melinda Barta shows how to embellish a magnetic clasp in Custom Cool. She also demon-strates how to use herringbone stitch to make elegant bezels. Both are excerpts from her soon-to-be-released DVDs: How to Stitch Beaded Bezels with Peyote, Herringbone, and More and How to Stitch Custom Clasps: Finish Beaded Designs with Creative Closures. Plus, dont miss Senior Editor Jean Campbells tips in Stitch Pro on how to control thread tension. Make a few simple changes to your stitching techniques, and we think youll love the results.

play room

Mindy [email protected]

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BEADWORK october/november 2011 7

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07282011140641 Approved with warnings

Want to become a BEADWORK CONTRIBUTOR?See our submissions guidelines and deadlines at beadworkmagazine.com.


Designers of the YearCYNTHIA RUTLEDGE I rarely complete a design before beginning to bead, but connections, closures, and mathI do work out those details on paper. Years ago, bead artist Joyce Scott wisely suggested that I document my work, so I make notes, take pic-tures, and keep all my doodles. I can look back to 1989 and review every piece and the process that brought me there.

SHERRY SERAFINI I totally create as I go. I may have a project in mindfor example, an earring or a cuffbut after that, the beads tell me where they want to be placed, and the shape begins to develop. When I have a plan, it never works for me. Its too stifling for my creative energy.

CAROL WILCOX WELLS Most of my work begins with a rough drawing of what I want to create. From that point I gather beads and begin to stitch, letting the work guide me as I go. I make many stops and starts to change bead color, bead size, and maybe the stitch, but its all heading toward the original goal.

KELLY WIESE I usually start a new design with a basic idea in mind. Sometimes I do a rough sketch, but more often I just pull out my beads and get started. Usually, my finished project looks very different from the initial design in my head. Until I work with the beads, I dont know exactly what I will end up with.

When creating a piece of beadwork, do you design in advance or create as you go?

contributorsTHIS ISSUES FEATURED ARTISTS

Usu ally, I design first. Sometimes I sketch, and sometimes I just dream and try to visualize. But, of course, in most cases I make changes as I create the actual piece. Maybe I should keep this a secret, but when I dont like what Ive got, I disassemble the whole piece. After all, it is possible to learn from your mistakes, too.

CSILLA CSIRMAZ

Sometimes I design in advance, although design is too grand a word. Its more like scrawl some-thing on a bit of paper and then wonder how on earth to make it work. Most of my designed-in-advance pieces take on a life of their own at some point during the process. I reckon that my sub-conscious is a much better designer than I am.

LYNN DAVY

I usually start with an idea and proceed from there. I feel like the beadwork takes on a life of its own and dictates what comes next. Once I start playing around with ideas and combina-tions, Im amazed at the results. Its not uncommon to end up with several versions all based on the same concept.

BARBARA FALKOWITZ

For a class or pattern, I design in advance. I decide on a stitch or technique, consider the skill level of the intended audience, then choose beads and colors. When designing jewelry, I start with something that has inspired me and design as I go.

JANN CHRISTIANSEN

I often draw with colored pencils or pastels, but I dont adhere strictly to my drawing. Frequently, I start with one idea, and the piece grows organically into something else as I play with a stitch or colors or beads. Then, there is a moment when I can envision the piece that I will make from my experiment.

ALICIA SHEMS

Q

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WHERE READERS CONNECT

bead buzz


Michelle Mach

When Christine Wilson became a jewelry designer after years as a quilter, she struggled to find a way to incorporate her brand into her bead-embroidered pieces as she had done with her quilts. While searching for a custom stamp to use for packaging, she discovered a small online shop, Bullfrog Laserworks, that could engrave logos on leather, wood, and other materials. She immediately

recognized the value of having her logo engraved on synthetic suede, the same material she uses to back her embroidered designs. For artists wanting to brand the jewelry they sell, Christines supplier is worth a closer look.

Fifty faux-suede labels cost under $25. Custom-color options and volume discounts are available. Visit Bullfrog Laserworks, www .robertosand.etsy.com for details.

We want to hear from you! Email [email protected] with beading tips, pictures of your work, questions, and information on what your local bead guilds and groups are up to. Check our website, beadworkmagazine.com, for correc-tions, announcements, and free projects. Plus, chat with other beaders in our forums at beadingdaily.com.

Earlier this year, I read a great book called 365: A Daily Creativity Journal: Make Something Every Day and Change Your Life! by Noah Scalin (Voyageur Press, 2010). As a result, Ive decided to teach myself beadweaving using books, magazines, and the Internet. One day I tried the Crisscross Beads (April/May 2011) using apricot, light topaz, rose bronze, and rose quartz beads. Possibly, 365 days from now, I will be a capable (or better) beader. Follow my adventures at www.beadsforbrains.blogspot.com. You just might learn something along with me!

MANDY DUFFY/ELKRIDGE, MARYLAND

I was inspired to try Sherry Serafinis Geometrix Necklace (February/March 2011), even though bead embroidery is so new to me. When I heard that Sherry was teaching at a bead shop about an hour from me, I decided to hurry up and finish my piece. Her class was full, but during lunch she signed three of my books, critiqued my work, and took a photo with my kids and me. It was very humbling to meet someone so famous, yet so very grounded. When I told her my piece might be in Beadwork, she said shed keep a copy for me to sign. This piece is priceless to me because of my awesome experience with its designer.

VICENTA PARTRIDGE/WOONSOCKET, RHODE ISLAND

Faux-suede labels by Bullfrog Laserworks, www.robertosand.etsy.com. Logo design by Good Quill Hunting.

Brand Your Jewelry

I love almost anything with buckles, so I had to make the Brilliant Buckle Bracelet (February/March 2011) by Diane Dennis. I decided to kick up the design by using silver-lined red and galvanized-metallic silver cylinder beads for the buckle and sleek-looking gray silver-lined size 10 cylinder beads in place of the 11s. Also, I worked in two-drop instead of three-drop peyote. What a fun project to make and wear! You can see more of my work at www.terahsclassiccreations.blogspot.com.

TERAH HERNANDEZ/CERES, CALIFORNIA

In my version of Lynn Davys Cairo Collar (February/March 2011), I used bright silver size 11 triangle beads. Instead of taking the ladder stitch all the way around the neck, I used sterling silver chain and a toggle clasp to finish the necklace. The pink flowers are 8mm rose Swarovski marguerites, and the focal bead is a blue chalcedony.

DIANA SCHMIDT/OLMSTED FALLS, OHIO

W.O.R.D. (what our readers did)

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RETAIL THERAPY

in the order they re mentioned in the text.]]

Timely TrendFor a design thats both practical and pretty, use a vintage-inspired brass pocket watch ($12) as a necklace pendant on a beaded rope or chain ($1.853.95 per foot). www.primitiveearthbeads.com

Get Your Sparkle OnSparkling Swarovksi pendants in a range of modern shapes pair beauti-fully with custom-made sterling silver bails from John Bead. Check your local bead shop.

Bails For Every MoodAdd a touch of sophistication to your necklace by using a bail instead of a jump ring to hang a pendant. Choose from hammered sterling silver ($4.34), copper donut ($4.32), or many other options at Beaded Impressions. www.abeadstore.com

Cowgirl ChicHandmade rusted iron pendants from The Lipstick Ranch add a Wild West touch to your jewelry. Each pendant is sealed three times to preserve the perfect shade (10 for $30). www.thelipstickranch.com

Precious PendantsFind a gemstone focal to match your every mood: a bold rhodochrosite donut ($11.70), quiet lapis drilled donuts (2 for $2.40), a dramatic artistic jasper inlay in a black coin cabochon ($4.90), an elegant smoky quartz pillow drop ($11.90), or a fossil coral free-form slab pendant ($4.90) at Lima Beads. www.limabeads.com

Natural BeautyThese stoneware pebble pendants and cabochons by ALD Designs feature ravens, owls, butterflies, and deer inspired by antique engravings and the designers original watercolors ($1012). www.etsy.com/shop/alddesigns

All About AutumnCreate striking fall jewelry with these handmade matte lampwork beads capped with etched copper by Wandering Spirit Designs ($4575 each). www.etsy.com/shop/wanderingspirit

cool stuff Michelle Mach and Mallory Zier

Timely Trend

ier

Bronze AgeAdd an element of the ancient to your creations with hand-cast beads, toggles, pendants, and more from Old World Bronze ($2.2576.00 for components shown). www.oldworldbronze.com


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THE STAFF OF BEADWORK INVITES YOU TO SEND YOUR NEW BEADING PRODUCTS FOR CONSIDERATION IN COOL STUFF. PLEASE SEND ALL SUBMISSIONS TO [email protected] TOGETHER WITH COMPLETE PRODUCT INFORMATION.

katies findsFOCUS ON CLASPS

Dramatic clasps make intriguing focal points for beadwork. Why hide them in back when they look so good up front?

KATIE HACKER is the host of the public television pro-gram Beads, Baubles, and Jewels. She is also the author of many beading books, including Hip to Bead (Interweave, 2006). Read her blog and sign up for her monthly news-letter at www.katiehacker.com.

NEW VIDEO!

Visit beadworkmagazine.com/videos to see Katies

overview of basic clasp styles.

Eco SavvyJoin this hot new trend! Transform discarded items into fashion-forward accessories with the 20 inspired ideas presented in Jewelry Upcycled!: Techniques and Projects for Reusing Metal, Plastic, Glass, Fiber, and Found Objects.FOX CHAPEL PUBLISHING. PAPERBACK, $24.95. 190 PAGES, COLOR.ISBN 978-1-56523-563-2

Bring texture front and center in your jewelry with porcelain toggles from Earthenwood Studio. These toggles with bits of text, urban architecture, and a crackly, organic finish ($15 each) are just a few of my favorites from Melanie Brookss new collection.www.earthenwoodstudio.com.

The dark

metallic look is hot

Buy recycled!

A Pop Of ColorTreat yourself to one of Klews vibrant cord necklaces with her signature polymer clay pendants. $5862. www.klewexpressions.com

These eye-catching magnetic clasps ($3.994.99) feature real lizard skin; its recycled leather from the watchband industry! Designed by Jill Mackay forBead Landing, theyre available at Michaels stores. (800) 642-4235 or online at www.jillmackay.com.

Nifty FixesLook to Jewelry Fix-Ups: How to Clean, Repair and Restore Your Jewelry for a comprehensive collection of ways to revive your jewelry. Re-chain that unchained melody with an expert hand.THE CROWN PUBLISHING GROUP, RANDOM HOUSE INC. PAPERBACK, $21.99. 144 PAGES, COLOR.ISBN 978-0-82309-990-0

Make a statement with oversized clasps from Blue Moon Beads. Black and gunmetal finishes look gorgeous with galvanized seeds and are right on trend this season. Available at Meijer stores ($4.99). www.meijer.com.


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FOUR DESIGNERS, ONE STASH

the rules: We use our favorites from the materials provided and, where necessary, round out projects with our own supplies.

the stash: Our kits from STONY CREEK BEAD included seed beads in a variety of colors, shapes, and finishes plus a polymer clay focal with matching accent beads from Susan Bailey, www.turtlesoupbeads.com.

the source: Stony Creek Bead, (734) 544-0904, WWW.STONYCREEKBEAD.BLOGSPOT.COM

the challengeJean Campbell, Mindy Brooks, Kristal Wick, Julie Anstaett

What happens when you give four people matching sets of materials to play with? We work with products we might not have considered using, and our creative sides get stretched one more notch.

Attention bead artists, retailers, and wholesalers: If you would like to contribute materials and supplies to the Challenge, please contact Mallory Zier at [email protected] or (970) 613-4650.

jeanThe pieces in this Challenge kit were quite a challenge for menot the colors or materials Id usually use! The polymer clay charms and focal were my biggest hurdles; I stitched and restitched their placement a few times before I came up with this configuration. The result is that I feel Ive designed a piece thats so outside of my box that I grew creativelythe best outcome of all!

mindyWhen I saw the brilliant colors of the kits focal bead, I knew it would be the right piece to pair with a crochet rope of size 5 triangle beads that I had underway. I finished the ropes ends with herringbone-stitch bead caps using two colors of size 11s from the kit. Then I stitched jump rings to the back of the focal and attached lobster clasps to the ends of the rope. I can now wear my rope with this eye-catching focal, as the base for other focals, or as a necklace on its own.

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Take a bow, Julie!Julie Anstaett wowed our editors with photos of her beaded jewelry, so we invited her to participate in this issues Challenge.Want to take part in an upcoming Beadwork Challenge? See below for details on how to submit pictures of your work and become the next reader chosen to receive a Challenge kit.


kristalI enjoy making jewelry that can easily turn into multiple looks. In this piece, the focal is removablesimply slide the large ring over the strands to wear the strands alone. I used all the kits seed beads to give the necklace strands interesting texture and colors. One of my fave nuances of the polymer clay is the touch of gold along the edges of the focal and the dangles. That small detail makes all the other colors pop. I added a dash of gold metal with TierraCasts textured ring and cone ends. What a fun color combo!

ITS YOUR TURN!Want to try your hand at the Beadwork Challenge?Simply email a clear photo of your best bead creation to [email protected] by November 9, 2011, for a chance to participate. Your photo should give us a sense of your style, craftsmanship, and breadth of technique. If selected, we will send you a Challenge kit, and you will have about four weeks to complete your project. Visit beadworkmagazine.com/go/challenge for entry and eligibility information.

julieI really love the powerful colors of the beads in this kit. I knew I wanted to do bead embroidery, and figuring out how to accomplish that took the most time. I added two layers of gold leaf to the edge of the polymer clay focal to make it really pop. I then drilled additional holes in the back so I could anchor it to Lacys Stiff Stuff. After sewing on the beads, I backed the piece with Ultrasuede and edged the layers with size 8 hex beads. The strap is a simple three-bead ladder embellished with lots of fringe. I needed the strap to balance out the medallion, and the blue magatamas and red AB fringe beads really worked for that.

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Fig. 1: Peyote-stitching Rounds 1 and 2

Fig. 2: Creating Round 3 right-angle-weave units


Editors NoteNot all magnetic clasps are created equalbe sure to buy one with very strong attraction so youll never lose your necklace or bracelet.

PERSONALIZE YOUR JEWELRY COMPONENTS

custom cool { MAGNETIC ATTRACTION CLASP } Melinda Barta

Combine a little bit of wireworking with your beadweaving, and the result is a highly durable and completely concealed magnetic clasp.

TECHNIQUEScircular peyote stitchright-angle weavewirework

PROJECT LEVEL See p. 94 for helpful technique and project-level information.

MATERIALS & TOOLSSize 11 Japanese seed beads (A)Size 11 Japanese seed beads in contrasting

colors (B)2mm brass or crystal rounds or contrasting

size 11 Japanese seed beads (C)Heavy-duty 612mm magnetic barrel clasp with

22.4mm inner well and 1mm hole1" head pins (2 per clasp)6 lb braided beading threadScissorsSize 12 beading needleWire cuttersChain- or flat-nose pliersRound-nose pliers

FINISHED SIZE: 1"

Round 3, Unit 4: Repeat Unit 2 (Fig. 2blue thread).

Round 3, Unit 5: Pass through the nearest side A of Unit 1. String 2A; pass through the side A of the previous unit, the last B exited, the nearest side A of Unit 1, and the top 2A of Unit 1 (Fig. 2red thread).

Round 4, Unit 1: String 5A; pass through the last 2A exited and the first A just strung to complete the first right-angle-weave unit of this round (Fig. 3orange thread).

Round 4, Unit 2: String 4A; pass back through the top 2A of the next unit in the previous round. Pass through the side A of the previous unit, the 4A just added, and the top 2A of the next unit in Round 3 (Fig. 3purple thread).

Round 4, Unit 3: String 4A; pass through the side A of the previous unit, the last 2A exited, and the first A just added (Fig. 3green thread).

rkkkingg with sult iis a y

etic clasp

1) CLASP COVER. Use circular peyote stitch and right-angle weave to create a cover for the clasp:Round 1: Use 2' of thread to string 5B,

leaving a 3" tail. Tie a knot to form a tight circle. Pass through the first B strung (Fig. 1blue thread).

Round 2: String 1B and pass through the next B; repeat to peyote-stitch a total of 5B. Exit the first B added (Fig. 1red thread).

Round 3, Unit 1: String 4A; pass through the last B exited and the first A just strung to complete the first right-angle-weave unit (Fig. 2orange thread).

Round 3, Unit 2: String 3A; pass back through the next B of Round 2. Pass through the side A of the previous unit, the 3A just added, and the next B of Round 2 (Fig. 2purple thread).

Round 3, Unit 3: String 3A; pass through the side A of the previous unit, the last B exited, and the first A just added (Fig. 2green thread).

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Fig. 3: Working Round 4 Fig. 4: Embellishing the cover Fig. 5: Assembling one half of the clasp


Try this! Want to cover the wire-wrapped loop for a completely concealed closure? Work rounds of tubular peyote stitch off the beads of Round 2 or work tubular right-angle weave off the units of Round 3. If your design will incorporate beads (instead of stitching a long rope off Rounds 2 and 3), use crimp tubes and crimping pliers to attach beading wire to the wireworked loops before working the tubular stitches.

Round 4, Unit 4: Repeat Round 4, Unit 2 (Fig. 3blue thread).

Round 4, Unit 5: Pass through the nearest side A of Round 4, Unit 1. String 3A; pass through the side A of the previous unit, the last 2A exited, the nearest side A of Round 4, Unit 1, and the 3A just added (Fig. 3red thread).

Round 5: Repeat Round 4, Units 15.

2) EMBELLISHMENTS. Add contrasting beads along the bottom and sides of the cover:Bottom: String 1C and pass through the

top 3A of the next Round 5 unit; repeat four times to add a total of 5C (Fig. 4green thread).

Sides: Exit 1 side A of Round 5. String 1B; pass through the nearest side A of Round 4. String 1B; pass through the nearest side A of Round 3, the nearest B of Round 2, and the next side A of Round 3 (Fig. 4blue thread). Continue adding B between each side A (Fig. 4red thread).

3) ASSEMBLY. Use 1 head pin to string one half of the clasp and 1 cover, wide end first, and passing through the opening in the center of Round 1; form a wrapped loop (Fig. 5).

4) Repeat Steps 13 using the other half of the clasp.

MELINDA BARTA is senior editor of Beadwork, author of the best-selling books Custom Cool Jewelry and Hip to Stitch, and coauthor of Mixed Metals (Interweave, 20052009). Look for her two newest beadweaving books in 2012 and 2013. Melinda has filmed five DVD workshops, including lessons on resin, peyote stitch, herringbone stitch, beadweav-ing bezels, and custom clasps. Visit www.melindabarta.com.

See this and other creative custom clasps in Melindas new DVD How to Stitch Custom Clasps: Finish Beaded Designs with Creative Closures.

Visit interweavestore.com.

RESOURCES Check your local bead shop or contact: Clasp (item #H20-8574FX) and head pins: Fire Mountain Gems and Beads, (800) 355-2137, www.fi remountaingems.com. FireLine braided beading thread, seed beads, and Swarovski crystal rounds: Beyond Beadery, (800) 840-5548, www.beyondbeadery.com. Brass rounds: Ornamentea, (919) 834-6260, www.ornamentea.com.

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stitch pro { THREAD TENSION }TECHNIQUES YOU CAN'T BEAD WITHOUT

WAXNo matter what type of thread you use, wax it before you use it. I like to use good old-fashioned beeswax, even on my FireLine. The stickier the wax, the more it helps hold your thread in place. (Note that thread con-ditioner works, too, but its primary benefit is to make threads slick and demagnetized and to keep them from fraying. These are all wonderful and important attributes but not necessarily ideal for helping to increase the thread tension.)

what type of thread you uset I like to use good o

n on my Fire it h

USING THE TAILMy favorite technique for maintaining thread tension is working with the tail thread. I wrap it around the pinkie of my nondominant handthe hand thats not stitchingso that after each stitch I can pull the beadwork away from the needle with my dominant hand. I often also wrap the working thread around the fingers of my dominant hand to get extra torque while Im pulling. This ensures that all the threads are tight, providing surprisingly strong tension.

Take a look at these two right-angle-weave samples. Theyre made using the same beads, the same thread, and the same stitch con-figuration. So, why do they look so different? The answer is simple: thread tension.

Ah, the ongoing problem of thread tension! It can make or break a beadwork project, especially if youre working on a piece thats even remotely sculptural. Loose tension can affect size, making a piece much larger than intended, and overly tight tension can affect flexibility. But theres no need to worry. Here are several basic techniques to help you get the tension right.

Jean Campbell

Thread notesYou might not think so at first, but your tension can differ from thread to thread. A parallel-fiber nylon thread such as Nymo will relax a bit once its stitched, so pull it to stretch it out before you get started. A braided beading thread such as FireLine doesnt require pre-stretching.


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JEAN CAMPBELL is senior editor of Beadwork magazine and a jewelry-design artist and teacher. She is also the author of Creating Glamorous Jewelry with Swarovski Elements (Creative Publishing International, 2010). Visit Jean at www.jeancampbellink.com.

DOUBLED THREADCutting an extra long length of thread and pulling the needle to the center so you can work with doubled thread is another way to ensure good thread tension. Youll fill the bead holes more quickly, which gives your work more structural support. When you use doubled thread, make sure the project doesnt require multiple thread passes through beads too small to accom-modate them.

REINFORCING THREAD PATHSPassing through the beads after theyve been stitched in place is a great way to re-inforce your beadwork and firm up the tension. Because the beads are already placed, its easier to pull your thread tight without having to hold onto newly placed beads. And, as with doubled thread, filling the bead holes with more thread passes adds body to your work.

Tension beadsYoull sometimes see instructions that start with the advice Add a tension bead. A tension bead is any bead that you string on the end of your thread to keep newly added beads from falling off. In my opinion, this is actually misnamed; although temporarily anchoring a bead at the start is a great way to stop beads from slipping off (the alternative name for this is a stop bead or stopper bead), it absolutely does not provide tension to your beadwork.


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J\W

for youmake it easyWe

Design by Fernando Dasilva courtesy from Modern Expressions by North Light Books. The necklace was made using Beadalon 49 Strand White wire, Chain, and ndings. You can learn how to make this design at: http://www.beadalon.com/spatial_spheres_necklace.asp

Original cast designs copyright protected TCI394

Quality in the Making

Ask For Us At Your Local Bead Store

WWW.TIERRACAST.COM ~ Lead Free Pewter Made in the USA ~ EU Nickel Compliant ~ Original Designs

efine your esign with MetalD

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Create Something Great

www.beadalon.com

uto make

Making your own jewelry is fun, easy, and very gratifying. Save money and express your style by creating your own earrings, bracelets and necklaces. Visit our website for hundreds of design ideas, step-by-step instructions, product videos, and inspirational ideas to discover how easy it is for you to make great jewelry.

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

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CUSTOM COATINGSAdd new dimension to SWAROVSKI ELEMENTS. Ask your bead supplier about the latest custom coatings.

Chili Pepper

Coatings are not supplied by Swarovski

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ADESIGNER of the Year

TECHNIQUESnettingpicotcircular peyote stitch


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Artist NameDESIGNER of the Year

1) LARGE BEZEL. Use netting to bezel the 27mm crystal: Round 1: Use 6' of thread to string 12C,

leaving a 6" tail. Pass through all 12C again to form a circle; exit from the first C added.

Round 2: String 9C and 3D; pass back through the second D. String 1D and 9C, then pass through the last C exited in Round 1 and the next 2C in Round 1; repeat five times for a total of 6 points. Weave through beads to exit from the sixth C added in the first point (Fig. 1green thread).

Round 3: String 3C and 3D; pass back through the second D. String 1D and 3C; pass through the last 6C added to the

next point, through the next C from Round 1, and through the first 6C added to that point. Repeat from the begin-ning of this round five times to add a total of 6 small points between the orig-inal 6 points in Round 2. Weave through beads to exit from a D at the tip of the first point (Fig. 1blue thread).

Round 4: String 3A, pass through the tip of the next point, string 1B, 1E, and 1B, and pass through the tip of the next point; repeat five times to connect all the points (Fig. 1red thread). Before tightening, place the 27mm crystal onto the beadwork faceup, then pull the thread snug. Repeat the thread path to reinforce. Weave through beads to exit from the second A added in this round.

Round 5: String 3A, pass through the last A exited to form a picot, and weave through beads to exit from the second A of the next 3A set from Round 4; repeat five times to add a total of 6 picots. Weave through beads to exit from the second A added in the first picot (Fig. 2green thread).

Round 6: String 7A and pass through the tip of the next picot; repeat five times to completely encase the crystal. Repeat the thread path to reinforce. Weave through beads to exit through the ninth C of a Round 2 point that sits next to a 3A segment from Round 4 (Fig. 2blue thread). Note: The thread should exit toward the back of the 27mm crystal.

Round 7: String 3B and pass up through the nearest ninth C of the next point,

Kelly Wiese

A LARGE ROUND CRYSTAL makes a brilliant centerpiece for this striking bracelet.

gypsy gem bracelet

DESIGNER of the Year

MATERIALS2 g violet-lined blue size 15 Japanese

seed beads (A)7 g dark-amber gold luster iris size 11

Japanese seed beads (B)4 g purple rainbow size 11 Japanese seed

beads (C)2 g dark-purple opaque luster size 11

Japanese seed beads (D)32 heliotrope 3mm crystal bicones (E)2 amethyst 5mm crystal bicones (F)2 amethyst 12mm crystal rivolis1 amethyst 27mm round crystal pointed-

back cabochonPurple size D nylon beading threadThread conditioner

TOOLSSize 12 beading needlesScissors

FINISHED SIZE: 634" long, 114 " wide

Kelly Wiese loves working from her home studio in Fort Morgan, Colorado. Spending a quiet day working with beads is always one of her great pleasures. Kelly especially enjoys working with size 15 seed beads and crystals of all shapes and sizes. This design is the perfect use for the 27mm crystals shes been stockpiling. For kits and supplies, visit Kelly's website: www.beadparlor.com.

Fig. 1: Stitching Rounds 24 of the large bezel

Artists TipThis bracelet fits best if it is snug on the wrist. The 27mm round crystal is a little heavy, and the bracelet wont turn if the fit is tight.


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Round 1: Weave the working thread of one small bezel so it exits from the fourth A in the Round 4 net that sits directly across from the large bezel connection. String 65B; pass through the fourth A of the next Round 4 net of the small bezel. String 1C, 1E, and 1C; pass through the first A exited in this round and the first B just added (Fig. 6purple thread).

Round 2: Work circular peyote stitch with 1B in each stitch for a total of 32B. Weave through the nearest A on the small bezel, the 1C/1E/1C, and the next A (Fig. 6green thread).

Round 3: Work circular peyote stitch with 1B in each stitch for a total of 33B. Weave through the nearest A, the 1C/1E/1C, the next A on the small bezel, and the first B added in this round (Fig. 6blue thread).

Round 4: Work circular peyote stitch with 1C in each stitch for a total of 32B (Fig. 6red thread). Secure the thread and trim.

Repeat the entire step on the side of the other small bezel to form the second strap.

moving toward the front of the large crystal, to form a picot. String 1E and pass down through the nearest C, toward the back of the large crystal. Repeat around the crystal, adding a total of twelve 3B picots and twelve 3mm crystals. Weave the working thread through beads to exit from the second B added in this round (Fig. 2red thread). Secure the tail thread, but dont trim the working thread. Set the large bezel aside.

2) SMALL BEZELS. Use netting to bezel two 12mm crystals:Round 1: Use 6' of thread to string 12A,

leaving a 6" tail. Pass through all 12A again to form a circle; exit from the first A added (Fig. 3purple thread).

Round 2: String 3A, skip the next A from Round 1, and pass through the next A; repeat five times for a total of 18A (6 nets). Weave through beads to exit from the second A added in this round (Fig. 3orange thread).

Round 3: String 5A and pass through the center A of the next net from Round 2; repeat five times for a total of 30A. Weave through beads to exit from the third A added in this round (Fig. 3green thread).

Round 4: String 7A and pass through the center A of the next net from Round 3; repeat five times for a total of 42A. Weave through beads to exit from the

fourth A added in this round (Fig. 3blue thread)

Round 5: String 5A and pass through the center A of the next net from Round 4; repeat five times for a total of 30A (Fig. 3red thread). Before tightening, place a 12mm crystal onto the netting faceup, then pull the thread snug.

Round 6: String 1A, 1E, and 1A and pass through the center A of the next net from Round 5; repeat five times for a total of 12A and 6E (Fig. 4). Repeat the thread path to reinforce. Secure the tail thread. Dont trim the working thread.

Repeat Rounds 16 to form a second bezeled 12mm crystal.

3) CONNECTING THE CRYSTALS. Use the large bezels working thread to pass through the fourth A in a Round 4 net of a small bezel, then string 1B. Pass through the nearest E in the large bezel. String 1B, then pass through the fourth A of the next Round 4 net of the small bezel. Pass through the middle B of the next picot on the large bezel (Fig. 5). Weave through beads to the opposite side of the large bezel and repeat to attach the remaining small bezel, ensuring that the 2 small bezels are directly across from one another. Secure the thread and trim.

4) STRAPS. Peyote-stitch large ovals to form the bracelet straps:

Fig. 2: Adding Rounds 57 of the large bezel

Fig. 3: Stitching Rounds 15 of a small bezel

Fig. 5: Connecting the large and small bezels

Fig. 4: Adding Round 6 of a small bezel



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5) CLASP ENDS. Peyote-stitch a toggle bar and loop to form the clasp:Toggle bar: Use 3' of thread to work a strip

of flat peyote stitch 18B wide and 8 rows long, leaving a 6" tail. Fold the strip so the first and last rows interlock; zip the beads together to form a seamless tube. Exit out from the end of the tube. String 1F and 1B; pass back through the F just added, then pass through the center of the tube and out the other end; repeat to embellish the other end of the tube. Repeat the thread path to reinforce. Weave through the beads that form the body of the tube to exit from the ninth B across (Fig. 7blue thread). String 3B; pass through the sixteenth C from Round 4 of one of the straps. String 1C; pass through the next C from Round 4. String 3B; pass through the last B exited on the tube. Repeat the thread path to reinforce (Fig. 7red thread). Secure the thread and trim.

Fig. 6: Stitching a strap

Loop: Begin 3' of new thread that exits from the sixteenth C in Round 4 of the other strap. String 29B; pass through the seventeenth C in Round 4. String 1C; pass through the original C exited in this section and the first B added (Fig. 8purple thread). Work circular peyote stitch with 1B in each stitch for a total of 14B. Weave through the nearest 3C of the oval and the first 2B of the loop (Fig. 8green thread). Work circu-lar peyote with 1B in each stitch for a total of 13B; weave through beads to exit from the first B just added (Fig. 8blue thread). String 1A, 1C, and 1A and pass through the next B added in the previous round; repeat eleven times for a total of 12 nets (Fig. 8red thread). Secure the thread and trim.

RESOURCES Check with your local bead shop or contact: Swarovski crystals and all other materials: Beyond Beadery, (800) 840-5548, www.beyondbeadery.com. Kits: Kelly Wiese, www.beadparlor.com.

Fig. 7: Adding the toggle bar

Fig. 8: Stitching the clasp loopArtists Tip Adjust the length of the bracelet by adding to or subtracting from the number of beads in the ovals on the sides of the bracelet. Just make sure to use an odd number of beads.

Kelly Wiese

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TECHNIQUESodd-count tubular peyote stitchnettingsquare stitch


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MATERIALS15 g transparent amber AB

size 15 seed beads (A)1 g plum-lined clear size 15

seed beads (B)1 g blue luster transparent

lavender AB size 15 seed beads (C)

1 g yellow olivine-lined clear size 15 seed beads (D)

1 g purple-lined clear size 15 seed beads (E)

1 g opaque olivine AB size 15 seed beads (F)

1 g turquoise-lined clear size 15 seed beads (G)

1 g black-lined cherry size 15 seed beads (H)

1 g bronze-lined green size 15 seed beads (I)

1 g purple-lined transparent yellow size 11 seed beads (J)

1 g blue luster transparent lavender AB size 11 seed beads (K)

1 g yellow olivine-lined clear size 11 seed beads (L)

1 g purple-lined clear size 11 seed beads (M)

1 g garnet-lined green size 11 seed beads (N)

1 g plum-lined size 11 seed beads (O)

1 g turquoise-lined clear size 11 seed beads (P)

1 g cherry transparent luster size 11 seed beads (Q)

1 g bronze-lined green size 11 seed beads (R)

1 g transparent amber AB size 11 seed beads (S)

40 aqua 3mm fire-polished rounds

40 old rose AB 3mm fire-polished rounds

40 dark olivine luster 3mm fire-polished rounds

40 dark garnet 3mm fire-polished rounds

40 black diamond luster 3mm fire-polished rounds

40 purple AB 3mm fire-polished rounds

40 smoky topaz 3mm fire-polished rounds

40 dark amethyst AB 3mm fire-polished rounds

7 copper 3mm crystal pearl rounds

27 copper 6mm crystal pearl rounds

20 antique brass 6mm crystal pearl rounds

Beige nylon beading threadMicrocrystalline wax

TOOLSSize 12 beading needlesScissorsThread burner (optional)Beading armature (awl, thin dowel, knitting needle, etc.)

FINISHED LENGTH: 25"



1) TUBE. Form a tubular peyote-stitch rope:Rounds 1 and 2: Use 6' of waxed thread

to string 9A, leaving a 12" tail. Pass through the first 5A to form a circle. Place the ring over the armature.

Rounds 3 and on: Work odd-count tubu-lar peyote stitch with 1A in each stitch for the desired length. To determine the length, measure your wrist, multiply that number by 4, and subtract 1". For example, a 6" wrist would require a 23" tube (6 4 = 24 1 = 23). Note: Because this is odd-count tubular peyote stitch, the work spirals; there is no step-up for subsequent rounds.

Tube end: Use the tail thread to string 1A, skip 1A, and pass through the next 3A; repeat once. String 1A; pass through the nearest up A (Fig. 1blue thread). String 1A; pass through the next up A (skipping over a decrease formed in this section); repeat once. Tighten the beads and exit from the next A (Fig. 1red thread). Dont trim the thread; set the tube aside.

Cynthia Rutledge has been sharing the art of beading for eighteen years. Her focus is the use of off-loom weaving to create jewelry designs that have a contemporary but timeless elegance. Passionate about history, Cynthia incorporates historical perspective in almost all of her art, transporting the viewer of her work to the world of four-teenth- to eighteenth-century Europe and the Mediterranean. She teaches around the United States and internationally, her goal being to keep the art form of beading alive and well. Please visit Cynthias website at www.cynthiarutledge.net.

Cynthia Rutledge

SIMPLE, YET FABULOUS, BEADED BEADS lend a contemporary look to this wrapped bracelet design. Use pearls to make a great button!

bubble wrap


Fig. 1: Stitching the tube end

Artists TipTo get a great-looking peyote-stitch tube, make sure to stitch tightly so that the thread is less apparent between the beads, and the tube holds its shape. I find that tucking my thread behind my forefinger after tightening each stitch works best for holding the tension.


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Round 2: String 1C, 3 aqua fire-polished rounds, and 1C, then pass through the next K in Round 1; repeat four times to add a total of 5 nets. Continue through the next 2 aqua fire-polished rounds (Fig. 5blue thread).

Round 3: String 1 aqua fire-polished round and pass through the fire-polished round at the center of the next net in Round 2; repeat four times to add a total of 5 aqua fire-polished rounds (Fig. 5red thread). Repeat the thread path to reinforce, making sure the work still fits around the beaded tube. Exit from 1K in Round 1.

Rounds 4 and 5: Repeat Rounds 2 and 3 on the other side of Round 1 to complete the beaded bead.

String the beaded bead onto the tube, sliding it down the tube until it touches the buttons connector loop. Repeat the beaded beads thread path as necessary to reinforce and shape it. Note: If the beaded bead is still loose on the tube, weave through beads to exit a K in Round 1; sew straight through the beaded bead and beaded tube to exit from a K on the other side of Round 1. If the beaded bead is too tight, see tip on page 29. Repeat the thread path to reinforce. Secure the threads and trim. Repeat this entire step seven times to add a total of 8 beaded beads along the tube,

2) CLASP BUTTON. Stitch a button toggle for the clasp:Ring: Use 1' of waxed thread to string

{1B and 1 copper 6mm pearl} five times. Slide the beads to the center of the thread. Tie the thread ends together to form a tight circle. Weave the working thread into the beads to reinforce; repeat with the tail thread. Secure the thread and trim. Set the ring aside.

Stem: Use 112' of waxed thread to string 11A, 1J, 1 copper 6mm pearl, the pearl ring just formed, 1 copper 6mm pearl, 1A, 1J, and 1A, leaving a 6" tail. Pass back through the last 2 pearls added and the first J added in this section, then pass through the initial 11A to form a loop (Fig. 2). Repeat the thread path to reinforce. Secure the threads and trim. Set the button aside.

Connector loop: Use the working thread on the tube to string 1J, 1 copper 3mm pearl, 7A, the loop of the button, 1 cop-per 3mm copper pearl, and 1J; pass through the A on the other side of the same tube end to form a loop and con-nect the button (Fig. 3blue thread). String 1J; pass back through the nearest pearl, the next 7A, and the following pearl. String 1J; pass through the initial A on the other side of the same tube end (Fig. 3red thread). Repeat the thread path to reinforce; weave through beads to exit down through a J added in this section.

Connector-loop embellishment: String 1J, pass up through the nearest J, and continue through beads to exit down through a J on the other side of the loop. String 1J, pass up through the nearest J, and continue through beads to exit from the first J added in this section (Fig. 4blue thread). Square-stitch this J to the side of the tube (Fig. 4red thread). Weave through beads to exit from the second J added in this section and square-stitch it to the other side of the tube. Secure the thread and trim.

3) BEADED BEADS. Use netting to form individual beaded beads:Round 1: Use 3' of waxed thread to string

1K and 1 brass pearl five times, leaving a 6" tail. Tie a knot to form a circle that fits snugly around the beaded tube, but is loose enough to slide along the tube. Exit from 1K (Fig. 5green thread).

Fig. 3: Stitching the connector loop

Fig. 4: Embellishing the connector loop (shown here without button)

Fig. 5: Stitching the first half of the beaded beadFig. 2: Forming the clasp button



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Connector loop: Repeat the connector loop and connector-loop embellishment from Step 2 at the open end of the tube, this time connecting to the clasp loop made in this step.

Finishing: Move the eighth beaded bead to the base of the loop. Finish tightening and reweaving the thread, then attach the bead to the tube as noted in Step 3. Secure all threads and trim.

RESOURCES: Check your local bead shop or contact: Fire-polished beads, seed beads, and other supplies: www.kandrasbeads.com, (805) 489-2899. One G thread, and microcrystalline wax: Cynthia Rutledge, www.cynthiarutledge.net.

the beaded beads directly on the tube, proceed with finishing the tube end and clasp loop, then stitch the eighth beaded bead directly onto the tube.

Repeat the tube end of Step 1 at this end of the beaded tube.

4) CLASP LOOP. Stitch a loop for the clasp:Loop: Use 2' of waxed thread to string

1 copper 3mm pearl and 9S, leaving an 8" tail. Pass back through the pearl just added to form a teardrop-shaped loop. Knot the working and tail threads together (Fig. 6blue thread). String 1 copper 3mm pearl, 27S, and 1 copper 3mm pearl; pass back through the first pearl added in this section (Fig. 6red thread). Holding the threads tight, test the fit around the button. Adjust the number of S in the big loop as needed. Repeat the thread path several times to reinforce. Secure the thread and trim.

spacing them at 212" intervals and using the following color palettes:Beaded bead 2: Use D, L, copper pearls,

and vintage rose AB fire-polished rounds.

Beaded bead 3: Use E, M, antique brass pearls, and dark olivine fire-polished rounds.

Beaded bead 4: Use F, N, copper pearls, and dark garnet rounds.

Beaded bead 5: Use B, O, antique brass pearls, and black diamond luster rounds.

Beaded bead 6: Use G, P, copper pearls, and purple AB rounds.

Beaded bead 7: Use H, Q, antique brass pearls, and smoky topaz rounds.

Beaded bead 8: Use I, R, copper pearls, and dark amethyst AB rounds. Note:Make the eighth beaded bead, but dont secure it to the tube yet. It needs to be able to move while forming the tube-end decrease. For now, push it down the tube a bit to allow room for stitching the clasp loop. If it was necessary to form

Fig. 6: Forming the clasp loop

Artists TipDepending on how tight the tubing was made, the beads may slide on easily. If you have problems with the first beaded bead, test the beaded beads as you make them to see if theyll fit. If not, work the beaded beads directly around the beaded tube.

Cynthia Rutledge


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TECHNIQUESbackstitch bead embroiderypeyote stitchbrick stitchwirework


WHAT IS AMMONITE?The beautiful cabochon in this project is fossilized ammonite, an extinct marine creature with a shell that resembles a tightly coiled rams horn.


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1) PENDANT BODY. Stitch a bezel and decorative edging around the cabochon to form the body of the pendant:Base: Use the crafters adhesive to glue the

cabochon to the center of the beading foundation. Let dry for 20 minutes.

Bezel rounds 1 and 2: Tie a strong knot at the end of 3' of thread and place a needle at the other end. Pass through the foundation from back to front near the cabochon to start working in beaded backstitch. String 4B, slide them to the foundation, and lay them alongside the cabochon. Pass down through the foun-dation next to the last bead added. Pass up through the foundation between the second and third B just added, then pass through the third and fourth B. String 2B and lay them alongside the cabochon; pass down through the foundation next to the last B strung and up through the second B just added; repeat, working in backstitch around the cabochon (Fig. 1green thread). Note: This round will create the first 2 rounds of the bezel. Make sure the round contains an even number of beads.

Bezel rounds 36: Work tubular peyote stitch off the backstitched beads, using 1B in each stitch for a total of 4 rounds or as many rounds as necessary so that the beadwork hugs the cabochon

(Fig. 1blue thread). Step up for each round by passing through the first bead of the current round.

Bezel round 7: Work tubular peyote stitch using 1A in each stitch (Fig. 1red thread). Weave through the beads to exit down through the foundation, then weave up through the foundation to exit at the base of Round 1.

Bezel round 8: Backstitch a ring of D around the base of the bezel. Secure the thread and trim.

Backing: Carefully trim the excess founda-tion away from the beadwork. Apply a thin, even layer of glue to the back of the beadwork and press it onto the Ultrasuede. Allow to dry 20 minutes, then trim the excess Ultrasuede flush against the beadwork.

Edging: Tie a strong knot at the end of 2' of thread and place a needle at the other end. Pass through the beading foundation from back to front, hiding the knot within the beadwork. Exit out-side the ring of D. String 2B, sew up through the edge of the Ultrasuede and the beading foundation 2 beads width from the last point exited, then pass

Sherry Serafini

BEAD-EMBROIDER A PENDANT that features an ammonite cabochon. The result evokes a stony pocket watcha timeless design in more ways than one.

clockworkDESIGNER of the Year

Sherry Serafini lectures and teaches through-out the United States and has won numerous awards for excel-lence in design. She has written articles for several well-known mag-azines, and her work has been featured on the covers of trade magazines and catalogs. Sherry is coauthor of The Art of Bead Embroidery (Kalmbach, 2007), with artist Heidi Kummli; Beading across America (Kalmbach, 2011), with Amy Katz and Paulette Baron; and author of Sensational Bead Embroidery (Lark Books, 2011). Her bead art is owned and worn by Steven Tyler of Aerosmith, American singer Fergie, and Grammy-winner Melissa Etheridge, among others. Sherry resides in Natrona Heights, Pennsylvania, with her two daughters, Erika and Nikki, and her Boston terrier, Bailey . Visit www.serafinibeadedjewelry.com.

Fig. 1: Stitching the bezel

Artists Tips Keep your stitches tight when

attaching the peyote tubes to the pendant component.

If using longer fringe, dont use braided beading thread. It doesnt drape well on flowing fringe.

To make a longer necklace, cut a longer length for the necklace chain.

MATERIALS5 g light-bronze size 15 seed beads (A)5 g dark-bronze size 11 cylinder beads (B)5 g bronze-purple matte metallic size 8

seed beads (C)5565 antique brass 3mm crystal pearl

rounds (D)4 antique brass 8mm crystal pearl rounds1 black 1218mm flat glass teardrop1 ammonite 48mm round stone cabochon6" of antique brass 22mm wire38" of antique brass 25mm textured chain1 antique brass 11mm lobster clasp with

jump ring4 antique brass 7mm open jump rings4 4" piece of beading foundation4 4" piece of black UltrasuedeSmoke 6 lb braided beading threadClear crafters adhesiveToothpicks

TOOLSSize 11 beading needlesWire cuttersRound-nose pliersFlat-nose pliersScissors

FINISHED SIZE: 17" (NECKLACE); 6 2" (PENDANT)


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next 2B of the same row on the tube; repeat to add fringe between the 2B stitches all around the tube (Fig. 4). Secure the thread and trim.

Connector wire: Form a simple loop at one end of 2" of wire. String 1C, one 8mm round, 1C, the peyote-stitched tube, 1C, one 8mm round, and 1C. Form a simple loop at the other end of the wire to secure the beads (Fig. 5).

Repeat this entire step to add a second tube along the edging so it sits directly opposite the first tube.

3) TEARDROP. Center a needle on 1' of thread. Secure the thread to the pendants edging so it exits from the 1B at the mid-point between the two tubes. String 8A, the teardrop, and 8A; pass back through the B just exited to form a loop (Fig. 6). Secure the thread and trim.

4) CHAINS. Add the necklace and decora-tive chains:Necklace chain: Cut 8" of chain and use

1 jump ring to attach one end to a sim-ple loop on a pendant tube; use 1 jump ring to attach the other end to the lob-ster clasp. Repeat, this time attaching to a simple loop on the other tube and attaching a jump ring only to the other chain end.

Decorative chain: Cut 5", 6", and 9" of chain. Gather one end of the chains together and connect the end links to an open simple loop on a pendant tube. Straighten the chains so they arent twisted and connect the other end chain links to the remaining open simple loop.

RESOURCES Check your local bead shop or contact: Ammonite cabochon: Gary Wilson, www.garywilsonstones.com. Seed beads, Swarovski pearls, teardrop, Lacys Stiff Stuff beading foundation, and brass fi ndings and chain: Rings and Things, (800) 366-2156, www.rings-things.com.

back through the second B just added. String 1B, sew up through the edge of the Ultrasuede and the beading founda-tion 1 beads width from the last point exited, then pass back through the B just added (Fig. 2); repeat to brick-stitch an edge around the entire bezel, connecting the Ultrasuede and the beadwork at the same time. Connect the edging ends by passing down through the first bead added, then passing up through the last bead. Secure the thread and trim.

2) TUBES. Peyote-stitch tubes to add to the sides of the pendant:Tube: Use 3' of thread to work a strip

of 2-drop peyote stitch 16B wide and 12 rows long. Zip the first and last rows together to form a seamless tube. Exit from a B at the end of the tube.

Attach: Place the tube so its long side touches the bezels edge beads. Pass down through an edge bead, up through the next edge bead, and through the next 2B on the tube. Repeat, passing back and forth between the tube and the pendants edge to make a secure connection. Pull tightly as you stitch, so the tube curves against the edge beads (Fig. 3). Repeat the thread path to reinforce and exit from 2B at the end of the tube, toward the beadwork.

Embellish: String 1C and 1A, pass back through the C, and pass through the

Fig. 2: Adding the edging

Fig. 3: Attaching the tube to the bezel

Fig. 4: Embellishing the tube

Fig. 5: Adding the connector wire

Fig. 6: Adding the teardrop



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BW 33 Caravan Beads ad.indd 33 7/27/11 4:09 PM

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TECHNIQUES tubular right-angle weavepicots

PROJECT LEVEL Please see p. 94 for helpful technique and project-level information.

WEARING THE NECKLACE

Place the necklace around your neck with the ties in the front. Tie a square knot with the right and

left ties and arrange the branches to your liking.

Artists TipThe right-angle-weave tubes can be stitched flat and zipped together, but Ive found that when I stitch them using tubular right-angle weave, they are rounder and more uniform in shape.


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1) TUBE. Stitch a right-angle-weave tube to form half of a link:Round 1, Unit 1: Use 6' of thread to string

4A, leaving a 2' tail. Pass through all the beads again to form a ring. Exit through the first 2A strung; dont tie a knot.

Round 1, Units 2 and 3: String 3A, pass through the last A exited, and the first 2A just added; repeat once to form a third unit.

Round 1, Unit 4: Fold the work in half. String 1A, pass down through the near-est side A in Unit 1, string 1A, and pass up through the nearest side A in Unit 4. Weave through beads to exit from the first A added in this unit.

Round 2, Unit 1: String 1A, 1C, and 1A; pass through the last A exited and the first A strung in this round.

Round 2, Unit 2: String 1C and 1A; pass through the next top A in Round 1 and up through the nearest side A of Unit 1. Weave through the C and A added in this unit and the next top A in Round 1.

Round 2, Unit 3: String 1A and 1C; pass down through the nearest side A of the previous unit, the nearest top A in Round 1, and the first A added in this unit.

Round 2, Unit 4: To connect Unit 4 to Unit 1, string 1C and pass down through the nearest A from Unit 1 in this round, the next top A from Round 1, the near-est A from Unit 3, and the C just added (Fig. 1shown tubular and flat).

Round 3: Repeat Round 2, this time using all C.

Rounds 4 and 5: Repeat Round 2 twice, this time using all A.

Rounds 613: Repeat Rounds 25 twice, keeping the thread tension tight (Fig. 2). Exit through a side A of the end unit. Dont trim the thread. Set the tube aside.

Repeat the entire step to form a second tube.

Carol Wilcox Wells

INCORPORATE RIGHT-ANGLE WEAVE AND picots to make a chain of stylized links for this lariat necklace. According to Carol, Vision is about seeing things differently; here, it's about trying various ways of partnering the seed beads and pearls.

vision necklace


MATERIALS26 g matte khaki AB size 11 seed

beads (A)17 g transparent salmon size 11 seed

beads (B)5 g matte gold size 11 cylinder seed

beads (C)28 light green 9mm crystal pearls Size D nylon beading thread in color to

match beads

TOOLSSize 12 beading needle Scissors

FINISHED SIZE: 35"

Carol Wilcox Wells is an artist, teacher, and author. Her two books, Creative Bead Weaving (Lark, 1996) and The Art & Elegance of Beadweaving (Lark, 2002) are among the top sellers in the bead world. Carol has also compiled two other books on bead art-ists, 500 Beaded Objects: New Dimensions in Contemporary Beadwork (Lark, 2004) and Masters Beadweaving: Major works by Leading Artists (Lark, 2008). Her work has been collected and exhibited interna-tionally and has been featured in numerous publications. Carol lives in Hot Springs, North Carolina, where she is cur-rently pursuing her creative spirit.

Fig. 2: Complet-ing Rounds 613 of a links tube

Fig. 3: Forming the first tube join

2) TUBE JOIN. Stitch the tubes together to form an elongated rectangle:Connection 1: Lay the 2 tubes side by side

with the left tubes working thread pointing down and the right tubes working thread pointing up. Use the left tubes working thread to string 1B; pass up through the right tubes A that mir-rors the last A exited. String 1A and pass down through the last A exited in the left tube. Ensure that the tubes arent twisted, then repeat the connection at the other end of the tubes using the working thread from the right tube (Fig. 3).

4

1

3 2 1

Fig. 1: Stitching Round 2 of a links tube

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08022011101109


Connection 2: Turn the work over and stitch the same connection on the other side of the tubes (Fig. 4blue thread). Weave through the 4 beads at the center of the tubes, forming another right-angle weave stitch (Fig. 4red thread). Repeat this connection at the other end of the tubes.

Extension: Use the top working thread to stitch one right-angle-weave round along the top of the joined tubes using A; exit from a top bead just added. Repeat, using the bottom thread to add a round to the bottom of the tubes.

Picots: Use the bottom thread to string 3B and pass through the last A exited, forming a picot. Pass through the beads just added again to reinforce; exit through the A. String 1B and pass through the next top A from the exten-sion round; repeat once. Repeat this sec-tion three times to add a total of 4 picots at one end of the component (Fig. 5). Secure the bottom working thread and trim; dont trim any other threads.

3) TUBE EMBELLISHMENT. Use the tail threads to embellish the tubes and add the center pearl:Right tube, Unit 1: Thread a needle on

the right tubes tail. Weave through beads to exit up through a side C of the nearest C unit on the front of the right tube. String 1B, pass up through the side C of the same unit to seat the B at the center of the unit (Fig. 6green thread); repeat the thread path to reinforce. Weave through beads to exit from the C unit on the other side of the tube and repeat the embellishment.

Fig. 5: Adding the links picots

first

second

third

second

first

third

Fig. 7: Embellishing the left tube and adding the center pearl

first

second

third

Fig. 6: Embellishing the right tube

Fig. 4: Completing the second tube join

Right tube, Unit 2: Weave through beads to exit up through a side C of the next C unit on the front of the right tube. Repeat the center embellishment as in Unit 1 working in the opposite direc-tion, then add 1B to every corner of the unit (Fig. 6blue thread). Repeat on the other side of the tube.

Right tube, Unit 3: Weave through beads to exit up through a side C of the next C unit on the front of the right tube. Repeat the center embellishment as in Unit 1 (Fig. 6red thread). Secure this thread and trim.

Left tube: Use the left tubes tail thread to repeat the same embellishments as for the right tube. Before stitching the third embellishment, however, add a pearl to the center of the tubes. To add the pearl, exit out through the center of the second C unit on the outside of the left tube. String 1B, pass back through the center of the unit and continue through the tube to exit from the center of the C unit

on the inside of the left tube. String 1 pearl and pass through the second inside C unit on the right tube. Continue through the tube to exit from the C unit on the outside of the right tube. String 1B and pass back through the last C unit exited. Repeat the thread path to rein-force. Weave through beads to exit from the third unit on the front of the left tube and repeat the initial embellish-ment (Fig. 7). Dont trim the thread. Set the pearl component aside.

Repeat entire step nine times to form a total of 10 links.

4) END COMPONENTS. Form 2 pearl components for the end of the chain:Tubes: Repeat Step 1. Repeat Connection 1

and Connection 2 from Step 2.Chain start: Use the working thread from

one of the tubes and A to work 3 rounds of tubular right-angle weave from the center 4A at one end of the joined tubes (Fig. 8). Weave through beads to



07282011130347


exit from an end A of one of the tubes end rounds. Repeat the Extension and Picots from Step 2 at this end of the component, avoiding the chain start. Repeat only the Extension and Picots from Step 2 at the other end of the component.

Embellish: Repeat Step 3 to embellish this end component. Dont trim the thread.

Repeat the entire step to form a second end component.

5) COMPONENT JOIN. Stitch the components together with right-angle-weave units:Position: Lay 2 components end to

end, beginning with one that has a tube at the end. Place the second component with its picots in the downward position. Weave the working thread through beads to exit an end A at the top of an end component that lines up with a picot.

Picot join: String 1B and pass through the point B of a second components picot. String 1B and pass through the last A exited on the end component. String 1B and pass through the next A at the top

d

Fig. 9: Joining the picots and adding the pearl

23

89

746

5

7 611 2

53

4

2

3

8

7

4 6

5

761 12

53

4

8

Fig. 11: Adding Round 25 of the upper cage

Fig. 8: Starting the chain for the upper cage

Fig. 10: Stitching Rounds 3 and 4 of the upper cage

Fig. 12: Completing the lower cage

of the end component; repeat once (Fig. 9blue thread). Repeat this entire section twice to connect the picots to the end component. Place a pearl into the cage formed by the joined tubes, then complete the last picot join to finish (Fig. 9red thread). Secure the thread and trim.

Repeat the entire step to join all the links together, then finish the chain by joining the second end component.

6) TIES. Stitch branched and embellished right-angle-weave tubes to serve as ties for the necklace:Upper cage, Rounds 1 and 2: Start 6'

of new thread that exits from an A at the end of the chain start tube formed in Step 4. Use B to work 2 rounds of tubular right-angle weave with 4 units per round.

Upper cage, Rounds 3 and 4: Use A to work 2 rounds of tubular right-angle weave with 4 units per round (Fig. 10).

Upper cage, Rounds 524: Repeat Rounds 14 eleven times for a total of 48 rounds. Note: Each color block is a segment.

Upper cage, Round 25: String 9B, pass through the last A exited to form a loop, and through the first A just added (Fig. 11purple thread). String 8B; pass through the next A in Round 24, the first B of the previous loop, the 8B just added, and the next A in Round 24 (Fig. 11green thread). String 8B; pass through the eighth B added in the previous loop, the last A exited, and the first B added in this loop (Fig. 11blue thread). String 7B; pass through the ninth B added in the first loop, the next A in Round 24, the first A added in the previous loop, and the first 4A added

Carol Wilcox Wells


07282011130402


7) BRANCH. Lay the necklace flat on the work surface and straighten the ties so they arent twisted. Start 4' of new thread that exits from the top B of the eleventh segment on the right side of the right ties upper cage tube (Fig. 14bead A). Round 1, Unit 1: String 3B; pass through

the last B exited and the first B added in this unit (Fig. 15green thread).

Round 1, Unit 2: String 1B; pass up through the nearest side B on the tube and through the 3B of Unit 1 (Fig. 15blue thread).

Round 1, Unit 3: String 1B; pass up through the nearest side B on the tube and exit the B just added (Fig. 15red thread).

Round 2: Use B to work 1 round of tubular right-angle weave off of Round 1, using the bottom B of the original unit on the tube as the fourth connection point.

Rounds 314: Alternate between working 2 rounds of A and 2 rounds of B for a total of 7 color segments. Add a caged pearl as in Step 6 to the bottom of the branch (Fig. 14). Repeat to add a 5-segment branch (10 rounds) to the left side of the fifteenth segment on the tube. Secure the thread and trim.

Repeat this entire step on the left tube, adding only one 5-segment branch to the right side of the fifteenth segment.

RESOURCES Check your local bead store or contact: Kits including Swarovski pearls, FireLine braided beading thread, Delica cylinder beads, and all other materials: School of Beadwork, (805) 440-2613, www.schoolofbeadwork.com.

Fig. 15: Starting the branch

5

6

7

24

23

22

21

20

19

18

17

16

15

14

13

12

11

10

9

8

7

6

1

Bead A

2

3

4

Fig. 14: Forming a branch

in this loop (Fig. 11red thread). Set the work aside.

Lower cage, Round 1: Use 3' of thread to repeat the upper cages Round 1.

Lower cage, Round 2: Repeat the upper cages Round 25. Weave through beads to exit a bottom A in Round 1.

Lower cage, Round 3: String 1A and pass through the next bottom A of Round 1; repeat to add a total of 4A (Fig. 12). Secure the thread and trim.

Join: Use the working thread of the upper cage to string 1B; pass through the cen-ter B of one of the loops in the lower cage. String 1B and pass through the last B exited in the upper cage. Weave through beads to exit the center B of the next loop in the upper cage. Repeat this section twice, insert a pearl (Fig. 13), then join the final loops to completely join the upper and lower cages and encase the pearl. Weave through beads to exit an A that touches the pearl in the lower cage. Pass through the pearl and an A that touches the pearl in the upper cage. Secure the thread and trim.

Repeat this entire step at the other end of the necklace.

Fig. 13: Joining the upper and lower cages and inserting the pearl

7) BRANwork suthey arethat exisegmenupper caRound

the lathis u

Roundthrouand tblue

Fig.

in this loop (Fig 11red thread) Set

: Joining the and lower and inserting arl



07282011130403


New York NYOctober 14-16

Providence RIOctober 7-9

Atlanta GA@ DunwoodyNovember 4-6

Tucson AZFebruary 1-6

Honolulu HIJanuary 6-8

San Jose CAFebruary 17-19

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