Beadwork - June July 2020

Fabulous Black & White Jewelry Designs p.
58
®
JUNE/JULY
JUNE
JUNE/J
/JU
JULY
ULY 20
2020
020 • A
AN
N IN
INTERWEAVE
INTE
TERW
TERWE
RW EAVE P
PUBLICATION
UBLI
UBLICA
LI CATI
CATIO
TI ON
ON
Try
Geometric
Beadwork
Make Colorful
Beaded Fish
New! Jewelry,
Bead & Gem Arts
Awards p. 80
Goldsmith to
Master Beadsmith:
Edgar Lopez p. 14
Colorful Kite sh,

Caren Smith
p. 54
Caribbean
WWW.INTERWEAVE.COM
Dream p.22
over 1,500
FREE tutorials
(!!!)
+ all the supplies
you need
your NEW B(EAD) FF

John Bead Corporation — Beads, Crystals & Components
Tel: (416)757-3287 | Toll Free: 1(888)755-9055 | E-mail: sales@johnbead.com | www.johnbead.com
contents
JUNE/JULY 2020 VOLUME 23 NUMBER 4
Bead Artist
14 EDGAR LOPEZ: Goldsmith
to Master Beadsmith
18 ADA’S JEWEL
22 CARIBBEAN DREAM
Geometric Beadwork
28 CONTEMPORARY 18 22
GEOMETRIC BEADWORK
K M K
32 STELLAR EXPLOSION
W E
38 BOHO BASKETS
C K
42 GOLDEN FRAMES
N V
Projects
47 DRAGONFLIES & DAISIES
S J
50 HARPER COLLAR
38
M A E M A
54 COLORFUL KITEFISH
C S
Departments
4 PASSING THROUGH
6 COOL STUFF
10 SIMPLY SEEDS
77 TECHNIQUES
80 BEAD BUZZ
32
28
On the cover Contemporary
Colorful Kitefish Geometric Beadwork
by Caren Smith
Page 54
2 WWW.INTERWEAVE.COM
42 47 50
58 59
10
60 63
Project Rating Fast & Fabulous: Black & White

Our three-level project rating system is found
in the project instructions. 58 AT THE BALL 62 UNIQUE BATIK
D B T R
BEGINNER LEVEL 59 CLARIFY & AMPLIFY 63 LOTUS POND
Quick and easy K H A P
60 TRELLIS OF LOVE 64 HARLEQUIN STAR
INTERMEDIATE LEVEL T H L P
Moderate time commitment
61 MOLECULAR STRUCTURE
A P
ADVANCED LEVEL
Longer time commitment
For Stitch Index, see page 77.
BEADWORK JUNE/JULY 2020 3

passing through
EDITORIAL
Say Yes to Geometric Director of Content Tamara Honaman

TECHNICAL EDITOR Meredith Steele
Beadwork
INTERIM MANAGING EDITOR Katie Hacker
COPY EDITOR Nancy Arndt
MARKETING & ADVERTISING

Geometric beadwork has become a movement of its own. ADVERTISING MANAGER Marilyn C. Koponen
We’re excited to share it with you in a feature article from mkoponen@goldenpeakmedia.com, (877) 613-4613
CLASSIFIED ADVERTISING Stephanie Griess
Kate McKinnon (page 28), along with projects to fuel your sgriess@goldenpeakmedia.com, (877) 613-4630
imagination. For those of you who need a little break from AD TRAFFICKER Cari Ullom
shaped beads, you’ll find five inspiring seed bead-focused SENIOR MARKETING MANAGER Jessi Rodriguez
designs. Wendy Ellsworth’s Stellar Explosion bangles CREATIVE SERVICES
(page 32) make us smile while taking our breath away, and SENIOR DESIGNER Connie Poole
Nicole Vogt’s Golden Frames necklace (page 42) is nothing ILLUSTRATOR Laura Shell
PHOTOGRAPHY Matt Graves and Molly Stevenson
short of stunning.
The rest of this issue is packed with inspiration, too. We’re smitten
with the whimsical Kitefish Earrings (page 54) that spotlights five of our
favorite new shaped beads. Technical editor Meredith Steele shows off 10 FOUNDER Linda Ligon
products you’ll want to try in Cool Stuff (page 6). Bead Buzz is all about DIRECTOR OF CONTENT Tiffany Warble
the new Interweave Jewelry, Bead & Gem Arts Awards. Find out what the GROUP ART DIRECTOR Emily Simpson
judges are looking for, then flex your creativity as your plan and create DIRECTOR OF MEDIA SALES Julie Macdonald
your own winning design.

Our June/July 2020 Bead Artist is Edgar Lopez, whose colorful, intri-
cate beadwork designs will make you want to pick up needle and thread
right now! (page 14). His gorgeous Caribbean Dream bracelet (page 22) GOLDEN PEAK MEDIA
and Ada’s Jewel ring (page 18) welcome summer with their island-inspired CHIEF EXECUTIVE OFFICER Gregory J. Osberg
color palettes. It’s easy to see how Edgar’s background as a goldsmith SVP, GROUP PUBLISHER David Pyle
influences these radiant designs. SVP, CONSUMER MARKETING Paula Backer
VP, FINANCE Jordan Bohrer
This issue’s Fast & Fabulous collection features 7 dynamic black-and-
VP, DIGITAL Melanie Darienzo
white designs that use art glass, batik, quartz crystal, and other unique VP, PRODUCT AND STRATEGY Josiah Klebaner
components. Molecular Structure (page 61) links rings together to form a NEWSSTAND SALES Scott T. Hill
geometric focal element, while Harlequin Star (page 64) introduces simple scott.hill@pubworx.com
bead-weaving to make eye-catching earrings.

Finally, I’m sending a big thank you to the amazing women who have
previously guided this magazine into your hands, from founding editor Designs in this issue of Beadwork® are for inspiration and personal use only. Designs
Jean Cox, to Melinda Barta, to Debbie Blair, and Tamara Honaman. I’ve may not be taught or sold without the expressed permission of the author. Beadwork
does not recommend, approve, or endorse any of the advertisers, products, services, or
learned so much from all of them and am grateful for the opportunity to views advertised in Beadwork. Nor does Beadwork evaluate the advertisers’ claims in
work with the Beadwork team to bring you creative beading inspiration. any way. You should, therefore, use your own judgment in evaluating the advertisers,
products, services, and views advertised in Beadwork. Exact reproduction for commercial
And, thank you for beading and reading! Your submissions and subscrip- purposes is contrary to the spirit of good craftsmanship.
tions are important to us. Beadwork (ISSN 1528-5634) is published bimonthly by Interweave, a division of Peak Media
Properties, LLC, 4868 Innovation Dr., Fort Collins, CO 80525-5576. USPS #018-351. Periodicals
postage paid at Fort Collins, CO 80525, and additional mailing offices. © 2020 Peak Media
facebook.com/ Properties, LLC. All rights reserved. Reproduction in whole or in part is prohibited, except by
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Katie Hacker in the U.S.A. POSTMASTER: Please send address changes to Beadwork, PO Box 433289, Palm
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Editor beadingdaily
Coast, FL 32143.
Beadwork Retailers: If you are interested in carrying this magazine in your store, please contact us:
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For Beadwork SUBSCRIPTION questions or concerns, contact us:
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www.interweave.com
‘Lavender Crown Bracelet’
Designed by Starman TrendSetter Penny Dixon
For more of her work, visit www.etsy.com/shop/PennyDixonDesigns

Get the pattern through your favorite bead store or online retailer.
AUTHORIZED Ask Your Local Bead Store for Starman beads or order from:
DISTRIBUTOR
Artbeads Bobby Bead Kellie’s Bead Boutique
www.Artbeads.com www.BobbyBead.com www.KelliesBeadBoutique.com
Aura Crystals Design & Adorn Beading Studio Laura’s Beads
www.AuraCrystals.com www.DesignAndAdorn.com www.LaurasBeads.com
Beadaholique Eclectica Lima Beads
www.Beadaholique.com www.EclecticaBeads.com www.LimaBeads.com
BeadStu Eureka Crystal Beads Midwest Bead & Supply
www.BeadStu .com www.EurekaCrystalBeads.com www.MidwestBeads.com
Bead World Goody Beads Red Panda Beads
www.BeadWorld.com www.GoodyBeads.com www.RedPandaBeads.com
Bello Modo Just Bead It The Atlantic Bead Company
www.BelloModo.com www.JustBeadItConcord.com www.theAtlanticBeadCompany.ca
BEAD STORES–REGISTER AS A RESELLER: 888-683-BEAD [2323] • WWW.CZECHBEADS.COM • SALES@STARMANINC.COM

cool stuff MEREDITH STEELE
1. Check out these gorgeous or gold in six colors. Fall in love with 4. This is a tiny taste of the attention-grabbing statement-
double-hearted star-cut and the feathery look and feel and get gorgeous pointed-back crystals you jewelry projects that you can make
faceted cube beads from Dakota yours at www.goodybeads.com. can get from Potomac Beads. in one sitting. Look for it at your
Stones. With literally hundreds 3. Nina Designs is debuting their Shown here are a 14mm rivoli in favorite bookseller. ISBN-13
of stones to choose from in just Mixed Metal Adventure milky hyacinth, a 13x18mm 978-1497100022.
these two categories, and strict Collection—and we are in love! As rectangle in aqua opal, a 13x18mm 6. Some very cool geometric
quality and ethical standards, always, these high-quality charms oval in fractal lavender, and a 14mm gemstone top-drilled pendants are
you can buy Dakota Stones are made with sterling silver with rivoli in fractal peridot. Check out in stock at Cherry Tree Beads.
with confidence. Ask for them bronze accents. Shown here are the the many beautiful milky, opal, Shown here in hexagon, shield, and
at your favorite bead retailer and owl, wolf, snowcap mountain, and and fractal colors at www.potomac flag shapes—many stones and
visit www.dakotastones.com camping charm with tent. Ask for beads.com. shapes are available to fit any style.
to see even more. them at your favorite retailer and 5. Award-winning designer Gay Shop online at www.cherrytree
2. This large capped flat tassel from see many more, including a bear, Isber’s new book, Making Wow beads.com.
Goody Beads swishes and flutters rabbit, and dozens of mountain and Jewelry Techniques and Projects for 7. This new multicolor Artistic Wire
like no other! Measuring in at 4¼" camping-themed charms at www Making a Statement, is hot off the from Beadalon is a must-have for
long and 2" wide, available in silver .ninadesigns.com (wholesale only). press! This book is packed with creating really unique and playful
THE STAFF OF BEADWORK INVITES YOU TO SEND YOUR NEW BEADWORKING PRODUCTS FOR CONSIDERATION IN COOL STUFF.
HANDPICKED
FAVORITES IN THE
Fast & Fabulous Over the Top Sparkle Pattern Pack

9 Make a sparkling statement with the Fast & Fabulous Over
the Top Sparkle Pattern Pack from the Beadwork December
2019/January 2020 issue! Seven designers bring you elegant,
beautiful necklaces that are
sure to shimmer and shine
during a night on the town.
Find the perfect piece to
complete your outfit or give
as an unforgettable gift.
Each design works up
quickly and can be easily
customized for a fast
and fun project.
Visit www.interweave.com
to get your sparkle on!
WHAT'S HAPPENING ON
10
BeadingDaily.com
wire components such as ear wires get more information, and buy yours
and closures. The repeating pattern at www.lasvegasrhinestones.com.
of three colors creates a beautiful 9. It was hard to pick just three of these
ombré pattern. Available in six c stainless-steel pendants from Cherry
olor mixes and three gauges at Tree Beads to feature. There are so
www.beadalon.com. many cool designs that are lightweight
8. This stand and prong-pushing and perfect for big, bold earrings.
hand tool from Las Vegas Rhinestones Look for them all at www.cherrytree
make setting crystals a breeze. The beads.com.
horseshoe-shaped stand holds post 10. Goody Beads has a lovely Interweave’s
terweave’s New and Improved Website
earrings, lever-backs, and other crystal collection of wood and resin We’ve made quite a few changes and cleaned up a few
settings in place while you insert the pendants that will add an organic things, so your experience will be faster and more secure
crystal, and the prong-pushing tool and earthy look to your jewelry than ever. Along with a new look and easier navigation, there
makes folding the prongs down designs, plus a pop of color! Sixty are a few new pages and areas of the site. Take the tour at
foolproof, saving you from cracked styles and colors to choose from at www.interweave.com/article/interweave-grand-tour.
and scratched crystals. See a video, www.goody beads.com.
www.interweave.com
PLEASE SEND ALL SUBMISSIONS TO BEADWORKMAG@GOLDENPEAKMEDIA.COM AND INCLUDE COMPLETE PRODUCT INFORMATION.

Get Started in Bead Weaving
with an Interactive
Online Workshop Series!
Join expert, artist and instructor Tammy
Honaman and learn beginning techniques
to creating beautiful beaded jewelry in a
four online workshop series that includes:
How to How to Learn These Stitches: Learn These

Bead on a Embroider with Peyote, Brick, Stitches: Ladder, Flat
Loom Seed Beads Square, Daisy Chain Herringbone, Hubble,
& RAW Chevron & Chenille
The online workshop content is

available to you anytime, anywhere!
Work at your own pace through video lessons and
interactive learning opportunities that will
ignite your passion for beading!
www.interweave.com
Professional Quality Seed Beads
“Enchanted Lightbloom Headdress”

2020 TOHO Challenge Design
by Featured Designer
Melissa Grakowsky Shippee
For more of Melissa’s work, visit:
https://mgsdesigns.net
Be sure to catch
Team TOHO at the 2020
Bead&Button Show June 4–7th!
Visit booth #723 to see
gallery designs on display and
to take part in workshops,
demonstrations, and
much more!
Traditional Seed Bead
TOHO DISTRIBUTORS
Bobby Bead Starman Beads

www.BobbyBead.com www.CzechBeads.com
simply seeds
SPOTLIGHT ON SEED BEADS
Arata Bracelet
Vezsuzsi
S TITCH CYLINDER BEADS IN A

radiating pattern to form interesting
petal shapes, then join them together to
make an eye-catching bracelet.
TECHNIQUES
Circular peyote stitch
Herringbone stitch
PROJECT LEVEL
MATERIALS
3 g jet black opaque size 11° Japanese
cylinder beads (A)
3 g matte jet black opaque size 11°
Japanese cylinder beads (B)
3 g metallic hematite size 11° Japanese
cylinder beads (C)
3 g matte dull steel size 11° Japanese
cylinder beads (D)
3 g metallic silver size 11° Japanese
cylinder beads (E)
3 g white rainbow opaque size 11°
Japanese cylinder beads (F)
2 antiqued silver 6×9mm magnetic clasps
Crystal 6 lb FireLine braided beading
thread
TOOLS
Scissors
Size 10 beading needle
FINISHED SIZE
6"
Vezsuzi used the following 1 COMPONENT. Use circular peyote 2; zip the beads together to form a seam-
colors of Toho Aiko beads for stitch and herringbone stitch to form the less connection. Weave through beads to
this colorway: component: exit from the first B added in Round 3
Rounds 1 and 2: Use 3' of thread to string (Fig. 2, red thread).
49 (A), 49F (B), 81 (C), 566 (D),
714K (E), and 401 (F) 20A, leaving a 4" tail; use the working and Round 4: Work 1 herringbone stitch with
tail threads to tie a square knot. Pass 2B. Work 4 peyote stitches with 1B in
through the first A strung (Fig. 1, blue each stitch. String 2B; pass through the
thread). next B. Work 1 herringbone stitch with
Round 3: String 2B; pass through the next 2B. String 2B; pass through the next B.
artist’s tips
A. Work 4 peyote stitches with 1B in each Work 4 peyote stitches with 1B in each
❯ Use firm tension throughout to stitch. Repeat from the beginning of this stitch. Note: Step up for this and subse-
encourage the components to round. Weave through beads to exit from quent rounds by passing through the
have a three-dimensional shape.
the fourth A of Rounds 1 and 2 (Fig. 1, first bead added in the current round
❯ Try different colors to suit your red thread). (Fig. 3, green thread).
own personal style. Center: Work 3 peyote stitches with 1A in Round 5: Work 1 herringbone stitch with
❯ Add one or more components each stitch. Pass through the next 4A 2C. Work 5 peyote stitches with 1C in
to increase the length of the (Fig. 2, blue thread). Align the 3A just each stitch. Work 1 peyote stitch with 1B,
bracelet. added with the next 3A of Rounds 1 and then work 1 peyote stitch with 1C; repeat.
10 WWW.INTERWEAVE.COM SEE P. 77 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT LEVEL INFORMATION.
Work 1 peyote stitch with 1B. Work 5 pey- pass through the next D. Repeat from *
ote stitches with 1C in each stitch (Fig. 3, twice. Work 6 peyote stitches with 1D in
blue thread). each stitch (Fig. 4, red thread).
Round 6: Work 1 herringbone stitch with Round 9: Work 1 herringbone stitch with
2C. Work 16 peyote stitches with 1C in 2E. Work 7 peyote stitches with 1E in eachch
each stitch (Fig. 3, red thread). stitch. *Pass through the next D. String
Round 7: Work 1 herringbone stitch with 3D; pass through the next 2D. Work 1
2D. Work 6 peyote stitches with 1D in peyote stitch with 1E. Repeat from *. Passss
each stitch. String 3C; pass through the through the next D. String 3D; pass
next C. Work 1 peyote stitch with 1D. through the next 2D. Work 7 peyote
String 3C; pass through the next C. Work stitches with 1E in each stitch (Fig. 5,
1 peyote stitch with 1D. String 3C; pass blue thread).
through the next C. Work 6 peyote Round 10: Work 1 herringbone stitch with h
stitches with 1D in each stitch (Fig. 4, 2E. Work 7 peyote stitches with 1E in eachch
blue thread). stitch. *String 3E; pass through the mid-
Round 8: Work 1 herringbone stitch with dle D of the next 3D set. String 3E; pass
2D. Work 6 peyote stitches with 1D in through the next E. Repeat from * twice..
each stitch. *String 2D; pass through the Work 7 peyote stitches with 1E in each
middle C of the next 3C set. String 2D; stitch (Fig. 5, red thread).
Fig. 1: Forming Rounds 1–3 Fig. 2: Stitching the center
Fig. 3: Weaving Rounds 4–6 Fig. 4: Forming Rounds 7 and 8 Fig. 5: Stitching Rounds 9 and 10
SEE P. 77 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT LEVEL INFORMATION. BEADWORK JUNE/JULY 2020 11
simply seeds
OPTION
Make a narrower bracelet
by joining four components
end-to-end.
Fig. 6: Adding
Rounds 11–13
Round 11: Work 1 herringbone stitch with

2F. Work 8 peyote stitches with 1F in each
stitch. Pass through the next 2E. *String Clasp End 1: Use the working thread of the
3E; pass through the next 3E. Work 1 pey- leftmost component to pass through the
ote stitch with 1F. Pass through the next next 2F (see the start dot in Fig. 7).
2E. Repeat from *. String 3E; pass through *String 1 magnet clasp; skip the next F
the next 3E. Work 8 peyote stitches with and pass through the following F. Weave
1F in each stitch (Fig. 6, purple thread). through beads to repeat the thread path
Round 12: Work 9 peyote stitches with 1F to reinforce, then pass through the next
in each stitch. *String 4F; pass through 6F (Fig. 7, blue thread). Repeat from *,
the middle E of the next 3E set. String 4F; passing through the next 12F (Fig. 7, red
pass through the next F. Repeat from * thread).
twice. Work 8 peyote stitches with 1F in Join 1: Align the F of the first component
each stitch. Weave through beads to exit with the A of the second component as
from the first 4F set added in this round shown in Fig 8; zip the beads together to
(Fig. 6, blue thread). form a seamless connection (Fig. 8).
Alternate Round 13: String 3F, then pass through the Secure and trim this thread only.
Colorway Materials next 9F; repeat. String 3F; pass through Join 2: Align the A of the second compo-
the next 4F (Fig. 6, red thread). Secure nent with the F of the third component
and trim the tail thread; don’t trim the as shown in Fig 9; use the working thread
2 g matte white opaque size 11° working thread. Set aside. of the second component to zip the
Japanese cylinder beads (A) Repeat this entire step four times for a total beads together to form a seamless con-
2 g matte creamy nectarine opaque of 5 dark-centered components. nection (Fig. 9). Secure and trim this
size 11° Japanese cylinder beads (B) Repeat this entire step five times, reversing thread only.
2 g light watermelon opaque size 11° the color order, for a total of 5 light-cen- Join 3: Use the working thread of the third
Japanese cylinder beads (C) tered components. component to weave through beads to
2 g dark sea foam opaque size 11°
exit from the start dot in Fig. 8. Repeat
Japanese cylinder beads (D)
2 g light mint opaque size 11°
2 ASSEMBLY. Use peyote stitch to assem- Join 1 to connect the third and fourth
Japanese cylinder beads (E) ble the components: components.
2 g white rainbow opaque size 11° Arrange: Lay the dark-centered compo- Joins 4–9: Repeat Joins 2 and 3 three times
Japanese cylinder beads (F) nents on your work surface with the top to join the remaining components.
2 coral pink opaque 4mm points facing up and the light-centered Clasp End 2: Rotate the beadwork 180
fire-polished rounds components with the top points facing degrees and use the working thread of
1 antiqued silver 6×9mm magnetic clasp down. Arrange them in an alternating the last component to repeat Clasp End
Crystal 6 lb FireLine braided
pattern, with the leftmost component 1, passing through A instead of F. Secure
beading thread
being a dark-centered component. and trim the thread.
Fig. 7
7:: Form
Forming
ming
Clasp End d1
OPTION
Use similar techniques to
make a pair of matching
earrings.
Fig. 8: Stitching
Join 1
VEZSUZSI is a Hungarian
bead-jewelry designer and
teacher who livess in Austria.
She started making jewelry in 2007 and is
inspired by mathematics, nature, colors,
and textures. Vezsuzsi is a member of
the Starman TrendSetters team. See her
Fig. 9: Weaving
g patterns at www.beadsbyvezsuzsi.etsy
Join 2 .com, read her blog at www.vezsuzsi
gyongyei.blogspot.com, or email her at
vezsuzsi@gmail.com.
RESOURCES Check your favorite bead

retailer or contact: Toho Aiko Japanese
cylinder beads and all other materials:
Starman, (888) 683- 2323, www.czechbeads
.com or Bobby Bead, (888) 900-2323,
www.bobbybead.com. ●
bead artist BY KATIE HACKER
Edgar Lopez:
From Goldsmith to Master Beader
Edgar Lopez uses his background in architecture,

fashion, and jewelry design to create colorful,
We’ve been watching Edgar Lopez’s beadwork in the last few years intricate beadwork.
and are thrilled to bring his story and projects to you. His jewelry PHOTO: MARTHA DÍAZ ADAM
stands out with beautiful combinations of colors and innovative hand. His creative grandmother
use of beading stitches. We hope you find inspiration in this Bead has made many things by hand
Artist article and would love to hear your thoughts at and inspires him. Living on an
beadworkmag@goldenpeakmedia.com. island, it often took a long time
Edgar Lopez is a gifted goldsmith who fell in love with beading and to get new jewelry and craft sup-
found his creativity shifting in a whole new dimension. Beads allow plies. As a result, he admits, “that
him the possibility of bringing shapes and colors together in entirely helped me to be more creative
new ways—and he isn’t afraid of intricate stitching. Edgar recently and try to work with what I had.”
moved to Long Island, New York, from the Dominican Republic. Edgar has used these skills to
He enjoys working with crystals and gemstones to make colorful, create elaborate costumes for
dramatic jewelry inspired by his life in the Caribbean. He says, “As a Carnival, which is one of his
Dominican and a Caribbean, we have a lot of nature and colors every- country’s biggest celebrations. He
where, and I enjoy using colors and playing with them.” enjoys using his beadwork skills
Growing up in the Dominican Republic, Edgar was influenced by and adding crystals to make the
the culture of making beautiful things with whatever you have on costumes unique.
CREATIVE STUDIES
Edgar attended university to study archi-
tecture, where he learned how to combine
color, shapes, and design. As a student, he
was looking for a creative outlet and dis-
covered jewelry making, which combined
many of his skills and interests. While mak-
ing jewelry for a hobby, Edgar realized that
he wanted to do it more seriously, so he
took a year-long course to become a gold-
smith. Edgar was exposed to different
types of beadwork through his jewelry-
making courses and fell totally in love with His new studio provides Edgar with an inspiring place to create new beadwork. PHOTO: EDGAR LOPEZ
the creative possibilities of beads.
Edgar attended the Fashion Institute of
Technology, has made many ties to the fash-
ion world, and enjoys participating in fash-
ion events. Creating unique beaded jewelry
for designers is an exercise in listening,
imagination, and skill that has helped Edgar
in many aspects of his growing jewelry busi-
ness. He has developed jewelry collections
for several designers who appreciate his col-
orful, architectural beadwork, and he has
translated some of those ideas into bead-
work classes and patterns.
GROWING A BUSINESS
Like many jewelry makers, Edgar wasn’t
making jewelry for very long before he
realized that it’s his passion. Edgar believes
that happiness is doing what you like and
being able to make a living from it. He says,
“this has taken me years and many sacri-
fices, but I put love into everything I do.”
He often becomes attached to his work,
which makes it difficult to turn his jewelry
over to customers. In addition to beaded-
jewelry commissions, he also teaches and
sells patterns of some of his designs.
Since moving to the United States, Edgar
has created a studio space in his house, for
now. He took some time to set up his new
area and is inspired by his clean, organized
space. Edgar shares, “I like to organize every-
thing by color, then arrange those colors This is just the beginning of Edgar’s beaded dress, which he anticipates will take
side-by-side. It’s easier for me when I can many months to complete. PHOTO: EDGAR LOPEZ

bead artist
choose materials for a project. I usually
have the majority of things stored away in
their containers. I keep the supplies in sight
that I use most frequently. I do not like a
cluttered workspace but prefer to have a
lot of free space. What is in sight are things
that inspire me for whatever I’m working
on at the moment.”
COLORFUL, INTRICATE STYLE

Edgar is a big fan of crystals, saying, “I use
Swarovski crystals and gemstones in a lot of
my designs because they bring the look of
fine jewelry to my beadwork. I like the bright
crystals, the variety of colors, and the qual-
ity.” He prefers not to be typecast in a partic-
ular style, but if he had to choose one, he
would say his work is very colorful. Edgar
reflects, “I often make baroque designs,
other times more modern or avant-garde,
but what is always present in my designs is
color and attention to detail. Those two
things identify my designs.”
As an islander, Edgar tries to incorporate
sky blue Larimar, one of his favorite stones,
into many of his jewelry designs. This capti-
In his Larimar Wedding necklace, Edgar explores the union of Larimar and fine beading. PHOTO: EDGAR LOPEZ vating blue pectolite stone is only found in
the Dominican Republic, and Edgar enjoys
sharing the Caribbean’s beauty with people
who make or purchase his jewelry. He says,
“I especially like to use Larimar whenever I
can, because it is a gemstone that is only
found in my country, and I like people to
know it more through my designs.”
CREATIVE COLLABORATION
A few years ago, some of his friends who
do beadwork collaborated with a fashion
designer who wanted a beaded dress. This
experience, along with his additional work
creating accessories for designers, inspired
him to create a dress entirely out of bead-
work. He admits, “I have been working on
my beaded dress for a while, and it will take
many more months to complete it. There
are thousands of handmade components
that must be embroidered in layers. I origi-
nally played with this idea in one of my first
and most beloved necklaces called Carib-
bean Necklace.” There is a lot of planning
and stitching to reach the final result, but
Edgar is learning a lot in the process.
Although he uses many stitches in his
Edgar designs Carnival costumes and enjoys
creating them with his team. PHOTO: EDGAR LOPEZ
intricate beadwork designs, Edgar’s favorite
stitch is CRAW (cubic right-angle weave).
He likes the fact that CRAW allows him to
play a lot with shapes and create dimen-
sional structures. Edgar reminds us,
“However, as an artist, I am always explor-
ing new things and playing with stitches,
so it may be that I’ll have another favorite
stitch in the future. I am currently working
on my beaded dress, and I’m mostly using
brick stitch.” Brick stitch might become a
favorite after all of those hours with the
needle, thread, and beads.
From being a teacher’s assistant in college
and now as a beading instructor, teaching
has always been an important part of
Edgar’s life. He’s building a family of bead-
work students, who he says teach him a lot
and inspire him to try new things. In the
Dominican Republic, he had a studio where
he worked and taught. In the United States,
he’s enjoying visiting bead shops and learn-
ing about the community.
Edgar is also experiencing the beadwork
community as part of the Beadsmith
Inspiration Squad. He enjoys sharing his
designs and finds that the group is an excel-
lent place to see what other people are
making, too. He’s inspired by the members
and grateful to be supported by The
Beadsmith.
TIPS TO GET YOUR

CREATIVITY FLOWING
Colors: If you don’t like a color, try to
incorporate it into some of your pieces and
make it work with other colors that you like.
This will force you to use your creativity in
looking for solutions.
Materials: You don’t need a lot of sup-
plies to make beautiful designs. Working The back of Larimar Wedding provides a dramatic counterweight to the front. PHOTO: EDGAR LOPEZ
from your stash will give you the chance to
think in new ways and stimulate your
creativity.
Inspiration: If you feel that you’ve lost
your inspiration, stimulate your creativity by Contact Edgar
doing other things that you enjoy such as Find Edgar’s work at www
listening to music, dancing, watching a .edgarlopezdesign.etsy.com,
movie or going for a walk; this will make follow him on Instagram
you feel relaxed and inspiration will begin @edgarlopezdesigns, and
flowing again. ● connect with him on Facebook
at Edgar Lopez Designs to see
The Caribbean necklace pays homage to where he’ll be teaching
Edgar’s island upbringing in the Dominican beadwork classes.
Republic. PHOTO: EDGAR LOPEZ

Ada’s Jewel EDGAR LOPEZ
U SE SEED BEADS and crystals to
create this Caribbean jewel, dedicated
to Ada, a great friend of the designer. 1 BEZEL. Use tubular square stitch to form
the bezel:
Round 1: Use 6' of thread to string 40C,
TECHNIQUES
leaving a 4" tail. Use the working and tail
Tubular square stitch
threads to tie a square knot. Pass through
Square stitch variation
the first 16C strung (Fig. 1, purple
Picots
Netting
thread).
Herringbone stitch Round 2: String 2C, then pass through the
last 2C exited and the following 2C of
PROJECT LEVEL Round 1; repeat eighteen times. String Back
MATERIALS 2C; pass through the last 2C exited and
1 g 24k gold-plated size 15° Japanese the 2C just added (Fig. 1, blue thread).
seed beads (A) Note: You will now begin working in the Round 4: Repeat Round 3 from * to **,
2 g 24k gold-plated size 11° Japanese opposite direction. Pass through all of the exiting from 2C of Round 2 (Fig. 2, red
seed beads (B) C added in this round to cinch the bead- thread). Don’t pass through all of the A
1 g 24k gold-plated size 11° Japanese work into 2 stacked rounds. Weave added in this round.
cylinder beads (C)
through beads to exit from 2C in Round 1
6 aquamarine shimmer 2X 3mm Swarovski
crystal bicones (D) (Fig. 1, red thread.) 2 BEZEL EMBELLISHMENT 1. Use
10 jet 2XAB 4mm Swarovski crystal bicones (E) Round 3: *String 2A, then pass through the picots to embellish the bezel:
1 mint green Lacquer PRO 13×18mm Swarovski last 2C exited and the following 2C; Segment 1: String 1A, 1B, and 1A; pass
crystal oval fancy stone repeat nineteen times.** Pass through through the last C exited and the follow-
Crystal 6 lb FireLine braided beading thread the first 2A of this round (Fig. 2, green ing 2C. String 3A; pass through the last C
TOOLS
thread). Pass through all of the A added exited and the following 3C. String 3B;
Scissors in this round to cinch the beadwork into pass through the last 2C exited and the
Size 12 beading needle 3 stacked rounds. Weave through beads following 2C. String 3A; pass through the
to exit from 2C in Round 2 (Fig. 2, blue last C exited and the following 2C. String
FINISHED SIZE
thread). 1A, 1B, and 1A; pass through the last C
Focal ⁄ × 1 ⁄ ", adjustable ring size
exited and the following 3C (Fig. 3, pur-
ple thread).
Segment 2: String 1A, 1B, and 1A, then
pass through the last 2C exited and the
following 2C; repeat three times (Fig. 3,
green thread).
Segment 3: Repeat Segment 1 (Fig. 3,
blue thread).
Segment 4: Repeat Segment 2, then pass
through the nearest 2A in Bezel, Round 4
(Fig. 3, red thread). Note: You will now
Fig. 1: Forming Bezel,
Rounds 1 and 2 begin working in the opposite direction.
artist’s tips
❯ Use even, moderate tension
throughout the project.
❯ Use FireLine for the crystal
embellishment, even if you select
a different thread for the rest of
the project. Crystals are sharp
and can cut other thread types.
Fig. 2: Stitching Bezel,

Rounds 3 and 4
Fig. 3: Weaving Bezel

Embellishment 1
Ada’s Jewel EDGAR LOPEZ
OPTION
If big bling isn’t your
thing, try a little bling with
a 10×14mm oval crystal
fancy stone and adjust the
pattern accordingly.
Fig. 4: Forming Bezel

Embellishment 2, Close
Bezel and Pass 1
Fig. 5: Adding Bezel

Embellishment 2, Pass 2
Alternate
Colorway Materials
Fig. 6: Adding Bezel
Embellishment 2, Pass 3
0.5 g silver size 15° Japanese seed
beads (A)
1 g silver size 11° Japanese seed beads (B)
0.5 g silver size 11° Japanese cylinder
beads (C) 3 BEZEL EMBELLISHMENT 2. Use net- 1A; pass through the middle B of the next
2 Indicolite 2×AB 3mm Swarovski ting to finish the bezel embellishment: 3B set. String 1A and 1E; pass through the
crystal bicones (D) Close Bezel: Insert the oval fancy stone middle A of the next 3A set (Fig. 4, blue
4 fuchsia 2×AB 4mm Swarovski into the beadwork faceup so the back thread). String 1E and 1A; pass through
crystal bicones (E) touches Bezel, Round 2. Note: Take care the middle B of the next 1A/1B/1A set. Tie
1 azure blue Lacquer PRO 10×14mm that the bezel is rotated so that the a sewing knot and pass back through the
Swarovski crystal oval fancy stone
1A/1B/1A picots of Segments 2 and 4 are last B exited and the following 1A/1E/1A
Crystal 6 lb FireLine braided
beading thread on the long sides of the oval fancy stone. (Fig. 4, red thread).
Pass through all of the A in Bezel, Pass 2: *String 1A, 1D, and 1A; pass through
Round 4 to cinch the beadwork over the the nearest A of Bezel, Round 4. String 1A;
front of the oval fancy stone. Weave pass back through the last D added.
through beads to exit from the first 1A/1B String 1A; pass through the last A exited
in Bezel Embellishment 1, Segment 1 in Segment 1 and the following E **
(Fig. 4, purple thread). (Fig. 5, purple thread). String 1A, 1E, and
Pass 1: String 1A and 1E; pass through the 1A; pass through the next 1E/1A (Fig. 5,
middle A of the next 3A set. String 1E and green thread). Repeat from * to **
(Fig. 5, blue thread). Pass through the next B and down through the following B from 1A of Bezel, Round 3, on the oppo-
next 1A/1B; tie a sewing knot, then (Fig. 7, blue thread). String 1B; pass up site side of Strip (Fig. 8, red thread).
weave through beads to exit back through the previous B and down Repeat Strip Embellishment to add the sec-
through the E added in this pass (Fig. 5, through the following B (Fig. 7, red ond embellishment to this end of Strip.
red thread). thread). Repeat from * twenty-nine Weave through beads and repeat Strip Em-
Pass 3: String 3A, 1D, and 1A; pass through times, or to desired length to make the bellishment twice to add 2 embellishments
the nearest 2A of Bezel, Round 4. String ring fit. to the other end of Strip. Secure and trim
1A; pass back through the D. String 3A; Strip Join: String 1B; pass through 2A on the threads.
pass through the last E exited (Fig. 6, red the opposite side of Bezel, Round 3 at the
thread). center of the long edge of the bezel. EDGAR LOPEZ is a beadwork
Weave through beads to exit from the first String 1B; pass up through the middle B designer and teacher who is
1A/1B in Bezel Embellishment 1, Segment 3 of Strip and down through the adjacent from the Dominican Republic.
and repeat this entire step on the opposite B. String 1B; pass back through the next He initially studied architecture, then turned to
side of the bezel. Weave through beads to 2A of Bezel, Round 3, then weave jewelry design and finally bead weaving. Find
exit from 4A in Bezel, Round 3 at the center through beads to exit from the next A in Edgar on Facebook at Edgar Lopez Designs or
of one long edge of the bezel (see the start Bezel Round 3 (Fig. 8, purple thread). follow him on Instagram, @edgarlopez14.
dot in Fig. 7). Strip Embellishment: String 2B; pass back
through the next 2A of Bezel Round 3 RESOURCES Check your favorite bead
4 RING BAND. Use a variation of square and up through the first B just strung retailer or contact: Miyuki seed beads,
stitch and herringbone stitch to form the (Fig. 8, green thread). String 2B; pass Delicas, and thread: Fire Mountain Gems and
ring band: down through the next B, and up Beads, (800) 355-2137, www. remountain
Strip: String 2B and pass back through the through the previous B and the first B gems.com. Swarovski crystal bicones and
first 2A of the last 4A exited in Round 3 just strung (Fig. 8, blue thread). String fancy oval stone: Fusion Beads, (888)
(Fig. 7, purple thread). String 1B; pass up 1B; pass down through the nearest B in 781-3559, www.fusionbeads.com. ●
through the last B exited and down Strip, then weave through beads to exit
through the previous B (Fig. 7, green
thread). *String 2B; pass up through the
Fig. 7: Weaving Ring

Band, Strip
Fig. 8: Stitching Ring

Band, Strip Join and Strip
Embellishment
Learn more about Edgar in

"From Goldsmith to Master
Beader" on page 14
Caribbean Dream EDGAR LOPEZ
1 COMPONENTS. Use square stitch and Embellishment Round 2: String 1C, 1F,
S TRETCH YOUR TECHNIQUE

skills making this stunning cuff
bracelet inspired by the designer's
circular netting to create the components:
Bottom Ring: Use 3’ of thread to string 16B,
leaving a 4" tail. Tie a square knot with
and 1C, then pass through the next 2D in
Embellishment Round 1; repeat three
times. Pass through the first C added in
love of the Caribbean. the working and tail threads to form a cir- this round (Fig. 3, red thread).
cle; pass through the next 5B (Fig. 1, blue Embellishment Round 3: String 7A; pass
thread). through the next 1C/1D (Fig. 4, purple
TECHNIQUES Center: String 1J; pass through 2B on the thread). String 1D; pass through the last
Square stitch opposite side of Bottom Ring, back D exited and the following D. String 1D;
Circular netting
through the J just strung, and through pass through the last D exited and the
Right-angle weave
the last 2B exited on the first side of following C (Fig. 4, green thread).
Ladder stitch variation
Bottom Ring (Fig. 1, red thread). Repeat from the beginning of this round
Netting
Top Ring: String 2D, then pass through the three times, then pass through the first
Peyote stitch
last 2B exited and the following 2B of 7A just added (Fig. 4, blue thread).
PROJECT LEVEL Bottom Ring (Fig. 2, green thread); Embellishment Round 4: String 1C; pass
MATERIALS repeat seven times. Pass through the first through the next 2D in Embellishment
4 g 24k gold-plated size 15° Japanese 2D added in Top Ring (Fig. 2, blue Round 3. String 1C; pass through the next
seed beads (A) thread). Note: You’ll now begin working 7A. Repeat from the beginning of this
2 g silver-lined gold size 11° Japanese in the opposite direction. Pass through all round three times, then pass through the
seed beads (B) of the D in Top Ring to cinch into a tight next 1C/2D/1C (Fig. 4, red thread).
3 g 24k gold-plated size 11° Japanese circle (Fig. 2, red thread). Pass through Secure and trim the tail thread; don’t trim
seed beads (C)
the last 2B exited in Bottom Ring (see the the working thread. Set aside.
3 g 24k gold-plated size 11° Japanese
cylinder beads (D) start dot in Fig. 3). Repeat this entire step four times using F,
8 g matte orange rainbow opaque 5mm Embellishment Round 1: String 2D, then for a total of 5 components.
2-hole Tilas (E) pass through the last 2B exited and the Repeat this entire step five times using G in
20 Pacific opal AB 4mm Swarovski following 4B in Bottom Ring; repeat three place of F, for a total of 5 components.
crystal bicones (F) times. Pass through the first 2D added in
20 aqua 2XAB 4mm Swarovski crystal this round (Fig. 3, blue thread). Note:
bicones (G)
You’ll now begin working in the opposite
72 Persian turquoise 3mm
fire-polished rounds (H)
direction.
10 coral 6mm gemstone rounds (J)
Crystal 8 lb FireLine braided beading thread
TOOLS
Scissors
FINISHED SIZE
7½"
artist’s tip
Make the bracelet Fig. 1: Forming Components, Fig. 2: Stitching
Bottom Ring and Center Components, Top Ring
larger by slightly more
than ½" increments
with each additional
component you join.
Adjust the length of the
Edge Strips as
necessary to match.
Fig. 3: Weaving Fig. 4: Forming

Embellishment Embellishment
Rounds 1 and 2 Rounds 3 and 4
OPTION
Create a narrow bracelet
by omitting the Edge Strips.
Fig. 5: Joining Center Strip
2 CENTER STRIP. Use right-angle weave E. String 1C; pass down through the pre-
to join the components into a strip: vious E (right hole). Pass through the first
Arrange: Arrange 9 components in an C just added, up through the next E (left
alternating pattern of G and F on your hole), and down through the second
work surface with their working threads (right) hole of the last E exited (Fig. 6,
pointing to the left. Reserve 1 green thread).
F-embellished component for the clasp; Unit 2: String 1E; pass down through the
set aside. last E (right hole) exited. String 1C; pass
Join: Use the working thread from the up through the E (left hole) just added.
rightmost component to string 1A; pass String 1C; pass down through the previ-
through the mirror C on the next compo- ous E (right hole). Pass through the first C
Alternate nent. String 1A; pass through the last C just added, up through the next E (left
Colorway Materials exited on the previous component.
Weave through beads to exit from the
hole), and down through the second
(right) hole of the last E exited (Fig. 6,
next C on the next component (Fig. 5, blue thread).
blue thread). String 1A; pass through the Units 3–35: Repeat Unit 2 thirty-three
2 g silver-plated size 15° Japanese
seed beads (A) mirror C on the previous component. times. On the last repeat, exit from the
2 g gilt-lined opal size 11° Japanese String 1A; pass through the last C exited last C added, toward the beadwork
seed beads (B) on the next component, the next A, and (Fig. 6, red thread). Secure and trim the
3 g silver-plated size 11° Japanese the last C exited on the previous compo- tail thread; don’t trim the working thread.
seed beads (C) nent (Fig. 5, red thread). Secure the Repeat this entire step to create a second
3 g silver-plated size 11° Japanese thread and trim. edge strip.
cylinder beads (D)
Repeat Join seven times for a total of 9
There is no E in this colorway
joined components. Don’t trim the working 4 BAND ASSEMBLY. Use right-angle
20 light rose 2XAB 4mm Swarovski
crystal bicones (F) thread on the final component. Set aside. weave and netting to assemble the band:
20 violet 2XAB 4mm Swarovski Arrange: Lay 1 Edge Strip on your work
crystal bicones (G) 3 EDGE STRIPS. Use a variation of ladder surface with the working thread on the
There is no H in this colorway stitch to form the edge strips: bottom-left (see the start dot in Fig. 7).
10 ruby agate 6mm faceted Unit 1: Use 5’ of thread to string 2E, leaving Align Center Strip on your work surface
gemstone rounds (J) a 4" tail. Pass down through the first with Edge Strip.
Crystal 8 lb FireLine braided (right) hole of the first E just strung Top Connection: Use the working thread
beading thread
(Fig. 6, purple thread). String 1C; pass from Edge Strip to string 1A; pass down
up through the first (left) hole of the next through the top-left corner A in Center
Strip. String 1A; pass through the last C
exited in Edge Strip (Fig. 7, purple
thread). *String 2A; pass through the
next C in Center Strip. String 2A; pass
through the next C in Edge Strip. String
2A; pass through the next C in Center
Strip. String 2A; pass through the next
C in Edge Strip. (Fig. 7, green thread).
Fig. 6: Weaving Edge Strips String 2A; pass down through the next
corner A in Center Strip. String 2A; pass
through the next C in Edge Strip. String
2A; pass up through the next corner A
in Center Strip. String 2A; pass through
the next C in Edge Strip (Fig. 7, blue
thread). Repeat from * seven times.
String 2A; pass through the next C in
Center Strip. String 2A; pass through
the next C in Edge Strip. String 2A; pass
through the next C in Center Strip.
String 2A; pass through the next C in
Edge Strip. String 1A; pass up through
the top-right corner A in Center Strip.
String 1A; pass through the last C
exited in Edge Strip. Pass through the
nearest E (left hole) and 1C (Fig. 7, red
thread).
Top Embellishment: String 1H and pass
through the next C along the top of Edge
Strip; repeat thirty-two times (Fig 8).
Secure and trim the thread.
Rotate the band 180 degrees and repeat
this entire step on the other side of Center
Strip with the second Edge Strip.
Fig. 7: Stitching Band

Assembly, Top Connection
OPTION
Make matching earrings
by gluing post backs to 2
Components.
Fig. 8: Adding Band Assembly,

Top Embellishment
5 BUTTON. Use a variation of right-angle

weave to form the button:
Connector: Align the reserved
F-embellished component with the end
of the band that does not have the work-
ing thread. Flip the band and the final
component facedown on your work sur-
face. Use the working thread from the
final component to weave through beads
to exit up from 1B of Bottom Ring (see
the start dot in Fig. 9). String 1A, 1E,
and 1A; pass through the last 2B exited in
Bottom Ring and the first A just strung
(Fig. 9, purple thread). String 4A; pass
through the second hole of the E just
added. String 4A; pass through the
next A (Fig. 9, green thread). String 4A;
pass through the next 5A and 1E (second
hole) (Fig. 9, blue thread).
Join: Pass through the nearest C of the end
component of the band, the adjacent C,
the following 2D/1C, the adjacent C, and
the E (second hole) (Fig. 9, red thread).
Repeat the thread path of this join to
reinforce; secure and trim the thread.
6 LOOP. Use the working thread from

Center Strip to pass through the next 3A
(see the start dot in Fig. 10). String 26C;
pass through the mirror A on the other cor-
ner of Center Strip and back through the
last B strung (Fig. 10, green thread). String
1B, skip the next B, and pass back through
the following B; repeat eleven times. Pass Fig. 9: Stitching Button
back through the next B, through the first A
exited in Center Strip, and back through the
last B exited (Fig. 10, blue thread). Work
1 peyote stitch with 1B and 1 peyote stitch
with 1J; repeat five times. Pass through the
next B (Fig. 10, red thread). Repeat the
thread path of this entire loop to reinforce;
secure and trim the thread.
EDGAR LOPEZ is a beadwork

designer and teacher who is from
the Dominican Republic. He
initially studied architecture, then turned to
jewelry design and finally bead weaving. Find
Edgar on Facebook at Edgar Lopez Designs or
follow him on Instagram: @edgarlopez14. Fig. 10: Forming Loop

retailer or contact: Miyuki seed beads, Delica
cylinder beads, aqua 2XAB Swarovski crystal
bicones (G), and similar coral rounds: Fire
Mountain Gems and Beads, (800) 355-2137,
www. remountaingems.com. Paci c Opal
AB Swarovski crystal bicones (F), re-polished
rounds, and thread: Fusion Beads, (888)
781-3559, www.fusionbeads.com. ●
Made with NEW
Artistic Wire Mu
MultiColor Wire.
Life is what you make it.

Contemporary
Geometric
Beadwork
From Social Revolution
tion
to Scientific Discovery
ery
KATE MCKINNON AND CGB TEAM
T
he Contemporary Geo-
metric Beadwork (CGB)
team began in Tucson
in 2010, when Dustin Wedekind Jane Cassar interprets a
and I decided to take on some Geometric Capture design
(mentioned on page 31) by
of the outstanding challenges inn Karen Beningfield and Claudia
Further. This interesting bangle
handsewn beadwork. We were is made of six double-barbell
enchanted with the more daring units hinged together.
PHOTO: KATE MCKINNON
geometric beadwork being made,
and we wanted to find novel ways
to take familiar bead stitches in
new directions.
We decided that the best way to explore Progress and Science Deconstruction & Innovation
our new ideas was not in isolation, but in The first big jump in thinking for the CGB In 2016, when we returned to MIT to teach
collaboration. We began publishing our collective came when the bead team vis- a class on geometric beadwork, Kim Van
ideas, questions, and efforts on our blog in ited MIT in the fall of 2015, where we met Antwerp noticed that we could save time
advance of the publication of our first Martin and Erik Demaine from the MIT by snipping the herringbone increase lines
book. Slowly, a global team grew. Today, Computational Origami group. On that day, to deconstruct flat forms into cleanly sepa-
there are hundreds of thousands of people we learned that our odd beaded “warped rated pieces that themselves could grow
around the world collaborating with us. squares” are also called hyperbolic parabo- new pieces from their edges. Rose Mary
Last year, Beadwork magazine described loids (hypars), or saddle forms. They can be Jameson then said, “what about sets?”
the CGB project as “a social revolution in folded in paper as well as made in beads Suddenly, we were cloning handfuls of
beads” because of our open-source shar- and other materials. Scientists use these new edges at one time instead of labori-
ing of ideas and techniques. Revolution is special structures for many things, includ- ously starting each from loose beads.
the right word! Our team has experienced ing modeling space-time. In 2017, when Ingrid Wangsvik first
astonishing transformation through both Engineers pointed out that we could also sewed our peyote-stitch warped squares
our business model (people love to sup- think of hyperbolic paraboloids as physical into folding, dimensional fabrics, we
port open-source teams) and the sharing. batteries, storing energy with their ability showed them around the labs and learned
Over the past four years as our collabora- to “pop.” Paper hypars have a big flip back that the finished structures were already
tions stretched to include architecture, and forth, but we only see the “pop” in our known in mathematics as “topological
engineering, mathematics, chemistry, beaded warped squares if our tension is in eggboxes.” We think we were the first
fiber arts, and materials science, many pro- the medium range. The tension of the team to have crafted eggboxes out of hyp-
fessionals have joined our team, and new maker is what builds the difference ars—most are imaginary structures in
questions and discoveries have come between a static piece of architecture, a math or built out of straight planes in
quickly. The patterns and forms that hyperbolic edge, or an “energetic” form. engineering or architecture. A year later,
emerged from our collective hands have Very tight beaders will have rigid, un-pop- we began to deconstruct and explode
been profound and surprising and have pable forms, and beaders with very soft dimensional forms as well as deconstruct-
expanded everything we thought possible tension will see a rippling, hyperbolic edge ing traditionally “flat” forms such as trian-
about what beads could build. but won’t be able to feel the stored energy. gles, squares, and pentagons.
Joke Van Biesen grew a ruffly
hyperbolic edge on a bangle.
No matter how she adds to the
edge, the center fit remains the
same - but at some point the
ruffles will prevent the hand
from passing through.
PHOTO: JOKE VAN BIESEN
This Exploding Set (described on page 28, De-

construction & Innovation) features a 22-Pointt
PodCast Bead, on which was grown the start of
a Wave Bangle and a Casting Spine, which is an
energetic form that will grow spirals and helical
coils with ease. The PodCast is re-usable.
This Exploding Set started as

a single large Warped Square
which came neatly apart
with a few simple snips into
six useful starts or tools.
PHOTO: DUSTIN WEDEKIND

Ingrid Wansvik, Flying
Carpet of Hypars, or
Warped Squares, 2017.
Beaded Machines
In 2016, we took a cue from beaders
Cath Thomas and Susannah Thomson
and began building and researching
kaleidocycles, flexagons, and other
machine components or linkages that
move. We experimented with a variety
of geometric folded forms and devel-
oped BatCycles, which are made from
warped hexagons and triangles, and we
played with all manner of turning toys
and devices.
As we develop these beaded
machines, we envision their technologi-
cal counterparts such as communica-
tion arrays, morphing skins, and analog
computing devices. We enjoy sharing
these models with experts in other
fields because they see their own
worlds in our beaded cycles. Our
beaded machines never fail to amaze
engineers, biologists, and physicists
who recognize these forms even though
the materials are so different from the
ones they’re accustomed to seeing.
LOOK FOR THREE NEW BOOKS FROM

THE CGB PROJECT IN 2020:
The CGB Pattern Book

(fully stepped out patterns)
CGB Volume III

(mostly photos)
An exciting morphing and nd
folding fabric made by
The CGB Textbook Claudia Furthner in 2019. 9.
(mathematical beadwork at the It is constructed of four
university level) individual PodCast Beads ds
(like the one shown above)ve)
BLOG: joined together at their edges
www.ContemporaryGeometricBeadwork. and interests our sciencee
team as a potential morphing
phing
com communication array.
SHOP:
CGBTeam.com
Erik Demaine, MIT, with a folded hypar.
PHOTO: COURTESY OF MIT PRESS
Beads in Motion
Beginning in 2018, we also began building
cycling forms and architectures that
seemed to have minds of their own. Joy
Davison invented our magnificent Casting
Four different views of the same Spine, a kinetic line of beads that can start
piece: a classic six-hinge turning any type of new beadwork. Then she, Clau-
Kaleidocycle made with 24 flat dia Furthner, and Karen Beningfield led an
peyote triangles hinged into a
incredible exploration of what we named
circular linkage of tetrahedra.
Beadwork and pattern design Geometric Capture, in which hyperbolic
by Franklin Martin, Jr. loops, spirals, or coils are created from
PHOTO: KATE MCKINNON Casting Spines and then their geometric
edges are captured into squares, penta-
gons, hexagons, or whatever geometry
makes sense.
We named our small hyperbolic loops
Hyperloops. They are captured at each end
by pentagons, forming soft barbell-
shaped elements that are hinged into
turning cycles that open and close dramat-
ically. When we took the work to the
Bridges mathematical arts conference in
Linz, Austria, in summer 2019, we learned
that mathematicians call this technique
“topological locking.”
CGB Into the Future

CGB’s an exciting research project featur-
ing new shapes and ideas in geometric
beadwork, with collaborators all over the
world. By sharing the discoveries we’ve
made, new ideas are generated that flow
back to us. The project is more than just
beading, it’s a social revolution, using
basic bead weaving to help understand
the natural world, our society, and the way
we market and share knowledge as a cul-
ture. The team will continue to strive to
break new ground in beadwork and invites
you to contribute your ideas so the discov-
eries will expand. ●

Stellar Explosion WENDY ELLSWORTH
Main
Colorway
S HAPED LIKE A STAR, this colorfull
bangle uses three-dimensional
beading techniques that were pioneered
red
by Kate McKinnon for her Contemporary
ary
Geometric Beadwork Project.
TECHNIQUES
Right-angle weave variation
Circular peyote stitch
Flat herringbone stitch
PROJECT LEVEL
MATERIALS
1 g matte cobalt transparent size 11°
cylinder beads (A)
16 g matte cobalt AB opaque size 11°
cylinder beads (B)
6 g silver-lined bright fuchsia dyed size 11°
1°
cylinder beads (C)
14 g light blue-lined AB size 11° cylinder
beads (D) 1 BANGLE INNER BAND. Use a variation Units 3–8: Repeat Unit 2 six times (Fig. 1,
18 sky blue-lined sapphire 3.4mm of right-angle weave to form the inner band pink thread).
Japanese drops (E) of the bangle: Unit 9: String 2C and 3A; pass down
Smoke 6 lb Fireline braided beading thread Prepare: Add a needle to 15' of thread. through the nearest A of the previous
Wrap 7½' of the tail onto the bobbin. unit and through the first A just added
TOOLS
Unit 1: String 4A; pass through the beads (Fig. 1, orange thread).
Scissors
3½" plastic bobbin
again to form a tight circle near the bob- Units 10–71: Repeat Units 2–9 seven times.
Size 12 beading needle bin. Pass through the first 2A (Fig. 1, tur- Repeat Units 2–7 (Fig. 1, green thread).
quoise thread). Unit 72: (Join): String 1B and 1A; pass up
FINISHED SIZE Unit 2: String 1B and 3A; pass down through the first A of Unit 1. String 1A;
8¼" through the nearest A of the previous pass down through the nearest A of
unit and through the first A just added Unit 71 and through the first A of this
(Fig. 1, yellow thread). unit. String 2C; pass through the next
1A/1B at the bottom of the band (Fig. 1,
red thread).
artist’s tips
Wendy used the following
❯ Use light tension
Delica colors in this project:
throughout the project.
DB748 (A), DB880 (B),
❯ When adding thread,
DB1340 (C), DB076 (D).
be careful not to switch
directions.
❯ Be careful of the thread
wrapping around other
beads as you stitch.
Fig. 1: Forming Bangle

Inner Band
Stellar Explosion WENDY ELLSWORTH
Beadwork flattened for clarity.
Fig. 2: Bangle Chart
Fig. 3: Forming Bangle, Rounds 27–30
2 BANGLE. Use circular peyote stitch and with 2C. Work 8 peyote stitches with 1B Round 15 (Decrease Round): Note: Fold
herringbone stitch to form the bangle: in each stitch. Repeat from * seven the beadwork in as you work this row to
Note: Follow the chart in Fig. 2 (beadwork times. Work 1 herringbone stitch with help form the point decreases. Work 5
flattened and spaced for clarity; beadwork 2C. Work 1 peyote stitch with 1B. Note: peyote stitches with 1B in each stitch.
will form horns) for bead placement for Step up for this and subsequent rounds *String 1C; pass up through the next C
Rounds 1–26. Fold the beadwork out as by passing through the first bead added and down through the following C.
you work to help form the point increases. in the current round. Work 1 peyote stitch with 1C. Work 18
Round 1: Work 7 peyote stitches with 1B in Rounds 2–12 (Increase Rounds): Repeat peyote stitches with 1B in each stitch.
each stitch. *Work 1 herringbone stitch Round 1 eleven times, using B for pey- Repeat from * seven times. String 1C;
ote stitches and C for herringbone pass up through the next C and down
stitches and increasing by 1B on each through the following C. Work 1 peyote
Alternate side until you have 19B on each side. stitch with 1C. Work 13 peyote stitches
Colorway Materials Round 13 (Point Round): Work 7 peyote
stitches with 1B in each stitch. *String
with 1B in each stitch.
Round 16 (Decrease Round): Note: Lay
1E; pass through the next C. Work 20 beadwork flat, manipulating the bead-
LAVENDER
peyote stitches with 1B in each stitch. work so each point is facing outward in
1 g lavender dyed opaque size 11° Repeat from * seven times. String 1E; star pattern before proceeding. Work 4
cylinder beads (A) pass through the next C. Work 13 peyote peyote stitches with 1B in each stitch.
16 g matte rose size 11° cylinder beads (B) stitches with 1B in each stitch. Note: This *String 1C; pass up through the next C
3 g silver-lined bright fuchsia dyed size round forms the point tips. and down through the following C.
11° cylinder beads (C, Bangle) Round 14 (Decrease Round): Work 6 pey- Work 1 peyote stitch with 1C. Work 17
3 g semi-matte silver-lined orange size 11° ote stitches with 1B in each stitch. peyote stitches with 1B in each stitch.
cylinder beads (C, Wings)
*String 1C; pass through the next E. Repeat from * seven times. String 1C;
14 g matte light amethyst size 11°
cylinder beads (D)
String 1C; pass through the next B. Work pass up through the next C and down
18 Halloween orange AB transparent 19 peyote stitches with 1B in each stitch. through the following C. Work 1 peyote
4mm Japanese drops (E) Repeat from * seven times. String 1C; stitch with 1C. Work 13 peyote stitches
Crystal 6 lb FireLine braided pass through the next E. String 1C; pass with 1B in each stitch.
beading thread through the next B. Work 13 peyote Rounds 17–26 (Decrease Rounds):
stitches with 1B in each stitch. Repeat Round 16 ten times, using B for
Fig. 4: Stitching Wings, Round 1
Fig. 5: Weaving Wings,

Rounds 19 and 20
peyote stitches and C for herringbone each stitch. Repeat from the beginning WENDY ELLSWORTH began
stitches and decreasing by 1B on each of this round eight times. beading professionally in 1970.
side until you have 7B on each side. Rounds 3–18: Repeat Round 1 sixteen Her bead art has been featured
Rounds 27–29: Work 81 peyote stitches times, using D for peyote stitches and C in numerous gallery exhibitions, books, and
with 1B in each stitch; repeat twice for herringbone stitches and increasing periodicals. She received a fellowship from the
(Fig. 3, green thread). by 1D on each side until you have 24D Pennsylvania Council on the Arts in 2003 that
Round 30: Work 81 peyote stitches with on each side. took her to Kenya to study the beadwork of
1C in each stitch (Fig. 3, red thread). Round 19 (Point Round): String 1E; pass the Maasai and Samburu. She had her first
Repeat the thread paths of Rounds 29 through the next C. Work 1 peyote solo exhibition at the Hunterdon Art Museum
and 30 to reinforce the edge. Secure stitch with 1C. Work 23 peyote stitches in Hunterdon, New Jersey, in 2018. Her book,
and trim the working thread; don’t trim with 1D in each stitch. Work 1 peyote Beading—The Creative Spirit: Finding Your
the tail thread. stitch with 1C. Repeat from the begin- Sacred Center Through the Art of Beadwork was
ning of this round eight times. Weave published in 2009. She recently relocated to
3 WINGS. Use circular peyote stitch and through beads to exit from the first C Weaverville, North Carolina, with her husband,
herringbone to form the bangle wings: added in this round (Fig. 5, orange David. Visit their website at
Prepare: Remove the bobbin and add a thread). Note: This round forms the www.ellsworthstudios.com.
needle to the tail thread. Pass through point tips.
the next A at the top of the Bangle Inner Round 20: Note: Fold the beadwork in RESOURCES Check your favorite bead
Band to begin working counterclock- toward the bangle as you work this row retailer or contact: Delica cylinder beads,
wise (see the start dot in Fig. 4). to help form the point decreases. Work thread, and thread winder bobbin: Fusion
Round 1: String 2C; pass through the next 24 peyote stitches with 1C in each Beads, (888) 781-3559, www.fusionbeads
A. Work 7 peyote stitches with 1D in stitch. Skip the next E and pass through .com. Miyuki Japanese drops: Caravan Beads,
each stitch. Repeat from the beginning the following C along the next side. (800) 230-8941, www.caravanbeads.com.
of this round eight times. Note: Step up Repeat from the beginning of this Needles: BeadCats, (503) 625-2323,
for this and subsequent rounds by pass- round eight times (Fig. 5, red thread). www.beadcats.com. ●
ing through the first bead added in the Repeat the thread paths of Rounds 19
current round (Fig 4). and 20 to reinforce the edge. Secure
Round 2: Work 1 herringbone stitch with and trim the thread.
2C. Work 8 peyote stitches with 1D in
Expand your beaded rope
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AVAILABLE

Boho Baskets CINDY KINERSON
U SE CUBIC RIGHT ANGLE WEAVE,
herringbone, and peyote stitches
to create these open-sided multicolor
geometric earrings.
TECHNIQUES
Cubic right-angle weave
Herringbone stitch
Peyote stitch
PROJECT LEVEL
MATERIALS cube (Fig. 1, blue thread). Pass through

5 g matte seafoam Picasso size 11° the next 1B/3A/1B at the top of this cube
seed beads (A) to close the top (Fig. 1, red thread).
6 g champagne galvanized size 11° Cubes 2–6: Note: The beads at the top of
seed beads (B) the previous cube will act as the bottom
3 g golden olive opaque size 11° beads of the next cube. Use cubic right-
seed beads (C)
1 SQUARE BASE. Use cubic right-angle angle weave to work 5 more cubes with
3 g burnt sienna opaque size 11°
seed beads (D) weave to form the square base: 1B at the top of Face 1 in each cube and
3 g matte slate blue transparent size 11° Cube 1, Bottom: Add a stop bead to 6' of the rest of the faces using only A.
seed beads (E) thread, leaving a 4" tail. String {1A and Cube 7, Face 1: Repeat Cube 1, Face 1
2 g brown opaque size 11° seed beads (F) 1B} twice. Pass through the beads again (Fig. 2, orange thread).
2 g matte dark cream size 11° seed beads (G) to form a tight circle; pass through the Cube 7, Face 2: Repeat Cube 2, Face 2
2 g mustard size 11° seed beads (H) first 1A/1B strung (Fig. 1, pink thread). (Fig. 2 purple thread).
2 blue turquoise 3.8×1mm O beads Cube 1, Face 1: String 1A, 1B, and 1A; pass Cube 7, Face 3: String 1A and 1B; pass
2 mocha 4mm Swarovski crystal rounds through the last B exited and the next A down through the nearest A of the previ-
1 pair of 16×18mm gold-filled ear wires at the bottom of this cube (Fig. 1, ous face and pass through the last B
Smoke 8 lb Fireline braided beading thread orange thread). exited at the bottom of this cube and the
TOOLS Cube 1, Face 2: String 2A; pass down next A (Fig. 2, green thread).
Scissors through the nearest A of the previous Cube 7, Face 4 and Top: Pass up through
Size 11 beading needle face and pass through the last A exited at the nearest A of the first face of this cube.
1 pair of chain- or flat-nose pliers the bottom of this cube and the next B String 1A; pass down through the nearest
FINISHED SIZE
(Fig. 1, purple thread). A of the previous face, through the last A
1 × 2½" Cube 1, Face 3: String 2A; pass down exited at the bottom of this cube, and up
through the nearest A of the previous through the next A of the first face in this
face and pass through the last B exited at cube (Fig. 2, blue thread). Pass through
the bottom of this cube and the next A the next 1B/1A/1B/1A/1B at the top of
Cindy used the following colors of size (Fig. 1, green thread). this cube to close the top. Pass through
11° Miyuki seed beads for this project: Cube 1, Face 4 and Top: Pass up through the next 1A/1B (Fig. 2, red thread).
the nearest A of the first face of this cube. Cube 8: Repeat Cube 1, Faces 1–4 and Top,
430 (A), 4204 (B), 2032 (C), 1938 (D),
2315 (E), 409 (F), 1233 (G), and 2022 (H). String 1A; pass down through the nearest using the beads of Face 3 of the previous
A of the previous face, through the last A cube as the bottom beads of this cube to
exited at the bottom of this cube, and up form an L shape.
through the next A of the first face in this Cubes 9–12: Use cubic right-angle weave
to work 4 more cubes with 1B at the top
of Face 1 in each cube and the rest of the
faces using only A.
Cube 13: Repeat Cube 7, Faces 1–4
and Top.
Cubes 14–18: Repeat Cube 1, Faces 1–4
and Top, using the beads of Face 3 of the
previous cube as the bottom beads of
this cube to form an L shape. Use cubic
right-angle weave to work 4 more cubes
with 1B at the top of Face 1 in each cube
and the rest of the faces using only A.
Cube 19: Repeat Cube 7, Faces 1–4
Fig. 1: Forming Cube 1 Fig. 2: Stitching Cube 7 and Top.
Boho Baskets CINDY KINERSON
7 8 9 10 11 12 13
6 14 Fig. 3: Weaving
Cube 24 (Join)
5 15
4 16
3 17
2 18
1 23 22 21 20 19
Fig. 4: Forming Triangles, Fig. 5: Adding Triangles
Rounds 1 and 2 Rounds 4–6
Cubes 20–23: Repeat Cube 1, Faces 1–4 Round 4: String 2B and pass through the next B of the previous round. Align the C
and Top, using the beads of Face 3 of the next B of the previous round. Work 2 pey- of Round 8 with the A of 1 Square; zip the
previous cube as the bottom beads of ote stitches with 1C in each stitch. String beads together to form a seamless con-
this cube to form an L shape. Use cubic 2B and pass through the next B of the nection. String 1A; pass through the next
right-angle weave to work 3 more cubes previous round. Work 2 peyote stitches B of the previous round. Weave through
with 1B at the top of Face 1 in each cube with 1D in each stitch. String 2B and pass beads to exit from the top-right B of this
and the rest of the faces using only A. Exit through the next B of the previous round. triangle (Fig. 7, blue thread).
from the top A of Face 4 (see the start dot Work 2 peyote stitches with 1E in each Form Ear-Wire Loop: String 1 crystal
in Fig. 3). stitch (Fig. 5, green thread). round and 1 O bead; pass back through
Cube 24 (Join): Using the side beads of Round 5: Repeat Round 4, increasing by the crystal and through the next B of the
Cube 1 as the top and the top beads of 1 peyote stitch on each side (Fig. 5, blue triangle (Fig. 7, red thread). Secure and
Cube 23 as the bottom, join all 4 faces of thread). trim this thread only.
the cubes using A and cubic right-angle Round 6: Repeat Round 5, increasing by Top Side 2: Repeat Top Side 1 on the oppo-
weave (Fig. 3; only 1 face shown for clar- 1 peyote stitch on each side (Fig. 5, red site side of the square with a second
ity). Repeat the thread path of this cube thread). triangle.
to reinforce the join. Secure and trim the Round 7: String 2B and pass through the Join Ear-Wire Loop: Repeat the thread
threads. Set aside. next B of the previous round. Work 5 pey- path of Form Ear-Wire Loop; secure and
Repeat this entire step to form a second ote stitches with 1F in each stitch. String trim this thread only.
square base. 2B and pass through the next B of the Bottom Side 1: Repeat Top Side 1 on one
previous round. Work 5 peyote stitches unused side of the bottom of the square
2 TRIANGLES. Use herringbone and pey- with 1G in each stitch. String 2B and pass with a third triangle, exiting from the bot-
ote stitches to create the triangles: through the next B of the previous round. tom-left B of this triangle (Fig. 8, blue
Round 1: Use 3' of thread to string 3B, leav- Work 5 peyote stitches with 1H in each thread).
ing a 4" tail. Pass through the beads again stitch (Fig. 6, blue thread). Form Bottom Connector: String 2A; pass
to form a tight circle; use the working Round 8: String 2B and pass through the through the next B of the previous round
and tail threads to tie a square knot. Pass next B of the previous round. Work 6 pey- (Fig. 8, red thread). Secure and trim this
through the first B of this round (Fig. 4, ote stitches with 1C in each stitch. String thread only.
blue thread). 2B and pass through the next B of the Bottom Side 2: Repeat Top Side 1 on the
Round 2: String 2B and pass through the previous round. Work 6 peyote stitches opposite side of the square with a fourth
next B of the previous round; repeat with 1D in each stitch. String 2B and pass triangle, exiting from the bottom-left B of
twice. Note: Step up for this and subse- through the next B of the previous round. this triangle.
quent rounds by passing through the Work 6 peyote stitches with 1E in each Join Bottom Connector: Pass through the
first bead added in the current round stitch (Fig. 6, blue thread). Secure and 2A added in Form Bottom Connector in a
(Fig. 4, red thread). trim the tail; don’t trim the working herringbone-stitch fashion; pass through
Round 3: String 2B and pass through the thread. Set aside. the next B of the previous round of this
next B of the previous round. Work 1 pey- Repeat this entire step seven times for a triangle. Repeat the thread path of this
ote stitch with 1C. String 2B and pass total of 8 triangles. connection to reinforce. Secure and trim
through the next B of the previous round. the thread.
Work 1 peyote stitch with 1D. String 2B 3 ASSEMBLY. Use peyote and herring- Attach Ear-Wire: Attach 1 ear wire through
and pass through the next B of the previ- bone stitches to assemble the earring: the O bead of Ear-Wire Loop.
ous round. Work 1 peyote stitch with 1E Top Side 1: Use the working thread from Repeat this entire step to assemble the sec-
(Fig. 5, purple thread). 1 triangle to string 1A; pass through the ond earring.
artist’s tip
To stiffen your beadwork,
Fig. 6: Stitching Triangles,
es, repeat your thread paths
Rounds 7 and 8 several times or use 10 lb
FireLine braided beading
thread. You may also coat
the beadwork with clear
nail polish.
Alternate
Colorway Materials
5 g matte saffron Picasso size 11°
seed beads (A)
6 g Muscat galvanized size 11°
seed beads (B)
3 g frosted dark rose transparent
size 11° seed beads (C)
3 g pink rose crystal size 11°
Fig. 7: Assembling Top Side 1 and Fig. 8: Assembling Bottom Side 1
seed beads (D)
Forming Ear-Wire Loop and Forming Bottom Connector
3 g matte red transparent size 11°
seed beads (E)
2 g olivine Picasso size 11°
seed beads (F)
2 g topaz transparent size 11°
seed beads (G)
CINDY KINERSON is a bead RESOURCES Check your favorite bead 2 g topaz gold size 11°
seed beads (H)
artist and teacher specializing in retailer or contact: Miyuki seed beads, 2 jet bronze 3.8×1mm O beads
bead-loom weaving and leather. Swarovski crystals, and all other materials: 2 topaz AB 4mm Swarovski
She teaches at national bead shows, and her Reno Bead Shop, (775) 322-2225, crystal rounds
work has been published widely in both books www.renobeadshop.com. ● 1 pair of 16×18mm gold-filled
and magazines. She co-owns the Reno Bead ear wires
Shop with her husband and can be reached at Smoke 8 lb Fireline braided
cindy@renobeadshop.com. beading thread
Golden Frames NICOLE VOGT
1 COMPONENT. Use cubic right-angle Cubes 2–7: Note: The beads at the top of
U SE ONLY SEED BEADS to create this

classic necklace made of geometric
cubic-right-angle-weave frames.
weave to form the component:
Cube 1, Bottom: Use 4' of thread to string
4C, leaving a 3" tail. Pass through the
the previous cube will act as the bottom
beads of this cube. Use cubic right-angle
weave and C to work 6 more cubes. Exit
beads again to form a tight circle; pass from the last cube at a ninety-degree
through the first 2C strung (Fig. 1, pink angle.
TECHNIQUES
Cubic right-angle weave
thread). Cubes 8–15: Use cubic right-angle weave
Peyote stitch Cube 1, Face 1: String 3C; pass through the and C to work 8 more cubes. Exit from
last C exited and the next C at the bot- the last cube at a ninety-degree angle.
PROJECT LEVEL tom of this cube (Fig. 1, purple thread). Cubes 16–21: Use cubic right-angle weave
MATERIALS Cube 1, Faces 2 and 3: String 2C; pass and C to work 6 more cubes. Exit from
3 g cornflower opaque size 15° seed beads (A) down through the nearest C of the previ- the last cube at a ninety-degree angle.
3 g spring blue opaque size 15° seed beads (B) ous face and pass through the last C Cubes 22–27: Use cubic right-angle weave
35 g rose gold galvanized opaque size 11° exited at the bottom of this cube and the and C to work 6 more cubes.
seed beads (C) next C. Repeat from the beginning of this Cube 28 (Join): Using the side beads of
Smoke 4 lb FireLine braided beading thread face (Fig. 1, green thread). Cube 1 as the top and the top beads of
TOOLS Cube 1, Face 4 and Top: Pass through the Cube 27 as the bottom, join all 4 faces of
Scissors nearest C of the first face of this unit. the cubes using C and cubic right-angle
Size 10 beading needle String 1C; pass down through the nearest weave (Fig. 2; only 1 face shown for clar-
C of the previous face, pass through the ity). Repeat the thread path of this cube
FINISHED SIZE
last C exited at the bottom of this cube, to reinforce the join. Exit from the bottom
18"
and pass up through the next C of the C of Cube 1, away from the beadwork, so
first face in this cube (Fig. 1, blue that you’ll begin working clockwise (see
thread). Pass through the 4C at the top the start dot in Fig. 3). Secure and trim
of this cube to close the top, then pass the tail thread; don’t trim the working
through the C at the top of the first face thread. Set aside.
in this cube (Fig. 1, red thread). Repeat this entire step twelve times for a
total of 13 components.
artist’s tips
❯ There is some variation in size 11°
seed beads based on the brand and
the finish, so you may have to adjust
the number of cubes in each
component to get the desired result.
❯ Adjust the length of the necklace by Fig. 1: Forming Cube 1 of
adding or subtracting components the component
and/or adjusting the number of
cubes in the strip of the toggle bar.
7 8 9 10 11 12 13 14 15
6 16
5 17
4 18
Fig. 2: Adding Cube 28 (Join) Fig. 3: Stitching
Embellishment, Side 1
3 19
2 20
1 27 26 25 24 23 22 21
Fig. 4: Forming
Embellishment, Side 2 Fig. 5: Weaving the toggle ring
2 EMBELLISHMENT. Use peyote stitch Repeat this entire step six times for a total working counterclockwise. Repeat the em-
to embellish the components: of 7 components embellished with A. bellishment on the other side of the toggle
Side 1 (Outer Edge): Note: Use firm tension Repeat this entire step six times using B bar. Note: The embellishments will be mir-
to encourage curves in the beadwork. in place of A for a total of 6 components rored on both sides. Secure and trim the
Use the working thread of 1 component embellished with B. thread. Set aside.
to string 1A and pass through the next C;
repeat seven times (Fig. 3). Weave 3 TOGGLE RING. Start 1’ of new thread 5 ASSEMBLY. Use cubic right-angle weave
through beads to exit from the bottom C that exits from 1C of the inside face of to assemble the components:
of Cube 7, toward the beadwork, so that Cube 4 on 1 component embellished with Arrange: Arrange the components on your
you’ll continue working clockwise (see A. Use cubic right-angle weave and C to work surface to create 2 strips that meet in
the start dot in Fig. 4). form 4 cubes that connect Cube 4 to the middle. For the first strip, arrange the
Side 2 (Inner Edge): String 1A and pass Cube 18 (Fig. 5, no thread paths shown). toggle ring at the top, one B component,
through the next C; repeat seven times Set aside. one A component, one B component, one
(Fig. 4). Weave through beads to exit A component, and one B component.
from the top (outside) C of Cube 15 so 4 TOGGLE BAR. Start 2' of new thread Repeat to arrange the second strip using
that you’ll continue working clockwise. that exits from 1C of the outside face of the toggle bar. Place the remaining compo-
Side 3 (Outer Edge): String 1A and pass Cube 11 on 1 component embellished with nent embellished with A between the 2
through the next C; repeat seven times. A. Use cubic right-angle weave and C to components that meet in the middle, at
Weave through beads to exit from the form 10 cubes. Use cubic right-angle weave the bottom opening, as shown in Fig. 8.
top (inside) C of Cube 21, toward the and C to form 4 cubes on either side of the Focal, Top Join: Align the 2 center compo-
beadwork, so that you’ll continue work- 10th cube just added (Fig. 6, no thread nents of the strips so that Cube 14 on the
ing clockwise. paths shown). Weave through beads to exit right component aligns with Cube 22 on
Side 4 (Inner Edge): String 1A and pass from the leftmost C of the leftmost cube in the left component. Start 10" of new thread
through the next C; repeat seven times. the toggle bar so that you’ll begin working that exits from 1C of the outer face of
Flip the beadwork over, weave through clockwise (see the start dot in Fig. 7). Note: Cube 14 on the right component. Using the
beads to exit from the bottom C of Use firm tension to encourage curves in the side beads of Cube 14 on this component
Cube 1 so that you’ll begin working beadwork. Work 10 peyote stitches with 1C as the bottom and the mirror side beads of
clockwise, and repeat this entire step on in each stitch. Work 10 peyote stitches with Cube 22 on the left component as the top,
the other side of the component. Note: 1B in each stitch (Fig. 7). join all 4 faces of the cubes using C and
The embellishments will be mirrored on Flip the beadwork over, weave through cubic right-angle weave. Repeat the thread
both sides. Secure and trim the thread. beads to exit from the opposite C of the path of this cube to reinforce the join
Set aside. same face of this cube so that you’ll begin (Fig. 8, purple thread, only 1 face shown
OPTION
Create a matching bracelet
using the same techniques.
Fig. 6: Stitching
the toggle bar
Fig. 7: Embellishing
the toggle bar
Fig. 8: Assembling
the focal
for clarity). Secure and trim the thread.

read.
Focal, Bottom-Right Join: Repeat Focal,
Top Join to connect Cube 14 of the e bot-
tom component to Cube 8 of the top-
right component (Fig. 8, blue thread,
read,
only 1 face shown for clarity).
Focal, Bottom-Left Join: Repeat Focal,ocal,
Top Join to connect Cube 8 of the bot-
tom component to Cube 28 of the e top-
left component (Fig. 8, red thread, d, only
1 face shown for clarity).
Strip Joins: Start 10" of new thread that
exits from 1C of the outer face of Cube
ube 11
in the top-left component of the focal.
Use cubic right-angle weave and C to
form 2 cubes that connect Cube 11 1 of
this component to Cube 25 of the e next
component in the strip (Fig. 9, no thread
paths shown). Secure and trim the e
threads. Repeat Strip Joins to connect
nect the
remaining components of this strip. ip.
Repeat to connect the second strip p to
the other side of the focal.
NICOLE VOGT is a passionate

sionate
beader from Germany. Although
lthough
beading is her hobby, she spends
as much time as possible creating new designs.
She runs a beading blog with her two sisters Fig. 9: Stitching the
strip join
who are also beaders. Contact Nicole at
www.dreikleineperlen.blogspot.de.

retailer or contact: Size 15° Toho seed beads:
Aura Crystals, www.auracrystals.com. Size 11°
Toho seed beads and thread: Fire Mountain
Gems and Beads, (800) 355-2137,
www. remountaingems.com. ●
Alternate
Colorway Materials
BLACK
3 g color-lined dusty rose size 15°
seed beads (A)
3 g teal luster opaque size 15°
seed beads (B)
40 g black opaque size 11°
seed beads (C)
Smoke 4 lb FireLine braided
beading thread
Dragon ies and Daisies SHAYLYNN JAMESON
Main
Colorway
Dragonflies and Daisies SHAYLYNN JAMESON
1 BAND. Use a variation of right-angle
U SE GEMDUOS AND NIB BIT BEADS

to stitch up this sweet bracelet in a
jiffy. The Tripiti Cymbal bead endings give it
weave to form the band:
Unit 1: Note: Take care to add the E faceup.
Use 5' of thread to string 1D (narrow
p.
a nice clean finish. hole) and 2E; repeat, leaving a 6" tail. Pass
ass
through the beads (same holes) again to
form a tight circle; use the working and
TECHNIQUES
tail threads to tie a surgeon’s knot. Pass
through the second (right) hole of the
Peyote stitch variation
last E exited (Fig. 1).
PROJECT LEVEL Unit 2: String 1F; pass through the next E
MATERIALS (right hole) (Fig. 2, blue thread). Stringg
1 g gold lustered Montana size 15° 1B, 1C, 1B, and 1E; pass back through the he
seed beads (A) last F added and the previous 1E (right
1 g matte teal iris size 11° seed beads (B) hole) of the previous unit (Fig. 2, red
1 g aluminum galvanized permanent-finish thread). String 1B, 1C, 1B, and 1E; pass
size 8° seed beads (C) through the last F exited, then weave
18 matte aluminum 5×6mm 2-hole through beads to exit from the second
pressed-glass Nib-Bit beads (D)
(right) hole of the E just added (Fig. 3).
36 turquoise Picasso 8×5mm 2-hole
GemDuos (E) String 1D (narrow hole), 2E, and 1D (nar- r-
8 smoky topaz luster 4mm fire-polished row hole); pass through the previous 2EE
rounds (F) (right holes) of this unit, then weave
2 silver 8.4×5mm Tripiti Cymbal bead endings through beads to exit from the second
2 stainless steel 6mm jump rings (right) hole of the second E just added
1 stainless steel 6×9mm lobster clasp (Fig. 4).
Smoke 6 or 8 lb FireLine braided Units 3–9: Repeat Unit 2 seven times.
beading thread
TOOLS
Scissors
FINISHED SIZE
6¾"
Fig. 1: Forming Unit 1
Fig. 2: Stitching Unit 2 Fig. 3: Weaving Unit 2
Fig. 4: Finishing Unit 2
artist’s tips
❯ Check the GemDuos and Nib-Bit
beads for any blocked holes; discard
any beads with blocked holes.
❯ Be careful—your thread will want
to wrap around the end of the
bracelet as you work Step 2. Just
make sure to guide it into place.
Fig. 5: Stitching Finish, End 1 and Bottom
Alternate
Colorway Materials
BLACK & SILVER

1 g silver galvanized Duracoat size 15°
seed beads (A)
1 g black opaque size 11° seed beads (B)
1 g hold-lined black diamond rainbow
18 matte gold iris 5×6mm 2-hole
pressed-glass Nib-Bit beads (D)
36 antique chrome 8×5mm 2-hole
GemDuos (E)
8 matte brown iris 4mm
fire-polished rounds (F)
2 silver 8.4×5mm Tripiti Cymbal
bead endings
3 stainless steel 6mm jump rings
1 antiqued silver 17×14mm bamboo
toggle clasp
Smoke 6 or 8 lb FireLine braided
beading thread
PURPLE & GREEN

2 FINISH. Use a variation of peyote stitch through beads to repeat the thread path 1 g oxblood opaque size 15°
to finish the band: of End 2 to reinforce. Secure and trim the seed beads (A)
End 1: String 1 Tripiti Cymbal bead ending; threads. 1 g metallic green suede size 11°
pass through the next E (outside hole) seed beads (B)
(Fig. 5, blue thread). SHAYLYNN JAMESON is a 1 g gold-lined black diamond rainbow
Bottom: String 3A; pass through the next D teacher and designer who
18 lazure green 5×6mm 2-hole
(wide hole). String 3A; pass through the specializes in beadwork. She has pressed-glass Nib-Bit beads (D)
next 1B/1C/1B. Repeat from the begin- been beading since 1996 and loves making 36 backlit petroleum 8×5mm 2-hole
ning of this pass seven times. String 3A; new designs and kits for her website. She GemDuos (E)
pass through the next D (wide hole). spends her days working on custom projects 8 amethyst luster 4mm fire-polished
String 3A; pass through the next E (out- and repairs for her clients and beading during rounds (F)
side hole) (Fig. 5, red thread). her son’s naptime. Contact Shaylynn at 2 silver 8.4×5mm Tripiti Cymbal
bead endings
End 2 and Top: Repeat End 1. Repeat www.thistlebeads.com.
2 stainless steel 6mm jump rings
Bottom.
1 stainless steel 6×9mm lobster clasp
Reinforce: Use the working thread to RESOURCES Check your favorite bead
Smoke 6 or 8 lb FireLine braided
repeat the thread path of End 1 to rein- retailer or contact: All materials and kits: beading thread
force. Use the tail thread to weave Thistle Beads, www.thistlebeads.com ●
Harper Collar MARYANN ESTEVES MCALPIN
S EED BEADS AND GINKGO Leaf beads
come together in this elegant and joy-
ful necklace, inspired by the artist’s bold
young niece who reminds her of how
unique we all are.
TECHNIQUES
Right-angle weave
Ladder stitch
PROJECT LEVEL
MATERIALS
1 g silver galvanized size 15° Japanese
seed beads (A)
5 g silver galvanized size 11° Japanese
seed beads (B)
85 matte jet Labrador 7.5mm 2-hole
Ginko beads (C)
42 metallic suede blue 7.5mm 2-hole
Ginko beads (D)
1 silver-plated 9×7mm magnetic clasp
Low-vis green 8 lb Nanofil fishing line
TOOLS
Scissors
3½" plastic bobbin or plastic bread-bag clip
FINISHED SIZE
18" 1 NECKLACE SIDE 1. Use a variation of (Fig. 1, blue thread). Weave through
right-angle weave and ladder stitch to form beads to exit up through the right hole of
the first half of the necklace: the last D added (Fig. 1, red thread).
artist’s tips Unit 1: Note: Lay the C and D on your work Unit 2: String 2B and 1D (left hole, top to
surface, making sure that the points are bottom); pass down through the nearest
❯ Use all the same color
Ginko beads for a facing up. Add a needle to 16' of thread. C (right hole) (Fig. 2, green thread).
different look. Wrap 8' of the tail onto the bobbin/clip. String 1B, 1C (left hole, top to bottom),
Add a stop bead to the working thread 1A, 3B, and 1A; pass up through the right
❯ If you have trouble
near the bobbin/clip. String 1C (right hole of the last C strung (Fig. 2, blue
working with a long tail
and bobbin/clip, you may hole, top to bottom), 1B, 1C (left hole, top thread). String 1B and 1C (left hole, bot-
choose to work with 6' to bottom), 1A, 3B, and 1A; pass up tom to top); pass up through the last D
of thread and add new through the right hole of the last C added (right hole) (Fig. 2, red thread).
thread when starting strung (Fig. 1, green thread). String 1B, String 5B; pass down through the left
Step 2. 1C (left hole, bottom to top), 1D (right hole of the last D exited, then weave
hole, bottom to top), and 5B; pass down through beads to exit up through the
through the left hole of the last D strung right hole of the last D added (Fig 3).
Fig. 1: Forming Unit 1 Fig. 2: Stitching Unit 2 Fig. 3: Weaving Unit 2
Harper Collar MARYANN ESTEVES MCALPIN
Fig. 4: Forming
End
Fig. 5: Attaching
Clasp
Units 3–21: Repeat Unit 2 nineteen times. 2 NECKLACE SIDE 2. Flip the bead-
End: String 1A, 3B, and 1A; pass down work over so that the tail thread is on the Alternate
through the nearest C (right hole) (Fig. 4,
green thread). String 1A, 2B, and 1A;
right. Remove the bobbin/clip and stop
bead and add a needle to the tail thread.
Colorway Materials
pass up through the last C exited (left Pass up through the right hole of the
hole) and the following D (right hole), nearest D. Repeat Necklace Side 1, BLACK & WHITE
through the next 1A/3B/1A, and down Unit 2 twenty times. Repeat End. 1 g jet opaque size 15° Japanese
through the last C exited (right hole) Repeat Attach Clasp. seed beads (A)
5 g white Ceylon size 11° Japanese
(Fig. 4, blue thread). String 1A, 3B, and
seed beads (B)
1A; pass down through the last C exited MARYANN ESTEVES
85 matte metallic black 7.5mm 2-hole
and through the first 1A/3B just added McAlpin grew up surrounded Ginko beads (C)
(Fig. 4, red thread). by the scenic views of Long 42 white opaque 7.5mm 2-hole
Attach Clasp: String 1A, 2B, and 1A, then Island. She's the daughter of a gifted Ginko beads (D)
pass through the last 2B exited and the carpenter who taught her to try new things 1 antiqued silver 9×7mm magnetic clasp
next 1A/2B just added; repeat twice, exit- and use her imagination. Her love of color Low-vis green 8 lb Nanofil fishing line
ing from the first B just added on the last brought her to the world of beading. She has BURGUNDY & ARTICHOKE
repeat (Fig. 5, green thread). String 2B, been teaching beading for the past five years. 1 g eggplant galvanized Duracoat size 15°
one half of the magnetic clasp, and 2B; Contact her at maryannmcalpin@aol.com. Japanese seed beads (A)
pass through the next B and the follow- 5 g metallic dark blue iris size 11°
ing A (Fig. 5, blue thread). String 1A, RESOURCES Check your favorite bead Japanese seed beads (B)
then pass through the next A; repeat. retailer or contact: Miyuki seed beads 85 burgundy chatoyant shimmer 7.5mm
Pass through the next 2B/1A. String 1A, and all other materials: Bead Emporium, 2-hole Ginko beads (C)
then pass through the next A; repeat. www.facebook.com/BeadEmporiumLI, 42 artichoke chatoyant shimmer 7.5mm
2-hole Ginko beads (D)
Weave through beads to reinforce the (631) 909-8964 or Bonnie’s Bundles,
1 antiqued silver 9×7mm magnetic clasp
clasp attachment; secure and trim the (631) 650-5395, bonniesbundlesbeads Low-vis green 8 lb Nanofil fishing line
working thread only. @gmail.com.
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Designed by: Leslie Venturoso Interweave.com
Colorful Kite sh CAREN SMITH
Main
Colorway
1 EARRING. Use a variation of right-angle the netting. String 3A; pass through
T HESE CUTE EARRINGS WERE

inspired by parrot and clown fish seen
during a tropical snorkeling trip.
weave and netting to form the fish:
Bezel Center: Use 3' of thread to string 8D
(narrow holes), leaving a 6" tail. Pass
the middle A of the next 7A set. Pass
through the first 4A of each net, around
the perimeter of the bezel, snugging
through the beads (same holes) again to the beads around the front of the rivoli.
form a tight circle; use the working and Weave through beads to exit from the
TECHNIQUES
tail threads to tie a square knot. Pass outside hole of the top-right D of
through the first (inside) then second the bezel center (Fig. 2). Flip the bead-
Netting
(outside) holes of the first D strung work over.
PROJECT LEVEL (Fig. 1, orange thread). Top Ring: String 1 soldered jump ring;
Bezel Netting: String 7A; pass through the pass through the next D (outside hole),
MATERIALS
1 g denim blue opal size 15° seed beads (A)
last D (outside hole) exited and the first then weave through beads to repeat the
4 blue iris 5×2.5mm 2-hole SuperDuos (B) 4A just added (Fig. 1, purple thread). thread path and exit from the bottom D
16 crystal etched vitrail 7×5mm 2-hole *String 7A; pass through the next D (out- (outside hole) of the center 2D at the
StormDuos (C) side hole) (Fig. 1, green thread). String left of the bezel center (Fig. 3, green
16 aluminum 9×5mm 2-hole Kite beads (D) 3A; pass through the fourth A of the 7A thread).
2 ultra-green AB 12mm Swarovski just added (Fig. 1, blue thread). Repeat Lips: String 2B; pass through the next D
crystal rivolis from * six times (Fig. 1, red thread). (outside hole), then weave through
2 silver 4mm soldered jump rings Insert 1 rivoli faceup into the beadwork beads to repeat the thread path and exit
2 silver 6mm jump rings so the back touches the bezel center. from the bottom-right D (outside hole) of
1 pair of sterling silver 15mm ear wires Hold the rivoli in place as you complete the bezel center (Fig. 3, blue thread).
Smoke 6 lb FireLine braided beading thread
Fins: String 2C (concave sides first); pass
TOOLS through the next D (outside hole), then
Scissors weave through beads to repeat the
Size 11 beading needle thread path and exit from the top D (out-
FINISHED SIZE
side hole) of the center 2D at the right of
1¾ × 1¼" the bezel center (Fig. 3, red thread).
Fig. 1: Forming Bezel

Center and Netting
Fig. 2: Finishing
Netting
Back
artist’s tips
❯ Before using any two-hole
bead, check that both holes are
open and clear. Discard any
beads with blocked holes.
❯ This project is a perfect stash
buster to help use up those
little bits and pieces left over
from a larger project.
❯ Using the Kite beads to cradle Fig. 3: Stitching Top
the rivoli helps to protect the Ring, Lips, and Fins
back of it, minimizing damage
to the stone.
Colorful Kitefish CAREN SMITH
Tail: String 1C (concave side first) and 1C

(convex side first); pass through the next
D (outside hole), then weave through
beads to exit from the first C (first hole)
just added (Fig. 4, purple thread). Fig. 4:
Stitching Tail
*String 1C (concave side first) and 1C
(convex side first); pass through the next
C (first hole), then weave through beads
to exit from the first C (first hole) just
added (Fig. 4, blue thread). Repeat from
* (Fig. 4, red thread).
Alternate
Colorway Materials
ORANGE/GREEN
1 g olivine size 15° seed beads (A)
4 apple green 5×2.5mm 2-hole
SuperDuos (B) Fig. 5: Weaving Tail
16 crystal etched vitrail 7×5mm 2-hole Reinforcement
StormDuos (C)
16 aluminum 9×5mm 2-hole
Kite beads (D)
2 orange glow 12mm Swarovski
crystal rivolis
2 silver 4mm soldered jump rings
2 silver 6mm jump rings
1 pair of sterling silver 15mm ear wires
beading thread
PURPLE
1 g matte red grape size 15°
seed beads (A)
4 purple transparent 5×2.5mm
2-hole SuperDuos (B)
16 crystal etched sliperit 7×5mm
2-hole StormDuos (C)
16 aluminum 9×5mm 2-hole
Kite beads (D)
2 orange glow 12mm Swarovski
crystal rivolis
2 silver 4mm soldered jump rings
es
Smoke 6 lb FireLine braided Tail Reinforcement: Pass through the CAREN SMITH is a self-taught
beading thread last 3C (outside holes) exited and the bead artist who loves to design
nearest D (outside
ide hole)
hole). Weave with all of the wonderful shaped
BLUE/SILVER through beads to exit from the next D and multi-holed beads available today. She
1 g crystal shadow opal size 15° (outside hole). Pass through the next loves traveling and incorporating what she
seed beads (A)
3C (inside then outside holes); pass sees into her beaded artwork. Contact Caren
4 silver 5×2.5mm 2-hole SuperDuos (B)
16 aluminum 7×5mm 2-hole back through the last D (outside hole) at carensbeadcreations@gmail.com.
StormDuos (C) exited (Fig. 5). Secure the threads and
16 aluminum 9×5mm 2-hole Kite trim. RESOURCES Check your favorite bead
beads (D) Ear Wire: Use 1 jump ring to attach 1 ear retailer or contact: Similar seed beads,
2 foil-back aqua 12mm Swarovski wire to the top ring. Swarovski crystal rivolis, jump rings, and
crystal rivolis similar ear wires: Fire Mountain Gems and
2 silver 4mm soldered jump rings 2) Repeat Step 1 for a second earring, Beads, (800) 355-2137, www. remountain
swapping the tail and lips for a mirror- gems.com. Similar SuperDuos, StormDuos,
image fish. Kite beads, and thread: Potomac Bead
beading thread Company, www.potomacbeads.com. ●
Tanjung Datu SeaForm with
blown glass base,
6” h x 7”w x 6”d.
By Wendy Ellsworth.
Photo by David Ellsworth.
Call for Entries for the 1st Annual Interweave

Jewelry, Bead and Gem Arts Awards
Categories Include Jewelry | Beads | Gems | Objects
This contest will showcase the best of Grand Prize Winner $1000
the best in a variety of jewelry, bead, 4 Division Winners $250 each
and gem works. Top winning pieces will Select number of honorable mentions
earn cash prizes and we will select a
number of honorable mentions to win EARLY BIRD DEADLINE: REGULAR DEADLINE:
a full year magazine subscription. June 1, 2020 July 1, 2020
LEARN MORE & ENTER AT: www.interweave.com/jewelry-beading-competitions/
®
fast & fabulous
EASY-GOING INSPIRATION
Black & White

From bold geometric patterns
to delicate chain pieces, these
seven designs showcase diverse
styles using predominantly
black and white elements.
(Instructions follow on page 66.)
At the Ball
Debbie Blair
A black-and-white color scheme typically
lends itself to formal wear, and in this
instance, a few pink and gold accents add
a playful touch to an otherwise elegant
piece of jewelry.
58 WWW.INTERWEAVE.COM SEE P. 77 FOR HELPFUL TECHNIQUE INFORMATION.

fast & fabulous
Clarify & Amplify

Katie Hacker
is double-strand necklace is a stylish way to
get your groove on. Quartz is believed to
clarify intentions and amplify energy.
SEE P. 77 FOR HELPFUL TECHNIQUE INFORMATION. BEADWORK JUNE/JULY 2020 59

fast & fabulous
Trellis of Love
Tammy Honaman
e delicate balance of combining steel wire
and glass beads results in a striking design
with high contrast.

fast & fabulous
Molecular
Structure
Anne Perry
Raid your toolbox! Rubber gaskets
gather in a playful and modern
necklace design.

Unique Batik
Terry Ricioli
Batik bone beads are carved by hand
and a hot wax design is added to the
sun-bleached bead. e bead is then
immersed in a natural dye. When the
wax is removed, the pattern is revealed.
Since these beads and pendants are
handmade, no two are alike.

Lotus Pond
Anne Perry
Using a cohesive color palette allows
for a variety of textures and shapes
to work together.

fast & fabulous
Harlequin Star
Leslie A. Pope
It’s easy to create these dazzling earrings
using black-and-white GemDuo duets,
silver ndings and a bit of chain.

fast & fabulous
At the Ball
Debbie Blair
TECHNIQUES
Stringing
Crimping
Braiding
Simple wireworking
Knotting
MATERIALS
50 white size 8° seed beads
10 pink 6mm pressed-glass rounds
About 165 black 6–8mm pressed-glass
rounds
2 matte pearl white 12×8mm glass
rondelles
2 black 12mm faceted-glass rounds
2 pink-and-gold 16×15mm fancy glass
rondelles with black rhinestone inlay
50 gold 3mm cornerless cubes
10 matte gold 6mm faceted rounds
2 gold 20mm rings
1 matte gold 6×8mm lobster clasp
10 gold 2mm crimp tubes
2 gold 10×11mm cones
27" of white satin ribbon
4" of gold 22-gauge wire
85" of black .015 beading wire At the Ball
TOOLS
Scissors
1 crimp tube and the previous simple other end of the necklace. (Note: You will
Wire cutters
loop. Pass back through the crimp tube want to slightly curve the braid before
Crimping pliers snugging the wires in the crimp tubes, so
and crimp. Repeat entire step four times,
Round-nose pliers using the beading wires on the same end you may need to remove or add one or
Chain-nose pliers of the necklace. two beads to some of the strands so the
2 bead stoppers 5. Use one 22-gauge wire tail to string curve sits nicely.)
FINISHED SIZE 1 cone, snugging the cone down over the 8. Repeat Step 5 using the remaining
24½" crimp tubes. Form a wrapped loop, string- 22-gauge wire tail, stringing 1 gold ring
1. Place 1 bead stopper on one end of one ing the clasp onto the wire before finish- before finishing the wraps. Use the ribbon
17" piece of beading wire. String 1 faceted ing the wraps. to form a lark’s head knot on the gold ring.
black 12mm round, 1 white rondelle, 6. Remove the bead stopper from the Use the ends of the ribbon to form an
1 pink rondelle, 5 seed beads, 5 cornerless other end of the necklace. Use the beaded overhand knot around the remaining gold
cubes, and 2 faceted gold rounds. strands to form a 5-strand braid by hold- ring, leaving 1½" – 2" tails. Trim tails as
2. String about 8" of black 6mm and 8mm ing the far-left strand in your hand and desired.
rounds, adding 2 pink rounds in between bring it under the strand right beside it DEBBIE BLAIR is a Colorado native who enjoys
the black beads in no particular order. and then over the center strand. Next, cooking, gardening, and teaching others how
Repeat Step 1, reversing the stringing hold the far-right strand in your hand and to make art and jewelry. Visit her website at
sequence and adding a bead stopper to bring it under the strand right beside it www.pinkdahliacreative.com.
the end of the wire. and then over the center strand. Continue RESOURCES Check your favorite bead retailer
3. Repeat Steps 1 and 2 four times. Use in this manner to weave each outer strand or contact: Pink-and-gold rondelles: Jesse James
one 2" piece of 22-gauge wire to form a under and then over for the length of the Beads, (484) 379-7936, www.jessejamesbeads.com.
simple loop. beaded strands. Replace the bead stopper. Ribbon: JoAnn Fabric and Crafts, (888) 739-4120,
4. Remove the bead stopper from 1 piece 7. Use one 2" piece of 22-gauge wire to www.joann.com. All other materials: Fusion Beads,
of beading wire and use the wire to string form a simple loop. Repeat Step 4 on the (888) 781-3559, www.fusionbeads.com.

18" of black 3mm beaded chain (or 1. Cut the small cable chain into two
Clarify & Amplify use 3mm black beads and eye pins 2½" pieces. Cut the medium cable
Katie Hacker to make your own) chain into the following lengths: two
TECHNIQUES 5" of gold 2×3mm twisted cable 1", one 3½", and one 8½". Separate the
Simple wireworking chain (small) beaded chain into 2 equal pieces.
14" of gold 3×4mm twisted cable 2. Attach 1 eye pin to one end of the
MATERIALS
chain (medium) 8½" piece of medium cable chain.
3 clear 6mm faceted-glass rounds String 1 faceted-glass round; form a
3" of gold 4×5mm twisted cable
1 quartz-and-gold 38×30mm pendant chain (large) simple loop that attaches to one 1"
with two loops piece of medium cable chain. Attach 1
TOOLS
1 gold 7×12mm lobster clasp eye pin to the free end of the previous
3 gold 22-gauge 1" eye pins 2 pairs of chain- or flat-nose pliers
1" piece of chain. String 1 faceted-
3 gold 4mm jump rings Round-nose pliers
glass round; form a simple loop that
2 gold 6mm jump rings Wire cutters attaches to the remaining 1" piece of
FINISHED SIZE medium cable chain. Attach 1 eye pin
Adjustable to the free end of the previous 1"
piece of chain. String 1 faceted-glass
round; form a simple loop that
attaches to the 3½" piece of medium
cable chain.
3. Attach one 4mm jump ring to one
end of the large cable chain. Use one
4mm jump ring to attach the free end
of the large chain to 1 piece of small
cable chain. Attach the free end of the
small chain to 1 piece of black beaded
chain by opening and closing the end
loop on the beaded chain as you
would a jump ring.
4. Attach the second wire loop on the
same end of the beaded chain from
Step 3 to one end of the gold chain
formed in Step 2. Repeat to attach the
second beaded chain to the free end
of the gold chain from Step 2.
5. Attach the same end of the second
beaded chain to the remaining piece
of small cable chain. Use one 4mm
jump ring to attach the clasp to the
free end of the small chain.
6. Use one 6mm jump ring to attach
the free end of 1 black beaded chain
to the quartz pendant; repeat using
the second beaded chain.
KATIE HACKER is the editor of Beadwork
and the host of Beads, Baubles, & Jewels on
PBS. She loves using stones to make
wearable, meaningful jewelry.
retailer or contact: Michaels, (800) 642-4235,
www.michaels.com.
Clarify & Amplify

fast & fabulous
Trellis of Love Artist’s tip: Steel wire requires

Tammy Honaman a little more strength versus
copper or sterling silver. When
TECHNIQUES forming curves, use your tools
Wireworking to do the work, not the bead.
MATERIALS
1 black-and-white polka-dot 9×6mm
lampwork rondelle
4 black-and-white polka-dot 12×6mm
lampwork rondelles
1 black-and-white 15×7mm
lampwork saucer
2 black-and-white swirl 17×12mm
lampwork rondelles
3 ivory 20×2mm irregular
lampwork glass discs
1 black-and-white swirl 40×35mm
lampwork heart
8" of 20-gauge dark annealed steel wire
60" of 16-gauge dark annealed
steel wire
TOOLS
Small bail-making pliers with 2mm and
4mm nose
Large bail-making pliers with 5mm and
8mm nose
Wire cutters (rated for steel)
2 pairs of flat-nose pliers
Jig with puck accessory or a curved
form such as a coffee mug
Chasing hammer
Bench block
Trellis of Love
FINISHED SIZE
17" (with 3¾" focal)
glass discs and form a wrapped loop. Use a double-wrapped loop that attaches to
1. Cut a 2" length of 16-gauge wire; trim one 3” piece of 16-gauge wire to form a the previous simple loop. String the lamp-
each end flush. Use the 4mm bail-making simple loop as before that attaches to the work saucer and form a double-wrapped
pliers’ nose to form a simple loop on one previous wrapped loop. String the remain- loop.
end of the wire. String one 12×6mm lamp- ing 17×12mm rondelle and form a simple 7. Cut a 3" length of 20-gauge wire. Use
work rondelle. Trim the remaining wire loop. This forms the other half of the the 2mm bail-making pliers’ nose to form a
to ⁄ " and form a simple loop. Set aside. necklace. 3-ring coil on one end. String the 9×6mm
2. Repeat Step 1 three times, each time 4. Cut a 3" length of 16-gauge wire. Use lampwork rondelle. Trim the wire to ½".
connecting a new link to the previous link the 8mm bail-making pliers’ nose to form a Form a simple loop that attaches to the
formed. You should end up with a chain of coil. Cut the rings apart so you have 1 ring saucer link.
3 links. Repeat Step 1 using a 3" piece of with two flush ends. Use this jump ring to 8. Cut a 2" length of 16-gauge wire. Use
wire and one 17×12mm lampwork ron- attach the 17×12mm links on each half of the 4mm bail-making pliers’ nose to form a
delle and attaching it to the final 12×6mm the necklace to one another. coil that attaches the top of the heart focal
link from this step. This forms one half of 5. Cut a 5" length of 16-gauge wire. Use to the jump ring between the 2 halves of
the necklace. the 2mm bail-making pliers’ nose to form a the necklace.
3. Cut a 6" length of 16-gauge wire. Use wrapped loop on one end. String the 9. Cut a 6" length of 16-gauge wire. Use
the 2mm bail-making pliers’ nose and flat- heart so the top rests against the wrapped the 2mm bail-making pliers’ nose to form a
nose pliers to form a wrapped loop that loop. Use the 5mm bail-making pliers’ simple loop on each end so they curve in
attaches to the rondelle link formed in nose to form a simple loop. toward each other. Curve the wire over the
Step 1. String all 3 irregular lampwork 6. Cut a 5" length of 20-gauge wire. Form puck accessory attached to the jig. Repeat

fast & fabulous
entire step. Use a chasing hammer and 4 black 1" rubber gaskets (large) 2. Arrange the gaskets in a pleasing
bench block to flatten these wires. 1 black-and-white striped 20mm design, or according to the photo, placing
10. Cut a 5" length of 16-gauge wire. Use button each medium gasket inside a matching
the 5mm bail-making pliers’ nose to form a 3 black 5mm jump rings large gasket. Use 3" pieces of black and
coil. Cut the coil apart to create 4 jump 2 black 7mm jump rings white wire to connect the gaskets to one
rings with flush ends. Use 1 jump ring to 4 black 2mm crimp tubes another. Use nylon-jaw pliers to press the
connect 1 curved bar from Step 9 to the 9" of white 20-gauge craft wire wires to prevent any snags.
last rondelle link on one half of the neck- 3. Attach both 7mm jump rings to the
12" of black 20-gauge craft wire
lace; repeat on the other half of the medium/large nestled gaskets on the left
necklace.
24" of black .018 beading wire side of the focal piece. Attach all three
11. Create a figure-eight clasp by cutting TOOLS 5mm jump rings to the single large gasket
a 3" length of 16-gauge wire. Place the 2 pairs of chain-nose pliers on the right side of the focal.
5mm bail-making pliers’ nose 1" from the Round-nose pliers 4. Use one 12" piece of beading wire to
end; form a loop. Place the 8mm nose Crimping pliers string 1 crimp tube and both 7mm jump
against the formed loop and form a sec- Wire cutters rings. Pass back through the crimp tube
ond loop with the wire going in the oppo- Nylon-jaw pliers and crimp. String 1 black-and-white tile,
site direction, creating a figure eight. Trim 19 black rounds, 1 crimp tube, and 34 seed
FINISHED SIZE
the excess wire from both ends. Use beads. Form a loop and pass back through
1 jump ring from Step 10 to attach the 17" the crimp tube and crimp.
clasp to 1 bar from Step 9. 5. Use one 12" piece of beading wire to
1. Use chain-nose pliers to form a
12. Create a hook clasp by cutting a 2" string 1 crimp tube and all three 5mm
U-shaped bend in one 4" piece of black
length of 16-gauge wire. Use the 2mm jump rings. Pass back through the crimp
wire, leaving a 1½" tail on one end. String
bail-making pliers’ nose to form a loop on tube and crimp. String 1 black-and-white
the button and use the long tail to form a
each end of the wire so they are curling in tile, 19 black rounds, 1 crimp tube, 14 seed
wrapped loop.
toward each other. Place the 8mm nose beads, the button, and 14 seed beads.
off-center and form a U-shape with one Form a loop and pass back through the
leg of the U slightly shorter than the other. crimp tube and crimp.
Use 1 jump ring from Step 10 to attach the
hook clasp to the bar on the other half of
the necklace.
RESOURCES Check your favorite bead retailer
or contact: Lampwork discs: Thornburg Bead Studio,
www.thornburgbeadstudio.com. All other lampwork
beads: Worn Beadies, www.facebook.com/wornbeadies.
Wire is Parawire dark annealed steel but you can get it
all at a hardware store . Bail-making pliers: Beadalon
(wholesale only), www.beadalon.com. Xuron heavy
duty wire cutters and Now That’s a Jig and large oval
BanglSizr Puck accessory: Brenda Schweder,
www.brendaschweder.etsy.com.
Molecular Structure
Anne Perry
TECHNIQUES
Crimping
Simple wireworking
Stringing
MATERIALS
62 black size 10° seed beads
38 matte black 8mm
pressed-glass rounds
2 white/gold/brown 15×16mm
glass tiles
1 black 1 ⁄ " rubber gasket (small)
2 black ¾" rubber gaskets (medium) Molecular Structure

fast & fabulous
ANNE PERRY is the director of a learning

center in Southern California. She has been
beading in her spare time ever since her best
friend cleaned out her craft closet and gave
Anne all of her beads.
or contact: Seed beads, black rounds, jump rings,
crimp tubes, and all wire: Michaels, (800) 642-4235,
www.michaels.com. Glass tiles: A Place to Bead, (626)
219-6633, www.aplace2bead.com. Gaskets: 99 Cent
Store www.99only.com. Button: Glenda Boyer/Boyer
Estate Liquidations, (760) 727-5050,
gotbuttons@roadrunner.com.
Unique Batik
Terry Ricioli
TECHNIQUES
Knotting
Stringing
MATERIALS
60 matte black 4mm glass rounds
30 white 6mm howlite rounds (small)
12 white 8mm howlite rounds (large)
24 white 8×5mm howlite rondelles
10 white 10×2mm howlite discs
9 black-and-white 6×25mm carved
bone tubes
3 black-and-white batik 31×39mm leaf-
shaped bone pendants (short)
3 black-and-white batik 20×58mm leaf- Unique Batik
shaped bone pendants (long)
2 black-and-white batik 30×40mm pendant. Repeat from * to ** again, substi- cord to string 10 black rounds. Form
circular bone pendants tuting 1 circular bone pendant for the an overhand knot. Use one tail to
6' of natural 2-ply Irish waxed linen cord short leaf pendant. string 3 black rounds and form an
TOOLS 4. String 1 howlite rondelle, 1 large overhand knot; repeat. Leave a ½" tail
Scissors howlite round, 1 howlite rondelle, and 1 on each and trim (save excess thread
FINISHED SIZE bone tube. Repeat twice, omitting the for Step 11).
24" (with 4" focal) final tube. String 3 black rounds. 10. On the other side of the necklace,
5. Repeat Steps 3 and 4 on the other half of use 1 cord to string 5 black rounds.
the necklace. Center the beads on the cord. Use the second cord to string 5 black
1. Cut the waxed linen cord in half. Use
6. Lay the inner strand above the outer rounds. Use both tails to string 1 short
1 cord to string 3 black glass rounds. String
strand and connect the 2 strands using an leaf pendant by passing the cords in
{5 small howlite rounds and 1 bone tube}
five times. String 5 small howlite rounds overhand knot on each side of the neck- opposite directions. Wrap the tails in
lace, just above the black rounds. opposite directions around the tab on
and 3 black rounds. Center the beads on
7. Working on one side of the necklace, use the pendant and form a square knot.
the cord; this forms the inner strand of the
necklace. the top cord to string 1 howlite disc, feed- Use one tail to string 3 black rounds
ing the cord down through the center hole. and form an overhand knot; repeat.
2. String 1 long leaf-shaped bone pendant
to the center of the remaining waxed linen Use the bottom cord to string the same Leave a ½" tail on each and trim.
disc, feeding the cord up through the cen- 11. Use the extra cord to wrap sev-
cord. This will form the outer strand.
3. On one side of the pendant *string
ter hole. Use both cords to form an over- eral times around the tab portion of
hand knot. Repeat entire step four times. the center pendant on the outer
1 howlite rondelle, 1 large howlite round,
8. Repeat Step 7 on the other side of the strand. Form an overhand knot. Use
1 howlite rondelle, and 1 short leaf pen-
dant.** Repeat from * to **, substituting necklace. one tail to string 3 black rounds and
9. On one side of the necklace, use 1 cord form an overhand knot; repeat.
1 long leaf bone pendant for the short leaf
to string 10 black rounds. Use the second Trim ends.

fast & fabulous
TERRY RICIOLI loved learning about the 4 black-and-white 12mm horn rounds
process of how batik beads are created. She Lotus Pond with dots/zigzag pattern
also turned up some interesting facts about the Anne Perry 2 dark brown-and-cream 10×20mm
discovery and composition of howlite. Being an TECHNIQUES tagua nut puffy rectangles with
information junkie, this was nearly as much fun Simple wireworking carved dragonfly design
as stringing the beads! See more of her designs 1 silver 22-gauge 2" head pin
at terryriciolidesigns.blogspot.com or follow her MATERIALS
1 black-and-tan 60mm circular wood 2 antiqued brass 6mm jump rings
on Instagram.
pendant with carved leaf motif 15 silver 8mm jump rings
RESOURCES Check your favorite bead retailer 2" of antiqued brass 2×4mm twisted
1 cream 13×23mm bone fish
or contact: Bead Gallery by Halcraft glass rounds, cable chain (small)
howlite rounds and rondelles, and bone tubes: Michaels, 2 black-and-white 8×32mm bone
tubes 15" of matte silver 6×8mm cable
(800) 642-4235, www.michaels.com. Howlite discs:
2 cream 20mm carved bone lotus chain (large)
JoAnn Fabric and Crafts, (888) 739-4120, www.joann
.com. Leaf-shaped bone pendants: Bone Hugs N patterned coins 40" of silver 18-gauge wire
Harmony, www.boneugsnharmony.etsy.com. 2 cream 12×13mm carved celluloid TOOLS
Similar circular bone pendants: Purple Corner, flower beads Round-nose pliers
www.purplecorner.etsy.com. Waxed linen cord: Lima 1 cream 32×22mm carved celluloid 2 pairs of chain- or flat-nose pliers
Beads, (734) 929-9208, www.limabeads.com. 2-hole tile Wire cutters
FINISHED SIZE
33" (with 4¾" focal)
1. Use one 2" piece of wire to form a sim-

ple loop. String one side of the celluloid
tile and form a simple loop. Repeat entire
step on the other side of the tile.
2. Use one 3½" piece of wire to form a
wrapped loop. String 1 celluloid flower
and form a wrapped loop. Repeat.
wrapped loop. String 1 horn round and
form a wrapped loop. Repeat three times.
4. Use one 4" piece of wire to form a
wrapped loop. String 1 tagua nut rectan-
gle and form a wrapped loop. Repeat.
5. Use one 4" piece of wire to form a
wrapped loop. String 1 bone coin and
form a wrapped loop. Repeat.
wrapped loop. String 1 bone tube and
form a wrapped loop. Repeat.
7. Use 8mm jump rings to attach links in
the following order: 1 celluloid flower,
2 horn rounds, 1 tagua nut rectangle,
1 bone coin, and 1 bone tube. Set aside.
(This forms one half of the necklace.)
Repeat entire step to form the second half
of the necklace.
8. Use one 8mm jump ring to attach one
section of beaded links to one end of
the large chain. Use one 8mm jump ring
to attach the free end of the beaded
links to the top of the celluloid tile.
Repeat entire step.
9. Use the head pin to string the fish and
form a simple loop. Use one 8mm jump
Lotus Pond

fast & fabulous
ring to attach the fish to the wood pen-

dant. Cut the small chain in half and use
two 6mm jump rings to attach one end of
each chain to the previous 8mm jump
ring. Attach the free end of one small
chain to one of the bottom loops of the
celluloid tile; repeat.
ANNE PERRY is the director of a learning
center in Southern California. She has been
beading in her spare time ever since her best
friend cleaned out her craft closet and gave
Anne all of her beads.
or contact: Wood pendant: JoAnn Fabric and Crafts,
(888) 739-4120, www.joann.com. Bone sh and tubes:
Exim Beads, (626) 579-5799, www.eximbeads.com.
Similar celluloid owers: Jewels Du Monde, www
.jewelsdumonde.etsy.com. Similar celluloid tile: Ruby
Lane, www.rubylane.com. Bone coins, horn rounds,
and tagua nut rectangles: Michaels, (800) 642-4235,
www.michaels.com. Head pins and jump rings: A Place
to Bead, (626) 219-6633. Chain: Beads U Need,
(714) 534-3420. Wire: Garden of Beadin’,
(707) 923-9120, beads@asis.com.
Harlequin Star
Leslie A. Pope
TECHNIQUES
Circular netting
MATERIALS
28 opaque black size 15° seed beads Harlequin Star
12 Labrador 3×2mm faceted-glass
microspacers
12 black-and-white 5×8mm 2-hole 1. On 14" of thread, string the top holes of Secure thread and trim excess. Rethread
GemDuo Duets 2 GemDuos Duets with the white sides tail, weave in and trim excess.
2 antiqued silver 5×8mm Sykia Cymbal facing one another. Repeat twice. Snug 6. Use wire cutters to cut five 1" lengths of
bead endings for GemDuos the thread and form an overhand knot, chain. String one end of each chain onto
2 antiqued silver 3×7mm Mitakas pulling the GemDuos into a ring, leaving a one 5mm jump ring. Attach the 5mm
Cymbal side beads for GemDuos 4" tail. Sew through to exit the black side jump ring to the previous 4mm jump ring.
2 sterling silver 4mm closed jump rings of a GemDuo. Step up through the open 7. Attach 1 ear wire to the Sykia ending.
2 sterling silver 5mm open jump rings hole of the same GemDuo. 8. Repeat Steps 1–7 for a second earring.
1 pair of sterling silver French-hook 2. String 2 seed beads, 1 Sykia ending, and LESLIE A. POPE is a designer and teacher who
ear wires 2 seed beads. Sew through the next loves creating and teaching off-loom bead-
12" of sterling silver 2×3mm cable chain GemDuo. weaving projects. She is currently the senior
Black satin 6 lb Fireline braided 3. String 1 seed bead, 1 microspacer, and designer at the BeadSmith and a BeadSmith
beading thread 1 seed bead. Sew through the next Inspiration Squad member. Leslie also owns
TOOLS GemDuo. Repeat entire step. Twisted Sistah Beads, a retail company
4. String 1 Mitakas side bead, 1 seed bead, dedicated to all things seed beads, which
1 microspacer, one 4mm jump ring, she began in 2002. Contact Leslie at
Scissors leslie@twistedsistahbeads.com.
1 micropsacer, and 1 seed bead. Sew
Wire cutters
through the second hole of the Mitakas RESOURCES Check your favorite bead retailer
2 pairs of chain- or flat-nose pliers and the next GemDuo. or contact: Seed beads, GemDuos, microspacers and
FINISHED SIZE 5. Repeat Step 3 to complete the round. Cymbal elements: Twisted Sistah Beads, (267) 254-4845,
2½" Sew through all the beads once more. www.twistedsistahbeads.com. ●

BEADS SEED BEADS SHOWS & EVENTS
the market
2020
“BRINGING GEM SHOWS TO
YOUR PART OF THE COUNTRY”
Franklin, NC
May 8-9-10
Orlando, FL
PREMIER CLASSIFIEDS
May 15-16-17
W E B S I T E S TO V I S I T WEBSITES TO VISIT
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— That’s our mantra!
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beaders just like you!
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download and sign up today!
Up Berlian Arts
Leslee Frumin
Kits - Classes - Patterns www.interweave.com/beading
949-456-0718 • www.lesleefrumin.com
To be listed in “Stop to Shop” please contact Stephanie Griess at

sgriess@goldenpeakmedia.com or (970) 613-4630
the market {stop to shop}

Alabama The Bead Garden of Sedona—Sedona A Place to Bead—San Marino
www.Sedonabeadgarden.com www.aplace2bead.com
Bead Harbor LLC — Daphne
www.facebook.com/BeadHarbor Tools and supplies for the bead artist! We carry a A cozy shop in a village setting, carrying a nice selection of
large selection of beads, tools, and supplies plus beads of all kinds, buttons, findings, supplies, tools, and
Huge selection of charms, seed bead s (TOHO,
many items local ly made. We of fer cl asses and classes.
Miyuki), Swarovski, firepolished, gemstones, large
hole pearls, CzechMates, tools, findings and much private lessons. Mon-Sat 10-6, Sun 11-4. 2566 Mission St. (626) 219-6633
more. Open Mon-Sat 10-6, Sun 11 4. Free lessons 3150 W. State Rte. 89A, Ste. 2 (928) 282-7334
Bead Dreams—Stockton
with purchase.
27955 Hwy 98, Ste. M (251) 210-6679
California beaddreams@att.net
Just Bead It!—Concord You will love our huge Swarovski selection, stones,
Arizona www.justbeaditconcord.com pearls, pressed glass, and seed beads of all sizes and
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beading to your heart’s desire. Family owned since
See our beautiful showroom on our website. We and group instruction available. On the Miracle
2003. Open Mon, Wed, Thu, and Fri 11–7, Sat 11–6,
specialize in Swarovski crystals, Delica beads, seed Mile, between I–5 and Hw y. 99. Search for us on
Sun 12–5.
beads, interesting lampwork, creative classes—and Google for photos of the shop and directions!
2051 Harrison St., Ste. C (925) 682-6493
muc h , muc h mo re ! Jo i n u s fo r o u r mo nt h l y 2103 Pacific Ave. at Dorris Pl. (209) 464-BEAD
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1660 S. Alma School Rd., #108 (480) 755-4367 www.creativecastle.com
Colorado
Bead World Inc.—Phoenix and Scottsdale Ka-Gina Beads, Etc.—Arvada
Ventura County’s largest selection of beads. Seed,
www.beadworldinc.com De l ica , C z ech gl a ss , and v int age gl a ss bead s; www.ka-ginabeads.com
Best selection of quality gemstones, Tierra Cast, freshwater pearls; gemstones; Swarovski crystals; Welcome to a Beader’s Paradise! We offer a great
seed beads, chain, metals, SS, GF, Swarovski, pearls, charms; findings; sterling; and gold-filled. Over 450 selection of Gemstones, Pearls, Coral, Shell, Seed
leather, jewelry making kits, and more. Classes book titles and visiting guest teachers. Please visit Beads, Specialty Czech Glass, Findings, Books, Tools,
daily. our website for complete class listings or call and Stringing supplies and so much more. Parties &
6068 N. 16th St., Phoenix (602) 240-BEAD current newsletter will be mailed. Personal Classes offered.
10820 N. 71st Pl. Scottsdale (480) 948-2323 2321 Michael Dr. (805) 499-1377 7705 Wadsworth Blvd., Unit J (303) 423-1720

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Room Beads—Fairplay www.rusticriverfinds.com www.stonycreekbead.blogspot.com
Bunches of beads—lampwork, raku, Czech, Delica, Rustic River is a collection of handcrafted jewelry, Supporting the artist inside of you! Huge collection of
gemstones, and more. Seven days 9–5. Don’t miss Vintaj Natural Brass, specialty beads, & Unique Seed & C zech Beads. Ba li, pearls, and stones.
the Fair play Bead & Fiber Show during the 2nd finds. Our shop is inspired by nature. Open 7 days a Lampwork & Polymer Clay by MI artists. Classes, kits,
weekend in August. Vendors wanted! week. books & so much more! I-94 to exit 183. South 1 mile.
417 Front St. (719) 836-2698 Closed Sundays and Mondays. Tue–Fri 10–6, Sat 10–5.
109 N. Main St. (815) 776-0043

www.StonyCreekBead.blogspot.com.
Florida Bead In Hand—Oak Park 2060 Whittaker Rd. (734) 544-0904
Anderson’s Bead Room—Port Charlotte www.beadinhand.com Minnesota
www.beadthebeads.com Friendly and knowledgeable staff, offering seed Bobby Bead—Minneapolis
Largest selection of gemstones in Southwest Florida. beads, semi-precious, Czech glass beads and more.
More than 3,000 colors of Miyuki seed beads. Over Beading supplies, tools, findings and tips. Birthday
www.bobbybead.com
600 colors of Delicas. Czech glass, Swarovski, bone, parties, classes, repairs. Space to “stay and play.” Several thousand varieties of TOHO Japanese seed
shell, tools, sterling silver, copper and gold-filled Open 7 days, visit website for hours. beads including more than 1,000 colors of AIKO
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24600 Sandhill Blvd., Unit 101 (941) 764-6222 distributor of NEW, high-quality TOHO beading
Bead World—Palatine needles and One-G thread. Largest Full-Line Bead
Donna’s Beads—Sarasota www.beadworldbeads.com Store in Minnesota! info@bobbybead.com.
www.donnasbeads.com 2831 Hennepin Ave. S. (888) 900-2323
Jewelr y and gift items f rom around the world,
Whether you are a beginner or advance bead weaver, come specializing in ancient and new Indonesian glass Stormcloud Trading Co. (Beadstorm)—
in for inspiration or classes. Great selection of Swarovski beads, (Indonesian glass beads available wholesale) St. Paul
crystals/pearls, japanese seed beads, fire polish, preciosa and recycled glass beads. Jewelry repair—books— www.beadstorm.com
and finds. Great prices and the friendliest gals in town. findings—body jewelry—piercings.
come in and bead with us. 30+ years of experience shows in our vast selection
2717 Beneva Rd. (941) 444-7457 8 S. Brockway (847) 776-BEAD (2323) of seed beads, pressed glass, Swarovski crystals, Bali
BEADS!—Tampa Indiana silver, sterling, and gold-filled beads. Shop in-store
or online. Mon–Fri 10–6, Sat 10–5. No print catalog.
www.eBeads.com The Beaded Peacock—Winona Lake 725 Snelling Ave. N. (651) 645-0343
www.thebeadedpeacock.com
THE LARGEST SEED BEAD COLLECTION IN THE
TAMPA BAY AR EA! We stock over 1,000 Delica Missouri
Largest selection of stone beads in N. Indiana. Glass
colors, Tilas, Half Tilas, Cubes, Magatamas, Rounds,
and seed beads, findings and tools, custom jewelry Springfield Leather & Touchstone Beads—
Berry Beads, and more! Czech glass, SuperDuos, Fire Springfield
Polish, Tiles, and more! Gemstones, Freshwater and repair, classes and parties year round. A hidden
Pearls, base metal findings, Swarovski Crystals, and gem in a cozy lakeside town. Find us on Facebook. www.springfieldleather.com
lampwork beads. Classes by local and nationally Open Mon-Sat 10-6 Come in and explore Springfield’s largest bead store,
known artists. Visit our website for hours and class 805 East Canal St. (574) 371-2777 over 2,500 sq. ft. of high qua lit y findings and an
schedule. beads@ebeads.com
12807 W. Hillsborough Ave., Ste. H (813) 258-3900 Maine awesome selection of semi-precious bead strands for
your unique creations. We have lots of tools for beading,
Caravan Beads—Portland metal stamping, leather crafts and a wide array of seed
Georgia www.caravanbeads.com beads. We offer a var iety of classes taught by our
Beadjoux—Braselton resident experts. Lots of classes. Open Mon-Sat 9-6.
www.beadjoux.com Come see the complete line of Miyuki Delica beads 1463 S. Glenstone (800) 668-8518
i n our ret a i l b ead store wh ich doubles as ou r
The Absolute Best Bead Store Northeast of Atlanta! w hole sa le show ro om. We c a r r y a n enor mou s Nevada
Great products including Swarovski, Czech fire selection of Miyuki seed beads as well as Swarovski Bead Jungle—Henderson (Las Vegas area)
polish, seed beads, all the new bead shapes and sizes, crystal, pearls, semi-precious, Czech glass, findings www.beadjungle.com
a great selection of clasps and so much more! Check and chain. Weekly workshops and free help at our
our website for class schedule, national instructor Most complete bead shop in the Las Vegas area with
work tables. the largest variety of beads and findings. Classes,
calendar, directions and hours. Shop Online at www.
beadjoux.net. 915 Forest Ave. silversmithing, parties, workshops, and volume
6750 HWY 53, Ste. 103 (706) 658-0007 (207) 761-2503 discounts. Minutes from the Strip. Please v isit
Idaho Maryland website for shop hours.
1590 W. Horizon Ridge Pkwy., Ste. 160 (702) 432-2323
Pandora’s Baubles and Beads—Idaho Falls Atlantic Gems, Inc.—Silver Spring New Hampshire
pandorasbaublesandbeads.com www.atlanticgems.com
Bella Beads—New Hampton
The area’s best and largest selection of high quality B e st p r i c i n g o n S w a r o v s k i C r y s t a l . Fa c t or y www.bellabeadsnh.com
gemstones, German vintage beads, Tibetan, Bali, distributor of Findings/Chains in Sterling Silver,
Thai, and Turkish silver beads and findings, Czech Gold-Filled, & 14K Gold. Plated Chains/Findings in bellabeadsnh@gmail.com
glass, Japanese and Czech seed beads, trade beads 6 finishes. Miyuki Delicas – 650 colors. Full selection O pe n t abl e T hu rs d ay 11:0 0 - 5:3 0. S ho p hou rs
and much more. We also specialize in extraordinary of Semi-Precious Beads, Freshwater and A koya Wednesday thru Fr iday 10:00 –5:00. Featuring
pearls, all of which are hand-picked from all over the Pearls, & Tools. sterling and Miyuki beads.
globe. Classes from beginner to advanced. Monday 8609 Second Ave., #103B (301) 565-8094 5 Firehouse Ln
thru Friday 11:00-5:30 and Saturday 12:00-5:30. (888) 422-GEMS
Check out our Facebook, Twitter and LinkedIn. Ladybead and Rook—Wilton
440 Park Ave. (208) 529-3696 Michigan www.ladybeadandrook.com
Illinois Bead Haven—Frankenmuth Beautiful, quality beads to inspire your creativity
and accentuate your style. Emphasis on European
City Beads—Chicago www.beadhaven.com beads: Czech crystals, pressed glass, seed beads,
www.citybeadschicago.com 5,000 sq. feet makes us Michigan’s largest bead pearls, and semiprecious. Artisan-created jewelry for
Seed Bead and AIKO Specialists! Huge inventory of store! HUGE selection of Czech beads in new shapes. fine gift giving. Ample parking. Wed–Sat 9–5:30,
vintage Czech glass beads, new shaped beads, Gary Chain, antique silver & brass stampings. Seed beads, Sun 11–4. At the Riverview Mill Artist Shops.
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For All Your Beading & Fiber Needs! Great selection & cabochons, findings, sterling silver wire, sheet & 106 N. Washington Ave. (201) 385-6225
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& prices! Best little bead shop in southern Illinois!
me t a l s m it h i ng to ol s , l a mp work i ng s up pl ie s, Lucy’s Bead Boutique—Brick
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Flex w ire, cord, silk ribbon, Cascade yarn, seed soldering supplies and more. Cultivate your creative
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203 E. Ash St. (618) 893-6170 117 Washington Ave (616) 296-0020 1889 Route 88, Ste. 6 (848) 232-3690
Sojourner—Lambertville Ohio Washington
www.sojourner.biz
Beaded Bliss Designs—Cincinnati (Harrison) Wonders of the World Beadshop—Spokane
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beads, sterling beads, Chinese enamel beads, The tri-state’s best bead shop: create your own jewelry B es t l it t le be ad sho p i n Sp ok a ne. I nc re d i bl e
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semiprecious, glass, metals, pendants, lampwork, clay
clasps bezel set with vintage and semiprecious staff and great prices. Make us your first stop! In the
elements. Open daily 11-6. b e ad s, b ook s, to ol s, a nd muc h more! P ro je c t
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26 Bridge St. (609) 397-8849 621 W. Mallon, Ste. 412 (509) 325-2867
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Artistic Touch Beads—Millville 1151 Stone Dr., Ste. E (513) 202-1706
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Bloomin’ Beads, Etc.—Columbus (Powell) Meant to Bead—Sun Prairie
M inutes f rom R oute 5 5! Come s ee our Toho,
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501 N. High St., Cottage J (856) 500-1630
types of beads and supplies that you will need. Come PMC, semiprecious stone, and lampwork and Czech
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Bead Dazzle—Point Pleasant 4040 Presidential Parkway (740) 917-9008 110 Columbus St. (608) 837-5900
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Gahanna Bead Studio—Gahanna Stoned & Wired, LLC Studio/Boutique—
Ocean County’s largest full-service bead store.
Huge selection of Swarovski, semi-precious, Czech www.gahannabeadstudio.com Wausau
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the new two-hole beads, Delicas, Charlottes, and classes, workshops, and parties. Huge selection of
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2319 Bridge Ave. (732) 295-6679 E x e m p l a r y c u s t o me r s e r v i ce f ro m f r ie nd l y, Facebook: Stoned and Wired Bead Shop
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SA Beads—Owasso C ha r mi ng at mos phere. L ocate d i n dow ntow n
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chain maille, stringing materials, wire, findings and bead magazine, chances are we have it available for Starting Sept 12, Saturday hours are 11-5. Closed
more! Featuring unique beads and components by purchase at the store. Classes are twice a week with Sunday and Monday.
local and American artisans. Friendly customer the schedule posted on our website at www.sabeads. 221 Scott St. (715) 210-3165
service for beaders of all levels. com or on Facebook.com/sabead1
349 W. Commercial St. 11230 N. Garnett Rd., Unit A
(585) 586-6550 (918) 576-8940 Canada
Beads World Inc.—New York
www.beadsworldusa.com
Pennsylvania 4 Sirius Beaders—Paris, ON
Buttercup Beads—Audubon www.4siriusbeaders.com
From Beads to Chains to Glass Sew-On and much
more. Beads World is your one-stop shop. Quality www.buttercupbeads.com Over 400 colors of Miyuki delicas; Miyuki seeds sizes
selections in the heart of NYC’s fashion district. Let your creativity blossom in our cozy country 6 to 15; Swarovski Crystals and Pearls. Superduos,
Mon-Fri 9-7, Sat-Sun 10-5. setting. C lasses, Parties, oh-so- prett y spark ly Crescants, Crystals 2mm and up. Large assortment
of findings. Fringe & Decorative beads; Wire; Tools;
57 W. 38th St. (between 5th & 6th Avenue) things, and most of all, fun! One-stop shopping in Pattern books; Need les; Ny mo thread; C lasses.
(212) 302-1199 an open workshop environment. Artisan/ bead- Central to London, Hamilton, Kitchener, Brantford.
North Carolina addict owned and operated. Call for store hours. See us on Facebook.
1123 Pawlings Rd. (484) 524-8231 51 Ball St. (519) 442-7454
Chevron Trading Post & Bead Co.—Asheville
www.chevronbeads.com Owl Be Beading—Bethlehem
Asheville’s premier full-service bead store of 25+ www.owlbebeading.com
BEAD SOCIETIES
years. Largest selection of seed beads, Old World A cozy nest for beaders. Seed beads, crystals, Delicas
Trade Beads and Vintage glass in the SE Region. and shaped beads abound. Classes held almost
Huge selection of pearls, gemstones, crystals, Czech, everyday. Open free beading Wednesday nights. A Maryland
ceramic & natural beads, including all the supplies fun place to hang and bead. Owl be happy to help you
you need. WireLace® Distributor – Open 7 day a Baltimore Bead Society
in any way. Closed Tuesdays. Howard County Center for the Arts
week. Importer/Classes/Parties/Workspace
1278 B Birchwood Dr. (610) 216-5995 8510 High Ridge Rd.
40 N. Lexington Ave. (Downtown) (828) 236-2323
Cherry Tree Beads—East Asheville Blue Santa Beads—Media Ellicott City, MD 21043
www.bluesantabeads.net info@baltimorebead.org
www.cherrytreebeads.com www.baltimorebead.org
D irect impor ter of bead s and je wel r y m a k ing A n a r t ist ic ve nue t hat pr ides itse l f on a v as t Monthly program on 2nd Tuesdays (September –
supplies, specializing in gemstones. We offer retail selection of beads and findings to encourage your June) at the Howard County Community Center
and wholesale pricing. You can shop online or visit creativity. Customers always come first and always for the Arts, 8510 High Ridge Rd., Ellicott City, MD
our showroom, which includes exclusive items such return. 21043. 2018 Winter Bead and Jewelry Show, Jan 20
as specimens, art, gifts, finished jewelry and more! 1165 W. Baltimore Pike (610) 892-2740 -21, 2018 at the Howard County Fairgrounds, 2210
202 Railroad St. Swannanoa, NC 28778 (828) 581-0500
Texas Fairgrounds Rd, West Friendship, MD 21794
Ain’t Miss Bead Haven—Mooresville
Beads Unlimited Inc.—Dallas
www.aintmissbeadhaven.com
Your one stop bead shop in Dallas: Huge collection
New Jersey
Classes, Birthday Parties, Summer Camp, Socials of Gemstones, agates, pew ter, findings, chain, South Jersey Bead Society
(Bring Your Own Beads). Design & Make Your Own
Chinese crystal, pave beads, rhinestone findings, P.O. Box 1242
Jewelry - or let us make it for you. Mooresville’s best
place for beads & jewelry supply. Just 20 miles north wood beads, tools, ceramics and sterling silver Bellmawr, NJ 08099-5242
of Charlotte NC. We offer a large variety of vintage jewelr y studded w ith semi-precious gemstones. coprez2@southjerseybeadsociety.org
components, Seed beads, Two-Hole beads, Swarovski, Spend over $300 or more (wholesale) and receive www.southjerseybeadsociety.org
Preciosa, Czech, Gemstones, Crystals, Pewter, 50% off on selected items. Call us to be included for Meetings are held the first Thursday of the month
Sterling Silver, Silver & Gold filled, and Vermeil weekly sales at the shop. Email: indiagems@aol.com. September-June from 6:30 to 9:00 pm. SJBS also of-
findings. Fax: (214) 749-0446 fers workshops taught by local and national teachers.
138 N. Main St. (704) 746-9278 2454 Royal Ln. (214) 749-0444 For locations and more info see the website.

BEAD BROWSER ADVERTISERS’ INDEX

www.toocutebeads.com Artbeads.com ..........................................C2 LimaBeads.com........................................65
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mation (706) 379-2126; lapidary@windstream.net; John Bead Corp .........................................1 Tulip Co., Ltd ............................................37
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interweave.com
The Beading Connection

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techniques
DANGLES
STITCH INDEX Dangles can be strung as they are,
HERRINGBONE STITCH
Form a foundation row of one- or two-
LADDER STITCH
For one-needle ladder stitch, string
Braiding: 58 attached using needle even-count ladder stitch and 2 beads and pass through them again.
Crimping: 58, 61 jump rings, or exit up through the final bead. String Manipulate the beads so their sides
Herringbone: 10, 18, 32, 38 linked to other 2 beads, pass down through the next touch. String 1 bead. Pass through the
Knotting: 58, 62 loops. Use a bead in the ladder, and pass up through last bead added and the bead just
Ladder: 22, 50 head pin or eye the following bead; repeat strung. Repeat, adding 1 bead at a time
Netting: 18, 22, 54, 64 pin to string the to the end of the row. Step up for the and working in a figure-eight pattern.
Peyote: 10, 22, 32, 38, 42, 47 bead(s), then next row by wrapping the thread
Picots: 18 form a simple or around previous threads to exit up
wrapped loop. through the last bead strung. To form
Right-angle weave: 22, 32, 38,
42, 47, 50, 54 the next row, string 2 beads and pass
Square stitch: 18, 22 FINISHING AND STARTING down through the second-to-last bead
NEW THREADS of the previous row and up through the
Stringing: 58, 61, 62
following bead. Repeat, stringing 2 For two-needle ladder stitch, add a
Wireworking: 58, 59, 60, 61, 63 Tie off the old thread when it’s about
4" long by making an overhand knot beads per stitch, passing down then up needle to each end of the thread. String
through 2 beads of the previous row 1 bead and slide it to the center of the
around previous threads between
and stepping up as before. The 2-bead thread. String 1 bead with one needle
beads. Weave through a few beads to
hide the knot, and trim the thread close stitch will cause the beads to angle in and pass the other needle back through
each column, like a herringbone fabric. the bead just added; repeat to form a
to the work. Start the new thread by
tying an overhand knot around previ- strip.
CRIMP BEADS ous threads between beads. Weave
Crimp beads are serrated metal beads. through several beads to hide the knot
Twisted crimp tubes and crimp beads and to reach the place to resume
can be secured by squeezing them flat beading.
with chain- or flat-nose pliers.
LARK’S HEAD KNOT
CRIMP COVERS Lark’s head knots are
Crimp covers hide crimp tubes and give FRINGE Begin tubular herringbone stitch with a great for securing string-
a professional finish. To attach, gently Exit from the foundation row of beads foundation ring of one- or two-needle ing material to another
hold a crimp cover in the front notch of or fabric. String a length of beads plus even-count ladder stitch. String 2 piece, such as a ring or a
the crimping pli- 1 bead. Skipping the last bead, pass beads. Pass down through the next donut. Fold the stringing
ers. Insert the back through all the beads just strung bead and up through the following material in half. Pass the
crimped tube and to form a fringe leg. Pass back into the bead in the ladder. Repeat around the fold through a ring or
gently squeeze the foundationon row or fabric. ring. At the end of the round, pass donut, then pull the
pliers, encasing the through the first beads of the previous ends through the loop created and pull
tube inside the and current rounds to step up to the snug.
cover. new round.
NETTING
String a base row of 13 beads. String
CRIMP/CORD ENDS
5 beads and pass back through the fifth
Crimp/cord ends consist
bead from the end of the base row.
of a loop attached to a
String another 5 beads, skip 3 beads of
tube. Dab the leather,
the base row, and pass back through
plastic, ribbon, or other HALF-HITCH KNOT
the next bead; repeat to the end of the
cord with jewelry glue, Half-hitch knots may be worked with
row. To turn, pass back through the last
then place it in the two or more strands—one strand is
3 beads (one leg of the last net). String
crimp/cord end. If you’re knotted over one or more other strands.
5 beads, pass back through the center
using a crimp end, crimp Form a loop around the cord(s). Pull the
bead of the next net, and continue.
it as you would a end through the loop just formed and
crimp tube. pull tight. Repeat for the length of cord
you want to cover.
JUMP RINGS
CRIMPING
Jump rings
Crimp tubes are seamless metal tubes
connect holes
used to secure the end of a beading
and loops.
wire. To use, string a crimp tube and the
Open a jump
connection finding (i.e., the loop of the
HEAD PINS/EYE PINS ring by grasp-
clasp). Pass back through the tube, leav-
Head pins are straight wires with a ing each side of its opening with a pair
ing a short tail. Place the crimp tube in For circular netting, string {1A and 1B}
flat disc, ball, or other shape at one end. of pliers; don’t pull apart. Instead, twist
the front notch of the crimping pliers six times; pass through the beads again
Eye pins are straight wires that end in in opposite directions so that you can
and squeeze to shape the tube into an to form a circle for the foundation
a loop. open and close without distorting
oval. Use the back notch of the crimp- round and pass through the next 1A.
the shape.
ing pliers to press the length of the tube *String 1A, 1B, and 1A; skip 1 bead and
down between the wires, enclosing pass through the following bead in the
them in separate chambers of the cres- previous round to form a “net.” Repeat
cent shape. Rotate the tube 90° and use from * five times, then step up for the
the front notch of the pliers to fold the next round by passing through the first
two chambers onto themselves, 2 beads of the first net. String 2A, 1B,
forming a clean cylinder. Trim the and 2A; pass through the middle bead
excess wire. of the nearest net in the previous
round. Repeat five times, then step up
head pins eye pins
VISIT WWW.INTERWEAVE.COM/BEADING FOR VALUABLE BEADING TIPS AND TECHNIQUES. BEADWORK JUNE/JULY 2020 77
techniques
for the next round by passing through PEYOTE STITCH To make a midproject peyote-stitch PICOT
the first 3 beads of this round. Work For one-drop even-count flat peyote decrease, simply pass the thread A picot is a decorative net, most often
each round the same way, increasing stitch, string an even number of beads through 2 beads without adding a bead made with 3 beads, used to embellish a
the number of A beads as necessary to to create the first two rows. Begin the in the “gap.” In the next row, work regu- beadwork surface.
keep the work flat, and stepping up by third row by stringing 1 bead and pass- lar one-drop peyote stitch over the
passing through the first half of the ing back through the second-to-last decrease. Work with tight tension to
first net. bead of the previous row. String avoid holes.
another bead and pass back through
the fourth-to-last bead of the previous
row. Continue adding 1 bead at a time,
passing over every other bead of the
previous row.
RIGHT-ANGLE WEAVE
For circular peyote stitch, string For one-needle right-angle weave,
3 beads and knot the tail and working string 4 beads and pass through the
threads to form the first round; pass first 3 beads again to form the first unit.
through the first bead strung. For the For the rest of the row, string 3 beads
second round, string 2 beads and pass and pass through the last bead exited
through the next bead of the previous in the previous unit and the first
Two-drop peyote stitch is worked the round; repeat twice. To step up to the 2 beads just strung; the thread path will
For tubular netting, string {1A and 1B} same as one-drop peyote stitch, but third round, pass through the first bead resemble a series of figure eights, alter-
six times; pass through the beads again with 2 beads at a time instead of 1 bead. of the current round. For the third nating direction with each unit. To
to form the foundation round. *String round, string 1 bead and pass through begin the next row, pass through beads
1A, 1B, and 1A; skip 1B and pass through the next bead of the previous round; to exit from the top bead of the last
the following 1B in the previous round repeat around, then step up at the end unit. String 3 beads and pass through
to form a “net.” Repeat from * twice, of the round. Continue in this manner, the last bead exited and the first bead
then step up for the next round by alternating the two previous rounds. It just strung. *String 2 beads; pass back
passing through the first 2 beads of this may be necessary to adjust the bead through the next top bead of the previ-
round. **String 1A, 1B, and 1A; pass count, depending on the relative size of ous row, the last bead exited in the pre-
through the middle bead of the nearest For odd-count flat peyote stitch, the beads, to keep the circle flat. vious unit, and the 2 beads just strung.
net in the previous round. Repeat from string an uneven number of beads to Pass through the next top bead of the
** twice, then step up as before. Work create Rows 1 and 2. String 1 bead, skip previous row. String 2 beads; pass
each round the same way. the last bead strung, and pass through through the last bead of the previous
the next bead. Repeat across the row unit, the top bead just exited, and the
(this is Row 3). To add the last bead, first bead just strung. Repeat from * to
string 1 bead and knot the tail and complete the row, then begin a new
working threads, clicking all beads into row as before.
place. Start the next row (Row 4) by
passing back through the last bead
added. Continue in peyote stitch, turn-
ing as for even-count at the end of this
and all even-numbered rows. At the
end of all odd-numbered rows, add the For even-count tubular peyote stitch,
last bead, pass under the thread loop at string an even number of beads and
the edge of the previous rows, and pass knot the tail and working threads to
back through the last bead added. form the first 2 rounds; pass through
the first 2 beads strung. To work
To begin two-needle right-angle
Round 3, string 1 bead, skip 1 bead, and
pass through the next bead; repeat weave, add a needle to each end of the
OVERHAND KNOT thread. Use one needle to string
This is the basic knot for tying off around until you have added half the
number of beads in the first round. 3 beads and slide them to the center of
thread. Make a loop with the stringing the thread. *Use one needle to string 1
material. Pass the cord that lies behind Step up through the first bead added in
this round. For the following rounds, bead, then pass the other needle back
the loop over the front cord and through it. String 1 bead on each nee-
through the loop; pull snug. string 1 bead and pass through the next
dle, then repeat from * to form a chain
bead of the previous round; repeat,
stepping up at the end of each round. of right-angle-weave units. To turn at
the end of the row, use the left needle
Begin a midproject peyote-stitch to string 3 beads, then cross the right
increase by working a stitch with 2 needle back through the last bead
beads in one row. In the next row, work strung. Use the left needle to string
PASS THROUGH
1 bead in each stitch, splitting the pair 3 beads, then cross the right needle
VS PASS BACK THROUGH
of beads in the previous row. For a back through the last bead strung.
Pass through means to move the nee-
smooth increase, use very narrow beads To continue the row, use the right
dle in the same direction that the beads
for both the two-drop and the one- needle to string 2 beads; pass the left
have been strung. Pass back through
drop between. needle through the next bead on the
means to move the needle in the oppo-
previous row and back through the
site direction.
last bead strung.
Work odd-count tubular peyote stitch

the same as even-count tubular peyote
stitch; however, it isn’t necessary to step
up at the end of each round.
78 WWW.INTERWEAVE.COM VISIT WWW.INTERWEAVE.COM/BEADING FOR VALUABLE BEADING TIPS AND TECHNIQUES.

SQUARE KNOT STOP BEAD To form a wrapped loop, begin with a
This knot is the classic sturdy knot suit- A stop bead (or tension bead) holds your 90° bend at least 2" from the end of the
able for most stringing materials. Make work in place. To make one, string a bead wire. Use round-nose pliers to form a
an overhand knot, passing the right end larger than those you are working with, simple loop with a tail overlapping the
over the left end. Make another over- then pass through the bead one or more bend. Wrap the tail tightly down the
times, making sure not to split the thread.
hand knot, this time passing the left neck of the wire two or three times.
end over the right end; pull snug. Trim the excess wire to finish. Make a
thicker, heavier-looking wrapped loop
by wrapping the wire back up over the
coils, toward the loop, and trimming at
STRINGING the loop.
Stringing is a technique that uses bead-
SQUARE STITCH ing wire, needle and thread, or other
String a row of beads. For the second row, material to gather beads into a strand.
string 2 beads; pass through the second-
to-last bead of the first row and through
the second bead just strung. Continue by
stringing 1 bead, passing through the
third-to-last bead of the first row, and
SURGEON’S KNOT
passing through the bead just strung. For a wrapped-loop bail, center a
Repeat this looping technique to the end This knot is a secure way to connect
two threads: Wrap the two ends around bead on a 3" or longer piece of wire.
of the row. Bend both ends of the wire up the sides
each other two or more times, then
wrap one end around the other in the and across the top of the bead. Bend
one end straight up at the center of the
For cubic right-angle weave, string other direction once; pull snug.
bead, then wrap the other wire around
4 beads, leaving a 3" tail. Pass through it two or three
the beads again to form a tight circle; times. Form a
use the working and tail threads to tie a wrapped loop
square knot and pass through the first with the
bead strung. For the first face of the straight-up
WIREWORKING
cube, string 3 beads and pass through wire, wrapping
For circular square stitch, string the first To open a jump ring, grasp each side
the last bead exited at the bottom of round of beads and pass through them it back down
of its opening with a pair of pliers.
the cube, then pass through the first again to form a circle. Start a new round over the
Don’t pull apart. Instead, twist in oppo-
bead just added. For the second face of by stringing 2 beads; pass through the last already-
site directions so that you can open
the cube, string 2 beads and pass back bead of the first round and through the formed coils. Trim the excess wire.
and close it without distorting the
through the next bead at the bottom of 2 beads just strung. Repeat around, pass-
ring’s shape.
the cube, then pass up through the ing through the next bead of the previous
nearest bead on the side of the first round for each 2 new beads strung. At the For a coil, use one hand to hold the end
face, pass through the 2 beads just end of the round, pass through the whole
of the wire against a mandrel. With the
added, and pass through the next bead round again to tighten the beads. Start a
new round by stringing 2 beads; pass
other hand, wrap the wire around the
at the bottom of the cube. For the third mandrel in tight
through the last bead of the previous
face of the cube, string 2 beads; pass loops. To remove
round and through the 2 beads just
down through the nearest side bead on strung. String 1 bead and pass through For a simple loop, use flat-nose pliers the coil, slide it off
face 2, pass through the next bead at the next bead of the previous round and to make a 90° bend at least the mandrel and cut
the bottom of the cube, and pass up the bead just strung. Repeat around, ½" from the end of the wire. the wire from the
through the first bead just added. For stitching 1 or 2 beads to each bead of the Use round-nose pliers to spool. Add vertical
the fourth face of the cube, string 1 previous round, adjusting the count as grasp the wire at the tip; roll loops on either end
bead; pass down through the nearest necessary to keep the work flat. the pliers toward the bend, to use the coil as is, or cut the coil at cer-
side bead on face 1, pass back through but not past it, to preserve tain intervals to make jump rings or split
the next bead at the bottom of the the 90° bend. Adjust the pli- rings.
cube, pass up through the nearest side ers as needed to continue
bead of face 3, and pass through the the wrap around the nose of the pliers.
first bead just added. Pass through the Trim the wire next to the bend. Open a For a spiral, form a small loop at the
4 beads at the top to complete the simple loop by grasping each side of its end of a wire with round-nose pliers.
cube. For subsequent cubes, the beads opening with a pair of pliers. Don’t pull Enlarge the piece
at the top of the previous cube will act apart. Instead, twist in opposite direc- by holding onto
as the bottom of the new cube. tions so that you can open and close it the spiral with
For tubular square stitch, string the first without distorting the loop’s shape. chain-nose pliers
round of beads and pass through them and pushing the
again to form a circle. Start a new round To form a double simple loop, make
the 90º bend at least 1" from wire over the pre-
by stringing 1 bead; pass through the last
the end of the wire. Make a vious coil with your thumb.
bead of the first round and through the
bead just strung. Repeat around, passing simple loop and continue
through the next bead of the previous wrapping the wire around
round for each new bead strung. At the the round-nose pliers to
end of the round, pass through the whole form two complete loops.
round again to tighten the beads.
VISIT WWW.INTERWEAVE.COM/BEADING FOR VALUABLE BEADING TIPS AND TECHNIQUES. BEADWORK JUNE/JULY 2020 79
bead buzz KATIE HACKER
New Interweave Jewelry,

Bead & Gem Arts Awards
judged, you can let people know you’re

working on a contest submission and ask
for their input about colors, techniques,
and more.
• Enter more than one piece to increase
the possibility that your work will catch
the eye of the judges.
AGAVE CUFF BY WENDY ELLSWORTH FROM BEADWORK JUNE/JULY 2019

Tamara advises, “Quality construction is
paramount. In beading, this would mean
no loose or stray threads, no missing
beads in your pattern, and a pleasing color
palette. In jewelry, we’ll look for clean
solder joins, neat wire wraps, and a
well-finished surface—this doesn’t mean
you have to have a high polish but
definitely strive for a uniform finish that is
consistent with your design. Wearability is
also a factor for any jewelry design—that
isn’t to say you can’t have an avant-garde
flair. Most importantly, enjoy the process
as that will shine through—no matter
THE NEW INTERWEAVE JEWELRY, BEAD & insight as to what we’ll looking for from beading, soldering, gem cutting, or
Gem Arts Awards is open for applications you. Personally, I love to see designs that creating a sculpture.”
now until July 1, 2020. The grand prize is are new and different—different from Lapidary Journal Jewelry Artist Editor
$1,000 cash and a subscription what’s currently trending and maybe, Merle White has played many roles in her
to Beadwork or Lapidary Journal Jewelry different altogether—so think outside 35 years in the jewelry industry, and she’s
Artist, with a $250 prize and subscription the box!” looking forward to jurying this new
for four category winners, plus, 10 competition. Merle says, “This is a
honorary mentions. We’d love to see 5 Tips for Winning Beading & Jewelry- wide-open competition that celebrates
your entries in this jewelry-making Making Competitions the broadest interpretation of the jewelry
competition! Get all of the details at • Enter your best work, with design arts. We’re looking for jewelry, beads,
www.interweave.com/jewelry originality and careful craftsmanship. gems, and related non-jewelry objects
-beading-competitions/. Details really do make the difference. that have been executed in any materials
Interweave Director of Content for the • Read the entry rules and follow them to and with any techniques. So, draw on your
Bead, Jewelry, and Yarn groups Tamara the letter. Check the FAQs for more strengths, stretch, let go, and create. But
Honaman has been instrumental in information. remember, all work will be judged solely
starting the new competition and says, • Make sure your photographs show your on the basis of the images you supply. Let
“We are so excited to be kicking off our beading or metalwork in the best us see how fabulous your work really is by
new contest, and I’m honored to be on the possible way. submitting images that do it justice—so
panel of judges this year—it’s like having a • Seek support from your online commu- we can, too.” Get your entry ready now at
front-row seat on the red carpet. As you nity. Even though you can’t share photos www.interweave.com/jewelry-beading
plan your entry, I want to share a little of your submissions before they’re -competitions/. ●
BEA DWORK
PRE SEN TS Advance Your
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Beadwork - June July 2020

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Fabulous Black & White Jewelry Designs p.

Colorful Kite sh,

your NEW B(EAD) FF

Project Rating Fast & Fabulous: Black & White

For Stitch Index, see page 77.

BEADWORK JUNE/JULY 2020 3

Say Yes to Geometric Director of Content Tamara Honaman

MARKETING & ADVERTISING

your own winning design.

bead-weaving to make eye-catching earrings.

For more of her work, visit www.etsy.com/shop/PennyDixonDesigns

BEAD STORES–REGISTER AS A RESELLER: 888-683-BEAD [2323] • WWW.CZECHBEADS.COM • SALES@STARMANINC.COM

Fast & Fabulous Over the Top Sparkle Pattern Pack

BEADWORK JUNE/JULY 2020 7

How to How to Learn These Stitches: Learn These

The online workshop content is

“Enchanted Lightbloom Headdress”

Traditional Seed Bead

Bobby Bead Starman Beads

S TITCH CYLINDER BEADS IN A

Fig. 1: Forming Rounds 1–3 Fig. 2: Stitching the center

Round 11: Work 1 herringbone stitch with

RESOURCES Check your favorite bead

Edgar Lopez uses his background in architecture,

BEADWORK JUNE/JULY 2020 15

COLORFUL, INTRICATE STYLE

TIPS TO GET YOUR

BEADWORK JUNE/JULY 2020 17

Fig. 2: Stitching Bezel,

Fig. 3: Weaving Bezel

Fig. 4: Forming Bezel

Fig. 5: Adding Bezel

Fig. 7: Weaving Ring

Fig. 8: Stitching Ring

Learn more about Edgar in

S TRETCH YOUR TECHNIQUE

Fig. 3: Weaving Fig. 4: Forming

Fig. 5: Joining Center Strip

Fig. 7: Stitching Band

Fig. 8: Adding Band Assembly,

5 BUTTON. Use a variation of right-angle

6 LOOP. Use the working thread from

EDGAR LOPEZ is a beadwork

RESOURCES Check your favorite bead

Life is what you make it.

BEADWORK JUNE/JULY 2020 27

This Exploding Set (described on page 28, De-

This Exploding Set started as

BEADWORK JUNE/JULY 2020 29

LOOK FOR THREE NEW BOOKS FROM

The CGB Pattern Book

CGB Volume III

CGB Into the Future

BEADWORK JUNE/JULY 2020 31

Fig. 1: Forming Bangle

Beadwork flattened for clarity.

Fig. 2: Bangle Chart

Fig. 3: Forming Bangle, Rounds 27–30

Fig. 5: Weaving Wings,

Carol Cypher creates Register today at

Don’t miss your chance to join a

BEADWORK JUNE/JULY 2020 37

MATERIALS cube (Fig. 1, blue thread). Pass through

U SE ONLY SEED BEADS to create this