best of step by step beads 2011

s t e p b y s t e p the best of

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MAKE THIS: “Equator Beads” necklace

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S! COLOR SAVVYHow to Choosethe Right Colorsfor Your PiecesPAGE 94

EASY PEYOTE STITCH!9 gorgeous peyote designs

Favorite Beaded Jewelry Designs!

BONUS!7 Stunning Polymer + Metal Clay Projects

learn beadwork step-by-step!

13bead-by-bead tutorials

2011 SBSB_Cover.indd 1 10/27/11 11:06 AM

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beadworkmagazine.com 11 best of step by step beads

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001 SBSB 2011.indd 1 10/27/11 9:15 AM

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2 best of step by step beads

Departments6 Editor’s Letter

131 Bead-by-Bead Tutorial

140 Basic Stringing and Wireworking Techniques

142 Contributors

Features94 Colorworks

by Margie Deeb

129 Patina 101 by Lora Hart

32

54 20 74

5

104

99

Loop De Loopby Martha Aleo

Pod Necklaceby Judy Dunn

s t e p b y s t e p the best of

002-SBSB-2011-TOC2.indd 2 10/25/11 2:33 PM

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beadworkmagazine.com 3

10 Lucie’s Branching Out by Tarlee Scholl & The Hole

Bead Shoppe

14 Spiceberry by Jenna Colyar-Cooper

16 Silky Sensation by Lucy Arnold

18 Equator Beads by Leslie Rogalski

20 Blue Jean Queen by Carole Rodgers

23 Hoopla! by Beth Kraft

28 Rainforest by Terri Wlaschin

30 Silver Cometby Leslie Rogalski

32 Loop De Loop by Martha Aleo

34 Crystal Wave by Bonnie Clewans

36 Sparklefest by Meri Nash Aderhold

Projects

s

38 Tandem by Carole Rodgers

40 Peaceful Dreams by Lorelei Eurto

42 The Look of Links by Patricia C. Vener

44 Striking Jasper Melody Marie Murray

46 Eccentric Concentric by Leslie Rogalski

48 Crystal Raindrops by Jordana Hollander

50 Hollywood Chandeliers by Bonnie Clewans

52 Silver Waters by Pat Wexelblat

54 Bugles & Beads by Robin Cowart

56 Starfi sh by Lynn Davy

58 Crystal Buckles by Anne Jackson

61 Comet Anemone by Leslie Rogalski

50 48

58 108 40

23Hoopla!by Beth Kraft

72

14

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10312011100848


86Have a Ball!Allison and Tracy Stilwell

64 Turn It Over by Gabrielle E. Neijman

67 Eternity Circles by Cathi Tessier

70 Tangled Vines by Robin Cowart

72 Heart to Heart by Carol Dean Sharpe

74 Hip to be Square by Marilu Morency

76 River Cuff by Lynn Davy

79 Starburst by Leslie Rogalski

82 Poodle Beads by Leslie Rogalski

112Focal Frame Pendant

by Helen Breil

30

64

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ON THE COVEREquator Beadsby Leslie Rogalski18

Projects86 Have a Ball! Allison and Tracy Stilwell

89 Braided Choker by Lucy Arnold

92 Mod Pods by Leslie Rogalski

BONUS CLAY PROJECTS!

99 Pod Necklace by Judy Dunn

104 Basketweave Pendant by Jana Roberts Benzon

108 Dancing Arcs by Ronna Sarvas Weltman

112 Focal Frame Pendant by Helen Breil

116 Hammered Silver Pendant Jennifer Kahn

121 Two Views by Lora Hart

125 Precious Findings by Lora Hart

76River Cuff by Lynn Davy

61 121 46

002-SBSB-2011-TOC2.indd 5 10/25/11 2:34 PM

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EDITORIALEDITORIAL DIRECTOR James B. Bogner, III

EDITOR-IN-CHIEF Denise Peck

GUEST EDITOR Jane Dickerson

MANAGING EDITOR Karla Rosenbusch

EDITOR, BEADINGDAILY.COM Jennifer VanBenschoten

PUBLISHINGPUBLISHER, ART & JEWELRY DIVISION John P. Bolton

ADVERTISING MEDIA SALES DIRECTOR,

ART & JEWELRY DIVISION Jim McIntosh

SENIOR ADVERTISING SALES MANAGER

Marilyn C. Koponen

ADVERTISING MANAGER Debbi Simon

ADVERTISING COORDINATOR Jennifer Samsell

CLASSIFIED ADVERTISING Monica Turner

AD TRAFFICKERS Melissa Marie Brown, Tina Rolf

MARKETING MANAGER Christan Humphries

MARKETING ASSISTANT Jessi Zilk

CIRCULATION MANAGER Barbara Naslund

CONSUMER MARKETING BUSINESS MANAGER Tammy Gorham

ART AND PRODUCTIONART DIRECTOR Gail Olsheski

ASSISTANT ART DIRECTOR Oceana Garceau

PRODUCTION DIRECTOR Trish Faubion

SENIOR PRODUCTION COORDINATOR Chad Blichfeldt

PRODUCTION EDITOR Nancy Arndt

TECHNICAL ILLUSTRATION Bonnie Brooks

PHOTOGRAPHY Jim Lawson, Todd Murray

tm

Designs in this issue of Step by Step Beads are for inspiration

and personal use only. Step by Step Beads does not recommend,

approve, or endorse any of the advertisers, products, services, or

views advertised in Step by Step Beads. Nor does Step by Step

Beads evaluate the advertisers’ claims in any way. You should,

therefore, use your own judgment in evaluating the advertisers,

products, services, and views advertised in Step by Step Beads.

Exact reproduction for commercial purposes is contrary to the

spirit of good craftsmanship.

All contents of this issue of Step by Step Beads (ISSN 1549-0688)

are copyrighted by Interweave Press, LLC, 2011. Interweave

Press, LLC, 201 E. Fourth St., Loveland, CO 80537-5655; (970)

669-7672. All rights reserved. Reproduction in whole or in part is

prohibited, except by permission of the publisher.

Beadweaving with FriendsI remember the fi rst time that my good friend,

and former editor in chief of Step by Step Beads,

Leslie Rogalski taught me even-count peyote

stitch. Everything seemed so slippery to me, and

I couldn’t tell which beads were supposed to be

up or down. Then, she showed me a nifty trick that

you’ll fi nd on page 132 in the Bead by Bead

section—no doubt, the best-illustrated tutorials

for learning bead weaving.

Recently, I saw Leslie demonstrate this peyote technique in the new eMag,

Fabulous Peyote Stitch Jewelry with Crystal Accents, and I began to think about

how much I have learned from Step by Step Beads. Not only have I learned all

kinds of new designs and techniques, but I’ve found a whole new circle of artists and

friends, all woven together through our common love of beads.

While putting together this beautiful second volume of the Best of Step by

Step Beads, I was put in touch, once again, with all the artists I had worked

with so closely while I was managing editor. Looking at the projects and all the

wonderful photos and illustrations, it was like going through a family scrapbook.

I remember the joy of watching the projects come together from start to fi nish,

and now, many years later, I have updated the photos and bios so you can see

where our friends have been for the past few years.

The Best of Step by Step Beads brings together, in Volumes 1 and 2, some of

the editors’ favorites designs. For those of you who collected all the past single

issues, or for those who learned about us late in the game, we have brought you

beautiful, tidy, special collections to treasure and enjoy for many years to come!

Best wishes,

Jane Dickerson, Guest Editor

former Managing Editor/Editor in chief of Step by Step Beads

editor’s letter

Download a copy of all the latest eMags at

interweavestore.com/Jewelry/Magazines/eMags.html

™

06-SBSB-2011-SBS-EditorPage .indd 6 10/31/11 10:09 AM

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)

s

FOUNDER Linda Ligon

CEO Clay B. Hall

CFO Troy Wells

SENIOR VPS John P. Bolton, Bob Kaslik,

Stephen Koenig

VP, EVENTS AND EDUCATION Sara Dumford

VP, PRODUCTION Trish Faubion

VP, TECHNOLOGY T. J. Harty

VP, PEOPLE OPERATIONS Aaron Wilmot

BOOKSPUBLISHER Stephen Koenig

EDITORIAL DIRECTOR Marlene Blessing

AQUISITIONS EDITOR Allison KorleskI

ART DIRECTOR Liz Quan

PRODUCTION DIRECTOR Kristen Heller

MAGAZINES[ FIBER DIVISION ]

CLOTH PAPER SCISSORS •HANDWOVEN

INTERWEAVE CROCHET • INTERWEAVE KNITS

PIECEWORK • QUILTING ARTS • SPIN.OFF

[ ART AND JEWELRY DIVISION ]

AMERICAN ARTIST • BEADWORK

DRAWING • JEWELRY ARTIST

STEP BY STEP WIRE JEWELRY

STRINGING • WATERCOLOR

Interweave Press LLC

201 E. 4th St.

Loveland, CO 80537

(970) 669-7672

Visit our website

interweave.com

Beadwork (ISSN 1528-5634) is published bimonthly by

Interweave Press LLC, 201 E. Fourth St., Loveland, CO 80537-

5655. (970) 669-7672. USPS #018-351. Periodicals postage paid

at Loveland, CO 80538, and additional mailing offices. Subscription

rate is $29.95/one year in the U.S., $34.95/one year (U.S. funds)

in Canada and $39.95 (U.S. funds) in other countries (surface

delivery). Printed in the U.S.A. POSTMASTER: Please send address

changes to Beadwork, PO Box 469105, Escondido, CA 92046-9107.

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

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

Wire Style 245 New Jewelry Designs

112 pages; 1-hour DVDISBN: 978-1-59668-255-9

$22.95

includes

instructional

DVD

projectswire45

9 top jewelry

designers with

60minutes of

video instruction in

1book

06-SBSB-2011-SBS-EditorPage .indd 7 10/27/11 9:19 AM

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008 SBSB 2011.indd 8 10/27/11 9:24 AM

10272011092453

for youmake it easygreat jewelry

Weto make

This design was made by Katie Hacker using Beadalon 19 Strand Silver Color Wire, Remembrance™ Memory Wire, Chain, and Findings. You can learn how to make this design at:http://www.beadalon.com/fairytalecollection.asphththththhthhttttptptptptptpptptptpppppppppppp:/:/:/:/:/:/:/:///w/w/ww/w/w/w/// wwwwwwwwwwwwwwwww.b.b.b.bb.b.b.b.bbeaeaeaeaaeaeaeaeaeadadadaddadadadadadad lololololololoon.n.n.n.n.n.n..cocococococococococom/m/m/m/m/m/m/m///fafafafafafafaaairirirriririrytytytyytytytyytytyyyyyyyyyyyy alalalaalalalaa ecececececececcececolololololololoo leleleeleleleeectctctctctctctctc ioioioioioioioon.n.n.n.n.n.n.n.asasasasasasasasasppppppppppppppp

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

www.beadalon.comTo fi nd a Beadalon retailer near you, please visit www.beadalon.com/locatewheretobuy.asp

®

Create Something Great™

009 SBSB 2011.indd 9 10/27/11 9:28 AM

10272011092824


PEYOTE STITCH, STRINGING & FRINGEnecklace

Lucie’sBranching Out

Pe1. 1):

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4”

Did you know?Lucie is the nickname

for Lucite?

This leafy necklace is made in

three stages: Work small, even-

count peyote strips and zip them

into tube beads. String them with

crystals and large seed beads on

a wire. Use a needle and thread

to sew a second strand through

those wired beads to add crystal

dangles and little branches of

fringe with Lucite leaves.

Tarlee Scholl & The Hole Bead Shoppe

010-SBSB-2011-Lucie's Branching Out.indd 10 10/25/11 9:09 AM

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Peyote stitch the tube beads 1. Pattern 1, wide red stripe center (fi gure

1): Cut 12” of thread, condition it, and

thread the needle. String a stopper bead

leaving a 4” tail. Work even-count peyote

to make a small panel 8 beads wide, with

3 stripes: String 3A, 2B, and 3A, beads 1–8.

String 1A, pass through bead 7. String 1A

and pass through bead 5. Pick up 1B and

pass through bead 3. String 1A and pass

through bead 1. Continue for 4 more rows,

until you have 5 beads along each side.

Curl the panel into a tube and zip the ends

together. Repeat for 1 more tube.

2. Pattern 2, two thin red stripes (fi gure

2): Cut 12” of thread, condition, and thread

the needle. String a stopper bead leaving a

4” tail. String 2A, 1B, 2A, 1B, and 2A. String

1A and pass through bead 7. String 1B and


through bead 3. String 1A and pass through

bead 1. Continue for 4 more rows, until

you have 5 beads along each side. Curl the

panel into a tube and zip the ends together.

Repeat for 1 more tube.

3. Pattern 3, two wide red stripes (fi gure

3): Cut 12” of thread, condition and thread

needle. String a stopper bead leaving a 4”

tail. String 1A, 2B, 2A, 2B, and 1A. String

1A and pass through bead 7. String 1B and


through bead 3. String one 1B and pass

through bead 1. Continue for 4 more rows,

until you have 5 beads along each side

(Figure 3). Curl the panel into a tube and

zip the ends together. Repeat for 1 more tube.

String beads on the wire4. Measure and cut 21” of beading wire.

Place a stopper bead 2” from one end of

the wire. String 26 size 6°s. String 1 vitrail

crystal, 1 size 6°, 1 peyote-tube Pattern 1,

1 size 6°, 1 vitrail crystal, and 3 size 6°s.

String 1 vitrail crystal, 1 size 6°, 1 peyote-

tube Pattern 2, 1 size 6°, 1 vitrail crystal,

and 3 size 6°s. String 1 vitrail crystal, 1 size

6°, 1 peyote-tube Pattern 3, 1 size 6°, 1 vit-

rail crystal, and 3 size 6°s. Repeat pattern,

reversing the order of the peyote tubes,

starting with peyote Pattern 3, then 2, then

1. String 26 size 6°s.

Crimp on the clasp5. On the wire, string 1 crimp tube and

one part of your clasp. Pass the wire back

through the crimp tube and several of the

size 6° beads. Pull the wire end so your

toggle and crimp tube snug gently together

against the beads; allow room in the wire

loop for the toggle to swing freely. Use the

crimping pliers to crimp the tube fi rmly.

Trim wire tail with wire snips.

Figure 1 Figure 2 Figure 3

learn the lingoConditioning: Usually run-

ning beeswax or a product

such as Thread Heaven

along a length of thread

going with the grain.

Conditioning straightens

and strengthens thread and

helps prevent tangling.

WHAT YOU NEED• 34 assorted Lucite leaves: 15x15mm, 22x13mm• 7 g green matte size 6° seed beads• 5 g matte olive rose size 11° seed beads• 2 g matte olive rose size 11° Japanese cylinder beads (color A)• 1 g rainbow transparent cranberry size 11° Japanese cylinder beads (color B)• 2 satin rose 8mm Swarovski crystals• 4 burgundy 8mm Swarovski crystals• 12 vitrail 8mm Swarovski crystals• 21” of fl exible beading wire • 2 sterling silver 2x2 crimp tubes• 1 sterling silver toggle• Matching color size D beading thread • Beeswax• Size 12 beading needles• Chain-nose pliers• Wire cutters• Ruler• Scissors• Bead Stopper or stopper bead• Crimping pliersFinished size: 16”


10252011091031


6. Remove the stopper bead from the

other end of the wire. Repeat Step 5

but don’t pull the crimp tube too snugly

against the seed beads. Leave a little bit

of extra play in your strung work because

you will be using a needle and thread to

add the fringes and leaving the extra play

makes it easier to pass your needle be-

tween the strung beads. Use the crimping

pliers to crimp the tube fi rmly and trim tail

with wire snips.

Add crystal dangles7. Thread a needle with 1 yd of conditioned

thread. Work from left to right along your

strung beads. Tie a square knot between

the second crystal and the size 6° seed

bead next to the tube (fi gure 4a). String 8

size 11°s, 1 rose crystal, and 1 size 11°. Skip

the size 11° and pass back through the crys-

tal and 2 size 11°s (fi gure 4b). String 6 size

11°s and pass (moving clockwise) between

the fi rst crystal and size 6°, through the

size 6° (fi gure 4c), peyote tube, and size

6°. Pass a second time through the entire

dangle section to reinforce.

8. Pass through the next crystal, 3 size 6°

beads, crystal, size 6°, peyote tube, and

size 6°. Exit between the crystal and size

6° (fi gure 4d). Repeat Steps 7 and 8 for

the remaining sections, using burgundy

crystals for the 4 middle dangles and

another rose crystal on the end. Tie off the

thread with a square knot between beads

onto an existing thread or the beading

wire, weave the ends back into the bead-

work, and trim.

Add the fringes with leaves9. Fringes are added in the sections of 3

size 6° beads. The fi rst long fringe has 24

beads in its stem, with 1 leaf at the end

and 3 leaves on short “branches” added

along the stem. Secure 1 yd of conditioned

thread on your wire strand of beads by ty-

ing the end of the new thread in a square

knot between a crystal and the fi rst of

the 3 size 6° seed beads (fi gure 5a). Pass

through the fi rst size 6°. (Weave in the

tail later by threading it on another needle

and passing through the strung beads on

the wire.) String 24 size 11°s, 1 leaf, and 3

size 11°s. Skip the last 3 size 11°s, the leaf,

and 3 size 11°s before the leaf, and pass

through the next 5 size 11°s (fi gure 5a to

5b). The size 11°s you skip form a little

loop holding the leaf to the stem.

Figure 4

LUCIE’S BRANCHING OUTproject

Did you know? What’s the diff erence between vintage

Lucite and resin? Diff erences are subtle

and technical but could infl uence which

you buy. And what does “vintage” mean?

Both resin and Lucite are plastic compounds made up of chemical components.

However, resin can be a natural material as well as synthetic, or manmade. Synthetic

resin is a thermal–set plastic, created from a group of chemicals that when mixed

together create an end product that cannot be heated or changed to make another

product. The manufacturing process of resin is stringent to ensure the fi nal prod-

uct is homogeneous in structure. If all the components are not mixed correctly, the

fi nal product may break down. Resin hardens by the use of a hardening agent; the

chemicals are heated to the correct temperatures, injected or poured into a mold,

then cooled.

Lucite is a trademark name for a thermal–form plastic, a fi nished product that is

heated to a melting temperature and injected into a mold to make a shape. A ther-

mal–form plastic can be heated again and reshaped in a diff erent mold, which makes

Lucite recyclable.

We classify Lucite as “vintage” if it was produced over forty years ago and is no

longer being created in that form. Any vintage stock should be a fi nite supply. We do

not consider “made with a vintage mold” truly vintage. Vintage Lucite in mass is truly

hard to come by, and many genuine vintage stockpiles have long been depleted. As

with any purchase, know your vendor, ask questions, and have fun with beads!


10252011091031


10. First branched leaf: String 2 size 11°s, 1 leaf, and 1 size 11°. Skip

the last size 11°, pass back through the leaf and 2 size 11°s. (The size

11° you skip will sit on one side of the leaf; too large to pass through

the hole of the leaf, it’s holding it to the fringe.) Pass up the stem

through the next 5 size 11°s. Repeat this step to add 2 more short

branches with leaves. Pass through the last 5 size 11°s, through

the second size 6°, and exit between the second and third size 6°

(fi gure 6a to 6b).

11. Create a second fringe with 1 leaf at the end and 1 short branch

with a leaf (fi gure 7): String 14 size 11°s, 1 leaf, and 3 size 11°s. Skip

the leaf and the last 3 size 11°s before the leaf. Pass up through the

next 8 size 11°s. String 2 size 11°s, 1 leaf, and 1 size 11°. Skip the last

size 11° and pass back through the leaf and the 2 size 11°s. Pass

through the last 3 size 11°s, through the last size 6°, the crystal, the

next size 6° and through the peyote tube. Exit the fi rst size 6° after

the next crystal.

12. Repeat Steps 10 and 11 to create a second set of fringes for this

next 3-bead section of size 6° beads.

13. Create two long, branched fringes in the center of the necklace

(fi gure 8): String 30 size 11°s, 1 leaf, and 3 size 11°s. Skip the last 3 size

11°s and pass up through 8 size 11°s.

14. Make your short branched leaf fringes the same as in Steps 10

and 11: String 2 size 11°s, 1 leaf, and 1 size 11°. Skip the last size 11°,

pass back through the leaf and 2 size 11°s. Pass up through the next

5 size 11°s. Repeat to add a total of 4 short branched fringes. Exit

through the last size 11°s, through the size 6°, crystal, the size 6°,

and through the wired beads to the next 3-bead section of size 6°

beads. Exit between the fi rst and second size 6° beads.

15. Repeat Step 9 (fi gure 5) in reverse to add short fringes to the

remaining 3-bead sections between peyote tubes on the other

side of the necklace. Tie off your thread in a secure knot to existing

thread or the beading wire; weave the tail through several size 6°

beads on the wire, trim.

RESOURCES: The Hole Bead Shoppe, theholebeadshop.com.

The traditional method

counts on the diagonal.

Many artists count rows

along the sides

Did you know?Rows of peyote stitch can be

counted two ways.

Figure 7

Figure 8


10252011091031

EVEN-COUNT PEYOTE


bracelet

SpiceberryJenna Colyar-Cooper

WHAT YOU NEED• 3 g transparent garnet size 11° Delicas (DB0105)• 3 g galvanized rose gold size 11° Delicas (DB0460)• 3 g matte galvanized golden copper size 11° Delicas (DB1165)• 3 g matte galvanized berry size 11° Delicas (DB1167)• 3 g matte galvanized plum frost size 11° Delicas (DB1174)• 1 gold-fi lled 31mm 5-strand tube clasp• 40’ of smoke gray size D FireLine braided bead thread • Size 10 or 12 beading needles • Scissors

Finished length: 7¼”

Add a twist to a basic peyote bracelet! Strips of basic

even-count peyote are braided together to create an

intricate-looking bracelet.

Arist’s TipUse a single strand of FireLine to allow for a little more give

in each strip of peyote. If you fi nd you have diffi culty keep-

ing your tension steady, or are concerned about durability,

try doubling your FireLine.

014-SBSB-2011-Spiceberry.indd 14 10/25/11 9:11 AM

10252011091220


Peyote–stitch the strips1. Thread a needle on a 5’ piece of beading thread. Work even-

count peyote 4 beads wide and 8” long for each of the fi ve

colors. Start a new thread for each strip.

2. Line the strips up matching their ends side by side in the fol-

lowing order: copper, garnet, plum, gold, and berry. Use remain-

ing working thread from your last strip or start a new 5’ piece of

thread: stitch the ends of the strips together in order, creating 2

new full rows of peyote. Be sure to pick up the correct colors to

match the strips as they’re laid out. Pass back through the last

row you created in Step 2 so your needle is exiting the fi rst bead

in the last half row (Figure 2).

Copper1

Garnet2

Plum3

Gold4

Berry5

Attach one bar clasp3. Line up the 5-strand tube bar clasp so that the edge of the

fi rst loop sits behind the bead your needle is exiting. Using your

remaining working thread, stitch around outside edge of the loop

4–5 times. Pass the needle through the next 2 beads so your

needle is exiting the third bead in the row (Figure 3). Repeat the

process for the remaining clasp loops.

Copper1

Garnet2

Plum3

Gold4

Berry5

4. When all loops are stitched to your peyote cuff , pass back

through existing thread paths of the 2 full rows you created in

Step 2 and 1 more row. This secures the strips for braiding.

Braid the peyote strips5. Anchor the clasp to something that will tolerate being tugged

on as you braid. Tape the clasp to your work table, for instance.

6. Starting with the copper on your left as in the illustration, take

the copper (strip 1) over the garnet (strip 2) and under the plum

(strip 3). The copper (strip 1) is now the middle strip.

7. Take the berry (strip 5) over the gold (strip 4) and under the

copper (strip 1). The berry should now be the middle strip.

8. Take the garnet (strip 2) over the plum (strip 3) and under

the berry (strip 5). The garnet should now be the middle strip.

9. Take the gold (strip 4) over the copper (strip 1) and under the

garnet (strip 2). The gold should be the middle strip.

10. Continue to braid, moving the outside strips over and under

adjacent strips. A piece of masking tape may help keep the braid

in place as you work.

Complete the cuff 11. When you’ve completed the braiding, temporarily bind the

braid with tape about ½” from the ends of the strips.

12. Line up the strips fl at next to each other in the order they’re

braided, similar to the way you lined them up in Step 2. Reposi-

tion the piece of tape if that helps to free up the ends to com-

plete your braid.

13. Thread a needle on a new 4’ piece of thread. Repeat Step 2

to stitch 2 new rows of peyote, making sure to string the correct

colors as you work the row.

14. Repeats Step 3 to attach the other part of your clasp to the

peyote cuff . Be sure the clasp is facing the right way on the strip

to fi t correctly when the cuff goes around your wrist!

RESOURCES: All materials and tools from www.FusionBeads.com.

Artist’s TipAs you braid the 5 strands, make sure to turn

the strips so they lay nicely.

014-SBSB-2011-Spiceberry.indd 15 10/25/11 9:11 AM

10252011091220


RIGHT-ANGLE WEAVE VARIATIONbracelet

Silky SensationLucy Arnold

WHAT YOU NEED•18 g size 8° green matte AB seed beads (A)•4 g semi-matte silver-lined purple Delica seed beads (B)•2 g size 11° purple/fuchsia gold lustre seed beads (C)•1 silver hook-and-eye clasp•Size A twisted beading thread•Beading needle•Scissors

Finished size: 7”

This bracelet uses a variation

of right-angle weave, creating a

lovely, smooth bracelet. Matte,

semi-matte, and lustre beads in

diff erent sizes bring a nice mix

to the pattern.

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1. Determine the length of the bracelet by

measuring your wrist and subtracting the

length of the clasp.

2. Thread the needle with 2–3 yards of thread.

3. String 1B and 1A. Repeat 4 times for a

total of 8 beads. Leaving a 6” tail, pass the

needle back through all the beads from

the beginning to form a circle. Continue

through the next A bead.

4. String 1B, 1A, 1B, 1A, 1B, 1A, and 1B

(7 beads). Pass back through the same

bead that the thread exited. Pass through

the next 4 beads. (Figure 1).

5. Repeat Step 4 for the length of the

bracelet (about 26 total stitches) or for

the length desired.

6. Pass through the beads of the last

stitch of the fi rst row exiting from the top

A bead. This is where the second row

begins. String 1B, 1A, 1B, 1A, 1B, 1A, and 1B

(7 beads). Pass through the same bead

that the thread exited. (Figure 2).

7. Pass through 6 beads of the new stitch,

exiting from an A bead. (Figure 3).

8. String 1B. Pass through the A bead of

the next stitch of the fi rst row. (Figure 4).

9. String 1B, 1A, 1B, 1A, and 1B (5

beads). Pass through the A bead on the

previous stitch.

10. Work the second, third, and fourth

rows, repeating the previous steps as

needed.

11. When the fourth row is completed,

stitch around one side of the bracelet,

stringing 2C beads between the A beads.

(Figure 5).

12. At one end of the bracelet, exit from

the fi rst C bead. String 3C. Pass through

the next 2C. String 3C. Pass through the

last bead of the next set of C. (Figure 6).

13. Weave through the beadwork and

emerge from the middle bead of one set

of 3C beads. String 3C, one end of the

clasp, and 3C beads. Pass through the

middle bead of the second set of C beads.

Weave through the beadwork and go

through these beads again a few times to

reinforce. (Figure 7).

1

2

3

4

Artist’s TipOn the second, third, and fourth rows, an extra Delica will be inserted between

each stitch, creating the pattern of 4 Delicas between the large beads. The extra

Delica is added either right before beginning or ending a stitch, since right-angle

weave alternates direction.

5

6

7

8

14. Stitch along the second side of the bracelet, repeating Step 11. (Figure 8).

15. Repeat Steps 12 and 13 at the other end of the bracelet using the other half of the clasp.

16. Weave thread ends into the beadwork and trim all threads.

RESOURCES: Check your local bead store.

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BEADWORKbead

EQUATOR

BEADSLeslie Rogalski

It couldn’t be easier to make plain round beads your own by

embellishing them with seed beads. Any type of round bead

works from wood to resin to Lucite. String two rings of seed

beads to sit over the holes of the larger bead, then string

spokes of cylinder beads to “cage” the wood bead. Add an

equator of bright colored, contrasting size 8° seed beads

between each spoke. Bet you can’t make just one!

This tutorial is for a 16mm center bead. Other sizes of beads

will need adjustments to the number of seed beads in the

rings, spokes, and equator beads.

WHAT YOU NEED• 1 size 16mm round bead: wood,

resin, Lucite, etc.• 3g each black (A) and one color

(B) size 11° cylinder beads• 12 size 8° seed beads (non

cylinder) in contrasting color (C)• WildFire .006 beading thread• Beading needle 10 or 11• Scissors• Rolled paper tube or straw to fi t

through wood bead

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Stitch the spokes (Figure 1)1. Pass a rolled tube of paper through the wood bead. The

paper tube is simply a tool to hold the beads in place over the

bead holes until the spokes are stitched.

2. Ring 1 (Figure 1, top ring): On a 10” piece of thread string a

ring of 13A, leaving a 4” tail. Tie a simple square knot with the

tail and working thread. Do not trim yet. Place over the paper

tube at the “bottom” bead hole.

3. Ring 2 (Figure 1 bottom ring): On a 20” piece of thread

string 13B leaving a 4” tail. Knot the tail and working thread to

form a ring. Place over the paper tube at the “top” bead hole.

Pass through a bead adjacent to the knot.

TIP: Work in the same direction adding spokes around both

rings, clockwise or counterclockwise. If you pass clockwise

through a bead in Ring 1, be sure to pass clockwise in a bead in

Ring 2 after stringing each spoke.

4. Spoke 1: String 14 beads starting with color A alternating

colors A and B. Pass through a bead in Ring 2.

5. Spoke 2: Starting with color B string 14 beads alternating

colors A an B. Pass through the next bead in Ring 1.

6. Repeat Steps 4 and 5 for a total of 12 spokes. Pass through

the fi nal ring bead.

Add equator beads (Figure 2)7. Pass halfway down into the fi rst spoke stitched, exiting

between the fourth color B and fi fth color A beads (including

the ring bead).

8. Make a loop around the thread of the spoke between the

cylinders—not through the spoke beads—and string 1C bead.

Pass around the thread in the next spoke between the fourth

color B and fi fth color A bead. String 1C. Continue to add C

beads between all the spokes by looping around the threads

for a total of 12 equator beads. The beads should sit spaced

evenly between the spokes.

9. To fi nish, weave the working thread through a spoke and

exit a ring bead near a tail thread at either bead hole. Knot the

working thread to one tail, weave in the ends and trim. Weave

in any other remaining tails and trim.

RESOURCES: Wood beads are readily available at bead and craft

stores and online. Seed beads and Beadalon WildFire: check your local

bead shop.

Figure 1

Figure 2

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TWO-NEEDLE RIGHT-ANGLE-WEAVE necklace

Kyanite is a lovely, lustrous mineral. Varying from blue

to green with pearly white streaks, it looks especially

good with denim! Use two needles to create a right-

angle-weave heart and string it from easy-to-make

asymmetrical straps. Make this pendant to wear with

your favorite comfy jeans!

Blue Jean Queen

WHAT YOU NEED• 11 fl at oval 18x13mm kyanite beads• 43 fl at round 8mm kyanite beads• 72 faceted round 4mm hematite beads• 26 fl at 4mm Bali daisy spacers• 15 round 2.5mm sterling silver beads • 1 sterling silver toggle clasp• 2 sterling silver clamshell bead tips• 3 sterling silver 5mm split rings

• 2 sterling silver 2mm crimp beads• DandyLine .011” black beading thread• 2 size #10 beading needles• Gem-Tac Permanent Adhesive • Scissors• Round-nose pliers• Chain-nose pliers• Split-ring pliers• Bead sorting dish or cloth

M

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Carole Rodgers

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n n

A note about illustrationsThis project refers to the black needle and the

red needle, as indicated in the illustrations, to

show the diff erent thread paths.

Make the heart shape1. Cut as long a piece of thread as is comfort-

able, about 2 yd. Thread a needle on each end.

Pull up so there is an even amount of thread on

each needle.

2. On the black needle, string to the center of the

thread 1 hematite and 1 round kyanite, four times.

3. Pass the red needle in the opposite direction

through the last kyanite bead strung. Pull snug,

making a square (Figure 1).

4. On the black needle, string 1 hematite,

1 kyanite, 1 hematite, and 1 kyanite.

5. On the red needle, string 1 hematite, 1 kya-

nite, and 1 hematite. Pass this needle through

the last kyanite bead you picked up on the black

needle. Pull up snug, making a pattern that looks

like a fi gure eight, or 2 squares connected at a

corner (Figure 2).

6. On the black needle, string 1 hematite,


7. On the red needle, string 1 hematite, 1 kyanite,

and 1 hematite. Pass the needle through the last

kyanite strung on the black needle (Figure 3).

8. Turn the corner to start the second row: on

the red needle, string 1 hematite, 1 kyanite, 1

hematite, 1 kyanite, 1 hematite, and 1 kyanite.

9. On the black needle, string 1 hematite and

pass through the last kyanite you picked up on

the red needle. Pull snug (Figure 4).

10. On the black needle string 1 hematite,


11. On the red needle, string 1 hematite. Pass

through the side kyanite bead of the middle

square in the fi rst row. String 1 hematite and

pass through the last kyanite from Step 10. Pull

snug (Figure 5).

12. Finish the second row by picking up

1 hematite and 1 kyanite on the red needle. On

the black needle, string 1 hematite, pass through

the side kyanite bead from the fi rst pattern, and

string 1 hematite, 1 kyanite, and 1 hematite. Pass

through the kyanite on the red needle (Figure 6).

13. Turn the corner by repeating Steps

8 and 9 (Figure 7).

14. Make the last square: on the red needle,

string 1 hematite bead and pass through the

kyanite bead in the middle square of the second

row. String 1 hematite and 1 kyanite. On the

black needle, string 1 hematite, 1 kyanite, 1 he-

matite, and pass through the last kyanite bead

just strung on the red needle (Figure 8).

Figure 3

Figure 4

Figure 5

Figure 6

Figure 7

Figure 2

Figure 1

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s

Figure 8


10252011091815


Figure 9

Figure 10

Figure 11

15. String 1 hematite and pass through the kyanite

bead in the top square of the second row. (See Figure

11.) Leave the ends hanging for now.

Make a dangle16. Cut 4’ of thread and thread a needle on both ends.

17. On either needle, string 1 round silver bead to the

middle of the thread.

18. On both needles together, string 1 silver spacer, 1

kyanite oval, 1 spacer, 1 round kyanite, and 1 hematite.

Separate the needles and on each individual needle,

string 1 hematite, 1 round kyanite, and 1 hematite

(Figure 9).

19. Crisscross both needles in opposite directions

through the bottom hematite bead, exiting into the

kyanite beads on either side (Figure 10).

20. Work up through the piece, follow existing

thread paths around each square (don’t cross through

the middle of your squares!) and exit through the top

2 kyanite beads (Figure 11). Thread each of the long

threads already there onto the needles; now there are

two threads on each needle.

Create straps21. On one needle, string 1 round silver, 1 spacer,

1 round kyanite, 1 hematite, 1 kyanite, 1 hematite, 1

kyanite, and 1 spacer. Repeat six more times. End with 1

hematite and 1 round silver.

22. String through the underside of 1 clamshell bead

tip and exit from the inside. String 1 crimp bead and

knot both threads securely around the crimp bead. Trim

thread ends and glue the knot. Close the clamshell.

23. Use split-ring pliers to attach 1 split ring to

the loop end of the toggle. Close the clamshell loop

around the split ring with round-nose pliers.

24. On the other needle, string 1 round silver, 1

spacer, and 1 hematite.

25. String 1 oval kyanite, 1 hematite, 1 spacer, and 1

hematite. Repeat eight more times. End with 1 oval, 1

hematite, and 1 round silver.

26. Repeat Step 22 to attach the clamshell.

27. Repeat Step 23, using 2 split rings and the bar

end of the toggle.

RESOURCES: Kyanite beads: Country Arts & Jewelry, 15864

Nauvoo Rd. Middlefi eld, OH 44062; (440) 632-5343.

BLUE JEAN QUEEN project

LEARN MORE

ABOUT THE SHOW &

WHEN YOU CAN WATCH AT

BeadsBaublesandJewels.com

CLAUDIA CHASE

America’s favorite jewelry-making TV show is back with a brand-new season.

Invite industry

leaders into your own home!

“6 FULL HOURS -

ALSO AVAILABLE

ON DVD”

Mark Nelson

Leslie Rogalski

Candie Cooper

Kristal WickKatie Hacker


10252011091815

SINGLE-NEEDLE RIGHT-ANGLE WEAVE AND BRICK STITCHbeaded slider

WHAT YOU NEEDSmall slider:•4 colors size 11° seed beads (A, B, C, D) •18–20 3mm fi re-polished beads• 2 lead-free solder rings, 1⁄2” size Large slider:•4 colors size 11° seed beads (A, B, C, D)•28–30 3mm fi re–polished beads•18–20 4mm fi re–polished beads•2 lead-free solder rings, 1⁄2” size •2 lead-free solder rings, 3⁄4” size Beaded end caps:•4 colors size 11° seed beads (A, B, C, D)•56–60 3mm fi re-polished beads•4 lead-free solder rings, 1⁄2” All: •FireLine 6lb or 8lb•Size 12 needles •Thread Heaven or beeswax•Thread Zapper or scissors

Hoopla!Beth Kraft

Single-needle right-angle weave and brick stitch are

used to combine fi re-polished beads and seed beads

with lead-free solder rings, creating stylish slider beads

and beaded end caps. Solder rings, sold in hardware

stores, come in many diff erent sizes and types, including

anodized aluminum, base metal, and precious metals.

Make sure they’re lead free! Experiment with diff erent

ring sizes but remember—the number of fi re-polished

beads will change depending on the ring size. Use

opaque fi re-polished beads for the richest color.

Artist’s TipEach design begins with a variation of right-angle

weave that will join 2 solder rings together.


023-SBSB-2011-Hoopla.indd 23 10/27/11 9:50 AM

10272011095139

HOOPLA!project

Small slider1.Thread a needle with 5’ of FireLine or as long a length as

is comfortable.

2. Pass the tail end of the thread through the center of one

1/2” solder ring. Use a surgeon’s knot to tie the thread onto

the ring, leaving a 4” tail to be worked in and trimmed later.

3. Pick up 1 small fi re-polished bead. Pass the needle through

the center of the second 1/2” solder ring, bring the thread to

the outside of the second ring and pass back through the same

fi re-polished bead. The 2 rings will be parallel with the bead

between them.

4. Pick up 1A (blue) seed bead and 1 small fi re-polished bead.

Pass between the rings and through the center of the second ring.

5. Bring the thread to the outside of the second ring; pass

back through the second fi re-polished bead and continue

through the center of the fi rst solder ring.

6. Bring the thread to the outside of the fi rst ring and pass

back through the second fi re-polished bead. Pull the thread

taut. Pick up 1B (purple) seed bead; the seed beads should

be positioned on the sides of each ring with the fi re-polished

beads held fi rmly between the rings.

7. Pass through the fi rst fi re-polished bead, the A seed bead,

and exit the second fi re-polished bead to complete the fi rst

round of RAW; you are in position to start the next RAW unit.

8. Pick up 1B, 1 small fi re-polished bead, and 1A. Pass

through the second small fi re-polished bead, the second B,

and through the third small fi re-polished bead just added.

Pass between the rings and through the center of the fi rst

ring. Bring the thread to the outside of the fi rst ring and pass

back through the third fi re-polished bead; continue through

the center of the second ring. Bring the thread to the outside

of the second ring and pass back through the third fi re-polished

bead; you are in position for the next RAW unit. Repeat to en-

circle the rings with fi re-polished and seed-bead RAW units.

Note: The rings and thread will show between the

beads and along the edges as you stitch and will

be visible in the fi nished piece.

9. Add a seed bead on each ring to link the fi rst

and last fi re-polished beads into a RAW unit.

Brick stitch edgeUse seed bead color C (pink) to add brick-stitch edging

to the rings.

10. Pass thread down through the center of

the ring; pass under the ring to exit between

2 fi re-polished beads on the outside edge of

the ring. Pick up 2C and pass down through

the center of the ring, continue under the ring

between the A seed beads already in position

and pass back up through the second C added.

Position the 2 C so they lie on the top edge of

the ring. Pass down through the fi rst C bead from the top to

the bottom and pass back up through the second C bead,

bottom to top. The thread will be exiting from the top of the

second C bead. The extra pass around is only for beginning

brick stitch on the ring and helps stabilize the beads.

11. Pick up 1C, pass down through the center of the ring,

under the ring, up between the next A beads on the outside of

the ring, and back up through the C bead just added.


1/64"


10272011095139

22

25

12. Repeat Step 11 to cover the top of the ring, usually

between 18–22 seed beads. Join the fi rst and last seed

beads together.

13. To complete Side Two, turn the slide over, pass up through

the nearest fi re-polished bead, and exit moving from right to

left through a B seed bead. Repeat Steps 10–12. Weave the

thread into the beads and trim.

Large slider 14. Repeat Steps 1–8 using two 3/4” solder rings to create a

larger slider; use 4mm fi re-polished beads for the center beads

and 3mm fi re-polished beads instead of seed beads in the

RAW units.

15. Repeat Steps 10–12 to complete one round of seed-bead

brick-stitch edging on Side One of the large slider. When

fi nishing the brick stitch rounds do not cut the thread but

continue with the next step.

16. Exit from the top of the fi rst round of brick stitch. Pick

up 2C. Pass from inside to outside under the thread between

the next 2 seed beads in the previous row and up through the

second seed bead just added. Pass up through the center of

a 1/2” ring, around the outside edge of the ring, and pass back

down through the second seed bead just added. Pass under

the thread between seed beads on the previous row again and

exit up through the second C bead.

17. Pick up 1C, pass under the thread between the next 2 seed

beads in the previous row and pass back up through the seed

bead just added. Pass up through the center of the small ring,

around the outside edge of the ring, pass down through the

seed bead, under the thread and back up the seed bead.

18. Repeat Step 17, decreasing by a single bead in regular in-

tervals 3–4 times around the circle. Join the fi rst and last seed

beads together. Weave the thread into the beads and trim.

19. Repeat Steps 15–18 to complete Side Two of the large

slider. Beaded end cap.

20. Follow small slider Steps 1–12 for Side One of the beaded

end cap.

21. Exit from the top of the fi rst round of brick stitch. Use D

(orange) seed beads to add a second row of brick stitch. Pick

up 2D. Pass from inside to outside under the thread between

the next 2 seed beads in the previous row and up through the

second seed bead just added.

22. Pick up 1D, pass under the thread between the next 2

seed beads in the previous row, and pass back up through the

seed bead just added. Complete this second row of brick stitch

on Side One of the end cap. Pass through the beads to exit be-

tween the fi re-polished beads under the second ring to position

thread for next step.

23. Do not work a row of seed-bead brick stitch on Side

Two of the end cap; instead brick stitch about ten 3mm

fi re-polished beads inside the ring. Exit under the second

ring and to the outside between the RAW beads; pick up 2

fi re-polished, pass down through the center of the ring and

out under the ring between the seed beads. Pull or poke the

fi re-polished beads to lie along the inside rim of the ring. Pass

back up through the second fi re-polished bead just added.

Pass through the fi rst fi re-polished bead from the top to the

bottom, and pass through the second fi re-polished bead, from

bottom to top. The thread will be exiting from the top of the

second fi re-polished bead. The extra step stabilizes the beads

when starting brick on the ring.



10272011095139

HOOPLA!project

24. Pick up 1 fi re-polished and pass under the ring. Pass

thread over the ring edge and up through the fi re-polished

from the bottom (ring side) to the top. Repeat around to fi ll

the ring with fi re-polished beads. Join the last 2 beads to-

gether exiting at the top of a fire-polished bead to position thread

for the next round.

25. Pick up 2C and pass under the thread between 2

fi re-polished beads in the previous row. Pass through the

second seed bead from bottom to top. Circle between the

seed beads and exit from the top of the second seed bead

just added.

26. Pick up 1C, pass under the thread between the 2 fi re-pol-

ished beads in the previous row, and pass back through the seed

bead just added. Repeat to complete a row of brick-stitched seed

beads inside the circle, on top of fi re-polished beads, decreasing

if needed. Pass through the fi rst bead from top to bottom and the

last bead added from the bottom to the top. Weave the thread

into the beads and trim.

RESOURCES: Nordic Gypsy Beads & Jewelry, nordicgypsy.com.


TURN ORDINARY MATERIALSINTO EXTRAORDINARY DESIGNS

fabulous fabric. glamorous glitter. TURN ORDINARY MATERIALS INTO EXTRAORDINARY DESIGNS

FROM WIRE AND YARN to crystals and charms be

amazed at the stunning outcome of simple materials.

Kristal Wick takes you on a trip into her studio

to learn mixed media jewelry like never before.

with this must-have, easy-to-follow jewelry resource you’ll use again and again!

Get Started Today

O P

W AT C H A P R E V I E W AT InterweaveStore.com/BeadedBraceletsDVD

withKristal Wick


10272011095140

027 SBSB 2011.indd 27 10/27/11 9:30 AM

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WIREWORK AND STRINGINGnecklace

Rainforest NecklaceTerri Wlaschin

A neat twist on simple stringing, this stretchy necklace allows for an

adjustable size. The design is inspired by rainforests, whose riches

provide lush habitats to more than two thirds of all plant and animal

species on earth. The variations of blues and greens in this

necklace evoke the spirit of those great forests.

028-SBSB-2011-RainforestNecklace.indd 28 10/25/11 9:23 AM

10252011092445


1. Cut 5 strands of beading wire each 22” in

length. Pull each wire individually over one jaw

of the round-nose pliers to curl it, the same way

you use scissors to make curling ribbon. Leave

about 2” of uncurled wire at the start of each wire.

2. Place a bead stopper 3” from the end on the

curly end of each strand. On the uncurled end

of each wire, string beads down to each stopper

as follows and be sure to place a second bead

stopper at the other end after stringing each

strand!

Strand One: 5A, 5B, 5C, 5A, 1 gemstone chip.

Repeat 10 times.

Strand Two: 1 chip, 15D. Repeat until you have

37 chips.

Strand Three: 1 bicone crystal, 1 chip, 1 bicone

crystal, and 5 random beads including 1 bugle

bead. (Shown: 1B, 1A, 1 bugle, 2D.) Repeat until

you have 15 bugle beads. String 1D, 1A, and 2C.

Strand Four: 5A, 5B, 5C, 5A, and 1 gemstone

chip. Repeat until you have 10 gemstone chips.

String 5A, 5B, 5C, 5A.

Strand Five: 5A, 1 gemstone chip, 5A, 1 bugle,

5E, 5D, 1 bugle, 5A, and 1 gemstone chip. Repeat

until you have 9 gemstone chips. String 5A, 1

bugle, 5E, and 3D.

3. Place strands side by side on your beadwork

surface. Strands should be about 10 ½" curled

but can vary within ½". Remove or add beads as

needed but leave at least 3" of beading wire on

each end for ease of crimping.

4. Turn one strand so its straight end is aligned

with the 4 curly ends. This wire will be used to

fi nish the necklace. Remove all 5 bead stoppers

on the 4 curly strands and the straight strand.

String all 5 strands through 1 crimp tube. Keep

the wire ends as even as possible and crimp

fi rmly. Trim only the 4 curly ends. Do not cut the

straight wire.

5. On the straight uncut wire end, string 1

crystal, 1 crimp tube, and one half of the clasp.

Pass the wire back through the crimp tube and

crystal, if possible. Snug the clasp up to the

beads so they snug against the fi rst crimp. Use

your crimp pliers to secure the crimp; trim the

straight wire end.

6. Make sure the bead stoppers on the other

wire ends are secure before proceeding! Hold

up the necklace by the clasp end so the strands

hang freely. Choose the longest strand and

twirl it around the other strands until it reaches

the end. Place the necklace down on the mat

without untwisting the necklace. Remove the

bead stoppers and string all 5 strands through

1 crimp tube, leaving at least one strand with

enough wire to repeat Step 5 to fi nish this end of

the necklace. Crimp fi rmly. Trim only 4 ends. Do

not cut the fi fth wire.

7. Repeat Step 5 with the other part of your clasp.

RESOURCES: Accents Beads, accentsbeads.com.

WHAT YOU NEED• 15 g size 8° seed beads (color A)• 8 g size 11° seed beads (color B)• 8 g size 11° seed beads (color C)• 8 g size 15° seed beads to match (color D)• 8 g size 15° seed beads to match (color E)• 8 g size 3/8” bugle beads to match• 32 size 6° bicone crystals to match

• 8” strand of matching gemstone chips• 8” strand of matching 8mm rondelles• 3” of medium to lightweight link chain for the clasp• 4 crimp tubes• .014 beading wire• Clasp to hook on chain

• 10 bead-stopper springs or clips• Crimping pliers• Wire cutters• Long chain-nose pliers

Finished length: 14”; will “stretch” to 18”.

028-SBSB-2011-RainforestNecklace.indd 29 10/25/11 9:23 AM

10252011092445


FLAT RIGHT–ANGLE WEAVEearrings

1t

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1

Silver Comet Leslie Rogalski

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These dramatic earrings are

actually just 90° turns of basic

fl at RAW; they hang askew on

the ear wire like zigzags of the

night sky!

WHAT YOU NEEDFor 1 3⁄4” earrings:• 32 Swarovski Jet 4mm bicones• 9 Swarovski Comet Argent light 4mm bicones• 2 closed 3mm silver jump rings• FireLine 6lb fi shing line• #12 bead needle• 1 pair silver ear wires• Scissors

030-SBSB-2011-SilverComet.indd 30 10/25/11 2:36 PM

10252011143739


1.Thread your needle on a 4’ length of FireLine. String 4 crys-

tals, leaving a 6” tail: 1 light, 1 Jet, 1 light, 1 Jet. Tie a knot with

your working thread and tail, for ming a snug circle of bicones

(beads 1–4).

2. Working counterclockwise around this circle, pass through

beads 1, 2, and 3. Pick up 1 Jet, 1 light, and 1 Jet (beads 5, 6, and

7) and pass clockwise through beads 3, 5, and 6.

3. Pick up 1 light and 2

Jet (beads 8, 9, and 10) so

your colors turn the corner,

and pass counterclockwise

through beads 6 and 8.

4. Here’s your fi rst 90° turn, where you start working the

second leg of your zigzag: Pick up 1 Jet, 1 light, and 1 Jet (beads

11, 12, and 13) and pass clockwise through beads 8, 11, and 12.

Pick up 1 Jet, 1 light, and 1 Jet (beads 14, 15, and 16) and pass

counterclockwise through beads 12, 14, and 15.

5. Here’s another corner turn for color: Pick up 1 light and 2 Jet

(beads 17, 18, and 19). Pass clockwise through beads 15 and 17.

You’re now ready to start working your third leg of the zigzag.

6. Pick up 1 Jet, 1 light, and 1 Jet (beads 20, 21, and 22). Pass

counterclockwise through beads 17, 20, and 21.

7. In this last round, you attach the closed jump ring for your

ear wire. Pick up 1 Jet, 1 light, 1 jump ring, and 1 Jet. Pass twice

clockwise through beads 21, 23, 24, the jump ring, and 25. Knot

the thread discretely but securely between beads 25 and 21

and weave the end through existing thread paths, in a circular

motion. Trim carefully.

8. Gently twist open the loop of one ear wire, string on the

jump ring and earring, and close the ear–wire loop. Repeat for

your second earring.


PH

OT

O B

Y J

IM L

AW

SO

N.

Artist’s TipsRight–angle weave is always worked in a circular motion, changing

from clockwise to counterclockwise with each round. Each round

includes 4 beads but will share beads with the previous round:

You actually pick up 3 new beads, not 4, with each round in this

project. Notice in Steps 3 and 5 when the color turns the corners

to keep the mirror stripe of Comet Argent light in the middle of

your zigzag!

030-SBSB-2011-SilverComet.indd 31 10/25/11 2:36 PM

10252011143740


SIMPLE FRINGESnecklace

LoopDe LoopMartha Aleo

This necklace is a wonderful way

to use up odd beads and play with

color, shape, and design at the

same time. It’s easy to make and

fun to wear. And the beauty of this

necklace is that there is no right

or wrong way to make it. Use the

beads in your stash and let your

imagination go wild.

032-SBSB-2011-Loop de Loop.indd 32 10/25/11 9:24 AM

10252011092545


WHAT YOU NEED• 1-2 g size 11° seed beads in colors of your choice• 1 tube size 6° seed beads in color of your choice• 2 large glass beads with holes big enough to cover

the folded crimps• Bead soup using 4–12mm beads: Czech pressed

glass, crystals, top-drilled beads, leaves, daggers, tube beads, bicones, druks and any other type and shape that strikes your fancy

• 2 crimp tubes

• 1 shank button• Size 13 beading needle• 20” of fl exible beading wire• Beige Sylamide thread• Beeswax• Crimping pliers• Wire cutters

Finished length: 24”

1. Cut 30” of beading wire. String 1 crimp

tube and the shank button on the end of

the wire. Bring 2–3” of wire back through

the crimp tube. Secure the crimp with

crimping pliers.

2. String 1 big–hole glass bead to cover the

crimp and 24” of size 6° seed beads, cover-

ing the 2–3” tail.

3. String 1 big–hole bead, 1 crimp tube, and

enough size 6° seed beads to make a loop

big enough to go around the button.

4. Bring the wire back through the crimp

tube, the big–hole bead, and 2–3” of seed

beads. Pull the wire to remove any slack.

Secure the crimp with crimping pliers and

trim the excess wire. If the loop is on the

large side, it won’t matter because the

weight of the necklace will hold the button

and loop closed.

5. Wax 3’ of Sylamide and thread the nee-

dle. Double the thread and knot it securely

on the end. Secure the thread between 2

size 6° seed beads about 6 beads in from

one of the ends of the necklace.

6. Bring the needle out of 1 size 6° seed

bead, pick up 10 size 11° seed beads, then go

up into the next size 6° bead. Repeat 8 times.

7. Pick up 20 size 11° seed beads then go

up into the next size 6° seed bead. Repeat

for 5 times.

8. Pick up 30 size 11° seed beads then go

up into the next size 6° seed bead. Repeat

to make a few more loops.

9. Start adding big beads to the bottom of

each loop as you make them. Make larger

graduated loops as you reach the center of

the necklace. Increase the size of the larger

beads as you go, using the largest ones at

the center of the necklace. See Illustration.

10. Work your way up the necklace on

the opposite side, doing everything in

reverse. When you are about 8 size 6°

seed beads from the end, secure the thread

with a knot. Take the needle and pass back

through several beads, tie another knot,

then trim the thread close to your work.


Artist’s TipTo add more thread, wax and

double another 36” length of

Sylamide. Tie a secure square

knot to the thread you are using,

bury the ends in a size 6° seed

bead, then continue.

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10252011092546


TWO-NEEDLE LADDER STITCHbracelet

Crystal Wave

Bonnie Clewans

WHAT YOU NEED• 53 round 6mm crystals• 66 round 4 mm crystals• 8 round 3mm crystals• 1 toggle clasp (bar and ring)• 2 silver 10mm oval jump rings • 2 yd braided crystal (color) bead thread, 10 lb test, .006 dia.• 2 size 12 beading needles• Scissors• 2 pair chain-nose or round-nose pliers• G-S Hypo Cement or Super Glue

Finished size: 7”

Did you know?The holes in crystal elements can sometimes be

sharp. Take care when pulling your thread snug

to avoid cutting or abrading the thread. Braided

and thermally bonded threads are the most

durable threads for use with crystals.

Using two needles makes this bracelet

look like right-angle weave, but tech-

nically it’s a ladder stitch, created by

crisscrossing the two needles through

select beads. Create a ladder base of

larger crystals, then weave back through

the base adding wavy embellished edges

of smaller crystals. This method works up

so symmetrically it’s easy for beginners

to learn and fun for anyone to make!

Crystal color shown: Swarovski Blue Zircon (5000)

Crystallized Elements

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Create the ladder base1. Use your pliers to open one jump ring

and attach it to the toggle-bar loop. Repeat

for the toggle bar ring. Set both aside.

2. String one needle on each end of a 2 yd

piece of thread, leaving 6” tails.

3. On one needle, string one 4mm crystal,

two 3mm crystals, the jump ring with

the toggle bar attached, and two 3mm

crystals. Slide everything to the middle of

the thread.

4. Pass the other needle through the

4mm crystal in the opposite direction from

the fi rst needle, forming a loop holding

the clasp. Your needles should crisscross

through the 4mm crystal, exiting both

holes pointing in opposite directions

(fi gure 1).

5. Pass both needles in opposite directions

through all the crystals again to strengthen

the loop, crisscrossing again through the

4mm crystal.

6. String one 6mm crystal on each needle.

String a third 6mm on one needle and

crisscross the other needle through it (fi g-

ure 2) as you did with the 4mm in Step 4.

Continue adding 6mm crystals, crisscross-

ing in this ladder-stitch technique, until you

reach about 1” short of your desired length,

allowing for the clasp.

String the toggle–ring clasp7. String one 4mm crystal on one needle

and crisscross the other needle through it.

String two 3mm crystals on both needles.

String the jump ring with the toggle ring at-

tached on one needle. Pass both needles in

opposite directions through all the crystals,

as in the other clasp loop in Steps 4 and 5.

Both needles will exit on opposite sides of

the 4mm crystal as in fi gure 1.

Make the waves8. Pass one needle all the way back

through the ladder to reinforce, following

the zigzagging thread path. When you

reach the toggle, remove the needle tem-

porarily just to avoid accidental sticks.

9. Use the other needle to make the

waves: Pass through the next two 6mm

crystals, add four 4mm crystals, and pass

through the next crossover 6mm crystal

(fi gure 3). Repeat for the length of the

bracelet.

Finish10. When the clasp end is reached, pass

through the ladder-stitch base until the

threads meet. Knot the threads together

positioning the knot close to a crystal. Re-

thread a needle on the loose tail and weave

both tails through a few crystals following

thread paths; trim. Dab the knot with glue.

RESOURCES: Check your local bead shop.

Artist’s TipI always cut an extra long piece of thread, so I

can make several passes through the crystals

to be sure my beadwork is securely reinforced.

Figure 1

Figure 2

Figure 3Did you know?Braided beading thread such as

WildFire or FireLine is created in a way

to be stronger and with less stretch

than other beading threads. The larger

the diameter number, the thicker the

thread. The test weight is how much it

will bear before breaking.

034-SBSB-2011-Crystal Wave.indd 35 10/25/11 9:25 AM

10252011092616


TRIANGLE WEAVE bracelet

SparklefestArtist’s Tips• Triangle weave is worked in a circular

motion, changing stitch direction from

clockwise to counterclockwise.

• When working with a long length of thread,

wax frequently to minimize tangling.

• Use wintry-hued and AB crystals as the

outside color for the look of snowfl akes.

Use green crystals around the outside and

richer colors inside to evoke fl owers.

This super-sparkly band of “fl owers” is an easy-to-learn

variation of right-angle weave. Each fl ower has 6 triangle-

stitched “petals.” Once you become comfortable with

triangle weave, you’ll never want to stop, and the color

variations are limitless!

Meri Nash Aderhold

P

HO

TO

BY

JIM

LA

WS

ON

.

036-SBSB-2011-Sparklefest.indd 36 10/25/11 9:26 AM

10252011092717


WHAT YOU NEED• 4 g of size 15° seed beads: silver, gold, or clear AB• CRYSTALLIZED Swarovski bicone elements (5301):• 52–58 color A (outside color) 4mm• 2 color A, (outside color) 3mm• 60–66 color B (inside color) 4mm (10–11 fl owers, depending on wrist size, 6 crystals per fl ower)• 1 size 10–12mm lobster clasp

• 1 size 5–7mm split ring• Size 13 beading needles• WildFire beading thread• Beeswax or Thread Heaven• Scissors to cut WildFire

Finished length: 6½”, without clasp

1. Thread a needle to the middle of

4 yd of well-waxed WildFire. Tie the ends

together in a square knot. Wax the thread

again now that it is doubled. Prevent tan-

gling by re-waxing after every 3 fl owers.

2. String 5 seed beads, the lobster clasp,

and 5 seed beads. Form a snug circle by

tying a knot. Exit next to the knot.

3. String one 3mm bicone (bead 1),

5 seed beads, one 4mm A (bead 2), and

5 more seed beads. Work in a fi gure-

eight path: pass counterclockwise back

up through bead 1, clockwise around the

clasp circle of 5 seed beads, the clasp,

and the next 5 seed beads, and exit

through bead 1. Pass counterclockwise

through the next 5 seed beads, the 4mm

(bead 2), and exit the next seed bead.

Your clasp end is now secure (Figure 1).

4. Triangle stitch 1, the fi rst “petal”: String

1 seed bead, 1B (bead 3), 2 seed beads,

1B (bead 4), and 1 seed bead. Close the

triangle: pass clockwise through a seed

bead, bead 2, and the next seed bead. Pass

clockwise through the remaining beads in

the triangle; exit through bead 3 and the

next seed bead (Figure 2).

5. Triangle stitch 2: String 1 seed bead,

1B (bead 5), 2 seed beads, one 4mm

A (bead 6), and 1 seed bead. Close the

triangle: pass counterclockwise through a

seed bead and bead 3 (4mm). Continue

around the triangle to exit bead 5 and the

next seed bead (Figure 3).

6. Triangle stitch 3: String 1 seed bead, one

4mm A (bead 7), 2 seed beads, 1B (bead

8), and a seed bead. Close the triangle: pass

clockwise through a seed bead and bead 5.

Continue around the triangle to exit bead 8

and the next seed bead (Figure 4).

7. Triangle stitch 4: String 1 seed bead, 1B

(bead 9), 2 seed beads, one 4mm A (bead

10), and 1 seed bead. Close the triangle: pass

counterclockwise through a seed bead and

bead 8. Continue around the triangle to exit

bead 9 and the next seed bead (Figure 5).

8. Triangle stitch 5: String 1 seed bead,

one 4mm A (bead 11), 2 seed beads, 1B

(bead 12), and a seed bead. Close the tri-

angle: pass clockwise through a seed bead

and bead 9. Continue around the triangle

to exit bead 12 and the next seed bead in

the center. Pass through the seed bead

next to bead 4 and through bead 4; exit

the next closest seed bead (Figure 6).

9. Complete the fi rst fl ower: string 1 seed

bead, one 4mm A (bead 13), and 1 seed

bead. Close the triangle and the whole

fl ower: pass counterclockwise through the

seed bead next to bead 12, through bead

12, and the next seed bead in the center.

Pass clockwise through the next center

seed bead and bead 9. Pass counterclock-

wise through 2 more seed beads and bead

10; exit the next seed bead (Figure 7).

10. Repeat Steps 4–9 to make 9–11 more

fl owers (depending on wrist size). Try

diff erent colors of B beads around the

outside for more variety!

11. String 4 seed beads, one 3mm A,

9 seed beads, and the split ring. Form a

circle of seed beads through the split ring;

pass back through the 3mm.

12. String 4 seed beads; pass through the

seed bead next to bead 10, through bead

10 and the next seed bead (Figure 8). Pass

through all the beads in Steps 9 and 10

several times to secure.

13. Weave the remaining tail back into

the piece through existing thread paths to

secure and trim.

RESOURCES: All materials from Fire Mountain

Gems and Beads, www.fi remountaingems.com.

1

2

34

6

5

789

10

1

2

34

6

5

789

10

11

12

1

2

34

Figure 2

1

2

Figure 1

1

2

34

6

5

Figure 3

1

2

34

6

5

78

Figure 4 Figure 5

1

2

34

6

5

789

10

11

12

14

Figure 7

Figure 6

5

789

10

11

12

Figure 8

P

HO

TO

BY

JIM

LA

WS

ON

.

036-SBSB-2011-Sparklefest.indd 37 10/25/11 9:26 AM

10252011092718


STRINGINGbracelet

Tandem Carole Rodgers

WHAT YOU NEED: Hematite Bracelet• 31 hematite 3.5x13mm 2-hole bar beads• 35 silver-plated 4mm round fl uted metal beads• 32 silver-plated 2x4mm disc spacer beads • 1 silver 15mm 3-strand round box clasp• 6 silver 2mm crimp beads• 27” of .018 sterling-plated fl exible beading wire

Beads with more than one hole off er unlimited

design possibilities. You can weave them or

string them in unusual ways and have a lot

of fun designing with them.

WHAT YOU NEED: Red Tortoise Shell Bracelet• 44 red tortoise shell 3.5x13mm 2-hole dome-top beads• 43 gold-plated 1x4mm disc spacer beads• 6 gold-plated 4mm round fl uted metal beads• 1 gold 3-strand clasp• 6 gold 2mm crimp beads• 27” of .015 gold-plated fl exible beading wire• Wire cutters• Crimping pliers• Bead sorting dish or cloth

Finished size: 7”

038-SBSB-2011- Tandem.indd 38 10/25/11 11:48 AM

10252011114937


m

Hematite bracelet1. Cut the beading wire into three 9”

pieces. String 1 fl uted bead and 1 crimp

bead. Pass the wire through the middle

hole of the clasp and back through the

fl uted bead and crimp.

2. Push the wire up so you have about

a 4mm loop around the clasp loop and

about a ½” tail. Secure the crimp with

crimping pliers and trim the excess wire.

3. String 1 silver disc alternating with

1 hematite bead until you have used all

32 silver discs and 31 hematite beads.

String 1 crimp and 1 fl uted bead and

pass the wire through the middle loop

of the clasp. Leave a little ease so the

bracelet will bend comfortably. Bring

the wire back through the fl uted bead

and crimp, leaving a 4mm loop of wire

around the clasp loop. Secure the crimp

and trim the excess wire.

4. Place your bracelet on a flat

surface. Adjust the hematite beads so

they alternate directions through the

length of the bracelet, starting with 1

bead pointing up.

5. Attach the second wire to the out-

side loop of the clasp that is closest to

a bead that is pointing up. You will have

16 up beads and 15 down beads.

6. String 1 hematite bead and 1 fl uted

bead. Continue across bracelet passing

through 1 hematite and picking up 1

fl uted bead as you go. When you reach

the end of the bracelet, make sure the

wire is the same length as the middle

one. Attach the wire to the loop on the

clasp as before, secure the crimp with

crimping pliers, and trim the excess

wire.

7. Attach the remaining strand as you

did the previous strands. Starting with

a bead that is pointing down, string 1

hematite bead and 1 fl uted bead until

you reach the other side of the bracelet.

Secure this end of the beading wire as

before and trim the excess wire.

Red tortoise shell bracelet1. Using gold wire, string 1 crimp, 1 fl uted

bead, and the middle loop of the clasp.

Bring the wire back through the fl uted bead

and crimp. Secure the crimp and trim the

excess wire.

2. String the dome beads alternating

with the gold spacer discs. Use alter-

nate holes on the dome beads so all the

domes face up. Continue stringing until

all the dome and spacer beads have

been used.

3. String 1 crimp tube, 1 fl uted bead,

and the middle loop on the other clasp.

Secure the strand as before and trim the

excess wire.

4. Because the domes all have to face

up, your beads should already be in an

alternating pattern. Place the beads on

a fl at surface and attach 1 wire to the

outside loop of the clasp. String the

remaining holes on the dome beads and

secure the wire to the other end of the

clasp. Repeat for the fi nal strand.

RESOURCES: Focal bead: abeadstore.com.

All other resources: Fire Mountain Gems and

Beads, fi remountaingems.com.

Sorbet in Augustby Michelle Mach

Eye on Midnightby Sharon Borsavage

Trés

Tur

quoi

seby

Mar

lene

Ble

ssin

g

Check out these

stringing designs,

pick one or make

them all!

~ Free Stringing Designs! ~

Download your FREE eBook today:

5 FREEBeading

Projects to Learn How to Bead

GET YOUR FREE PROJECTS AT:

www.BeadingDaily.com/FreeStringingProjects

038-SBSB-2011- Tandem.indd 39 10/25/11 11:49 AM

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WIREWORKnecklace

Peaceful Dreams Lorelei Eurto

WHAT YOU NEED• 7 bronzite 10x7mm rondelles• 2 faceted yellow jade 5-6mm rondelles• 6 smoky quartz 10x6mm beads• 2 etched cream 10x7mm lampworked glass rounds• 2 bronze-colored size 11° glass seed beads • 1 carved bone round• 1 bird pendant• 1 oxidized copper U component • 1 ceramic message stick connector

• 1 brass 22mm hammered ring• 1 brass fi ligree 11mm tube bead• 2 brass 4mm melon beads• 3 brass 4mm jump rings• 1 brass 2” eye pin• 36” of copper Artist wire• Round-nose pliers• Chain-nose pliers• Wire cutters

Create a simple wire-wrapped beaded

necklace with several handmade

artisan-jewelry components.

040-SBSB-2011-Peaceful Dreams.indd 40 10/25/11 9:27 AM

10252011092833


Artist’s TipBefore starting this project, cut all eighteen 2” pieces of

copper wire and lay out all the supplies on your table.

1. Gently open one loop on the U compo-

nent using round-nose pliers. Slide the bail of

the bird pendant onto the U, then close the

loop. Note: Be careful not to mar the copper

U with the pliers. (Figure 1)

2. Connect 1 jump ring to the hammered

ring. Cut 2” of copper wire and begin a

wrapped loop at one end. Connect the

loop to the jump ring and complete the wrap.

String 1 quartz bead onto the wire and form a

wrapped loop on the other end.

(Figure 2)

3. Cut 2” of copper wire and begin a

wrapped loop at one end. Connect the

new loop to the previous wrapped loop, then

complete the wrap. String 1 quartz bead onto

the wire and form a wrapped loop on the

other end. Repeat this step, stringing 1 lamp-

worked round instead of the quartz bead.

Repeat this step, stringing 1 quartz bead,

but don’t wrap the second loop. Attach the

second loop to the Peace link, then complete

the wrap. (Figure 3)

4. Cut 2” of wire and begin a wrapped loop

at one end. Attach the loop to the end of the

Peace link, then complete the wrap. String 1

bronzite rondelle and form a wrapped loop.

Attach 3 more bronzite rondelle links, con-

necting each to the previous wrapped loop; do

not wrap the fi nal loop on the last link. Attach

this loop to the U component, then complete

the wrap. (Figure 4a/4b)

5. Cut 2” of copper wire and make 1 bronzite

link, attaching the fi rst loop to the U component.

Continue adding links to this side of the necklace

in the following order: 1 faceted jade bead, 1

bronzite rondelle, 1 lampworked bead, 1 bronzite

rondelle, 1 carved bone round, 1 quartz bead, 1

jade bead, and 1 quartz bead.

6. Stringing the following onto the eye pin:

1 brass melon bead, 1 bronze seed bead, 1

brass fi ligree tube, 1 bronze seed bead, and 1

brass melon bead. Trim the eye pin, leaving just

enough wire to create a simple loop using

round-nose pliers. (Figure 5)

7. Open one 4mm jump ring and thread it

into and out of two centrally located holes in

the side of the fi ligree tube bead. Close the

jump ring and attach 2 more jump rings to

that main jump ring, creating a small three-

loop chain.

8. Create 1 quartz link, attaching the fi rst

loop of the link to the last loop on the neck-

lace; do not wrap the second loop. Attach

the second loop to the last jump ring on the

toggle clasp, then complete the wrap. Trim

the excess wire.

RESOURCES: Bird pendant: Expedition D

(Lynn Davis), ExpeditionD.etsy.com. Fly Away

message connector: Earthenwood Studio,

earthenwoodstudio.com. Bronzite beads: Buy

Happiness Beads, bhbeads.etsy.com. Faceted

jade: Gemme Tresor, gemmetresor.etsy.com.

Quartz nuggets: Ollie and Jo, ollieandjo.etsy.com.

Lampworked glass: Cindy Hoo at Fallen Leaf Creek

Jewelry, cindyhoo.etsy.com. Vintaj Brass Co. fi ndings:

FusionBeads.com, fusionbeads.com. Copper wire:

Michaels, michaels.com.

2 31

4a 4b 5

040-SBSB-2011-Peaceful Dreams.indd 41 10/25/11 9:27 AM

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BEAD STITCHINGbracelet

The Look of LinksPatricia C. Vener

WHAT YOU NEED• 3 g purple iris or purple fuchsia gold luster size 11° seed beads (A)• 1 g gold-colored or gold-lined size 11° seed beads (B)• 1 vermeil toggle clasp • 2 gold-fi lled jump rings• Braided or other strong beading thread to match beads • Beading needle #12 (thin)• Scissors• 2 pairs of pliers, round-nose or chain-nose

Finished size: 6½”

To lengthen this bracelet: There are 4½ “links” or loops per inch, 15A beads and 4B beads per loop. Obtain extra beads (about 68A (½ g) and 18B beads) for each inch of desired extra length.

This cleverly designed “chain” looks like separate beaded

links but is actually stitched in one piece. Supple and

graceful, it entwines your wrist like a delicate vine.

DID YOU KNOW?Seed-bead quantities are usually

counted or measured in grams, using

the symbol “g,” as in, 3 g. There are

about 120 size 11° beads in a gram.

Always have extra on hand!

042-SBSB-2011-Look of Links.indd 42 10/25/11 9:28 AM

10252011092919


Make the links1. Thread a needle on 5’ of thread. Place a

stopper bead, leaving a 10” tail.

2. String 3A (purple), 1B (gold), 3A, 1B,

3A, 1B, 3A, and 1B for a total of 16 beads.

3. Pass through all beads again to

reinforce. Exit the fi rst gold bead strung.

Loop 1

4. Pull the loop snug. String another set of 16

beads as in Step 1: 3A, 1B, repeat for a total of

16 beads, ending with a gold (B) bead.

5. Pass up through the inside of the

previous loop, bringing several of the last

beads just strung through the existing

loop as well. Hold the loop and those last

beads fi rmly between your thumb and

forefi nger. Pass through the fi rst 3A and 1B

strung in this loop to close the loop that

links through the previous one.

Loop 1

Loop 2

6. Grasp the newly formed loop at the gold

bead where the working thread exits; pull

snug to tighten the loop so any connecting

thread from one loop to the next is as short

as possible. It may take practice.

7. Repeat from Step 4 to complete the

length you desire for your bracelet (Figure

3). If a pair of loops make more of a fi gure

eight than a loop, push the loops toward

each other at the connecting point and wiggle

the new loop back into its chain-link form.

1

3

2

Add the clasp8. Use two pliers to gently twist open a

jump ring and close it securely through

the loop of one part of your clasp. Repeat

with the second jump ring and the other

clasp. Set aside.

9. Check the bracelet for fi t, allowing

about 1” for the clasp. Create a fi nal loop

but string 1 jump ring in the middle of the

loop: String 3A, 1B, 3A, 1B, and one part

of your clasp. String 3A, 1B, 3A, and 1B.

Repeat Step 5 to connect this loop as the

fi nal link. Reinforce by passing around the

loop again. Pass back into the chain and

tie a secure surgeon’s knot between two

beads. Weave threads around through a

couple links to hide the tails and trim.

10. Remove the stopper bead on the

other end of the bracelet. Using the tail

thread, repeat Step 9 to capture the

remaining jump ring and clasp on the last

beaded link.


Artist’s TipTip to tighten thread: Gently roll

beads between your thumb and

forefi nger as you tighten thread

whenever you have to pull beadwork

snug—it helps ease the bead friction

so the thread can pull tighter.

Learn the LingoVermeil–“vermay” is silver that

has been gold–plated. (Gold plate

can often be used on metal base.)

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10252011092919


EVEN-COUNT PEYOTE & STRINGINGnecklace

Striking JasperMelody Marie Murray

WHAT YOU NEED• 1 jasper 45mm donut (fossilized crinoid jasper shown)• 70 mother-of-pearl 4mm round beads• 6 hill tribe silver beads, 5x4.5mm round with rope ends • 4 hill tribe silver 8mm overlapping round beads• 10 jet 4mm round faceted Swarovski crystal beads• 8 clear 4mm round faceted Swarovski crystal beads• 2 jet 6mm rondelle faceted Swarovski crystal beads• 4 g matte rainbow medium gray Delica DB307 beads (color A) • 1 sterling silver 15.5x5.5mm lobster clasp with jump ring attached• 1 sterling silver 6mm jump ring (2 if clasp does not include a jump ring)• 2 silver clamshells• 2 silver crimp beads• 8 lb size D smoke FireLine• Round-nose or chain-nose pliers• Scissors• Needle• Jewelry glue

This easy project teaches you how to peyote-

stitch your own beaded beads to string, then

use peyote again to make the bail for a striking

donut pendant. The end result is elegant with

its simple gray-and-white color scheme accented

with both black and silver.

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Make small tube beads1. Cut 3’ of FireLine and thread the needle.

Add a stop bead, if desired. String 4A.

Work even-count peyote to make a strip 4

beads wide by 14 rows long or 7 beads on

each side. Zip the ends together to make a

tube. Repeat for a total of 2 beads.

Make larger tube beads 2. Cut 3’ of FireLine and thread the

needle. Add a stop bead, if desired. String

4A. Work even-count peyote to make a

strip 10 beads wide by 14 rows long or 7

beads on each side. Zip the ends together to

make a tube. Repeat for a total of 4 beads.

3. Make the donut strip: Cut 5’ of FireLine

and thread the needle. Add a stop bead,

if desired. String 6A beads. Work even-

count peyote to make a strip 6 beads wide

by 54 rows long or 27 beads on each side.

Wrap the strip around the donut through

the hole and zip the ends together. The

strip will move freely around the donut.

Make the bail strip4. Cut 3’ of FireLine and thread the

needle. Add a stop bead, if desired. String

4A and work even-count peyote for 10

rows or 5 beads on each side. Stitch one

end of this strip to the donut-strip beads,

working in peyote. Stitch the other end of

the strip to the bail, working in peyote.

String the necklace5. Cut about 6’ of beading thread. Move

the needle to the center of the thread and

bring the ends together to work doubled.

Knot the ends of the thread securely around

a crimp bead, dot with glue, and trim ends.

Pass through a clamshell bead tip from the

inside so the crimp and knot sit inside the

clamshell. Close the clamshell around the

crimp bead.

6. String 5 mother-of-pearl beads, 1

round jet crystal bead, 5 mother-of-pearl,

1 round silver bead, 5 mother-of-pearl,

1 round jet crystal, 5 mother-of-pearl, 1

round silver, 5 mother-of-pearl, 1 clear

crystal, 1 large (10x7) peyote tube, 1 clear

crystal, 2 mother-of-pearl, 1 round jet

crystal, 1 small (4x7) peyote tube, 1 round

jet crystal, 3 mother-of-pearl, 2 silver

8mm overlapping round beads, 3 mother-

of-pearl, 1 clear crystal, 1 large (10x7)

peyote tube, 1 clear crystal, 1 mother-of-

pearl, 1 round silver, 1 jet rondelle crystal,

and 1 round jet crystal.

7. String on the focal bead, passing the

thread through the bead bail.

8. String 1 round jet crystal, 1 jet rondelle

crystal, 1 mother-of-pearl, 1 round silver,

1 mother-of-pearl, 1 clear crystal, 1 large

(10x7) peyote tube, 1 clear crystal, 3

mother-of-pearl, 2 silver 8mm overlapping

round beads, 3 mother-of-pearl, 1 round

jet crystal, 1 small (4x7) peyote tube, 1

round jet crystal, 2 mother-of-pearl, 1

clear crystal, 1 large (10x7) peyote tube,

1 clear crystal, 5 mother-of-pearl, 1 round

silver bead, 5 mother-of-pearl, 1 round jet

crystal, 5 mother-of-pearl, 1 round silver, 5

mother-of-pearl, 1 round jet crystal, and 5

mother-of-pearl.

9. Pass through a clamshell bead tip, then

pass through a crimp bead. Knot your

thread securely around the crimp bead,

dot with glue, and trim ends. Close the

clamshell around the crimp bead.

10. Using pliers, close the loop hook of

1 clamshell around a jump ring. Close the

loop hook of the other clamshell around

the jump ring of the clasp.

RESOURCES: Focal bead: abeadstore.com.

All other resources: Fire Mountain Gems and

Beads, fi remountaingems.com.

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STRINGING


pendant

Eccentric Concentric Leslie Rogalski

WHAT YOU NEED

• Rubber O-rings, several sizes Shown:• 3 small thin rings OD ½” (3/32 CS)• 1 medium thin ring OD 7/8” (3/32 CS)• 1 medium thicker ring OD 1 1/32” (1/8 CS)• 1 large thick ring OD 1 7/8” (3/16” CS)

• Size 8° or 6° seed beads, 2 colors, 1 g or more each• 2 accent beads with largish holes (lightweight, such as resin, Lucite, or wood)• Rubber cord with clasp attached• Waxed linen to fi t through seed beads or beading thread and needle• Scissors

Here’s a fast necklace project with a billion

variation possibilities! A simple strand of seed beads

tied in a loop is all it takes to connect concentric sizes

of O-ring, sewn through any fun accent beads with large

enough holes to accommodate the thread or cord and

hide the knot. Play with other types of accent beads,

varying sizes of O-rings within O-ring—this project

has no limits, but watch the weight of the pen-

dant so your O-rings don’t sag into O-vals!

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1. Attach a stop bead on a 10” piece of

cord, leaving a 5” tail. String 1 accent bead,

and 13 seed beads, alternating colors,

starting and ending with the same color.

String the line of seed beads through 2

small O-rings, and pass the cord back

through the accent bead. Pull so the seed

beads meet at the hole of the accent bead,

forming a loop with the 2 small rings on it.

The 2 small rings will become your bail.

2. On the working cord exiting the accent

bead, string 13 seed beads alternating

colors as in Step 1, again starting and end-

ing with the same color. Pass this length of

seed beads through the 2 medium O-ring,

with the smaller one inside the larger one.

3. Bring your working thread with the

seed beads and 2 O-ring to meet the tail

thread hanging from the accent bead.

Remove your stopper bead. Knot the

working thread and tail together in a tidy

square knot. Keep the knot as close to

the hole of the accent bead as possible. If

you can, poke the ends back through the

accent bead, pull the knot into the accent

bead hole, and trim the ends (Figure 1).

4. Repeat Step 1 to add another dangle:

string your seed beads through the 2 con-

centric medium O-ring, then fi nish your

strand by passing through the remaining

tiny O–ring and the largest O–ring. Knot

as in Step 3.

RESOURCES: Rubber O-rings: Harbor

Freight, harborfreight.com.

Try This!Did you make the Poodle Beads from

page 82? I used mine as the focal beads

in a version of the Eccentric Concentric

necklace!

Artist Tips• Choose thick or thin rings visually

and don’t fret over the actual CS

numbers, but make a note of what

you use in case you need more of

a similar size. Use thinner CS rings

for inner concentric rings and extra

dangles, and larger CS rings for the

supporting rings.

• Make sure to have one or more

rings large enough to fi t as bails over

your cord.

• Choose lightweight materials for

beads, such as the resin shown here.

Lucite, seed–beaded bead, single

medium–sized crystals, shells, and

wood are also fun. Remember, bead

holes need to accommodate your

cord or needle and thread.

Did you know? O-rings are measured in inches and mm by

their inner and outer diameters (ID and OD)

and by the thickness of the ring, the cross sec-

tion (CS). CS measurements are tiny fractions

such as 1/16” and 3/32”.

INSIDEDIAMETER

(ID)

OUTERDIAMETER

(OD)

CROSS SECTION(CS)

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BEADWORKbracelet

Crystal RaindropsJordana Hollander

Create the raindrop crystal band1. Thread the needle onto 4 yd of thread. Add a stop bead, leav-

ing a 10” tail.

2. String 6A and 1 crystal down to the stopper. Pass through

the 6A again, starting at the fi rst bead and working towards the

crystal. Hold the work between your thumb and index fi nger

with the crystal on top.

STOPBEAD

3. String 3A and 1 crystal. Pass through the last 3A of the previ-

ous 6 beads. Flip work to hold with the new crystal on top.

STOPBEAD

WHAT YOU NEED• 50 bicone 4mm crystals: about 7 crystals per inch, plus 2 for the toggle bar • 5 g size 11° seed beads (A) • Braided beading thread• Size 10 beading needle (thin)• Stop bead any color• Scissors

Finished length: about 7½” with clasp

Create beautiful beaded raindrops to surround

delicate bicone crystals, then fi nish with an

even-count peyote toggle clasp.

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4. Pass through the last 3A added. You will now see a V

surrounding the crystals; 3A on each side of the crystal.

STOPBEAD

5. Repeat Steps 3-4 until all the crystals are used. Snug the

thread after each stitch to remove any slack.

6. Work back along the bracelet to form the “raindrop” enclosures

of seed beads. String 6A. Pass through 3A on the left side of the V.

This forms the fi rst raindrop around the crystal. Turn your work to

hold the raindrop between your thumb and index fi nger.

re 5

STOPBEAD

7. String 6A. Pass through 3A on the right side of the V of the

next crystal and 2A of the previous raindrop. The next crystal to

be “raindropped” is on the top, so fl ip the work over as needed

to continue.

Figure 6

STOPBEAD

8. Repeat Step 7 to “raindrop” all crystals.

Make the clasp loop9. String 11A. Pass through the second and fi rst A from Step 7 to

form a loop the width of the bracelet.

Figure 7

STOPBEAD

10. Pass through the loop several times to reinforce. Use half-

hitch knots to secure the tail and working thread, weave in the

ends and trim.

Make the toggle bar11. On a new 1yd length of thread, work A beads in even-count

peyote for a strip 10 beads wide by 6 rows. Zip into a tube. See

the peyote zip-up Bead by Bead on page 60. Secure the tube

with a half-hitch knot; exit from inside the end of the tube. String

1 crystal and 1A. Pass back through the crystal; exit the other end

of the tube. String 1 crystal and 1A. Pass back through the crystal

into the tube and exit the other crystal and A bead. Repeat sev-

eral times to secure the crystal-seed bead ends of the tube. Exit

a center seed bead in the middle of the tube.

12. String 4A. Pass into an A bead on the end of the bracelet.

Pass completely through all A beads around the crystal. String

4A; pass into an A bead on the toggle tube adjacent to the one

exited, forming a two strand, 4-bead “neck” connecting the

toggle to the bracelet. Repeat the thread path several times to

secure; weave in ends and trim.

ure 7


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NO-NEEDLE CRISSCROSS WEAVEearrings

Hollywood Chandeliers Bonnie Clewans

Fast and fabulous, these easy earrings use a no-needle, crisscross technique

you’ll love. With graduated sizes of glittering crystals or sparkly faceted glass

beads, the red carpet look is minutes away!

WHAT YOU NEED• 6 round 10mm crystals • 6 round 8mm crystals • 6 round 6mm crystals • 8 round 4mm crystals • 8 round 3mm crystals • 4 sterling silver 1x1mm crimp tubes• 1 pr horseshoe lever-back earrings• 2 pieces of .010 nylon-coated wire, 16” each• Fine chain-nose pliers• Fine wire cutter

Finished length as shown, excluding ear wire: 2”

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1. String three 10mm beads to the middle

of 1 strand of wire.

2. Crisscross the wires through one 8mm

bead in opposite directions (fi gure 1).

3. String one 8mm bead on each wire end

and crisscross through one 6mm bead.

String one 6mm bead on each wire and

crisscross through one 4mm bead. String

one 4mm bead on each wire and criss-

cross through one 4mm bead (fi gure 2).

4. Thread 1 crimp bead and two 3mm

beads on each wire. Crisscross through an

ear wire and pass each wire through the

beads and crimps on each side (fi gure 3).

5. Snug the wires to pull the beads into

a nice position without gaps, but not too

tightly that the beads don’t dangle grace-

fully. Use chain-nose pliers to squash the

crimp beads. Use the wire cutters to trim

any excess wire.

RESOURCES: CGM Findings, cgmfi ndings.com.

Bead Gallery, beadgallery.com.

Figure 1

Figure 2

Figure 3

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Silver Waters Pat Wexelblat

WHAT YOU NEED• 40 sapphire 3mm Swarovski crystal bicone beads• 40 sapphire 4mm Swarovski crystal bicone beads• 320 sterling silver 2mm round hollow beads, with

holes big enough for 2 wire passes• 39 sterling silver 3mm round hollow, with holes

big enough for 4 wire passes• 2 sterling silver 2x2mm size 2 crimp tubes• 1 sterling silver foldover clasp • 5½’ of .014 or .013 fl exible beading wire • Chain-nose pliers• Crimping pliers• Wire cutters• Clamp or bead stopper clip

Finished length: 16”

Fast and fabulous! No needles needed for this

shimmering, feminine necklace. Use fl exible

beading wire and a crisscross technique.

BEADWEAVINGnecklace

Artist’s Tips• Be sure to keep all the larger crystals on one side

of the silver loops and all the smaller crystals on

the other side. This allows your necklace to curve

gracefully.

• If your work doesn’t lie flat, the wires inside the

beads are twisted. If this happens, remove some

beads to get back to the uneven section. Roll each

wire between your fingers until the bend disappears.

If you don’t correct it, the bend will be permanent.

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1. Cut the 5½’ of wire in half. Insert 2” of

each wire in opposite directions through

a crimp tube. Use the crimper to roll the

tube into a small tight cylinder. Don’t

fl atten the tube with pliers, or it won’t fi t

inside the clasp ring.

A B

First ring2. On one long wire (A), string 2 silver

2mm, 1 small crystal, 2 silver 2mm, and

1 silver 3mm bead. Move all the beads

down the wire to the crimp tube, covering

the short wire end as well. Put a clip onto

the wires beside the last bead added.

A B

Note: The 3mm silver beads are the

crossover beads, through which both

wires will crisscross as you work the

length of this necklace.

3. On the other wire, string 2 silver 2mm,

1 large crystal, and 2 silver 2mm beads.

Move them down to the crimp tube,

covering the short wire end on that side.

4. Crisscross the wire just used through

the 3mm silver bead on the fi rst wire,

in the opposite direction. Pull to create

your fi rst ring. Make sure the beads have

covered the short wire ends protruding

from the crimp tube.

5. Using the long wire that exits the

crossover bead toward the small crystal

side, string 2 silver 2mm, 1 small crystal,

2 silver 2mm, and one silver 3mm

crossover bead.

6. Remove the clip from the other wire.

String 2 silver 2mm, 1 large crystal, and

2 silver 2mm beads.

7. Pass this wire through the 3mm silver

crossover bead on the other wire and pull

the ring closed.

8. Repeat Steps 5–7 until there are

38 rings, or two fewer than your planned

total length. (Remember to keep all the

small crystals on one side, the large

crystals on the other side.) Place clips on

the wire ends, then hold your necklace up

to check for length. Allow for the fi nal ring

and clasp.

Final rings9. On the wire that exits the same side

as the last small crystal strung, string 2

silver 2mm, 1 small crystal, 2 silver 2mm,

1 crimp tube, 2 silver 2mm, 1 large crystal,

and 2 silver 2mm. Pass through the 3mm

silver crossover bead in the previous loop.

Do not pull the loop tight yet.

10. Pass the other wire in the opposite

direction through all the beads and crimp tube

just added and through the crossover bead in

the opposite direction to the fi rst wire.

11. Gently pull the two wires protruding

from the crossover bead wire ends to

close the fi nal rings. Put clips on the wires

close to the crossover bead to hold the

rings in place. Use the crimp pliers to

crimp the tube fi rmly into a snug cylinder.

The crimp tube will end up inside the loop

of the foldover clasp, so be sure to crimp

as tight a roll as possible.

Add foldover clasp 12. Open the clasp and position it over

the crimped tube so that the pretty side

shows when the clasp is closed. Use

chain-nose pliers to roll the clasp ring

around the crimp tube until it holds but

still can rotate around the crimp tube. Use

the fi rst beaded loop as your clasp loop

when wearing the necklace.

RESOURCES: Silver beads: Rio Grande,

riogrande.com. Swarovski crystals: Atlantic

Gems, Inc., atlanticgems.com. Clasp: Rings &

Things, rings-things.com.

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LADDER STITCH & PICOTbracelet

Bugles & Beads Robin Cowart

Add glitter to your glamour with this

beautiful little bracelet. This easy-

to-make design uses a bugle-bead

base with seed beads and crystals

forming a lovely picot edge.

WHAT YOU NEED• 4 g size 3 bugle beads• 2 g size 15° seed beads• 80 (about) size 4mm crystal bicones• Clasp• Size 12 beading needle• 6 lb braided bead thread• Beading glue• G-S Hypo Cement

Finished size: 7”

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1. Cut 2 yards of beading thread and thread the needle. Add a stop

bead, leaving a 6” tail.

2. String 2 bugle beads and slide them down to the stop bead. Pass

through the fi rst bugle strung so the beads are sitting next to each

other. Pass through the second bugle bead.

3. String 1 bugle bead, pass back through the second bugle, and

through the bugle bead just added.

4. Repeat the ladder stitch until you’ve reached your desired

length, minus the clasp.

5. String 6 seed beads, the clasp, and 6 seed beads. Pass through

the last bugle from the opposite side. Pass through the seed beads

and the clasp again to reinforce.

6. String 3 seed beads, 1 crystal, and 1 seed bead. Pass back

through the crystal.

7. String 3 seed beads and pass through the next bugle. Repeat

until to the end of the bracelet.

8. Repeat Step 5 to add the second part of the clasp.

9. Weave the thread into the beadwork and bind off with a

half-hitch knot. Remove the stop bead from the other end of the

bracelet and thread the needle onto the tail. Weave the thread

back into the beadwork and bind off . Secure all knots with

beading glue, let dry, and trim the tails.


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HERRINGBONE & PEYOTE STITCHearrings

Starfi sh Lynn Davy

WHAT YOU NEED• Seed beads in two adjacent sizes, 1 g small size 8° (A), 2 g large size 6° (B)• 2 jump rings, 6mm• 1 pair ear wires• Beading thread to match• Beading needle• Scissors • Round–nose pliers

A combination of peyote and

herringbone stitches in two seed–

bead sizes gives this quick-and-easy

starfi sh its seashore shape!

Learn the Lingostepping up: When you pass through a stitched

bead to be in position for the next round or row.

stack: A column of beads, most commonly used

to refer to pairs of beads in herringbone stitch.

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1. Thread a needle with 3’ of beading thread. String 5B and

form a circle of beads by knotting together the working and tail

threads in a double overhand knot, leaving a 6” tail. Pass through

the fi rst bead again.

2. Work in peyote stitch: Exiting from the fi rst bead in Step 1,

string 1A. Pass through the next B. String 1A, pass through the

next B. Continue in peyote, adding 1A between each B bead of

the previous round. When you reach the fi rst bead, step up by

passing through the fi rst A bead of this round again.

3. Work in herringbone to form the arms of the starfi sh. Exiting

the A bead from Step 2, string 2B, skip the B in round 1, and

pass through the next A. Continue to string 2B and pass through

the next A, around the circle. Step up at the end of the round by

passing through the fi rst B strung.

4. Stitch 2B on top of each stack of the previous round passing

through all the edge beads between the stacks.

5. Repeat Step 4 to add a third round of B beads. Make sure

to pass through the entire column and the A beads from the

second row.

6. Switch to the smaller A beads and work in herringbone to add

2A on top of each stack, continuing to pass through all the edge

beads between the stacks each time.

7. Repeat Step 6 to add a second round of A beads.

8. For the fi nal round, add 1A to the tip of each stack, or starfi sh “arm.”

9. Weave the working thread through existing thread paths to

the tail, knot securely, and weave ends into the beadwork. Trim.

10. Use round-nose pliers to twist open a jump ring and slide

it through the bead at the tip of one of the arms. Close the ring.

Open an ear wire loop and string on the jump ring. Close the ear

wire loop. Make your matching earring!


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EVEN-COUNT PEYOTEearrings

WHAT YOU NEED• 2 square or round 14mm Swarovski crystal frames• 3 g size 11° Delica or Aiko cylinder beads• 2 earring posts or French ear wires• 2 closed 5 or 6mm jump rings• Size 12 beading needles• Smoke 6 lb size D FireLine thread• Scissors to cut FireLine• 2 pliers (either round-nose or fl at-nose)

Did you know?Diff erent brands of cylinder beads are

not the same size. For a consistent piece

of beadwork, work the entire project

using the same brand. Aiko beads are

slightly larger than Delicas, for instance,

and mixing them will aff ect the look of

your work.

Crystal Buckles Anne Jackson

Here’s a fun project if you’re new to peyote or just

want something fast and fabulous! Make a simple

strip of peyote, then wrap it through lovely Swarovski

crystal frame components. Learn how to decrease the

end of the peyote strip to a neat little pointed tip.

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Start the peyote strip1. Thread a needle with 1 yd of thread.

String 4 cylinder beads, leaving a 12” tail.

Use a stopper bead if needed temporarily

to keep the beads from slipping off . String

bead 5 and pass through bead 3. Add bead

6 and pass the needle through bead 1. The

tail thread and the working thread should

both be exiting bead 1.

Note: When you make the second ear-

ring, Steps 7–9 will be reversed so that the

tips of the earrings will be opposite each

other when attached to the ear wire.

tail thread

edge beads

working thread

back of

crystal10th edge

bead

14th edge

bead

back of

crystal

10th edge

bead

1

Make the basic peyote strip2. Working from left to right, continue in

even-count peyote stitch until you have

a total of 19 beads on each side of the

beaded strip. For more about counting

peyote rows, see page 47. Hold the strip

so the tail thread exits the top right edge

bead of the strip and the working thread

exits the lower left edge bead of the bot-

tom of the beaded strip.

Decrease the end of the stripDecreasing requires repositioning the

needle to exit a specifi c bead: In this

project, your needle must exit bead D, the

second bead in on the end. Notice how the

two end beads on the bottom left already

form the start of an angle.

3. To start the decrease: Pass through the

bead directly above the last lower bead on

the left side of the beaded strip (bead A).

Pass through the third bead from the bottom

in the next row over (bead B). Pass through

bead C, the bead directly below the bead you

just exited, from right to left. Pass through

bead D from left to right. This puts the needle

and working thread into position to begin the

tip of the beaded strip.

4. String 1 bead and make a peyote stitch,

passing through the last edge bead on the

lower right side of the beaded strip.

5. String 1 bead and pass back from right

to left through the bead you added in Step

4. The tip is completed. To secure the thread,

weave the working thread into the bead-

work following existing thread paths. Trim.

6. Thread a needle on the tail thread that

should be exiting the right side of the

beaded strip, on the longest edge of the

point. Working right to left, peyote-stitch

2 beads, one at a time. The thread should

now be exiting out of the left side of the beaded

strip, on the shortest edge of the strip.

Connect the strip to the crystal 7. Wrap the non-angled top edge of the

strip around the top of the crystal frame

so the back (non-sparkly) side is facing

you. Stitch the top edge of the strip to the

(back) side of the strip facing you, “zipping”

it closed around the crystal frame: Count

10 edge beads up from the short side of the

bottom of the strip and pass through the

tenth edge bead. Stitch through beads al-

ternating from edge of strip to body of strip.

Weave the thread back through the same

beads you just “zipped” (red line) to exit the

same tenth edge bead where you began. See

page 48 for a lesson in peyote zip-up.

8. Still working on the back side of the

beaded strip, pass through the edge bead

just above the tenth bead. Weave the thread

through the beads on the diagonal so the

needle exits the fourteenth edge bead from

the short side of the beaded strip.


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back of

crystal

10th edge

bead

14th edge

bead

back of

crystal

back of

crystal

12

Create the beaded bail 9. Stitch a 2-bead-wide strip onto the main

beaded strip attached to the crystal. This

will become the bail for the earring: Pass

through the bead immediately above the

fourteenth edge bead on the short side of

the strip. Peyote-stitch bead 1 and pass

through the next bead.

10. String and stitch bead 2 and pass back

through bead 1. Pass through the bead directly

below bead 1 (black line) and on a diagonal

down through the bead directly below bead 2

(red line). Pass through bead 2 to reinforce the

fi rst 2 beads of the bail.

11. Continue in peyote stitch until you have

a 2-bead-wide strip with 6 edge beads on

each side.

12. Pass the bail strip through a closed 5mm

or 6mm jump ring. Roll the 2-bead strip to the

back side of the beadwork and zip it to the fi rst

row of the 2-bead strip, weaving back and forth

between the end beads and the beadwork itself

as you did for the earring strip in Step 7. Weave

the thread into the beadwork to secure. Trim

on the back side of the beadwork.

Attach earring to ear wire13. Using your two pliers, gently twist open the

loop of an ear wire. String the closed jump ring

of the beadwork earring. Use the pliers to twist

the earring loop closed.

Remember, the second earring tip will angle in

the opposite direct from the fi rst earring you

made, for mirror symmetry in the pair!

RESOURCES: Swarovski crystal frames: Fire Mountain

Gems and Beads, fi remountaingems.com. Aiko seed

beads: Bobby Bead, bobbybead.com. Miyuki Delica

Beads: Caravan Beads, caravanbeads.com.

CRYSTAL BUCKLE EARRINGSproject


THE ULTIMATE COLLECTION OF READER-FAVORITE PROJECTS

165+FAST & EASYDESIGNS!MAKE IT AND WEAR IT TODAY!

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SEMIPRECIOUS GEMSTONESYou Can Afford P. 98

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HOW TO CHOOSE THE BEST BEADING WIREP. 167

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The Best of

TRENDY STY LES YOU CAN MAKE YOURSELF presented by Beadwork Creative Jewelry

➤ 101 necklaces➤ 34 bracelets➤ 30 earrings

192 PAGES OF THE BEST JEWELRY DESIGNS!

Which one will you make first?

Take a look at what’s insideINTERWE AVESTORE .COM/BestofC J


10272011095510

FRINGEbracelet

My favorite anemone bracelets contrast the tip beads against the

fringe stem beads for a truly lush look. I’m a fan of matte metallic

against matte frosted colors, or light, bright tips against dark fringe.

This dazzler of a project shows brilliant crystals against rich matte

black for optimum sparkle.

Comet AnemoneLeslie Rogalski

Artist’s TipTo make this bracelet, crimp clasps

onto a core strand of beads, then

sew fringes between the beads.

WHAT YOU NEED• 30 g size 6° matte black seed beads (for fringe stems and core beads) • 230–250 Swarovski Comet Argent light 4mm bicones or rounds (for tips) • Matching silver or crystal–set clasp• 2 crimp tubes• .018 fl exible beading wire• FireLine 8lb• Beading needle• Scissors• Crimping pliers• Wire cutters• Bead Stoppers


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COMET ANEMONEproject

Determine your bracelet length1. Make the core fi nished length at least 1/2" to 3/4” larger than

your desired length because the fringes fi ll out space and will

otherwise cause the bracelet to be too tight. Always add at

least 6” of extra wire to allow a 3” tail at both ends for easier

crimping of your clasp and then subtract the clasp’s length.

Example: For a 7” bracelet with a 1” clasp, subtract 1” for a sub-

total of 6”, then add 3/4” of extra fringe space for a subtotal of

6 3/4”. Now add the extra 6” for crimping ease, and your wire

total is 12 3/4”. Better-safe-than-sorry tip: Cut a piece of wire

longer than needed!

Crimping the core strand of beads2. Thread 3” of beading wire through a crimp and one clasp

loop. Go back through the crimp and pull the wire so the crimp

rests close to the clasp loop but leaving the clasp loose enough

to swing freely. Crimp tightly with crimp pliers.

3. String on enough core beads as desired for length (minus

the other half of the clasp) but do not crimp the other clasp yet!

Place a Bead Stopper close to the last bead, leaving a generous

length of tail to crimp later on. Allow about a bead’s width of

space between the stopper and the bead next to it. By waiting

to crimp the other end of the core, you’ll be able to adjust the

length of your bracelet if you need to add or subtract to the

core. As you add fringe, your core beads will spread out along

the wire, and you may need to reposition the Bead Stopper

once or twice for your ideal length.

Adding the fringeYou will create 8 fringes at a time, 4 between each core bead,

before moving down the length of the bracelet. Hold the fringed

part of your bracelet in your non-sewing hand as you work to

keep your thread from getting tangled in the fringes.

4. String a comfortable length of thread onto a needle. Start-

ing at the crimped clasp end, leave a 5” tail and stitch through

the fi rst core bead. Tie a double square knot with your tail and

working thread between the fi rst 2 beads of your core (beads A

and B in the diagram).

5. Stitch through the second core bead (B) exiting between the

second and third core beads (B and C). Create fringe 1: Pick up

2 black beads (these form the stem of the fringe) and 1 crystal

(for the tip). Pass back through the 2 stem beads and continue

through the third core bead (C), exiting between core beads

C and D.

Note: Fringes should sit in a cluster against the core beads;

don’t try to pull them in between the core beads. Only your

working threads come from the wire between core beads. Pull

each fringe close in to the core bead by holding the tip crystal

and gently pulling your working thread so the fringe stem slips

down into position. Remember to also pull in the tip crystal

against the stem beads before continuing. As your fringes fi ll

out around each core bead, fringes will not come all the way

to the core beads: This is correct. The last few fringes in each

cluster may rest against previous fringes.

6. Create fringe 2: Pick up 2 black stem beads and 1 crystal.

Pass back through the stem beads and back through core bead

C, exiting between core beads B and C.

7. Create fringes 3 and 4: Pick up 2 black stem beads and 1

crystal and pass back through the 2 stem beads. Pass through

core bead C to exit again between C and D.

8. Create fringe 4 by repeating Step 6, exiting between core

beads B and C.

You now have 4 fringes, 2 between core beads B and C, and 2

between core beads C and D.



10312011101449

9. Repeat Steps 5 to 8 between the same core beads, adding

4 more fringes: Add 2 between core beads B and C, and 2

between core beads C and D. After picking up your fringe

beads for fringe 8, sew through the next core bead, bead D.

10. Continue adding 4 fringes between each core bead,

working your way toward the Bead Stopper end. About 8 core

beads before your Bead Stopper, measure the bracelet around

your wrist to see if you need to add or subtract core beads for

a correct length. Shake your hand so the fringes fl atten out

against your wrist a bit for the truest test of fi t. You’ll notice

now how the fringes add to the bulk of the bracelet!

How to add threadWhen you’re down to about 8” of working thread, exit the

base of a fringe at the core beads. Knot the tail onto a new

length of thread, making a surgeon’s knot or double square

knot as close as possible to the core, where it will be hidden

by fringes. Thread the new thread on a needle and stitch

back through the core beads to the next-to-the-last fringes

you just stitched. Follow the thread path through a fringe and

return forward through the core beads to resume making

fringes. Pull your new thread so the knot is hidden inside a

core bead, weave both tails into the core beads, then care-

fully trim any exposed tail ends. Continue adding fringe.

Finishing11. When you’re satisfi ed your bracelet length is comfort-

able (remember to include the length of your clasp in that

fi t), add your crimp and clasp on the other side following

Step 1. Leave a little room between the last few beads so you

can fi t your needle through.

Your last fringes should be between (you know what I mean)

the last 2 core beads. Knot your tail snugly around that last

bead as you did when you began your fringes in Step 3 and

weave in the remaining thread through one of the fringes;

trim carefully. At the other end of the bracelet, thread your

starting tail on your needle and weave into a fringe to ob-

scure;

trim carefully.

Your bracelet may seem snug when you fi rst put it on, but the

fringes will fl atten out against your wrist. Nice work!

RESOURCES: Check your local bead shop for all beads,

crystals, and fi ndings. FireLine fi shing line may also be found

at Wal-Mart or Cabelas.com.

Try This!

Create bunches of fringes around

size 6 core beads strung between

10–12mm rounds.

Make random length, spiked fringes

with bugle beads and varied sizes of

seed beads.

Blast your bracelet with texture us-

ing a mix of coordinated colors and

varied bead surfaces.



10252011112141

SQUARE STITCH pendant

Turn It OverGabrielle E. Neijman

Square-stitch a versatile two-sided pendant with

three tiers of tiles and a matching bail, ready to

slide onto a cord of your choice.

WHAT YOU NEED• 12 g white-lined crystal size 11° Japanese seed beads (A)• 1 g each: white-lined turquoise size 11° Japanese seed beads

(B) white-lined green size 11° Japanese seed beads (C)white-lined purple size 11° Japanese seed beads (D) white-lined pink size 11° Japanese seed beads (E)

• Beading thread to match color A• Size 12 beading needle• Scissors• Cord of choice

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6. Pass through the last row of beads to exit from the

bottom of Tile 1. Repeat Step 5 to close the bottom of

the tile.

7. Follow the color charts to complete Tiles 2 and 3,

repeating Steps 1–6. Tie off threads and trim.

Bail8.Thread your needle with about 6’ of thread. Use color

A to square-stitch 18 beads across for as many rows as

are needed to fi t onto a cord of your choice. Remember

at the end of each row to go back through your previous

row and the row just stitched before starting the next row.

Connector tubes9.Thread your needle with about 2’ of thread. Use color

A to square-stitch a panel 4 rows, 4 beads across. Fold

the panel in half and square-stitch together the top and

the bottom rows (as in the tiles) to form a rectangular

tube. Weave in ends and trim. Repeat Step 9 two times

for a total of 3 connector tubes.

ROW B

ROW D

1 2 3

1 2 3

Artist’s tips• Don’t use transparent beads or the reverse side

will show through.

• Square-stitched tiles: Stitch these fl at, then fold

over to create a two-sided tile.

• Remember at the end of each square-stitched row

to go back through your previous row and the row

just stitched before starting the next row.

Tiles1. Thread your needle with about 6’ of thread.

2. Use color B to square-stitch 2 rows, 10

beads across.

3. Follow the color chart to complete Tile 1 in square

stitch as shown.

4. Close the tile into a two-sided form: Fold the tile

panel in half and match the B and D beads along the

short edge. Square-stitch the newly stacked edge-row

beads together to close the tile side.

5. Evenly match the edge beads along the top and bot-

tom of Tile 1. Exit B1, pass down through D2, up through

D3 and cross over to pass down through B2, and pass up

through B3. Follow the arrows to zigzag between the lay-

ers to close the top of the tile.


Figure 4

Side A

Side B

Side A

Side B

Side A

Side B

Tile 2Tile 3

Side A

Side B

Tile 3

Side A

Side B


10312011101620

Side A Side B

Tile sides shown separately for clarity.

1 2

Connector tube top view.

Connect the tiles10. Thread your needle with about 6’ of thread. Pass

down through the fi rst column of beads in one connec-

tor tube; leave a 4” tail. Pass down through Tile 1, Side

A, Row 5. Pass down through the fi rst column of beads

in a second connector tube. Pass down through Tile 2,

Side A, Row 5. Pass down through the fi rst column of

beads in the third connector tube. Pass down through

Tile 3, Side A, Row 5. Pass back up through Row 6 in all

tiles and the second column of beads in all connector

tubes to exit at the top of the fi rst connector tube.

Turn the pendant over. Cross thread over diagonally

to pass down through the fi rst column of the fi rst

connector tube.

Repeat Step 10 to add connector tubes to Side B.

Do not tie off thread.

Attach the bail11. Using your working thread, stitch the top 4 beads

on the fi rst connector tube to beads 9 and 10 in Rows 7

and 8 located near the center of the bail panel. Tie off

thread and trim. Evenly match the top and the bottom

rows of the bail and repeat Step 4 to square-stitch the

rows together to form a tube. Tie off thread and trim.

Slide onto your choice of cord!



TURN IT OVER project


10312011101620


SQUARE STITCHnecklace

Eternity Circles presents a clever

and easy way to embellish a simple

square-stitch strip. Once you learn

the basic technique, you’ll have fun

trying all the variations. Make this

stylish “chain” to link your love of

beading to a hot fashion trend!

Eternity Circles

Cathi TessierPhoto by Jim Lawson.

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ETERNITY CIRCLES


WHAT YOU NEED• 6 g rainbow gold silver-lined size 11° seed beads• 8 g rainbow silver silver-lined size 11° seed beads• 1 small magnet closure or clasp of your choice• WildFire 0.20 beading thread• Size 10 beading needle• ScissorsFinished length: optional for bracelet or necklace

Square-stitch strip1. Thread 2½ yd of thread on a needle.

String 4 gold beads, leaving a 10” tail for

adding the clasp later on. (This will be

enough thread for a bracelet. You will

need to add thread for a necklace. See

How to Add Thread on the next page.)

2. Pass through all 4 beads again. Tie the

tail and working thread in a knot to secure.

Use your fi nger to push the fi rst and

fourth beads to stack on top of the second

and third beads. Pass through the second

pair again.

3. String 2 gold beads. Pass through the

second pair and the pair just added in a

circular motion. Notice that you circle in

the opposite direction from the previous

stitch (Figure 1).

4. Stack 2 silver beads for the next row.

Again, note that your stitch direction

moves in the opposite direction from the

previous row. Working in square stitch,

stitch another 3 rows in gold and one in

silver (Figure 2).

Add circles5. String 8 silver beads and pass through

the previous silver row, forming a semi-

circle along the side of the strip (Figure

3). String 8 more silver beads. Complete

the circle with a semicircle on the other

side of the strip, passing through the last 2

silver beads just added in the strip. Do not

pass into the beads of the fi rst semicircle

you created (Figure 4).

6. Repeat Steps 2–5 for as long a length

as desired, less 1” allowance for the clasp,

ending with 3 rows of gold beads (Figure 5).

Figure 1

Artist’s Tips• Use a heavier gauge beading thread to add body to the

circles so they hold their shape.

• In square stitch, beads stack directly on top of each other.

Figure 2

Figure 5

Figure 3

Figure 4

project


10252011113458


Figure 6


• Vary the color of the circles.

• Vary the placement and shape of

the circle; create doubles, fi lled in

circles, swirls, and fi gure eights.

• Change the number of beads

in your circle to make them more

or less round, more or less

elliptical.

How to add threadWhen you have about 4” remaining, cut a new length of thread. Tie

the new thread to the remaining tail in a secure square knot, placing the

knot as close as possible to a bead. Thread a needle on your new work-

ing thread and continue for a few rows. The knot should be pulled inside

a bead. Thread the tails on a needle and weave them into the beadwork;

trim. Continue with your new thread.

Closure7. String 3 gold beads, 1 clasp loop, and 3

more beads. Pass through the last 2 gold

beads in the strip, forming a loop (Figure

6). Pass through the 3 gold beads, clasp, 3

gold beads and 2 strip beads several times

to reinforce the loop.

8. Weave through existing thread paths

into a few rows of the square-stitch strip

to secure the thread; trim carefully.

9. Thread the tail thread at the other end of

the bracelet onto a needle. Repeat Steps 7

and 8 to add the other half of the closure.

Figure 7

Try This!

Once you have mastered this technique

you can create your own unique designs

by varying the colors or size and shapes of

the circles. Have fun with it!

Editor’s Note: I found it easier to fi rst

create the entire strip, adding the rows of

silver (or other color for circles) randomly

along the way. When I reached the end, I

started a new thread and wove back down

my strip adding swirls, circles, and fi gure

eights (Figure 7).


10252011113458


Tangled Vines

Robin Cowart

WHAT YOU NEED• 6 g size 6° seed beads (for the inner core)• 6 g size 8° seed beads • 3 g size 11° seed beads• Nymo thread to match your beads• Beading needle • 15” of medium-weight fl exible beading wire• 1 toggle clasp set with jump rings• 2 crimp tubes• Chain-nose pliers or crimping tool• Wire cutters• Scissors• Thread Heaven• Hypo cement or jewelry glue

Finished size: as long as desired. Allow about 1” for clasp.

This is fast and fabulous! Add four

rows of simple swags to a strung

core of beads for a lush bracelet or

necklace rope. Use diff erent clasps

or toggles for added interest. This

project makes a bracelet. To make a

longer rope for a necklace, increase

the amount of beads and wire. To

make both, be sure to double your

crimps and clasps.

BEADWEAVINGbracelet

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d Make the base row1. String 1 crimp tube on the beading wire.

Pass about 2” of wire through the jump

ring on the toggle ring and back through

the crimp tube. Crimp tightly with pliers

and trim the beading wire.

2. String 60–75 size 6° seed beads or

enough to make a comfortable length

for your bracelet. Allow for the length

of the other part of the clasp in the

total length. Repeat Step 1 to attach the

remaining clasp.

3. Cut a 4’ piece of thread, condition it with

Thread Heaven, and thread your needle.

4. At one end of the base row, pass

through beads 1 and 2, leaving a 5” tail.

Tie a half-hitch knot with the working

thread around the beading wire between

beads 2 and 3. Pass through 4 more beads

and knot again around the wire. Repeat,

knotting between every 4 beads or so. Exit

between the last 2 beads.

Stitch the vines5. String 1 size 8°, 2 size 11°, and 1 size 8°.

Skip 2 base-row beads and pass through

the next size 6° bead. Tie a half-hitch knot

around the wire. Repeat to the end of the

base row, exiting through the last bead or

next-to-last bead. Tie a half-hitch knot.

6. Reverse direction and repeat Step 5.

Repeat 2 more times for a total of 4 vines. Do

not try to make the vines lie side-by-side; it

will have a fuller look if they do not. Separate

and “fl uff ” the vines when fi nished.

7. End the last vine row with a half-hitch

knot around the wire and work the thread

back through the base row, securing with

half-hitch knots as needed. Trim the tail.

Glue the fi nal few knots.


knots around core wire

Download your 7 FREE Peyote Stitch Patterns

It’s time to peyote stitch! Get your free projects at:

Beading Dailyis your Community for Inspiration, How-tos, Free Projects & More!

Banded Tapestry Cuff by Kathy King

The Illusion by Julie Ann Smith

Finger Foodby Leslie Rogalski

~ Master the beading stitch beaders love most!

~ Discover seven peyote stitch patterns that will expand your beading skills.

~ Learn how to create unique seed bead jewelry.

www.BeadingDaily.com/freepeyotepatterns

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BRICK STITCHbracelet

Follow the pattern to create a cuff of stylized hearts using increasing

and decreasing brick stitch. For the perfect ending, brick-stitch a

separate heart-shaped “button” for a button-loop closure.

Heart to HeartCarol Dean Sharpe

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Attach the beaded loop5. On a new 12” piece of thread, string a

stopper bead leaving a 4” tail. Exit one of

the two gold tip beads on the end of the cuff .

6. String 30 beads or enough to loop

fi rmly over the button. Pass into the other

gold tip bead at the end of the cuff . Repeat

once more for security. If you desire to

leave a simple loop, weave the thread into

the beadwork to secure and trim.

7. For a peyote loop, after securing the

simple loop with one repeat, exit the fi rst

gold tip bead where the loop began. Pass

through the fi rst bead in the loop.

8. Work in peyote stitch around the loop:

string 1 bead, skip the second loop bead,

and pass through the third bead. String

1 bead, skip a bead, and string the next

bead. Continue in peyote stitch around the

loop. To fi nish, pass back into the beadwork

and weave in the thread to secure; trim.

Attach the heart-shaped button1. After completing the cuff : on a new 12”

length of thread, string a stopper bead leaving

a 4” tail. Pass through one of the two gold tip

beads at the end of the cuff . Exit to the front.

2. String 1 gold bead. Pass from back to

front through one of the two gold outline

beads in the “V” between the lobes of the

heart. Pass front to back through an adja-

cent bead. String 1 gold seed bead.

3. Make sure the heart is facing the same

direction as the hearts where it will attach,

so it blends into the design of the cuff . Pass

from front to back through the other gold

tip bead of the cuff end. Pull the heart but-

ton snug to the cuff . Weave the thread into

the cuff beadwork to secure and trim.

4. Remove the stopper bead from the

tail and thread a needle on the tail. Pull to

further snug the button; weave tail end into

the beadwork to secure and trim.

WHAT YOU NEED• Size 11° Delicas in the following colors:• 3 g gold dark luster red (DB-105)• 2 g bright 24k gold-plated (DB-31) or metallic yellow gold (DB-410) • 2 g transparent saff ron luster (DB-118)• Beading thread to match• Needle• Scissors

Finished length: 7 1/2”

A great tip!Use a new piece of thread to

attach any closure. If something

goes awry, you won’t need to

rework any of the main piece of

beadwork!

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SQUARE STITCHbracelet

Hip to be

Square Marilu Morency

This clever variation on square stitch works up fast

because you string 2 cubes at once in each row! A little bit

of sparkle goes a long way with crystal montées strung

between the units of matte cube beads. Complete this chic

cuff with easy two-needle weaving in a crisscross method.

Learn the LingoMontées (pronounced “montayz”) are fl at-backed crystals already

attached to components that have

4-way thread or wire channels, ready

for stringing or attaching.

WHAT YOU NEED• 10 g matte metallic dark green iris 4mm cube beads • 1 g iris green size 8° seed beads• 8 or more 4mm crystal AB roses montées • 1” long slider clasp with 2 connector loops• Silkon #2 thread • 2 Big Eye needles • Scissors

Finished size: 7”

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Make the cube-bead unit1. String a needle onto both ends of 3 yd of thread.

2. Row 1: String 3 cube beads to the center of the thread.

3. Row 2: String 2 cube beads on the needle on the right side.

Pass back counterclockwise through beads 2 and 3 on Row 1.

Pass a second time through the 2 beads just added, beads 4 and

5. String 1 bead, bead 6.

1 2 3

6 5 4

4. Pass the left needle through beads 6 and 5 and clockwise

through beads 2 and 1. Pass through all the beads on Row 2,

exiting bead 4.

1 2 3

6 5 4

5. Row 3: On the left needle, string 2 cubes, beads 7 and 8.

Pass clockwise through beads 5 and 6 of Row 2. Pass through the

beads just added, beads 7 and 8. String 1 bead, bead 9. Using the

right-side needle, pass through all the beads of Row 3. One unit

of cubes is now complete.

1 2 3

6 5 4

7 8 9

String the montée connection6. On left needle, string 2 seed beads, 1 montée, and 2 seed

beads. On the right needle, string 2 seed beads and crisscross

through the montée from the opposite side. String 2 seed beads.

7. String 3 cube beads on the left needle. Pass in the opposite

direction through the beads with the right needle.

8. Repeat Steps 3 through 7 until the bracelet is the desired length.

Add the clasp9. Weave back into the last unit of cubes following existing

thread paths to secure the thread, exiting between cube beads

in the last row. String one of the loops of one part of the clasp

and pass under the threads between cube beads in the last row.

Repeat several times to secure. Pass through the cubes in the

last row to exit between the other 2 cubes and repeat this step to

attach the other loop of this part of the clasp. Knot to an existing

thread in the cube unit and weave the end into the beadwork to

secure. Trim.

10. Add a new 12” length of thread to the opposite end of the

bracelet. Repeat Step 9 to attach the other half of the clasp.

RESOURCES: Swarovski roses montées: Dreamtime Creations,

dreamtimecreations.com. Silkon and cube beads: Fire Mountain Gems

and Beads, fi remountaingems.com.

Artist Tip• Pin down the top end of the bracelet to a

bead mat, using a quilter’s pin.

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10252011113629


EVEN-COUNT PEYOTE

River Cuff Lynn Davy

WHAT YOU NEED• 10 g size 11° seed beads, mixed blue, turquoise, and teal colors • 5 g size 8° seed beads, mixed colors to tone with the smaller beads• 26 clear 10mm pressed-glass rondelles with central holes• Beading thread that matches the beads• #12 beading needle• Scissors or thread clippers

This simple even-count peyote cuff was inspired by a river spar-

kling with raindrops. Seed beads in random colors are enhanced

by clear glass rondelles, and a little picot edge hints at ripples on

the water. The closure cleverly vanishes when the cuff is worn,

giving the illusion that the river is endless!

bracelet

Artist’s Tips

■ When choosing the beads, pick a mixture of diff erent fi nishes(silver-

lined, opaque, ceylon, matte) to add depth and interest to the colors. This

is a great way to use up leftover “bead soup” from other projects.

■ After stitching on 2–3 rondelles, knot the thread between beads. This

helps to avoid the accent beads working loose while worn, and also

means that if one catches and is pulled off , you don’t lose all of them.

■ Use beads with a shiny fi nish for the clasp loops and theshanks of the

clasp rondelles. Matte beads tend to fray the thread more over time.

■ Try using natural colors to mimic a pebbly riverbed, and arrange the

accent rondelles randomly instead of in pairs. You could also use

rondelles of diff erent sizes, or a mixture, and try out diff erent colors, too.

076-SBSB-2011-River Cuff.indd 76 10/27/11 10:24 AM

10272011102441


Figure 1

1

2

3

4

5

6

7

8

9

10

11

12

13

1415

16

end

ed

ge

Figure 2

13

1415

16

Figure 3

4

end

ed

ge

side edge

side edge

4

Figure 5

1

2

3

4

5

6

7

8

inbeadrow

inbeadrow

Figure 4

1. Thread a needle with 6’ of thread and tie on a stop

bead, leaving a 12” tail to attach the closure later on.

2. Mix all seed beads together to distribute the colors

evenly; pick beads at random from the mix as you work.

3. String 16 seed beads, including 1 size 8° in a ran-

dom position. Pass back through the thirteenth bead

strung to leave a picot on the side edge (Figure 1).

4. Work a row in even-count peyote: Pick up 1 size

11° seed bead, skip a bead, and pass through the next

bead. Continue working peyote to the end of the row;

use 1 size 8° at random in the row.

5. At the end of the row, pick up 2 size 11° seed beads

(to make the single bead picot on the other side edge)

before starting the next row. Pass through the next

seed bead in the previous row and continue working

peyote, picking up another size 8° along the row at

random (Figure 2).

6. Continue working in even-count peyote, picking up

1 size 11° along each row in random positions. Pick up

2 size 11° beads at ends of the row to make picot turns

along the side edges. Make the cuff long enough to fi t

comfortably around your wrist. Keep the tension even

and snug but not too tight that the cuff buckles.

7. When your cuff is the desired length, weave

through existing thread paths to exit a bead 4 rows up

and 4 beads over from the end edge bead (not count-

ing the picot bead) (Figure 3).

Add the closure rondelles8. Pick up 1 size 8°, 1 rondelle, and 1 size 11°. Pass

back through the rondelle and size 8°. Pass through

the bead in the cuff you exited in Step 7 (Figure 4).

Repeat the thread path through the bead-rondelle-bead

combination to reinforce. The added bead between the

rondelle and strip leaves room for the loop closure later.

9. Weave through the cuff to exit a parallel bead on

the other corner, parallel to the one just added. Repeat

Step 8 to add a second bead-rondelle-bead. Remem-

ber to reinforce.

Add other rondelles10. Place half your remaining rondelles along one side

of your cuff to estimate how many rows are needed

between them to space them evenly along your cuff .

From the rondelle just added, weave through the

beads on a diagonal to exit at your selected number of

rows (we count 8 rows here) and 4 beads in. To keep

the rondelles even, remember to choose an “in” side

bead if your fi rst rondelle is on an “in” side bead. Re-

peat Step 8 but do not pick up a size 11° bead between

the cuff and the rondelle: the remaining rondelles are

stitched fl at to the beadwork (Figure 5).


10272011102441


Figure 5Figure 6

RIVER CUFFproject

11. Repeat Step 10 to add an evenly spaced

line of rondelles fl at against the strip along

one side of the strip. Adjust the last couple

rondelles as needed to fi ll the remaining

space on the strip.

12. Work through existing thread paths to exit

a parallel bead on the other side. Add a parallel,

evenly spaced line of rondelles. At the end,

weave your remaining working thread into the

cuff beadwork to secure, and trim.

Add the closure loops13. Remove the stop bead. Thread the tail

on a needle. String enough size 11° seed beads to

fi t snugly but smoothly over a closure rondelle.

Pass through an end edge bead 5 beads in from

the side of the strip (Figure 6). Check the loop

fi t over the rondelle. Undo if needed by remov-

ing the needle and pulling out the thread, adding

or subtracting beads for a better fi t over the

rondelle, and repeating the stitching of the loop

into the beadwork.

14. Weave through the beads to exit a paral-

lel strip bead on the other corner. Repeat the

rondelle-bead stitch from Step 13 to add the

second closure loop.

RESOURCES: Rondelles: Land of Odds, landofodds.com.

____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

JEWELRY BY Sara Richardson,

Gaea Cannaday, Jeanine Center,

and Cindy Wimmer.

205 GREAT WIRE JEWELRY DESIGNS MADE SIMPLE.

4 FULL ISSUES (350+ PAGES)

ONE CONVENIENT FORMAT.

L E A R N M O R E AT shop.jewelrymakingdaily.com/EasyWireCD

still easy after all these years.


10272011102441


pendant

StarburstLeslie Rogalski

Create a crystal starburst around an

exquisite wheel–shaped fi nding and learn

to decrease odd–count peyote to a center

point to display an accent dangle. Whip

up an easy square–stitched bail and

you’re ready to wear the pendant on your

favorite cord.

ODD-COUNT PEYOTE & SQUARE STITCH

WHAT YOU NEED• 1 rhodium–plated and cubic zirconia (CZ)

15mm (O.D.) wheel component• 1 rhodium–plated and CZ 6x8mm drop

component• 24 jet 4mm Swarovski crystal bicones• 1 g rhodium–electroplated Delica (DB 0032)

size 11° cylinder beads• .5 g matte black Delica size 11° cylinder beads• .5 g matte metallic green Delica (DB 0414)

size 11° cylinder beads• 1 silver 3 or 4mm closed jump ring• Silver chain (or other cord) of choice• Smoke 8lb FireLine• Scissors to cut FireLine• Size 10 beading needle• Flat–nose pliers• Round–nose pliers• Jewelry glue• Small Bead Stoppers

Finished pendant: 3” without bail

079-SBSB-2011- Starburst.indd 79 10/25/11 11:36 AM

10252011113931


Crystal starburst1. Working with doubled thread helps stiff en the fringes:

Fold a 6’ length of FireLine in half and thread your needle to

the fold.Tie a knot with the tails around 1 spoke of the CZ

wheel, leaving 6” tails.

2. Pick up 1 crystal,1 green bead, 1 crystal,and 1 rhodium-

bead. Skip the rhodium bead and pass back through all

other beads. Pull the fringe snug to the wheel. Pass your

needle into the wheel opening to the right of the knot and

out the next wheel opening moving around the wheel.

Repeat around the wheel creating a total of 11 fringes.

Make sure to pull each fringe very snug to the wheel. After

stringing the last fringe, pass through the fi rst wheel open-

ing and knot securely to the tail thread.

Peyote panel and dangle3. Gently work a closed jump ring into the open loop of the

dangle teardrop. Use your fl at–nose and round–nose pliers

to close the loop. Set aside.

4. Thread your needle on a comfortable length of FireLine or

at least 3’ long. String a stopper bead, leaving a 15” tail. String

1 rhodium, 2 black, 3 green, 2 black, and 1 rhodium beads.

Work a panel in odd–count peyote until you have 14 rhodium

beads along both sides of your panel. Remove the stopper

bead after a few rows.

5. Weave through the beadwork to reposition your thread

for the decrease: On the side you’re exiting, pass through the

second–to–last rhodium bead and the third–to–last black bead.

Pass through the second–to–last black bead and through the last

black bead. Work peyote to the end of the row.

pendant STARBURST


10252011113932


6. Continue to decrease to a center green

bead. Exit the center bead; string the closed

ring and dangle. Pass through the center

green bead and closed jump ring 2 times

to secure. Weave into the beadwork to

secure; trim.

7. Thread a needle on the tail thread. Fold

over the non–drop end and “zip” it closed

along the fi fth rows of the panel, forming a

narrow tube. See the Zip–Up Bead by Bead

on page 22. Exit out the tube end from inside

the hollow, not through a bead.

8. String 1 crystal and 1 rhodium bead; pass

back through the crystal. Pass through the

tube and pull the crystal and rhodium beads

snug. String 1 crystal and 1 rhodium bead.

Pass back through the crystal, the tube,

and the beads on the other end. Repeat once.

Weave thread through beadwork to exit one of

the edge rhodium beads on the top of the tube.

9. The starburst has 11 fringes: Place the

starburst so one fringe points straight up and

2 fringes point down, symmetrically, toward

you. Lay the panel fl at below the starburst

with the smooth rolled edge of the tube fac-

ing you—not the side you zipped up. Using

the working thread exiting the rhodium edge

bead, pass in a circular motion through the

fringe tip rhodium bead and out through the

rhodium edge bead.

Repeat twice more to secure. Weave

through the tube hollow to exit the other

edge rhodium bead. Repeat to attach the

other side of the tube to the other fringe.

Bail10. Attach a 3–bead–wide square–stitched

strip to the middle sunburst spoke: Rows 1

and 2: Leaving a 6” tail, string bead 1, pass

through the tip bead of the fringe (bead 2)

and string beads 3–6. Pass through all beads

again. Pull the rows of beads snugly against

each other. Pass through the previous row

and the row just strung.

11. Row 3: String beads 7–9. Pass through

the previous row and the row just strung.

12. Row 4: String beads 10–12. Pass through

the previous row and the row just strung.

Note: After the fi rst 4 rows, thread the tail

thread onto a needle and pass once through

Rows 2 and 1 to tighten the fi rst row. Do not trim.

13. Continue in 3–bead–wide square stitch

for enough rows to fi t around your chain or

cord. If you want to change the cords, make

the bail long enough to slide over a clasp.

14. When your bail is the desired length,

pass through Row 1, the last row, and

through Rows 1–4 (which will now be the

back of the bail). Trim. Thread the tail on a

needle and pass through the last few rows

stitched on the front of the bail. Trim.

RESOURCES: CZ fi ndings: Ezel Findings,

ezelfi ndings.com.


10252011113935


EVEN-COUNT PEYOTE & FRINGEbeads

WHAT YOU NEED• 3 g size 6° seed beads (for the peyote tube)• Color shown: matte brown AB• 3 g size 8° seed beads (for the loops)• Color shown: matte olive green • Black .006 WildFire beading thread• Size 10 or 12 needle• Scissors• Bead Stopper

Artist’s TipRound seed beads (not cylinder beads) work

best for the looping fringes, but cylinder beads

work fi ne for peyote tubes.

Poodle BeadsLeslie Rogalski

A basic peyote tube takes on a fun, new look simply by adding looped fringes around

the edges. String one single bead as a pendant or make a bunch and string them with

other beads for a bracelet or necklace. Try crystals instead of seed beads for the loops

and give these puppies real personality! These beads were named by a dog-loving

friend even though she does not shave her poodles into ruff s. Ruff !

082-SBSB-2011- Poodle Beads.indd 82 10/25/11 11:37 AM

10252011114020


Stitch a peyote tube1. On a 4’ piece of thread, string 8 size 6°

beads. Attach a Bead Stopper leaving a

6” tail.

2. Use only size 6° beads for the tube.

String 1 bead, and pass back through the

next-to-last bead just strung. This bead will

sit directly above the bead passed through.

3. String 1 bead, skip a bead, and pass

through the next bead. String 1 bead, skip

a bead, and pass through the next. Repeat,

working in peyote stitch. The beads will

push against the fi rst beads you strung and

give them a staggered appearance.

4. At the end of the row, reverse direction

to work back for the next row: string 1 size

6°, skip the end bead, and pass through the

next bead.

5. Pull the thread snug; wiggle the bead-

work between your fi ngers to assist in

allowing the thread to pull tighter. You

should now be able to remove the Stopper.

Continue in peyote stitch.

6. At the end of the row, reverse direction

as in Step 3.

7. Continue until you have a strip with 5

beads along each side.

Make the peyote tube8. Pass across the tube into the end bead

opposite the side where your thread exits.

Notice you pass into an “out” bead.

Note: A paper tube is shown here for illus-

trative purposes so the thread can be more

easily seen. When you make your peyote

tube you do not need this paper tube.

9. Crisscrossing back and forth, “zip” the

two sides of the tube together, passing

through the out beads.

1 4 7

2 5 8

3 6 9


10252011114021


POODLE BEADSproject

10. Your thread should be exiting out the end

bead of the side opposite the side with the tail.

Tie the tail and your working thread together in

a secure square knot. Do not trim any threads!

Make the loops11. Your needle needs to be exiting out one of

the fi ve end beads. Since tying the knot places

your thread between beads, reposition the nee-

dle: pass in (toward the tube beadwork) through

one bead next to the knot and out (away from

the beadwork) through an adjacent bead.

12. Use only size 8° seed beads for the loops.

Loops are stitched on a diagonal. With your

thread exiting out one end bead, pick up 5

size 8° seed beads and pass in a circular mo-

tion up through the next bead around the end

of the tube.

13. Make 5 loops, working around the fi ve

beads at the tube end; repeat for a total of 10

loops. Make sure your loops do not cross over

each other, but lay beside each other.

14. When 10 loops are completed, tie the tail

and working thread together as in Step 10.

15. Weave your needle through the tube

beadwork, following the existing thread paths

(on a diagonal) to exit a bead on the other

end of the tube.

16. Repeat to add 10 loops to this end. Weave

back through the tube beadwork to the tail and

knot again. Thread the tail onto the needle and

weave in both ends simultaneously.


10 13

11 15

12 16a 16b

Bracelet by Donna Kraidman.


10252011114021


learn the lingoMaking a tube from a strip of

peyote is called the “zip up”

because the beads fi t together

like the teeth of a zipper, with

alternate beads staggered to sit

“in” and “out.”

Voilà!String poodle beads with other beads for fun, fast,

fi nished jewelry.


10252011114021


EMBELLISHMENTfelt beads

Have a Ball!

Wool felt beads provide a “ready-to-go” embellishment surface

for a fun variety of styles and materials. Here are three ways

to embellish a readymade felt bead: felting, embroidery, and

surface beading. Use embellished beads in necklaces, earrings,

bracelets, as decorations for clothing, bags, books, cards, holi-

day ornaments, and anything else you can imagine!

• Basic sewing skills will be very helpful in this project.

Learn the LingoWool roving: wool that has been washed,

combed, and prepared for further use. Roving

can be felted or spun into threads for weaving,

knitting, and other fi ber arts.

Allison and Tracy Stilwell

086-SBSB-2011-Have a Ball.indd 86 10/25/11 11:56 AM

10252011115722


1. Pull off a small piece of roving in the

color of your choice. Roll the roving into a

small loose puff ball for a dot or twirl it into

a lightly packed string between your fi ngers

for a line, then position it on the felt bead

(Figures 1 and 2).

2. Work the roving into the felt bead: poke

the needle in and out of the color spot and

the felt bead underneath.

3. Defi ne the shape: fold stray fi bers inside

the edge of the shape. Gently use your

needle to clean up the fuzzy edges. Continue

working the roving into the felt (Figures 3 and 4).

4. When the shape is almost fi nished, move

the end of the needle in a circular motion

to gather the remaining fi ne wisps of roving

together. Work those wispy ends into the

bead. Clean up with scissors.

Figure 1

Figure 2

Figure 3

Figure 4

Artist’s TipMake new colors easily by blending two or more

roving colors. Gather little puff s of a few colors

together and pull the fi bers apart with your fi ngers,

keeping the ball of fl uff together until the colors

are mixed to your liking.

Add dots or lines

Felting needle tipA felting needle is very sharp, with a barbed tip that

hooks the fi bers together. Felting needles break easily

when bent, so keep the needle motion straight as it

is poked in and out of the roving. Poking can be in

any direction as long as the needle is not bent. Most

beginners break a few needles!

WHAT YOU NEED• Wool felt beads• Wool roving• Felting needles• Small sharp scissors

Try This! Vary the sizes and colors on the same bead.


10252011115723


HAVE A BALL!project

1. Tie an overhand knot in the ends of 2 or

3 strands of embroidery thread. Stitch from

the inside of the hole to the outside of the

bead, hiding the knot inside the

bead hole.

2. Make simple stitches by sewing straight

through the bead surface, in and out,

forming little “dashes” of color around the

felt bead. Start each new stitch where the

needle exits from the prior stitch. Cover the

bead with random stitches or make linear

designs. Finish with a small overhand knot;

secure the tail inside the bead.

Use any embroidery stitches—it’s easy to

sew through wool felted beads!

RESOURCES: Wool roving, felt balls:

Ornamentea, ornamentea.com.

WHAT YOU NEED• Embroidery or millinery needle• Cotton 6–strand DMC Embroidery Floss • Wool felt beads• Scissors

Embroider a felt bead

WHAT YOU NEED• Assorted tiny sequins, buttons, beads• Beading needle• Beading thread to match or contrast• Scissors

Add buttons, beads, and sequins1. Tie an overhand knot in the ends of 2

or 3 strands of embroidery thread. Stitch

from the inside of the hole to the outside

of the bead, hiding the knot inside the bead

hole. Exit on the outside where you want to

position your fi rst sequin or bead.

2. String a sequin, small bead, or button

and pass back down through the sequin

hole. Pull the bead and sequin snug to the

bead. Make a small overhand knot beneath

the sequin to secure it to the felt bead.

3. Pass the needle into the felt bead

beneath the sequin and exit the felt bead

where you want to place your next sequin.

Repeat around the bead as you desire. Vary

the adornment for fun!

4. Finish: secure the last sequin or bead

with a square knot. Exit the felt bead

elsewhere and trim carefully so no thread

tail shows.


10252011115723


WHAT YOU NEED• Bead soup: See Step 2 for details• 2 three-hole spacer bars• 2 eye pins• 4 1⁄4 yd of thin, fl exible beading wire• 2 cone end caps• 6 crimp beads• Clasp• Cellophane or masking tape• Round-nose pliers• Chain-nose pliers• Wire cutters

Braided ChokerLucy Arnold

STRINGINGnecklace

Ph

oto

by

Jim

La

wso

n;

all

oth

er

ph

oto

s c

ou

rte

sy o

f th

e a

uth

or.

This braided choker works well with one,

two, or even three colors. It’s a wonderful

excuse to use a whole collection of diff erent

beads in your favorite color.

089-SBSB-2011-Braided Choker.indd 89 10/25/11 11:57 AM

10252011115808


1. Cut six 25” lengths of beading wire. Fold a small piece

of tape around each piece of wire about 5” from one end to

prevent the beads from slipping off .

2. String 14 1/2” of beads onto each wire according to the

chart. After you have strung each strand, fold a second piece

of tape on the wire at the end of your beads. There should be a

5” wire tail at each end of the beading.

Strand 1 104 size 11° metallic violet iris seed beads

100 size 8° light amethyst color-lined purple matte seed beads

Pattern: Alternate size 11° and 8° beads, beginning and ending

with a few size 11° beads.

Strand 2 66 size 11° silver-lined light amethyst aurora borealis (AB) seed beads

44 size 2 (4mm) multi-iris matte bugle beads

21 size 6° amethyst matte AB seed beads

Pattern: 1 size 11°, 1 bugle, 1 size 11°, 1 bugle, 1 size 11°, 1 size 6°. Repeat.

Strand 3 66 size 11° blue iris hexagonal cut seed beads

34 size 2 (4mm) silver-lined amethyst bugle beads

33 size 6° silver-lined amethyst seed beads

Pattern: 1 size 11° hex cut, 1 bugle, 1 size 11° hex cut, 1 size 6°,

beginning and ending with a size 11° or bugle beads.

Strand 4 115 size 11° lavender-lined Amy matte (AB) seed beads

106 size 8° purple/blue iris matte seed beads

Pattern: Alternate size 11° and 8° beads, beginning and ending with a

few size 11° beads.

Strand 5 118 size 11° silver-lined light amethyst AB seed beads

22 size 2 (4mm) blue iris bugle beads

19 dark freshwater pearls

Pattern: 3 size 11°, 1 bugle, 3 size 11°, 1 pearl, beginning and ending

with size 11° beads.

Strand 6 125 size 11° purple/blue iris matte seed beads

38 (5mm) dark multi-iris matte nibblettes

Pattern: Alternate 3 size 11° and 1 nibblette, beginning and ending

with size 11° beads.

3. Divide the beaded strands into 3 pairs, putting dissimilar

strands together. They may be dissimilar in size, shape,

or fi nish. Color family will be the one thing they all have

in common.

4. Select 1 pair and remove the tape from one end of each

strand. Put both wire ends through 1 hole of the 3-hole

spacer bar.

5. Holding the wire ends together, string 5 size 8°s and 1

crimp bead.

6. Pass the 2 wires through the loop of 1 eye pin, then back

down through the crimp bead and the 5 size 8°s. Remove any

excess slack. Squeeze the crimp bead closed with chain-nose

pliers and trim the wires as close as possible to the last size 8°.

7. Repeat Steps 4–6 with the remaining pairs.

8. String 1 cone end cap and 1 size 6° seed bead onto the eye pin.

9. Using chain-nose pliers, bend the eye pin down at a right

angle against the size 6° bead. Trim the pin to about 3⁄8”.

Artist’s TipThese instructions are for a 16” choker. I beaded 14 1/2” strands,

which resulted in 12 1/2” of braiding. In determining your fi nished

length, remember to include the measurement from the spacer bars

to the ends of the clasp; mine was 1 3/4”. Thus, my fi nal length was

12 1/2” + 1 3/4” + 1 3/4” = 16”. You can add or remove beads to make

your choker longer or shorter.

BRAIDED CHOKERproject


10252011115809


10. Make a simple loop by gripping the tip of the eye pin with

round-nose pliers. Rotate the pliers to form a closed loop.

11.Tape this end of the choker to your worktable. Carefully

braid the 3 pairs of beaded strands, keeping the tension even.

Tape the end of the braid to the worktable.

12. Add or subtract a few beads from each strand as neces-

sary so that they all end at the same length. Be sure the last few

beads on each strand are size 11° seed beads or small bugles.

13. String the pairs of wire ends through the second spacer

bar, maintaining the braiding to the end.

14. Repeat Steps 5 and 6.

15. Repeat Steps 8–10.

16. Attach one part of the clasp to each eye-pin loop.


Have fun with variations in color, size, and shape!TRY THIS!


10252011115809


STRINGINGnecklace

WHAT YOU NEED• 4 focal beads• 7g size 6° opaque white seed beads• 7g size 6° opaque black seed beads• 7g size 8° opaque white seed beads• 7g size 8° opaque black seed beads• 12 size 8° “accent” seed beads for each color to match your focal beads• 2 E or size 3° opaque black beads• Large, fun silver toggle • Fine fl exible beading wire• 2 larger holed 3mm crimp tubes • Crimping pliers• Wire cutters• Bead Stoppers

Finished size: 22”

Mod PodsLeslie Rogalski

Match the scale and style of your designs with the right

fi nding. This modern toggle with its dotted ring seemed

the perfect way to compliment the energetic patterns in

the pod beads. To keep the look clean use only 1 crimp

tube with a larger hole for each pair of wires.

PH

OT

O B

Y J

IM L

AW

SO

N.

092-SBSB-2011-Mod Pods.indd 92 10/25/11 11:57 AM

10252011115824


Strand 1

1. Cut a 26” piece of wire and place a Bead Stopper on one

end, leaving a 2” tail.

2. String 22 size 6° seed beads alternating black and white,

1 focal bead, 8 size 6° seed beads alternating black and

white, 1 focal bead, and a 12–14” length of alternating black

and white size 6° seed beads.

3. Check the length around your neck. Tip: Be careful; use a

Bead Stopper to prevent accidental loss of strung beads. The

other focal beads will be strung next, so make sure your long

black and white strand will be the right length for the focal

beads to be in a desired position. Add or subtract black and

white beads as needed to lengthen or shorten your necklace.

4. String 1 focal bead, 8 alternating black and white size 6°,

1 focal bead, and 22 alternating black and white size 6° to

mirror the section created in Step 2.

5. String 1 size 3°, 1 crimp tube, and the loop of one half of

the toggle. Pass back through the crimp tube, the size 3°, and

a few size 6° beads. Pull the wire to snug up to the toggle but

do not crimp yet. Set aside.

Strand 2

6. Cut a second 26” piece of wire.

7. Pass one end through the strung size 3° black bead, crimp

tube, and toggle ring; pass back through the crimp tube and

the black size 3°. Note: If you have trouble fi tting all wires

through the crimp tube, change the tube for another with a

larger hole. Pull wires to even out the loops around the toggle

ring, and crimp the tube fi rmly around all wires. The size 3°

should slide down over the crimp tube.

8. On the second wire, string a section of size 8° seed beads

equal to the 22-bead section of size 6° beads on the other

wire. Make sure to slide beads over the tail of the wire left

from crimping. Alternate black and white beads, and string a

couple accent color size 8° beads in the sequence as follows:

String 7 alternating black and white size 8°s starting with

white (next to the size 3°) and ending with a black. String 1

size 8° accent color, 1 black 8°, and 7 size 8° beads alternat-

ing black and white, starting with white. String a diff erent

accent color seed bead, 1 black 8°, and 7 size 8° alternating

black and white beads starting with a white.

9. Pass the wire through the fi rst focal bead, the size 6°

black and white beads and the second focal bead.

10. String 9 alternating black and white size 8° beads start-

ing and ending with black. String an accent color size 8°.

11. Repeat Step 8 to create a length of size 8° seed beads

equal to the longest length of size 6° beads. Vary the color

of the accent beads as you string.

12. When your strand of size 8° beads is long enough, pass

the wire through the third focal bead, the size 6° beads, and

the last focal bead. String a section of size 8° beads with

accent color beads to mirror the section strung in Step 8.

13. String a size 3° black seed bead and a crimp tube.

Pass through the loop of the other part of the toggle and

back through the crimp tube, the size 3°, and several size

8° beads. Place a Bead Stopper on the protruding tail to

prevent slippage temporarily.

14. Remove the Bead Stopper from the size 6 strand. Pass

the wire through the size 3° just strung, the crimp tube,

and the toggle loop. Pass back through the crimp tube,

the size 3°, and through several size 6° beads. Replace the

crimp with a larger holed crimp if you can’t fi t all the wires

through.

15. Pull the wires to snug the beadwork loosely but close

to the toggle; hold the crimp tube in place gently with your

pliers so it doesn’t slide into the beads. Crimp fi rmly around

all wires, between the black size 3° and the toggle. Snip any

protruding wire tails carefully.

Wear the toggle in front!

RESOURCES: Lampworked pods: Barbara Becker Simon,

bbsimon.com. Silver toggle: FusionBeads.com.

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10252011115824


You’re going about your day and stumble upon a combina-

tion of colors that you must use in your beadwork. But how

can you match a premixed medium such as beads to the

colors you see in real life?

First determine the overriding colors; squint your eyes

to help recognize masses of color. Looking at the photo of

trees in the mist, its easy to see the main color families:

Light pinks and orange-yellows of sky; dark yellow-greens

and brown of the earth; and rich browns of the trees and

fence. Work out your colors using whatever medium you

prefer before you begin beading. Spread out tubes of beads,

swatches of colored paper, color with markers and pencils,

or work on a computer.

Now zero in on color nuances. The smooth gradation of

the sky begins with a pinkish lavender then gradates down

to light pink sliding into white and shimmering yellow.

Many shades of brown and green lie in the grass. Deter-

mine what makes the color scheme sublime. Note the

graceful movement of color within the gradations. By sim-

ply using a few of these colors I can’t achieve this elegant

movement. I’m limited by my medium of beads. Unless I’m

weaving rows of seed beads into a tapestry, I accept that

this movement of color will not be part of my fi nal piece.

Much of the beauty of the color scheme is the appearance

of luminosity resulting from the gradations, and the colors’

lightness and darkness in relation to each other. I’ll use

lighter versions of bead colors to achieve more luminos-

ity. Pay attention to the amount of each color relative to

the other. I experiment with proportions, changing the Photo by Shutterstock from The Beader’s Color Palette, copyright © 2008 by Margie Deeb. Published by Watson-Guptill Publications.

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Turning Inspiration into a Palette

Adapted and abridged from The Beader’s Color Palette

(Watson-Guptill, 2008) By Margie Deeb

dominant, secondary, and accent colors until I arrive at

proportions that feel balanced and whole. Lavender-pinks

make this palette unusual, so I want to give them more

voice. Pale pink will have more impact than white as

the lightest color. I’ve reduced the amount of green and

brown to accents.

From what I’ve learned above I’ve selected a possible

bead palette. Even though there’s no true lavender in the

photo, light amethyst works beautifully with the beads

I’ve chosen, as does the yellow green peridot. I’ve also

included a couple of yellow possibilities, one transparent

and one opaque. Because beads and gemstones are not

the exact colors of the fl at swatches, experiment not just

with proportions but also how diff erent fi nishes interact

with each other.

feature COLORWORKS

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10252011115958


Analogous color schemes involve two or more colors adjacent

to each other on the wheel (including pure hues, shades, and

tints). Blues are analogous to greens: they are neighbors sitting

side by side on the color wheel.

The beauty of analogous schemes fi ll our world: the iridescence

of peacock feathers, the changing blues and greens under the

ocean, and the yellow-to-pink gradations of a lotus blossom.

The analogous palette has a mellifl uous quality. Its colors

swirl and fl ow into one another, defying boundaries. Where

does blue end and blue-green begin? The analogous palette

seeks no answer. It only revels in the mystery of movement.

Because of their proximity, blues and greens (and all adja-

cent colors) are intrinsically harmonious, making them easy to

combine successfully.

Analogous schemes are grouped in a specifi ed area of the

wheel, tending toward warm or cool, allowing mood and emo-

tion to step forth. And in the heat of summer, no scheme is

more refreshing than analogous blues and greens.

Blue is the coolest color of all, calm and relaxing. Life-giving green,

nature’s background, is the easiest color for our eyes to view.

Green restores harmony and balance and renews the weary

soul. Together they are one of the most popular and easy to

work with combinations.

Combine light blues, like those of blue lace agate, with exotic

deep blues, like lapis lazuli, azurite, or sodalite. Accents with

one or two of the many available green gemstones: cool opaque

malachite, mottled dull serpentine, translucent twinkling

Aqua blues and olive greens harmonize naturally. Seed beads stitched

around glass and foil cabachone by Dema Designs. Necklace by SaraBeth

Cullinan. Necklace designed for Margie Deeb’s “Color Report for Bead

Artists Spring/Summer 2009.” Photo by Margie Deeb.

The Beauty of Analogous ColorsBy Margie Deeb

aventurine, lustrous over-the-top chrysoprase, or jade in its

wide range of hues.

Apatite and aquamarine are gorgeous cyanish colored

gemstones that combine beautifully with purer green tones,

like malachite and chrysoprase. Turquoise is the perfect

in-between-color to close the gap when making a color

scheme that gradates blue to green.


10252011115958


Finding inspiration in a country’s color comes naturally to every artist. But how to translate that

inspiration into a palette for beaded jewelry?

Look not only to color, but texture, form, composition, and design as well. Let’s take a brief virtual

tour of India, a world of color. Its fabrics sport daring blends of reds, pinks, yellows, blues, and greens.

Men wear brightly colored turbans. Women’s saris are spectral extravaganzas.

Buddhists in India’s Tibetan settlements regard saff ron yellow and auburn as sacred colors, and their

robes refl ect this.

In parts of India, single colors, punctuated by architectural accents, unify entire cities. Jaisalmer,

built of yellow sandstone, is the “golden city.” Most buildings in Jodhpur, the “blue city,” are painted

blue. And Jaipur, the “pink city,” uses ocher pink plasters to colors its walls.

Fine detail and daedal ornamentation are common in architecture and jewelry. Patterns include paisley

motifs, scrollwork, and fi ligree. In jewelry, India’s passion for gold can be traced to very early times. Sara-

Beth’s “Beledi” necklace epitomizes the texture and detail of Indian jewelry. The colors of Margie Deeb’s

“Twined Neon” necklace are saturated with the colors of vibrant festivals and marketplaces.

Study books, photos, and travel sites on the Web to get a feel for a place that attracts you. Then, let your

imagination take you there.

The mosque interior of the Taj Mahal inspired

SaraBeth Cullinan to create “Beledi,” a necklace

using shades of pink and detailed, intricate

filigree. The green of the distant trees finds its

way into the necklace as small pearl accents.

Glass and vermeil. Photo by Margie Deeb.

Powdered pigments on sale in an Indian marketplace inspired the

brilliant palette for “Twined Neon,” a loom-ed necklace designed by

Margie Deeb. Loomwork by Frieda Bates. Photo by Margie Deeb.

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Finding Inspiration in the Colors of a CultureBy Margie Deeb


10252011115958


Using Dominance to Create HarmonyBy Margie Deeb

Visual harmony is created when there exists a balance

of similarities and diff erences. Enough concordance and

enough contrast must be at play to achieve dynamic tension.

But too many diff erences confuse the eye. What if ev-

ery bead in your stash were dumped into one huge bowl?

Though enticing, the arrangement wouldn’t be harmoni-

ous or well designed. Such a random mix off ers delightful

textures and colors, but provides no visual harmony. Af-

ter feasting for a moment on that random mix, your eye

will spot all the bright yellow (or white) beads and begin

visually grouping them. You are seeking order. And you are

fi nding order through concordance—colors that are similar.

The dominance of an element—be it color, line, design,

texture, or shapes and sizes of beads—unifi es a fi nished

piece, giving it a sense of oneness. Achieve harmony by

elevating one or two elements above all others, making

them dominant.

There are three easy ways to use color as your unifying element:

1. Establishing a single dominant color is the simplest

approach, as Kristy Nijenkamp has achieved in her lamp-

worked bracelet. Each bead contains many colors, but

the dominant color of the whole bracelet is the transparent

peach, which unifi es all the palette members.

2. The tonal approach uses dominant tones (muted

or intense) rather than specifi c hues. The vivid colors of

Margie Deeb’s “Spectral Tapestry” work as a group to

achieve color dominance. No single color dominates: the

piece is unifi ed by the intensity the colors share: they are

all fully saturated. The black outlines and frames each color,

further unifying the piece

3. Use a family of analogous (similar) colors.

“Mermaid’s Collar” by Margie Deeb features colors from

the same area on the color wheel. . .the cool side. They are

similar enough that the naturally harmonize, and diff erent

enough to create interest.

Now you know three ways to harmonize your work by

consciously using color dominance. Find that exquisite

balance between similarity and contrast, and you’re on

your way to color mastery.

In her lampworked bracelet,

Kristy Nijenkamp establishes

single color dominance with the

color peach.

The vivid colors of Margie

Deeb’s “Spectral Tapestry”

work as a group to achieve

color dominance.

“Mermaid’s Collar” by Margie

Deeb uses a family of cool,

analogous colors to achieve

color dominance.


10252011115958


Texture contrasts are both visually and tactilely fascinating.

Everyone loves to touch fringe laden with diff erent sized beads.

Add texture to seed bead weaving by introducing larger beads,

peyote ruffl es, kinky fringe, or netting.

When exploring contrast, aim for balance and unity. The

Festival of Fringe necklace abounds with contrast in color,

value, bead sizes, shapes which create energy and pizzaz.

In the Thai Colors bracelet of more muted tones, there is enough

contrast in the values of these colors and the bead sizes and

textures to keep visual interest.

Thai Colors multi-strand bracelet from The

Beader’s Color Palette by Margie Deeb.

Winter is a time of contrast: angular, dark branches outlined

against fl at expanses of stark white; gust of biting cold wind outside,

and the warmth of the hearth inside, soft snow against hard, crack-

ling ice. In all these stark contrasts I sense life pared down to its

essence, a purity, that turns me inward to weave dreams and beads.

The key to winter for us bead artists is to be inspired by this mysterious

season of promise nestled in subterranean sleep. It’s a great time to

spend many cozy hours conjuring new color combinations by

the fi replace.

Contrast (diff erence) is the opposite of concordance (similarity).

A composition needs contrast because too much visual similarity

becomes monotonous. The more contrast you use, the more bold,

energetic, and dynamic your work will be (up to a point, beyond

which “garish” may become a result).

With winter as inspiration, aim for more contrast in many areas.

To contrast with color, juxtapose complementary hues against each

other, or emphasize value diff erences by placing light colors against

dark one. Contrasting design elements might mean weaving straight

lines against curves, diagonals against horizontals, blocks of color

against spheres of color. String patterned beads next to solid colored

beads and squares shapes next to ovals. Play with contrasting fi n-

ishes and materials. Combine smooth beads with faceted, irregular,

or chunky beads. Place shiny metallics next to fl at matte fi nishes,

lusters next to transparents.

Inspiration from Winter’s Contrasts

Festival of Fringe necklace from

The Beader’s Color Palette by

Margie Deeb.

By Margie Deeb

feature COLORWORKS


10252011120014


necklace

WHAT YOU NEED• 2 oz pearl Kato Polyclay• 2 oz translucent Kato Polyclay• Kato color concentrate for desired color• Size 6–11° seed beads in color to match or contrast• Nymo thread in coordinating color• Krylon leafi ng pen (this brand only)• .019 fl exible 49-strand beading wire

• Friction tube clasp • Cyanoacrylate glue (optional)• Cornstarch or spray water bottle • Beeswax• Pasta machine• Acrylic roller• Work surface• Texture sheet or textured rubber stamp• Flexible blade (rigid blade will not work)

This project uses the mica shift technique to create a subtle

pattern on the surface of the clay. A metal leafi ng pen adds a

gold highlight to the edges, then the components are stitched

together using a variation of a stitch used in bookbinding.

Pod NecklaceJudy Dunn

• Oval cutters: 1” x ¾” and 1¼” x 1”• 1 sheet of acid-free heavyweight paper• Baking pan • Toaster oven (dedicated for nonfood use) • 400-grit sandpaper• Drill with 1–2mm drill bit• Scissors

POLYMER CLAY

099-SBSB-2011-Pod Necklace.indd 99 10/25/11 12:01 PM

10252011120349


POD NECKLACEproject

1. Blend the pearl and translucent clay

together in a 1:1 mix. Mixing the translu-

cent in with the pearl clay, creates space

between the mica particles, and increases

the depth in the mica shift pattern you

will create. Use the Kato color concen-

trates as desired to reach whatever color

you want. For this project, a tiny sliver of

red was used to reach this shade of pink.

For darker colors, slowly build up to your

intended color; a little will go a long way.

It is easier to add more color than to take

it away. The process of fully blending the

colors will also condition your clay.

2. Roll the sheet of clay out to thickest

setting on your pasta machine. Texture

the surface of the clay, using a texture

sheet or a rubber stamp with an allover

texture. If your texture sheet is thin and

fl exible, you may pass it through the pasta

machine with the sheet of clay. Otherwise,

use your acrylic roller to press the texture

into the sheet of clay. You may fi nd it

easier to add a thin dusting of cornstarch

or a spritz of water to the surface of your

texture sheet fi rst, for easier removal.

3. Lay the sheet of clay fl at on the work

surface, textured side up. Using your

fl exible blade, carefully remove the raised

portions of the clay sheet. The best way

to do this is with the blade as close to

horizontal as it shaves the surface of the

clay. This will remove the textured surface

and make a fl at surface again. After you

slice away the textured surface, you will

see the pattern created with the texture.

This image is formed by the light refl ect-

ing from the surface of the mica particles

embedded in the clay body. The process

of texturing the clay “shifts” the angles

of the particles in the clay so light is now

creating the same pattern as the texture,

but without the texture! This is called the

“mica shift” technique.

4. Once you have removed all the raised

areas on the sheet of clay, put the sheet

through the pasta machine at the second

or third setting down from the thickest

setting. Turn the sheet 90°, and pass it

through once more, at the next thinnest

setting (the fourth or fi fth setting on my

machine).

5. Lay the sheet of clay on your work

surface and use the oval cutters to cut

oval shapes from the sheet of clay. Cut at

least 8 small and 4 large ovals. Remove

the excess clay around the ovals.

6. Accordion–fold the piece of paper with

folds about 1” wide. Use acid-free paper

because the acid in paper can yellow the

clay during curing. Place the paper in your

baking pan. Preheat your oven to the clay

manufacturer’s recommended

temperature.

7. Gently fold the ovals about midway,

across the shorter length of the oval, to

about 90°, with the decorative surface on

the inside. Place the ovals face down on

the accordion folded paper. Continue with

all the ovals.

8. Cure at the manufacturer’s recom-

mended temperature for 45 minutes.

The longer cure time will make a stronger

piece, and as long as you do not exceed

the recommended curing temperature,

you will not harm the clay.

9. When the pieces have cooled, remove

from the paper and use a damp piece of

sandpaper to smooth any uneven edges

caused by the seam on the oval cutters.

Artist’s Tips• Use Kato Polyclay for this project.

It is rigid and strong when cured so

thin, and with the color concentrates,

gives the best range of colors.

• Use a Krylon leafi ng pen, others

may react over time with the clay

and soften it.


10252011120350


13. You will now have two ends extend-

ing out of the back of the oval. They

should be about equal in length. The next

oval will be opposite this fi rst one. String

each end through the back of one of the

holes of the second oval.

One strand will go across the front and

out through the other hole.

12. Cut a 15–18” piece of Nymo thread.

Use beeswax to coat the thread; this will

minimize the risk of tangling and fraying

ends as you work with it. Feed one end of

the thread up through one hole on 1 oval.

String enough seed beads to reach from

one hole to the other. The number will

vary depending upon the size of the beads.

Feed the thread through the other hole.

10. Using the metal leafi ng pen, highlight

the edges of the pods. Two coats are usu-

ally required.

11. Using the drill, drill 2 holes along the

folded edge, about 4–5 mm from each

outside edge for the small pieces, and 5–6

mm from the outside edge for the larger

pieces. If desired, mark the hole place-

ment prior to drilling.

Learn The Lingocure: this is the proper term for what

happens to polymer clay when it’s in the

oven. Using the term “bake” is not an

accurate description since it’s not food.

When the clay cures, it forms bonds

that cause the long polymer chains in

the clay to lock together, making it rigid

as opposed to soft.


10252011120405


POD NECKLACE

15. The last oval goes between the fi rst 2

ovals, and opposite the third. It is strung in

the same way as the previous ovals. One

strand goes up and across, and back out

through the back again. The other comes

up and is strung with seed beads, then

back down through the opposite hole.

16. Pull both ends so they are fairly snug.

Bring the two ends to one side. Tie a

square knot, double wrapping the second

part of the knot. Bring the strands around

to the opposite side of the pod and repeat

the square knot. Trim the ends of the

thread so they are not extending outside

the pod.

17. Repeat this technique with the other

ovals so that you have 2 small pods and 1

large pod.

18. Cut three 15” strands of beading wire;

this will give you a fi nished length of 17”.

If necessary, adjust the length of wire you

cut to accomodate the type of clasp you

are using and to reach the desired length.

Slide the wire ends into the open ends of

the clasp. Crimp the clasp in place.

19. To string the pods, pass the narrow

end of the clasp through the center of the

small pod, passing through the center of

the stitching done earlier. Repeat with the

large pod and fi nally another small pod.

On the other strand, string your beads as

you did with the fi rst oval, then go back

down through the opposite hole. Pull the

strands tighter, but leave a small amount

of slack.

14. The third oval will go in between the

fi rst 2 ovals. Feed each strand of Nymo

thread through 1 hole.

One strand goes back down through the

opposite hole. The other strand is strung

with enough seed beads to reach across

the center, from hole to hole. This end is

fed down and through the opposite hole.

project


10252011120406


20. Arrange the pods in whatever alignment

is most visually pleasing to you. The pods can

still be rotated along three diff erent axes.

This creates numerous options for how you

arrange the pods. Whether you line them

up, or arrange them a bit more randomly,

they will give you a diff erent look. If you

want the pods to be spaced out on your

cord, place a dot of cyanoacrylate glue on

the cable where you want the pod to sit.

Slide the pod over the glue, and let set.

A single pod, small or large, can make an

attractive pendant—or for a bolder look,

go for more pods clustered together or

spaced apart.

RESOURCES: Clay and oval cutters, pasta

machines: PrairieCraft.com, prairiecraft.com;

Polymer Clay Express, polymerclayexpress.

com; Munro Crafts, munrocrafts.com. Krylon

leafi ng pens: Staples, staples.com. Friction tube

clasps: Rio Grande, riogrande.com. Beading

thread and cable: Rings & Things, rings-things.

com; Fire Mountain Gems and Beads,

fi remountaingems.com.

5 FREE Beaded Bracelet

Projects

Download your FREE eBook today:

GET YOUR FREE PROJECTS AT:

www.BeadingDaily.com/FreeBraceletProjects

Wooded Wonderland [ Jess Italia Lincoln ]

Lost and Found[ Yelena Yershova ]

Check out these

bracelet designs,

pick one or make

them all!

Victorian Impressions [ Elizabeth Murray ]


10282011152600


POLYMER CLAYnecklace

WHAT YOU NEED• 2.5 oz. of polymer clay in

purple, turquoise, black, and white

• Cutting blade• Acrylic rolling tool or brayer• Acrylic block • Ceramic tile or cookie sheet

to bake on• Knitting needle or other

smoothing tool• Needle tool• Corn starch• 2mm Buna cord, 28” long or

desired length (be certain that you use Buna cord as others may not be ovenproof)

• Super glue• Point back rhinestone crystal• Pasta machine dedicated to

nonfood use (instructions are given using a pasta machine with 9 settings, #1 is the thickest, #9 is the thinnest)

• 3⁄32” drill bit• Optional: Latex gloves or

fi nger cots (to prevent fi ngerprints in clay)

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Basketweave Pendant

I was playing with some slices from one of my favorite

types of millefi ori canes, the basketweave, and chanced

upon off -setting one square slice of cane on top of another.

Then the idea occured that this design lent itself wonder-

fully to a bolo-style necklace.... thus a new and interesting

style was born!

Jana Roberts Benzon

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10252011120422


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Condition clay and create a Skinner Blend.1. Condition the clay by slicing thin pieces

off of the block of clay, and then rolling

the clay with an acrylic rod on your work

surface. Run the pieces through the pasta

machine on the thickest setting until the

clay softens and is pliable. You will be

creating a Skinner Blend (named for its

inventor, Judith Skinner).

2. At the thickest setting on the pasta

machine, roll out a sheet of clay ap-

proximately 3” x 6” in the purple and

turquoise colors, and approximately 2” x

6” in the black and white colors. Cut the

triangles and lay them out as shown; the

colors should be laid out from darkest to

lightest. This rectangle should measure

approximately 5” wide x 6” long. This

Skinner Blend is very forgiving, so don’t

worry if your triangles aren’t exact. Blend

the edges of each color together with your

fi nger or a rounded tool. Run through the

pasta machine on the thickest setting in

the direction shown.

3. Fold the bottom of the clay sheet up to

the top, making sure the sides line up.

4. Run this folded sheet through the

pasta machine on the thickest setting.

Repeat folding from the bottom up (not

side to side) and rolling through the pasta

machine until the colors are blended, ap-

proximately 15–20 times. Always put the

folded sheet of clay in the pasta machine

in the same direction; do not rotate the

sheet of clay. Remember to run the sheet

through the pasta machine fold fi rst to

prevent locking in air bubbles.

Create a blended loaf. 5. Now that you have a blended sheet of

clay, fold the sheet in half, this time matching

color to color (not the dark end to the light end).

6. Using the thickest setting on the

pasta machine, put the dark end of the

sheet in the pasta machine first and run

through the machine. Continue running it

through on four or five successively thin-

ner settings until you have a long, narrow

sheet of gradated colors, dark to light. Be

careful as you pass the sheet through the

pasta machine that it doesn’t fold over

on itself, or it may stick together and ruin

the sheet. Trim both light and dark ends.

7. Fold this sheet into a loaf using the

“accordion fold” method. Begin by placing

11/2” of the light end of the blended strip on

your work surface while draping the rest

of the blend over one hand. Fold the sheet

over the top of the 11/2” section, making

sure that you smooth out air bubbles with a

brayer or smoothing rod.

8. Continue taking the sheet back and

forth (accordion style) until you’ve formed

a loaf. Roll each fold to smooth out air bub-

bles. After you have completed the loaf,

square it up by slicing off the ragged edges

on all four sides.

Divide and wrap the loaf. 9. Lay the loaf on your work surface with

the light color on the bottom, dark on top.

Slice the loaf in half lengthwise making

two long, thin rectangles. Place these two

pieces together, matching up the light ends.

10. Put a layer of white clay, rolled to a

#5 (medium-thin thickness) on the pasta

machine, on the top and bottom.


10252011120422


11. Now place a layer of black clay rolled

to a #6 (thin thickness) on top of the

white. Your loaf, hereafter called a “cane,”

has a white and a black layer on both of the

long sides. As the cane must be “warm” to

reduce properly, proceed directly to Step 12.

BASKETWEAVE PENDANTnecklace

Reduce the cane and slice into pieces. 12. The next step is to reduce the

cane to a length of approximately 19”.

Reducing a square cane requires us-

ing several different methods. You are

basically trying to “coax” the cane into

lengthening. It is important to flip the cane

over and turn it often so that all portions

of the cane receive the same pressure and

lengthening, or the cane’s design may

become distorted. Begin reducing the

cane by gently pressing on the top and

sides of the loaf with an acrylic block

or ceramic tile and gently squeezing it

with your fingers (do not press on the

crisp edges of your cane; keep them

squared up). Use your brayer on all four

sides to help lengthen the cane.

13. Along with squeezing and pressing

with the acrylic block, run your hands

along the length of the cane to smooth

and lengthen it. It is important to keep the

edges crisp so that when the cane is fully

reduced, it has a nice rectangular shape—

with even sides, and the black and white

have stayed in place, not “migrating” down

the sides. Keep the edges crisp by periodi-

cally running your thumb and forefinger

along the edges while reducing. Take your

time in reducing the cane and apply all

of the methods mentioned in this step to

lengthen the cane to approximately 9”. At

this point, it should be warm enough for

you to grasp each end and gently pull, help-

ing it to lengthen a little more.

Continue applying all methods of reduction

until it is 19” long. Now cut the cane into

twelve 1/2” sections, removing approxi-

mately 1/2” of “scrap” from each end.

Assemble and reduce the cane.14. To assemble the cane, take each

of your pieces and place them in a

weave pattern with four pieces on each

row, alternating the direction that each

piece faces. You will notice “air gaps”

between the individual pieces in the

center...don’t worry about these yet.

15. Next, cut seven 11/2” strips from a

sheet of black clay rolled to a #5 (medium

thin) thickness on the pasta machine. Place

these strips on the black sides of the seven

pieces that “indent” in the cane’s four

sides. These strips help to flatten and even

up the four sides of the cane. It may still be

somewhat indented, but that is okay.

16. Begin reducing the cane by gently

compressing opposite sides of the cane at

the same time. Turn the cane and do the

other two sides simultaneously, alternating

back and forth between the sides until it

is completely compressed. As you do this,

the gaps will fill in.


10252011120423


17. Your cane may now be a bit concave

on all four sides but this is okay, as they

will flatten out during reduction. Now

continue reducing the cane as described in

Step 12–13 until it measures approximately

1/2” on each of the four sides (it will be

approximately 10” in length). Cut off the

ragged ends and slice the cane into four

equal lengths.

18. Combine the four pieces of cane

together, placing the slices so that a con-

tinuous weave pattern is formed. Gently

compress so that the four pieces “fuse”

together. Smooth all four sides with the

brayer. Wrap this cane in a sheet of black

clay rolled to a #6 (thin) thickness on the

pasta machine.

Assemble the bolo pendant.19. After letting the cane rest for at least

one hour (refrigerate to hasten cooling), cut

two slices off of the cane, approximately

1/8” in thickness. After slicing, smooth the

surface of each slice by gently rubbing with

a finger that has been dipped in cornstarch.

Rinse the cornstarch off of the cane slices

and let them air dry before gently pinching

the corners with your gloved fingers. Use

your thumb and forefinger to exaggerate

the four corners on each slice.

20. Lay one piece on top of the other,

rotating to form a bolo shape. Determine

where you want the Buna cord to slide

through, and mark these four spots on the

top and bottom with a needle tool.

21. Lay both slices on the work surface with

the inner side facing up. You will now form a

“trench” for the Buna cord to lie in. Using the

marks you made with your needle tool as

a guide, lay the needle across the slice and

gently press down forming a trench. Make

two trenches in each slice, which will match

up and form a hollow tunnel when the two

sides are put back together.

22. If your needle tool is too narrow to

make a trench wide enough for the Buna

cord, rotate the needle to widen the trench.

Remember that the Buna cord should fit

snugly in the trench, so do not make it too

wide. Lay the Buna cord into the trenches

and place the two slices together, match-

ing up trenches to form a tunnel. Gently,

but firmly, press the slices together every-

where that they touch, but avoid pressing in

the trenches. Leave the Buna cord in place, as

it will be baked with the pendant. Press the

rhinestone crystal into the center of the front

of pendant; you will glue it in place later.

Bake and finish neckpiece.23. Form stopper beads by rolling two

large pea-size balls out of some of the

matching scrap clay. Bake the stopper

beads and Buna Cord filled pendant ac-

cording to the manufacturer’s instructions.

When cool, drill a hole by hand into the

core of the beads with a 3/32” drill bit. Place

a small dab of super glue on the tips of the

Buna cord and then slide the stopper beads

in place. Remove the rhinestone from the

pendant then glue it back in place with a

dab of super glue.

RESOURCES: Kato PolyClay, Nu-Blade,

lucite clay brayer: Prairie Craft Company, www.

prairiecraft.com. Pasta machine, buna cord:

Polymer Clay Express, polymerclayexpress.

com. Acrylic block: Scrapbooking Supplies R Us,

scrapbookingsuppliesrus.com.


10252011120423


focal bead POLYMER CLAY

WHAT YOU NEED• Clay-dedicated pasta machine or

acrylic roller or brayer• Polymer clay: gold, green, blue,

black, white, and brown•Tissue blade•Needle tool or bamboo skewer•Metallic powder•Small paint brush•Protective mask

Dancing Arcs

PolymerBead

Ronna Sarvas Weltman

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108-SBSB-2011-DancingArcs.indd 108 10/25/11 12:04 PM

10252011120455


4. Tear or cut the blended sheet of clay into a

few pieces, put them together, and blend again

to achieve marbling. If the piece looks too bright

green, add a bit of brown to tone it down.

5. Continue blending to form a subtle marble eff ect,

but don’t blend it too thoroughly because in the next

step you will be blending it more.

Form a bead6. Roll the clay into a round bead. Tip: It’s a good

idea to form the bead before the clay is blended too

well, because rolling it into a bead is going to blend it

further, and you don’t want it so well blended that you

lose the marbling. You can always do a little more

marbling to make your blend subtler, but you can’t go

backwards if it’s blended too uniformly. If the blend

isn’t quite subtle enough, fl atten it with the pasta

machine, the brayer or even your fi ngers, and roll a

new bead.

7. Now the marbling is blended enough to have some

aesthetic subtlety but still has enough marbling to

form an interesting base bead.

Create a marble color blend1. Create an olive color blend. Begin by gathering a bit

of white, green, black, and blue.

2. Cut the clay into small pieces with a tissue blade,

so you will be able to create a more evenly marbled bead.

3. Run the pieces through a pasta machine or roll with a

brayer to blend the clay.

Make a beautiful bead that is striking enough to

stand on its own by creating the impression of

movement within a simple design. In this bead,

the subtle complexity of marbling adds color

movement, while the curved edges of triangular

embellishments add a graceful fl ow to a shape

that would otherwise be static. The gradations

of the marbling and curves of the triangles give

the bead a lively fl uidity that is reminiscent of

dance. Visual movement is heightened by add-

ing metallic powders, which refl ect light and

add to the vibrancy of the bead.

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10252011120455


12. Bend the tissue blade so it forms a curve. Cut

out small triangles, slicing through the clay with the

curved tissue blade. This will create triangles with

curved edges, which adds a sense of movement

to the bead.

Place triangle accents on the bead13. Keeping the bead on the needle tool, gently

place the triangle accents on the bead. By laying

them on with a light touch, you can easily try out

the placement and move them as necessary. When

you’re happy with the placement, gently tap and

smooth the triangle accents so they’re fi rmly

adhered to the base bead.

8. Poke a hold into the bead. Gently grasp the bead with

your nondominant hand and twist the needle tool back

and forth with your dominant hand as you aim it at the

middle of your index fi nger. Note: Be sure your index fi n-

ger is placed exactly opposite the end where you’ve poked

the hole. We all have little homing devices in our fi ngers

that enable the point of the needle tool to aim straight for

them. It’s all part of that eye-hand coordination thing.

9. After you’ve pierced a hole in the bead, feed the

needle tool through the opposite side of the bead to

ensure a smooth, clean hole on both ends of the bead.

Keep the bead on the needle tool and set aside.

Create marbled triangle accents10. To create a toned-down gold color, fi rst gather

some gold clay with a bit of white and black.

11. Run the pieces through the pasta machine. Be

spontaneous! I only ran the colors through twice and

loved the way the marbling turned out. You can run it

through until the marbling suits you.

DANCING ARCSproject


10252011120455


Add metallic powder14. Because metallic powders refl ect light, they give

beads a more “resonant” look. They will also make the

marbling look subtler, since they add a sheer color layer.

Caution: Metallic powders are dangerous to inhale, so

always wear a protective mask around your mouth and

nose when using them.

15. A little powder goes a long way, so use it sparingly.

Using a small paintbrush, fi nely dust the bead with the

metallic powder, adding extra powder to the sides of the

triangles to give them a more fi nished look.

16. Bake your beads according to the manufacturer’s

directions for temperature and for at least 40 minutes.

RESOURCES: Bamboo skewers: Supermarket. All

other supplies: Dick Blick, dickblick.com or Michael’s,

Michaels.com.

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10252011120456


POLYMER CLAYpendant

Nothing shows off your work better than an

interesting frame. Create a customized insert

for an antiqued pewter bezel called a Focal

Frame, specially designed by Helen.

Focal Frame

PendantHelen Breil

WHAT YOU NEED• Kato, Premo, or Fimo polymer clay: 1 oz of light-colored (white, pearl, or light gray) 1 oz of black polymer clay • Verve Focal Frame with antique fi nish• 1 focal bead , about ¼” or 9mm in diameter

• 1 red Delica bead • Santa Fe Red Piñata ink by Jacquard• Pearl Ex or Perfectly Pearls mica powders• Gloss or varnish • Liquid polymer clay• Cornstarch

• Cyanoacrylate gel glue • Needle tool• Craft blade• Pasta machine• Toaster oven dedicated to non-food use• Q-tips• Rubber gloves

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112-SBSB-2011-Focal Framed Pendant.indd 112 10/25/11 12:05 PM

10252011120611


frame. Place the Focal Frame over the clay,

centering the starburst in the opening,

positioning the bail at the top. Pick up the

sheet of clay and begin pressing it into the

inside of the Focal Frame. Use your fi nger

to push the clay from the back of the frame

up toward you. Work your way around the

entire inside edge at least two times. Use

your pinkie fi nger in the tight spots. Note:

Be careful not to press on the clay so hard

that it tears or bulges over the top of the

metal. Remember, you will need to remove

the hardened clay after baking.

When you’ve completed all the edges and

the clay is nicely pushed up into the frame,

also push up gently in the middle of the

starburst area. The more the clay has been

“puff ed” out, the more pleasing the sunken-

in eff ect that is achieved when the focal

bead is inserted (Figure 3).

Trim the back4. Trim the excess clay from the back with

a craft blade. Work your way around each

“arm” of the frame, leaving a small border on

the frame as shown. Ensure the clay is pressed

well against the metal frame (Figure 4).

Apply mica powers5. Alcohol inks will be applied after bak-

ing. They are transparent, so adding mica

powder to the clay adds a pleasing glitter

that will shine through the ink. Using a

small paintbrush, apply a mica powder that

is as close to the light clay color as pos-

sible. Don’t worry about the powder getting

on the metal frame, it can be washed off

after baking.

Apply the focal bead6. The focal bead will also need to be

removed after baking, but no release agent

needs to be applied because the mica

powder will act as a release agent. Put the

pendant down on your work surface with

the bail at the top. Center the focal bead

over the center of your starburst pattern.

Press the focal bead fi rmly and evenly into

the clay, all the way down to your work sur-

face. You should have a nice rounded caved-

in eff ect. Place the pendant into the oven and

bake for 45 minutes at the manufacturer’s

recommended temperature (Figure 5).

Prepare the focal beadThis project uses an open-box bead fi lled

with black polymer clay, and a red Delica

has been embedded in the center of the

clay. If using a focal bead that does not

require any “fi nishing” work, go to Step 2.

1. Condition your black clay. Roll it through

the pasta machine on a medium setting

(fourth largest setting). Place the sheet on

your work surface. Apply a small amount

of liquid polymer clay to the back of the red

bead and place on the black clay so that the

bead hole faces up. Using the end of your

needle tool, push the bead partially into the

clay. Position the box bead over the small

red bead so that the red bead is centered in

the box and press down fi rmly. Trim away

the excess black clay around the box bead.

Ensure the black clay is secured to the back

of the box bead. Bake for 20 minutes at the

manufacturer’s recommended temperature

(Figure 1).

Create the starburst2. The front of the pendant insert will

be light-colored clay and the back will be

black. Condition the light-colored clay and

roll out a small sheet at the third largest

setting on your pasta machine. Do the

same for a sheet of black. Stack them one

on top of the other and put them through

the pasta machine together on the largest

setting. Put the sheet on your work surface,

light color up. Cut the sheet to a 2¼”

square. Make a starburst pattern, hold-

ing the needle tool at a 20° angle to the

clay. Start by scoring a line top to bottom

through the middle of the sheet and doing

the same side to side, creating a cross.

Bisect each of the resulting 4 squares in

the same way. Once the lines become fairly

tight you might fi nd it easier to create the

lines working from the center out to the

edges. Don’t worry about being too neat

through the middle. It will later be hidden

by the focal bead (Figure 2).

Attach clay to focal frame3. The clay will need to be removed from

the Focal Frame after baking, so you need

to apply a release to prevent the clay from

sticking to the metal. Apply some corn-

starch to the inside edges and back of the

Figure 1

Figure 2

Figure 3

Figure 4

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10252011120611

Remove the components 7. To protect the frame from the ink and

gloss, you need to remove the clay insert.

Once the pendant has cooled down but is

still warm, carefully remove the focal bead

using the needle tool to pry it out. Work-

ing from the back of the pendant, use the

needle tool to gently free the clay, working

your way carefully around each “arm.”

Once removed, wash the metal Focal

Frame with warm water and mild soap to

remove the cornstarch and mica powders.

Apply the ink8. For this project, you will be using Santa

Fe Red Piñata ink by Jacquard. The red inks

are the most transparent and easiest to

work with. Some of the other colors can be

too dark, and the radiating lines eff ect can

be lost. But thinning these other colors with

rubbing alcohol can help alleviate this prob-

lem. Note: These inks stain, so wear rubber

gloves and put down several layers of wax

paper or tissue on your work surface.

Apply a generous amount of Santa Fe

Red directly from the bottle and use the

tip of the bottle to disperse the ink. A ball

stylus is also a good tool to move the ink

around. Pick up the excess ink pooling in

the focal bead area or around the outside

edges with a Q-tip or the corner piece of

a tissue. Let dry for about 30 minutes or

until dry to the touch. Apply another layer

of ink. The color will deepen with each ap-

plication. You want the ink to pool in the

radiating lines so that the lines are darker

and therefore more pronounced. Let dry

completely. If desired, apply a third layer.

Here, the clay has been temporarily placed

Figure 5 Figure 6

Figure 7a Figure 7b

FOCAL FRAME PENDANTproject

back in the frame to show the vibrant shine

of three layers of ink, before the gloss is ap-

plied (Figure 6).

Apply the gloss 9. Once the ink has been applied and

dried, you need a protective coating. There

are many glosses on the market that can be

used. See www.glassattic.com/polymer/fi n-

ishes.htm for a list of some polymer–clay–

compatible glosses. My personal favorite

is All Night Media Plaid Liquid Embossing

clear gloss fi nish for paper. It has a gel-like

consistency that allows me to control the

gloss application. Also only one coat of

gloss is necessary with this product. Note: This product cannot go into the oven and

takes 24–48 hours to dry.

To protect the frame, apply the gloss to

the clay insert component only. Apply your

chosen gloss or varnish over the ink.

Note: Avoid dripping onto the outside bor-

der area. If the gloss builds up in this area,

your clay insert may not fi t back into your

metal frame. Use multiple coats of gloss if

necessary. Some glosses may also work as

glue. I applied one coat of gloss, includ-

ing the focal bead area, and reinserted the

focal bead while the gloss was still wet as a

means to secure it.

Glue the insert in place 10. Once the gloss is dry, put the fi nished

clay insert into the frame and ensure it still

fi ts. Use cyanoacrylate gel glue to attach

the clay insert to the Focal Frame. Your

pendant is complete!

Here are two other Focal Frame designs

with a slightly modifi ed technique for the

clay insert (Figure 7a and 7b).

RESOURCES: Focal frames, polymer clay, alcohol

inks, mica powders, needle tool, pasta machine,

blades: Shades of Clay, ShadesofClay.com. Square-

box focal bead (and all other focal beads shown):

Beadfx.com, product code: tc94-5653-60; Antique

Rhodium Metal Bead Frame, Small Double Dot Square.



10252011120611


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115 SBSB 2011.indd 115 10/27/11 10:54 AM

10272011105458


METAL CLAYnecklace

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Jennifer Kahn

Hammered Silver Pendant

The two techniques, hammering the disk pendant

and setting the stone, are presented in separate

sections. As you make the pendant, I suggest work-

ing from one section to the other as parts are drying

— but be sure not to mix up your clays. If you have

each wrapped in Saran Wrap and you’re not sure

which is which, examine the color: the light one is

PMC+ and the darker one is PMC3.

116-SBSB-2011-Hammer.indd 116 10/25/11 12:07 PM

10252011120836


• Approx. 1⁄2 of a 28-gram package of PMC+®

• Pea-size amount of PMC3® • Rolling tool• Deck of cards• Tefl on® Paper cut into a few 3” x 5”

pieces (available from kitchen stores)• 1 transparent, heavy-weight plastic

report cover cut into 3” x 5” pieces (available from offi ce supply stores)

• Olive oil• Plastic circle template with 2” circle

(available from offi ce supply stores)• Pin tool• Ruler • Tissue blade• Spray bottle• Saran Wrap®

• 3⁄16” and 9⁄32” Kemper® circle cutters

(available from polymer clay supply stores) You can also buy pieces of brass tube from hobby stores or cut them yourself from lengths of tubing.

• Very round cocktail straw (don’t use one that is misshapen or has a seam)

• Needle fi le• 400-grit sandpaper• Kiln shelf • Kiln• Ball peen hammer• Steel bench block• 6mm almandine garnet• Tweezers• Slip container (small plastic fl ip-top

container)• Palette knife• Salon board (cushioned nail boards)• Small watercolor brush

• Cotton swabs (several) • Brass brush or brass brush wheel on

polishing lathe• 1 sterling jump ring for the bail• Liver-of-sulfur or other patinating

solution• Baking soda• 1200-grit micron polishing paper, or

alternate polishing materials• .014 beading wire• Your choice of beads, I used spinel

and garnet chips and Thai silver spacer beads

• 2 sterling jump rings, soldered closed to fi nish the beaded strands

• 6 sterling crimp beads, 2mm • Crimping pliers• 2 chain nose pliers• Sterling S-hook clasp

WHAT YOU NEED

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The Hammered DiskAlthough large in area, this piece does not use a lot of

PMC+® because it’s rolled out to only a 2-card thickness.

The disk gains strength because hammering work hardens

it. It’s bold, but delicate and it’s an easy piece to make.

Rolling out the clay1. Place 1⁄2 of a 28-gram package of PMC+® on a 3” x 5”

piece of Tefl on® with a stack of cards, 2-cards high, on either

side. On top of that, place a lightly oiled, 3” x 5” cut out

section of transparent heavy-weight plastic report cover. I

prefer the thickness and durability of the report cover. Also, after

it has been used for awhile it no longer needs oil to prevent it

from sticking to the clay. Roll over the clay/plastic “sandwich”

a few times.

Rotate the clay 90° — this will help yield a rounder shape.

Roll it a few more times. Remove the cover and lift the clay

off of the Tefl on®, reposition it, then resandwich it between

the plastic and Tefl on®. Roll a couple more times to ensure

uniform thickness.

Cutting out the disk2. Oil the circle template and place it (with the 2” circle

opening) on top of the rolled out clay. Holding a pin tool

perpendicular to the clay, cut out the disk. Before remov-

ing the template, line up 2 straight-edge tools (ruler, tissue

blade, etc.) with the quadrant guides on the template, then

use your pin tool to mark the center of the circle. Remove

the template, spray the excess clay with water, then wrap it

in a piece of plastic wrap.


10252011120836


Cutting out the center hole and bail hole3. Position a 3⁄16” circle cutter over the cen-

ter mark made on your 2” disk — accuracy

is important here if you want your stone to be

centered. If you’re having trouble centering

the hole, try gently pressing down with the

cutter to create an impression, then pull

back up and check your accuracy. Based on

the impression you’ve made, judge how to

correct your circle (if it’s slightly off ). Repeat

until you have a sense of where to the cutter

should be placed for it to be centered. Press

fi rmly on the cutter; once you’re happy with

its placement, remove it. If the circle you’ve

cut stays in place, use a pin tool to lift it

out. Dampen the circle and add it to your

wrapped scrap. You will be using the same

circle cutter to cut out the hole in your bezel,

so keep it handy. After the disk has been fi red

and shrunk 12%, you’ll fi nd the hole will be

smaller too; this works to your advantage —

creating a nice shelf for your stone to sit on

after you’ve set it in your PMC3® bezel.

Using a cocktail straw or 3mm brass tube

section, cut out a hole for the bail approxi-

mately 1⁄8” from the edge, anywhere on the

disk. Set the piece aside to dry. As an alterna-

tive, use a fl ex-shaft, Dremel®, or hand drill to

make a hole in the PMC® when it’s leather-hard.

Drying and warping4. If you let the circle dry naturally, it won’t

warp. However, if you try to hasten the dry-

ing in any way (putting it under a light, on

a warmer, turning it over), it will most likely

warp. Ultimately this is not a problem, as it

will fl atten during fi ring. But if you need to re-

fi ne the shape after it’s dried, it must be fl at.

To correct any warps, spray the disk lightly

with water, wait 30-60 seconds (or until the

water disappears from the surface), then

place the disk between 2 sheets of Tefl on®.

Place the Tefl on®/clay sandwich under a

heavy book; after about 15-20 minutes, the

clay should fl atten out. Once fl at, place it on a

piece of Tefl on® for another 10 minutes to dry.

Refi ning the disk5. After the disk is completely dry, use a

needle fi le to refi ne the 2 holes made in the

disk. Hold a full or half-sheet of 400-grit

sandpaper in a curve in your hand. Sand

the entire edge of the piece by moving up

and down against the matching curve of

the sandpaper. Rotate the piece every few

passes until you’ve sanded the entire outside

edge of the disk.

Firing the disk6. Put the disk fl at on a kiln shelf and fi re at

1650°F for 10 minutes.

Hammering the disk7. Place the disk on a steel bench block

and hold it in place with one hand. Starting

on one side of the disk, hammer with the

rounded end of a ball peen hammer, rotating

the disk until the entire piece is hammered.

Don’t hit the edges too hard or they will distort

and get too sharp. If this does happen, fi le the

edge smooth with a jeweler’s fi le. Hammering

this way causes the disk to curve like a potato

chip. I like this added dimension, but if you

don’t — you can fl atten the disk with a rawhide

or plastic mallet. Your hammered disk is now

ready to be joined with the set stone.

HAMMERED SILVER PENDANTproject


10252011120837


3⁄16” circle cutter6mm garnet9⁄32” circle cutter

Setting the StoneAfter becoming frustrated with my usual method of stone setting (rolling out a small snake and joining the two ends around the stone), I started exploring other more ef-ficient options. I tried working with a PMC3® syringe — but it was messy, deformed easily, and I still had to deal with joining the two ends. So, I set out to find a way to solve the problem by capturing the stone in a continu-ous circle of clay.

It seemed logical to roll out a layer of PMC3®, cut out a circle, cut out an inner circle for the stone, and then push the stone into place. However, the force of all that caused the bezel to buckle and some-times tear. With some experimentation, I developed this simple method for making a uniform, seamless bezel.

Regardless of what size stone you’re working with, you’ll need two circle cutters (or pieces of brass tube, or straws). You need one that is slightly smaller than the outside diameter of your stone base and one that is about 1mm larger in diameter than your stone. For this project, I used a 6mm (15⁄64”) almandine garnet cabochon, and therefore used 3⁄16” and 9⁄32” circle cutters. Here, I used a garnet, but I’ve also successfully fired moonstone and peridot in PMC3® as well.

Rolling out the clay8. Roll out a pea-size piece of PMC3® 5

cards high, working in the same manner as

you did in Step 1. It’s important to roll the clay

to a 5-card thickness. This ensures the bezel

wall will be tall enough to hold the stone in

place after the shrinkage occurs during fi ring.

Cutting a hole for the stone9. Cut out a circle with the 3⁄16” circle cutter

(same one used for cutting the center hole

out of the disk in Step 3). Using tweezers,

pick up the stone and place it over the hole,

then push the stone down with your fi nger.

Place the clay from the cut-out hole into a

small container with a few spays of water

and put it aside — you’ll need it later for slip.

Cutting out the bezel10. Position the 9⁄32” circle cutter over

the stone. Press down gently to create an

impression then pull back up to check your

accuracy. If it’s not centered, use the impres-

sion you’ve made as a guide to correct your

circle — gently press down again. Based on

a few impressions, you should be able to

accurately position the cutter and cut out

the second circle which will create the bezel.

Be sure to keep the cutter perpendicular to the

clay — this will ensure a uniform bezel. And

don’t worry if the set stone remains in the cutter,

simply use the plunger to release it. Place the

bezeled stone aside to dry. Put your scrap in

the slip container and spray with water.

Making PMC3® slip11. While the bezel is drying, make some

slip by adding a little water to the clay in

your slip container. Mix the water and clay

together with a palette knife until it’s the

consistency of icing, adding water as needed.

Let the slip sit for about 20 minutes before

using it so the clay has a chance to absorb

the water thoroughly.

Refi ning the bezel12. Once the bezel is dry, sand the edge

carefully with a salon board. You can correct

any unevenness in the bezel wall (if you were

slightly off when you cut the bezel out) with

a salon board. Clean off any clay on the back

of the stone by scraping it with a pin tool or

your fi ngernail.


10252011120837


Attaching the set stone to the hammered disk13. First, paint thick slip generously onto

the back of the stone and setting. Line up

the bezel with the hole in the center of your

disk, and then press down fi rmly to attach

the two. Remove any excess slip with a clean

paintbrush dampened with water. Turn the

piece over, holding the stone in place, and

clean the hole in the back with your damp-

ened paintbrush. Turn it over again (right-

side up) and set it aside to dry.

After it’s dry, paint an additional layer of

slip where the bezel meets the disk — so

there’s no gap. This step is crucial to ensure

attachment. Remove any excess slip with a

dampened brush. Once the slip has dried,

clean any residual clay from the metal with

a damp cotton swab; use a dry cotton swab

to clean the garnet with a dry cotton swab.

Be sure to clean the front and the back. It’s

important that no clay remain on the stone so

that light can pass through it.

Firing the set stone to the hammered disk14. Place the pendant (face up) fl at on the

kiln shelf. Fire at the lowest PMC3® setting,

1110°F, for 30 minutes. Because stones are

subject to thermal shock, it’s best to cool

your piece slowly. The safest way to do this

is to crack the kiln door open about an inch at

the end of the fi ring cycle, then let it cool for

an hour. The stone will appear black but will

change back to its original color as it cools.

Do not quench the piece.

Finishing the pendant 15. Burnish with a brass brush and a little

soap and running water, or use a brass

wheel on a polishing lathe (no soap or

water). This process will not harm the stone.

Add a sterling jump ring for the bail. To get a

dark, rich, black on the piece, dissolve a pea-

HAMMERED SILVER PENDANTproject

size piece of liver-of-sulfur gravel in about

2 cups of hot water. Patinate by alternately

dipping in liver-of-sulfur then cold water

until the piece is black.

Give it a fi nal rinse with cold water, then

wash with hot water and baking soda. Pat

dry. Polish off the high points on the surface

with 1200-grit micron polishing paper

wrapped tightly around your salon board.

Stringing the necklace 16. I chose beads that complemented my

set stone, and strung several strands to bal-

ance the boldness of the disk.

Cut three 16” lengths of beading wire (I

used Soft-Flex® .014). String 1 silver or spinel

bead, 1 crimp bead, and a jump ring onto

one of your beading strands. Bring the wire

back through the crimp bead and your silver

or spinel bead. Make sure there’s no excess

slack between the crimp bead and the jump

ring — you don’t want it stiff , just close

enough to the jump ring so excess wire isn’t

showing. Once everything is in place, com-

press the crimp with crimping pliers. Repeat

this process to add the other 2 wires to the

same jump ring.

17. For the fi rst strand, string spinel chips

with a garnet interspersed every inch. For

the second strand, string inch-long sec-

tions of tiny, Thai-silver beads interspersed

with spinel chips. For the third strand, string

half-inch sections of tiny, Thai-silver beads

with alternating chips of spinel and garnet.

Each strand was strung half way, then modi-

fi ed slightly in the center to accommodate

the pendant. Continue stringing each strand,

matching the second half to the fi rst

18. To fi nish the necklace, add a crimp bead

to the end of each wire and then pass all

3 wires through a jump ring. One wire at a

time — go back through the crimp bead and

a few spinel or silver beads. Gently pull the

beading wire to take up any excess slack —

remember, you don’t want your necklace

rigid, just very little excess wire showing.

Compress your crimp bead with crimping

pliers to secure the strand. Repeat for the

remaining two strands. Add a handmade,

sterling S-hook to your jump ring and your

necklace is ready to wear.

RESOURCES: PMC, garnet, jump rings, clasp,

wire, pliers, liver of sulfur: Rio Grande, riogrande.com.


10252011120837


METAL CLAYpendant

Women are complex creatures. We have many moods.

We experience diff erent aspects of our personalities

from day to day, and everybody knows it’s a woman’s

prerogative to change her mind. The design of this

reversible necklace allows us to dress for success no

matter which persona we’re trying to present. Display

the sensuous Cattails side when you’re indulging your

Bohemian spirit, and the gem-set Interference side on

days when you take yourself more seriously. Either way

you spin it, you’ll enjoy making and wearing this two-

sided pillow-bead pendant.

Two Views Lora Hart

WHAT YOU NEED•18 gram package of PMC®+•PMC®+ Slip/Paste•Speedfi re™ Kiln •Brass wire brush• Tissue blade or rectangular

cutter•PVC pipe roller•Reusable Parchment Paper•Badger Balm® •1⁄4” round stencil brush•4 mm cubic zirconia cabochon of your choice•12 oz. glass jar•Ziploc® bag•1⁄2 cup rice•Reusable parchment paper•Interference Texture Tile •Cattails Texture Tile• Cruciferious 1 series

Texture Tips

•Kemper™ Lilac Cutter Tool • Sturdy plastic covered

paper playing cards•320-grit sandpaper•400-grit sandpaper•600-grit sandpaper•1200-grit sandpaper•X-Acto knife•Emery board•Ink pad•Index card•Pencil•Round cocktail straw•Wire brush•Patina solution•polishing pad or cloth•Tumbler (optional)• Toothpick or chenille pipe

cleaner (optional)• Small piece ceramic fi ber

blanket

121-SBSB-2011-Two Views.indd 121 10/25/11 12:08 PM

10252011120939


TWO VIEWS PILLOW BEADpendant

1. Before beginning the project, lay out all the necessary

tools and materials in front of you. Spritz some water

onto your hands and apply a light coat of Badger Balm® to

seal in the moisture. Lubricate all the nooks and crannies

of each Texture Tile and Tip by using a small stencil brush

that has been tapped into the Balm. Make a nest for the

jar to rest on so it won’t roll around. I used a Ziploc® bag

partially fi lled with rice.

This bead consists of four parts: front, back, and two

sides. We’ll be making each part separately and as-

sembling them after they are bone dry. Because the very

structure of a bead gives it more strength than a fl at item,

we’ll be able to make the walls of our project two-playing

cards thick. But since parts of the Texture Tiles will make

a deep impression in the clay, we’ll start out a little thicker.

2. Use the PVC pipe to roll out a sheet of PMC+® three-

playing cards thick on a piece of reusable parchment paper,

then discard one card from each pile. Place the clay on top

of the Interference Texture Tile with two playing cards on

either side, and roll over the sheet again. Make sure to place

the playing card spacers on top of the tile, not next to it.

Tip: Playing cards are manufactured in various thick-

nesses. If you know you are using inexpensive thin plastic

cards, add one extra card to the number quoted. If you

are using better quality plastic-coated paper cards, roll on.

3. Gently remove the clay and place it face up on the

parchment. Use a tissue blade or rectangular cookie cut-

ter to cut a shape approximately 3⁄4” X 11⁄8” and drape it

sideways across the glass jar.

4. Repeat Steps 2 and 3 using the Cattails Texture Tile

and allow both pieces to dry. Since the exposed surface

of the clay will dry faster than the side that is in contact

with the glass, it will take over an hour to fi rm up enough

to remove if allowed to air dry. To speed up the process,

place the jar in a toaster oven or food dehydrator on its

nest at about 150° for ten minutes. Apply gentle pressure

with your fi ngernail to check if the piece is ready to re-

move. If there is any resistance, wait a few more minutes.

When you can, take the pieces off the jar and allow the

underside to dry completely.

5. Place a piece of 320-grit sandpaper fl at on the table.

Imagine a compass on the bead pieces with “north” at

one of the short ends. Working with one half of the bead

components, place your fi ngers at the base and begin to

move it back and forth across the paper.

Caution: If you put any force on the domed area it may

break. I fi nd that trying to sand fl at edges on both sides of

the rectangle at once can be challenging, so I like to con-

centrate on one side at a time, applying gentle pressure

with my fi ngertips on the north end. Then, I’ll fl ip the piece

around to sand the “south” side. Repeat with the other half

of the bead. Sand enough material away so that when joined

together, they form a knife-edge. Save the sanding dust to

add to your slip jar.

6. Brush some water along the sanded edges of one bead

part and follow with an application of slip. Immediately

wet the edges of the other part and join the two together

making sure that the sides are aligned and that the designs

are facing the correct way. Gently pinch the ends together

to make sure you have a nice tight fi t. Let dry completely

and sand if necessary.

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10252011120939


7. Once the two joined halves are dry, sand the open

eliptical sides to make sure they will create a fl at, level

base for the sides.

8. Now let’s make a template for the “east” and “west”

sides of the bead. Tap the east side on the inkpad and

stamp the outline onto the index card. Use scissors to cut

the shape outside the lines. Because the two sides may

vary slightly, mark both the template and the side of the

bead it is intended for with a pencil mark and repeat this

step to make a template for the other side.

9. Roll out a sheet of clay three-cards thick. For contrast,

the sides will be given a mirror fi nish so do not texture the

clay. Place one template on the sheet and trace around

it with the X-Acto knife. Repeat with the other template.

Use an oiled cocktail straw to make a hole in the upper

third of each side part and let dry thoroughly.

10. To attach the sides to the body of the bead, brush

some water along the East side of the bead following with

a generous application of slip. Immediately wet the inside

edge of the appropriate fl at piece and join the two to-

gether. Then use a paintbrush to smooth away any slip that

oozed out of the join. Repeat with the other side and when

dry, fi le as necessary to match the contour of the bead.

We intentionally made these pieces thick so the next

step wouldn’t compromise their integrity. Laying one side

of the bead fl at on top of the sandpaper, sand the surface

with 400-, 600- and then 1200-grit sandpaper. Make

about 8–12 passes with each grit. I like to use the 3M®

Tri-M-Ite® Polishing Paper sold by Rio Grande®, but you can

also fi nd sandpaper in fi ne grits at an auto body shop. Repeat

with the other side and use your damp fi ngerprint to “sand”

all the edges. Use a wooden toothpick to sand the inside

edges of the holes and follow with 1200-grit sandpaper.

11. Before starting the next section, create four tiny balls

of clay. Roll out some clay one-card thick. Use the cocktail

straw to cut four circles. Cover three of the circles with

a damp paper towel so they don’t dry out. Pick up one

of the circles and roll it into a ball using the fi nger of one

hand in the palm of your other hand, then set aside to dry

completely. Repeat with the other three circles.

12. To make the appliqué for the stone setting, roll out

a sheet of clay three-cards thick. Press the Quatrefoil

Texture Tip from the Cruciferious 1 series into it, and make

a hole in the center with a cocktail straw. Use a straw

that is just slightly smaller than the circumference of the

cabochon so if the appliqué stretches a bit when you move

it onto the bead, the hole will still be a good size.

Use the 5⁄8” Lilac Kemper’s® cutter tool to cut out the

Quatrefoil shape; the two shapes will not be a perfect

match. Brush some water in the center of the bead on the

Interference side, apply slip to the back of the appliqué,

and place it on the bead. Press down on the appliqué with

a barely damp paintbrush to make sure it is fully attached

to the bead.


10252011120940


13. Use a pair of tweezers to place the 4mm cabochon

in the hole. It should fi t perfectly. If there is some space

around the sides of the stone, extrude a line of syringe

clay around it, making sure it touches both the setting and

the stone, then dampen the syringed clay with a brush of

water. Let dry and sand as needed.

14. Dampen a spot in one crotch of the Quatrefoil appli-

qué. Use the tweezers to pick up a dry, tiny ball. Dip the bot-

tom in slip, then place it on top of the dampened clay. Repeat

with the other three balls. Let dry and sand as needed.

15. Fire the pillow bead on a small piece of ceramic fi ber

blanket at 1650° for ten minutes. I used the Speedfi re™ kiln

to fi re my bead. This small, camp stove type kiln works

perfectly in my apartment and I like the fact that it has a

pyrometer to maintain the correct temperature.

The stove itself gets quite hot, so use the usual common

sense precautions to guard against burning. Be sure to

read and follow the manufacturer’s operating instructions

before setting up and operating the kiln.

The Speedfi re™ is designed to operate at a room tem-

perature of about 70°, so set it on a table in front of the

window or place it on the kitchen stove and turn on the

hood vent to disburse the burnout fumes. Flames may rise

above the ceramic fi ber cone while the binder is burning

off , but will be contained within the cone during normal

fi ring. I placed a small piece of painter’s tape on the gauge

at 1650° so I could make sure the temperature didn’t rise

above the maximum.

Set a timer for ten minutes and read a bit of a good

book, glancing at the temperature gauge every few min-

utes. This fi ring system requires more monitoring than a

kiln, but less than torch fi ring and gives more consistent

results than the Hot Pot or stovetop fi ring.

16. Let the piece air cool before wire-brushing the entire

bead, then sand the sides to a mirror fi nish using 400-,

600- and 1200-grit sandpapers.

17. Paint black oxidizing patina on the front and back

with a clean brush, leaving the sides bright silver. Empha-

size the texture by removing the patina from high points

with a polishing pad or cloth.

RESOURCES: PMC supplies: PMC Supply, pmcsupply.com;

Whole Lotta Whimsy, wholelottawhimsy.com. Kemper R Cutter

Tools: Polymer Clay Express, polymerclayexpress.com. Texture

Tiles: CoolTools US, cooltools.us.

TWO VIEWS PILLOW BEADpendant


10252011120940


METAL CLAY findings

WHAT YOU NEED

•18-gram package of PMC+®

•PMC+® syringe•PMC+® slip•20-gauge fi ne silver wire, 2"•Acrylic roller, or 6" piece of PVC pipe• Flat acrylic sheet, 21⁄2" x 6"

(or CD case)•Plastic page protector sheet•Sheet of parchment paper• #3 or #4 round watercolor-type

paintbrush• #000 or #18/0 round watercolor-

type paintbrush•Drinking straws• Coff ee stirrer straw (approx. 3.5mm

in diameter)•Round wooden toothpicks•Deck of playing cards

•Olive oil/Badger Balm®

•Scotch® tape•Circle template and X-Acto® knife or small circle cutter•Needle tool (optional) •Tweezers•Tissue blade•Round nose pliers•Flat nose pliers•Rawhide mallet (optional)•Stainless steel wire brush•Emery board•400-grit wet/dry sand paper •Shot glass•Graphite pencil•Tumbler (optional)•Plastic wrap •Moist towelettes •Styrofoam® block

Precious FindingsLora Hart

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125-SBSB-2011-Precious Findings.indd 125 10/31/11 10:31 AM

10312011103151


PRECIOUS FINDINGS project

Creating a seamless tube bead.1. Divide the package of PMC+® into 8 equal pieces and

set 1 piece aside. Wrap the remaining pieces in plastic wrap

and place them under a shot glass to stay fresh and moist.

2. Using a lightly oiled PVC pipe or round acrylic roller,

roll the clay 2-cards thick on a piece of parchment paper.

Cut the clay, using the tissue blade, into a rectangle

approximately 3⁄4" wide x 11⁄4" long. Wrap the remaining

clay in plastic wrap and set aside.

3. Wrap the clay rectangle around a lightly oiled plastic

drinking straw, overlapping one end on top of the other.

Using the tissue blade, trim the excess length so the 2

edges meet exactly. Brush a little water in the seam with

the paintbrush. Extrude a line of syringe PMC+® on top

of the seam and pat into place with the #3 or #4 brush,

making sure the extruded clay fi lls any void.

4. Lightly smooth the seam; it will be perfected after

the bead is dry. Be careful not to nick the clay with

your fi ngernail or use too much pressure, you don’t

want to mar the shape while the clay is wet. Set the

tube aside (still on the straw) to dry, placing it on a

toothpick that has been inserted in a block of Styro-

foam®. Repeat Steps 1–4 to make 4 more beads. Feel

free to vary the lengths, if you wish.

Tip: Water + clay = slip. You don’t want to get water

between the clay and straw as you work, because

it will create slip — and when dry, this will make it

diffi cult to remove the bead. Also, the outside of the

tube bead will dry faster than the inside, so use this to

your advantage.

5. Wait about 5 minutes and then remove the semi-dry

beads from the straw using a twisting motion, as if you

were trying to unscrew something. Note: You don’t

want the bead to dry completely on the straw because

shrinkage may cause it to be impossible to remove

without damage. Use tweezers to hold the straw while

gently twisting off the bead. Let the inside of the beads

dry thoroughly before moving on to the next step.

6. After the beads have dried, check the seam both

inside and out to see if you need to do any additional

fi lling with the syringe. You’re going for a perfectly

smooth and even thickness outside, and a smooth

surface inside; this will prevent any interior snags that

could damage the stringing material. Set aside to dry

and repeat as many times as necessary.

7. After the bead has been adjusted and dried, use a

dry piece of 400-grit sandpaper to even out the edges,

smooth any roughness, and perfect the seam.

Switch to a moist towelette to smooth the bead

perfectly. Take care not to get the bead too wet, or re-

move too much clay. Let dry thoroughly before moving

on to the next step.

Sometimes, fi nding the perfect components for a

special design can be challenging. By learning to

create your own original fi ndings, you can move

your jewelry making skills to a whole new level.


10312011103151


Applying slip.8. Place the bead on a straw or handle of a paint-

brush while working with it in a dry state. To prepare

the bead for the slip decoration, draw a design(s) all

around the tube with a graphite pencil.

Tip: To avoid having slip build up on your brush (which may

create unsightly globs on your work), periodically wipe the

excess off your brush onto a metal surface, like a needle tool.

Later, simply remove the dry clay bits from the tool and

drop them back into your slip jar to reuse at a later time.

9. Dip the tip of the #000 or #18/0 watercolor

brush into the slip and carefully paint over your pencil

designs. Let the slip dry thoroughly then repeat 7–9

times, building up to the desired thickness. Repeat this

decorating technique with all the beads.

Making jump rings.I like to make lots of jump rings at a time and save them

in a little container so they’re right there anytime I want

to use them. You’ll need 5 for this project.

10. Place a page protector sheet on your work surface.

Using a lightly oiled, fl at acrylic sheet or CD case as

your roller, roll a very thin “wire” of clay about 3” long.

Mine was 2mm in circumference, but yours can be thinner

or thicker depending on your design.

11. Using a #3 or #4 paintbrush, brush water on top

of and underneath the clay “wire” to avoid cracking

when you form the jump rings. Repeat until the clay

begins to move like a snake. Cover with plastic wrap

for about a minute, so the water is absorbed into the

center of the clay and doesn’t evaporate. Next, coil the

clay around a lightly oiled coff ee stirrer, keeping each

wind close to, but not touching, the previous coil.

12. Wait 1–2 minutes so the surface of the coil can

solidify but not dry completely. Using the tissue blade,

cut down the length of the coil to make individual jump

rings. Gently slide the jump rings off the straw and

press them into a perfectly round shape, making sure

the ends are touching. If the rings feel too dry, brush a

generous amount of water over them, cover with plas-

tic wrap, and wait for them to re-hydrate before press-

ing into shape. They should look like tiny Cheerios®. Let

dry thoroughly. Fill any voids with syringe clay and let

dry, then sand the entire jump ring smooth.

Attaching the jump rings.13. You will be attaching 3 jump rings to 1 tube bead,

and 1 jump ring to each of the other 2 tube beads.

Make sure all of the components are absolutely dry

before joining. Using a nail fi le, create a fl at space on

the jump ring, at the seam. Dampen the fl at section

with water and a paintbrush, then extrude a small line

of PMC+® syringe on the fl at section.

14. While the extruded clay on the jump ring is still

moist, dampen a place on the tube bead with your

paintbrush. Using tweezers, affi x the jump ring to the

tube bead by pressing the two together. Repeat to add the

other 2 jump rings to this tube bead.

15. Using the #3 or #4 brush, smooth away any ex-

cess clay that has squeezed out from underneath the

connection point. Let dry. Finesse the join with more

slip, syringe, or sandpaper, as needed. Repeat Steps

13–15 to attach the last 2 jump rings to the remaining

tube beads.


10312011103206


Creating a toggle clasp.Before beginning the clasp, we will need

to prepare 2 wire connectors. Two diff erent

shapes work well for use in a clasp, a U-

shape and an Omega-shape. I’ve made one

of each type for the male and female parts

of the toggle clasp. You may use either, or

both, or a design of your own.

U-shape connector. 1. Bend a piece of wire over the tip of the

round nose pliers, forming a U-shape. Cut

the “U” to approximately 3mm long, mea-

suring from the top of the curve to the tip of

the “legs.”

2. Flatten the tips of the legs on the U by

squeezing with fl at nose pliers. This will help

the wire slide easily into the clay and ensure

that it won’t pull out after fi ring. Rough up

the ends of the wire with sandpaper before

implanting into the clay.

Omega-shape connector.3. This connector resembles the Greek let-

ter “Omega,” an open circle with a splayed

leg on either side. Wrap a piece of wire en-

tirely around the tip of your round nose pliers.

Using fl at nose pliers, bend the wire ends

back on themselves until they’re horizontal.

4. Cut the wire ends to approximately 1⁄2”,

from tip to tip. Squeeze the tips of the legs

to fl atten, using fl at nose pliers; this will

make it easier to insert them into the clay.

Rough up the legs of the Omega-shape with

sandpaper before implanting into the clay.

Making the female part of the clasp.5. Roll out a piece of clay 5-cards thick on

a piece of parchment paper. Cut the clay

into a rectangular shape 3⁄4” x 11⁄4” using the

tissue blade.

6. Using a template and X-Acto® knife or a

circle cutter, make a 1⁄2” hole in the top half

of the rectangle. Use tweezers or fl at nose

pliers to guide the wire into the center of the

clay at the other end of the rectangle. Check

both sides of the clasp to be sure the wire is

properly embedded. If the legs are sticking

out, remove and reinsert them or bury them

with some additional clay.

7. Using the paintbrush, paint some slip

into the holes where the wire entered the

clay. Allow the slip to travel up onto the

wire to further strengthen the join. Let dry

completely.

Making the male part of the clasp.8. Use your fi ngers and a lightly oiled fl at

acrylic sheet (or a CD case) to roll a wire

of clay approximately 3.5–4mm thick on

a page protector sheet. Cut the ends with

your tissue blade to create a log about 11⁄4”

long, then cut a shallow slit in the center of

the log to allow for easier insertion of the

Omega-wire. Use tweezers to implant the

legs in the slit, leaving the “O” exposed.

9. Using a paintbrush, fi ll the void with slip

and then gently press together. Careful! You

don’t want to dis tort the cylinder shape of

the bar. Let dry completely. If necessary,

continue to fi ll the void with syringe or

clay. Let dry. Sand both parts of the clasp

smooth and then decorate with slip. Let dry.

10. Fire the tube beads and toggle pieces

for 10 minutes in a 1650°F kiln. The clay

around the Omega-wire will shrink during

fi ring and this may cause the bar to bend

slightly. I like this eff ect, but you can use a

rawhide mallet to gently hammer the bar

straight again, if desired.

11. Remove your pieces from the kiln and

let them cool completely. Burnish to a sat-

iny fi nish with a wire brush, and if you have

a tumbler, tumble for additional polish.

RESOURCES: PMC materials and tools: Whole

Lotta Whimsy, wholelottawhimsy.com; PMC

Connection, pmcconnection.com.

PRECIOUS FINDINGS project


10312011103206


PATINA 101feature

Safety First!Use common sense safety

precautions when using any

chemical solution. Work in

a well-ventilated area, wear

eye protection, use tweezers

or dental fl oss to hold the

piece for dipping, and keep

clear, clean water nearby in

case of splashes. You can

also use a thin brush to paint

the patina in target areas.

BeforeBecause fi re and polishing compounds can aff ect the process, adding patina

should be the last step when fi nishing metal. Make sure your piece has been

soldered and cleaned of any dirt or grease, with alcohol or ammonia, before you

begin. Wear latex gloves to ensure that no body oils prevent the patina from

adhering to the metal or be sure to handle only the edges.

fresh from the kiln cleaned, tumbled, and ready to patina

Patina 101Lora Hart

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Patinas are one of the simplest ways to change and enhance the look of

any metal element included in your beaded jewelry designs. Store-bought

fi ndings can also be customized with a dip in home-brewed patina. The two

most common formulas developed for use with either sterling or fi ne silver

(PMC) are liver of sulfur (LOS), which creates an array of vibrant colors,

and hydrochloric acid (HA), commercially sold as Midas Black Max, Griffi th

Silver Black, and Vigor, which produces a black, antiqued surface.

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Liver of SulfurThe dry dark-green nug-

gets of liver of sulfur (LOS)

are light and air sensitive,

and their eff ectiveness will

deteriorate with prolonged

exposure. Store LOS in a

dark, airtight container

(such as a brown bottle or

black 35mm fi lm contain-

er), and only make up as

much solution as you will

use in one session.

Developing from gold to brown to rose, violet, blue, and fi nally

black, results appear more quickly when both the metal and solu-

tion have been heated. Dissolve a pea-sized piece of LOS in a cup

of warm (never boiling) tap water and dip back and forth between

the light yellow mixture and cool water until you reach the desired

color. Dip one last time in very cold water to stop the progression. If

you’re coloring many pieces at one time, prolong the workability of

the LOS by placing it on a heating pad or coff ee warmer. If it starts

to look cloudy, it has lost its zip—pour it down the sink and start

another batch.

Hydrochloric AcidThis liquid solution

should be used at room

temperature in a well-

ventilated workspace. It

is considered hazard-

ous waste and must be

handled with care. Pour

about an inch into a

dedicated, lidded, plas-

tic dipping container.

Use full strength for a

deep black color or dilute to achieve a lighter shade of gray. Add

water, little by little, and test the result with a piece of scrap silver

before dipping your masterpiece. (Be sure to use tweezers as

a dipping tool.)

When you’re satisfi ed

with your oxidation,

soak the acid-coated

item in a mixture of

boiling water and baking

soda to neutralize.

After use, you must

dispose of the hydro-

chloric acid by clearly

labeling the container

and taking it to your lo-

cal hazardous waste facility.

AfterIf desired, remove the patina from the high areas with

a polishing pad such as Pro-Polish pads (the best in my

opinion), and throw in a tumbler for a fi nal high shine.

Let the patina mellow naturally with wear or coat lightly

with a sealant such as Krylon® Crystal Clear Acrylic

Coating from the art store or Futura® fl oor wax. Be

aware that these treatments may slightly darken the

appearance of the patina.

RESOURCES:Hydrochloric acid: Midas Black Max,

Griffi th Silver Black, Vigor. Pro-Polish polishing pads:

Whole Lotta Whimsy, www.wholelottawhimsy.com.

Protective glasses, liver of sulfur, jewelry tools, and supplies:

Rio Grande, www.riogrande.com.

HA with highlights removed

rosegold blue

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Brick–stitched beads sit next to each other like tires fl at on the

ground, holes vertical. Repeated increases and decreases in brick

stitch create a shape like a stepped pyramid. Like bricks in a wall, the

beads sit over the space between two beads in a previous row, not

directly on top of each other.

1. Always start brick stitch with a ladder: string

2 beads and pass through them both again

so the working thread exits bead 2. Beads

should lie fl at, side by side. String 1 bead;

pass up through bead 2 and down through

the bead just strung, bead 3 (Figure 1).

2. Continue making the ladder to your desired

width. Note how you circle around clock-

wise, then counterclockwise, with each new

bead. Exit up from your last bead (Figure 2).

3. Always start a new row with 2 beads, which

avoids exposing thread. String 2 beads and

pass your needle under the thread loop that

bridges between the last 2 beads of the pre-

vious row. Exit up through the second bead

just strung and continue 1 bead per stitch.

Note the natural increase in the new row, as

the bead you just added sticks out beyond

the previous row (Figure 3).

4. To decrease at the end of a row simply

stop adding beads (Figure 4).

5. To decrease at the start of a row, string

2 beads and pass under the second thread

bridge in from the end of the previous row

(Figure 5).

6. To increase at the end of a row: after exiting

the last bead, string another bead and pass

again under the last thread bridge. Exit

up through the new bead just strung. This

makes a natural increase, with your new

bead sticking out beyond the end of the

previous row (Figure 6).

7. To increase at the beginning of a row: brick

has a natural increase, as illustrated in

Step 3 (Figure 7).

8. Alternating rows of increase and decrease

creates an in-and-out pattern (Figure 8).

LEARNING THE BASICS ONE BEAD AT A TIMEBead by Bead

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Circular brick stitch is usually stitched around a center bead,

with looping base threads around the center bead on which

your stitching will grow.

1. Pass through your center bead twice, exiting the top. Separate the

loops of thread to sit on opposite sides of the bead.

2. Always start a new row with 2 beads. String 2 beads. Pass under

the thread loop and through the second bead strung. Snug the

beads up to the center bead.

3. String 1 bead; pass under the thread loops and through the bead

just strung. Continue to stitch 1 bead at a time around the center

bead, back to the first bead strung.

4. Close the row by passing down through bead 1, around the thread

loop, and out bead 1 again.

5. Start the next row with 2 beads. Pass under the thread “bridge”

between the first 2 beads in the previous row; exit the second bead

just strung. As you work larger rows, you may need to string 2

beads on the same thread “bridge” every few stitches to allow for

the larger circumference of the row.

Peyote stitch works from side to side, usually in one

direction. Most artists fl ip their work over for each row

to stitch in the direction most comfortable for them.

1. Thread a needle with a comfortable length of thread. Pick up a

stop bead and pass through the stop bead again. Pick up an even

number of beads; these will make up the first 2 rows. This tutorial

shows 6 beads across.

Tip: Run a long needle through every other bead to pull the first

2 rows apart, making the “in” and “out” beads easy to identify. Hold

the needle in place with 2 pieces of tape or pieces of kneaded eraser.

2. Pick up bead 7, skip bead 6, sew through bead 5. Bead 7 sits

directly over bead 6.

3. Pick up bead 8, skip bead 4, sew through bead 3. Bead 8 sits

over bead 4. Pick up bead 9, skip bead 2, sew through bead 1.

4. Pick up bead 10, skip bead 1, sew through bead 9. When you reach

the end of the row, just pick up another bead and sew back in the

opposite direction, as you did in Step 2 with bead 7. Remove your

stopper bead and the needle when you feel comfortable doing so.

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Easy turning method!

Here’s a cool trick to make odd-count peyote as easy as even-count peyote.

String the first 2 rows (beads 1-5). String the first bead in the next row (bead

6) and work peyote stitches back toward the tail (bead 7). Pass on a diagonal

through the last 2 beads in the previous row (beads 2 and 1). String the first bead

in the next row (bead 8) and simply loop around through the bead below (bead

1), exiting through the bead just added (bead 8). That’s it! Continue in peyote,

making this loop turn to connect the new bead each time you return to the tail

end of a row.

1. To stitch a piece of flat peyote into a tube, position the thread so that it

exits the end “out” bead on one side of the piece (bead 1).

2. Pass through the corresponding “end” bead on the other side of the piece

(bead 2).

3. Continue stitching through the end beads, alternating from side to side until

the piece is closed.

4. Weave the end thread and the tail threads back into the piece following

existing thread paths to secure.

On a piece of fl at peyote, every other bead on each end sticks

out, resembling the teeth of a zipper. You need an even number

of rows to have the teeth fi t into each other when the sides of

the piece are brought together.

1. Thread the needle with a comfortable length of thread.

2. String an even number of beads and tie into a circle

with a firm knot (Figure 1).

3. Go through the bead next to the knot and begin adding

beads as you would do in flat peyote.

Even-count tubular peyote makes horizontal rings. You can

work clockwise or counterclockwise around your tube.

Figure 1

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Right-angle weave, commonly referred to as RAW, works

best with rounded, donut-shaped seed beads, not cylinder

beads. Learn the rhythms of this popular stitch here, then

try all of the great RAW projects in this issue!

1. Thread your needle with a comfortably long piece of thread;

about 24” should be plenty for this tutorial. Leaving a 6” tail, string

beads 1, 2, 3, and 4, alternating colors A (gold), B (blue), A, and B.

Tie the 4 beads in a snug circle and knot the thread below bead 1.

2. Sew in a clockwise direction through beads 1, 2, and 3 (Figure 1).

3. Pick up 3 new beads, beads 5, 6, and 7, alternating colors again

so bead 5 is B, bead 6 is A, and bead 7 is B. Sew counterclockwise

through beads 3, 5, and 6. You should be exiting out the top of

bead 6 (Figure 2).

4. Continue to pick up beads alternating colors, following the illus-

trations. Pick up 3 new beads, beads 8, 9, and 10. Sew clockwise

through beads 6 and 8. Notice how with each new set of beads

your stitch direction alternates from clockwise to counterclockwise.

Notice also how the color A beads sit so the holes are vertical, while

the color B beads sit with their holes horizontal. The beads sit at

right angles to each other (Figure 3).

5. To add a new row, you will change direction again. Pick up beads

11, 12, and 13. Sew counterclockwise through beads 8, 11, 12, and 13.

Stitch clockwise through bead 7. Now pick up 2 new beads, 14 and

15, and sew clockwise through 13, 7, and 14. Pick up 2 more new

beads, 16 and 17. Stitch counterclockwise through beads 2 and 14

and exit through bead 16 (Figure 4).

6. Repeat Step 5 at the end of each row and make this practice piece

as long as you like. You may even stitch enough for a bracelet! Finish

off your last row with a discrete knot, weave the tails back into the

piece, and trim the ends. Stitch on the clasp of your choice.

4. Each time a row ends, go through the last bead of the

previous row (a) the first bead of the current row (b)

and than add a bead (c) to start the next row. This is

called a “step up” or “step down” (Figure 2).

5. You may find that placing the ring of beads on a tubu-

lar support, such as a dowel or straw, will be helpful.

Figure 2

Figure 1 Figure 2

Figure 3

Figure 4

even-count tubular peyote cont’d

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If you’re familiar with fl at RAW, you’re ready for cubic RAW.

Imagine a child’s block with 6 sides. Each side is made of a unit

of 4 beads sewn in RAW. Beginning with 3 units of fl at RAW, you

will join the sides into a tube using common beads, and do the same

to the top and bottom forming a 6-sided cubic unit of 12 beads.

1. Start with a comfortable length of thread on your needle,

about 24”. String beads 1–4 in alternating colors as shown,

leaving a 6” tail. Tie a knot and pass through beads 1 and 2

again (Figure 1).

2. String beads 5–7 counterclockwise in alternating colors

as shown. Pass through bead 2 from the previous unit and

pass through beads 5 and 6 again (Figure 2).

Tip: RAW stitching always alternates direction around the

circle of beads, clockwise to counterclockwise.

3. String beads 8–10 clockwise in alternating colors as

shown. Pass through bead 6 from the previous unit and

pass through beads 8 and 9 again (Figure 3).

4. Stitch these 3 units into a tube by stringing bead 11 and

passing through bead 4 of the first unit. String bead 12 and

pass through bead 9 of the third unit. Continue to pass

through bead 11. Snug up the thread to make a wobbly

tube (Figure 4).

5. Hold the cube so that the side with bead 11 (the bead that

the thread is exiting) faces you. You will see 4 beads of the

same color that are not stitched into a unit. Pass through

beads 3, 5, 10, and then 11 again. Snug up the thread, and

your wobbly tube will begin to feel more sturdy (Figure 5).

6. Pass through bead 4 on the corner and bead 12 on the

opposite side of the cube (Figure 6).

7. Here you will see 4 more beads of the same color that

are not stitched into a unit. The thread is exiting bead 12.

Stitch these 4 beads into a unit by passing through beads

8, 7, 1, and 12 again (Figure 7).

8. Pass through beads 12, 8, and 7 again. Your cube should

be feeling firmer now. Exit bead 2 (Figure 8).

9. Begin the second cube by stringing beads 13–15 in alter-

nating colors as shown. This unit shares bead 2 with the

first cube. Pass through bead 2 and then through

beads 13–14 again (Figure 9).

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10. String beads 16–18 in alternating colors as shown.

Pass through bead 14 again to make unit 2 of the

second cube. Pass through beads 16 and 17 again

(Figure 10).

11. String bead 19 and pass through bead 4 of the first

cube. String bead 20 and pass through bead 17.

Continue around by passing through beads 19, 4,

and 20 again. Snug up the thread (Figure 11).

12. Turn the cube so that bead 20 faces you. Pass

through beads 1, 15, and 16. Continue to pass

through beads 20, 1, and 15 again. Pass through

bead 14 on the corner (Figure 12).

13. Turn the cube to the other side. Pass through beads

18, 19, 3, and 13. Continue to pass through bead 18,

and then through bead 17 on the corner (Figure 13).

14. Repeat Steps 9–13 to create more cubes.

Square stitch lines beads up one on top of another,

like loomed work. You pass through each bead sev-

eral times, so be sure your bead holes will accom-

modate your needle and several passes of thread.

Cylinder beads are great for square stitch. Your

thread shows on the outer edges or your work, so

choose a thread color accordingly.

cubic RAW cont’d

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1. String 4 color A beads (these are your core beads) and 3 color B

beads (these will be the outside beads, which spiral around the core

beads). Bring your needle back up through the 4A to form a loop.

Pull tight, keeping the B (outside) beads to the right (Figure 1).

2. Pick up 1A and 3B. Bring these beads down to your beadwork and

pass your needle up through the last 3A and the new A bead just

added (Figure 2).

3. Flip the B beads to the right, pushing them next to the previous row.

4. Repeat Steps 2 and 3, continuing in spiral stitch to any desired

length. The spiral becomes evident after about the fourth row

and will keep “stepping up” as it moves around your core beads

(Figure 3).

5. To finish off, knot discretely and weave the end and tail into the

piece. To create an endless circle, match the core bead ends

together and stitch through existing thread paths several rounds into

the piece. The spiral rounds should “step up” into each other naturally.

Knot in an inconspicuous place and weave ends into the piece.

When you have about 6” of thread remaining, weave it into

the beadwork, tying discrete half-hitch knots between beads.

Note where you are leaving off so you’ll know where to start your

new thread. Trim the thread carefully. String a stopper bead leav-

ing a 6” tail and exit in position to continue; remove the stopper

later and weave in the tail.

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For this tutorial, you will work off a base row as in a single-

strand necklace. The base row beads (a-j) are shown slightly

larger. The netted sections are numbered (1-68), and the

intersecting beads are shown in gold.

1. String a base row of 10 base beads on a short piece of prac-

tice thread. In an actual project the ends would be attached

to your clasp. For this tutorial, attach a bead stop or tape to

each end of the thread to prevent the beads from sliding off.

2. Cut a new piece of thread that is at least 24” long. Attach

one end of the thread to the stop or tape on the left side of

the base row. You will be working from left to right. Thread a

needle onto the free end of your working thread. On the base

row, pass through bead (a) from left to right. String 13 beads

alternating 1G (gold) and 2B (blue) beads.

3. Pick up bead 14 (B) and go back through bead 13 (G). Pick

up 2B (beads 15 and 16), 1G (bead 17), and 2B (bead 18 and

19). Go through bead 7 (G), the first intersecting bead. Pick

up 2B (beads 20 and 21), 1G (bead 22), and 2B (beads 23

and 24). Go up through bead 1, another intersecting bead.

4. Moving from left to right, go through beads (b) through (e)

in the base row, exiting bead (e).

5. Pick up bead 1G (bead 25) and 2B (beads 26 and 27).

Go down through bead 22, an intersecting bead. Pick up 2B

(beads 28 and 29), 1G (bead 30), and 2B (beads 31 and 32).

Go down through bead 17, another intersecting bead.

6. Pick up 2B (beads 33 and 34), 1G (bead 35), and 1B

(bead 36). Go up through bead 35 (G). Pick up 2B (beads 37

and 38), 1G (bead 39), and 2B (beads 40 and 41). Go up

through bead 30.

7. Pick up 2B (beads 42 and 43), 1G (bead 44), and 2B

(beads 45 and 46). Go up through bead 25 (G). Moving from

left to right, go through beads (f) through (i) in the base row,

exiting bead (i) to start your next section of vertical netting.

8. Once you feel comfortable with this technique, try varying

the size, color, or style of intersection beads and base beads,

and the number of beads within each section.

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Many of us have made “daisy chain” beaded jewelry at some

point in our lives, a simple application of circular netting. The

term “circular” may appear misleading, for the shapes created

may look like a 6-pointed star or snowfl ake; however the

stitch is worked around and around in a circular manner.

1. Thread your needle onto a comfortably long piece of thread;

about 24”. Leaving a 6” tail, string 6 beads and tie in a snug

circle, with the knot between beads 1 and 6. This is Round 1.

Exit through bead 1 (Figure 1).

2. Round 2: Sew clockwise picking up new beads between each

bead on the central circle. Pick up bead 7; sew through bead

2. Pick up bead 8; sew through bead 3. Pick up bead 9; sew

through bead 4. Pick up bead 10; sew through bead 5. Pick up

bead 11; sew through bead 6. Pick up bead 12; and since this

is the end of a round, you “step up” to start the next round by

sewing through beads 1 and 7 (Figure 2).

3. Round 3: Continue working clockwise, making loops of beads

that bridge the space between the beads in the round you just

added. For this round, pick up 3 beads in each loop (or however

many will fill the space). With the needle exiting bead 7, pick

up beads 13–15 and sew through bead 8. Pick up beads 16–18

and sew through bead 9. Pick up beads 19–21 and sew through

bead 10. Pick up beads 22–24 and sew through bead 11. Pick up

beads 25–27 and sew through bead 12. Pick up beads 28–30

and sew through bead 7, then continue to step up for the next

round, through beads 13 and 14. Exiting bead 14 puts you in the

middle of the loop (Figure 3).

4. Round 4: This round will require larger loops of beads. Try

1 loop first to determine how many beads will keep the piece

lying flat; larger loops will create a ruffle, but too few will pull

the work and make it “cup.” Tip: It helps as a beginner to make

loops an odd number of beads so you have an actual middle

bead to exit in each loop. In the illustration there are 5 beads in

this final round. Pick up beads 31–35 and sew through bead 17

(the middle bead in the next loop). Pick up beads 36–40 and

sew through bead 20. Pick up beads 41–45 and sew through

bead 23. Pick up beads 46–50 and sew through bead 26.

Pick up beads 51–55 and sew through bead 29. Pick up beads

56–60 and sew through bead 14. Finish by weaving the work-

ing end of the thread through existing thread paths and back to

the tail end. Make a knot with the tail and working thread and

weave both ends into the piece. Carefully trim the ends close to

the beads (Figure 4).

5. Joining circles: Repeat Steps 1–3 as before, creating rounds

1–3. Round 4 will connect to the outer loops of the first circle.

Work round 4 beginning with your thread exiting bead 14.

Pick up beads 31 and 32 and sew through bead 53 in the first

completed circle (this acts as bead 33 in the new loop you’re

sewing). The first and second circles now have a common

bead. Pick up beads 34 and 35 and sew through bead 17 of the

second circle. Pick up beads 36 and 37 and sew through bead

48 of the first circle (this becomes bead 38 of the second

circle). Again, the first and second circle now have a common

bead. Continue around the second circle to complete round 4

as before, ending with bead 60 (Figure 5).

Figure 1 Figure 2

Figure 4Figure 3

Figure 5

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Crimp tubes are seamless metal

tubes used to secure the end of a

beading wire. To use, string a crimp

tube and the connection fi nding (i.e.,

the loop of the clasp). Pass back

through the tube, leaving a short tail.

Use the back notch of the crimping

pliers to press the length of the tube

down between the wires, enclosing them in separate chambers of

the crescent shape. Rotate the tube 90° and use the front notch

of the pliers to fold the two chambers onto themselves, forming a

clean cylinder. Trim the excess wire.

Crimp beads are serrated metal beads. Twisted crimp tubes and

crimp beads can be secured by squeezing them fl at with chain- or

fl at-nose pliers.

Crimp covers hide crimp tubes and give a professional fi nish.

To attach, gently hold a crimp cover in the front notch of the

crimping pliers. Insert the crimped tube and gently squeeze

the pliers, encasing the tube inside the cover.

The overhand knot is the basic knot for tying off thread: Make a loop with the stringing

material. Pass the cord that lies behind the loop over the front cord then through the loop

and pull snug.

A square knot is the classic sturdy knot suitable for most stringing materials. Make an over-

hand knot, passing the right end over the left end. Make another overhand knot, this time

passing the left end over the right end. Pull tight.

The surgeon’s knot is a secure way to connect two threads: Wrap the two ends around each

other twice, then wrap one around the other once in the other direction and pull snug.

The half-hitch knot may be worked with two or more strands—one strand is knotted over

one or more other strands. The knot may be worked from right to left, left to right, or in a

combination of the two.

wireguard

crimp tube

crimp/

cord end

placing a crimp cover

basic stringing and wireworking techniques

surgeon’s

overhand

half-hitch

Knotting

Pass Through vs Pass Back ThroughPass through means to move your needle (or beading wire) in the same

direction that the beads have been strung. Pass back through

means to move your needle (or beading wire) in the

opposite direction.

Oxidizing Silver with Liver of SulfurAlways wear vinyl or latex gloves, work in a well-ventilated area

(liver of sulfur has an unpleasant odor that quickly dissipates), and

carefully read manufacturer’s directions when using chemicals.

Wash all silver to be colored with soap and water. Mix liver of

sulfur nuggets in hot (not boiling) water according to manufac-

turer’s directions in a disposable container. Most suggest mixing

1 pea-size nugget for every 1 cup of water. A weaker solution will

produce a lighter patina with warm hues; a stronger solution

will produce a darker patina.

For ease of dipping your silver into the solution, use 12" of beading or

sewing thread to string the bead(s), chain, or fi nding(s) you wish to

oxidize; tie the ends in an overhand knot. If coloring small items that

cannot be strung (such as crimp covers), you will need to drop them in

the solution and then quickly scoop them out with a plastic spoon.

Or, place small items on a paper towel and brush them with the solu-

tion; this method, however, often results in uneven coloring.

Dip the silver in the solution as many times as necessary to achieve

the desired patina. If the silver becomes darker than desired, it can

always be lightened later by buffi ng or polishing.

Rinse off the silver in cold water. To further stop oxidation, dip the

silver in a weak solution (1:4) of baking soda and water. Remove

any threads you used to suspend the metal. Allow the silver to dry,

then, if desired, use a polishing cloth or #0000 (extra fi ne) steel

wool to buff and polish it.

Store all used solution in the disposable container. After about a

week, it will degrade enough to be washed down a sink (preferably a

utility sink) with a lot of water. Contact your local hazardous waste

facility for more information on disposing of the liquid safely.

square

Crimp/cord ends consist of a loop attached to a tube. Dab the

leather, plastic, ribbon, or other cord with jewelry glue, then place

it in the crimp/cord end. If you’re using a crimp end, crimp it as

you would a crimp tube.

Wireguards provide a smooth metal channel to protect the string-

ing material from chaffi ng against a connector. String a crimp tube,

then pass up through one half of the guard and down the other

half. Pass the guard and wire through the loop of the connector,

pass the wire back through the crimp tube, snug the tube up to the

guard, then crimp.

Crimping

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opening a jump ring

A

head pins eye pins

B

C

simple loop

E

wrapped loop

F

wrapped-loop

dangle

G

wrapped-loop

links

H

wrapped-loop bail

cone

I

D

double

simple loop

chain-nose

pliers

crimping

pliers

fl ush/wire

cutters

fl at-nose

pliers

round-nose

pliers

J

hammering

Metal wire comes in many fi nishes and gauges. The lower the gauge

number, the thicker the wire. The hardness or softness of wire is called

“temper.” Most wire comes in dead-soft, half-hard, and hard tempers.

Unless otherwise noted, wire used in this issue is half-hard—the best

temper for making strong loops and other shapes.

A. Jump rings connect holes and loops. Open a jump ring by grasping

each side of its opening with a pair of pliers; don’t pull apart. Instead,

twist in opposite directions so that you can open and close without dis-

torting the shape.

B. Head pins are straight wires with a fl at disc, ball, or other shape at one

end. Eye pins are straight wires that end in a loop.

C. To form a simple loop, use fl at-nose pliers to make a 90° bend at least 1/2" from the end of the wire. Use round-nose pliers to grasp the wire after

the bend; roll the pliers toward the bend, but not past it, to preserve the

90° bend. Use your thumb to continue the wrap around the nose of the

pliers. Trim the wire next to the bend. Open a simple loop just as you

would a jump ring (see A).

D. To form a double simple loop, make the 90° bend at least 1" from the

end of the wire. Make a simple loop and continue wrapping the wire

around the round-nose pliers to form two complete loops before trimming.

E. To form a wrapped loop, begin with a 90° bend at least 2" from the end

of the wire. Use round-nose pliers to form a simple loop with a tail over-

lapping the bend. Wrap the tail tightly down the neck of the wire to create

a couple of coils. Trim the excess wire to fi nish. Make a double-wrapped

loop by wrapping the wire back up over the coils, toward the loop, and trim-

ming the wire tail at the loop.

F. Dangles can be strung as they are, attached using jump rings, or linked

to other loops. Use a head pin or eye pin to string the bead(s), then form

a simple or wrapped loop.

G. Link a wrapped loop to another loop by passing the wire through the

previous loop before wrapping the tail down the neck of the wire.

H. Wrapped-loop bails turn side-drilled beads, usually teardrops, into pen-

dants. Center the bead on a 3" or longer piece of wire. Bend both ends of

the wire up the sides and across the top of the bead. Bend one end straight

up at the center of the bead, then wrap the other wire around it to form a

couple of coils. Form a wrapped loop with the straight-up wire, wrapping

it back down over the already-formed coils. Trim the excess wire.

I. Use cones to fi nish a multistrand piece. Attach each strand of beads to

a wrapped loop or an eye pin. Use the wrapped-loop wire or eye pin to

string the wide end of a cone, covering the ends of the strands; form a

wrapped loop at the tip of the cone that attaches to a clasp.

J. To hammer, place your wire on a steel bench block or anvil. Use the fl at

end of a ball-peen or chasing hammer to fl atten the wire, then use the

ball end of the hammer to add texture.

Wireworking

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,

Meri Nash Aderhold is a competitive gymnastics coach

and mom by day, and a jewelry artist by night. She has

been making jewelry for 10 years. Meri lives in Ridgewood,

NJ with her husband, son, and golden retriever. See more of

her work at moonlightrain.com.

Martha Aleo works in seed beads, polymer clay, glass, metal,

and things she fi nds on the sidewalk. Her feature and project

articles have appeared in Web publications, print magazines,

and several books. She lives in Philadelphia with her husband

Ken, and Plumpton, her feline housemate. Find Martha at

ornamento.wordpress.com and ornamentodeux.tublr.com.

Lucy Arnold, has received numerous awards, and was

featured on HGTV. Her beaded jewelry, paintings, cards, and

miniature fantasy shoes can be seen at lucyarnold.com.

Current art projects are updated at lucyarnold.blogspot.com.

Jana Roberts Benzon teaches workshops internationally,

and sells her work at the Museum of Fine Arts, Boston, sev-

eral other galleries on the East Coast, and in the Intermoun-

tain Region. Her articles and artist features have appeared in

numerous publications. Jana creates from her studio in the

shadows of the majestic Wasatch Range Mountains in Utah.

Helen Breil lives in Canada and has been working with

polymer clay since 1997. She is a founding member of the

Southern Ontario Polymer Clay Guild and a member of

the Toronto and Grand River Bead Societies. See more of

Helen’s work at helenbreil.com.

Bonnie Clewans is an internationally known educator

and designer. She has been published in numerous books

and magazine, has served as a Consultant for Touchstone

Crystal, and as an Ambassador for Create Your Style with

Swarovski Elements.

Jenna Colyar-Cooper has enjoyed traveling the U.S. in

the last few years and has discovered a new passion for

volunteering (although her passion for beads will never be

displaced!). Along the way she has learned to travel lightly,

but keeps her beads and tools with her wherever she goes.

Robin Cowart loves all styles of beading. She always

encourages everyone who loves the craft to not be afraid to

try new stitches and styles. Robin enjoys life with her family

and bead collection in Iowa.

Lynn Davy has been seed beading and writing projects

for many years and has no intention of stopping anytime

soon. She is inspired by the wildlife and countryside near

her home in Dorset, UK. See more of her work at etsy.com/

shop/nemeton or nemeton.clara.co.uk.

Margie Deeb is the author of The Beader’s Guide to Color

and The Beader’s Color Palette. Twice a year she publishes

the invaluable Color Report for Bead & Jewelry Designers in

conjunction with Pantone, the world’s global color authority.

She works with all kinds of beading methods, including

on- and off -loom weaving and stringing. She is most known

for her fantastically colorful loom-woven pieces. Visit Margie’s website for her

books, patterns, jewelry, inspiration, and more at MargieDeeb.com.

Judy Dunn is a self-taught artist, living in Acton, MA. She

was drawn to working with polymer clay because of the rich

color and versatility of the medium, as well as its immedi-

acy. While she is less involved in polymer clay these days,

what she has learned about color from polymer clay shows

up in her work with fi ber or with pastels.

Lorelei Eurto is a self-taught jewelry designer and co-

author of Bohemian-Inspired Jewelry (Interweave, 2012).

She is always trying new techniques and tricks to make

unique jewelry. Working full-time in an art museum, Lorelei

is never more than a foot away from beautiful artwork to

inspire her designs. Read her daily blog at Lorelei1141.blogspot.com to see her

latest designs, or shop her Etsy store at Lorelei1141.etsy.com.

Lora Hart is the Artistic Advisor and one of 20 Senior In-

structors for PMC Connection. Her work has been featured

in many books, magazines, and calendars. Her historically

inspired jewels are sold in galleries and online. In 2010, Lora

launched her Mentorial program to help creative entrepre-

neurs around the world discover, re-imagine, and refi ne

their artistic voice; to learn more visit lorahart.com.

Jordana Hollander is a self-taught beadaholic. Her bead-

weaving designs have been published in several bead

magazines and “best of bead books.” She is happily married

with 3 wonderful daughters, and is a new grandma to Jack.

Contact Jordana at [email protected]. Purchase bead

kits or fi nished bead projects at JordanaDreams.etsy.com.

Anne Jackson and her husband Jim are currently an artist

team living and working in southwestern New York State,

making hand-turned woodwork with inlaid beadwork. Anne

has been teaching beading for the past fi ve years through a

local shop called Imagine in Bemus Point, New York, some-

thing she has discovered that she truly loves to do.

Jennifer Kahn was well-known artist Celie Fago’s appren-

tice and teaching assistant for nine years, accompanying

her in her travels around the country and abroad. Jen has her own

line of jewelry, which is sold at craft shows and in galleries across

Vermont. See more of her work at jenniferkahnjewelry.com.

Contributors


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Beth Kraft is the owner of Nordic Gypsy Beads & Jewelry in

Rochester, MN. Her designs have been featured in several

national publications. She presents on Beads, Baubles, and

Jewels and Bead.TV. Beth teaches bead weaving and wire

work at several national bead shows and also at her store.

Visit nordicgypsy.com.

Marilu Morency enjoys combining her skills in beadwork,

painting, and fi ber arts. She is a gallery artist and teacher, liv-

ing with her family in Southern California. Marilu’s beadwork

has been on display at the Bead Museum, in Washington,

DC. In addition to gallery and custom work, Marilu enjoys

teaching others the art of beading.

Melody Marie Murray is a bead artist specializing in

sculptural peyote and interesting jewelry incorporating

her own lampwork beads. She is currently experimenting

with found pieces and the integration of disparate compo-

nents into cohesive wholes. She lives in Oregon and sells

her work at salamanderhouse.etsy.com. Follow her blog at

salamanderhouse.blogspot.com.

Gabriëlle E. Neijman (Esther) lives in the Netherlands and

spends her spare time seed-bead weaving. She sells her jew-

elry through her online store, GreenEnvyDesigns.nl, or visit

her gallery, green-envy-designs.deviantart.com. To contact

Esther, e-mail [email protected].

Carole Rodgers is an internationally-known designer, teacher,

and author. She is the author of 99 pattern leafl ets and

hundreds of magazine articles, as well as three full-length

beading books published by KP Books and four self-published

books on beading. Her newest book from KP Books The

Beaded Bracelet is due out in December 2011. To contact

Carole, e-mail [email protected].

Leslie Rogalski is an artist, editor, teacher, and media person-

ality with a passion for creating jewelry. She is a Create Your

Style with Swarovski ambassador and a design team member

for Beadalon and John Bead Corp. She is the former editor in

chief of Step by Step Beads and Beading Daily, and appears

frequently on Beads, Baubles, and Jewels and Jewelry TV.

Leslie is the creator of the original DoodleBeads DVDs, demonstrating top

seed-bead techniques through her acclaimed teaching method.

Tarlee Scholl is a member of The Hole Bead Shoppe Staff .

She has been beading over seven years and loves working

with crystals, pearls, and Lucies’. Lucies’ Branching Out is

one project in a series of designs with the Lucies’ name.

Tarlee sells kits and Lucies’ at theholebeadshoppe.com.

Carol Dean Sharpe has been the owner, designer, beader,

inventory manager, and bookkeeper at sandfi bers.etsy.com

for the past six years. She specializes in creating peyote

fl atwork cuff s (and the patterns for those cuff s), with an

occasional foray into brick stitch and right-angle-weave.

Tracy and Allison Stilwell have been combining fabrics,

buttons, papers, ribbons, threads, paints, and any number

of other materials for many years now. Wonderful quilts,

dolls, postcards, refurbished chairs, jackets, jeans, and

jewelry have all resulted from those eff orts. They both enjoy

following their creative bliss, running with sewing machines whirring, paints

fl owing, and threads weaving in and out of projects!

Cathi Tessier is the founder of the Guild of American Bead-

ers, a traveling movement of beaders who spread the skill

of beadwork as an artform. Cathi has traveled locally and

abroad, teaching bead classes for over 12 years at library

after-school teen programs, multi-cultural community pro-

grams, and home parties. Visit her website at lingeringbead.

weebly.com or e-mail her at [email protected].

Patricia C. Vener is an artist and beadweaver who enjoys

manipulating light and shadow, and color and texture, to

evoke a visceral emotional response. See Patricia’s art at

vener-art.com, on her blog, Twitter, Facebook fan page, in

her Etsy shop (silverdragon.etsy.com), and soon, Zazzle, for

graphics on production items (shoes, mugs, prints, etc.).

Ronna Sarvas Weltman is a jewelry artist and the author

of Ancient Modern: Polymer Clay + Wire Jewelry, and also

polymer clay and wire jewelry DVDs. She is also a contrib-

uting editor to Step by Step Wire Jewelry magazine.

Ronna teaches polymer clay, wire, and creativity classes

in the United States and internationally. She lives outside

Seattle, WA. Learn more about Ronna, her jewelry, and her workshops at

ronnasarvasweltman.com.

Pat Wexelblat’s work is getting more varied than ever, after

more than ten years playing with beads, clay, wire, and

ideas, and she’s still having fun doing it. Not only that, but

she’s still married to her best friend!

Terri Wlaschin lives in the Rockville/D.C. metro area with

her husband Pat and precious “pup” Raven. Her current

muses are metal, gemstone, polymer clay, and artisan

beads. Her shops can be found at starseedjewelry.etsy.com

and beads2die4.etsy.com. Terri can be reached via e-mail at

starseedjewelry.etsy.com.


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i nc ludesinstruct iona l

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CALIFORNIA-BASED JEWELRY DESIGNER SHARILYN MILLER presents 16 new wire bracelets, necklaces, pendants, and earrings.

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the market { stop to shop}

CaliforniaSan Gabriel Bead Co.—Arcadia

www.beadcompany.com Beads, books, gourds, tools, workshops, metals, and friendly advice. Tue–Thu 12–9, Fri 12–6, Sat 10–6, Sun 12–5. 325 E. Live Oak Ave. (626) 447-7753

IllinoisAyla’s Originals Bead Bazaar—Evanston

www.aylasoriginals.com Time stands still when you enter our sumptuous world of beads. Extraor-dinary colors, shapes, and creative possibilities await. We welcome you with genuine service and helpful hands. Come and let your imagination run free. (877) 328-AYLA1511 Sherman Ave. (847) 328-4040

MaineBeads on the Kennebec—Augusta

www.beadsonthekennebec.com Our customers say we’re the “best little bead shop in Maine.” An extraordinary selection of beads, tools, supplies, books, and a friendly, helpful atmosphere. Birthday/bridal beading parties, classes for all levels. Tue–Fri 10–5, Sat 10–3. 333 Water St. (207) 622-1666

MarylandBead Boutique—Prince Frederick

www.mdbeadboutique.com Large variety of unique and quality semi-precious beads, Swarovski, lampwork, freshwater pearls, seed beads, findings. Precious metals, PMC, charms, and tools. Great prices. Free work tables. Classes. Parties. Share our synergy! [email protected] Solomons Island Rd. South (410) 535-6337

MichiganStony Creek Bead & Gallery—Ypsilanti Twp.

www.stonycreekbead.blogspot.comSupporting the artist inside of you! Huge collection of Seed & Czech Beads. Bali, pearls, stones. Lampwork & Polymer Clay by MI artists. Classes, kits, books & so much more! I-94 to exit 183. South 1 mile. Tue - Fri 10-6, Sat 10-4, Sun 10-2 www.StonyCreekBead.blogspot.com2060 Whittaker Rd. (734) 544-0904

MissouriPlum Bazaar—Bransonwww.plumbazaarbeads.com

Bead store in historic downtown Branson, near the Branson Landing. Direct importer of beads. Bulk strands, turquoise, coral, gemstone beads, pearls, glass. Findings, sterling beads, complete line of supplies, and friendly instruction. Custom jewelry. Open 7 days! 123 E. Main St. (417) 337-7586 (PLUM)

New MexicoThe Beading Heart of Santa Fe—Santa Fe

www.beadingheartof santafe.comLargest selection of SEED BEADS in Santa Fe as well as numerous semi-precious strands, pearls, crystals, and Czech glass. We provide instruc-tion and feature finished jewelry by well-known local artists. We offer weekly classes in a variety of techniques for all skill levels, and we carry many pre-made kits. Our staff is friendly and knowledgeable and always welcome beaders to our “Community Table.” Mon–Sat 10–5:30. Email [email protected] West Alameda St. (505) 988-8961

North CarolinaOrnamentea—Raleigh

www.ornamentea.com Visit us for our wide selection of beads in glass, stone, pearl, and metal with worktables, classes, and the most helpful staff anywhere. We also carry art clay silver, Kato clay, glass-soldering supplies, paper-craft sup-plies, books, and unusual ribbons. We will be your favorite bead store!509 N. West St. (919) 834-6260

TexasAntiques, Beads & Crafty People—Pearland

www.abcraftypeople.com Our crafty people can help with your selection from our full line of bead- and jewelry-making supplies. Custom jewelry. Special orders welcome. Classes and parties. Mon–Sat 10–6. (S. of Houston) 2517 E. Broadway St. (281) 997-3600

CanadaBeadFX—Toronto

www.beadfx.com A must-see destination. Open 7 days a week. Breathtaking selection, great prices, and knowledgeable, bead-obsessed staff. We are a full-ser-vice bead store with classroom, design area, and lampworking studio. From Art Glass to Zircon (Blue), Zoisite (Ruby), and Zinnias (Swarovski). New stuff every week. Crystals, Seed beads, Stone beads, Pearls, Sterling, Copper, Wire, Metal Clay, Tools—way too much to list! If you want it, we have it. If we have it, you want it. 128 Manville Rd., #9 (877) 473-2323

Artbeads.com...............................................................c2

Beadalon.......................................................................9

BeadFX........................................................................51

Beadin’ Path, The.......................................................144

Cristina Leonard...........................................................51

Dreamtime Creations......................................................1

Ezel Findings................................................................51

Fire Mountain Gems & Beads.........................................c4

Rings & Things..............................................................27

Shiana..........................................................................51

Shipwreck Beads...........................................................39

Too Cute Beads..............................................................c3

Advertisers Index

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best of step by step beads 2011

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