SSO SM an nase RST ellie} STEP by STEP GET ORGANIZED! more storage ideas Stitch Simple Peyote Beads in every color! Qe io Faux Fun! clay “lampwork” _ beads C-* A Beader’s Guide to Washington, D.C. January-February 2007 Vol. 5, No. 1 USS. $5.99/CAN $7.99 | o2 | ll www.stepbystepbeads.com ° 9CGM =a esi. 1K + 18K 422K +S See Us at The Tucson Show - At the Holiday Inn/Holidome-| Feb.1 thru Feb. 9, 2007 Lt red ae COM BEADS - CLASPS - CHAINS - WIRE - LEVER BACKS - CRIMPS + BEAD TIPS ° EARWIRES ¢ HOOPS - BEABALON » BEAD CORD + SPRING RINGS - JUMP RING: LIT RINGS - BALL EARRINGS + EARHUTS - 14K HEADS - SO ee PENDANT MOUNTINGS CHA uN BY) : RUNG aK GOLD seuss ie: pee Yellow, White, “ROSE. ALLED ae + CHAINS ee ee + WIRE * CHAINS + WIRE. E-MAIL: Website: « Fax: FREE CATALOG ¢ WHOLESALE ONLY PLEASE ¢ CGM INC. . 19611 Ventura Boulevard, Suite 211 . Tarzana, California $1356tas BEADFESTIVALS F_puFORNIA Honolulu Glass Art & Bead Festival Sonoma Wine Country March 9-11, 2007 xx September 21-23, 2007 Glass Art & Bead Festival Ward Warehouse on the Second Floor August 11-12, 2007 Sonoma Veterans Memorial Building: 126 First St. West > Sonoma, CA 95476 Classes Provided by ~Bead Unique*Madiag eC Ue are aCe Lg Rater h yeaa eee eS EEC ELE4 PROJECT SKILL LEVEL @ 0000 BEGINNER Someone just starting outa complete this project and behoppy withthe results, @@000 BEGINNER/INTERMEDIATE Someone who has had experience with the material, can happily complete this project, but will also learn something new by doing it (OO INTERMEDIATE stable project for someone whohasa good ‘working knowledge of the material @@@©0 INTERMEDIATE/ADVANCED ‘A projectforsomeone whois ready fora more chal- lenging approach to a material they have worked with repeatedly @@ee@ ADVANCED ‘A good project for someone who is confident with the material and has had a lo of experience with the techniques. STEP BY STEP BEADS | January-February 2007 Working Out 8 Bead by Bead G6 Contain Yourself! AQ Colorwaves ee46 48 54 56 59 60 81 Volume 5, Number 1 JANUARY - FEBRUARY Seed Pod Bracelet e@o00 T pearl and iolte bracelet ipa Cooper Paperclip Earrings eo000 Easy polymer earrings. By Syndee Holt Cubular Crochet Pendant Necklace e Crochet, brick stitch and square stitch to show off @ favorite f By Judy Gelzinis Donovan Fees Lampwork Beads. oO: Polymer clay thet reflects the beeuty of glass. By Heather Powers Faux Lampwork Bead Necklace ee@o00 (Choker necktace with an art bead tassol — @ SECTIONS oe 66 Step by Step Shopper Media Review 70 Bead Shops 8y Martha Aleo 77 The Next Step: Classes Near You A Beader’s Guide to Washington, DC eee By Linda Lehman 82. Bead Browser 82 Advertisers’ Index Findings By Kristen Gibson, Assistant Editor UT ON THE wes: ystepbeads.com How to Contact Us Perie Brown's Colorwaves, page 40. Bead Show Calendar '07 STEPBYSTEPBEADS.COM 5fromtheeditor Working Out Tused to love playing with clay as a kid, and once got sent to the principal's office in second grade when I refused to put my recess- time clay away because, I insisted, making a masterpiece was more important than math, I's a philosophy to which I still adhere today, Recently I started playing with clay again, polymer. [already had an old toaster oven awaiting the yard-salo-which-was-never-going- to-happen. I went shopping and was seduced to buy an entire spectrum of colors, came home, and promptly took out the black and white. Playing with clay is a whole different physi- cal experience for me, a devotee of methodical- ly stitching eensy, weensy Delica beads. Actual- ly, clay is physical, period. I found myself really becoming one with my clay. Rarely do I get beads under my nails as I do with polymer. I can’t recall a time when, hours later, I would find a stray bead stuck to my eyebrow the way T found a fleck of polymer, clinging there from an absentminded brush of my hand, (Although there was one time I fell asleep in my bead tray and awoke to discover a nice tattoo of beads adhered to my cheek.) Tenjoyed my clay workouts. The muscles in my forearms sang as 1 ‘cranked the pasta machine over and over and over. I flexed my fingers and elbows as I stretched and molded and pounded. I worked stand- ing up. Itossed my magnifier glasses away with glorious abandon as I formed bigger, easy to see shapes. Playing with clay allowed the earth mother in me to emerge. Iheld shapeless lumps in my palms and squashed life into them. I called forth snakes and worms, mushrooms and logs with teeth, and a whole family of some sort of new species of marine creatures with unfortu- nate skin conditions, By the time I had to clean up, I was sore but satisfied, and surveying a tray of creations needing a good baking, Sadly, my yard sale toaster oven, fortuitously out in my driveway for ventilation, was permanently set on nuclear waste. Within seconds Ihad toasted moon rocks sending up smoke signals. Ah, well, I still have all the other colors eft, and a bottle of ibuprofen for my next workout. And I always have my beads. Happy Holidays! (eslat Leslie Rogalski Exditor-in-Chief Correctiai In the November-December issue, there was some confusion in the in- structions for the “Crystal Balls” necklace by Diane Whiting on page 34. We put corrections online at www.stepbystepbeads.com and apol- ogize for any frustration this caused. Starting with Step 8, our revised steps will enable you to finish a beaded bead. Thanks to readers who called to talk about these beautiful beaded beads! 6 STEP BY STEP BEADS | January-February 2007 SEP ySTEP, EDTORIAL aia Lesie Hoga a Detar Kovn Mee Projets Edt Denice Peck sau fn ee Siceson Asia tar Keten UCibon ‘Sale. Gram Catena aneeHegan Zoe) assole At Dneer Chey tong ‘Asian Deen Pat Bur tt etre uss Par denn eck Susie: & Opens nae Dov. aisran Haring Drea, Doi eran suerte mer Oe Manager Wich. Eco Giomesre Framoton ese. Kaen A, Couserty Wen Sieeaterbomlye Te Gao Tie Coranter Kare ere Aecomts cannot oor oan rea taper Haren Keegan Cig forte tn Eon ‘entaatsnt Morgen: Krse Sales oct sean ek Gomegourmooaessy ‘tna ae Manger An Coe (es anon teint Cet Mera can ac Woon | ‘cama Aoeiina Repeeitne. Sook tga Founder, ceive Died Lidagen ees Nie ry Fo Dans Ge ce rsd. Sales Martin Lids Sta ‘Was Pree! maa fereret Susie Dey aoe Pte St ‘HO Trice Wasdot Aaouedae Povete Cvs Managing El Rebecca Carptet For queso regards “al 0) wa toy Fay, 001 remalbstsSnereave com Seema temas mance Sota See Geen taen Seria ers eianarinten someone eee ceemce manera Soe Smeeccarrcin ate th meee a ee we eee pose ceri wena hem cacao eaten rem aera eeipeareeeeee een ramen geben oemeccnenmtew amanactor Seema cae mena eles siaercneeneaearetmiamenaans Boe ica aca tances en Sey eere meets Saat ere emoceceeg ee area erence sthcopemseesmucceeameee ASPIRE MEDIAMEGA JEWELS WHICHEVER STATE, WHATEVER THE COLOR Mega Jewels is your best source for genuine Swarovski Crystals Wholesale Only MEGA guarantees to beat or match any competitor’s Invoiced Price. Free ground shipping on orders of $500.00 and more. 406A West 6th Street, Los Angeles, CA 90014. Tel. # - 213 438-1409. www.megajewelsusa.com email : megajewelsla@sbcglobal.netBY LESLIE ROGALSKI, Editor-in-Chief pe @Q ser wn acomoraie eam Va Learning the basics, one bead at a time. he trick to tubular RAW is in remembering to in clude the correct beads from prior units in new stitches build your tube, Our illustrations show the tube 1 out for clarity in this tutorial; when you eb Follow the number .dwork will draw together into the tube shape quentially and keep that distinc tive RAW four-bead unit in mind as you go. Always stitch in a circular motion, never straight across from bead to bead. Remember that in RAW your stitch direc tion all 's from unit to unit clockwise, then counterclockwise. Some experience with flat right angle w (RAW) is help For a complete tutorial on flat RAW see our May-June ue Bead b of thread on your needie, about 4 in altermatthen continue itching clockwise through beads 1. and 2. | work this stitch down, from top to bottom, but you may find working from the bottom up suits you. e Pick up, in alternating colors as shown, beads and 7. Stitch counterclockwise through beads 2, 5 and 6. Continue in RAW creating four complete units, until your thread exits up through bead 12. © GO Os ov'o'y 8 Start your fifth unit by picking up bead 14, whieh will be the top bead of the four beads forming this unit, Curl your beadwork around into a ring, bringing the tail end next Regs ee eee to your working thread end. Tip: Wrapping your bead: work ring of units around a peneil ar straw Is often started! Bea helpt will be the common bead in both the first and the last unit you stitched. Stitch clockwise down through bead 4. Pick up bead 5, Stitch clockwise up through bead 12, and contin d through bead 14, 4 and 15. This has your thread exiting bead 15 in position to continue a se ‘ond row around your tube. ears Cee ei his Fee eueccl) (Beadalon) MANurActURING Wire SINCE 1976tubular RAW, working around your tube as lagram shown here. Our illustration shows the beads spaced far apart for instructional pur poses; in reality your beading will form a tube. Leslie Rogalski is Bditorin-Chi Mark Your Calendars! 4 bead past c AM © ce Se May 4th - 6th, 2007 10 STEP BY STEP BEADS | January-February 2007erg Bead Renaissauce Shows ‘Ultimate Bead, Button & Jewelry Event Retail & Wholesale « Public Welcome « Free Admission ‘Ancient, Vinlage & Contemporary Beads, Designer Beads, Buttons, Jewelry, Beading Books, Tools & Supplies Jan 29-Feb 5, 2007 + Tucson 3540 E Michigan (next to the Holidome) « Tucson, AZ ‘Mon-Wed 10-6, Thur 10-8, Fri-Mon 10-6 ‘Across the street from Gem Mall May 18-20, 2007 + Grapevine ‘Grapevine Convention Center 4909 S. Main St. « Grapevine, TX Fri-Sat 10-0, Sun 10-5 June 1-3, 2007 + Las Vegas Palace Station Hotel/Casino 2411 W. Sahara Ave, Las Vegas, NV Fri-Sat 10-6, Sun 10-5 June 8-10, 2007 + Portland ‘Monarch Hotel & Conference Center 12566 SE 93rd Ave, Portland, OR Fri-Sat 10-6, Sun 10-5 June 22 - 24, 2007 + Ogden ‘Ogden Eccles Conference Center 2415 Washington Blvd, Ogden, UT Fri-Sat 10-6, Sun 10-5 Exhibitor & Buyer information, Contact: J &J Promotions, LLC. PO Box 420, Williamsburg NM 87942 505-894-1293 + Fax: 505-894-4080 February 17 & 18, 2007 + Nashville IN The Bead Renaissance and the Bead _ Mercantile shows are combining forces "to cover the whole U.S. You can now _ find a more complete selection of beads at great prices with our fine vendors regardless of your geographic location. — ec Ne Bead Mercantile A Traveling Bead Show" sponsored by Gane’ fiber G Beads $5 admission + Sat, 10-5pm, Sun 10-4pm January 6 & 7, 2007 + Ft. Lauderdale, FL Shearton Suites Cypress Creek 555 NW 62nd Street « Fort Lauderdale, FL January 13 & 14, 9007 + C Radisson Hotel Clearwater Central 20967 US 19 N + Clearwater, FL Tennessee Expo & Banquet Center 1412 Hazelwood Drive + Smyrna, TN February 24 & 25, 2007 * Jacksor Ramada Inn Mandarin North Carolina State Fairgrounds ‘Governor W. Kerr Scott Building 1025 Blue Ridge Rd « Raleigh, NC March 24 & 25, 9007 + Asheville, NC Haw Creek Elementary School 21 Trinity Chapel Rd Asheville, NC www janesfiberandbeads.com www.beadmercantile. learwater, FL nville, FL 3150 Hartley Rd (1-295 & San Jose Bid) « Jacksonville, A March 10 & 11, 2007 + The Holiday ton Hotel & Suites of RIDC Park 180 Gamma Drive + Pittsburgh, PA March 17 & 18, 2007 « Raleigh, NC sburgh, PAeee) dangles and chain. hae erable) Po Colbie Skit evel e@e000 ote by Todd Mura: ta pho curey a xt. ‘= 3 round SwarovskI® crystals, 4mm + 17 round Swarovski® crystals, Smm ‘+ 3 icone Swarovski® crystals, 6mm * 3 round Swarovski crystals, 6mm * 22-26 round Swarovski® crystals, . 10mm = 8 round silver spacers, 4mm + 22-26 daisy spacers, 4mm. ‘= 2 decorative bead caps = 2 Ball art beads = 2 crimp beads 1 bail + Beading wire, 019 + 20 gauge sterling wire ‘= 24gauge sterling wire = 23 headpins = 3" cable chain, 3mm ‘+ 3" cable chain, 6mm * Clasp * Chain nose pliers ** Round nose pliers = Wire cutters STEP BY STEP BEADS | vanuaey-February 2007The vivid color of these brilliant fuchsia crystals in- spired me to create a necklace that was both fun and v vacious, festive yet elegant. I happen to love the shimmer of Swarovski®, but don’t hesitate to incorporate different materials into your design, such as earthy gemstones or pretty glass. Whether you tone it up or tone it down, be prepared to receive lots of compliments. Start the dangle for your pendant chain by stringing a ‘4mm bead onto a headpin. Begin the first haif of a wire wrapped loop, but do not coil the wire around the base yet. Work close to the tip of your round pliers, where the diameter of the jaws is narrowest. See the Wire Wrap sidebar on page 44. @ si voxem nk of the 3mm cable chain into the loop. Complete the wire wrap, coiling the wire around the base. You will want to wrap a litle fur ther than intended and then pull the wire back. This way you'll create memory in the wire, which will make it easier to snip and tuck. Snip off any excess wire with your cutters and tuck it in with your chain nose pliers. @ en pany cutting @ 3" piece of 24-gauge wire. Make the | first half of a wrapped | loop, then slip the bail ‘onto the Joop and com- | plete the wrap. Thread on an 8mm bead and make the first half of a wrapped loop on this end. Attach the loop to the top link. of the cable chain (pen- dant chain) and com- plete the wrap, e Begin attaching the 4-Gmm beads to the pendant chain links. Note: Make sure not to wrap the loop before you have slipped it onto the link on your chain Continue adding beads to the chain, creating a waterfall effect. like to start at the bottom and work my way up. Attach | the smaller 4mm beads towards the bottom, and the larger 5mm and 6mm beads to- wards the top. Skip links every now and then and stagger the beads. As you near the top of the chain, add two beads to each link. Determine the finished length of your necklace. Add 6" and cut a piece of beading wire to that length. Mine is 15", with a 3" extension chain. On, one end of the wire, string a round spacer, a crimp bead, and another round spacer. Loop through the end link of your extender chain and go back through the beads just strung. Gently pull and tighten the wire. Do not crimp yet. @ s»:2e 20 21 20K bead of your choice and another ‘small round spacer. Pull your wire through these ‘additional beads and gently tighten. Crimp the crimp bead and trim the excess tal STEPBYSTEPBEADS.COM 13,celebration © sxIre @ ecoratve bead cap, 2 10mm ental 4mm daisy spacer, 2 10mm erystal, and a 4mm daisy spacer. Continue adding 10mm crystals and Amm daisy spacers. The first half of my choker is com prised of eleven 10mm beads, ‘As you near the center of your necklace, string your pendant on. I have added a round spacer bead on either side of the bail. Repeat the same pattem on the other side of your necklace until you are 1" short of the desired length. @ 2125 tre or 20¢ng0 beng we. Beg the first half of a wire wrapped loop on one end. Attach the wire loop to the loop on your clasp, then complete the wire wrap. Add an 8mm crystal and 14 STEP BY STEP BEADS | January-February 2007 Pull your beading wire through the wire wrapped loop and back through about 1” of beads. Gently tighten ‘and adjust. Check the fit and add or remove beads if nec- essary. Crimp the crimp bead and trim the excess wire. Begin the dangle for your extender chain by stringing ‘an 8mm bead onto a headpin. Begin the first half of a wired wrap loop. Loop through the last link on the exten- der chain, then complete your wire wrap. Optional: Handmade headpins. A great way to save money is by constructing your own headpins out of wire. For my necklace | used 24-geuge wire. Grasp the tip of the wire with the tip of your round nose pliers, Use your round nose pliers to create a small loop. Take your flat nose pliers and gently squish the loop closed so the sides are touching. @ Resources: Beads and beading materials: Nomadic Notions, Austin Texas; Fire Mountain Gems” and Beads, www firemountaingems.com; Aunties Beads, www auntiesbeads.com. A big thank you to all of the talented staff and teachers at Nomadic Notions for all of their support and encouragement Betty Rodriguez is a Juvenile Public Defender in Austin, ‘Texas. She has been designing and selling her jewelry for 6 years, working with gemstones, ‘exystals, seed beads and wire. You can reach Betty at laredorosegems@yahoo.com siepbystepbeadsc@m* 18 Grams lump PMC3? + PMC#® or 3 Slip + % drilled glass cabochon, gem ball or pearl + 1" of 1801 20gauge fine sliver wire = Roller + Spacers, ‘= Nonstick work surface + Watercolor brush * Badger® Balm or olive ol = Work surface solit lent Fine silver metal clay bead. BY LORA HART The lentil bead is more in demand by contem- porary jewelry designers than ever. This shape has boon carved by lapicaries, formed by glass makers and polymer clay attists, dapped and soldered by goldsmiths, and made a staple in the metal clay ‘community by Celie Fago. The rotund disk may get its name from the word lenticular, which means bi convex, or simply because it resembles the lens shaped sced of a tasty legume. The split lentils 1 to make my favorite soup gave me the idea to ‘make this fine silver, split lentil bead, + Hollow For Molds, medium + Wire cutters + Pin too! + Brass brush + KActo® Knife * Brass end brush or other hand held * Drinking straws, approx. 6mm & ‘small brush (optional) 3mm * 5 Minute twopart epoxy * Circle template with north, south, * Toothpick west, east markings + Favorite texture + Patina (optional) * Polishing pad or cloth * Flat Lucite roller or CD case * Twist dril/pin vise (optional) * 320, 400-, 600grit sendpaper * Magnification (glasses or visor) * Black marker STEPBYSTEPBEADS.COM 1616 split lentil BEFORE YOU BEGIN: Decide on a size. The size of the disks of clay you cut to make your lentil will depend on the object you use as a support. Very small beads can be formed over a glass marble and light bulbs work well for a larger version. For this article, | used the Hollow Form Molds by Whole Lotta Whimsy, which have a nicely shaped dome and sit flat on the work surface. For the small mold form, use the 74” cutout on a shape template to form a bead a lite larger than 24", When it comes out of the kin it wil have been reduced to @ dainty 17a" A1¥a" disk laid over the medium size mold creates a lentil 4" in circumference, which shrinks to 4” atter firing. And a shape 11%" in diameter placed on the large mold makes a 1%4e" dry component, and a fine silver bead a little larger than 14". Slight varia- tions in the diameter of the disk will create 4 bead that is deeper or shallower in volume. | used the ‘medium form for this antcle. Be aware that an al lowance for the tip of a pencil is often added to the cut outs on plastic templates, so the holes are actu- ally a tiny bt larger than the printed measurements. Choose a texture. Try using various texture materials for your beads. My example was made with the Tooled Flowers Tex: ‘ture Tile from the nature series by CoolTools.US, but I've also used a lowselief copper texture plate | etched myself and leaves plucked from the rose bush outside my door. You can even use one design for the front side and a different one for the back. Or maybe you'd rather not use any ornamentation at all. Each of these choices will make your split lentil bead unique. Prepare a peg. Implanting milled wire in metal clay is always a trade- off in strength. If you choose to use sterling silver, an alloy which contains copper to make it harder, you should fire the piece in PMC3® at 1200°F so the sterling won't enter the melting zone. If you want to fire the metal clay at the hottest temperature of 1650°F, which will give it the best strength and den- sity, you'll have to use fine silver wire, which as a pure metal is not as sturdy as the alloy. Since the Wire vill be fully encased in the pearl or half-rilled cabochon (cab}, | chose fine silver. Whichever you decide to use, the gauge of the wire is dependent on the size of the pre-dilled hole in the stone, pearl or cab. Most pearis are drilled to accept a peg made with 20 gauge wire. The halt-driled glass STEP BY STEP BEADS | January-February 2007 cabochon in my example (which | found at my local bead store} needed an 18-gauge piece of wire. Some holes may bbe a bit larger and some a bit smaller. Before you implant the wire in clay, do a dry fit. IF the hole is a Ittle too small, Use a twist drill mounted in a pin vise to enlarge it or use sandpaper to reduce the diameter of the wire. ‘The cab/pearl should fit snugly on the peg. You may need to use a twisting motion to insert and remove the wire. When you have discovered the perfect gauge, cut a sec- tion 1" long and rough up the entire surface with a piece of 320grit sandpaper. Do the dry fit again, inserting the wire into the hole as far as it will go and marking the wire where it enters the cab/pearl with a black marker. Re- move the wire, measure the section that was inserted into the hole and note that number on a separate piece of paper. Set the wire aside to use later. Tool Tip. Always use water when drilling any bead, even if you do it by hand, and remove the drill occasionally to un- log the cutting surface, Drill/wire gauge chart WIRE GAUGE APPROX. MM RIO DRILL SIZE in MIM/Part # 26 40 ALmm/#78 24 50 51 mm/#76 22 65 66 mm/#74 20 80 81 mm/#67 19 92 94 mm/#63 18 4.00 1.02 mm/# 60 46 1.30 4.32 mm/# 55 44 1.60 1.61 mm/# 52 Making the bead components. First you'll want to do a little prep work. Lubricate both halves of the Hollow Form Molds by applying a layer of olive oll or Badger Baim® to the surface. Next, roll out an untextured sheet of clay one card thick and use the larger straw to cut two small cities. Place a damp paper towel or piece of plastic wrap over the circles to keep them from drying out. Immediately make the back of the lentil. Roll and tex: ture a sheet three-cards thick. | often find it helpful to first roll out four cards thick and then reduce to three cards when | texture. Lightly lay the template over the clay and use a pin tool to cut a disk shape. Brush the out- er border with water then use the damp paintbrush to pick up the small circles and place them close to the top, ‘about Imm from the sides, Pat gently to bond them tothe larger disk, then use the smaller straw to cut out the middle of the circles, creating donut shapes. These holes will be used to string the necklace or chain through after firing. Pick up the disk and lay it over one of the lubricat. ‘ed mold forms. Use your fingers to gently press down the edges of the disk to conform to the shape of the support. Make sure every bit of the edge touches the form. You don’t want to inadvertently create litie ruffies that would make it more difficult to join the two sides of the lentil @ 21 ott ante set ot ay he om hoof heel Cute anne eae cao youd before, leaving the template in place for a moment. To Setar om sureties ibe ocd seossh fu comet devant XaActo® blade. | made cuts about #4" long, leaving generous border intact around the disk’s edge. Without. cut quarters and gently roll them back into a petal. like shape. You won't need a support when you curt the tips, they will hold this shape on their own. Re- peat until all four “petals” have been lifted. Don’t ‘worry if they aren't symmetrical. | find it more pleasing if the petals are a little organic. You won't be able to put the rubber mold forms ‘on @ cup warmer, but you may place them in a de- hydrator or on a sunny windowsill to accelerate the drying process. Leave the disks on the forms until they are dry, about 1% hours if you air dry, and use a fingernail or the paintbrush to try to gently pry up the edges. If the disks offer any resistance, walt a few more minutes until they voluntarily pop off the: form. Now you can use your favorite heat source to diy the undersides completely. ‘Completing the bead. There's still a bit more “wet work” to be done before you assemble the bead. As the top hai of the bead dried, it may have begun to tear at the blade cuts. it's especially important to reinforce these areas before the bead goes into the kiln, because those tiny rips will detract from the effect Of the intentional split. Use your watercolor brush to dab slip into and around the incision, on both the textured and untextured sides, then let dry. This may have to be repeated. disturbing the split, pick up the disk and lay it over the ‘second support form, pressing down the edges as you did before. Now use the damp watercolor brush to lift up the Use 2 magnifier to check the integrity of the repair. When the split has been securely reinforced, sand STEPBYSTEPBEADS.COM 17split lentil ‘the entire bead top. Use 600grit sandpaper on the textured side and 320-, 400- and finally 600-gnt on the under side, paying special attention to the edges and tops of the petals. | like to put a mirror finish on these elements, which provides a nice contrast to ‘the texture on the rest of the split lentil. Now it's time for a dry fit. Place the top and bot tom halves of the bead together and rotate them. until the edges align and you like the position of the pattern on both sides. If necessary, sand around the circumference while holding both beads together to finesse the outer edges. Place a pencil mark at the edge on both halves so you can find this position more easily when it’s time to join the two perma- rently. Next, place a pencil mark inside the center of the bottom half of the lentil to mark where you'll set the peari/cab later. Make sure that itis centrally, placed when the two sides are joined. When you have sanded all surfaces, place a piece of 320¢rit sandpaper on your flat work surface and pass the bead top back and forth over it, sanding a knife edge ‘on the base. Don't put any pressure on the open. dome as this may cause the bead to break. Take the time now to sand the other half of the bead to a knife-edge before moving on to the next step. The lentil bead wil be relatively deep when the ‘two halves are joined, so | make a pedestal to raise the pearl/cab into a better position. | like it to be protected within the petals of the lentil, but set STEP BY STEP BEADS | January-February 2007 high enough to make an impact. The pedestal also sup- ports the wire peg that the cab/pearl is set on. To make the pedestal, use a flat piece of Lucite or a CD case to roll a thick column of clay about ¥" in diameter and cut it Ys" long with the XActo® blade. If you roll the clay as you apply pressure with the blade, the end will not flatten as you cut, Immediately dip the end of the wire in slip and in- sert it about an %4" into the center of the column. Use thick slip to attach it to the center of the bottom halt of the bead, right where you made the pencil mark. Let this dry and reinforce with additional slip if necessary. After the pedestal is securely set in the back half of the bead and has had time to dry, use 320- and 400.¢grit sandpa- per to Sand the interior of the bead half, including all sides of the pedestal. This willl be impossible to accom- plish after the bead halves have been joined. Trim the wire to the measurement you noted when you were preparing the peg. To join the two sides, lightly brush some water on the rim of one bead half and follow with an application of thick slip. Next, brush water on the rim of the other half, match up the pencil marks you made previously and press the edges together with the tips of your fingers. Make sure every millimeter of the top is securely joined to the bottom and run a damp finger around the edge to re- moye any slip that may have oozed out of the seam. Run the tip of @ damp paintbrush around the inside seam to smooth the rest of the slip that has escaped. | really doubt anyone will use a miniature mirror to inspect the terior of the bead, but you always want to make every sur: face as pretty as possible, After the join has dried, use alittle 6OO-grit sandpaper to finesse the edge, blending any seam lines, if necessary 6 After a final look, place the bead on a bed of vermiculite ‘o support the curved bottom, and fill the interior halfway ‘with small pieces of vermiculite to support the domed top. Don't fil all the way because as the clay shrinks, it may de- ‘form and develop tiny pockmarks from the pressure of the vermiculite. If you don't have vermiculite, use fiber blanket ‘or alumina hydrate, taking into account the same precau- tions. Fire the bead to 1650° for 10 minutes. 8 After firing, use a brass brush in soapy water to begin the polishing process. It will be difficult, especially with a very small bead, but do your best to reach inside the bead with a small headed brush, | use a tool called an ‘end brush to bumish down the white, crystalline struc ture. Although it was designed to use with a motor tool, | think it's just as effective when | use it by hand. You can also try some bronze or steel wool wrapped around the ‘end of a toothpick, like a cotton swab. Place the bead in a tumbler or continue to polish ly hand using a profes- sional bumishing tool or a graphio artists’ ball burisher. Patina as desired. | Ike to use @ hydrochloric acid solu- tion lke Black Max, Idaving the interior black and polish ing the high points of the exterior to reveal the pattem of the texture. | then remove all patina from the petals for high contrast. | know it’s tempting, but resist the impulse to set your pearl or cab now. It will be much easier to drop a chain ‘or string a necklace through the openings on the back if you wait. @ Resources PMC3? and PMC+® lump clay and slip; Hollow Form Molds (medium and large): Whole Lotta Whimsy, ‘www.wholelottawhimsy,com. Cabochon, gem ball or pearl; brass end brush: Rio Grande®, swww.riogrande com; Fire Mountain Gems" and Beads, www-firemountain ‘gems.com. 320-, 100-, 600-grit sandpaper: Hardware store pear SOUD knotted necklace the snlit lent beat, Sy BY LORA HART * 1 1 ska tevel 1 @0000 Peer : i SI Griffin No. 4 bead cord 3! ° GS Hypo Cement BI © White glue or beeswax 21 © Assorted fulldrilled pearis and/or beads * Large size French wire += 2 jump rings (optional) += Toggle clasp “A « Eignt amm commercial sterling 3 beads with approx. 1-1.5mm_ 7A opening. or hand reamed pears Bi + Scissors 3 Tweezers 3 ‘The Split Lentil bead deserves a necklace with an equally tasty name. [ call this knotted silk cord “Pearl Soup” because it makes good use of all the leftover pearls and beads that are always languishing. at the bottom of my bead drawer. ‘The following instructions will ere- ate a necklace 19 inches in length, Before starting | like to pour all the luscious components into a tray so | ‘an randomly pick and choose what comes next. Number 4 bead cord al lows me to use many different sizes of pearls. I've strung tiny 3mm seed pearls STEPBYSTEPBEADS.COM 19pearl soup {although they can sometimes be a bit of a chal- ing at the bead. Grasp both sides of the cord with your lenge), 9.5mm fancies and everything in between. left hand and loosely tie an overhand knot around your in- Sometimes I'll even throw in a few gemstones. Using _ dex and middle fingers. Remove your fingers and insert a a wide variety of shapes, sizes and colors and string- fine point tweezers into the resulting loop and, gripping ing them all together with contrasting colored bead both sides of the cord above the sterling bead, tighten the cord creates a luxuriously eclectic mix. oop into a knot letting it travel down the tweezers to the end of the bead. Remove the tweezers and tighten the knot with your thumbnail, snugging it close to the bead. Now you have two strands of cord coming from the toggle ‘bar, one with an unfinished end and one with a needled end, Repeat with two more sterling beads. Since much of the cord is visible, | recommend using. fa darker color cord. White or cream will get dirty too quickly. Use a large diameter French wire because you'll need to thread two lengths of cord through the French wire at the end of the necklace. If the French pieces, attach a heavy gauge jump ring to each side it down until it touches the knot. Again wrap both @ vrreo ne ene engn ot von crt tan se Ya" of French wire onto the side that has the “nee- dle” attached and down to the middle of the cord, oe Repeat Step 2, altemating between the differently shaped pearls, grouping them in ones, twos or threes until you have completed about © * youre is east, taepin mind ta te String one 3mm sterling bead onto both lengths of next bead that you choose should be metal or a gem Cord and slide it down to touch the French wire. You bead. You don’t want pearl to get damaged as it rubs should have a hangman's noose of French wire end- against the hole in the lentil. String about a #4” of French 2% STEP BY STEP BEADS | January-February 2007wire onto both pieces of bead cord, The exact measure- ment depends on the distance between the holes in your lentil bead. The French wire will protect the cord as it ‘moves within the lentil body and guard against abrasion. Thread the cord ends through the right hole on the back of the lentil, letting the cords come completely through the split opening. Then thread them back through the other hole, slide another metal bead onto both ends of cord and tighten until there is no slack in the cord that passes. through the lentil. Make an overhand knot with both lengths of cord and snug it down tight to the sterling bead. Good thing you didn’t already set the pearl/cab, right? Repeat Step 2 until you have strung another 8". Do not knot after the last pear Now you will string three of the same large-hole ster- ling beads, or reamed pearls, that you used for the be- Binning of the necklace onto both strands of bead cord, First, coat the last 44" of the unfinished bead cord with white glue or beeswax to stiffen it, wait for it to dry and then insert that side into the hole of the first bead. It will bbe much easier to thread the needle side through the bead/pearl with the unfinished cord in place than the oth- er way around. Repeat with the next two beads. @ sie + oF French wire on voth strands. Add the ring ‘side of the toggle. Now, insert the tip of the stiffened, unfinished cord into the top bead and bring it through to the other side, following with the needled side. Tie an oveshand knot between the first and second beads, lea\- ing no slack between the beads. You should have just ‘made another hangman's noose with the French wire. Ifthe unfinished end is hard to pass through the holes, clip off a tiny bit of the frayed section and try again. It might be helpful to use a tweezers to pull the cord through after you see the end emerge from the hole. Repeat with the last two beads. @ Leave tne tat intact forthe moment. When all the knotting is complete, secure the last three knots ‘of each end of the necklace with a dot of Hypo Ce- ment. The tiny cannula on the tip of the tube allows ‘a very small amount of glue to be dispensed exactly where it is needed. Remember to replace the special cap as soon as possible. If the needle in the cap is properly inserted into the hole of the cannula, it will make a nice tight fit, Keeping the glue fresh for a very long time. After the glue has dried completely, snip the bead cord tails as close to the knots as. possible without compromising security of the knot. Reglue the snipped area if necessary. STEPBYSTEPBEADS.COM 21pearl soup Fe Levene ese oars ws eee eco tn oa al eta orion CU MIcmeeinaRacimigh wesc _ crv nocnrérjarteainireeic Beer aor are Lora Hart isa founding director of NewMetal Artists, the ‘Los Angeles Chapter of the PMC Guild. She works out of her Venice Beach studio and has been a contributing writer for Tanas Habitat.com and Studio PMC. Lora is certified ‘with all four metal clay programs and enjoys teaching in and around the greater L.A. area, inspiring others to tap into their creative genius. She can be reached by e-mail at LoraFiattjewels@earthlink net bead/pearl onto the peg. seating it all the way down to the surface of the pedestal. Ifthe peari/bead doesn't sit directly on the pedestal, the exposed wire may get bumped around as the split lentil is wom, 22 STEP BY STEP BEADS | January-February 2007www.beadfest.com ~. MVAM cc, Expo Hours: May 4-6, 2007 Friday 12 pm - i pm * . Saturday 10am-6pm Sheraton Miami Sy Ll am -5 pr Mart Hotel, Miami, Florida Classes in Session: Friday-Sunday 9am-4pm Shop for beads, findings, tools, jewelry, and ee k Free admission to more — and take the expo for all Bead classes! Fest Miami 2007 registered students! For more information, discount admission coupon, and class photos, descriptions, times and registration, please visit our Web site! www.beadfest.com ofSkiltovel e@@e@00o rns ofthe vt. ‘Phra by Teké Mary, fe phos 4 + Polymer clay: 2 oz black, % oz ren and 2 o2. white #7" of 20-gauge sider wire ‘1 pair silver ear wires or hooks + Round nose jewely pliers + Wire cutters + Fle + Tissue blades (for slicing cane) * Old cookle sheet for clay use only + Rolling pn or pasta machine for clay use only Ruler Size 14 metal yam needle or ‘equivalent for piecing beads Yond % diameter rods for making jump rings (or 2s close as you can get, |used K and H crochet hooks) 3 smell circle cutters (sizes can range anywhere from ¥-%e" in diameter, as long as they are diferent sizes and at least 42" high) Talcum powder or comstarch to help release clay from cutters * Optional: Future® floor wax Lwas playing with jump rings and hooked a few together to connect some beads. Having all those circles made me want more circles, so I decided to make a circle cane to go with them. The finished length of this necklace is 19%” and the earring length is 1!” Conuition each color of clay. To consitian the clay, rol it into a snake with your hrands and then form it back into a ball. Repeat several times until tne clay is soft, warm, and pliable, e Form the black clay into a cylinder about 42" high. Mix 4 oz. green clay with 1 02, white clay. Roll the light green clay into a rectangle (any size) about 6" thick, or the thickest setting on your pasta ma- chine. Trim two edges even and cut the rectangle into ¥2" wide strips. ~ IF desired, apply Future® Floor Finish with a brush or your finger for a light shine. Hang the necklace and earrings to dry. @ Jewelry and clay suppliers: Jewelry Supply, www.jewelry supply net; Polymer Clay Express at TheArtWay Studio, www-polymerclay- lexpress.com, has been crafting since childhood and enjoys quilling, painting, crochet, quilt ing, and especially polymer clay. She was born and raised in Chicago and spent soven years in the Navy, in the Personnel Office. She was stationed in Japan and later in Riclgecrest, California, where she now lives, To contact Karen, e-mail karen perry89@hotmail.com or visit her Web site at www-angelfire.com/ca2/karenperty /polymerclay jewelry him. Ifyou have any comments, questions, or tips toshare, send them via email to Dickerson @interweave.com or mail to ‘Step by Step Beads, Jane Dickerson, 300 Chesterfield Parkway, Suite 100, Malvern, PA 19355. Please include your name, city, state, and if we can publish your letter or idea. We can't answer all letters that are received but we will do our best to answer as many as we can. STEPBYSTEPBEADS.COM‘Skat evet @@00 Ey * Lampworking torch and ventilation set up * Mandrels prepared with bead re- lease + Bead annealing Klin = 4-7mm Rod of Lauscha Clear Glass * 47mm Rod Black Moretti or Vetro- fond Glass *» R108 Striking Orange Frit Size #0 (a/k/a Rake frit) * Round nose pliers + Fat nose pliers, = Wire cutters For each disk bead: += (2) Seed or Toho™ beads * (2) 4mm sterling silver daisy spacers * 1.5" headpin Semi-encased lampwork bead. BY LORI GREENBERG There is something hypnotizing about seeing a design magnified un- der crystal clear, transparent glass. However, encasing can be an ongoing challenge when starting out in lampworking — even for experienced lamp- workers. In this project, you'll lean a fast and easy way to use clear glass to your advantage, without being a master at encasing, Preparation: Have your glass rods around you before you start. Have your {rit in a wide container that will allow you to sprinkle it onto your bead with ‘a teaspoon without getting it all over your work surface. Creating the bead. Heat your mandrel in the flame enough so that the motten glass will stick to it when you begin wrapping it on. Gently dip your black rod in and out of the flame until it starts to hold enough heat that it won't shock and shatter on you. Heat the tip and wind a small donut bead onto your mandrel, about 4mm x 7mm. — 9 These disks are made with the intention of being wire wrapped as dangle beads, so I've kept them fairly small. It's not necessary to have a perfect donut, even wobbly ones work fine for this technique. Just make sure you don’t have sharp ends around the hole. Bring your donut bead back to an even glow and, with the teaspoon ‘over your container of frit, sprinkle frit aver the surface until it's covered. STEP BY STEP BEADS | January-February 2007I your bead cools and the frit doesn’t adhere, spot heat ‘again and re-sprinkle. One layer is all you want because you want the black background to show through for contrast. __ 9 Tip: Sprinkle your frit over a larger container or bow! so you don't have to worry about it falling onto your work sur- face, To retum it to the original container, use a common’ kitchen funnel. Oaeniemacnea Keep your donut bead warm by wafting it through the flame, then begin to heat your clear rod in the same way you did with the black one (so it doesn’t shock). Bring your bead under the flame and touch the molten tip of the clear rod to the bead. Tip: Do not bring the bead up Into the flame or your clear rod will smear it. The tricky part Is to keep the clear rod in the flame while attached to the bead, and at the same time keep the bead undemeath the flame. This keeps the clear glass molten and moving, and the bead cool enough not to smear your frit. Wrap one round of clear onto your bead and continue ‘around with another, thinner band of clear. This view shows that the clear does not completely cover the base bead and the second band of clear tapers into a thin band. For this technique, the clear bands are organic and not uniform. —3 When you have your two bands of clear on, gently heat the surface of the outer band to make sure that it is adhered to the clear beneath, Do not heat too ‘much or you'll lose the layered effect. When you're happy with how it looks, pick up just enough heat so that the bead is warmed through (but not glowing), then place it into your preheated kiln to anneal. Annealing is recommended to avoid cracking. For the brand of glass used in this project, the annealing schedule is 940-960" for at least 30 minutes per 44" of thickness. Then, ramp down 100° per hour to 600° and then shut the kiln off. Do not ‘open the kiln door until it reaches room temperature, Creating the dangk Slide the following beads onto a headpin: A seed bead, daisy spacer, disk bead, daisy spacer, and another seed bead, With your flat nosed pliers, bend the headpin at a 90° angle leaving about “4” below the bend. See the Wire Wrap sidebar on page 44. If you are wrap- ping these to use in the accompanying Disk Dangles bracelet, make sure that your loop is large enough for your seed/Toho beads to fit ‘through. Once your wrap is complete, nip off the wire end ‘and press gently with your flat nosed pliers to burnish the end flush. Be very careful not to shatter your seed bead. Resources: Black Moretti or Vetrofond glass: Frantz Art Glass, ‘www frantzariglass.com. Clear Lauscha glass: Glass Dad dy, www.glassdaddy.com. Raku Frit (R-108): Olympic Color Rods, sw. glasscolor.com. STEPBYSTEPBEADS.COM 2930 disk dangles Crystal and lampwork bracelet. BY LORI GREENBERG Skit evel e@@000 + * 10" of 49-strand beading cable, | attached to the spool 1 6a siver cmp tubes, 2mm + 4 siner erimp covers + 8 Bali siver beads, 8mm hole to hole {+ 1 small tube metalic gray seed/Toho {Treasure beads {13 olivine crystal cubes, 4mm 1 = 4olvine cystal cubes, 6mm «46 white and silver potato pears, 2mm { «48 siver daisy spacers, 4mm {16 lampwork disk beads ‘* 24 silver headpins, 142" long + Siver togte clasp + Wie eutters + Crimping pliers ‘Twenty-four glass and crystal dangles tinkle lightly against each other, reminding you of the beautiful piece of art on your wrist. You might think i's a complicated piece, but it’s not. All it takes is basic stringing skills, simple wire wrapping, and a litte time. Note: Make sure that your wire wrapped components. have loops that are big enough to fit over your seed beads. Wire wrap at least eight dangles with the following pattern: potato pearl, daisy spacer, crystal cube, daisy spacer, potato pearl. See Wire K Wrapped Loop side- bar. lused 4mm and 6mm crystal cubes: and white and silver potato pearls fora lit tle variety and tex- ture. You can use all one size or color. STEP BY STEP BEADS | January-February 2007 Note: Do not cut your length of beading cable off of the spool until the end, Begin stringing on your compo- rents, starting with two crimp tubes and one 4mm crystal cube. If your seed beads fit through the hole of your silver beads, string on about %" of your seed beads or enough to fill the bead. If not, only string one seed bead. String on your silver bead and slide it down until only one seed bead is showing. This only applies if your sil ver bead slides over your seeds. String on seed beads that amount to about 26” past your silver bead; this is going to be the area where your dangles will hang. @ src oe isk seas age, on ena! dre, nt eee aecnentines Continue stringing in this manner, altemating 4mm. ‘and 6mm crystals. Repeat this pattem of stringing, (Steps 4 and 5) until you get about 5%-6" finished.Cut your wire from the spool, leaving at least 144 ‘to work with. Finish the other side of your bracelet by stringing on two crimp beads and the ring end of your toggle. Thread the cable back through the crimp tubes and finish as in Steps 8 and 9. @ @ Finish off with a crystal cube and then string two seed beads, two crimp tubes, and the bar end of your toggle. Thread your cable back through the crimp tubes meking sure to leave enough of a loop so the bar ean move freely, but not too much that it adds unnecessary length to your bracelet. Resources Beading cable: Soft Flex, www-saftflexcompany.com. Crimp tubes, crimp covers, silver beads, daisy spacers: Rio Grande, www-riogrande,com. Crystal cubes, Toho Using your crimping pliers, crimp both crimp tubes: starting with the one closest to your toggle and then use the other portion of your crimping pliers to fold the Treasure seed beads: Rings & Things, www.tings- tubes. Trim off the excess wire as close as you can to the things.com, Pearls: Beads Galore, www headsgalore.com. Eten enthe Headpins: Halstead Bead, www halsteadbead.com. Lamp- ‘work beads: Lori Greenberg, www lorigreenberg.com, ‘Togale clasp: Local bead store, Lori Greenberg has been a bead artist since 1995 and transitioned fully into glass lampwork beads in 2002. With a background in tex tile design, Lori is fascinated with tex ture and surface design. Currently, she works from her studio in Cave Creek, Arizona, You can see more of Lori's work at her Web site, wiew lorigreenberg.com, or contact her by e-mail at Lori@lorigreenberg com. Lori also sells on efiay and JustBeads.com under userid: lorigreenberg Bead [2 SEN} @ 20.222 eng tr ne covers oer each ped ie fra mere April 11-15 and adjust the length so that your bracelet still drapes 2007 nicely without having too much wire showing. If you need more length for your bracelet, adjust accordingly by adding seed beads. @ see cures down var te tished br end STEPBYSTEPBEADS.COM atSki over @@000 * Clay decicated pasta machine ‘* Premo! Sculpey® in white, ecru, and translucent (frost, formerly known as bleached translucent; sold only in 2: 1b, package) * Ancient Page petal point multicolor stamp pad ‘« Sculpey® Super Slicer blade ‘+ Rubber stamps (I used Color Box molding mats) » Bamboo skewer '* Smooth ceramic or marble tile, 1212" ‘+ Sand paper in 400-, 600-, 800-, end 1000 grit wet and dry ‘= Butfing wheel (1 use a bench grinder with two cotton wheels on each side for butting) * Surgical gloves * Optional (instead of buffing): Soulpey® glossy glaze eoagey aor £4 nopveg earl of glass” bead Translucent designs give polymer the sheen of glass. BY MARIE SEGAL came up with these beads awhile ago and thought they were so beautiful ‘Then a light went off in my head: This is how Jayne Hoffman does her beads! Sure enough, the techniques were similar—but not the same. Other artists play a big part in my life; all artists, not just polymer clay artists. Seeing colors, lines, or aan image that others make begins a new thinking process inside my head. I feel that without these influences in my life, | would not grow as an artist Jayne has long recognized the value of influence and experimentation. “Most of what I do,” she told me, “is the result of playing with the materials. Each experiment leads to a new idea. The best art comes from within and can- not be found by simply following another person’s technique as you would a cookbook recipe. Use other art as a starting point, but I encourage everyone to throw away the recipe and have fun.” She thinks I have done exactly that, and I hope everyone uses this lesson as a place to begin their own experimentation. Condition the translucent clay in your pasta machine by cutting thin slices off of the block—slices should be no more than 2" thick. Run each slice through the machine separately. Run two sheets through together, fold in half, ‘and run through again on the thickest setting. Do this about three times. Fold the sheet in half again and roll through on the thickest setting. Do not fold the sheet, but tum the pasta machine down to the second thickest setting and run the elay through. Tum the clay sheet '% turn and do not fold. Tum the pasta machine down to the third thickest setting and run the clay through. Turn the: sheet % tum again and turn down the machine to the fourth thickest setting. STEP BY STEP BEADS | January-February 2007Keep turing the sheet and the pasta machine down until__clay. Do not leave it much longer than a couple of the clay is very thin. If your clay staris to pull or clog the hours, because the ink colors may bleed or migrate machine, lay the sheet of clay on a ceramic or marble tile _into the surface of clay—unless, of course, this is before running through the machine again. exactly what you are looking for. ‘them, then put them through the pasta machine. | ralled my ‘white on the third thickest setting. Or, you can mix clay down in the project to. a #8 on my setting machine. if the ecru and white together one part to ane part— you have a 7-setting machine, a #5 or #6 are probably fine. _ this is my favorite mix, and what I usually use for lf the sheet is warped after roling down in thickness, you this technique. can roll the clay gentiy on the surface of cardstock or mat board to flatten the ripples in the sheet out. Cut a rectangle of clay that is about 3" x 2". Lay the ecru sheet over the translucent stamped Ink the whole molding mat using different colors of ink in _sheet with the inked side facing the ecru and white the different sections. Stamp the clay sheets with the mixed clay. The inked images will be trapped in the layer. Trim away any excess carefully and set aside. molding mat. Note: You don't have to press the molding mat into the clay at all, you ust want the ink on the surface. Make sure you gently go over the whos back surace ofthe @ Roll the sheet of ight opaque clay and the mat with your fingers to ensure the imprint ofthe ink is good, “= stamped translucent sheet together through the pasta machine on the thickest setting. Turn the sheet ¥é turn and run through the machine on the second thickest setting, Tum the sheet 4 turn and run through the pasta machine on the third thickest. setting. By turning the sheet each time, you are spreading the sheet out evenly so it doesn’t distort the design as much. G@ Lorine cor sheet wth the transivcent side down on another translucent stamp sheet and trim away the excess stamped clay. Roll the two together through the pasta machine on the thickest setting. Turn the sheet ¥4 tum and run through the ‘machine on the seoond thickest setting, then turn the sheet % tum and run through the pasta machine (on the third thickest setting, © tiem eround the outside edge, timing awey the part of the translucent clay that is not stamped. Let the ink diny as much as possible; t may take @ couple of hours, depending on humisity and the thickness ofthe ink on the Lay the sheet translucent side down on another oS translucent stamped sheet and trim away the ex- cess stamped clay. Roll the two together through the© heart of “glass” bead setting. Turn the sheet Y% tum and run through the ‘machine on the fourth thickest setting. Turn the sheet ‘44 tur and roll through on the fifth thickest setting. © cuttne sheet apar. You can do this any way that you want, but | have cut into elongated triangles. Condition and mix together * block of white and %4 block of ecru. @ Roll out some of the ecru and white mixed clay into a 1” ball @© Lx a tangle ot tne stamped clay sheeting onto ‘the ball with the ecru side facing the ball, and the stamped translucent side facing out. Keep adding triangles of the stamped sheets to the ecru ball to ‘cover completely. You can cut the stamped triangles to fit into the smaller spaces. Try not to overlap the layers too much. 94 STEP BY STEP BEADS | January-February 2007 @ Fat the bat veween your palms, in a creer motion, to smooth the layers, Roll the ball gently at first, and then alitie harder as it Becomes more roundee. Its very important to make the surface as smooth as possibie; you ‘may even want to wear surgical gloves to do the rolling. @ winen tne ayers are completely pressed ito each other, roll the ball into a teardrop shape. Flatten the teardrop shape with the cup of your palm. @ Place the point of the bamboo: skewer into the cen- ter of the top (and thickest end) of the flattened teardrop. Pull the skewer back towards the pointed end of the flattened heart. You may have to pinch and coax this shape into a better heartshape, but this is a great place to start to make a heart shaped bead, You should also be able to make more than one heart from the stamped sheet. For this project, the hole was “drilled” through the fat- test area of the heart, from side to side. Drill through the heart from one side until the skewer just pokes through the other side, then drill the skewer out. Now, put the skewer into the opposite side opening, and Grillin through this side. This will keep the holes nice and even looking. Drill the skewer out again. @ | ite 10 voke my beads within a couple of hours of making them, because | have found thatthe ink | am using wil blur if Leave the beads in their raw state over night. Bake the beads in a preheated, 275° oven for 30, minutes. @ ee not soit oft ona tinge em toto water oc il esl our bea pty and mate he Worle lea. i an a aly 0d wo tle up aie rc jou en: eave he Dende nie ic ater 15:20 mute, leo Dita ol sean @ see ne vents wn 400g yet oy sande ee econ g tebe inet cont envy, aay mean ceed to 600-grit, 800-grit and finally 1000-grit. tie bcats wth a ose coton aes. You son’ have to buff the beads, but if you do, they will shine like glass. You can also sand the whole surface of the bead with 600-grit, then coat with a thin layer of Sculpey® glaze in glossy. Let dry completely, and then apply another coat. Let that coat dry complete- ly, then bake in a preheated 200° oven for 10 mit utes. Shut off the oven and let cool. Note: Make sure not to handle the glaze if it is too warm be- cause this may mar the surface. Allowing the beads 0 coo! will also bond the Sculpey® glaze to the sur- face of the polymer clay, creating a much better bond of the sealer to the clay. Optional: You can bake flat pieces of the stamped sheets between two smooth tiles, which will also make for a smoother surfece and speed up the sanding process. Do not submerge the tiles in ice water. Resources: Clay and other polymer supplies: Clay Factory, weww.clayfactory-net: Polyform Products Company, www-sculpey.com. Color Box molding mat: Clear Snap, Inc., www.clearsnap.com, Ceramic tile: Hardware store. Sandpaper: Automotive store. Jayne Hoffman had been working with polymer clay since 2000, She lives inthe Pacific Northwest with her husband and three cas. By day, she isa data analyst, but in the past she was a jus nior and senior high school English and social studies teacher, Visit hes Web site at www jazor.com. Marie Segal used crayons as soon as she could hold them. She started in oils at the age of 10, ceramics at 1, her frst polymer experi tence in 1977, and heavy polymer from 197%.present. Marie also credits all the other arts, life, and cratts that she has experienced too; they helped to build her body of knowledge. ts amazing to her that all come info play, no matier how short her fine was with them With her husband Howard, Marie owns and operates the Clay Factory, a technical support based polymer clay die telbutor. Marie can be contacted at Marie@Clayfactory net or via her Web site at www clayfactory.net. STEPBYSTEPBEADS.COM 35‘The bead comer of Leslie Rogalaki Ector n- Chet of Stop by Step Beads. (cleaned up for this photot) contain yourself Part Il: How five artists stay organized. A Series of Storage Solutions For Bead and Wire Jewelry Artists. BY LESLIE ROGALSKI, Editor-in-Chief 36 STEP BY STEP BEADS | January-February 2007 remem How do you store your stash? I asked several artists with permanent workspaces or studio areas to send us pictures of their storage solutions. It seems that no matter what your needs, you need to find a home for everything. There are no hard and fast rules, but here are some guidelines to consider as you take a look at the ways these artists stay organized. Anything goes, My beading area occupies one end of our front porch. A slim folding table and rolling desk chair from Tkea® serve well for a small space and were in- expensive. Beads in bins are on shelves to my left and right, so I simply roll back and forth to quickly reach what I’m looking for. None of my storage units match! Plus, check out the cheap ttensil rack I use for my tools. Dollar store! Note how I kept every- thing in white, which gives the workspace a unified ook even when it’s messy. Maria Rypan (www.rypandesigns.com), a Toronto artist and teacher widely known for her intricate Ukranian netting and seed bead work, also uses a va- riety of storage units, She keeps her busy workspace looking unified by choosing clear containers with black as the accent in storage and shelving, Her bead- ing area is part of a guest room and library. One wall backs a beading table full of drawer units and storage bins, along with shelves of books and magazines,Manage multiple projects, Rypan sorts her beadwork by technique as well as by bead. Binders hold her inventory and “refer- ence bible” of kit and pattem color cards. A folder holds loose pages waiting to be filed. Drawer units hold materials and paper plates contain different work in progress. Maria and I both use paper plates for project management, Heavy duty chinet® plates, work great, as their generous rims keep things well contained, and their durability prevents things from being crushed when you stack them out of the way between sessions, Sort by color Artist Suzanne Golden, whose colorful seed bead jewelry has appeared in Step by Step Beads as well as in numerous oth- et publications, sorts by color. Her bins of beads share precious closet space with her vast collection of shoes! Maria Rypan sorts first by size, then by color into snack- sized, Ziploc® ‘bags which stand up in pullout drawers. I'm par- tial to sorting by 's beads, sorted by cole in clear bins, share a closet with shoes, Maria Rypan sorts projacts into peper plates, stacked on bins of, ‘Swarovski® beads sorted into warm and cool colors Cea, hinged ld Storite™ boxes hala Lest's beads, sorted by col. STEPBYSTEPBEADS.coM 38 contain yourself ‘Sanda Lupe store cole of wire in siz 8 bead tubes. Tubes are la beled with specs such as gauge, length and ype, STEP BY STEP BEADS | January-February 2007 color myself. I often resort beads from their original con- tainers into other small bags, tubes or containers, then or ganize them in clear, hinged lid Sterilite™ boxes. I also love compartmentalized floss boxes for focal and accent beads. The lids remove for complete access, and since I can see the colors, I don’t use labels. If you can't see it, label it. “Most artists use clear containers to see their materials, easily, but sometimes seeing isn’t enough information. Artist and teacher Sandra Lupo (Sandra@ssandstones.com) saves even small coils of wire to avoid wasting metal. She puts her wire in the 6” tubes from the size 8 beads she frequently uses, but notes that empty tubes can be Drawer units such a8 these uses by Maria Rypan are commonly found at malor cra, office supply and home repair warshouses. Notice the folders ang binders holding Mavla's paperwork. Stacking evn fom Fire Mountain Goms!™ and Beads, ‘ww firemountain.com,purchased at any jewelry supply company. It’s often a project, and clusters the drawers around her as hard to tell what type of wire is in each tube, so she la- she works for added inspiration and play bels the tubes to identify the gauge, lengths and types of wire. Using tubes for wire keeps coils from being Many thanks to the artists who shared photos for crushed, and the airtight tubes prevent tarnishing. Lupo this article: Maria Rypan, Rypan Designs, www.ry- stores tubes in greeting card boxes which, she says, are pan designs.com; Christi Friesen, Cforiginals, the perfect size for the tubes. www.CForiginals.com; Suzanne Golden, suz.gold- en@verizon.net, Sandra Lupo, Sandra@ ssand- Keep things within reach. stones.com Polymer clay artist Christi Friesen (www.Cf originals.com) uses drawer units, easily found at hard- MORE GREAT STORAGE IDEAS! See “Cool ware stores and home warehouses. Inspired by the col- Taig” in Lapidary Journal October '06, and “Wire ors and textures easily visible in the cleat, plastic draw- Workshop” in Step by Step Wire Jewelry, Fall 05. ers, she can pull out individual bins as likely choices for Clear, plastic drawer unts allow Chvist Friesen to gather beacs around her for Maria Rypan says her Sova-Enterprises Bead Pavillion™ (www.sova- inspiron. ‘entorpdses.com) is great for finding what she noods easy. Sho uses tha tubos to ‘ort beads by color, andthe fp-top containers to hold a myriad of ndings. Pho court of Sova Entries. Leslie Rogalski Pie is Editor-n-Chet of Sty by Step Bods and a Be saeniencey tontcbutng edo io Sep by Sep Wie lovalty Iho the Shoveane sea Crete Jemery, he has Ween et Bree eee oe ee ealen eee (es STEPBYSTEPBEADS.COM 39Raa 40 What you need Foraveacet annex Cf Tiina, denaning on your ao + Tote sn yer ease, 2 ban eae ser 2 gas enn ior 1547 srcioncer + nm sib aes, shrines os, + apron 56-60 | Ser ee * che of os + Beaches * Nymo® D thread * Soft Flex® beading wire, .018 + pomp bead + crimping plas +e snes hy Tok Mary COOP Waves Even count peyote tubes bracelet. BY PERIE BROWN ‘This flirty bracelet is mace of simple peyote stitched tubes, made into beaded beads by stacking them onto eye pins with cube beads on each end. Easy! These tubular elements are then strung together with more cubes for a bracelet that looks both fun and fashion forward! Making the beads. Thread your needle with two yards of Nymo®. String a stopper bead if needed by stringing one bead and sewing through it again, leaving a 6 tall. Thread a total of 16 beads of one color. These beads make up your first two rows Working in even count peyote, stitch the third row. (See our tutorial sidebar on even count peyote on page 41. STEP BY STEP BEADS | January-February 2007Pena is Rows are counted on the diagonal. String the first two rows, then pick up a bead and stitch through a bead, one by one, following the chart, Work back and forth across each row to your desired length. For a complete beginner tutorial, see our Bead by Bead on page 11 of the July-August ‘05 issue. © %er wit need to make a “hole” in your tubes through which your bracelet wire will pass when you string every: thing together. Make a hole in the fourth row by working four stitches, skipping the fifth stitch, and continuing to the end of the row. For the fifth row, work four stitches, add two beads over the skipped stiteh in the fourth row below and fin ish the row, At this point you should be able to detach the extra loop of thread over your stopper bead if you used, one as your first bead, or remove a bead if you used an ‘extra as your stopper. © continue in complete rows of peyote unt you reach ows 11 and 12, when you will repeat Step 3 to make a second hole. (ee ee ote foe, Create the tube by bringing the two sides of the strip to- gether. Stitch zigzag through the “out” beads, alternating, sides, and zipping the sides together. Weave the working thread now exiting one end of the tube into the tube, fol lowing the existing thread paths. Reinforce the seam with the tail thread coming from the other end, and weave into the piece as well. Trim ends close to your work. Follow Steps 1-7 to make a total of nine beads, three in each color. Making the bracelet. On one eye pin, put one cube bead, one peyote ‘tube and another cube bead. Use your round nose pliers to make @ simple loop to close and secure the eye pin, Be sure to finish by rotating the pliers in or der to bring the closed loop back to @ center position. Both ends of the eye pin should look the same now. Repeat this step for all your peyote beads. ape nee STEPBYSTEPBEADS.COM 4at's a brilliant idea... CUSTOM COATINGS" ADD A NEW DIMENSION TO SWAROVSKI® CRYSTAL Ask your bead suppl for these newest color. »? BRANDY ‘The Designer's Choice for Beads and Beading Supplies! Gemstone, Pearl, Glass & Metal Beads. Jewelry Findings and Beading Supplies. Low Prices for Everyone—Everyday: Shop at our on-line stores. PrarlthadSale com abeadstore.com ewelryPlus.net Daily Bead Sale.com info@beadedimpressions.com * 1.800.532.8480 Sorry, no print catalog 42 STEP BY STEP BEADS | January-February 2007 Ge colomaves Cut 2 10" length of beading wire and secure one end with @ Bead Stopper™, about 152" from one end. Alter: nate stringing a cube bead, a peyote tube (make sure you pass the Soft Flex® through the tiny holes of the bead), a cube etc., until you have threaded all peyote beads, end ing with a cube bead. Thread the wire through a crimp bead, the loop of one half of your clasp, back through the crimp bead and through one or two beads on the bracelet. Pull the wire so the crimps sit near the clasp. Crimp neatiy with the crimping pliers. Remove the stopper and repeat crimping on the other end. Curves of color—a rainbow for any outfit! © Resources: Delicas: Fire Mountain Gems"™ and Beads, www-firemountain jgems.com. Perie Brown has been beading for the past fifteen years and teaching for the past ten, She has received nu- BeJp merous awards for her work and is founder SP and past president of the Hall of Fame Brad- rs" Guild in Canton, Ohio, Perie can be con- tacted at RKB9@aol.com. AOR From the Eats of Lapidary Journal ‘Choose the projects that interest you, purchase on-tine and \We'll e-mail the project directly to your computer. No waiting! Start today! STEP by STEP waren These are samples of some of the projects YOU can make: 4 Sleangsver Ganat Boceet® Soap saccist —ChsterEarings ‘Cheese ftom over AO projects anne, Mos! picad ct $4 each “multipart projects ae $5 each). Pay securely ulin your credit cord or checking account through Py Pol our instant transaction processor www.stepbystepjewelry.com Browse through of of ourjewely project plans toctay! ron covo =e LAPIDARY JOURNAL 300 Grates Pain St 10, Melua PA T2265 ‘Carving AlabasterPhe by Todd Maroy level e000 Se enc) © #6 silver cluster beads, 5mm (Nina Designs $532) * 4 round silver pom-pom beads, © 7mm (Nina Designs $199) * 3 silver tube beads, 11mm (Nina Designs $460) * 6 gray pearls, 3mm * 6 lolite oval beads, 8xémm | +49 amethyst beads, 3mm + 24 flat silver spacers, 7mm (Nina | Designs $1011) ‘+ 24-gauge soft sterling silver wire, approx. 7Y2 feet ‘+ 24-gauge silver head pin (Nina De- signs $1203) ‘+ 5mm silver split ing ‘+ Adjustable silver 3-strand bar clasp (Nina Designs SCLS) * Lobster clasp eee bracelet Triple-strand pearl and iolite bracelet. BY NINA COOPER ‘This beautiful bracelet uses a classic jewelry making technique, wire wrapped loops. These wire sections are strung together to form a strand, creating this beautiful multi-strand bracelet. Before you begin, check to be sure the silver wire will fit through all of your beads, especially the stone, glass, and pearl beads. Carefully inspect the beads and remove any that are chipped, cracked or otherwise unattractive. Cut twenty-one pieces of wire, each 3" long. About 4" from the tip of, the wire, begin a wire loop, but don’t wrap it. See the Wire Wrap sidebar on page 44, ‘Thread the following pattern onto five of the wires: amethyst bead, flat silver spacer, pear, flat silver spacer, amethyst bead. (©) Leave tmm of wie showing (to make room for the wit wrep) then bend the wire at aright angle, Begin your loop, which should be perpendicular to the fist loop, but don't wrap it. Leave the loops halffnished and set the wires asice ee ‘Thread the following pattem onto three of the wires: amethyst bead, silver pom-pom, and amethyst bead, Repeat Step 3. (© Tread te folowing pattem onto four ofthe wires: amethyst bead, silver luster, and amethyst bead. Repeat Step 3. STEPBYSTEPBEADS.COM 434“ seed pod bracelet a Using round nose pliers, grasp the headpin just above the last bead and bend it to a. 90° angle. Grasp the wire with the tip of your round nose pliers, right next to the bend, with one jaw above the bent wire and the other jaw below it. Cal Rotate the bent wire up and over the top jaw Cf your pliers until it is almost pointing straight down. Remove the pliers and place the bottom jaw in the loop you have just formed. Grasp the wire with your fingers (or chain nose pliers) and bend it snuggly around the bottom jaw, behind the straight part of the wire, bringing it back to @ 90° angle. es Grasp the loop flat between the jaws of your chain nose pliers so it doesn't become distort- ed during the wire wrapping process. Using ‘your fingers (or chain nose pliers), wrap the Wire around itself a minimum of two times in nie, neat coils. Trim the excess wire as flush {8 possible with wire cutters. Using the tip sec. tion of your crimping pliers, very gently com- press the coil to eliminate any rough edges. SEE STEP BY STEP BEADS | January-February 2007 Thread the following pattern onto six of the wires: ‘amethyst bead, flat silver spacer, iolite, flat silver spacer, amethyst bead. Repeat Step 3. ‘Thread the following pattern onto three of the wires: amethyst bead, silver tube, and amethyst bead. Repeat Step 3. Remove the jump ring that attaches the hook to the ad- justable length clasp. Replace the jump ring with a split ring and then slide on the lobster clasp. You may also use jump ring, as | did, but be sure to solder it closed. 8 Thread a cluster bead and one glass amethyst bead Conto the head pin. Leave 4mm of wire showing and form 2 loop as in Step 3. Slip the loop onto the last ring of the chain on the adjustable clasp and wrap the loop closed. @ Lay the lobster clasp in front of you with the three-ring boar laying flat. The ring on the bottom will be for strand #1, the middle ring for strand #2, and the ring on top for strand #3. Attach the wires pieces in the order listed be- low. Slide the unfinished loop onto the clasp, and thencomplete the wire wrap. Add the next unfinished loop to the closed bottom loop of the first piece, and so on. When you finish, you should have three strands hanging from the silver ber, waiting to be joined to the chain side of the clasp. Strand #1: lolte, pom-pom, peari, tube, ialte, cluster, pear Strand #2: Cluster, iolte, pom-pom, pearl, cluster, iolite, tube. Strand #3: Pearl, tube, jolite, cluster, pearl, pom-pom, iolite, Cut three 3” pieces of wire. Begin a loop on the end of each piece, about 4" from the tip of the wire. Slip each of the loops onto the closed bottom loop of the last sec- tion of each sirand, Thread the following onto the wire that ends strand #1: amethyst bead, silver pom-pom, anc amethyst bead, Leave 1mm of wire showing, then begin another loop, but don’t wrap it yet. Thread the following onto the wire that ends strand #2: amethyst bead, flat silver spacer, pear, fat silver spac er, and amethyst bead, Leave 1mm of wire showing, then begin a loop, but don’t wrap it. Thread the following onto the wire that ends strand #3: amethyst bead, silver cluster, and amethyst bead. Leave Imm of wire showing, then begin a loop. For these last three sections, the loops on either end should be parallel rather than perpendicular. If not, the strands will ‘twist when you attach them to the clasp. @ How tne bracelet up, hanging rom the lobster clasp, Check to see if all three strands are the same length. If not, you can switch the last sections around or add or subiract a section. You can also add extra beads to one of the end sections for smaller adjustments. When all the strands are equal, work your way along the ows finishing the wire wrap on one end but leaving the last loop open (on the end you will attach to the clasp). AS you go, make sure that the loops on each link remain per pendicular to one another. If they are, then each interlock: ing set of loops will also be perpendicular and the bracelet will lay that, Now, carefully slip the last three unfinished wire loops over the corresponding rings on the chain side of the clasp. Lay the bracelet flat. Check each strand to be sure that it is not kinked and that it lays flat. It makes a differ ence to how the strand will lay if you thread the loop onto the ring from the top down or the bottom up. You have to play with each strand to see the best way to thread it This step is trickier than it seems! Finish the wire wrap on the loops. Note: Don't be surprised if yau have to clip and rewrap several times before you get all the strands to lay correctly. @ Resources: All supplies rom Nina Designs, www.ninadesigns.com, 1-800-336-6462. Nina Cooper ‘writes freelance for several publications. She is also the owner of Nina Designs, a mail order company that designs and sells unique silver beads, clasps, and findings. Nina can be contacted at ‘ewww ninadesigns.com or 800-336-6462. PMCC Intemational Artist’s Retreat April 16 to 22, 2007 Dallas/Fort Worth, Texas www.PMG-Retreat.com. '* Pearl Rir 2 Birdhouses + Boot Camy * Sugar Craft '* Prong Setting * Kalei “Opes * Hinged Boxes © Enamel Hearts » Water Etchings * Freeform Bracelet. * Polymer and PMC '* African Quill Spoon © Victorian PMC Quilling mts cus lsrosctony 6 i eration Claes Metal asiobe Natemate, a Teo ing seh & embelishments PMC Connection STEPBYSTEPBEADS.COM 45Skil evel @0000 * 1" diameter ball of polymer clay, or 2 slices of a %4" diameter cane (such as a Skinner blend) * Decorative paper clips * Silver head pins * Earring findings * Needle too! Oaberclios Easy polymer earrings. BY SYNDEE HOLT Thave wanted to do sometiting with these paperclips since I first spied them. [love pinrolls and coils and these just fit right in. Iwas playing one afternoon in the workshop and came up with these great earrings, They couldn't be easier or more fun to make! You can use those scrap pieces of clay and serap pieces of millefiori canes. oe Cut your ball of clay in half to make two 4" diameter balls. The bell should be roughly the size ofthe clip. 48 STEP BY STEP BEADS | January-February 2007Press one clip into a ball and use your fingers to Yes, it’s that simple! @ form the clay into the shape of the clip. Add an- other clip to the back of the clay cube, making sure Resources: Polymer clay: Seulpey® clay, www.sculpey.com. Paperclips: it’s patterned the same as the front, plumes cay: Seulpeye Oa Syndee Holt isan independent designer for Polyform Products (the Sculpey® people), Jacquard Products, and Savage Paper Products, creat ing exclusive designs for kits, Web project, brochures, and more. She is a founding mem ber and former President of the infamous San Diego Polymer Clay Guild. Syndee writes for many national and international arts an eafts magazines, and appears regularly on television home shows such ae Home Mat- terson Discovery Cannel, Carl Dis! and Ox Place on HGTY. Drill the hole for assembly on the diagonal. Bake according to the package directions. see EP) 0°, natural leaves hand ee in 18k gold @ 22 essen rn ne restsin nou fom ne 7 bottom. Trim the headpin with about 1" remain- i t loose leaves available in, Use your ound nose pliers to create» spe q % loop, then attach the earring finding, M/ g tel: 949.874.6886 | fax: 949.857.6886 www.tloradorojeweiry.com IF you wish to use a couple of cane slices, they just eed to be about the diameter of the clip; round canes are fine. Cut about a ¥@" slice and follow the directions above. STEPBYSTEPBEADS.COM 47Cubular _crocnet pendant poe oe Crochet, brick stitch and square stitch to show off a favorite focal bead. BY JUDY GELZINIS DONOVAN Ska tevet e@@00 PTE re Bae | « 4mm cube beads in color A, 70 grams total + size 5 triangle beads in color B, 14 grams (total of 108 ads neoded) ‘+ 1 spool C-Lon® bead cord in Sor eee eee + 24 back sie 6 seed beads + 55 black size 8 seed beads + Marsha Neal ceramic pendant snd bution + 34 faceted 4mm rondelles forthe beaded bai * Big-£ye™ needle or dental 1 foes teader 31 « size 6 (2.0mm) crochet hook EI + Beading needle 21. nymo® D or CLon® beading thread + Bosswan + Scissors 48 STEP BY STEP BEADS | January-February 2007Marsha Neal's beautiful ceramic tile beads inspired this fast and easy crochet project, which uses cube and triangle beads to create a simple yet texturally interesting necklace. The size of the cubes makes this a good project for those new to crochet, and experienced bead cro cheters will delight in how quickly this rope makes up. Best of all, the entire necklace is strung at one time so there is no need to re-string beads and add thread. I teach bead crochet and like to use 4mm cubes and size 5 triangles for my "Beginner's Bangle” class. The tile is hung from a bail made using two-bead square stitch, which can be used for any kind of focal bead with a hole ina similar position. These instructions assume a basic knowledge of tubular end crochet Color A in the red necklace is a mix of Miyuke $8254, S8407R and SB4-140FR; Color A for the green necklace is a mix of Miyuke $82035, S8-2008, SB416R and Toho 4¢1207, Crochet rope. The total length of the cracheted part of this necklace is 18". The crochet gauge, if you are using the same size beads, is 6" inches of strung beads = 1" of crocheted ‘tube in a G-around pattern. One pattern repeat = 1" of strung beads. If you want a longer or shorter necklace you will have to recalculate how many inches to string. ) Using the Big-Eye” needle and the C-Lon® cord, string repeats of the pattem GA 1B for 108". Do not cut the thread! 2 Work 6.around in tubular crochet until all of the beads are used up. Crochet one last row of slip-stiteh without beads, in order to straighten out the final row of beads. Cut your thread, leaving a 5" tail, and pull the tall through the last loop of crochet To get rid of the talls on each end, use the BigEye™ needle to pull the remaining tals inside the tube, then push the needle out between beads and cut off the tall Thread a needle with about 2' of doubled waxed ® beading thread, Put a knot in the end. Sew into the tube about 3" from the end and pull the thread to catch the knot inside the tube. Weave through the beads so that your needle ‘emerges from one of the six end beads. D Create “thread bridges" between these six end beads by weaving in and out each one until you have placed a thread between each. The next step will be to brick stitch the ends, so the thread bridges are essential. STEPBYSTEPBEADS.COM 49© cubular crochet © weer your working tread coming out of ay one of tween them. Weave te needle through a few beads in the end beads, pick up two size 6 beads and begin the rope and cutoff the tal working tubular brik stiteh, Do two rows total of brick Always begin a new row of brick stitch with two beads. _up three more size 8 beads, and go down through the size 8 bead opposite the one where you started. Knot off the thread between beads and make a sec- Button loop. ond pass through the button, then finish off as in After completing the size 8 row of beading, sew Step 9. The rope Is now complete. down into the first bead in the round, then up through the second bead, as if you were planning a Making the pendant ball new row of brick stitch. Pick up approximately 24 size _The bail is made from the 34 faceted rondelles using two- 8 beads (or the amount needed to accommodate the _—bead square stitch. button you've chosen}. Attach the other end of the loop by sewing down through the brick:stitched rows @ Thread abeading jee (a size 8 bead and two size 6 beads) on the opposite needle with about | side from where your loop is emerging. 2 ofbeading teed neta ‘and wax well. Pick up two rondelles and slide them down to ‘about 6” from the end of the thread, Tie them together tightly with a square knot. @ diinine treads pointing down, stitch up throu the bead on the right, Pick up two more rondelies and go Bring the needle out between a size 6 bead and a size 5 cube and knot the thread around a thread in the space between them. Secure by working the nee- le back through the same path through the brick- stitched beads and pass through the loop once more, then down through the brick-stitched beads on the op- posite side. Bring the needle out between a size 6 and ‘a size 5 cube and knot the thread in the space be- 50 STEP BY STEP BEADS | Januar February 2007down through the bead on the left, then up through the ‘two beads on the right. Repeat this twobead square stitch until all 34 beads. are used up. You will have a two-bead column with 17 beads in each column. Weave in the thread tail from the beginning of the square stitch and trim. } with the working thread still connected to the square stitched section, pick up six size 8 beads, go through the. hole in the tile bead, then pick up six more size 8 beads. 3) Pass the needle back through the rondelle in the same stack where you started to complete the loop. Weave the needle over to the second stack of rondelles and sew ‘out through the rondelle on the end, ess the needle back up through the first and sec. ‘ond rondelle in the same stack where you started to ‘complete the loop. Fp F014 tne bail over so that the first and last rows ” of rondelles align. 3) To create the second loop, pick up five size 8 beads. Go through the size 8 bead nearest the tile from the first loop, through the tile and the size 8 nearest the tile con the opposite side. Pick up five more size 8 beads and us dle over to the Weave the nee aligned column of rondelles and go down through the ‘two nearest the ‘end, then through the bead loop and tile. Repeat this action to secure the second bead loop with the ron- delle bail. STEPBYSTEPBEADS.COM 512 DED ORNOT 2 BEAD’ 82 www.2beadornot2bead.com Beginner’s Beading Kit High quality beads, findings & supplies: EVERYTHING you want and need fo stat creating your own breathtaking jewelry! Just $199.99 RGus nate ae ee} One end unscrews fromthe post to easily remove or add’ beads. Styles include various size pendants, stickpins and lapel pins finished in either extra-heavy .925(sterling) silver-plate or 24 karat gold-plate over brass, BETH WILLIAMS STUDIO Hand-made Glass Beads & Jewelry www.changeabead.com 17 Pleasant Seret, Gloucester, MA.01930. FAX: 978 283-5589 Madein USA. 2005 Beth Willams Pater Pring, al < W ea] i im Q Za KG ic iC) STEP BY STEP BEADS | January-February 2007 ( cubular crochet @ Wee ine needie through several ondeles, knot be tween them, weave through @ few more to hide the tail, then cut the thread. Your bail is complete and ready to hang. Slide the bead on the rope and you're done! @ Resources: Marsha Neal's ceramic beads with matching buttons can be id online on her website www.marshanealstudio.com jolesale only) and purchased online through Twist: jeads and Fibers http: //www.twisted-sistah.com/ and ‘www-carpebeadem.com. Twisted Sistah Beads also carries the complete line of supplies needed for this project (cubes, trian- giles, threads and hooks). Marsha Neal sells her beads to retail customers at major national bead shows, F.& judy Gelzinis Donovan is textile artist and beader who has been creating wearable art from her own hand- dyed yams and fabric for over 15 years. She has aught dyeing, beadwork and knitting tensively in the US. and her work has a peared in numerous publications, most cently in Bethany Barry's Bend Crociet(Inter- weave, 2004), She teaches beadwork at Ubead2 in Wayne, PA and at the Delaware College of Art and Design in Wilmington, DE, as well as in bead and knitting shops in Philadelphia and. suburban NJ »'Gem & mineral market April 20th - 22nd, 2007 located in the Philadelphia area please check www. lapidaryjournal.com/jewelryartsexpo for show updatesGlass Craft & Bead Expo WEreaes Xe Vos ig Classes March 28th - April 1st Exhibits March 30th - April 1st Featuring Over 250 classes taught by internationally known artists & over, 50 exhibitors that include manufacturers, distributors & retailers, GUC Coe eae re Ph: (407) 282-8648 ‘TheadsGlass@aol.com ar the lave of ylas. STEPBYSTEPBEADS.COM 53faux lampowork bead necklace Choker necklace with art bead tassel. BY HEATHER POWERS This necklace was inspired by my friend’s eclectic line of designer clothes. She always mixes unexpected patterns, textures, and layers to create drama in hher work. Wanting a necklace that had the same flair, I chose two contrasting, elements — long and short, creating a 17" choker with a 9" tassel. The pattern is a random, double-strand mix of seed beads, glass, crystal, pearls, sterling sil- ver, and semi-precious gemstones. Use the art bead you make in the project on page 56 or another treasured creation you've picked up along the way. ‘Making the art bead pendant. Cut a length of sterling silver wire about 3” longer than your art bead. Make a wire wrapped loop at one end. See the Wire Wrapped Loop sidebar on page 44, + Art bead = Beading wire * 1 Bali flower spacer, 8mm. = Clasp * 7 Bali flower spacers, 6mm + Crimping too! + Avariety of beads, 410mm ‘= Round nose pliers * Size 8 and 14 seed beads + Chain nose pliers * 6 crimp beads. = Wire cutters = 20.gauge sterling silver wire 54 STEP BY ST P BEADS. ary-February 200String an 8mm bead, the 8mm daisy spacer, an art bead, a 6mm daisy spacer, and a 6mm bead. Wire ‘wrap the end just like before. ‘Making the tassel. Cut a 12" and an 8" length of beading wire. Thread the 12" wire through the bottom loop of the pendant and fold it in half, creating two 6” strands. Thread both strands through a 4mm crystal bead. @ Randomly string seed beads, silver spacers, and other beads onto each of the wires, leaving enough room at the end for a crimp bead. String a crimp bead onto each strand and secure it with crimping pliers. OE PRO ars eS, @ ert oss wth te 8 enn of ean half, create uneven lengths; my strands are 5" and 3" long. Thread both strands through a 4mm bead. Repeat Sop Putting together the necklace. Se Cut two 18" lengths of beading wire. Thread both strands through a crimp bead, a seed bead, and one side of the clasp. Bring both wires back through the seed bead and crimp bead, leaving two small tals. Squeeze the crimp with crimping pliers to se- cure. Take both strands through a 6mm bead, hiding, the tails. Separate the strands and thread approx mately 1" of seed beads onto each strand. For ‘added texture, you can add one or two 4mm beads with the seed beads. After you have strung 1", bring both strands through a 6mm bead, then separate the strands again and continue stringing as before. Con- tinue this pattem for approximately 8-84". ‘Thread both wires through two 810mm beads, then go through the top loop of the art bead pen- dant. This should be the center of your necklace. Add two more &10mm beads and repeat the pattern on this side of the necklace. Before crimping this side, gently pull both wires to remove the excess slack. Make sure not to pull too tight, the necklace should be flexible, not stiff. ‘Squeeze the crimp bead to secure, then trim any ex: cess wire. Resources: Art beads by Heather Powers: Humble Beads, www. ‘humblebeads.com, STEPBYSTEPBEADS.COM 55tte ceteris st sce = Polymer clay (use Premol®, Kato Polyclay” or Fimo® Classie for best results) Turquoise White Ultramarine Blue Purple Gold Brown Copper Ecru * Translucent Liquid Sculpey® (TLS) * Oil paint sampler (available at craft stores, do not use acrylic paint) * Future floor wax * Pasta machine (used only for crafts) * Tissue blade (polymer clay cutting too!) * Toothpicks * Bead mandrels (Use 20 gauge stainless steel wire, cut into 12" pieces and straightened out; fone for each bead.) * Disposable pie pan tin * Small paintbrush * Rubbing alcohol for clean-up of TLS. * oral Styrofoam block (for drying beads) 56 faux lamowork beads Polymer clay that reflects the beauty of glass. BY HEATHER POWERS Lam a polymer clay bead artist on a mission. I'd like the beading world to know that polymer clay is a Cinderella story just waiting to happen. Polymer clay has long been associated with rainbow colors and hemp jewelry, a very craft oriented medium. But there is an ever-growing group of artists who are pushing the boundaries of this modem clay and discovering the beauty that polymer can offer. Being the fairy godmother in the story, I've been exploring the subtle colors and patterns into which polymer clay can be transformed. I custom mix my own color palette using color theory techniques, discovering sophisticated hues just like a painter. With a few exceptions, I rarely use a color straight from the package. Each bead Imake is completely my own creation. With my first experiences using polymer clay, I borrowed glass beadmak- ing techniques—frst cane slices, then using transparent layers, and recently, embellishing the surface of my beads with raised dots of liquid translucent clay. To show off polymer clay’s beauty, here is a project to dress your beads ina faux lampwork technique. Follow all the manufacturer's safety guidelines for polymer clay. Work on a cov- ered surface. | use white cardstock paper on my work desk. | prefer using card- stock because | feel the thin layers of clay stick less to paper than other sur- faces, and because you can bend the paper and lift the clay off eas Making the base bead. Mix 4% of a block of blue, turquoise, purple and '% of a block of white, ecru ‘and “46 of a block of gold to create the periwinkle base color. Squeeze, ‘twist, and fold the clay over until it is thoroughly mixed. Roll the clay into a a" thick tube then cut a 2” long section for your base bead. Gently roll each end STEP BY STEP BEADS | January-February 2007of the bead on your work surface to taper. It should have a long, subtle bicone shape. Creating a jellyroll Mix varying amounts of all your colors to create a cus- tom color palette. Take Y block of each color and cut, it into ten equal parts. Take a few parts of each color to mix different shades. For exemple: mix 5 parts gold, 3 parts white, 2 parts purple to create a light golden brown; of 5 parts brown, 4 parts gold, 1 part white to create a rich bronze. Mix ive to six different colors in this manner. Using your tis Create one very light color using mostly white and one sue bade, cut off very dark color using either mostly brown or purple. sthin/siles of your spiral cane, and Orcs tem | ee form a random design. Make sure to vary the dark and your base bead. light colors. This step creates the organic pattern of the coerce spiral. Each spiral will be different and the colors wil with the sles, let change throughout the spiral. Form the clay into a thick thesonconte rectangle, running it through the pasta machine vertically base bead color on the second thinnest setting. This technique is ideal to show through between the spirals. Gently roll the Use with scraps of clay, using darks and lights. Tae cla orev orrtes esd ediactintisoth ‘out the cane slices. The bead should be smoath. oo i Leger ieee ie esa acu, epee mn aap ie Fee tie tue cate, |e ade hours or overnight on a piece of white cardstock pa- per before poking the holes. @ sot to onto te works oso spiral pattern. The color and value variations create the spiral. Design tip: Wrap your spiral in a contrasting color to create another layer. To do this, roll out a contrasting color on a medium setting, Trim your sheet to a rectan- gle, wrap around the jellyroll, and trim the edges. STEPBYSTEPBEADS.COM 57faux lampwork beads ‘out any bumps. Take your time to avoid distorting your bead shape. Pour a small amount of Translucent Liquid ‘Sculpey® (TLS) in the pie pan. Using the paint- brush, cover the bead in a thin layer of TLS. The TLS does not need to dty of bake at this point. In the pie pan, mix a small amount of TLS with just 2 drop of oil paint to tint the liquid clay. Do not use @ lot of paint! Colors used in the sample: white, yellow ochre and sap green. Mix thoroughly CLAI/ SUveR & GOLD Pure Metals in Clay Form é MeiaL CLAL WOK CONFERENCE ‘August 23 - 25, 2007 ~- Les Vegas, NV Details on-line at www. arte! Icom Discounts for Early Bird Registration! Instruction & Distributors Available Nationwide Ap? Glay World usa www.artclayworld.com ~ Toll-Free: 866-381-0100 58 STEP BY STEP BEADS | January-February 2007 with a toothpick. For opaque colors add a bit of white paint with the pigment of your choice. Wrap a small ball of tinted TLS around the tip of @ toothpick. Touch the toothpick to the base bead to ad- here a bumpy dot, quickly lit the toothpick up. Use a quick motion for best results. Repeat this process in straight rows up and down the bead. Try to be as uniform. as possible. @ pes ne mance on ne ste oe pan an aa, to make sure the bead doesn’t touch the bottom or sides of the pan. Bake according to the manufacturer's. directions; generally 30 minutes at 265°. @ se25s sn stage comot be sanded or be, Aor the beads have cooled, paint a thin layer of Future Floor Wax to add shine and to protect your painted bumps. Let the bead dry for at least an hour before handling. Do ‘ot place it on a flat surface at this time. Poke the bead mandrels upright into the Styrofoam to air dry. After the bead dries, trim off the ends for uniform edges. @ Resources: All polymer clay and oil paint materials can be found at your lo- cal Michael's or Hobby Lobby or online at www.dickblick.com. Wire for bead mandrels are available at hardware stores. Re- ‘maining supplies available from the local grocery store Heather Powers hhas beon creating beads inspired by nature for over 13 years. She received a degree in fine arts where she studied painting and color the- ory. When she isn't busy making beads, she is organizing the Bead Cruise, an annual bead- ing event. Heather lives in San Antonio, TX. Visit her Web site, www.Aiumblebeads.com, for more bead-making tips. stepbystepbeadscgmmediareview Polymer Clay Surface Design Recipes by Ellen Marshall 100 Mixed-Media Techniques Plus Projects Ideas. Quarry Publishers, 2005, paperback, 128 pages, color illustrations, and guest artists’ gallery. When I first met Ellen Marshall in 1997, she was just beginning to explore surface design on polymer clay While most people were caning and sculpting and mak- ing faux simulations, she experimented with every brand of paint, ink, marker, dye, pen, pastel and chalk she could find. Ellen’s tenacity in tracking down new products reminded me of Indiana Jones without the ‘whip and snakes. Over the years, she picked the brains of painters, dyers, print and collage artists, stucied their techniques, and taught herself how to adapt them to polymer clay. Ellen developed such an extensive repertoire of sur- face design techniques that we kept telling her she should write a book. Normally people don't write books just because you tell them they should, but Ellen always had to be different. Not only did she write a book, she ‘crammed it with so many new ideas for working with polymer clay that itis changing the way people look at this medium almost as much as The New Clay did when. it was published in 1992, (I admit it might be hard for me to be objective; I have known Ellen for a long time, and. helped her proofread the galleys for this book.) But you can’t argue with facts: Polymer Clay Surface Design Recipes ‘was the 2005 top selling title at Polka Dot Creations, the Internet polymer clay book and video seller. So, T must not be the only person who feels this way Because Ellen has tried seemingly every brand of clay and type of tool imaginable, it is not surprising that in Chapter One, “Getting Started,” she provides more than the standard basic information on polymer clay, tools, and materials. She gives much more, including detailed information on the characteristics of different brands of clay, glue, types of tools and baking surfaces. This infor ‘mation is valuable to clayers of all levels. Chapter Two is where the fun really starts! It contains ‘more than 100 colorfully illustrated step-by-step surface design recipes that show how to use artistic media like ink, paint, and pastels to embellish the clay surface. Ellen begins with 15 basic techniques including printing, stamping, texturing, masking and silk screening. Each basic recipe includes a materials list, step-by- step directions, and a photograph of the design effect. She follows up each recipe with directions on how to. achieve variations on the effect, using alcohol ink rather than acrylic paint for example, and includes a photo of each variation. Ellen follows the basic recipes with 10 “Surface Tech- nique Intensives,” which are more ad- vanced techniques. Did you ever think of painting on polymer clay with an airbrush? She shows you how to layer different colors of paint onto clay us- ing an airbrush to achieve spectacular results, She also shows how to use paint and a rubber stamp to simulate rich brocade. Ih the “Gossamer Color” in- tensive, she shows how to combine alcohol ink and translucent clay to achieve a delicate watercolor- type effect. Each eye-popping design effect is more gorgeous than the next. In Chapter Three, Ellen and several guest artists show how to incorporate the surface embellished clay into six functional and decorative items. The projects include a clay covered note pad, a covered utensil handle, and a funky bracelet. Each tutorial contains comprehensive instructions and helpful photographs. A gallery of guest artists showcases Ellen’s work along with that of Gwen Gibson, Mona Kissell, Sue Springer, Judith Rose Lapato, Andi Me- Dowell, Valerie Wright and, my husband’ favorite polymer clay artist, me. The book ends with a comprehensive resource list which is especially important because this book will introduce you to materials not commonly used with polymer clay: gesso, artist's acrylic medium, modeling paste, and silk screening medium, to name just a few, Ellen generously provides the brand names of the media she uses in the recipes and the resource tells you where you can get it all. If you have never tried surface design techniques on polymer clay, this book will open up a new world of possibilities to you. If you've tried a few and are hungry for more, this book will kindle your creative fires. It will definitely change the way you think about polymer clay. % Martha Aleo works in seed beads, polymer clay, and glass. She can be reached by e-mail at marthaaleo@yahoo.com ot ‘on the Web at marthaaleo.tripod.com, STEPEYSTEPBEADS.COMA Beader’s Guide to Washington D.C. BY LINDA LEHMAN If you're a beader traveling to D.C. for business or pleasure, you're in luck. We have some of the best and most unusual bead shops in our area, _most very accessible by public transportation. ‘One of my favorite neighborhoods in the tri-state area is Old Town Alexandria. It’s a great walking town if you're so inclined. If not, there's the Dash About Bus service, costing $1.00, which will transport you, from the King Street subway station to wherever you want to go in Old Town. (www.Dashbus.com.) For the easy to follow, color-coded lines of the Metro, Washington's subway, info is online at www.wmata.com Washington's nowest bead shop, Bead Obsessions, is located at 619 S, Washington Street in Old Town. Patricia, the store’s owner, has done a fantastic job of stocking the store. She is the local distributor for Somerset Silver and for Saki Silver, and has a large selection of both. She also has an excellent assortment of Toho seed beads, in addition to Czech glass, books, and all things bead related. Bead Obsessions also hosts trunk shows for lampwork artists from around the country, so you might want to call or e-mail ahead to see if one of your favorites will be showing while you're here. ‘Bead Obsessions, te Town Alexancs, Virginia dl shops, ‘Allie photos coo te 60 STEP BY STEP BEADS | January-February 2007I = Two blocks away is the Torpedo factory (105 N. Union Street), with 84 working craft studios and five gal leries, all open to the public. Many of these artisans are willing to sell their work, As you walk back towards the subway, you'll find many little shops and and galleries on both Washington Streets and King Streets, (www.fun side.com,), If you get hungry, try Gaulois or Bittersweet’s, I’ve never had a bad meal at La Gaulois (1106 King Street) or a bad pastry at Bittersweet’s (623 King Street), Both are close to the Arts Afire Glass Gallery, located at the comer of Fayette Street and King Street. Many of the country’s best lampworkers display and sell their work there. You'll also find finished jewelry. While on the Virginia side of the river, you can visit Star's Beads. (www.starsbeads.com) Take the Metro Blue Line to Roslyn where you change to the Orange Line, and follow it to the last stop. Star's is located about 39 Church Street, NW, Vienna, a five-minute cab ride away. Many beaders ‘one mile from the subway at know Star McGivern as a vendor at numerous bead shows. She's widely known for having the best selection of mid-priced clasps in the country, but she was a shopkeeper first. She still travels the world to find unusual beads, gemstones, and find- ings, all of which are displayed (and touchable) in her store, She also displays samples of the 60 to 90 classes that are held there each year. If you have the time, contact Kay, Star’s daughter and store manag- er, to see if there's a class you'd like to take while you're hore. You can even sit at the back table in her store and string a necklace with input from other beaders or Kay. The atmosphere here is comfort- able, casual, and lends itself to friendly conversation and the free exchange of ideas. Nearby you can dine in high style at Bazin’s on Church (111 Church Street, NW), or enjoy a casual lunch at Neilson’s Custard Shop, right across the street. (Their ice cream is not to be missed!) STEPBYSTEPBEADS.COM 61a beader’s guide 2 The Bead Museum (www beadmuseumdcorg) is located at 400 7 Street, N.W. Take the Metro (Yel- low, Green and Reel Lines) to Gallery Place/China- town, and walk three blocks south on 7 Street to the museum. The exhibits are varied and interest- ing, but call (202-624-4500) or email (info@beadmu- seumdc org) ahead for hours, which can fluctuate The Smithsonian (www.nmai.siedu) is located at 4th and Indepen- dence, §.W. at the Federal Triangle Metro Station on the Blue and Orange Lines. Their focus is more on the contemporary life of Native Americans than on ‘ative American Museum history, but there are several interesting, historical bbead displays, Beadazzled (www beadazzled net) has three stores including the well-known location in Tysons Corner, Virginia. The anchor store is at 1507 Con- necticut Ave, N.W, just 1/2 block north of Dupont Circle, at the subway stop by the same name. Wan der through Dupont Circle on your way to the shop. There are often poetry readings, would be singers, and aging hippies hanging out in the park. Beadaz led has a large and varied collection of Czech glass, in addition to an impressive collection of bead books for sale, They also have some beautiful fin- ished jewelry on display. Beadazzlod, Tysons Goma, Virginia tore, STEP BY STEP BEADS | January-February 2007 Up the street and around the corner is Kramer Books and Afterwords, a D.C. landmark bookshop /restaurant, where you never know who you will meet. Last time I ate here I ran into Moe Rocker, of Jay Leno, Larry King, and Politically Incorrect fame. Now I know how he’s amassed such a vast cache of trivia. He asked a lot of questions about beads! The Red Line will take you to all of the Maryland bead shops. If you stop in Silver Spring, it’s about a four block walk right up 2% Avenue to Atlantic Gems, locat- ed at 8609 2! Ave,, #1038. If you're in the market for Swarovski® crysials, they have the largest selection in town, and at very fair prices. They also have a good so- lection of pearls, gemstones and findings. If you're there ona day that it isn’t too busy, you might convince Ragni to show you some pearl knotting tips. From there, it’s a short walk to the Silver Spring. Plaza, at the corner of Colesville Rd. and Georgia Ave. (There are excellent walking maps at www:silverspring- downtown.com), The downtown area is newly renovat- ed partly as a result of the Discovery Channel relocating their world headquarters here. If you're in the mood to see a raptor, a wholly mammoth or a T-Rex, they're right in the lobby. There are well over a dozen restaurants in the Plaza, many with both indoor and outdoor seating Eggspectation and Red Rock Canyon Grill offer excellentAmerican food while McGuinty’s Pub offers Irish food. My favorite ‘restaurant there is Ceviche, located on the second floor and serving great Brazilian fare. From Silver Spring Plaza you'll need to take a cab to Marvin ‘Schwab's, The Bead Warehouse, (www.thebeadwarehouse.com), located at 2740 Garfield Ave. Marvin has the best prices on pearls that I've seen He's also stocked with turquoise and coral, as well as lots of other gem- stones. The very expensive stones are in the front cases, while some of the best buys are under the display tables..make sure you look there ‘Marvin isn’t always open to the public, so you want to check his website before going there. However, he will make a special trip in for you if you plan on spending $200.00 or more. ‘Marvin Schwab's The Bead Warehouse, Svar Sorina, Maryland, STEPBYSTEPBEADS.COM 63— abeacers guide Washington’s newest bead store is located in the heart of Bethesda, a really great location. The Bead- ‘ed Giraffe is located at 4931 Cordell Avenue, Take the fed line to the Bethesda stop. If you exit on the north side, it’s a three block walk down Old Georgetown Road to Cordell Ave. Take a right on Cordell, and Chris's shop is about halfway down the block. If you'd rather, you can take the Bethesda ‘Trolley. It’s free, and will pick you up at the subway ‘and drop you off at Cordell. (See www.bethesda.ong for a great walking and trolley car map. The same web site lists all the restaurants in Bethesda.) Chris's hope was that she would have the most affordable bead shop in the Washington area, and I think she’s accomplished that. She has great prices on gem- stones, pearls, Chinese crystal and Venetian beads. She also carries Mykonos beads and Kazuri beads. The Mykonos are ceramic beads coated with pre- cious metal, and then fired for a second time, She has both the larger beads as well as spacers in gold, silver and copper. The Kazuri beads are also ceram- ic, produced in Kenya. They're brightly colored and come in a variety of shapes and sizes. The last time that I was at her store, I found some really pretty ‘and unusual earved wood beads that I couldn’t re- sist. For lunch, just walk onto Cordell Avenue. ‘The Beaded Giraffe, Bethesda, Maryland, STEP AY STEP BEADS | January-February 2007 There are at least twelve restaurants on that street alone, ncluding American, Italian, Japanese, Irish, Mediter- ranean, Vietnamese and Cajun. You can’t go wrong in Bethesda. I highly recommend one of my favorites, the New Orleans Bistro, right down the block, for their Ca- jun food. Two blocks away is a large Chico's, in addition to the many small shops in the area, in case you're in the mood to shop. Accents Bead Shop (www.accentsbeadshop-md.com) is located at 12112 Nebel Street in Rockville, and is also easily accessible from the Red Line, Get off at the White Flint stop. If you're feeling ambitious, you can walk if not, it’s only about a five minute cab ride. Accents is by far the largest of this area’s bead stores. They have an ex- tensive selection of gemstones, and the largest seed bead selection in the area. Accents Bead Shop, Rectal, Marna.When you leave, walk three blocks to Rockville Pike for a couple restaurants Tenjoy. Tum right when you get to the Pike (heading north), and walk a long block to Tara Tai on your right for good Thai cuisine. Houston’ ;,on your left, has terrific sandwiches, salads, and fries Heading back south on the Pike, G Street Fabrics (one of the nation’s largest fabric stores) is on your right in the Mid-Pike Plaza. If you feel like some additional shopping, take a cab down to White Flint Mall. I's a three-story shopping center with quite a few small, unique shaps, as well 5 the usual mall stores. If you've walked enough to earn a good dessert, Cheesecake Factory is housed in this mall Theodora’s Beautiful Beads (www. theodorasbeads.cam ) is located at 420 Main Street in the Kentlands. Take the red line to Shady Grove and cab it from there. Thea recently merged with Bead Attitudes, but the “new” store will retain her name. Her collection of pressed glass beads is potentially the largest of anyone’s in the country. In addition to contem- porary glass, she also has a large quantity of vintage glass, and a nice se~ lection of lampwork beads, ‘Theodora's Beautiful Beads, Gaithersburg, Maryland, D.C. has a lot to offer in addition to many and var- ied bead shops. Be sure to contact local bead societies for further information and camaracierie: The Bead Soci- ety of Greater Washington, (info@beadmuseum.org), PO Box 70036, Chevy Chase, MD, 20813; (301) 277-6830, and The Northern Virginia Bead Society: PO Box 2458, Vienna, VA 22183; (703) 281 2361 Linda Lehman has spent a lifetime in the area of fiber arts, developing. a passion for bead crochet over the past five years. Her designs and articles about bead crochet have appeared in magazines and books. She is ‘currently exploring ways to incorporate lampwork beads into bead ‘crochet jewelry. STEPBYSTEPBEADS.COM 65Recycled Glass Bead Strands Wholesale Pricing Available BEAD: WORLD Vintage, Anclent 8 Unusual pleces from ‘around the worle www.beadworldbeads.com €@ South Broclony Palatine 160087 (57) 779. BEAD (2323) Please support ou PII AC Teen tcee sity T oO: PINZART Want to learn : glass bead making? Instructional Videos Starter Kits Enamels Tools Classes Supplies Tips & Tricks ‘Art Clay Silver, Fun & Easy! No Kiln Required! CALL FOR FREE BROCHURE www-pinzart.com Toll Free (888) 335-9884 gwaciebeads torched & fused os Direct Importers Free bead catalog Chinese Porcelamn Beads + Restn Beads [Indonesian Glass Beads + Campshades» Jewelry (200) 480-1068 + ww latitudestrading.com gwaciebeads.com 734.306.4782 66 STEP BY STEP BEADS | January-February 2007 VegetianBeadShop www. venetianbeadshop.com Fiorato Millefiori on OO 6 vy Secure Online Shopping ( Tanase 8 ‘emai: info@voneianbendshop com Polymer Clay PMC yg one besahing pea abba, Lear with Videos Productions-Lic _ Online Catalog ‘wiwabbadabbavideo com (6053) 744-0000 (877) 744-0002WWW. YORKBEADS.COM 1-800-223-6676 coupon code:SBS2W a ee 680MM, Zon a @ AVAIL. 6,8,10.12MM 2015 EB EY a1 10x7 & wxiomt 2018 Gig) Gy AVAIL. 9X6 & ex8mM Fire Polish combining two types of facets RI Sales } faorg3isee Beads...Pears...-latbacks...Chatons... A NY Sales Pendants...Fancy Stones... Sew-ons fuieziaveay Buttons...Rhondelles...& Much More! PCC Cea Cor CER LLM ty Oa cetera Neen tea a 7} eee SAC aconT PND ETAL CS Pa ean cares Rome em a Era MissouLa, MONTANA 59807 STEPBYSTEPBEADS.COM 67findings» Objects of Desire ‘A new exhibition at the Newark Museum displays the full range of American and European jewelry from their extensive decorative arts collection. Entitled Objects of De- sire: 500 Years of Jewelry, this survey of the jeweler’s art features more than 200 objects, encompassing a wide va- riety of styles and materials used from the fifteenth centu- ry to the present day. The exhibition explores the mean- ings of jewelry and ways in which people wear it to ex- Pendant inthe Renaiesance style, Charlotte Newman, Londen, ca. 1880. Brooch/pendant in the art ouveau stye, LeBolt & Co, Chicago, 1905-1910, Grand Barber: lan’s Trapeze (fibula brooch), ar Harper, New York, 1908. press themselves and their place in the world. Inchided in the exhibition are seventeenth century crosses belonging to the imperial family of Tsar Nicholas II of Russia; a brooch of Australian black opals designed by Louis Com- fort Tiffany for Tiffany and Co, in 1910s; and an amethyst pendant made in 1890 by Charlotte Newman, who was the first female master jeweler in England's traditionally all-male jewelry industry. Visitors can view Objects of Desire at the Newark, New Jersey, museum until February 26. For more information, call (973) 596-6550 or visit www.newarkmuseum.org. The Dupoto Women’s Group Deep in Africa, a group of women use their extraordi- nary beading talents to further their children’s education. 68 STEP BY STEP BEADS | Januery-February 2007 ‘Wendy Ellsworth, BEADS Executive Chairiagy, teaching boading skils in sry ‘The Dupoto Women’s Group of Isinya, Kenya, comprised of 25 Maasai women, creates one-of-a-kind handmade beaded necklaces, bracelets, baskets, and more as their ‘main source of income. BEADS, an organization that sup- ports the program, sells the products and returns 100% of Group member Mary Shanka beading a dog coll. ‘A member of the Group dis- plays her fine work the profits to the women, who use the money to sponsor their daughters’ education. Due to the high cost of school- ing, most girls are not able to finish or even begin high school, often forcing them into arranged marriages at a ‘young age. Completing their education allows them more freedom in marriage decisions and also greater career op- portunities. To date, the Group has supported more than 128 children in school through their beading sales. To find out more or to see some of their work, visit www. beads foreducation.org or e-mail BEADSofKenya@ aol.com. Beading Book for Beginners Simply Beautiful Beaded Jewelry, by Heidi Boyd, offers quick and simple beading designs and ideas for necklaces, bracelets, accessories and earrings. All of the projects in- clude materials lists and constructing and finishing, photos of the pieces and offer clear step by step instructions. More than 30 of the projects incorporate variations to help readers customize the jewelry Boyd explains the types . i of beads, available sizes, simply jewelry findings, stringing Deautitul materials and tools to get started, making her book 2 PG IGE Beginner she Tice delete atten Meeciae cacuiting Scat ie Oe ate al wis My ates sepalt | jewelry alc netuinis hd nos fwpublications.com or call (800) 7 AJDC New Talent Contest The American Jewelry Design Council is now accepting applications for its annual New Talent Contest. The winner is awarded a booth in the New Designer Gallery at the July Jewelers of America Show (JA) in New York City and is p sented as an outstanding design- er to national and inter- national jewelry buy- ers, This high-profile competition has suc cessfully launched the careers of past winners, as the winner receives professional support from members of the AJDC on making the ‘Samuels, one of the past New Tal tition winners, with Alan Re step to larger markets. oa president of the AIDC, and Michaol a designer/owner of a Good, AJDC member, presenting the New Talent aware, Applicants must be jewelry manufacturing, business, produce in the US,, and have never exhibited at a JA Show. The dead- line for submissions is January 15, 2007, For more informa- tion or to download an application, visit www.ajde.org, Kristen Gibson, Assistant Foduct, event, or bead relat Findings is compiled iiiceie yan hate ed news to be considered for Findings, please send a press release and high resolution image via e-mail to KGibsondinterweave.com or by mail to Kristen Gibson, Step by Step Beads, 300 Chester- field Parkway, Suite 100, Malvern, PA 19355. Your project does not need to Stim to be successful. eee ny an all new organic bas coe eis for gluing beads and crystal that doesn't take your breath Ce men Se eer ce Nene ete ae ang try Glitz a revolutionary organic based jewelry cleaner made for metal, fashion, costume, rhinestone, and cryetal jewelry. Restore withou organic based. ! jewelry shine. restores the, with A ae 473-6489 aniosalesandmarketin Reece) STEPBYSTEPBEADS.COM 69beadshops Jump on the bead wagon at your local bead shop or plan your vacation with some exciting side trips. ‘A visit to these fine bead shops is always worth the trip! Bead Shop Directory rates are $228 for six bi-monthly issues and a full year on our website wwwstepbystepbeads.com. Please contact Scott Stepanski at (610) 232-5729; fax (610) 232 5750 or email sstepanski@interweave.com, ARIZONA Confetti - The Bead Place 13260 W. Fore Dr Warcbouse #5 Surprise, A 85374 Pa. (623) 975-7250 Emit gna @ conetibeadscom Website: we cofetibeads.com Tues-Pri, Wamp; Sat. 1dam- 4pm, Extended houes Nov. & Dec Evolving, revolving and expand- ing selection of Beads & Needs, ‘Worldwide quality Beads Miyuls, Bali, Swarovski, Christensen, Radke, (Cooch, India. Parties. Classes Bring ad for $5.00 off $2500+ purchase. Double Joy Beads 7131 E. Herr Lane Scotsdale AL 85254 Ph, (480) 998-4495 ‘Mon-Fri. 1dam-Spm:Th until pm; Satlam4pm. Thebes in semi-pre- cious beads ~ always unique and ‘unusual. Lage selection of string silver, lass, vintage, seed bends Swarovski crystals, tools, books, supplies Grea section of gold and silver ining ‘The Bead Museum S754 W. Glenn Drive Glendale, Arizona 85301 Ph (23) 920-1395 Website: wv beacmuseumdZ org Mon-Sat, 10am-Spm; Thur until Spm; Sun. tlamelpm. The Bd Museum Store features 2 unique selection of beads from allover the world. Also bead supplies, a large selection of books, classes, work- shops, museum events, permanent and changing exhibitions. Minutes from Phoenix. ARKANSAS Kittie's Kreations 201-D Jan Dr. Sherwood, A 72120 Ph (G01) 833-4222 Let us help you crente jewelry from several thousand strands of beads and a vast selection of components {& charms inchiding custom hand- sade beads. Tools & videos, Fre (quent demonstrations & classes. Parties too! Conveniently located just of 67/167 ent 5. 70 STEP BY STEP BEADS CALIFORNIA Alotta Jewelry | South Sun Products 8601 hero Dr. San Diego, CA 92123 Pa (619) 920-1021 West: wr alorajewerycom We are the largest retail/wholesale jewelry store in San Diogo, We carey beads, pendants, findings, chain and more! We are open Mon-Fri. S:3lam7:00pm and Sit 10am-4pm. “Metin this ad for a fre gift. Amonite Jewelry & Beads 3934 Fith ve San Diego Hille), CA 92103 Ph. (619) 2993180 Fax (619) 29923177 mat eamonite_info @ edmonice.com Webs: waka tal and pearl, Czech lass, blown alass beads and much more, Free ‘bends and fee shipping available, Beyond Beads 2017 Akany Post Ra. (ordanéc Plaza ‘roton-n-Hutson, NY 10520 Ph (14) 271-9500 Webse: wr beyond eas. com Largest bead selection in West Chester. Full-service bead store ‘Antique to newest trends in beads, findings, tools and jewelry. In-store work space. Tues Sat. am-Spm, ‘Dana Rudolph and Company 209-211 River Se Troy, NY Ph. (618) 273-4532 Website: yore Danaudolph cm Shop Teoy’s newest and ONLY Bextshop forthe serious bead d= signee! An unbelievably beautifal selection of gemstone beads and pearls ruby sapphite, chaloedtony, tourmaline, amet, amethyst wats ‘you, Designer jewelry, supplies ex- tensive selection of findings, tools and classes Kuma Beads Ltd, 110 Sartoga Rd Burn His, NY 12027 Ph. (S18) 384-0110; Foe (518) 399.0677 (Capital District beaders paradise! Novice to Experienced. designers ‘welcome! Great selection of sizes & shapes of gemstones, freshwater atl, old bead, sed beads, gold & silver Findings, tools, books & rach mote. Low prices: Mon., Wed, Th, Fai, am-spm; Sat. am-apm Nordic Beads & Silversmith Paddock Acide | Pblc Sua, Suite 9 Watertown, NY 13601 Pb, G15) 179-1237 Website: ‘ww oricbeadsandsversith com Capital Ever growing bead store with unique handmade jewelry & beads ofall kind in a fun & relaxing atmosplaere with a helpful & frend Iy staff in-store work rea, and great prices! Classes & partis to! www nnondicheadsandsilversmith com ~ for more info! Studio 34 Bead Mercantile and Gallery 34 Elon St. Rochester, NY 14607 Ph (685) 771-8160 Websites ww studieBtbeads.com Specializing in contemporary jew slry and glass. Beads, books, Euro “Tools, BeadSmith, Lindstom, wire, PMC, crystal, Mykonos, custom glass beads Classes for metalsmit, Wire, PMC, polymer, chain mall, glass beadmmaking, polymer, design, repair, seod bead beginner to mas ter: New York's premier public 2c: cess studio and store. NORTH CAROLINA Bead Boutique IZA thathews-Teeship Py. Mathews, NC 28105 Ph, (108) 845.2848 Fax (708) 645-2878 Emaitamandacaralésgis@ pao. Website: wr beadbouquenccom Fallseric bead store withthe largst selection in the Chariot ares, sec ing silver semiprecous, Swarovski, Pearls, Coch, tools, ndings, Pando va, te Clases, paris, custom wit, repair. Open Mon-Sat. Bead Bow ‘que everything you need tobead Beadlush 217 The Plaza Grice, MC 28205 Ph, (04) 3763331 Website: wor beadush com Central Charlotte's only fll sevice ‘bead shop. Ever grossing selection (of Czach glass, crystal, delicas, seed beads, high-quality natural stones and pears. An extensive selection of findings, silver bends, wire, more Beginner & advanced classes each ‘month, Fun al inviting atmosphere The Bead Room B21 Guess Re Darkam, NC 27705 Ph, (919) 3092639 Website: wu beaéroom.bit Durham's premier full-service bead shop offering a complete line of tools, silver, beads, gemstones, charms, findings, ewelry displays, gifts and gift certificates. Monthly classes, project, teen to adult par fies and studio rental OHIO 1 Stop Bead Shop 2182 festival Uo Sawmill & 161 in John's Center Clunus, OH 43017 Ph, (614) 573-6452 nal info @ stopbeadshp.com Website: ww sopbeadshop com [New Store! Come bead with as! Cen- tral Ohio's largest selection of Caech lass ana Japanese Miyuki and Tohobeadshops ties! Tue, Wed, ri, tam-spm; ‘Thurs. HamSpm; Set. 10am-3pm. Reed’s Beads 32. No Main Sree ‘Ambler, PA 19002 Ph. (215) $40-5585 Website: sored beadscom Find a unique accent for your pro fet, Vast selection of distinctive ‘beads & findings for both designer and novice. Specializing in semi- precious, pear, glass and natural bead stands, Thai & Bali silver, Iampwork, silk cords, pendants. See website for lasses, parties, hours The Bead Gallery 29 N.Bewer See Tork, PA 17401 Ph. (117) aS4-7715 Unique downtown bead shop! Ex tensive selection of glass, semipre- lous ceramic hel bore, metal am worked, FW pes Sivanrshi al and Hill Tie Silver. Ps supplies, books, hemp and bend kits. Classes available. Always something new! The Bead Garden 2122 Darby Road Havertown, PA 19083 rh. (610) 449-2699 Eat: thebeadgarden @ verizon.net Websie: ww thbeatgerden com The Bead Garden isa friendly, full. service bead store located in the heart of Havertown, PA, Large selection of Miyuki seed beads, semi-precious, Czech glass, pearls, sterling silver alphabet beads, Swarovski and much more. Classes offered as well ae partes for all ages. Our staff is always available And happy to help you with your ‘projects. Beginners are welcome. uBead2 10S ast Lancaster Ave. Wayne, PX 19087 Ph (610) 688-8842 Ema ilo @ ubead.com Website: wm ubend.com ‘Come bead with us! Friendly neigh- bhshood bead store located in down- town Wayne. Featuring large and growing selection of seed beads, semi-precious, etlnic, vintage, ste ling, Czech glass & findings. See website for store hours and info on. ‘workshops and parties. RHODE ISLAND The Bead House 11 Constuin St. Bist, RI 02809 Ph (4) 25-1188; Fax (401) 252-5559 Ena kimedesgn @ mn com Website: wm thebeadhowt com HUGE SELECTION! Over 8500 items in. stock, Specializing in Coech glass, seed beads, stone, 76 STEP BY STEP BEADS pearls, crystals, SILVER and gold findings: Workshops in PMC, Bead- ing, Polymer, Wire and Metal Work. Designer discounts SOUTH CAROLINA ‘Country Bumpkin 217 twas St Se. G (The Comme) Charleston, SC 20414 Ph (43) 884-8808 fax (3) 971-8890 Fait Arie 0480@aalcon {6Mi.from Charleston Yall willlove (ur prices & selection of semi-pre- cious gemstones, Swarovski, ster- ling, Czech glass shell, freshwater earls hooks, findings ancl move. Be- fBnners assisted, Designers tried Volume discounts. Hours: 1dam- ‘pm Mon. - Sat. TENNESSEE Red Dog Beads 4122 Galatin Pike Aashle rgewsod), 37216 Ph, (15) 870-0608 Enal:Reogbeadiail@2l com Website wn edDogBeads.er Ids, stinging supplies, findings and fools at low prices, Hours ‘Mon-Sat Wamp. Closed Sun- days, Visit our new location just 4 niles from Opry Milly andthe Opryland Convention Center in the Inglewood area of Nashille Stardust Designs Bead Shoppe 43 Brookwood Terae Nave, TH 37205 Ph, (615) 352-5355 Email stardustdesigns @ comasnet, Wide: wre sardaigescom Large selection of lass beads: semi-precious stones; pearls; seed pony beads; cabs; shells kits Bal silver; sterling, gold fled, pewter, plated findings: wire, glass rods PMC; classes. New items every week. Across from Target on White- bridge Road behind Me Whiskers. TEXAS Bitter Creek Design 38 South Hain St. Boe, 78006 Bh (20) 24-153; Fx 30) 249.149 Ena: ony @ Bierce com Wes: wom bitereekdighscom ‘ful service bead shop with thos sana of semi-precious sands and ‘one-of-a-kind pendants. Lange selec tion of Swaroweh crystals ings, too, dias and Wie. We are tre wholesales Come sit and bead veth us. Many lasses and partis. Rabbit & Rooster Beads 2501 W. Josey tn, #118 Groton, 1K 75006 Ph. (214) 4033247 | January-February 2007 Eu info @rabitndrosterbeds com bse: wine abitandreosterbeads com Full service bead store with a friendly, relaved atmosphere. We coffer a variety of classes and bead- ing partes forall occasions. Fea- turing Swarovski crystal, semi- precious strands & fancy cuts, Lampwork, dichroic, Ball silver Miyuki soed beads, tools, mage- Zines and books. VIRGINIA Plumb Alley Beads & Gifts 266 W. Hain Se. ‘Abingdon, 24210, Ph. 76) 628-2420 Website: ww plmballbeads com Fullservice bead shop, Classes and $wide selection ofbeade and supplies including semi-precious stones, freshwater pearls, Czech glass, Japanese seed beads, books, vin- tage glass and Lucite, findings. ‘Unique gifts also. Open Tues-Sat year-round; Mon, Apri-Dec ‘Studio Baboo™ “A Big Little Bead Store”™ 321 Hain Garloterle, YA 22902 Ph (134) 2442905; Fax (434) 295-9706 Email: Siobaboo @ eartiink net Website: www studiababoo com Full service bead store with a hue selection of seed beads, lass semi ‘precious, poarls, beaded flower and lampwork supplies. Great prices and a friendly knowledgeable sta. (Cal, write o visit ose website fora lass schedule. Tue, Wed Fri, Sat 3Oam-Spm: Th, Mam-Zpm, The Bead Factory 3019 th Ave. Tacoma, WA (688) 500-2323 Website: wo TheBedfactoy.con Experience abead store like no other ighest quality bead shopping in ‘our 5000 89, f. shop. Glass ~ dia- :monds & everything between, We offer 50+ classes each month. 15% off It purchase Blue Iris Beads 404 West Necker St Reet, WA 98032 Pr. (253) 852-8055, Fatt bluirsbeads @aolcom Webs: ww Blaise com ‘Complete line of Miyuki Japanese beads. Specializing in European lass beads and Swarovski Austrian ‘eqstal. Great selection of Chinese glass, stone, wood, bane, freshwa- ter pearls, pewter charms/eads, findings, tools, backs, Classes year round, Tue-Fri Mamépmy Sat ame WISCONSIN _ The String Bead, LLC 1720 Heri Ave, Northview Plaza ‘Waosau, WI 54401 Ph (115) 675-7200; Fax (115) 675-5955 Be delighted. Shop our 3000 sq.ft. store for Czech las delcas (S50co ‘ore, Miyuki seed beads and shaped ‘bends, 17 book tits, hemp supplies, semi-precious beads, ining includ ingstevingsilverand 14k gold) and innovative supplies (Gequins, fibers tnd yarns) Open 7 days ‘School House Gems 307 Red St. De Pere, W $4115 Ph @77) 600-6EHS Enal schoathousegems@ yahoo.cor Webse: wr thescholousegerscom Binge beadors haven, forthe discern- ing bender! Fantastic slstion of semi- precious gemstone heads, dichroic lass, Swarovski cystal,lampwork, Seeds, czech glass bal, tba, tibetan 525 liver findings, gold fled custom jewelry full serviceock shop silver mit classes i ll CANADA ‘Austin Hamilton 115-3823 Hearing Dr Bora, Bh Columbia, NADA SC 6P2 Ph 6G 495.6739: Fax (608) 600-2049 Ema info @ ausinhamitonca Website: ww Ausinkatn.c. ‘Words largest online WHOLESALE. andretal suppier of Handmade Ari- san Lampwork Glass Beads. Flaw~ Jess quality, unbeatable prices. Free shipping on all retail orders. Visit us at www Austinhamiltonca to view thousands of designs! Bead Emporium of Montreal 348 Vicora Ave, Westmount, Monta ube, Canada HST 244 (14) 486-005, For novice and seasoned veterans afbeading, hisis Montreal s oldest fnd finest choice with unique tends rom around the world, Wide seletion ofbeading books. Private sees and partie avalable. Spe Gil guided rps Latin American for bead lovers and collects. Bead It 4912 Sherbrooke W. Moral OC HZ 13 Ph (S14) 481-4831 Ealt: beads @ bead com Webs: wv beac Amazing, unique and superb high quality beads from around the ‘world. Tons of vintage and contem- porary beads. Direct importer of semi-precious stones, pearls and more. We have an incredibly huge {& diverse inventory, a must see! We Ship Worldwide,thenextste P bead classes ‘Welcome to the Next Step, a source of information for advancing your beading skills. If you are looking to try something new or develop your existing talent, there are plenty of options from which to choose, The Next Step offers an exciting selection of bead clas 25, 0 pick up the phone or log on and make contact today! If you would like information about listing your bead classes, please contact Scott Stepanski at (610) 232-5729; fax (610) 232-5750 or email sstepanski@interweave.com. ALABAMA Brass Wraps: Jewelry Making Retreat Capitol Inn Hote 205 N. Godthvaite, Montgomery, AL 36104 Ph. 834) 567-0367 Email brassyl @ alrcankilerbeads.com Website: wnw.brasswraps.com Six classes over two days covering wire wrap, head stringing, and macramé. Tools and sup- plies are inclu in the clas ees. Retreat dates March 23, 2007 Oct 12-13, 2007. Visit the wab- site to se cass deseriptons and schedule. Con- tact Name; Marilyn, PO, Box 303 Wetumpha, ‘Alabama 36082, (34) 324-3614 ARIZONA Ronica’s Gemborie IN W. Golda PL, Tucson, AL 85705 Ph (520) 293-7800 Fax (520) 293-7800 (Bam-1 2pm) Ema wn.rnicasgemboriebeads com Ronica’s Gemborie offers Beading and Jewelry crafting class. A Prebeginners technique class that beaks down how and when tuse looks and jewelry making components. Ronicas Gemborie also offers Youth beading and erating. classes, For a descriptive class schedule please fax or = sail request CALIFORNIA Amonite Jewelry & Beads 3934 Fifth Ave, San Diego (Hilkrest), (A 92103 Ph. (619) 299-3180; Fax (619) 299-3177 nai eamonite_info@ eAnrite.com Website: wr ehmonitecom Discover your hidden talets in our beautiful bead-tique. We offer all levels of affordable and fun classes, Kids Club, private lessons, and bead partes n English and Spanish The erative tck- Higues and trade secrets we teach are invaluable Day of class special discount on beads. Check ot our web site Beadmakers of North County 413 West Grand Ave., Escondido, (A 92025 Ph, (760) 294-8173 Website: www bofnc.com BNC in Northern San Diego County is your spot for beginning beacimaking, classes, boro work- shops, torch time, and slase supplies. We offer small classes or individual instruction. We also host jewelry making partis. Check out out web site for class and workshop listings. Creative Castle BDI tchael Drive Newbury Park, CA 91320 Ph (80) 9837: Tl re: (72) EADSAU Email tripp @ creativecastecom Website: wa. creativecastlecom Upcoming Guest teachers: Upcoming. guest nie’s Colora Ph. (719) 477 teachers: Tracy Stanley Jan, 13-15; Melanie Doer- man Jan 20.2%; Barb Sweitzer Feb, 17-19; Nancy Cain Feb, 2326, Wide selection of clases for beginning to advanced beading and wire work. ‘See website for complete isting, Glass Obsessions 3940 Prospect Ave. Suite D Yorba Linda, CA 92886 Ph (714) 993-7700; Fax (714) 993-7701 Ema info @ GlasObsesions.com Website: ww GlassObsesson.com learn to make heals, cabochons and jewelry: Youll find a great selection of hard and soft glass fr amp wel fa gs ane At Clay Silver, Classes, equipment, books and stir Giorenats are alae Vist one teeth Current class schedule The Jewelry Workshop PO Box 8331, Santa Cruz, CA 95061 Ph. (408) 348-7003 Ea coniact @merachelcom Website; www.msrachel.com “Traveling to California? Need a great teacher on- se? Need design aeistance? Rachel Nelson Smith of The Jenezy Workshop guides students and projects oa elemental toelafozate andbeads to whe and many things in tretwcon. Visit the website fora complete Cass calendar and much more The San Gabriel Bead Company 325 East Live Oak Ave., Arcadia, (A 91006 Ph. (626) 447-7753; Fax (626) 447-7455 Website: won bradcompany.om (Come visit at cur locaton! We are fully snipped with thee clasrooms. On-going in ‘Shiction in basic and advanced beadwork so dering, Precious Metal Clay, glass beadmaking and Rising, gourds, mosses, and other craft workshops. Over 100 clases each quartet. Call tn for current workshop schedule COLORADO inc. ado Springs, CO 80904 19; Fax (719) 685-9489 Ennai: bonnie @ bonniesbeads.com Website: wwe bonniesbeadscom Coming: Mango Field — Field of Flower Necklace, ‘Aug 2224 Donna ~ Autumn Leaves Lariat Oct. 45 Visit our website for more upcom- ing classes. Also vist for 600+ delica colors lage selection of Cech glass beads, seed beads ~ Cech, Japanese, glass bead making supplies, charms findings more DELAWARE Sparkles Bead Shop & Gallery 2 Liberty Plaza, Newark, DE 19711 Ph (302) 368-3944 Website: ww amnemade jevelrcom This fullservice bead shop offers Swarovski crystals, semiprecous stones, lampivork, Bali silver, findings, tools, and finished jewelry Beading and wirework dasses are offend every ‘week at beginner to advanced levels. Visit the Instructor's website for schedule and descrip- tions. Sparkles is near 95, about an hour from Philadelphia or Bakimore. Wire Jewelry Fest, A Step by Step Wire Jewelry Special Event hase Center on the Rverfont Wilmington, DE (225700 or aiejenelryest.com rane July 20-22, 2007. Two days of shopping and clases devoted to wire jewelry making! Classes fered on wire wrapping, wit ‘crochet, Chain Maille, weaving with wire, designing and much more. Shop for all your Wiens na i Sng Tee, pont us and ds reptaenonour FLORIDA Bead Bar Bead & Glass 1319 Edgewater Dr., Orlando, FL 32804. Ph, (407) 426-0826 Email: signup @beadbarbead.com Website: www:beadbarbead.com Bead Bar offers clases in most es including: witewrap, ing, seed beading macramé, sl cork ing, Precious Metal Clay and more. Send sel addressed stamped envelope fr listing or visit wwwheadbarbead.com, Crystal Creations - Beads Gone Wild 4058 forest Hill Bid. West Palm Beach, Fl 33406 Ph. (561) 649-9909 Ema Ifo@ beatsgonewid com Website: wocpstalereationsbeanstitute com Leaders in beading education. Over 100 profes- sonal classes and monthly guest teachers that you know ée love. Discover the Ancient Art of ‘Beading in out 240 sq foot facility, packed full of beads and classes, See why people say Crys- tal Creations is one ofthe top ten bead shops in the USA! The Down The Street Bead Shows Orange City, Florida Ph (866) 667.3232 Email info@ thedownthestreetbeadshow com Website: wn. thedownthestreetbeadshow.com Covering the South East: Florida, Georgia, North Carolina, South Carolina, Alabama. Bead clases in basic stringing to intermediate, seed bead, wire wrapping, PMC by wwvdebbiedeb beadscom, Special guests at some shows www BarbaraMequirecom teaching. polymer clay, WwwwFireBugDesigns.com teaching. dichrne glass techniques. See website information or eal ‘oll re. Soe you “Down The Steet” STEPBYSTEPBEADS.COM 77thenextstep: bead classes GEORGIA Bead Fest Atlanta, ‘A Step by Step Beads Special Event Georgia International Convention Center, Adana, GA Ph, (610) 232-5700 Website: war beadest.com Expo and Class: August 10, 1, & 12, 207 ‘Lear to make your oven beau beaded jewel 1: Bead Fest also a vendor area with dealers ies anc equipment Look for more details and class registration com- {ng soon om our website! MARY! pe Bead Boutique 28 S Solomons Ky Pin . Ph. 53 ° Website: Clasies, workshops, home pares available for 4 years and up with instructor Tricia Darrow: Bead ing, knotting, wire wrapping, PMC. Beginner to advanced. Ongoing classes and workshops. On. site jewelry making parties and home parties. ‘Ongoing classes through Calvert County and St ‘Marys Parks and Recreation. Visit our website for complete listings. MICHIGAN Brighton Beads & More 9850 East Grand River, Brighton, MI 48116 Ph. (810) 844-0066 Ena: garberdesigns@ hotmaicom Website: ww brightonbeadsandmare.com Expect the Una & the Usual, Innovative he ginning to advanced classes in “Simple Solder- ng” wire wrapping, PMC, mealsmuthing, em- bolishment, beading techniques, fused glass & Jampwork from staff & visting accomplished teachers. Open everyday MISSISSIPPI Art Design Studio 110 Country Drive, Brandon, MS 39042 Ph, (601) 9553941 a et Website: PMC & Being 4 Instructor Laura Tarbutton and Guest Insts tors teach fun “low keyed” classes PMC Classas include: Beginner, Intermediate and Bending classes include: Basic Te ‘weaving, Right Angle Weave, Peyote, Fringe, Bead Crochet Coming soon: Chainmaking, Wirewrapping, Call 0 Website: won lsshepe Glasshopper Studio i fll service bead store and a working glass studio in St. Louis, MO. We have classes in Glass Benclmaking, Glass Fusing, Precious Metal Clay, Wiebending, and the Jewel: ry As, See our website fora full dass schedule ‘We carry a complete line of lass and supplies. B ZingZ! Art Glass S14.CN.7 Highvay, Bue Springs, MO 64014 Ph (B16) 228-8300 Emai: migosing @ sbeglobaLnet Website: waw.zingenet Zing?! Hot Gloss Studio ~ Beginning Lamp- ork Bend Lessons, Daytime, evening & workend lessons scheduled, Full line sales & service ~ Torch time, hatch annealing, Moretti rods (200 colors), Yetrofond, Bullseye, specialty rods, torch fjquipment, tools, & supplies sold, Art Glass Gallery & Sales — Lampwork Beads, Sterling Si- ver & Swarovski Crystal NEW JERSEY _ Carlisle School of Glass Art 412 South Wade Bivd., Millville, NJ 08332 Ph. (800) 922-1167 Emaik carlisle @ carlisleschoolofglassart.com Website: www carislschoolofglassart.com ‘The premier lampworking torch manufacturer's fac Millville, New Jerse. Introductory thru Advanced Class schedules, Sat of heat faci ty School has 2 Tamypivorkers stone: sft glas, Troicat too and tres tthe. Toreh/Stuaio availabe cach Thursday from noon to 9 pin, of spon request Welcome group cases, getaways and revests! NEW YORK Studio 34 Bead and Jewelry Arts Learning Center Bead Mercantile and Gallery, Rochester, NY 14607 Ph, (85) 271-8160, Website: wwe studio3 beads com JEWELRY CLASS CENTRAL! All. jewelry ‘media: glass beadmaking, PMC, chain maile, polymer, wire, embroidery, metalsmith, fusing, woven sterling, design, legal and marketing seminars, New York's only public access studio and gallery. Professional instructors: Kerry Bogert, Barbara DeYoung, Stephanie Donaldson, Mary Fite, Lisa Johnson, Kelly Letky, Bisabeth McCollough, Marilynne Lipshutz, Maura Muir ‘Wilson, Amy Kruger, Patty Uttaro, ___ PENNSYLVANIA Garmer Jewelry & Bead 4033 Freeport Road Natrona Heights, PA 15065 Ph. (124) 3024034 Emaik ¢c@ garmerjewelry.com Website: wor. garmerewery.com ‘Weed classes in beginning beading, wire work- ing, polymer clay & macramé jewelry. Beading Birthday Paris and Ladies’ Night Out fun. One ‘none lesions oF a group. Bridal Showers and more. Bead groups welcome Jewelry Arts Expo and Mineral Market, ‘A Lapidary Journal Special Event Ph (610) 232-5700 Website: wr jewelryartsexpe com Expo and Classes: APRIL2007, Make your own jewelry in classes tought by experts. Lear met alwork, wirework, metal clay stinging, design nd marketing Shop for fools supplies and fn ishod jewels. NEW Mineral Market ace fe turing gems, mineral, fossils and apiacy sup plies. For information and registration, please sit website STEP BY STEP BEADS | January-February 2007 TENNESSEE Bead Fest Memphis, A Step by Step Beads Special Event Agrcenter International, Hemphis, TN Ph. (610) 32-5700 Website: wnn.beadlest.com November 1618, 2007 75+ hands-on jewelry anc bead-making lasses taught by expert instruc tors, Courses inode bead singing ive work ing jewelry making with the revoltionary new stl clays, macketing an selling jewelry. Shop for findings, wire, materials, beads, tools equiP- ment, books, videos, supplies and frished jen lr. Look details and class registration coming S00 on our website! 2 S SHEXAS Bitter Creek Design 308 South Hain St, Boerne, TX 78006 Ph (830) 249-7534; Fax (830) 249-1499 Ema jenny @ bitercreekeesigs om ‘Website: wieitterreekdesigs.com Jnr near the San Antonio aren? We offer a large selection of classes, they include: baie and act ‘anced singing, bepaner and advanced wie wrapping, dichtoic glass and bead making ght hd avanced PME" nd chain mall Noveaperience required, Call or visi our website for more information, Wired Designs i The Shops @ Ar is 555 W. Bites, Suite | Ph. (210) 495-4495 Email: vieddesigns @ sbqlobalnet ‘Website: worn. wiredesignsstudo.com Dichroic beads and pendants are We ae a working glss soo workshops in las fi Metal Clay, ‘wobaite for complete wor VIRGINIA Beaded Babes Designs “We Make Adornment Personally” 5SI7 Talon Court maiing addres oly, not 2 shop) Fairfax, Virginia 22032 Ph (571) 220-8717 or (703) 772-6701 Fax (103) 503-5964 Email: dassesnfo@ beadedbabesdesins.om ‘Website: wircbeadedbabesdesigns.com ‘Adom Yourself! Create Beautiful Beaded Jewelry snd Home Decor. On-going classes in Basie and ‘Advanced Stinging Techniques, Ofloom Bend ‘weaving, Palymer Bead-making, PMC and Wire- ‘work, Visitor site for current class schedules. ‘Studio Baboo™ “A Big Little Bead Store” 321 £, Main St, Charlotesille, VA 22902 Ph, (434) 244-2005; Fax (434) 295.9706 Ema: studiobaboo@ earthlinknet Website: ww.tudiobaboo.com ‘On-going classes in Basic and Advanced String ing Techniques, Pearl Knoting, Of¢-loom Bead- weaving, French Beaded Flowers, Bead Crochet, ‘Special seminar with Jeannette Cook from March 30 to Apr! 2, 2006, Classes inchide Beading Cir- les Medallion Bracelet, Freeform Scul Vessel, Keshi Pearl Lanst and Metamorph Visit our website for complete informaticn.; eas Wire Anrist Jewerter Macazine by Step instructions with pho ns for the beginner, intermediate and res absolutely (4) the hottest beadsite The AMULET mnUrana) 71 Brunswick St, Toll Free:1 38 Stratford, ON call eae NSA3L9 Canada wo theamulctea believeit! 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