7 Fast & Fabulous Natural Designs , FEBRUARY/MARCH 2019 GO 3D + GET. Geometric! § Meet Our Design with Bold Color x Bon Temps Bracelet x Masquerade Bracelet x Queen's Heart Necklace Weave a Steelstack Pendant by Wendy Eksworh, P. WYNWINTERWEAVE.COM‘Ask about our piston Partners wine an F IRE A, ou Al N Platinum — s ‘ at n “Friendly Service” Since 1973 www.firemountaingems.com ‘One Fire Mountain Way, DEFT C027 Grants Pass, OR 97526-2373 1-800-355-2137 America’s Favorite Beading and Jewelry Supply Companye Go online to see over 100,000 HOT jewelry-making products and order aFree catalog today You supply the creativity, we supply everything else!® Ezartesa, MA wwwnezartesa.com Finalist, Seed Bead Jewelry-Making Contest Fino ourover 1,500" PS FREE tutorials % iy + all the supplies you oe need to make them Ar theads.. ise : Pre ICC Ca Se ACL Laa ESTABLISHED 1954 ° e Available as 24 different desserts John Bead Corp. — Beads, Crystals & Components | www.johnbead.com Tel: (416)757-3267 I Toll Free: 1(888)755-9055 | E-mail: sales @johnbead.comcontents FEORUARYIMARCH 2019 VOLUME 22 NUMBER 2 Designer of the Year Projects 16 STEELSTACK PENDANT {hs pendant witha hyperbolicineert. is mado usings comb natn of oy. ‘te and heringbone sitches to make two warped squares that fit inside one another 20 CORENTIN PENDANT ‘sseen Ute bolccoors of shaped beads and seed beads to surround a sparking onsale 24 THISTLE NECKLACE San Snasoon These berled hots ute Kite and Cal beads o create an attention: grabbing statement necklace that reeembles rite bloome Feature 12. COLOR CLASS 52 NATURAL MATERIALS IN BEADING & JEWELRY MAKING Departments 4 Passing Through 6 Cool stuf 66 Boad Buzz Projects 77 Techniques 29 KUMI FROND NECKLACE 44 BONS TEMPS BRACELET 77 Stitch Index SrmanaCuseoty Eveuina atuonrovd 32 STARSTRUCK NECKLACE 48 QUEEN'S HEART NECKLACE any Aspnsirs Macneits Leoxnn0 36 CALYPSO EARRINGS 40 MASQUERADE BRACELET Mogquerde Brace by Shamastere On the Cover Sada Pendant by iendvEtwor pice 2 vawwinteRneave comProject Rating Fast & Fabulous Projects: Natural Materials Ow treet ing tems ound inthe project instructions. 54 SPIRALLED BY NATURE ‘58 HENNA TEARDROP 000 sixpaa Lore Miciaiax Metsnoe EGINNERLEVEL 55 BOHO SERENITY 59 DANDELION DREAMS Qeickare easy Mienine MeExNOe Des Bua 00 56 THE OCEAN IS BECKONING 60 HOTSYTOTSY INTERHAEDUATE LEVEL Den Fons ANNE PHY Moderate me commitment 57 SUNSET ON THE COAST ADVANCED LEVEL cee taer Longer tie cormitment or Stitch Indes, see page 77 een NCRK FERRLARUMARCH 7019 3passing through ‘ Ring in the New Welcome to the frst issue of 2019, wich kicks offa whole ot of new: now year, new designs, new concepts. and so much more! First order of| Imusiness: please join me in weleoming our new Designers of the Yeas! Although you're likely familiar with each ofthese ladies, fm pleased {ointroduce them as our Designers ofthe Year: Susan Sassoon, Versus, and Wendy Ellsworth! We are so excited to have these talented artists on our team and know you willbe thrilled with the designs they will be shering in each issue. Inaddition to the new bead-weavingpatterns you can Jook forward to, each ofthe ladies will be offering look. into their beading journey as the year progresses. In this issue, Vezsuesi’sCorentin Pendant (page 20) offers a peek at her beadlwweaving skills and love for color. Susan Sassoon Thistle Necklace (page 24) isa ‘work ofartand perfect for weavingto an art exhibit ‘or other night-on-the-town event. Wendy Bllsworth’s Steelstack Pendant (page 16) gives a nod to her interest in geometric beadwork and incorporates a hyperbolic insect in the design. ‘Ang Bead Bivez by Wendy Ellsworth (page 66) provides an inspirational article on Unity Village and the Samburu women, In addition to exciting new designers, we are featuring a special topic ineach issue, which will be emphasized throughout the patterns and articles. Inside this issue we bring yon Bold Color? Once you see the new ‘beaded designs, you will be transported to a land of vibrant, ik, regal, and bold color. ‘With ealorin mind, many of us felt like we were dancing inthe streets ‘of New Orleans during Mardi Gras. This was especially the case with Shanna Stecl's latest design, Masquerade Bracelet (page 40) andl Evelina almontovi's Bons Temps Bracelet (page 44).Notonly do the names evoke ‘that New Otleans vibe, the colors are perfectly timed forthe season. More new... Fast & Fabulous chock full of natural materialsthat are right on trend. From Sandra Lupo’ Spiraled by Nature necklace (page 54) made with slices of wood to Anne Perry’ Hotsy Totsy (page 60), which combines feathers and chain, theres somethingin here for you! From allofushere at Readivork magazine, we wish you a wonderful ‘New Year and look forward to bringing you new inspiration with each issue. Cheers facebook.com/ BoadingDailyonFB twittercom/ boadingdally mston/ voce @ 4) WwwanTERWEAVE CoM BEADWORK . EDITORIAL 01m Tata Honan TECHNICAL EMT eset Sse INTER MARAGING ETRE Hacer COPVEDTOR taney int MARKETING & ADVERTISING HOVERING MANGER Mya apc Margedoqorenahenet or (77618. CLASSIFED ADVERTISNG Steyn suphanecitasgtamedz coy P7646 ADTRAFFICEER Caio MABKETNGMANIGER Hole Goodman ‘CREATIVE SERVICES SEMORDISIGAER Cnr ele PRoDicToNDESI6NE Nn eb ‘AWSTAATOR Laas PHOTOGENAY Geom Boe FOUNDER tind DueEcrow oF come, cRAFT van Wate RECTOR OF MEDA SALES eM RECTOR OF MARKETING Kinbey Guele [w wnmccont new aM Hoon "Pe GEMEREL COUNSEL Rake Spor W-PRODUCT MANAGEMENT Pat Fepeae Disses cee” ae pita ad eal sy. Bert satan ape or ecseary el eae pees ees ‘lear deat esd oat eves aan pn evs eee rennet tae Doaatsesee arseanacetit Sind ad epee aco petosinenan lteter no 91048 leo owen acl, Ines eal 5 (8)90- 18 USS TES Proscar USE, sin alg oes. 0209 Fag be Asmar tur wera pcb pense bene Sepia 8 3SkepareteS, SSS (ts ai au e508 5 knw terse) Pe In RSMAS Pens ge MS, Coen aie rapeitoetnrsihsmomtinnyn esate: Tote 96 tained. For Beadwork SUBSCRIPTION questions or cones, contact ws faladdessbesduikemailasiomeseicecm US.CesemerSenice (850 99-1646 In. Cason Senice (97658 2519 Us. PO x32, Pal Coast FLD ‘woru.interweave.comCTP BEADS SINCE 1948 TARMAN ‘Pol Bracelet’ by TrendSetter Veres Zsuzsa-Vezsuzsi. For more of Zsuzsa’s work visit www. beadsbyvezsuzsi.etsy.com ONS ACU TTT NM TUES aise SUVS Ser este Ce) esa 0 Core er RUANGLE Toned zy BB woes BR crescenr @ cocoreve MD seam, BB crcccton <> iow BREMEN a FO) LO] TTBS MATUB©. Tulip wawEclecticaBeadseom Furcka Crystal Bead srt ustBeadit rae ie ire runic staBeads.com BEAD STORES-Register as a reseller: 888-683-BEAD [2323] - www.CzechBeads.com « Sales@Starmaninc.comCOO! StUTF wetcomsreste ‘1. 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What follows is an excerpt from one of our favorite color theory books, Color Works (Interweave, 2004), by master colorist and crafter Deb Menz, which takes us back to the color basics as we learn about hue, value, and seturation—the three ways to describe a color. C= is truly the key to successful crafting in any medium. Choosing the right 12 wawinteRwenecouHue Hue family refers to the wedge of the color ‘wheel that contains single hue with all its colorvariations. Forexample, the hue fam- ily green is highlighted on the color wheel to the right. Within it are such colors as kelly green, forest green, and mint green, among many others. Every color belongs 10 one of the hue families on the color wheel. Ifyou think ofthe hue family name 25 being lke a last name, then the color name is ike a frst name. Whenanly one hue family isused in a design, its called a monochromatic de= sign; there ere many color possibilities within one hus family. In a monochromatic, design, any of the colors froma given hue ‘could be used together successfully. Of course, there are many other ways tointer- pret the same hue family monochromat cally. There are countless possible combinations oftints, tones, shades, and blends, narrow or wide value ranges, bright and dull colors all within one hue family Value The second way to describe a colors ac- cording to its value. The value of a color has nothing to do with the color itself but is a comparison of the color toa scale of grays that ranges from white to black Think of a black-and-white TV—although everything on the screens in full colorin real life, the images that we see appear as relative values of gray. The illustration below shows the twelve hues from the color whee! and thelr rela- tive values, Notice that the values differ from hue to hue, The numbers on the bot- tom of the scale represent the percentage of black that has been mixed with white to form that particular gray. Refer to these ‘numbers when describing colors or noti which values you wantin a design. Itisdifficult wo determine the values of warm and very bright colors accurately be- ‘cause thelr warmth and saturation get con- fused with theirvalue, Awarm color that is saturated can be perceived as lighter in value because the saturation of the color fools the eye. With practice, you willbe able to see the value. Of the three ways to describe a color, valueis the most important because itis the first characteristic of a design that can bbe seen froma distance, and it remains im- portant at close range. 30 «40 20 10 30 50 60 60 60 70 SEADWOR FEARUARYIARCH 2019 13Saturation Saturation isthe relative brightness or dull- ress of a color. Acolor isa its most satu rated when nothing eke has been added {0 it—when it’s atits purest. Other words used to describe saturation are intensity, strength, and chroma. Itis easier to determine saturation when a color is compared to other colors inthe same hue family. Saturated colors stand ‘out morein a design than those that are less saturated. In the illustration above, the most saturated colorison the left. ‘The saturation of a color can be de~ creased in several ways: Tinting: Adding white to color will make Itless saturated as well as lighter in value. ‘The more white you add, the lighter and less saturated the colorbecomes. Toning: Adding gray of the same value as.acolor will decrease the colors satura- tion while maintaining its value, The more ‘gray that youadd, the less saturated the colorwill become, 14 wawuterwenecou Shading: Adding black toa color vill ‘make it th darker in value and less satu= rated. The more black that you add, the darkerand less saturated the color be~ ‘Adding a Color’s Complement: Adding the color that is opposite to iton the color whee! will also make the original color duller. The value ofthe resulting mixed color depends on the value of the comple- mentary color added. At some point in the ‘mixing, @ neutral gray will result Adding its complement to a color produces a more interesting and lively mixture than does adding gray because there are three colors In the mix rather than two, ‘Once you understand some basic color principles, you will be in complete control of the color in your designs and wall have the knowledge and confidence to make it work to your satisfaction! And remember, there are no rules about color, no rights and wrongs, only personal preferences, so have fun wit Want to learn more about the fascl- nating art of color for crafters? Check out Deb Menz’s Color Magic video series, Color Families and Value & Harmony, available in digital2% TOHO BEADS: Professional Quality Seed Beads Aiko Precision Cylinder Seed Beads Hundreds eee les ENC “Four Corners” Bracelets by Leslee Frumin Visit www.lesleefrumin.com Featuring TOHO Aiko Precision Cylinder Seed Beads Lo) ee aie: www.Bol XeRaoal)2019 Steelstack Pendant. wenpy eusworts Clete =e enya 16 wwinTeawevecow ‘Seep 77 FORHELOFULTEANNQUERFORNUTION EF FRPROHECT RA MEOANATCNNSPIRED BY KATE MCKINNON’S PROJECT on Geometric Beadwork, | designed this pendant with a hyperbolic insert I's made sing a combination of peyote and herring- bone stitches to make two warped squares that fit inside one another. love the potential of these techniques. 1) LARGE WARPED SQUARE. Use flat herringbone and peyote stitches to create a square shape that will warp into a triangle 2s you work then create a slot by stitching with a temporary thread: Round 1:/Adda stop bead to 5'of condi tioned doubled thread, leaving a 4" tal String 48; pass through the beads again to forma tightcircle and pass through the first B ofthis und (Fig. 1, blue thread) Round 2: String 28 and pass through the rhext 8 ofthe previous round: repeat three times (Fig 1, red thread). Note: Step up for this and subsequent rounds by passing through the firstbead added in the curent round, Round 3: String 28 and pass through the next 8 ofthe previous round. Work 1 peyote stitch with 1C. Repeat from the beginning ofthis round three times ig.2) Round 4: String 28 and pass through the next B of the previous round. Work 2 peyote stitches with IC in each stitch, Repeat from the beginning of this round three times (Fig. 3, blue thread) Round 5: String 28 and pass through the next B of the previous round. Work 1 peyote stitch with 1C. Work 1 peyote stitch with 1D, Work 1 peyote stitch with 1C Repeat from the beginning of this round thee times Fig. 3, red thread). Round 6: String 28 and pass through the ‘next B of the previous round. Work 1 peyote stitch with 1C. Work 2 peyote stitches with 1D in each stiten, Work 1 peyote stitch with 1C. Repeat from the beginning of this round three times. Rounds 7-16: Repeat Round 6 ten times, increasing by 1D on each side until you hhave 12D on each side. Note:The bead- work will start to fold in on itself Fig. t:Foeming Rounds 1and2 of Large arpa Square Fig. 2: Stitching Large Warped Square, Round 3 Fig. 3:Aciing Rounds4 and 5 to Lge Warped Square ‘TecHmaues Flatand tubular spiralherringbone stitch Flat peyote stitch Fringe PROJECT LEVEL 000 MATERIALS. | purple ris size 6” seed bead (A) 3g aquablueDuracoat opaque 1!” ‘ylinder beads (8) 49 siNverined matte orange size 1” ‘eylinder beads (C) Ag midnight purple luster opaque size TT eylinderbeads (©) Sgmatteblacksie cylinder beads) ‘Smoke 6b FireLine braided beading thread 1 gold-plated 6x8mm magnetic clasp Thread concitioner Toots Sdssors Size 12 sharp (short) beading necdle Beading aul FINISHED SIZE 20° (with 34°98 pendant) Wendy used the following Delica colors in this project: 082130 (B), DB682 (C), DB136 (D), and DE3I0(E) Manipulate the beadworkso that one of the top comers of the squate is folding toward you and the working thread exits the point closest to you, forming a downward-pointing triangle shape. ‘Working counterclockwise, the first side ‘you work will be Side 1. Sides 2 and 3 should be on the bottom, and sides 4 and 1 should be on the top. Weave through beads if necessary to begin Side 1 at the top corner of the warped square, working toward the fold, Round 17, Side 1: String 2Band pass through the next B ofthe previous round. ‘Work 1 peyote stitch with 1C. Work 13 peyote stitches with 1D in each stitch. ‘Work 1 peyote stitch with 1C. Round 17, Side 2: String 2Band pass through the next B ofthe previous round. SEADWOR FEARUARYMARCH 2019172019 Clara of the Year Fig. 4: Weaving Large Warped square, Round i? Fig. 5:Forming Round 3 ofthe Step __ Alternate on taneaVettes ere) pe ee ees cents eee) emer Cro eroaa yr ON ree erage) Peoria irie ey eee ete et EONS ees recs seed bead(A) Preece eae alt See Ere ene cee oer Pee rea et tol eure eet) thread use forthe pendant) ‘Smoke 6b FireLine braided beading thread use for the strap) eee ene ey eet 18 wawuinteRwenecou Work 1 peyote stitch with 1. Work 6 peyote stitches with 1D in each stitch (Fig. 4, oreen thread},Secure and trim the working thread. To create the slot, adda stop bead to 10" of temporary thread, leaving a "tal Passthrough the last bead exited in this round, Work 7 peyote stitches with ID in each stitch. Work 1 peyote stitch with 1C (Fig. 4, blue thread), Round 17, Side 3: String 28 and pass through the next B ofthe previous round. Work 1 peyote stitch with 1C. Work 7 peyote stitches with ID in each stitch. Pass through the last D exited to form a stop bead (Fig. 4, red thread).Tiim the thread to 1s" Note:The thread from Round 17 Side 2 will be removed later so don't secure the thread Start 6'ofnev conditioned doubled thread that exits from the last bead exited in this round. ‘Note: ake care not to stitch through any of the beads added in Round 17 when adding this new thread, Works peyote stitches with 1Din each stiteh, Work 1 peyote stitch with 1C. $9666006560099" cov soooresoee 53333333335 9999 OOOCOOOOO OOS OLD SSosae qpooeeeeeeeeetee Round 17, Side 4: Repeat Round 17, Side 1 Rounds 18-29: Continue in herringbone and peyote stitch, increasing by 1D on each side until you have 25D on each side. Note: ou will now stiteh through ‘the beads added in Round 17. Round 30: String 28 and pass through the next B ofthe previous round, Work 1 peyote stitch with 1C. Work 26 peyote stitches with 1B in each stitch. Work 1 peyote stitch with 1C. String 3B and pass ‘through the next 8 of the previous round. Work 1 peyote stitch with 1C. Work 26 peyote stitches with 1B in each stitch. Work 1 peyote stitch with 1C. Repeat from the beginning of this und. Unstitch Slot: Remove the stop bead fram Round 17 and carefully remove the entire 10" piece of thread, stitch by stitch, to create an opening siotin the beadwork. ‘Note: None of the beads should fall out of ‘the beadworkas Round 18 has secured ‘them in place. Remove the stop bead from Round 1; secure and trim the tail thread, but don't trim the working thread. Set aside. Fig. Stitching Edge 1 of Close Pendant2) SMALL WARPED SQUARE INSERT. Use flat herringbone and peyote stitches to form the small warped square insert: Rounds 1-8: Adda stop bead to 3' of conditioned thiead, leaving a3° tail Repeat Step 1, Rounds 1-Susing all C. Round 9, Side 1: String 2B; pass through the next C of the previous round. Work 7 peyote stitches with 18 in each stitch, Round 9, Side 2: String 1B: pass through the next C of the previous round. Work 7 peyote stitches with 1B in each stitch, Round 9, Side 3: Repeat Round 9, Side 1 Round 9, Side 4: Repeat Round 9, Side 2. Remove the stop bead; secure and trim the tail thread, but don’t trim the work ing thread. 3) ATTACH INSERT TO PENDANT. Use a beading aw! to carefully break and remove ‘one of the 28 at the tip of the opening slot of Large Warped Square Round 17. Insert Small Warped Square into the slot in Large Warped Square Round 17, align- ing the herringbone comers. Use the ‘working thread of Small Warped Square 10 zip the warped squares together to form a seamless connection. Secure and trim the working thread, 4] STRAP. Use spiral tubularherringbone stitch to weave the steap: Round 1:Use 6'of doubled thread to form a stip of ladder stitch 4€ long. Stitch the first and last E together to form a ting. Exitfrom the opposite side of the ring from which the tall exits. Round 2: String 2E. pass down through the next E of the previous raund and up through the following E; repeat. Step up through the first E of this round, Round 3 (start spiral) to End: String 2E; pass down through the next 2€ of the previous rounds and up through the following 1£ of the previous round (Fig. 5, blue thread). String 1E and 1C; pass down through the next 2£ of the previous rounds and up through the following 1E of the previous round, Step up through the first 1E of this round (Fig.5, red thread). Repeat from the beginning of this ound until your rope is about 19" long, Weave ‘through the beads of the last round, following a ladder-stitch pattern. Clasp: String 2E, 1 half of the clasp, and, 2E; pass down through the E on the opposite side of the rope end, up artist's tips > Bo careful not to pleree the short thread from Large Warped Square. Round 17 when youre adding the next round. > Usea needle to pick out the thread when you ate uinstitchingthe sot, > Ifyou have trouble working ‘with doubled thread, use a heavier weight thread suchas 8 or 10 FireLine through the adjacent , back through the 2£/clasp/2E, down through the E adjacent the first € exited, and up through the first E exited, Repeat the thread path to reinforce; secure and trim the working thread. Use the tail thread to repeat Clasp on the opposite end of the rope, using the other half of the clasp. 5} CLOSE PENDANT. Use herringbone and peyote stitches to close the edges of the pendant: Edge 1: Use the working thread of Large Warped Square to string 28; pass through the next 8 of the previous ound of the Large Warped Square. Work 20 peyote stitches with 1C in each stitch 6, blue thread). Insert the strap into the pendant. Fold the pendantin half and align the beads of Sides 1 and. 2. Pass back through the mirror C of Side 2, through the last C exited of Side 1, and through the mirror C of Side 2 again to reinforce the connection. Zip the beads of Side 1 and Side 2 together to form a seamless connection (Fig. 6, red thread), Edge 2: Suing 28; pass through the next B of the previous round, Work 20 peyote stitches with 1C in each stitch. Align the beads of Sides 3 and 4 and repeat the zip connection as in Edge 1, exiting from the fist B added on this Edge. 6) TASSEL. String 1A. String 25D and 3C; ppass back through the 25D/1A and the last Edge B exited. Pass through the adjacent Edge B and the 1A dded in this step. Repeat from * three times to create 4 fringes. Secure and trim the working thread, WENDY ELLSWORTH began beading professionally in 1970, Her bead arthas been featured in numerous gallery exhibitions, books, and periodical. She received a Fellowship from the Pennsyivania Councilon the Art in 2003 that took her to Kenya to study the beadwork of the Maasai and Samburu. She had her fist sal exhibition at the Hunterdon {Art Museum, Hunterdon, Neve Jersey, in 2018. Her book Beading — the Ceatve Spirit: Finding Your Sacred Center Through the Art of Beadwork ‘was published in 2009, She recently relocated toWeaveruille, North Carolina, with her husband, David Visit cheirwebsite: wormellsworthstudioscom. RESOURCES Check your favorite bead retailer or contact: Delica cylinder beads Beyond Beadery, www.beyondbeadery.com, Seed beads: Shipwreck Beads, (800) 950.4232, wwwwishipwreckbeads.com. FieLine, magnetic clasp, Thread Magic thread conditioner: Fite Mountain Gems and Beads, (600) 355-2137, wwww.ire ‘mountaingems.com, Size 12 short beading needles: BeadCats, (503) 625-2323, wwrwbeadeatscom. & SEADWOR FEBRUARYMARCH 2019 19DRAW MY INSPIRATION FROM MANY THINGS—COLORS, SHAPES, experiences, lms, friends, and especially the new bead shapes that the manufacturers are always in- troducing. | love tiny, metiaulous work, and I strive to keep advancing the trend of beaded beads and pendants. Brainstorming and creating new designs, ike this Corentin Pendant, is what makes me so happy that my hobby has become my work! 1) BEZEL. Use tubular peyotestitch to bezel the rival: Rounds 1 and 2: Use 7' of thread to string 366, leaving a4" tall.Use the working and teil threads to te a square knot, forming ‘a relaxed circle. Pass through the first E strung (Fig. 1, green thread), Round 3: String 14, skipthe next of the previous rounds, and pass through the following E; repeat seventeen times. ‘Note: Step up for this and subsequent Round 4: Work 18 peyote stitches with 1A ineach stitch (Fig. 1, red thread), Weave through beads to exit from 1E of Round 1. Insert the rvolfaceup into the beadwork so thatthe back ofthe rival touches Round 4. Round 5: Work 1&peyote stitches with 1D ineach stitch Fig. 2, green thread), Rounds 6 and 7: Work 18 peyote stitches with TAin each stitch, snugging the beads over the front ofthe rivoli (Fig. 2, rounds by passing through the first blue thread); repeat (Fig. 2, red thread), bead of the current round (Fig. 1, Weave through beads to exit from 1 of blue thread). Round 2, 2) FLOWER. Use circular peyote stitch, and circular netting to create the flower: artist's tips Round 1: Work 18 peyote stitches with TE ineach stitch (Fig. 3, blue thread). Round 2: Work 18 peyote stitches with 18 ineach stitch (Fig. 3, red thread) > Check to make sure there aren't any blocked holesin cach ofthe multi-hole beads é before stringing them. Discard any beads with blocked holes. >Use firm tension to stitch the lower, Fig. 1:Sttching Bezel Roun 1-4 TecHMaues Tubular and circular peyote stitch Circular netting PROJECT LEVEL 080 MATERIALS 0.5 gturquoise green opaque size 15° ‘Japanese seed beads (A) 0.5 glemongrass semi-glazed size 11° “opanese seed beads @) 1 g matte ime opaque size6* Japanese seed beads (C) 1 gdyedazure opaque Duracoatsize ‘t*eylinder beads (0) 1 gtoast Duracoat size 11° cylindsr beads €) ‘matte tera-cotta opaque 5x2.Smm 2holeHalfTilas ) 9 suede gold turquoise 7mm 2-hole CzechMates cabochons (6) 1 coated-back crystal light coral 4mm erystal rivol| Crystal 6 Ib FireLina braldad beading thread Toots Scissors Size 10beading needle FINISHED size ve Fig. 2: Adding Bera, Rounds 5-7 3: Weaving Flower, Rounds 1and2 SEER 77 FOR HELPFUL TECHNE.UEIFDRMAIION SEE P 3 FORFROJECTLEVEL NFCHATON SEADWOR FeBRUAREARCH 2019 21201 ag Chara of the Year Fig. 5 Forming Flower, Rounds¢and 5 Round 3: Note Take care to add the G faceup. String 1C, 1G, 1E. 1D. and 1E; pass back through the second hole of the G. String 1C;skip 1Baf Flower, Round 2 and pass through the following 8. Repeat from the beginning ofthis round eight times. Weave through beads to exit from the second hole ofthe first Gin this round, toward the beadwork (Fig. 4). Round 4:String 1, 1F, and 14, then pass ‘through the next G first hole, the follow- ing 1E/ID/1E,and the second hole of the last Gexited: repeat eight times. Weave through beads to ext from the next 22 WRUINTERWEAVECOM Fig. 6: Stiching Flower Round 1E/IDIME set of Flower, Round 3 (Fig. 5, blue thread). Round 5: String 3E: pass through the sec ond hole of tha nearest F of Flower, Round 4, String 3E; pass through the next IL/ID/E of Flower, Round 3. Repeat from the beginning of thisround eight times, exiting from the next 16/10 only in the final repeat (Fig. 5, red thread). Round 6: String 10; skip the next E and pass through the following 3E. Sting 18; pass through the next 3E. String 1D; skip the next E and pass through the follow- ing D. Repeat from the beginning of this round eight times. Pass through the first Dof this round (Fig. 6). Round 7: Sting 30: pass through the next Bof Flower, Round 6. String 2D; pass ‘through the next D of Flower, Round 6. String 1C, 1B, and 1C; pass through the next D of Flower, Round 6. Repeat from ‘the beginning of this round eight times (Fig. 7). Flip the beadwork over. Weave ‘through beads to exit from 1D of Flower, Round 3 (see the start dot in Fig 8) 3) BAIL. String 9D; pass through the Bof Flower, Round 2 directly below String 9D;pass through the last D exited (Fig. 8). Repeat the thread path twice to reinforce: secure and trim the threads. \VEZSUZSIis aHungarian bead jewelry designer and teacher who lives in Austra. She started making jewelry in 2007 andisinspired bby mathematics, nature, colors, and texture Vezsuzsi's a member of the Starman TiendSet ters team. See her patterns at wwwwrbeads bbyvezsuesLetsycom, ead her biog at wavy xezsuzsigyongyeiibiogspot.com or email her at vversursi@gmaileom. RESOURCES Check your favorite bead retailer or contact: Miyukl seed beads {colors A and C): Caravan Beads, (800) 230-8941, wwwwz.caravanbeads.com. Toho seed beads (color 8), Half Tis, and, ‘abochons: Artbeads.com, (866) 715-2323. Delica cylinder beads, Swarovski crystal rivol, and thread: Beadahotique, (866) 834-4618, wwuzbeadaholique com. Alternate ernie ieveart) al ee oe pe Peter eee a Japanese seed beadsiA) Ceo cee Tapanese seed beads (8) Pea ee ee ed ret) Peeters Ere Rte ean) Perec etna) peered ume 0.59 turquoise green opaque size 15 Poet atl Ce eee cr era) Pere nee ed ead ( eee ae ieee} PP eee an Ear 9 suade gold turquoise 7mm Zhole ea tay beading thread ine braided SEADWORK FERRUARYINARCH 2019 23Thistle Necklace susan sassoon 24 WwRUINTERWEAVECOM See 87 FORHELPFULTECHINQUERNFORIATION SEE 3 FORFROIECT EEL MFORMACL|HESE BEZELED RIVOLIS use Kite and Cali beads to create the look of thistle blooms, ‘The fun components work up quickly. Connect them together and you've got an attention-grabbing statement necklace! 1) LARGE COMPONENT. Use circular netting and circular peyote stitch to create the large component: Round 1:Note Lay 10€ on your work sur- face vertically with the wide end at the bottom. Working counterclockwise, use 4 of thtead to string 1 (bottom hole) ‘and 18; repeat nine times, leaving a4" til Pass through the beads (same holes) again to forma tight circle use the work- ing and tal threads to tie a square knot. Pass through the fist (inside) hole ofthe first of this round, then back through the second (outside) hole ofthe same E (Fig. 1, blue thread), Note:You!l now begin working clockwise. Round 2:String 1D (middle hole) and pass through the next E (outside hole); repeat Fig. 2: Alding Round 3 toLarge Component ine times. Repeat the thread path of this round to reinforce. Pass through the fist D (middle hole) of this round, then back through the same D (inside hole) Fig. 1, red thread). Flip the bead work over. Round 3: Note: Use light tenston for this round, String IF and pass through the next D inside hole); repeat nine times. Insert the 1mm rivoliinta the bead- work facedown so that the front of the rivoli touches Round 1, and the inside hholes of the D are on top of the back of the rivoli (Fig. 2; back of beadwork shown). Repeat the thread path ofthis, round, snugging the beads ofthis round and Round 2 ever the back of the rival Exitfrom 1F ofthis round Fig. 1:¥lorking Rounds tand 20f Large Component ‘TecHmaues Circular netting Circular peyote stiten Fight angle weave variation PROJECT LEVEL 060 MATERIALS 3 gsilvertined teal rainbow size 15° Japanese seed beads (A) '3.g10se gold galvanized permanent- finish size 1" Japanese seed beads 8) 10 bronze size 11" Japanese seed beads (C) 134 dark gold rainbow sx3mm 3-hole ‘Calibeeds (0) ‘T6bronze pale gold 9x5mm 2-hole Kite beads (&) 10 vintage copper 3mm pressedt-glass rounds ) £88 dark green 3mm pressed-glass rounds(G) 7foll-back rose 1ammerystal rivals ‘oil-back crystal vitrall ight 18mm crystal vol ‘Smoke 6b FireLine braided beading thread tooLs Scissors Size 10 or 1 beading needle FINISHED SIZE 20" (with 2" focal) artist's tips > cheek to makesure therearen't any blocked holesineach ofthe multishole beads before stringing them. Discard anybeads with blocked holes. 2 Mepeat the thread path ofeach round to reinforce the beadwork. This will Help createa longer last ng, more durable pieeethat you can wear for years to come, > Wh stitching Large Component youmay substitute B for Cand G for E > You may nee to twist the Beadwork inorderto pass your needle through the beads, Instead of using new thread to ereate ‘each component, you may work witha longer thread and work continuously SEADWORK FEARUARYIMARCH 2019 252019 Claiaag of the YeQr Fig. s:Sttehing Small Component, Rounds tnd Round 4:Note:Flatten the beads ofthis round toward the center back ofthe rivoll as you work. String 5B and pass through the next F; repeat rine times, then pass through the first 38 of this round (Fig.3, blue thread; back of beadwork showin), Round 5:String IC and passthrough the ‘center Bof the next SB set of Round 4; repeat nine times (Fig. 3, ed thread), Flip the beadwork over. Weave through beads to exit from the outside hole of the nearest D (see the start dotin Fig. 4). Round 6: Nore: Lay 10E on your work sur- face vertically with the wide end at the bottom. String 1G, 1E oottom hole), and 1G, then pass through the next D (out- side hole); repeat nine times (Fig. 4) Secure and trim the threads. Set aside. 26 wwuInTERWEAVECOM Fig. 3: Rounds 4and oftarge Component ching Fig. 4: Weaving Large erponent, Bounel 6 Fig. 6: Working Found 3f Small, Component 2) SMALL COMPONENTS. Use circular netting and circular peyote stitch to create the small components: Round 1: Note: Lay 8E on your work surface vertically with the wide end at the bot- ‘tom. Working counterclockwise, use 4 of thread to string 1E (bottom hole) and 18; repeat seven times leaving 2.4” tail Pass through the beads (same holes) again to form a tight circle; use the working and tail threads to tie asquare knot. Pass through the fist (inside) hole of the first E of this round, then back through the sec- ‘ond (outside) hole of the same (Fig. 5, blue thread).Nore-You'l now begin working clockwise. Round 2: String 1A, 1D (middle hole), and 1A then pass through the next E (outside hole); repeat seven times. Repeat the ‘thread path ofthis round to reinforce Pass through the first D (middle hole) of ‘this round, then back through the same D (inside hole) (Fig. 5, red thread). Fip the beadwork over. Round 3: Note: Use light tension for this round. String 1G and pass through the next D (inside hole); repeat seven times. Insert one 14mm rival into the beadwork facedown so that the front of the rivoli ‘touches Round 1, and the inside holes of ‘the D are on top of the backof the rival (Fig. 6, back of beadwork shown). Repeat the thread path ofthis round, snugging the beads ofthis round and Round 2 averthe back of the rival. Round 4: Note: Flatten the beads of thisFig. Adding Rounds 4and Sto Small Component round toward the center back ofthe rival as you work, Suing 5A and pass through the next F; repeat seven times, then pass through the first 3A of this round (Fig. 7, blue thread; back of beadwork shown), Round 5:String 18 and pass through the ‘center A of the next SA set of Round 4; repeat seven times (Fig. 7, red thread) Secure and trim the threads. Set ase. Repeat this entire step six times to create seven small components. 3) JOIN. Note: Arrange your components ‘on your work surface facedown with the large component in the center, 3small com- ponents on either side, and 1 small compo: nent reserved for the clasp. Start Sof new thread that exits from the middle hole of a Fig. 8: Joining the components D of the small component tothe right of the large component (see the start dot in Fig. 8). String 3A, 1G, and 34; pass through the top-right E (outside hole) ofthe large component String 3A, 1G, and 3A and pass through the last D (middle hole} exited: repeatthe thread path, then weave through beads to exit from the opposite D (middle hole) of the same small component (Fig.8, blue thread; back of beadwork shown. "String 3A, 1G, and 3A; pass through the nearest D (middle hole) of the next small ‘component String 3A, 1G, and 3A; pass through the last D (middle hole) exited of the previous component, then weave through beads to exit from the opposite D (middie hole) of the next component (Fig. 8, red thread). Repeatfrom * to join 2 eEADWORK reaRuanmancti20%9 27Or Chai of the YeQr third small component. Pass through the outside hole of the last D exited (see the start dotin Fig. 9). Secure and trim the tal thread don't trim the working thread. Repeat this entire step on the top-left E {outside hole) of the large component. 4) STRAPS. Use a variation of ight angle weave to form the straps: Unit 1: Note: Lay 330 on your work surface vertically Sting 1D (battom hale) and 3A: pass back through the lastD top hole) strung (Fig 8, purple thread) String 1D (bottom hole}, 1D (top hole), ‘and 3A; pass back through the lat D (bottom hole) strung. Pass through the hole exited atthe beginning ofthis unit, then weave through beads to exit fram the top hole ofthe center D ofthis unit (Fig. 9, green thread). Units 2-11: Repeat Unit 1 ten times (Fig. 9, blue thread). Clasp: Sting 108; passthrough 18 of Round $ ofthe remaining small compo nent. tring 108 and pass through the last D ttop hole) exited (Fig. 9, red thread). Repeatthe thread path twice to reinforce; secure and trim the thread. Repeat this entire step on the opposite side ofthe necklace stinging 458 in place of the 10B/clasp component/I0B to create a ddasp oon. Ie SaNELy Ore eer err a) Peo nue ears coe s eerie) ere Ee Cali beads () oe Poetry Drees tery Pome) Pn easel 1 pair of gold-plated 20mm car wira ence] per rat 28 WRuINTERWEAVECOM Fig.9: Weaving the straps ‘OPTION ‘other bead counts accordingly SUSAN isan architect and beader who loves fitting together shapes ofall sizes. She isa ‘member ofthe Beadsmith Inspiration Squad and sells her tutorials at wwrwetsy.com/shop/ sosassysusansassoon. She can be reached on Facebook: So Sassy By Susan Sassoon or via email sosassybysusansassoon@gmailcom. Create 2 pair of matching earrings using one 12mm rvall, 6 Kite beads, ‘and & Cali beads in each: adjust the > RESOURCES Check your favorite bead retaller or contact: Toho seed beads, Swarovski crystal rivolis and thread: Red Panda Beads, www.redpandabeads.com. Cali beads, Kite beads, and pressed-glass rounds: Potomac Bead Company, ‘wwnwpotomacbeads com.Kumi Frond Necklace IHE RICH BEAUTY OF BEADED ropes combine with the design of netted necklaces in this fun kumihimo technique that comes together ike magic. TECHNIQUES Kurihimo Wieeworking PROJECT LEVEL 000 MATERIALS 22:starlight galvanized size 11° Japanese seedbeads(A) 20g ainbow rosaline/purple-lined opaque size 8" Japanese seed beads (8) 22starlight galvanized size 8° Japanese seed beads(C) 43 turquoise fetish blue green mixsize 6° ‘Czech seed beads (D) 6metallic gold itis 4x7mmlong ‘magatama drops (€) 1 chalk vega Sx7mm Pip beads (F) 20 crystal silver night 3mm crystal bicones (6) antiqued brass 128mm cones 8" ofantiqued brass 26-gauge craft wire 2antiqued brass 18-gauge 6mm jumprings ‘antiqued brass 7x14mm lobster cla ‘3 antiqued brass 22-gauge2° head pins 2° of antiqued brass 64mm curb chain Purple S-Lon medium weight beading cord White caftghve Toots Scissors 4.25" round double-density kumihimo disk Kurihimo weight 1-202) 8 kumihimo bobbins Big-eye needle Wire cutters Round-nose pliers 2 pals of chain- ot needle-nose pliers FINISHED SIZE pel 30 WWRUINTERWEAVECOM 1) PREPARING THE CORDS. Cut? lengths of cord, each 45" long. Cut 1 length of cord, 61" long, Gather the ends and tie them into an overhand knot, leaving at tall 2) PLACING THE CORDS. Clip the \Weight onto the knotted end of the cords. Hang the weight down through the center hole ofthe disk and arrange the cords so that there is 1 cordon each side of the 4numbered dots, and the longest cord isinslot 1617, 3) END 1. Work one complete round of braiding (see*Kumihimo 101; page 80) without beads 4) STRINGING THE BEADS. Use abig- eye needle to string each cord as follows, then place the end of each cord into the cut slit of a bobbin and wind it up. Note: Ifyou unable to string the beads using the needle, coat your cord ends in glue andlet dry. Cord 31/32:String 1078. Cord 32/1: String 338. String 1D, 1B, 1D,and 1G; repeat nine times. String 1D and 338, Cord 7/8: String 1078. Fig. t:Sringing through the “shorthole"of2n 7% Fig. 3:Stringing Cond 16/17 Cord 8/9: String 1078, Cord 15/16: String 1078, Cord 16/17: String 338, String 1D, 1C, 3E (short hole, according to Fig. 1), 14, 1 1,38 (long hole, according to Fig. 2), and 1C, then pass back through the first Dstrung and string 1G, 1D, and 18 (Fig. 3, blue thread); repeat nine times. String 1D, 1C, 3€ (short hole), 1A, 1F, 18, 3E (long hole), 1C; pass back through the first D strung (Fig. 3, red thread). String 338, Cord 23/24: String 1078, Cord 24/25: String 1078. 5) BRAIDING THE BEADS. Braidall of the beads asin“Kurihimo 1017 keeping your tension tautand even, Slide each loop of beads from Cord 16/17 upand into place, tueating each loop as 1 bead. 6) END 2. Workan additional round of braiding without beads. Remove the weight from the braid and the bobbins from the cords. Carefully remove the braid from the disk, Gather the cords and tie them into an ovethand knot and trim the cords to 4 Apply glue to the braided cord section on both ends and let cure. Trim the braided cord section on both ends to" Fig. 2:Stnging through ‘he"long hole" ofanartist's tips > Label each bobbin with the appropriate cord number to help youkeep trackof your position. > Ifyour braid is visting, manipulace the braid by rolling between your fingers to relax the braid and help thebeads all into place. Fig. 4nseting the hooked head pin through the braid Alternate Colorway Materials Brrr Peer ay renee eel Eee rs pene ee) Cn reentry) Beene oe) Dc cae oc Darra) cereus Precis teat Biro reer ta Precast ated Perret aes) ystalbicones| Peer rete ee] Perera eee beading cord Pieerieies Fig. 5:Secuting the hooked hesd pin withthe 26-gauge wee 7) CLASP ATTACHMENT. Use wire cut- ters to remove the head from 1 head pin, Use round nose pliers to form a "long hookat the end of the head pins insert through the braid near the endofthe braided bead section. Postion the head pin so that the bent hook end! points away from the braided bead section Fig. 4), Bend the long tal ofthe wice ava fom the braided bead section. Insert 4" of26-gauge wire through the braid near theendof the braided bead section, with one end 3" from the braid. Bend both ends ofthe wire away from the braided bead section. Use the ong tal ofthe 26-gauge wire to wraptightly around the 26-gauge wire tal, the heackpin hook, and the heed-pin long them. Trim the 26-qauge wire (Fig. 5). Use the head-pin alto string 1 cone (wide end frst; form a wrappedicop. Use 1 jump ring to connect the wrapped loopto the dasp. Repeat this entire step on the other end of the braid to attach the extender chain, Use 1 head pin to string 1D and form a simple loop; attach to the free end of the extender chain. SVETLANA CHERNITSKYS favorite hobby is beading, and she devotes almostallof her fee timeto it She oves to learn and try new techniques, buther favorite techniques are peyote stitch, netting, bead embroidery, ‘kumihimo, and bead coche. Svetiana ives in Israel You can reach her at wwnwliigaletsy.com, RESOURCES Check your favorite beac retailer or contact: Pip beads: Scara Beads, ‘wwnwscarabeads etsy.com. Toho and Czech seed beads, Swarovski crystal bicones, ‘TierraCast hammertone cones, and all other materials: Beadaholique, (856) 834-4618, ‘wwnw.beadaholique.com.. SEADWOR FEARUARYRMARCH 2019 31Starstruck Necklace. catny anorews 32 WWRUINTERWEAVE.COM See 7 FORHELPFULTECHNQUERNFORIATION EE 3 FORFROIECT LUE MFORMAC‘OU MAY FEEL LIKE SOMEONE FAMOUS when youweartthis gor ‘geous necklace! It works up rather quickly using netting and chevron stitches—start it inthe morning and wear i that night! TECHNIQUE Netting PROJECT LEVEL 000, MATERIALS (0.5 gmetallicrainsize 1" Japanese ‘seed beads (A) 35 gmetalicrain size 8 Japanese seed beads (@) 2 dark crystal AB 6xAimmcrystal teardrop beads (Q 18 dark crystal ABB<12mm crystal teardrop beads (D) 2antiqued brass 6mm oval jump tings ‘antiqued brass 15x8mm lobster clasp 4 of antiqued brass 9¥6mmtextured ‘extender chain ‘Black One- Asneeded. attach 2 new thread by mak Fig. 6 stitching we wansion hal-hitet Knots between beads as you weave through the Dboadwork, 2s opposed to just weaving i a now thread. The size "beads have largorholes that thread eam slip out of >Use steady medi ston throughout the beadwork Wind yourlong tail onta a kusnihime bobbin to keep itmeat and tidy until you are ready tous it Secure and trim the working thread, Remove the stop bead from the tail thread. and repeat this entire step on the opposite tend of the necklace; don't trim the thread, 6] REINFORCE. String 18 and pass through the next B atthe top of the near- est row; repeat all the way across the neck lace, adding 1B between the existing 1 or 2B at the top of the rows. Secure the thread and trim, 7) CLASP, Use 1 jump ing toattach the dasp tone dasp loop. Use 1 jump ing toattach the extender chain to the opposite clasp loop. CATHY ANDREWS has been creating her ‘own designs and teaching at Stony Creek Bead in Ypsilanti, Michigan, since 2015. Cathy lives in Bellevile, Michigan, with her husband, where she enjoys rock hunting and cooking when she isnt beading, Find more of Cathy's designs and patterns at uwwandrea catherinejewel.etsy.com. RESOURCES Check your favorite bead retailer or contact: Miyuki seed beads and allother materials: Stony Creek Bead, (734) 544-0904, uwwwstonycreekbead blogspot.com. Alternate Cory loane nm ventrgt ee ne, ee ee sorte a) ES Seaiaiaciermee Ro) en Peas Pelee sree mm extender Peete ete) SEADWORK FEARUARYIMARCH 2019 35,Calypso Earrings MICHELLE GOWLAND 36 WWRUINTERWEAVECOM See 7 FORHELPFULTECHIUQUEINFORATION EE 3 FORFROIECTEUEL MFORMATCHIS STASH-BUSTING PROJECT, inspired by a Goddess motif, works up fast with relatively few beads of each shape! TecNiaues Rightangle weave variation Circular netting PROJECT LEVEL 000 MATERIALS 0.5 gdark metallic green irissize 15° Japanese seed beads (A) 0.5 glight orangeluster opaque size 15° Japanese seed beads (8) 0.5 gmetallicpurpleirissize 15° Japanese seed beads (C) 11g emerald alabastor pastel 3.1mm beads (0) Aztec gold 2.5x3mm ‘Minos par Puca beads (&) 4 metalic fuchsia 2mm 2-hole MiniDuos (F) 10lila vega purple gold luster §.5«2.8mm ‘2-hole Bi-Bo beads (6) 10 metalic emerald 74mm Z-holersDuos (H) 8 lla vega purple gold luster 10x5mm 3-hole ‘Arcos par Puca beads () 2 ettroun flareamm 2-hole Candy beads (k) 2atbrown flares 16mm 2-hole daggers (L) 2 Pacifica tangerine 3mm English-cut rounds (An) ‘fuchsia pink 32mm crystalrondelies (N] ‘I palrof antiqued brass 1smm ear wires Dark green K..nylon beading thread tools Scissors Size 1 beading needle 1 pair of chain-or fat-nose pliers FINISHED SIZE. WT 1) EARRING. Use a variation of right-angle weave and circularnetting to form the earring: Round 1: Note: Be sure to add the Hand K faceup. Lay 2) on your work surface hori- _zontally with the inside curves facing up. Use 4’ of thread tostring 1/ (left hole, top to bottom) and SH, leaving a4" tal. Pass back through the J (right hole, bottom to top) just strung, tring 1K, 1J (left hole, top to bottom), 28, 38, and 2A; pass back through the J (right hole, bottom to top) and K (second hole) just stung, Pass through all the beads of this round again; tuse the working and tail threads to tiea square knot and pass through the first (middle hole, top to bottom) Fig. 1, blue thread). String 1M; pass through the third H (frst, inside hole) ofthis round, back through the Mjust strung, up through the last J (middle hole) exited, and down through the right hole of the same J (Fig. 1, red thread), Fig. 1sForming Sound! Fig. 4: Adcing Found Round 2: Sting 10, 1E,and 1D, then pass ‘through the second (outside) hole ofthe next H repeat four times (Fig.2, range tivread) Suing 1D, 1E,and 10; pass up ‘through the nearest Jef hole then weave through beads to exit up through the fifth H (inside hole of Round 1 (Fig. 2, blue thread, Repeat the thread path of his round, skipping the E, then, ass up through the K(lefthole) Fig. 2, red thread), Round 3: Sting 1C, 1A, 18,14,and 1C; pass through the lst K (eft hole) exited and weave through beads to exit from the 38 of Round 1 (Fig. 3, oreen thread). String 88 and passthrough the last 38 exited; repeat the thread path twice to reinforce ‘the ear-wire lop, then weave through beads to exit down through the right hole of the K (Fig. 3, blue thread) Sting 1G, 1A, 1B, 1A, and 1C; pass down through the K (ight hole) and weave ‘through beads toexitfom the frst E of Round 2 (Fig.3, red threzd). Round 4: Sting 3C; passthrough the lst exited and the following D (Fig. 4, orange thread. String 1G, 1A, 18, and 1A;pass back through the second hole of ‘theG just added and through the next ID/IE (Fig. 4, green thread) Repeat from the beginning ofthis round four times (Fig 4, blue thread).string 3G; pass through the ast exited, then weave through beads to ext from the fourth frsthole} ofthis round (Fig. 4, red thread), eEADWORK reaRuanmancii20%9 37Calypso Earrings Alternate Colorway Materials ne ae er ear Pe Cena ao Bet E ee eats ee eC Cepeeent eoeetics rer ao) Pepe beads(0) Poe Minos par Puca beads ©) cereal Cine) etree ern Bi-Bo beads (6) reel er) Smatte metallic purple 10xSmm 3-hole isrnreleto) Pee eon Send andy beads () eee nese rea) Pee eared poo) Daren? Seerere eee een ei ere rea EP erent Prena Geers ea cee Petal Cee aaa one er Peer eee cres ee } Pier Piatt) Crean ens Ciena te eee Sa CeeeEn Tie eee eam) Coane eT) eee nt een) Pe eee Candy beads) ee een daggers) eee reese ete ea) pone arene) eee ae ne Cer tet ee 38 WWRUINTERWEAVECOM Fig. 5: Forming Rounds Round 5: Note: Lay 230n your work surface horizontally with the inside curves facing up String 1A, 1J (left hole top to bottom), and 3A; pass back through the (middle hhole, bottom to top) (Fig. 5, orange thread). String 1F;pass through the center Cofthe nearest 3C set in Rounds, then pass back through the secondhole of the F just strung and the J (middle hole, top to bottom) Fig. 5, green thread) Sting 3A; pass through the J (right hole, bottorn to top}. String 1A passthrough the next (left then right holes) (Fig. 5, blue thread). Repeat from the beginning ofthis round, then weave through beads to exit from the last 3A set ofthis round, toward the bead- work (Fig.5,red thread). Fig. 6:stching| Roun Round 6: String 18; pass through the next 3Aof Round 5. String 18, 1N, 10, 1L(bot- tom hole), 1D, 1N, and 18; pass through the opposite 3A of Round 5.String 18; pass through the next 3A, then weave through beads to exit from the center 8 of the center 1A/1B/1Aset of Round 4, above the L (Fig. 6, blue thread. String 3B; pass through the L {top hole). String 3B; pass through the last B exited (Fig. 6, red thread), Weave through beads to exit from the second-to-last Dof Round 2, toward the beadwork (see the start dotin Fig. 7) Round 7: Sting 18, 1N,and 18, then pass through the nearest G first hole), the next 1A/1B/1A, the ast G (econd hole)Fig. 7: Working Round exited, the 18/1N/1B just added, and the following 1D/1E/1D; repeat four times (Fig. 7). Secure and trim the threads. Finish: Attach 1 ear wire to the ear- wire loop, 2) Repeat Step 1 fora second earring. MICHELLE GOWLAND ha been beading since 1988 She travesthe East Coast fulltime inan RV with her fiancé two cute lapdogs and their brillant service puppy. Michelle gets her ‘beading inspiration from travel basebal drum Giles, andthe greet outdoots—pls frequent si0ps atlcal bead shops to keeps her stash freshly supplied. Contact Michelle at ‘ww therolingbeadweavercom. Beck of ain coloray RESOURCES Checkyour favorite bead retailer or contact: Seed beads (colors A and C) and MiniOuos: Bead the Beads, (241) 922-0344, wonwead the-beads. businesssite. Seed beads (color 8), O beads, Minos par Puca, Bi-Bo beads risDuos, and Arcos ar Puca: Potomac Bead Company, www.potomacbeadscom. Candy beads and daggers: Beads on Cannon, (843) 723-5648, vavw beadsoncannon.com. English-cut rounds: Lima Beads, (734) 929-8208, vwwimabeads.com. Chinese crystal rondells: Bead Abode, (941) 993-1936, ww wbeadabode.com.@ OPTION Create a pendant by attaching 9 bail to the ‘earmire loop. artist’s tips > Choekto make sure there aren't ‘any blacked holes in each ofthe mullichole beads belore stringing, them, Diseard any beads with blocked holes. Trying to unblock the holes ean easly break these bead. Be wary that Chinese erystal ‘rondelles have some variation ns Choose beads that are closest to Alternate Colorway Materials ee Coos Cee a Peer nn) chalkwhite size 15 Japanese seed beads () Beas ere a) Cerrar Elser) en Eee eh eer eon) ee ent eatery oreo ch marc arr) Peers ener ey round (i) Pare eee esc eee erry antiqued sliver 815mm bal-styleball Byer SEADWORK FERRUARYIMARCH N19 39Masquerade Bracelet. suanna stecie 40 WwRuNTERWEAVECOM See 7 FORHELPFULTECHMNQUERNIORIATION SEE 3 FORFROIECT- UBL MFORMAC1) ROUND 1. Usea variation of two-needle peyote stitch to form the center round: Pass 1: Note Take care to add all of the B 'HILE TRYING TO COME UP with an open, airy pattern using GemDuos, the outline of an elaborate mask came into view. Adding gold seed beads around the edges only intensified the drama. As with somany of my designs, | think what! started with was good, but the finished piece is even better—andl owe it all to the beads! ‘TECHNIQUES Two-needle peyote stitch variation Peyote stitch variation PROJECT LEVEL 000 MATERIALS 8g gold galvanized sizes" seed beads (A) ‘78 polychrome pinkolive gxSmm 2-hole ‘GemDuos (6) 68 polychrome olive mauve &:Smm2-hole ‘GemDuos (C)| {antiqued gold 18mm sunburst toggle Frost 10b WildFire braided beading thread ‘Too1s Scissors ‘Size 1 beading needles FINISHED SIZE | | : | Fig. 2: Weaving ‘and C faceup throughout the project. Place a needle at each end of 3'of thread, Working horizontally from right to left, use one needle to "string 1B (tophole), 1B (bottom hole}, and 18 (top hole). String 1A and 1B (bottom hole); repeat thee times, Sting 1, Repeat from "four times. String 18 (top hole|, 18 bottom, hole), and 18 (top hole) (Fig. 1, blue thread). Note:The beadwork will cur slightly as you work. Manipulate the beadwork soit cupst the back. Pass 2: Use the neadle not yet used to pass through the bottom hole of the nearest B, String 18 (tophole}; pass through the bottom hole of the next B, String 1A and. 1B (top hole} repeat three times. String 1A Repeat fram the beginning on this ppass four times. Pass through the bottom hole of the nearest 8, String 18 (top hole}; ppass through the bottom hole ofthe next B(Fig. 1, red thread). Reinforce: Working backin the opposite direction, use each needle to repeat the ‘thread path to reinforce. Secure and ‘trim the threads 2) ROUND 2. Use a variation of single- needle peyote stitch to form the second round: Pass 1: Use 6'of new thread that exits ‘through the top (outside) hole of the sec- cond 8 of Row 1, Pass 1, toward the bead- ‘work see the start dot in Fig.2)t0string 1 Aand pass through the outside hole of the next. String 1Cand passthrough the next (outside hole) repeat twice. String 14; pass through the next B(out- side hole). Repeat from * four times, then ‘weave through beads to ext from the bottom (outside) hole ofthe last B of Row 1,Pss2 (Fig. 2)-Rotate the bead- ‘work 180 degrees so that the working threadisat the top tight. Pass 2: Repeat Round2, Pass 1.Pass ‘through the frst A of Round 2, Pass 1. Rotate the beadwork 180 degrees so that ‘the working thread isat the top right. Wa Round? CADWORK FEBRUARYMARCHL20¥9 41Masquerade Bracelet Fig. 3: Adding Round 3 Fig. 4: Stitching Round'4 3) ROUND 3. Use a vatiation of single-nee- dle peyote stitch to form the third round: ass 1: String 18 and 14: pass through the ext C (outside hole). “String 1C and pass through the next C (outside hole); repeat (Fig. 3, orange thread). String 1A and 18; pass through the nearest 1A, 1B (out- side hole), and 1A. Pass back through the second hole of the B just strung, then string 1A and pass through the next C (outside hole) (Fig.3, turquoise thread). Repeat from * three times. String 1C and pass through the next C (outside hole); repeat (Fig. 3, blue thread). String 1A ‘and 18; pass through the nearest 1A and, 1B (outside hole) String 1A, 1G, 1A, 1G, ‘and 1A, and pass through both holes (top, then bottom) of the end 8. String 1A, 1G 1A 1C and 1A; pass through the next 8 (outside hole) and the following A (Fig. 3,1red thread). Rotate the beadwork 42 WWUINTERWEAVECOM 180 degrees so that the working thread is at the top right ass 2: Repeat Round 3,Pass 1.Secure and ‘trim the threads. 4) ROUND 4. Use a variation of two-nee- dle peyote stitch to form the fourth round: Pass 1: Place a needle at each end of 6' of thread, Use one needle to center 1B (inside hole) on the thread pass each needle through the left-end € (outside hole) (Fig. 4, lack thread. Use the top needle to string 2A; passthrough the next A. String 2A: passthrough the next 1€/18 (outside holes) (Fig. 4, turquoi thread).*String 2A; pass through the next A String 24; pass through the next C (outside hole), String 1C; pass through the next C (outside hole}. String 2A: pass through the next A. Repeat from * four times (Fig. 4, orange thread).String 2A; pass through the next 1B/1C (outside holes) String 24: pass through the next ‘A String 2A; pass through the next C (outside hole). String 18 (inside hole}; pass through the next C (outside hole) (Fig. 4, blue thread). Pass 2: Use the other needle to repeat Pass 1, passing back through the ast B (inside hole) of Pass 1 (Fig. 4,red thread). 5) ROUND 5. Continue in two-needle pey- ‘te stitch variation: Pass 1: Use the bottom needle to string 2A; pass through the nearest B (outside hole) String 2A; pass through the next SA/IC/IBISA (Fig. 5, orange thread). “String 3A; pass through the next C(out- side hole). String 3A; pass through the lastC (outside hole) exited. String 3A; pass through the next 8A (Fig.5, blue thread). Repeat from *fourtimes,Fig. 6: Adding the clasp passing through SA/18/1C/SA on the last repeat (Fig. 5, red thread). ass 2: Use the same needle to repeat Round 5, Pass 1.ass through the first 2A ‘of Round 5, Pass 1 and the following B (outside hole) Reinforce: Use the other needle to repeat the thread path ofall of the A beads along the outer edge of the beadwork. ‘Weave through beads to exit from the ‘end B (outside hole) on the other end of the bracelet, opposite the end the first needles exiting, 6) CLASP, Use the first needle used in Round 5 to string 4A and one halfoof the dasp; pass back through the last 2A strung, String 2; pass through the last B (outside hole) exited (Fig. 6). Repeat the thread path twice to reinforce. Secure and trim this, thread only. Use the remaining needle to repeat this entire step tozttach the second half of the dasp. Secure and trim the work ing thread. SHANNA STEELE isa self aught jewelry artist who worked in the bead and jewelry supply business for about a decade. She now sellsher wares inthe Dallas/Fort Worth area where she lives wth her husband, son, two dogs, and a room full of crafty goodies. Shanna was a 2018 Beadwork Designer ofthe Year. Shanna sells PDFS, kts, and sample pieces on her website, wwwsteelemagnoliadesigns com. You can contact her at shannaesteelemagna- liadesigns.com. artist's tip ‘Choek to make sure there ‘aren't any blocked holes in fetch ofthe GemDuos before stringing them. Discard any ‘beads with blocked holes ‘Tryingto unblock the holes ‘ean easly break these beads, RESOURCES Check your favorite bead retailer or contact: Miyuki seed beads and allother materials: Fusion Beads, (888) 781-3559, wwwwifusionbeads.com. © CADIORK FEBRUARMARCHL2019 43Bons Temps Bracelet. evetina patmontova 4 WRKINTERWEAVECOM See 7 FORHELPFULTECHUQUERNFORIATION EE 3 FORFROIECT-EUEL MFORMATCHEN | STARTED STITCHING THIS bracelet, Ithoughtit might not turn ‘out as pretty as Iwanted it to be, The violet ‘green magic GemDuos are a two-color mix thatcan be tricky to work with. However, once I separated the colors and added the pears, knew this bracelet would be beau- tiful hope you lke it as much as Ido. TECHNIQUES Rightangle weave variation Gircularnetting PROJECT LEVEL 000, MATERIALS 59 seafoam galvanized permanent finish size 1" Japanese seed beads (A) 4g amethystrainbow frosted transparent size 11" Japanese seed beads (8) Ag higher metallicviolet iris size 11" Japanese seed beads(C) 45 violet green magic 85mm 2-hole ‘GemDuos (0) (Mix culled to violet beads only) 2Blight green 6mm glass pearl rounds E) 1 sliversplated 310mm 5-strand slide clasp Crystal 6 Ib FireLine braided beading thread Toois Scissors Size 11 beading needle Wire cutters Jewelers fle FINISHED SIZE ae artist's tips >The vile! green magic GemDuos (D) area mixture of areen and purple beads. Cll the igreen-colored beads from the ‘nix and use only the violet beads >You may substituteany Gam bead forthe glass peae rounds, Tey erystals or gomstones fora iferent look! >Fora narrower braccet titeh ‘only two rows instead ofthrue Ske 1) ROW 1. Use a variation ofright-angle weave to create the fist row: Unit 1, Pass 1: Note:Take care to add the D faceup throughout the entite project. Use 6 of thread to string 1D and 38, leaving a 12° tall: pass back through the second hole of the D. String 38; pass through the first hole of the D and weave through beadsto exit from the 38 just added (Fig. 1, Blue thread). Repeat the thread path toreinforce, Unit 1, Pass 2: String 5Aand pass through the next 38; repeat Weave through beads to exitfrom the center B of the top 38 set of the previous pass (Fig. 1, red thread). Unit 2, Connection: String 38; pass through the last 8 exited and the first 28 just added (Fig. 2, green thread) Unit 2, Pass 1:String 1B, 1D, and 38; pass back through the second hole of the D just added. String 18 and pass through the last8 exited in Unit 2, Connection. andthe following 8 ofthis unt (Fig. 2, blue thread). Unit 2, Pass 2: String 5A and pass through the next 38; repeat Weave through beads to exit from the center B ofthe top 38 set of the previous pass (Fig. 2, red thread). Units 3-15, Connection and Passes 1 ‘and 2: Repeat Connection and Passes 1 ‘and2 of Unit 2 thirteen times Weave through beads to exitfrom the center A of the rightmost 5A set of Unit 15 (see the start dot in Fig 3). Fig. t:Ssitehing Unt Passes | and2 of Row | Fig. 3: Working onmestion and 2) ROW 2. Continue ina variation of right- angle weaver Unit 1, Connection 1: String 3A: pass through the last Aexited and the first 24 added (Fig. 3, blue thread). Unit 1, Pass 1: String 2A, 1D, and 2A; pass through the last Aexited in Row 2, Unit 1, Connection and the following 2A of this unit (Fig. 3, red thread). Unit 1, Pass 2: String 38; pass down through the second hole of the D. String 38; pass.up through the ist hole of the D and through the next 3B (Fig. 4, blue thread). Unit 1, Pass 3: String 5A; pass through the next 38, then weave through beads to exit from the center B of the bottom 3B setof the previous pass (Fig. 4, ted thread), 2: Weaving ‘Connection and Pases "and: 0f ow 1, Uni2 Fig. Stitching Passes? ‘ahd 3 of ow 2 Unit 1 SEADWORK FEARUARYIMARCH ZN? 45Bons Temps Bracelet Vice wielced Co anenaly eat Sn ea ee er co eee ee eae Japanese seed beads (A) er orn creer tC) ‘4 gorchid galvanized permanent ee ieee) poe Peed poe ceniot eal crur eat) eS aene ernie) COT race reer crete eee eon Ice erer STAC) cena arias peer Tee See ceuu ie eu CeCe) Ecard Coun) eee nee) ey Ea eerie) 46 wwuinTERWEAVECOM Fig. 5:Weeving Connaction and Pass Tofow2, Unit? through the last A exited and the first 28 added (Fig. 5, blue thread), Unit 2, Pass 1: String 18, 1D, and 38; pass bback through the second hole of the. String 18 and pass through the last 8 exited of Unit 2, Connection andthe following 6 (Fig. 5, red thread). Unit 2, Pass 2: String 5A and pass through the next 3B; repeat. Weave through beads to exit from the center A of the second 54 set of this pass (Fig. 6, blue thread). Unit 2, Connection 2:String 1A: pass through the center 4 of the SA set of the adjacent unit in the previous row. String 1A passthrough the last A exited of the Fig 6: Working Pass 2 and Connection 2of Row2,Uni2 current unit, then weave through beads ‘to exit From the center Bof the bottom 3B setof the current unit (Fig. 6, red thread) Units 3-15, Connection 1, Pass 1 and 2, and Connection 2:Repeat Unit 2, Connection 1 of this row, Unit2 Passes 1 and 2 ofthis row: and Unit 2, Connection 2 of thisrow thirteen times. Weave through beads to.exit from the center A of the rightmost 5A set of Unit 15 of this rom, 3) ROW 3. Continue ina variation of right-angle weave: Unit 1, Connection: String 3A; pass through the last A exited and the first 2A added.Fig. 7ticing Enbelishment, ie dinate Unit 1, Pass 1: Note:Take care to add the D faceup. String 2A, 1D, and 28; pass through the last A exited of Unit 1, Connection and the following 28 ofthis unit. Unit 1, Pass 2: String 38; pass down through the second hole of the D. String 38;pass up through the firsthole of the D ‘and through the next 38, Unit 1, Pass 3: String 5A and pass through the next 38, then weave through beads to exit from the center B of the top 38 set ofthe current unit Unit 2, Connection 1: String 3A; pass through the last A exited and the fist 2A added. Unit 2, Pass 1: String 18, 1D, and 38; pass back through the second hole of the D. String 1B and pass through the last 8 exited of Unit 2, Connection, and the fol- lowing B. Unit 2, Pass 2: String 5A and pass through the next 38;repeat. Weave through beads to exit from the center Aofthe leftmost 5A set of this pass. Unit 2, Connection 2: String 1A: pass through the center A ofthe SA set from the adjacent unit of the previous row. String 1A; pass through the last A exited of the current unit. Weave through beads to exit from the center ofthe top 3B set of the current unit. Units 3-15, Connection 1, Passes 1 and 2, and Connection 2: Repeat Row 3 Unit 2 Connection 1, Passes 1 and 2, and Connection 2 thirteen times. Weave ‘through beads to exit from the bottom A (of Unit 15, Connection 2 (see the start dotin Fig. 7). 4) EMBELLISHMENT. Use circular netting toembellsh the band: Row 1, Unit 1: tring 1E; pass through the nearest A of Connection 2 ofthe previous unit, back through the € just strung, and ‘through the first A exited in this unit (Fig. 7, blue thread). "String 3C; pass through the nearest 8 of Connection 1 String 3C; pass through the nearest A of Connection 2. Repeat from % then weave ‘through beads to exit from the bottom A of Connection 2 ofthe previous unitin this row (Fig. 7, red thread). Row 1, Units 2-14: Repeat Row 1, Unit 1 ‘thirteen times. Weave through beads to exitfrom the top A of Unit 15, Connection 2 inRow 2. Row 2: Repeat Row 1, weaving through beads to exit the top A of Connection 2 of the previous unt of the current row on each repeat, Weave through beads to exit from the center B ofthe top 38 set of Row 1, Unit 15 (see the start dotin Fig. 8) Don'ttrim the threads; set aside 5) CLASP. Use the wire cutters to remove ‘two loops from the five loop clasp, and file smooth, Use the working thread to *string 2B and the first loop ofthe clasp; pass back {through the last 8 strung, String 1B; pass through the first B exited of this unit™, then ‘weave through beads to ext from the cen terB of the top 38 set of the next row. Repeat from *, adding the second loop of the clasp. Repeat from "to", adding the {third loop of the clasp (Fig. 8). Secure and trim the working thread. Rotate the bracelet 180 degrees; use the tall thread to weave through beads anc repeat this entire step, ‘ensuring that the clasp is positioned to close properly. EVELINA PALMONTOVA isa proud mother of two children and works as a dental assistant. She did Gobeln embroidery for thirteen yeas butmow fils her fee time with making beaded jewelry. Contact Evelina at wwwsvetruenyeh precsk RESOURCES Check your favorite beac! retaller or contact: Toho Japanese seed beads, similar GemDuo beads, and all other materials: Red Panda Beads, vwwwstedpanda beads.com. © CADWORK FEBRUARYARCHL20N9 47REATE THIS REGAL-LOOKING princess-length necklace that floats a bright pop of color at the neckline. TECHNIQUES Girculernetting Peyote stitch Tubular right angle weave PROJECT LEVEL 000 NECKLACE MATERIALS crystal full Labrador stze 15° Japanese seed beads (A) 8g crystal full Labrador size 11° Japanese seed beads (8) 05 gerystal full Labrador size 8° Japanese seed beads (C) 2exystal full Labrador size 7° Czech seed beads (D) 0.5 gsiiver 5:2.5mm 2-hole SuperDuos (E) 16silver 3mm fire-polished rounds (F) 3 silver 4mm fire-polished rounds () 3aystal turquoise tamm crystal pearl coins (H) 1 sterling silver 1omm ball tab clasp 2 sterling silver 20-gauge mm jump rings 2 sterling silver 3.5<7mm clamshell ead tips ‘Smoke 6b FreLine braided beading thread EARRING MATERIALS, 11g erystal full Labrador size 15° Japanese seed beads (4) 05 gerystal full Labrador size 11° Japanese seed beads (8) 0.5 gerystal full Labrador size 8” Japanese seed beads(C) Theraisno Din this eolorway 0.5 gsilver 5:2.5mm 2-hole SuperDuos E) silver 3mm fire-polished rounds F) ‘Thereisno Gin this colorway 2arystal turquoise 14mm crystal pearl coins (fH) 2sterlingsilver 20-gauge 3.7mm jump rings ‘pair of sterling slver 4mm ball ear posts ‘with nuts ‘Smoke 6b FireLine braided beading thread roois Scissors Size 1 beading needles 2 pars of chain- or flatnose pliers FINISHED SIZE Necklnce: 171" witha 14.116" focal Earrings: 1) PENDANT. Use circular netting to form the pendants Round 1: Use6' of thread to string (1H, 18, 1G, 18} three times, leaving 26" tal. Pass through the beads twice to form a tight Circle; use the working and tall threads to tle a square knot. Passthrough the fist IHIBAG/B Fig. 1). Round 2: String 58, 1E, and SB and pass through the last 18/16/1B exited; repeat. Poss through the next 1H/1B/1G/1B of Round 1 (Fig. 2, blue thread), Repeat from the beginning of thisround twice, then weave through beads to exit from the second (Inside) hole of the second E added in this round (Fig. 2, red thread). Round 3: Sting 1F and passthrough the next E [inside hole); repeat twice (Fig. 3, blue thread).String 48 and pass through thenext (inside hole; repeat twice. ‘Weave through beads to exit from the second hole of the first E added in Round 2 (Fig. 3, red thread). Flip the beadwork over. Round 4: Note: This round snugs the beads around the back of the pendant. Repeat Round 3, then weave through beads to exit from $B of Round 2, away from the beadwork (ee the start dotin Fig.4).Flip the beadwork over. Secure and trim the ‘all thread. Note: Hold the beadwork so that the back of the pendantis on top with the edge facing you. Embellish: String 2B and pass through the ext 58/16/56; repeat (Fig. 4; edge of beadwork shown). Weave through beads to exit from the next 58 of Round 5, away from the beadwork. Repeat Embellish. Fig. Forming Round 1 ofthe pendant Fig. 2:Weoving Pendant Round 2 Fig. 3: Adding Round 3 tothe pendant Fig. &: Embelshing the pendant SEADWORK FEARUARYIMARCH ZN 49Queen’s Heart Necklace and Earrings Fig. 8: Stiching Rows 4 ‘ana ofthe bail Fig. 9: Weaving Bal Rows Bail Loop: String 10, 148, and 1D; pass through the 58/16/58 on the front ofthe pendant (Fig. 5, green thread). Pass through the 1D/148/1D just added, the 58/16/58 on the back of the pendant, ‘and the next 1D/48 (Fig. 5, blue thread). String 1A; pass through the next 6B. String 1A; pass through the next 48 (Fig. 5, red thread), Repeat the thread path of the bail 009 to reinforce; secure and trim the working thread. Set aside. 2) BAIL. Use odd-count peyote stitch to form the bait Rows 1 and 2: Use’ of thread to string 1C, ‘f,and 1C (Fig. 6, blue thread) Row 3: String 1C; pass back through the next 1F/1C (Fig. 6, red thread). String 1C; pass back through the next 1F and through the next 2C Fig. 7). Row 4: String 1F;pass back through the next C (Fig. 8, blue thread), Row 5: String IC: pass back through the next 1F/1C (Fig. 8, red thread). String 1C: pass back through the next 1F and through the next 2C Fig. 9) Rows 6-20: Repeat Rows 4 and 5 seven times, Repeat Row 4 Connect: Insert the bail into the bail loop. ‘Align the beeds of ows 1 and 20to interlock ike @ zipper. Use the working 50 WWRUINTERWEAVECOM Fig. 6:Forring ows -3of te bil Fig. 10: Forming Unit ofRope Fig, 1 Adding the Sarrshal thread to weave through beads to form a seamiess connection. Secure and the threads. Set the pendantaside, 3) ROPE. Use tubularright-angle weave to form the rope: Unit 1, Bottom: Use 6 of thread to string 38 leaving a 10" tail. Pass through the beads again to forma tight circle; use the working and tal threads to tiea square knotand pass through the first B strung (Fig, 10, orange thread). Unit 1, Face 1: String 38; pass through the last 8 exited and the nest B at the bottom of this unit Fig. 10, purple thread). Unit 1, Face 2: String 28; pass down through the nearest Bof the previous face and through the last B exited at the bottom of this unit and the next 8 (Fig. 10, green thread). Unit 1, Face 3 and Top: String 18; pass down through the nearest B of the previ- ‘us face, through the last B exited at the bottom of this unit, up through the next Bof the first face in this unit, and through the last 8 added (Fig. 10, blue thread). Pess through the 38 at the top of this unit to.close the top (Fig. 10, red thread). Units 2 to end: Note:The Bat the top of the previous unit will act as the bottom B of the next unit. Repeat Unit 1, Faces 1-3, Fig. 7: Weaving Sy Ba Row 3 \ Fig. 12:\Wensing airings Rounds 1-3 and Top until the rope is about 16" long. Reinforce: Use the working and tail threads to weave through beads to repeat the ‘thread path ofthe frst and last 3 units to reinforce. 4) CLASP. Note: Insert the rope through the bail of the pendant before attaching the clasp. String 1 clamshell and 14; pass back through the clamshell and through the next 8 In the last unit of the rope (Fig. 11).Pass through the clamshell and ‘A.back through the clamshell, and through the next B in the last unit of the rope; repeat. Repeat the thread path to reinforce, snugging the bead into the clamshell. Secure and trim the working thread, Close the clamshell. Use 1 jump fing to attach one half of the clasp to the clamshell. Use the tail thread to repeat this entire step on the opposite end of the rope. 5) EARRINGS. Use similartechniques to create a pair of earrings: Round 1: Use of thread to string {1E and 1F) three times. Pass through the beads twice to form a tight circle; use the work- Ing and tail threads to te a square knot and pass through the first E (fist, inside hole] strung (Fig. 12, purple thread).artist's tips 2 Repeat the thread paths of each Step and use firm tension to keep the beadwork taut, > Create aladder-stitched bail in place ofthe peyate-stiteh fora different lok, >) Takeextra care while stitching the ‘ar-post loop so there is even tension onthe previous rounds, Fig. 18¢Forring Round oftheearings Round 2: tring 48 and pass through the next (inside hole; repeat twice then ass through the same E (outside hole) justexited (Fg. 12, green thread) Round 3:String 124, 1B,and 12A, pass through the st E (outside hole) exited, then weave through beads to exit from the next E (outside hole) Fig. 12, blue thread) repeat twice. Weave through beads to exit from the first 12A/1B added Fig, 12, red thread) Round 4: insert 1Hinto the beadwork and fold the beads of Round 3 toward you. Hold the Hin place while you work this round. String 2A and pass through the next 8 of Round 3; repeat vice, then pass through the next 7A of found 3 (Fig. 13). Flip the beadwork over. Ear-post Loop: Center the bottom hole of the H toalign between 2 strands of beads of Round 3. Pass up through the H. String 1C, 5A, 1C, 5A, and 1C; pass down through the H (Fig. 14, blue thread). Sting IF and 1A:passback through the F, up through the H, through the IC/SA/IC/SA/IC, and down through the H (Fig. 14, red thread). Repeat the thread path twice. Pass through the nearest A of Round 3 con the opposite strand and up through the H. Secure and trim the threads. Use 1 jump ring to attach 1 ear post viathe “Gh Cat the top of the ear-wire loop, taking care that the jump ring ‘opening slides inside of the C. Repeat Step 5 fora second earting. MICHELLE LEONARDO isa passionate designer who creates beautiful ewelry out ofthe finest glass seed beads. Her high-fashion. jewelry collctionisinsoited by her travels, particularly her love of the ocean. With an ‘award-winning careerin advertising and Graphic design behind her—plus several recent features in publications —she launched Michelle Leonardo Design to sell her jewelry ‘and patterns Contact Michelle through her website, ww. michelleleonardodesign.com, orconnect with her on Facebook t Michelle Leonardo Design, RESOURCES Check your favorite bead retailer or contact: Miyuki seed beads, SuperDuos, and Tulip needles: Jill Wiseman Designs (512) 487-5758, wwrvillwiserman, designs.com, Matubo size 7° seed beads: Rockin Beads, (303) 317-3003, wwrw.rockin beads com. Swarovski pearl coins and all other materials: Fire Mountain Gems and Beads, (600) 355-2137, www firemountain gems.com.@ Alternate Colorway Materials ea et RED Pee ea ea) Eris nie resem seer) Corremelareetas eon penetra) Peete e Carona) fere oe SuperDuos(E) 16silver 3mm fre-polished rounds (F) ere ett) Ree ata a pear eee ee ee eee Preinr nie eet! oe ere a epeorreerd Smoke 6ibFireLine eerie) peereeer icy Peet) Pesan er eam Japanese seed beads (8) Peeee eee ere. erro ei) 2,5mm7-hole Ae SuperDuos eee eee) iver mm fre-polished rounds () Sree entenc tc) oy Petar cara ie} Pree ee eal Ee eee) Perini) SEADWOR FEORUARYMARCH2ON? SISten vith Randy feataring fad ad 4000 CHS SEARDWAECAEOHENOWADECOM Natural Materials in Beading & Jewelry Making BY KATIE HACKER E HUMANS HAVE BEEN ADORNING ourselves for thousands of years. {t's only natural that we would reach for the beautiful things around us to create our own jewelry. Whether that's the bone and shell embellishments our earliest ancestors used or the myriad stones that are available to us today, our world offers an amazing array of natural materials to make beautiful jewelry. But natural materials aren't just lovely to look at. They also bring intriguing stories and symbolism into our jewelry designs. For example, each time you use a shell, you're invoking the power of the ocean. Wood provides a ground- ing energy. And, stones have historically been associated with a variety of at- tributes that are fun to discover and share. These can be powerful sales tools when you include this information on signage or packaging inserts when sell- ing your jewelry. Natural materials also lend themselves to interesting creative possibilities. Po rous materials such as lava stone, wood, and leather provide the perfect way to add aromatics to your jewelry, Just add a few drops of essential oil for an aroma- therapy effect. With natural materials itis very common for the holes to be abrasive inside. ‘Abrasion can damage your beading wire or thread, soit's important to use a bead reamer to smooth the inside of the holes. As the saying goes, an ounce of preven tion is worth a pound of cure, 52 WwAUNTERWEAVECOM PLANT LIFE Dorit underestimate the possibilities of florain your jewelry. Resin-encased flowers, ‘miniature terrarlums, and even live succu- lents glued into bezels make eye-catching, trendy jewelry, Oryou can incorporate beads, charms, and pendants with floral motifs. Debbie Blairincorporates a floral theme in her project, Dandelion Dreams, on page 59. Flowers and plants have all kinds of ‘meanings. For example, ferns represent sin cerity lotuses indicate new beginnings, and leaves symbolize growth, These unspoken sentiments add meaning to your jewelry designs, whether you're making itfor your- sel, for gifts, orfor sae. STONE ‘Stone is one of the oldest and most widely ‘used components in jewelry making. I's ‘amazing that a rough rock can come out of, the Earth and be transformed into a‘gorgeous wearable bead, pendant, or cab- ‘ochon, Stones that resemble their natural state, such as slices and nuggets are very on-trend right nov. Boho Serenity by Michelle McEnroe incorporates both stone beads and a floral motif on page $5. Most people are familiar with theirbirth- stone, but many folks don't realize that there are also attributes associated with stones, These qualities are lke background stories for stones and lend specific signifi cance to your jewelry designs. For exam- ple, turquoise has historically been used for balance, and amethystis used to relieve stress. I's no wonder that we love to be surrounded by aur beads! LEATHER One of the most up-and-coming natural materials in recent years, there are now a huge variety of ways to incorporate leather into your designs beyond the traditional cording. Tassels, die-cut leather, braided cord, and even leather- covered beads add a tactile effect to Jewelry designs. Leather is complementary to so many other natural materials: Thick leather cord plays well with large-hole stone beads, ‘wood or shell pendants look perfect on thin leather cord, and leather pieces can bbe used to create feathers, flowers, and ‘other motifs inspired by nature. |fnatural leather isn’t your thing, you can ‘ind many alternatives thatwill allow you to achieve similar looks. Search for“vegan leather" or faux leather" jewelry supplies for options, Corkis also a nice, naturel alter native for eather. Ithas a warm, wornsin look and can by dyed if you're looking for more color. woop Wooden beads, pendants, and other Jewelry: making elements are experiencing ‘resurgence right now. They look beaut ful with turquoise, pyrite, and other semiprecious stones. Wood has a ground ing quality but its lightweight, which makes It great for earrings and stacking bracelets. See Spiraled by Nature by Sandra Lupo on page 54 fora unique way 10 incorporate wood into adesign. Some wooden components, such as, sandalwood, have scents of their own, But i you're using unsealed wooden beads, you can add essential cls to make your own aromatherapy jewelry. Or you ‘could dye them, paint them, or transform them in numerous other ways using your favorte art supplies. SHELLS Shells were used in some of the earliest adornments, and they still make beautiful jewelry components. Whether they re natural shells pulled from the waves or shell-inspired ‘motif shell remind us of the ocean and the restorative power of the sea. Many types of shells have thelr own associated stories and ‘meanings, such as abalone, which is known asa protective shell, Deb Floros uses abalone inher design, The Oceanis Beckoning on page 56. The great thing about many shellsis that they already have holes for stringing. But if you want todril your own shells, youll need tousea drill press ora flexible shaft. Use 2 diamond-tip drillbit and dei the hole under water Place barrier suchas sponge under the shell so the drill bit makesa clean hole and doesrit puncture your water boul Wear safety glasses and a mask GETTING CREATIVE As you delve into the world of natural ‘materials, think about how you can com- bine the things you know with things that are outside your beading box. Taking a walk clears the mind and may also yield interesting natural elements to incorpo- rate into your jewelry designs. Take acue from Anne Perry and how she incorporates feathers in her Hotsy Totsy necklace on page 60. In addition to the materials in this article, you might also find seeds, nuts, horn, or other treasures. There is inspira- tion all around usif we dare to look. Jewelry artist Casey Sheppard fwnw.case ‘ofthenomads.com) says, “Upon construction of apiece, | ove using string ora needle and thread to attach fragile items such as pine ones or moss. With biager pieces of wood, use a diilbitand sting with cord fr rope. Play with what you have laying around. Try combining contrasting materials. Gold leaf and spray paint area fun way to add color or vibrancy to natural materials, Glue some rhinestone orcrystals. Add a chain. Theres no right or wrong." ‘Our ancestors made jewelry and adorn- ‘ments from whatever they could find in their enviconments. We are fortunate to be able to combine some of those very same eye-catching elements with their beautiful, modern cousins. The stories behind natural materials make them even more intriguing, KATIE HACKER is Beedivork Interim Managing Ecitor and the hos of Beads Baubles & Jewels ‘on PBS, Watch anytime with the entte series available inthe Interveave.com store. © Stone bends en pendants ta aly Stas prevrodflower pendant rch Sateen seul stices SEADWOR FEARUARYINARCH 2019 53Spiraled by Nature: Sandra Lupo : Alternate wood slcesyith freshwater stick ‘peal for an unsual nature-thomed nocklacedesign. Natural Materials Get back to nature with these seven stunning jewelry designs, made with wood, shell, gemstones, and pearls, (nstractions flow on page 62)fast & fabulous Boho Serenity © Michelle McEnroe ‘Matte gemstones and distressed ‘vintage beads jrovideromantiedetail toa ‘beautiful hanpaintedwvood pendast. SEER 77 FOR HELPFUL TECHIMO RMAION BEADWORK FEORUARUMARCH 2009 55;The Ocean Is Beckoning Deb Floros “Ihinkoutside thebocwhenselectingbeading ‘materials, Combine beatifilabaloneshellsand ‘bead forauniquenecklacedesign.fast & fabulous BEADWORK FEERUARIMUARCHL20N9 © S7Henna Teardrop Michelle McEnroe Incorporate alittle pattem playinto youtrjewelry design by combining dotted polynerelaybeads and lahorate silk ribbon with a ‘henna-design pendant.fast & fabulous Dandelion Dreams Debbie Blair ‘the rich eolor combination ofmookaite, ‘agate, yood,andiburgundy ribbon gives this easy stung eklacealavish SEER 77 FOR HLPFLL TEC HEUEFORNANION BEADWORK FEERUARUAMARCH 20fast & fabulous Hotsy-Totsy ‘Anne Perry Like afeatherboa without the tekle, this quick arta willhave you cutting 60 WwKUINTERWEAVE.COM ‘Serr FoR APRIL TCHR FORMANOn-Trend, Every Week See the latest components from around the world—every Thursday at Lima. Pend jatest aad c www.LimaBeads.comfast & fabulous Spiraled by Nature Sandra Lupo ‘Tecuiiques. Stinging Girping MATERIALS 2awhite0220-23mm biva peas 2alightbrown 18:25mm cencer-chledbiased-cut wood tices 1 brass tim lobster aso with chan tag brass mm jump ings 2brass mm jump rings 2antiqued copper 30mm crimp tubes 2brats 3mm wireguards 18 of brass mum cable chain 28 ofratral2mmleathercord 28 of bronze OTB bending wire roots 2pals of chan-orfletnese pliers Wire caters FISHED SIZE ” 1.Lay the beading witeand leather cord side by side on your work surface Sting V crimp tube fontocane end ofthe wice and cord and side the tube down the length ofboth untitsts about 6 from one end (do nt crimp). Use the long tall of the wire to sting 1 pear and smug it upto the ‘imp tube. Use the wie andcordto sting | wood slce;snug the wood sice next tothe pear. 2. Usethewite tasting 1 peat use the wire ane card tostring ! woodstice Note: Asyoustiing each pearl be sure to poston the leather cordon the same se ofeach pearl Continue tostring the remaining pealsand wood slices inthis manner ong te length of wire and cord allowing soft ‘ape without snugging the peels and wood slices too tightly. 2. Sting the remalning crimp tube onto the wire and cocd and side itnex tothe fina pearl Adjust the spacing ofthe pears and wood slices ae needed oreeaina sft crane. 62 WRUINTERWEAVECOM 4, Useoneend ofthe wire and cord to string 1 wireguard pass the wireback trough the wire- quard and 1 crimp tube Use ples to flatten one endo the crimp tube;repeat toflatten the other endofthe same crimp tube,but donotcrimp the center Tim the wire end thats closest tothe earl Cuthe eather cord end near the wlreguare. 5. Repeat Step 40n the other end ofthe necklace. 8. curche chain nha 7. Fol 1 chain segmentinhalfand use one men jumpring toattachonehalfof the daspto the center link, Use two 6mm jump ings to attach ‘both end inks tot witeguard. Repeat on the other halfof thenecidace, ‘SANDRA LUPO i a Nev erseyatist who teaches at bead shops, museums andBead Festevents. Sean eats nstuctona videasand contrbutes hoveto piojecstovaouspublcations. As aninventr, Sandia sented to shae her designs, instructions, and demos based on her Conetastic Cone Manse! Too Setand acessories Watch some ofher videos and contact he at wvusandsstones com, RESOURCES Check your favoritebeadretaler or contact: Feat Lic Gen an Jnr tp acygem as. Nod set 8M Gem W Tings (973) 3897-800, aw mbeudscon, Lathe cord Bead Dae, wo beatae pole cor Meter ater edo, wwwbeniloncom. © Boho Serenity Michelle Metnrae TecHNiQues Simple wieworking MATERIALS 20 turquoise Picasso 3x2men pressed-glass rondeles {6impessionjasperémm rounds “4matteblack-gold amazonite25:35mefat tearchops 1 tgereye 25:25 faceted inegular hexagon ‘brow git 10m vintage Lucite melon Suhitewashed 18x17 vintage Lucite lat textured rounds ‘Thandpaited wood 4 Yex 2*hemna loner bib pendant | matte back plated brass 7x12rnm lobstorclaso 16 matte black-plated brass 20-gauge2"bal-end head pins 1omatte black plated brass 20-gouge 2 eye pins ‘smatte black lated brass 18-gauge mm imprings “matte block plated brass 1-gauge 6mm umprings 2 antiqued brass Tm triste jump ings 5H of matteblack4mm/7mm long-end-short hattfatcurochain 3 ofmatteblackémm etched flat cable chala ‘roots ‘Wire cutors 2paksof caln-or lat nose pers Round nose pliers Scssors FINISHED SIZE 19)" adjustable to 202) ‘L.Attach one 12mm jump ting to each sideofthe pendant set aside 2. Use I eyepinto string 1 pressed glass rondelle, ‘whitewashed! Lucite round, and 1 pressed-alass rondelle:form asimple loop. Repea three times. 4. Use! eye pinto string 1 pressed-gass rondalle, * amazonite teardrop, and 1 pressed-glassron- dalle forma simple oop. Ropeat three times. 4. Use | eyepinto string pressed-gassrondelle the browm Lucite melon, and 1 prested-glassron- dalle forma simple oop. Use | eyepin to string 1 pressed-glasrondalle the igereyeheragon, and * pressed-glas ond form a simple loop, 5. Useone émm jumpring to attach the clasp to | whitewashed Lucite ink. Use one Aram jump fing to attach 1 amazonite teardrop link tothe pe ‘ious ink. Use one drm jumping mattach ‘amazon tenroplinkto the previous arazan- Ire tearerop link. 6. Use! ballend head pinto string 1 jasper round ‘and form a simple loop;repeat four times Use one ‘Gram jump ring to collect the Sjasperdanglesand ‘attach to thems jump ring between the previ- ‘ous 2 amazoniteteardiops 7. RepeatStep 6to-attach 5 new jasper dangles to the other sie ofthe 4rnm jump ring. 8. Useone mm jumpring to attach 1 amazonite teardiop ink tothe previous amazoniteteardkop link. Use ene ammjump ring to attach 1 white= ‘washed Luctelink tothe previous amazonite tear drop tink. Use one smn jump ring wo attach the previous Luce inkto the 12mm jumpring on the leftside ofthe pendant ‘9. Cut2piecesof etched cablechain.one "1'long ard one 14" long, Use one émnm jump fing o connect both chaln segments tothe 12mm jump ring onthe ight ie ofthe penclant 10. Use 1 bal-end bead pinto string 1 Jsper round; forma simplelocp that attaches tothe end ‘of chain segment repeat. Repest four tiesto _attach the remaining jasper rounds tothe 2 chain segmentsatandom intenvas. {LL Use one 6mm jump ringto attach | white ‘washed Luctelinkto the 12mm jump ng on the Fight side ofthe pendant. Use one arom jump eng twattach the Luce melon tothe peviouslnk. Use ‘one men jump tng to attach 1 armazonite tar ‘drop ink tothe previous ink Use one mm jmp fing to attach the tigereyehexagonto thefast & fabulous previous ink Use one 4mm jumping toattach the final whitewashed Lucitelink tothe previous ink 112. Use one nm jumping toattach the curd chainto the previouslink MICHELLE McENROE hasbeen making jewelry aed esignng beadwork since 2008 She isa regular paipantin temontlyehatenge at wivwartoead scenestudiacom and her work has been publsved in ‘umerous magazines. Michelle enjoys the sunshine ia Pano, Texas. where she ives with her husband, a large colection of uinea pigs and bunnies, and ner ‘ree adult children when they arehome sk het Etsy shop at wortmcentoemomentsetsyccm RESOURCES Checkyourfavoritebead retailer or contact: Fress-lssoaeles Arte sa Sums, wine _artebelajuplstsy.on ape, bas jump vgs and cab Chai ine Beas (38929-5208, aw linabaniccom evan nd igeoe Dakota tenes, wow datas cy, Sarita eens RNEVESEADS vores “ntycom. Whitvathed ute beads: Reduction Naor, wor -esutioorabn sycom, Penne Sumer id At ww summersindr.etcon. Clap, epson Ha ump ngs: Fdeas wo fobbends esc. be ca sConbela, wwnnyoradela.xsycon, @ ‘The Ocean Is Beckoning Deb Floras TECHNIQUES Stringing Giimping MATERIALS 2oslversize 1" seed beods(A 2siNer line crystal size” seee beads) 2Babalone 12mm flat coins 7 abalone 27-40:40-52mm connectors 1 siver20mm ecuredsng 1 silver 23:29mm regular tound toggle case 22:siver mm jumprings {6 siver fmm soldered jmp rings 4siher 2mm timp tubes 22" of siver 019 beading wee roots 2paisof chain or Racnose pliers Giimping plies Wire cutters Rotary tol or smallhand dil ontionad) FISHED S12 27" (with 7" focal) Tip:Prior to assembling, place your shells and beads ona bead board or flat surface to deter- ‘mine the layout. Since the large shell arenot symmetrical you can rearange the placement asneeded to ensure abalanced design. Note: you are unable to find abstone shell con: rectors with pedriledholes, you can purchase Shells and usea rotary too or small hand elt dla hole on each end, Simply mark the place ment ofyourholes with a pencil place kitchen spongein ashallow container, andifilhecon- tainer with just enough water to cover the sponge. Pace the shel ontop of he sponge {front side facing dover) and carefully dil {through the shel, keeping the shel just borely submerged inthe water. This method will re- vent the dil from overheating and the shell from cracking 41, Use one 11" pleco of beading wire to sting 1 ‘timp tube and one halfof the clasp. Pass back through the crimp tubseand crimp Sting 18 and 1 abalone coin String {1Aand | abalone coin thit- ‘een times. ting 1 crimptubeand 1 abalone con- rector: pass back through the crimp tube and imp, 2, Use 1 jump ring toattach 1 soldered jumpring tothe free end ofthe previous connector Use 1 jump ring to attach 1 nevabalone connector to the previous soldered jump cng Repeat entre step 3 mes, 3. Repeat Sp | to form the other half ofthe necklace and connecting the beading wite tothe {ree end ofthe last connector from Step 2. 4. Locate the center abalone connector trom Step2. Forma chain of)ump rings on the left side ‘ofthe center connector by attaching Bump ings in row tothe centerjump ring between the 2 ‘connectors atemating between jumprings and ‘soldered jump rings Use 1 jump rng toattach the textured ring to the las up rng inthe chain Repeatentre step to attach achain fjump ings ‘ontheright side ofthe connector, 5. Use jump ring toatach 1 sokdered rng tothe bottom ofthe textured ing. Use 1 jump ring to ‘attach | abalone connectorto the previous 3 ‘dered jump ring. 6. Use! jump ring to attach 1 soldered sing tothe {ree end of the previous connector. Use 1 jump fing to attach the remaining abalone connector to the previous soldered jump rina. ES FLOROS Ives in Cave Creek Arizona wth her husband and twokties She works ultime fr a9 insurance company, but her true passion sin Jewelry design 0c ras boen making jewelry for out 10 yeas and enjoys varetyof techniques, Fier jevery on Etsyand on Amazon Handmade Lunde the shop name Deb Luvs Jewelry Design and ‘watch Des Jewelry Variety Show on Facebook Liv. RESOURCES Check your favoritebeadretaler or contact: Sed beads and presses onde: Fison ead (68) 781-359, mr usnbends com. Ablane cans: Eagle Beaty, nw eaglebendsetsyca,Sibrabalne enfants (vu ed a second hleied as perNee aber (eel Coast hams. ynrwcentaleasteamsesycom. ‘east ster ig tog, and jum prs: Fe Moun ers and Beas, 00) 35-217, ornare gems. imp tubes ar wie: Bead (26) 3-205, anbeaiee on. Sunset onthe Coast Anne Perry BEADWORK FEBRUARUAARCH2NN9 63fast & fabulous TECHNIQUES Stringing Simple whreworking MATERIALS 30 goldsize 17 seed beads 432m05s agate 10mm faceted rounds ‘orange and-umite 10-15mmshel cps 2 gray 126m Zhole sell ractangies 1 orange 20:76mn2-hole wavy shel pendant “Aantiqued brass jump rings gold 2mm crimp tubes 16 of antiqued brass 5/70 ovaleain 16 of gunmetal 20-gouge wire 28 of siver.015 beading wire roous 2pal of chan-or acnose prs Round-nose ples Wie cutters 38" (wlth 3" focal), 1. Divide the shell chips nto to equal piles set aide. Use ones" pleceof gunmetal wie to forma ‘wrapped cop on the shell pendant. Usethe fee endofthe wire to fom a wrapped loop on 1 shell rectangle, Repeat entire stapto connect the see- ‘ond rectangle to the shell pendant. 2. Attach? jumptings ie by ie tothe free end (of shell rectangle: repeat onthe other rectangle. 23. Use 12" of beading wre t string 1 imp tube and 2of thejump rings; pass back through the imp tube and use piers to flatten. Sting half of ‘he shel ehips. Sting {1 agate round and 1 gold seed bead) fifteen tmes String 1 cmp tube and ‘oneend of the chain;passback through thecrimp tube and fatten, 4. Repeat step 3 on the other haf of the necklace. ‘? ANNE PERRY isthe deter ofa easing center in Southern Califia. Shehas been beating inher spare timeever since er best fend cleaned out her ‘af closet and gave Anncall ofr beads. RESOURCES Checkyourfavoritebead retaller or ‘contact: Shebrctanles and pte Sad Se (87) 95-1686, yebentbysndjcom.Smiarmassagae: IL Dramifors, wnat con. Cha: Bea U Ne, 718) 534-300. Alther rare: A ace Bee, (629.219.5533 wore aplecelbeadcom. © 64 wRuINTERWEAVECOM Henna Teardrop, ‘Michelle MeEnroe Tecuwiques Simple witeworking knotting MATERIALS 28 matte metalic bronze 32m faceted-ofast rondoles 1 grecn-with-gold slater 10mm English cut faceted glass round 2 chartreuse Wem pressed-gless flat coins ‘olive jage 128mm fat ova olive jade 15GOmm twisted ovels ® abony wood sxi6mm twisted ovale 1 ratual wood 26»S3mmetched henna teardrop pendant 2peridot/aek/oronze painted 10mm polymer lay bicones| ‘Weantiqued brass 21-gauge 1 eye pins ‘Weantqued brass Smm jump rings ‘antiqued brass mmm ring 1 antiqued brass rim etched jumpring 2antiqued ass mm rope jumo rings ‘ofbrownand-biack 14" wide vitagesari silribbon Wirecutters 2pais of chain- or fav-nose ples Round-nose pliers Scesors 2 1. Use 1 eve pin tostring 1 bronze rondelle, the flatjade oval-and 1 bronzerondlle for simple loop. 2, Use eve pinto sting 1 bronze rondelle, ‘ebony twisted oval, and ¥ bronze rondall; form simple loop. Reet entire step five mes. 2. Use 1 eve pin toasting 1 ranzerondelle, 1 poly- ‘mer elay bicane and bronze rondelle: form a simple oop. Repest. 4, Use | eye pintostrng | bronze rondslle the gteenrand-gold glass round ard 1 bronzeron- dele forma simpieloop, 5, Use 1 eye pintostrng 1 bronze rondelle, ‘ tisted jade oval and | bronze rondel form simple loop Repeat. 6. Use eye pinto string | bronze rondelle, ‘Veharreusecoi, and I bronze rondelle form simpleleop Repeat 7. Use one 5mm jump ring to attach 1 tasted Jade oval ink to one Tm jump rng. Using Sm jump rings attach inks to one another inthe fl- Foxring orde, starting with the previous ace ink, tw formthe left side ofthe necklace: 1 ebony ‘twisted oval, 1 polymer ly bone, chartreuse ‘coin, 1 chartreuse coin, 1 polmer clay bicone and ‘ebony twistedaval. Attach the 7mm jump ring tothe previous ebony eva ink. 8. Useonesmm jumpring to atach the fat jade ‘vallinkto the remaining 11mm jump tig, Using Sem jump ngs attachlinks tone anotherin the {following order starting withthe previous ade lnk, to form the right side ofthe necklace: ebony twisted oval, 1 ebony tvistad va, ebony ‘uisted oval the green-and god glass rounc, “twisted jade ovaland 1 ebony twisted oval “Attache 7mm jump cng rom Step7 tothe pre: vious ebony twisted oval nk, {9 Use the Smm jump rng toettach the pendant ‘wthe previous 7mm ump ring. 10. Use the bon to forma lars head knot on ‘one Timm jump ring Use both ribbon ens to {formanovethand knot on the remaining 11mm jump ring. leaving one3" and one 2 tal Trim both talson the diagonal MICHELLE MCENROE hasbeen mating jewelry and designing beadwork since 2008. Sheis regular Participantin themonshly challenge a wwwartbead scenestuiocom and her workhas been published rumerousmagazines Micelle enjys the sunshine in Piano, Teas, where shelves with her husband, 2 larg colectn of guinea pigs and bunnios and her thvee adult chien when they arehome, Vist her Etsy shop at wun mcenvoemomentsetsycom. RESOURCES Check your favorite beadretaleror contact: Bonz one Pir eweky Supls, wr pimssppiesesycorGer-anc-gl faceted gla ane te ela Supls, waneatedslawrpss cr. Sear ‘chartese psd gas cons Norkeshin Beas, re mmonkystrebeadsesscom Slade ates LB “Supplies wore bape con ladetwised ns Eeatherge, rm beachenge etsy.com. ebony ised ‘ob Bead & Honey, wo adsanhene sco Pena: Summer Yd rr sams nina. Polymer clay bizes- Gael Wil Beads, wwe ga euitow beads ety com. pins and jamprngs ima Beds 74) 529908, wwnnhmabents.cen. San sk bon Sit ww dbensandsktycom. @fast & fabulous Dandelion Dreams Debbie Blais TECHNIQUES Singing Giimping MATERIALS Silky white 1 For one-needlerighta sbetimes pas through the beads needle ladcersttcn.Sving 2beads string eeadsand passthrough the againto rm acicefor the founda- land passundsr the loses exposed fist beads agalnto form the fist. ton oundand pase through the next | Master the basics. Sharpen your skills. Learn more must-know techniques from loopotthe foundation ow and beck unit For therestofthe rom, sting TA. “Sting 1A, 1,and 1: kip 1 bead waenae though thesecendbeed Sting -3beadsandpassthroughthelast_ and pass ough the fllowing bead ‘bead and pass under the next Deadextedinthe previous untand inthe previous ound to form 3 “net.” exposed loop and back through the fist 2beadsjuststungethe thread Repeatfrom” five mes then step up —— | the bead jst strung; repeat pathwilresembleaseresoffigure forthe next ound by passing through | ights alternating diection witheach — thefist? beads of he fst net Sting enf unit Tobesintenextrom 02s 2A, 1B and 2A:pass through the mid- ‘through beadstoest fom thetop dll bead ofthe nearest net in the pre- Po? SSSRS, mesa Pubepreyy — Tateinhcitegsy an iat Mastering beadexited in the previous unit,and necessary to keep the work flat, and Herringbone Stitch i iii ‘the 2 beads just strung Pass through stepping upby passing through the Tedecenenithinarow stiog pene top esdottheprvoutow, fasta tnt ext and shipalogp ofthread on Sri 7 beads pas through the st, | ean — Peyote Stitch ‘To increase within a row, work Our editors also recommend WARNE HEAD KNOT oo Las head Kntsare erring geattorseaung Sting sbaserowot 13 betds sing stinging materlo Shencsandpassbackhroughthe,anothe pice, such asa fithbeedtrom heendoftvebase ingot adonut Foldthe Frince Tom Sting mathe sbeadsskip ——stiMgngmateralin Euttonhofoundatonrowobeads 3beaisof the biserom and pass back hall Pasthefold cree stirselemeredsoke tough ihenextBeadrepent tothe tough ang or donut eee an roeses tt adofthe row. Tota passback then ull theerdsthrough theloop Meee eee enccnctong though heletabeade(onelegof ented andpul mug a eee etnd the lat rt Sings beads pas back eae trough he center beedf the next ‘eundaron rom orf ne andcontinve OVERHAND KNOT a by Jamie Hogsett This isthe basic knot fr tying off thread. akea loop withthe stinging svateril Pas the cord that es behind ‘theloop ever the front cord and ‘through the loo pull snug. Stringing Style 2 by Jean Campbell AVAILABLE AT ‘wwvw.interweave.com 78 wwuneRWevecom sit MWWWINTERVEAVE-COMIBEADING FORVAIUABLE BEADING TIPS AND TECHAIOUESSQUARE KNOT Lune For asimpleloop useflat-nosepliers For awrapped:-loop ball center Thisknot étheclasicsturdy knot sult- Place asparing amountofghueon __romakeaso"bendatleast "ftom —_beadonasorlonger piece of wire. ale formost stinging materials, knots tosecurethem(werecommend the endofthewire Use endboth ends ofthe wire up the Makean ovethand not, passing the G-SHypo Cement) or use enough glue round-nose pies to rasp sides and across the top ofthe bead. Tightendovertheleftend.Make _tocompletely securebeadstoasur the wire atthe i cllthe Bend oneend siaight upat the center ‘other ovethandknothistime pass- face (£6000 TerficallyTackyTape). plies toward the bend, ‘ofthe bead then wrap the other wire ingtheleftendovertherightend; low anygiuetocurethoroughly but not past to preserve arcundit two pallsoug. belorecontinuing. ‘the 90" bend. Adjust tne orthree tenes. pliersasneededtacontinuethe wrap Forma arcund thenoseofthepliers Tithe wrapped loop Witenexttothe bend. Opena simple withthe loopby aaspingeschsidecfits ope staightup ingwitha profes, Dont pul wie, wap apart Instead, twist in oppestediec- —plngitback tions so thatyoucanopenand ciseit down over the CRIMP/CORD ENDS : without Starting theloop'sshape. _alteady-formedcoils. 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Use round-nose pliersto- bese cramieriaatiy cmemriNa) GZ orm asimpleloop withatal overap- _ Midvertcalloops neither end touse theceilasis or cut te col at certain rer val. make Jump rings or sai ings Crimp tubesare seamless metal tubes edo secure the endofa beading ‘down the neck the wire woo: ve. To use suing acim tube and . (aul oligo alaeea the connection fining ie, the loop Finish, Make a thicker, beavierokin ofthe dsp. Passback trough the SS EEE Sec remas otis ve backup oer the ceils toward the Sm ance Gimp tube inthe rant notch ofthe dello cendof amie with round -nose piers cexmping plersand squeeze to shape Hop and sening as |eohs Enlarge te piace ‘he tubeintoan oval Use thebeck byhotsing onto notch ofthe cpg pls to press ‘the spitl vin the length ofthe tube down between chain-nose pliers the wires, enclosing them inseparate snd pushing the chambers of he cresent shape, wire over the pre- Rotate the tbe 90" and use the front ‘Yous col with your tham’. notch ofthe piers to fold the 0 ‘hambers onto themselves, forminga ean cylinder imthe excess we Bing the bend. Wrap the taltighty Foraspiral, forma smallloopar the HEAD PINS/EYE PINS Head pinsare staightwires witha ‘lard, bll,or ether shape stone end. Eyepinsare straight wires that érdinsloo9, MORE STITCHES & TIPS! Watch free videos at www.interweave.com/beading to learn valuable beading tips and techniques. neadpire —oyapine “VST WHF INTERWEAVE CONVEEADING FOR VALLALE BEADING TPS AND TECHRIOLES SEADWOR FeORUARERRCH 2019 79the market PREMIER CLASSIFIEDS BEADS Tie § = Beads ‘er SEED BEADS Do you pay too much for Delica Beads? Now you don’t have to! Save 25% everyday at Perret eel) re a a) Creed (Ble Toro LU Vem, Rona t een a WEBSITES TO visiT Craft®ptics: Magnify tdiantse is Light! Ee arta 80 wwwuinTERWeAVECOM BEADS BEADS A. Wood | STONE | SHELL Great Designs Start with Great Beads beadsandhoneycom SHOWS & EVENTS SUPPLIES Supplies for beading, wearing coiling embellishing. 2019 aD “BRINGING GEM SHOWSTO YOUR PART OF THE COUNTRY” Lakeland, FL Ree iad Asheville, NC Oem ad WWW.GLWSHOWS.COM BUSINESS TO BUSINESS - WHOLESALE SHOWS| Kann Matitam ear any WITH ONLINE WORKSHOPS! Browse all online workshops today at Interweave.com TNIV ere VedIt’s not a Wheelchair... 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