bw_quickeasy_aprmay_2011

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Quick+ Easy

Q+E 3 GATEWAYS BRACELET Phyllis Dintenfass Create this intriguing textured cuff using peyote stitch, cylinder beads, and twisted bugles

Q+E 6 SPARKLING MEDALLIONS Amy Haftkowycz These classic earrings are easy to make using simple fringe and netting techniques

Q+E 8 CATCH ME A CATERPILLAR Doris Coghill Combine tubular herringbone stitch and embellished fringe to create this fabulously fun bracelet

Q+E 12 PETITE CHARM PENDANT Nancy Zellers Embellish a crystal rivoli with right-angle weave and peyote stitch for a simply elegant necklace

Q+E 16 MAKING TRACKS Gina Cooper String together tubular beaded beads in several colors for a fantastic casual look

Q+E 19 SPECIAL ADVERTISING SECTION

Q+E 28 LUCKY CLOVERS Rachel McEnroe Wear a little Irish luck with sets of four emerald crystals embellished on a right-angle-weave base of pearls

Q+E 30 CROSSOVER BRACELET Phyllis Dintenfass Construct this intricately patterned bracelet by linking multiple herringbone-stitched components

Q+E 34 VICTORIAN PEARL MEDALLION Barbara Falkowitz Channel the elegance of another era with a bead-embroidered medallion in pearl and gold

Q+E 38 STAR-CROSSED BRACELET Laina Goodman Defy the fashion fates with a bracelet featuring herringbone-stitched petals crossed under a faceted crystal stone

Q+E 42 CLASSIC QUARTET Roxanne Rogers Use peyote stitch and picots to form the simple band and stylish focal of this charming ring

Q+E 46 GATHERINGS: Portland Bead SocietyQ+E 48 MORE TECHNIQUES

p. Q+E 12 Petite Charm Pendantby Nancy Zellers

p. Q+E 28 Lucky Cloversby Rachel McEnroe

p. Q+E 3 Gateways Braceletby Phyllis Dintenfass

p. Q+E 30 Crossover Braceletby Phyllis Dintenfass

p. Q+E 16 Making Tracksby Gina Cooper

APRIL/MAY 2011

SUBSCRIBER BONUS PROJECT DOWNLOADS

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BEADWORK QUICK+EASY april/may 2011 Q+E 3

TECHNIQUESodd-count peyote stitchtwo-drop peyote stitchladder stitch

See pp. Q+E 48 and 94 for helpful technique information.

gateways bracelet P h y l l i s D i n t e n f a s s

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Q+E 4 beadworkmagazine.com

MATERIALS10 g matte black size 11° cylinder

beads (A)1 g each size 11° cylinder beads in

gold-lined clear (B), brown luster (C), bronze luster (D), terracotta (E), matte salmon metallic (F), antique gold luster (G), transparent brown matte (H), gray opal (I), silver (J)

1 g bronze matte size 11º seed beads (K)

1 g gray luster size 8º seed beads (L)1 g bronze matte sparkle size 2 (6mm)

twisted bugle beads (M)1 bronze 20mm decorative button

with shankWhite size D nylon beading thread

TOOLSScissorsSize 12 beading needle

FINISHED SIZE: 7½"

ENVISION PEEKING THROUGH A GATED window as you create this modern cuff with twisted bugles and cylinder beads. Alternate rows of one- and two-count peyote stitch to make the beading interesting and provide rich texture.

1) CLOSED SECTION. Peyote-stitch the

first portion of the cuff:

Rows 1 and 2: Use 6' of thread to string

14A, leaving a 2' tail.

Row 3: String 2A, skip the 2A previously

strung, and pass through 1A; repeat

three times to add a total of 8A.

String 2A and tie a knot with the work-

ing and tail threads to secure the beads.

Pass back through the last 2A added.

Row 4: String 1B and pass back through

the next 2A from the previous row;

repeat three times to add a total of 4B.

Row 5: String 2A and pass back through

the nearest bead added from the pre-

vious row; repeat to add a total of 10A.

Form a turnaround to step up for the

next and subsequent rows by looping

the thread around the exposed thread

between beads from the previous two

rows and passing back through the

final 2A added in the current row.

ARTIST’S TIPS

• If you’re using similar colors

for the “dots,” lay them out in

a row to keep track.

• Be sure that the beads snap

into place in each peyote-

stitched row.

• It’s best to end and begin new

threads in a closed section

rather than in an open one.

• To shorten the bracelet, add

fewer rows of dots in the first

section. To lengthen, add

more rows of the background

color on the button end.

• I use contrasting-color thread

to accentuate the pixilated

nature of this design.

Row 6: Repeat Row 4, substituting A

for B.

Row 7: Repeat Row 5.

Rows 8–39: Repeat Rows 4–6, substitut-

ing the next cylinder-bead color in the

materials list for the B in Rows 8, 12,

16, 20, 24, 28, 32, and 36.

Rows 40–43: Repeat Rows 4–7 (Fig. 1).

2) OPEN SECTION. Form an opening

in the base:

Strip 1: String 2A; pass through the last

2A exited in the previous row and the

2A just added; repeat seven times,

using tight tension to form a ladder-

stitched strip 8 pairs long (Fig. 2—

green thread).

Connector: String 12A (Fig. 2—blue thread).

Strip 2: String 2A; pass through the last

2A exited on the connector and the

2A just added; repeat six times to

form a matching ladder-stitched strip


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to Strip 1. Stitch the last pair of 2A to

the first 2A in Row 43. Repeat the

entire thread path to reinforce. Weave

through beads to exit from the last

pair of 2A added, toward the inside of

the opening (Fig. 2—red thread).

3) POSTS. Add bugle and seed-bead

strands inside the opening:

Post 1: String 1K, 1L, 1M, 1L, and 1K;

pass through the mirror 2A directly

across the opening. Weave through

beads, forming a hidden turnaround,

skip the next 2A, and pass through

the next 2A, toward the inside of

the opening.

Posts 2–4: Repeat Post 1 three times to

add a total of 4 posts. Weave through

beads to exit from the nearest end 2A

of the connector (Fig. 3).

Repeat Step 1, Rows 3–43, through Step 3,

reversing the order of the colored beads

Fig. 4: Attaching the button and forming the decreases

Fig. 1: Finishing the first closed section

added in the Step 1, Row 4 repeats.

Repeat Step 1, Rows 3–43, through Step 3

again, then repeat Step 1, Rows 3–43,

reversing the order of the colored beads

in the Step 1, Row 4 repeats.

4) CLASP LOOP. Ladder-stitch an

opening for the button by repeating

Step 2 and adding enough pairs of 2A to

each strip so the opening is large enough

to accept the button. Repeat Step 1,

Rows 6, 5, and 4, to finish the square. If

the space is too large, repeat Step 3, Post

1, to close the opening’s size. Repeat the

entire thread path again to reinforce.

Secure the thread and trim.

5) BUTTON. Use the tail thread and

A to peyote-stitch 2 rows or enough to

adjust for size, working in the same

two-drop/one-drop pattern. Work an-

other row, stringing the shank of the

button to form the center stitch instead

of using 2A. Work 2 more rows of peyote

stitch in the same fashion, incorporat-

ing the button shank into the rows.

Once the button is fully incorporated

into the beadwork, work rows of peyote

stitch with one decrease at the begin-

ning of each row (Fig. 4). Secure the

thread and trim. ✦

PHYLLIS DINTENFASS designs jewelry, publishes patterns, and teaches beadweaving throughout the United States. Her work has appeared in numerous magazines and books and in juried exhibits internationally. For other available patterns and kits, visit www.phylart.com.

RESOURCES Check your local bead shop or

contact: Japanese cylinder beads: Joan Painter Gallery, (360) 569-2644, www.painterartbeads.com. All other seed beads and Nymo or One-G beading thread: Whim Beads, (800) 232-3111, www.whimbeads.com. Buttons: Jo-Ann Fabric and Craft Stores, (888) 739-4120, www.joann.com.

Fig. 2: Adding the strips and connector

Fig. 3: Adding the posts


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sparkling medallions A m y H a f t k o w y c z

TECHNIQUESfringenetting


ARTIST’S TIPS

• These beaded components work

wonderfully when stitched together

for bracelets and necklaces.

• Replace the 3mm crystal bicones and

3mm rounds with 3mm crystal pearls

for a different look.

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THESE EASY EARRINGS are a beautiful nod to vintage sparkle.

MATERIALS1 g silver-lined brown size 15° seed

beads (A)1 g soft gold–lined clear size 11° seed

beads (B)14 antique rose gold luster 3mm

fire-polished rounds (C)14 beige gold luster 4mm fire-polished

rounds (D)14 padparadscha satin 3mm crystal

bicones (E)2 cream 3mm glass pearls

2 brass 8×18mm swirl links2 brass ½" lever-back ear wiresSmoke 4 lb braided beading thread

TOOLSScissorsSize 12 beading needlesFlat-nose or chain-nose pliers

FINISHED SIZE: 21⁄8"

1) DANGLE. Use tight thread tension

to stitch a beaded disc:

Round 1: Use 3' of thread to string {1A,

1C, 1A, and 1B} seven times, leaving

a 6" tail. Pass through the beads again

to form a circle, tie a square knot with

the working and tail threads, and

weave through beads to exit the

second A added (Fig. 1—blue thread).

Trim the tail.

Round 2: String 1D and 1B, pass back

through the D, skip the next B of

Round 1, and pass through the follow-

ing A/C/A of Round 1, pulling tight to

form a fringe; repeat to form a total of

7 fringes. Weave through beads to exit

the B at the tip of the first fringe

(Fig. 1—red thread).

Joining fringe: Pass through the B at the

tip of the next fringe; repeat around

to connect the fringe tips into a circle,

pulling tightly to form a dome (Fig. 2—

blue thread). Repeat the thread path

several times to reinforce.

Adding the pearl: String 1 pearl; pass

through the B directly across from

the last B exited and the nearest D

in Round 2, toward the outside edge

of the bead disc (Fig. 2—red thread).

Netting: String 2A, 1E, and 2A; working

counterclockwise, pass through the

next D in Round 2, toward the out-

side edge of the beaded disc (Fig. 3).

Repeat around to add a total of

7 strands. Working clockwise, string

2A, pass up through the nearest E,

string 2A, and pass down through the

next D in Round 2 (Fig. 4). Repeat

around to complete the netted crosses

between each D. Weave through beads

to exit from 1C of Round 1.

Hanging loop: String 6A; pass through

the last C exited to form a loop (Fig 5).

Repeat the thread path several

times to reinforce. Secure the thread

and trim.

Fig. 5: Forming the beaded loop

Fig.1: Stitching Rounds 1 and 2 Fig. 2: Joining Round 2 and adding the center pearl

Fig. 3: Stitching the first layer of netting

Fig. 4: Adding the second layer of netting

2) ASSEMBLY. Use 1 jump ring

to attach the beaded disc to one end

of the swirl connector. Attach 1 ear

wire to the other end of the swirl

connector.

Repeat Steps 1 and 2 to form the

second earring. ✦

Co-owner of Artful Beads Studio and Workshop in Pennington, New Jersey, AMY HAFTKOWYCZ

is a self-taught lampworker as well as a certified PMC artisan. Amy has enjoyed reaching out in many new directions since opening Artful Beads in 2006. Developing class projects, learning countless techniques, and forging new friendships have made the Artful Beads experience truly one of a kind. She lives in Pennington with her husband and six cats.

RESOURCES: Check your local bead shop or

contact: Braided beading thread and all beads and findings: Artful Beads Studio and Workshop, (609) 737-1077, www.artfulbeadstudio.com.

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catch me a caterpillarD o r i s C o g h i l l

TECHNIQUEStubular herringbone stitchladder stitchfringesquare stitch


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MATERIALS2 g light brown luster size 11° seed beads (A)20 g forest green size 11° seed beads (B)28 g transparent matte olive size 8° seed

beads (C)85 light amber 4×6mm teardrops (D)85 black 4×6mm teardrops (E)Khaki size B nylon beading threadBeading wax


FINISHED SIZE: 7"

1) TUBE. Form a herringbone-stitched

and embellished tube:

Round 1: Use 7' of thread to string 2C,

leaving a 10" tail; pass through both

beads and manipulate them to sit side

by side, forming a ladder stitch.

Repeat to form a strip 4C long.

Ladder-stitch the last C to the first C

to form a ring (Fig. 1). Lightly wax

the thread.

Fig. 3: Stitching Round 3

Fig. 1: Forming Round 1 Fig. 2: Working Round 2

Round 2: String 1C, 1A, and 1C; pass

down through the next C in the

previous round and up through

the following C; repeat once. Step

up for the current and subsequent

rounds by passing up through the

first C added in this round (Fig. 2).


down through the next C in the

previous round, string 1D, and pass

up through the following C in the

previous round; repeat once (Fig. 3).

OPTIONS

• Use a mix of matte and shiny beads

to enhance the design.

• Contrasting colors enrich the

layered textures.

A SLITHERY HERRINGBONE BRACELET gets its playful appeal from lush, leggy fringes embellished with drops.


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down through the next C in the pre-

vious round; string 10A, 1E, and 10A;

pass up through the following C in

the previous round; repeat once

(Fig. 4—blue thread). Repeat the thread

path again to secure the round, this

time omitting the fringe loops (Fig. 4—

red thread).

Rounds 5–62: Repeat Rounds 3 and 4

thirty times or to the desired length.

Note: The clasp adds ½" to the length.

repeat six times for a total of 7 rows.

Stitch the last row to the first row

added in this section to form a thick

loop (Fig. 6). Stitch 1C to each of the

open sides of the loop to close the loop

into a beaded bead. Secure the work-

ing thread and trim.

Loop: Thread a needle on the tail thread

and weave through beads to exit out

from a C in Round 1. String 12C and

pass down through the next C in the

round so the loop has one fringe on

Fig. 4: Working Round 4

2) FINISHING. Close the tube and add

the closure:

Close tube: Work a ladder-stitched thread

path on the last Cs added to pull the

tube together. Exit up through 1C.

Beaded button closure: String 1C, 1A, and

1C and pass down through the next C

in the round, making sure the fringe

loops sit on each side of the stitch.

Catch the thread between beads and

pass back up through the last C added

(Fig. 5); working with loose tension,

Fig. 7: Adding the loop

each side (Fig. 7). Repeat the thread

path several times to reinforce.

Secure the thread and trim. ✦

DORIS COGHILL left the corporate world in 2000 to pursue beading full time. She keeps busy with her website (www.beadsbydee.com), designing, and teaching.

RESOURCES: Check your local bead shop or

contact: Teardrop beads: Shipwreck Beads, (800) 950-4232, www.shipwreckbeads.com.

Fig. 5: Stitching the strip

Fig. 6: Forming the button


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petite charm pendant N a n c y Z e l l e r s

TECHNIQUESflat and circular right-angle weavetubular peyote stitch


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THE PEARLY CROWN OF SEED BEADS framing the pendant, along with the delicate look of the chain, create a very wearable, feminine piece of jewelry with a Victorian feel.

MATERIALS½ g smoky gold bronze metallic size 15°

seed beads (A)2 g smoky gold bronze metallic size 11° seed

beads (B)1 g pearl size 11° seed beads (C)1 amethyst 14mm crystal rivoli2 brass 4mm jump rings1 brass 7×13mm filigree oval box claspGold size D nylon beading thread

TOOLSScissors2 size 12 beading needlesChain- or flat-nose pliers

FINISHED SIZE: 20¾" (necklace); 1" (pendant)

1) PENDANT. Use right-angle weave to

form the back of the beaded bezel and

secure with peyote stitch:

Round 1: Use 4' of thread to string 6B,

leaving a short tail. Pass through all

the beads again and exit from the first

B strung (Fig. 1—blue thread).

Round 2, Units 1–6: String 4B; pass

through the last B exited and the first

B just added to form the first right-

angle-weave unit. *String 3B; pass

back through the next B of Round 1,

through the side B of the previous

unit, the 3B just added, and the fol-

lowing B of Round 1. String 3B, pass

through the side B of the previous

unit, the last B just exited in Round 1,

and the first B just added. Repeat

from * twice to add a total of 5 units.

To form the last unit, string 2B, pass

through the side B of the first unit,

the next B of Round 1, the side B of

the previous unit, and the first of the

2B just added (Fig. 1—red thread).

Round 3: String 3B; pass through the last

B exited and the first B just added to

create the first right-angle-weave unit.

*String 3B; pass back through the

next B of Round 2 and pass through

the side B of the previous unit, the 3B

just added, and the next B of Round 2.

String 2B; pass through the side B of

the previous unit, the last B exited in

Round 2, and the first B just added.

Note: The right-angle-weave units in

Round 3 will alternate between

regular and increase units. Repeat

from * four times for a total of 11

units. To form the last unit, string 2B,

pass through the side B of the first unit,

Fig. 1: Working Rounds 1 and 2


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back through the next B of Round 2,

and through the side and top B of the

previous unit (Fig. 2—green thread).

Round 4: Use A to work 1 unit of circular

right-angle weave off each top B in

each unit of Round 3 for a total of

18 units. Note: Every other unit in

Round 3 has 2 beads; weave 1 unit

into each of them (Fig. 2—blue thread).

Round 5: Use A to work 1 unit of circular

right-angle weave off each top A of

Round 4 for a total of 18 units (Fig. 2—

red thread).

Round 6: Insert the rivoli face up in the

beadwork. Work tubular peyote stitch

with 1A in each stitch between each

top A of Round 5 for a total of 18A.

Pass through all the beads in Round 6

again to reinforce (Fig. 3—blue thread).

Weave through beads to exit a top A in

Round 4.

Embellishment: Work tubular peyote stitch

with 1C for a total of 18C. Weave

through beads to exit the next A in

Round 4 (Fig. 3—red thread).

Bail: Use B to work a strip of right-angle

weave 5 units long. String 1B; pass

through the bottom A of the last right-

angle-weave unit exited in Round 4

(Fig. 4). String 1B and pass through the

end bead of the final unit just formed.

Add C in some of the gaps between

units if desired. Secure the threads

and trim. Set the pendant aside.

2) CHAIN. Form the chain using right-

angle weave:

Chain: Use 4' of thread to work a strip of

right-angle weave about 19" long or to

the desired length. String 6B; pass

through the last B exited to form a

loop (Fig. 5—blue thread).

Embellishment: Working back along the

length of the chain, add 1C between

every other right-angle-weave unit,

alternating sides (Fig. 5—red thread).

Fig. 2: Adding Rounds 3–5

Fig. 5: Making the six-bead loop and embellishing with C

Fig. 4: Forming and attaching the bail

Fig. 3: Securing the rivoli and embellishing the pendant

String 6B; pass through the last B

exited to form a loop. Secure the

thread and trim.

3) FINISHING. String the pendant on

the chain using the bail. Use 1 jump

ring to connect one loop at the end of

the chain to one half of the clasp. Repeat

at the other end of the necklace using

the other half of the clasp. ✦

NANCY ZELLERS has been designing bead jewelry and teaching for about fifteen years. See more of her jewelry designs at www.nzbeads.com or in her recent book, Bead Tube Jewelry (Kalmbach, 2011). Nancy lives in Aurora, Colorado, where she has a studio decorated in hot pink and lime green.


contact: All materials: Beyond Beadery, (800) 840-5548, www.beyondbeadery.com.


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making tracksG i n a C o o p e r

TECHINQUESladder stitchherringbone stitch


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CONNECT EASY HERRINGBONE-STITCHED tubes with crystals for a quick and casual bracelet.

MATERIALS6 g opaque dark lavender 11° cylinder

beads (A)5 g opaque matte blue rainbow 11° cylinder

beads (B)4 g opaque black luster size 11° cylinder

beads (C)30 jet black 4mm round or bicone beads (D)1 silver 3×15mm 2-to-1 etched connector2 silver 4mm jump rings1 silver 5×20mm floral toggle bar1 silver 15mm floral toggle ringSmoke 6 lb braided beading thread

TOOLSScissorsSize 10 or 12 beading needlesFlat- or chain-nose pliers

FINISHED SIZE: 7¾"

1) BEADED TUBES. Herringbone-

stitch beaded tube beads:

Round 1: Use 3' of thread to string 2C,

leaving a 4" tail. Pass through the

beads again. String 1C and pass

through the last bead exited and the

one just strung; repeat three times to

form a ladder-stitched strip 6C long

(Fig. 1). Pass up through the first bead

added, down through the last bead

Fig. 2: Joining the bead ladder in a circle

Fig. 1: Ladder-stitching Round 1 Fig. 3: Working Round 2

added, and up through the first bead

again to form a ring (Fig. 2).

Round 2: String 4A, pass down through

the next C in Round 1, and up

through the following C; repeat twice

to add a total of 12A. Step up for the

next and subsequent rounds by pass-

ing up through the first 2A added in

the current round (Fig. 3).

ARTIST’S TIP

If you’re new to herringbone stitch,

it may help to insert a thin straw,

wooden skewer, or rolled-up piece

of paper into the beadwork. This

internal base gives you something

to hang onto as you form

additional rounds.

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Rounds 5–10: Repeat Rounds 2–4, using

B in place of A for Rounds 5 and 6.

Weave through the final round in a

ladder-stitched thread path. Secure

the thread and trim.

Repeat entire step 13 times for a total

of 14 beaded beads. To add variation

between beads, switch the sections

in which A and B are used.

2) ASSEMBLY. Begin a new 2' thread

on a beaded bead that exits up through

a bottom bead in Round 3. String 1D

and one loop of the 2-to-1 connector;

pass back through the D just strung and

the tube bead just exited, then weave

through beads to exit down through the

top bead in the same Round 3 stack. Pass

through the D and connector, then back

through the D and through the side of

the beaded tube to exit between the top

and bottom beads of Round 3 on the op-

posite side of the tube (Fig. 5—blue thread).

*String 1D, pass down through a bottom

bead in Round 3 of another beaded

tube, and weave through beads to exit

down through the top bead in the same

Round 3 stack. Pass back through the D

just added and pass up through the mir-

ror top bead of the first beaded tube.

Weave through beads to exit up through

the nearest bottom bead of the same

stack, then pass through the last D added

and through the side of the second

beaded tube (Fig. 5— red thread). Repeat

from * to connect the remaining beaded

beads, finishing with 1D and the other

connector. Repeat entire step, incorpo-

rating the other side of each connector

and weaving between the top and bot-

tom beads in Round 8.

3) FINISHING. Use 1 jump ring to

attach one connector to the toggle bar.

Repeat with the remaining jump ring

and toggle ring. ✦

Fig. 4: Adding Round 3

Fig. 5: Attaching the connector and beaded beads with jet beads


the next top A from the previous

round, and up through the following

top A; repeat twice to add a total of

12A (Fig. 4).

Round 4: String 2C, pass down through

the next top A from the previous

round, and up through the following

top A; repeat around to add a total

of 6C.

ARTIST’S TIP

You can also create the bracelet using

single-drop tubular herringbone stitch

for all the rows. Just pick up 2 cylinder

beads instead of 4.

GINA COOPER is a mostly self-taught artisan beader who specializes in free-form beadwoven peyote jewelry and bead embroidery. Originally from Blackpool, England, she now resides in Florida, perfecting “beach beading,” where she hosts a local beading group and teaches for local bead stores. Gina also creates stained-glass mosaics and life-casting sculptures. See more of her work at www.creationsbygina.weebly.com.

RESOURCES Check your local bead shop

or contact: Seed beads: Fusion Beads, (888) 781-3559, www.fusionbeads.com. All other materials: Fire Mountain Gems and Beads, (800) 355-2137, www.firemountaingems.com.

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PF Beads ELIMINATE PROBLEMS WITH FADING OR FLAKINGAs most beaders know, those pretty galvanized and Ceylon silver-lined fi nishes on seed beads eventually fade or fl ake over time. It’s frustrating to put hours (or months) into a project only to have the beads fail. Luck-ily, Toho has created a seed bead with a new durable fi nish. If you’ve been avoiding those seed-bead fi nishes because you want to create lasting, heirloom-quality jewelry, you’ll want to try Toho’s PF beads.

This durable fi nish is available in eighteen galvanized colors and fourteen matte-galvanized. Shades such as aluminum, silver gray, and rose gold are perfect for beaders who love the look of metals in their jewelry. This same durable fi nish is also available for more than two dozen colors of silver-lined beads. Choose soft pinks, lavenders, and mint greens for sweet spring bracelets, earrings, and necklaces. Selected PF beads are available in a variety of shapes, including rounds, triangles, cubes, magatamas, 3-cuts, bugles, charlottes, and more. For a full list of available colors and shapes of PF beads, visit www.tohobeads.net.

Mix It Up with GEMSTONES, PEARLS, WOOD, AND SHELLSShare your love of Mother Nature by mixing gemstone chips, nuggets, and simple cuts with earthy beads and pendants made of wood, freshwater pearls, and shells. Knot these gorgeous gemstones onto silk or cord or string them on beading wire for an elegant multistrand necklace or a bold, chunky bracelet.

Try these combinations for spring: • Embrace the lushness of a forest by pairing wood

beads with red creek jasper, African turquoise, labra-dorite, or crazy lace agate.

• Evoke a cool ocean breeze by combining silver leaf, picture jasper, or amazonite with freshwater pearls and natural shells.

• Mimic bright, fl oral gardens by choosing rose quartz, amethyst, olive jade, or yellow jade paired with color-ful pearls.

In addition to its huge selection of semiprecious gem-stones, FusionBeads.com offers the best online selec-tion of Swarovski Elements products, charms, sterling and Thai hill tribe silver, artisan-handcrafted beads, seed beads, glass beads, and much more. Be inspired by new jewelry designs each week and enjoy free stan-dard shipping on all U.S. orders.

Mix It Up with GEMSTONES PEARLS

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Create a Stunning BEADED CUFF BRACELET Begin your unique cuff bracelet with Lacy’s Stiff Stuff, a washable, shrink-resistant material that feels like stiff felt. If you like, you can dye it and then cut out the shape you need. You can also sketch your design on it or just go with your creative fl ow. Next, choose a lightweight aluminum cuff, from a sweet ½" band to a bold 2" statement. Finally, select your focal pieces from a huge range of options. Choose a brilliant Swarovski rivoli or a handful of dramatic rhinestones. Or follow one of the biggest jewelry trends by selecting resin and glass cabochons and cameos. Small resin fl owers and vintage-style cameos provide color and class without weighing down your designs. Finish your piece by embroidering Toho and Delica seed beads around your focals and attaching Lacy’s Stiff Stuff to the cuff with a jewelry adhesive.

Visit Artbeads.com today and turn your imaginative ideas into a gorgeous reality. With free shipping on qualifying orders and hundreds of free design ideas, Artbeads.com is your source for colorful seed beads, unique focal pieces, and inspiration.

Select the BEST BEADING WIRE for Your JewelryThe number of beading wire options can seem over-whelming, but there’s a simple trick to choosing the right spool: the larger number of strands, the more fl exible the wire will be. A long elegant crystal necklace may require maximum fl exibility for it to drape correctly when worn, while a short choker with chunky gem-stones may require less.

U.S.-made Beadalon offers three choices of strong nylon-coated wire. Beadalon 49, the choice of profes-sional jewelry designers, has the most fl exibility, while economically priced Beadalon 7 has the least. If you’re not sure how much fl exibility your design needs, Bead-alon 19 is a good choice with its perfect combination of strength, fl exibility, and affordability. Once you’ve cho-sen the type of wire, choose the largest diameter wire possible that will fi t through the smallest bead hole in your design. Try .010 beading wire for tiny, lightweight seed beads and .036 for heavy gemstones and large glass beads.

For more beading wire tips, including how to use fi nd-ings such as EZ-Crimps, Wire Guardians, and Bead Bumpers, visit www.beadalon.com.

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Introducing 22 New Colors of GALVANIZED ROUND ROCAILLES AND DELICASIf you love the metallic look of galvanized seed beads, you’ll be delighted to learn that round rocailles (sizes 6°, 8°, and 11°) and size 11° Delicas now come in twen-ty-two colors. For pretty spring necklaces, bracelets, and earrings, choose shades such as pink blush, sea foam, and dusty orchid. If the mixed metal or steam-punk jewelry trends are more your style, take note of the silver, gold, and pewter shades now available.

Miyuki’s Duracoat Galvanized® beads solve that annoying problem of a fi nish that quickly wears off or fades. Duracoat® is an extra-durable coating on the bead’s surface. As with any delicate glass beads, these beads still require gentle care, but now they are suit-able for use in jewelry that is worn, not only museum-quality pieces that must be admired from afar.

Delicas in size 8° and 10° with the Duracoat® fi nish will be available this spring. Additional bead shapes such as magatamas, drops, and squares will be added in the future. Keep up with the latest news at www.miyuki-beads.co.jp/english.

Indulge in Everyday Luxury with 100% PURE SILK CORDSPearl knotting on silk is a classic jewelry-making tech-nique that’s often reserved for special occasions. Why limit yourself? Try knotting this durable and stretch-resistant 100% pure silk cord in between small gem-stones or delicate crystals for everyday bracelets or necklaces. Snug the beads against the knots or leave longer gaps between the knots to show off the vibrant colors of these twisted three-ply cords.

Choose from classic black and white cords in ten sizes (00, 0, A, B, C, D, E, F, FF, FFF) or sixteen colors in sizes E, F, FF, and FFF. The cord comes in ½ ounce spools or on cards. Colors include a range of gemstone-inspired tones including amethyst, turquoise, and jade. Match the silk cord to your favorite beads for a unifi ed look or choose a contrasting hue to add an unexpected pop of color.

This luxuriously smooth pure silk cord feels lightweight and comfortable, making it the perfect base for warm-weather jewelry. Find a bead shop near you at www.beadsmith.com.

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Add Drama to Your Jewelry with SWAROVSKI FLAT BACKSWith the touch of an iron or heat-setting tool, you canaffi x Swarovski Flat Back Hotfi x onto many different types of fabric, including wool, cotton, linen, Lycra, silk, and denim. The fl at back of the crystal has a layer of hot-melt adhesive that bonds with the fabric. It’s easy to add crystals to ribbons for springtime bracelets and necklaces, but don’t stop there. Using a two-part epoxy for the best bond, glue Swarovski Flat Back No Hotfi xto metal pendants, fl at-glass cabochons, shell discs, wooden pendants, resin beads, or almost any other surface you desire. You could attach individual Flat Backs in Capri Blue to a metal cuff for an ocean-inspired bracelet or add tiny SWAROVSKI ELEMENTS in Sunfl ower inside earring bezels. Another idea is to attach a large Flat Back to ultrasuede and surround it with brick stitch to create a dramatic custom focal. Swarovski Flat Backs come in a huge range of colors, sizes, and cuts, including a beautiful butterfl y perfect for spring jewelry. For more inspiration, visit www.CREATE-YOUR-STYLE.com.

Discover MUST-HAVE HOW-TO resourcesThe best companion to your beading and jewelry-making adventures? Beautifully illustrated instructional books, of course. Interweave is happy to offer a wide variety of books that are packed with fun projects and helpful tips. Filled with step-by-step photography and gorgeous designs, each book will educate and inspire you. Plus, there’s something for every skill level. Try your hand at metal clay with Kate McKinnon, take a 101 through wire with Denise Peck, perfect your copper work with Sharilyn Miller, personalize your metal jewelry with Lisa Niven Kelly, or discover the beauty of glass beads with Stephanie Sersich. Interweave’s expert authors will teach you everything you need to know to make beautiful handcrafted jewelry. Build a library that you can reference time and time again with Interweave’s outstanding books. For more information, visit www.interweavestore.com/Beading-Jewelry/Books. Beading-Jewelry/Books.

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lucky clovers R a c h e l M c E n r o e

TECHNIQUESright-angle weavenetting

See pp. Q+E 48 and 94 for helpful technique information

ARTIST’S TIPS

• Select a similar color for the pearls

and size 11° beads to make the

crystal flowers appear more vibrant.

• To strengthen the bracelet, pass back

through the base a second time.

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CRYSTAL FLOWERS appear to float across this elegant right-angle-weave bracelet.

MATERIALS3 g clear silver-lined crystal size 11° Japanese

seed beads (A)32 Indian sapphire 4mm crystal bicones (B)28 emerald 4mm crystal bicones (C)46 light gray 6mm crystal pearls (D)1 clear 13mm glass faceted button Crystal 6 lb braided beading thread


FINISHED SIZE: 7"

1) BASE. Right-angle weave a base of

pearls and seed beads:

Unit 1: Use 6' of thread to string {1D and

1A} four times, leaving a 3" tail. Pass

through all again to form a circle and

tie a square knot. Weave through

beads to exit from the third D (Fig. 1—

blue thread).

Unit 2: String {1A and 1D} three times,

then string 1A; pass through the last D

exited from Unit 1 and the first four

beads added in this unit (Fig. 1—

red thread).

Units 3–15: Repeat Unit 2 thirteen times.

Don’t trim the thread.

2) EMBELLISH. Add a layer of bicone

“flowers” to the base:

Flower 1: String {1A and 1B} twice, then

string 1A; pass through the last D

exited to form a loop. Weave through

the next A/D/A/D in the base unit

(Fig. 2—blue thread). String 1A and 1B,

pass through the middle A of the loop

just added, then string 1B and 1A and

pass through the last D exited (Fig. 2—

red thread).

Flower 2: Repeat Flower 1 to embellish

the next base unit, this time using C

instead of B.

Flowers 3–15: Repeat Flowers 1 and 2 to

embellish the entire base. Finish with

a Flower 1 embellishment.

3) CLASP. Form a button/loop clasp:

Button: String 5A, the button, and 5A;

pass through the last D exited (Fig. 3).

Repeat the thread path to reinforce.

Secure the working thread and trim.

Loop: Start a new 8" thread that exits

from the D at the other end of the

bracelet. String 26A or enough to

Fig. 2: Stitching the first flower

Fig. 3: Adding the button Fig. 4: Forming the loop

Fig. 1: Stitching Units 1 and 2 of the base

loop snugly around the button; pass

through the last D exited (Fig. 4).

Repeat the thread path to reinforce.

Secure the tail thread and trim. ✦

RACHEL McENROE, a senior in high school, has been beading for three years. Besides beading, Rachel’s other hobbies include language lessons (Russian, Arabic, and Chinese), pottery, and spending time with her many pets. Rachel lives in central New Jersey with her parents, one brother, and one sister.


contact: Swarovski pearls and crystals, seed beads, and FireLine braided beading thread: Fusionbeads.com, (888) 781-3559, and Beadaholique, www.beadaholique.com.

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TECHNIQUESherringbone stitch


crossover braceletP h y l l i s D i n t e n f a s s

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ARTIST’S TIP

Passing through beads a second time

and keeping your stitching tight will

help form the subtle domed shapes

of the components in this project.

1) FIRST COMPONENT. Use tight

tension to herringbone-stitch a slightly

domed component:

Round 1: Use 2' of thread to string 4A,

pass through all the beads again to

form a circle, and exit through the

second A strung, leaving a 4" tail to

weave in later.

Round 2: String 2A and pass through the

next A from the previous round;

repeat three times. Step up for the

next and subsequent rounds by pass-

ing up through the first A added in

the round. Adjust the beads so the

holes sit above the ones below to begin

the herringbone-stitched rib (Fig. 1).


the next A from the previous round,

and pass up through the following A;

repeat three times (Fig. 2—blue thread).

HERRINGBONE-STITCHED COMPONENTS line up to form this bracelet. Stitch two extra components and you’ve got a cute pair of earrings to complete your ensemble. MATERIALS

5 g each size 11º seed beads in mixed matte olive (A) and metallic peacock (B)

1 g mixed matte olive size 8º seed beads (C)1 brass 15mm button with shankBlack size D nylon or smoke 6 lb braided

beading thread


FINISHED SIZE: 7"


Fig. 2: Stitching Rounds 3 and 4

Fig. 3: Forming Rounds 5 and 6

Fig. 4: Stitching Round 7



then string 2B, and pass up through

the following A; repeat three times




through the nearest 2B, and up

through the following A; repeat three

times (Fig. 3—blue thread).



then string 4B, and pass up through

the following A; repeat three times


Round 7: String 1A, 1C, and 1A; pass

down through the next A from the

previous round, through the nearest

4B, and up through the following 2A;

repeat three times (Fig. 4). Don’t trim

the thread. Set aside.


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ARTIST’S TIP

It helps make cleaner beadwork

if you put the tip of your nail

between each herringbone stitch

as you work it, manipulating it

into its classic V shape.

Fig. 5: Connecting components

Fig. 6: Adding the button

Fig. 7: Forming the loop

2) SUBSEQUENT COMPONENTS.

Repeat Step 1, Rounds 1–6. Repeat

Round 7 for three of the points only,

then work the final point by stringing

1A, passing through 1C from the previ-

ous component, stringing 1A, and pass-

ing down through the next A in the

current component. Weave through the

herringbone-stitched rib to form a

turnaround (Fig. 5). Repeat the thread

path to reinforce. Secure the thread and

trim. Repeat the entire step five more

times to form a total of 7 components or

enough to fit the wrist minus the width

of the button.

3) CLASP. Stitch a button/loop clasp:

Button: Begin a new 1' thread that exits

from 1C at the other end of the brace-

let. String 6A, the button, and 6A,

then pass through the last C exited to

form a loop (Fig. 6); repeat the thread

path several times to reinforce. Secure


Loop: Begin a new 1' thread that exits 1C

at the other end of the bracelet. String

26A or enough to fit snugly around

the button, then pass through the last

C exited to form a loop (Fig. 7); repeat

the thread path several times to rein-

force. Secure the thread and trim. ✦

PHYLLIS DINTENFASS designs jewelry and publishes her patterns in magazines and books as well as teaches nationwide. Her work has been juried into numerous competitions, and she welcomes individual commissions. Check her website for current kit information: www.phylart.com.


or contact: Button: Joann Fabrics and Crafts, (888) 739-4120, www.joann.com. All other materials: Beyond Beadery, (800) 840-5548, www.beyondbeadery.com.

2) SUBSEQUENT COMPONENTS.

Repeat Step 1, Rounds 1–6. Repeat

R d 7 f r three of the points only


02102011120853

for youMake it easyGreat Jewelry

We

to make

Helpful Wire Wrapping Instructions are printed on the backs of the wire packages, and complete instructions in two new booklets: Beginning Wire Wrapping and Component & Stone Setting.

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INthth

victorian pearl medallionB a r b a r a F a l k o w i t z

TECHNIQUESbead embroiderystringingwirework


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INSPIRED BY MIRIAM HASKELL’S UNIQUE WORK, this bead-embroidered necklace features modern components that capture the essence of her jewelry designs.

MATERIALS1 g matte silver-lined amber 15° seed

beads (A)1 g gold luster red size 15° seed beads (B)2 g rose luster size 11° cylinder beads (C)4 topaz AB 3mm bicones (D)12 Montana blue AB 4mm fire-polished

rounds (E)16 melon crystal luster 5mm rounds (F)12 opaline pink 5mm rondelles (G)12 amber 9mm rondelles with diffusion

ends (H)2 g white 2mm seed pearls (I)14 cream 6mm glass pearls (J)8 brass 3mm large-hole beads8 brass 4×1mm spacers20 brass 6mm scalloped bead caps1 brass 30mm 8-petal filigree flower1 brass 50mm round filigree with 13mm

center opening2 brass 23mm × 12mm filigree connectors6 gold 3mm crimp tubes1 brass 25mm square floral toggle ring1 brass 5×30mm floral toggle bar1 brass 1" head pin4 brass 4.5mm jump rings4" of brass 3.5×4mm flat cable chain40×80mm piece of periwinkle Ultrasuede40mm square piece of beading foundationSmoke 6 lb braided beading thread40" of gray .014 beading wire4" of bronze 22-gauge craft wire

TOOLSScissorsSize 10 beading needleRound-nose pliersFlat- or chain-nose pliersWire cuttersCrimping pliers

FINISHED SIZE: 14¾"

1) MEDALLION TOP. Stitch the small

filigree to Ultrasuede and embellish it:

Attach: Layer the 30mm filigree flower,

a 40×40mm piece of Ultrasuede, and

the beading foundation, taking care to

center all three. Tie a thick knot at the

end of 3' of thread and place a needle

at the other end. Pass up through the

foundation, Ultrasuede, and inside

one of the edges of the flower. Pass

over the edge of the flower and pass

down through the Ultrasuede and

foundation. Continue around the

flower, and pass down tacking the

filigree edges to the Ultrasuede and

foundation. Stitch through the foun-

dation to exit up through an opening

in the filigree near its center.

Center embellishment: String 2I and slide

them to the flower; lay the beads down

so they fill the filigree opening and

stitch down through the fabric layers.

Pass up through the layers to exit up

through another opening in the fili-

gree. Continue to fill the center

openings of the flower with I. Repeat

with C and A to fill the outer petals of

the flower in a pleasing design (Fig. 1).

Note: Use less, rather than more, beads

so they lie flat in the given space.

Stitch through the foundation to exit

from the outside edge of the filigree.

Outline: String 4I, slide them to the fab-

ric, and lay them along the filigree’s

edge. Pass down through the layers

next to the last I strung. Pass up

through the layers between the second

and third beads just added, then pass

through the third and fourth I just

added. String 2I, slide them to the

fabric, lay them along the filigree

edge, pass down through the layers

next to the last I strung, and up

through the 2I just added (Fig. 2);

repeat, working backstitch bead

embroidery with I around three petals

of the flower. On the fourth petal,

work backstitch bead embroidery with

C. Continue using I on petals 5–7,

then C on the eighth petal. Stitch

through the foundation to exit

between a C and an I on the fourth

petal.

Fringe: String 1D and 1A, then pass back

through the D to form a fringe; repeat

on the other side of the fourth petal

and on each side of the eighth petal

Fig. 1: Embellishing the filigree center Fig. 2: Working backstitch bead embroidery

ARTIST’S TIP

If you have trouble stitching the

medallion to the large filigree, try

using a short beading needle. It may

help you get closer to the opening in

the filigree. If you have trouble getting

through the seed pearls, use a smaller

needle, such as a size 12 or 13.


02102011121209


for a total of 4 fringes (Fig. 3). Secure

and trim the thread on the

fabric back.

2) FOCAL ASSEMBLY. Finish the

necklace’s centerpiece:

Prepare backing: Carefully trim the Ultra-

suede to ¼" from the pearl outline on

the medallion top. Take care to avoid

clipping any stitches. Turn the piece

over and trim the beading foundation

to 1⁄8" inside the Ultrasuede’s edge.

Trace the outline of the Ultrasuede

onto another 40×40mm piece of

Ultrasuede and trim along the line.

This is the medallion’s backing.

Picot edging: Place the medallion top, fil-

igree side up, on top of the backing.

Secure a 3' thread onto the backing

and sew through the medallion top,

very near the edge. String 3B; pass

through the backing and medallion

top, one bead’s width from the last

stitch. Pass back through the last bead

strung. String 2B, pass through the

backing and medallion top (one bead’s

width from the last stitch), and back

through the last B added; repeat

around the backing to finish the

medallion (Fig. 4). For the last stitch,

add 1B, pass down through the first B

added in this section, and weave

through the backing (Fig. 5). Secure


Finishing: Secure a 3' thread onto the

back of the medallion near the center.

Tack the medallion to the 50mm fili-

gree through the middle opening in

several places, reinforcing the stitches.


3) NECKLACE ASSEMBLY. Form a

chain to hang the focal piece:

Connectors: Use 2" of craft wire to form a

wrapped loop that attaches to the

upper-left side of the large filigree.

String 1G, 1 bead cap (narrow end

first), 1J, 1 bead cap (wide end first),

and 1G; form a wrapped loop that

connects to the narrow end of 1 fili-

gree connector. Repeat this section to

add the other filigree connector to the

upper-right side of the large filigree.

Decorative chain: Use 1 jump ring to

attach 2" of chain to the large filigree

in the opening just below the wrapped

loop on the upper-left side. Use 1 jump

ring to connect the other end of the

chain to the upper-left side of the fili-

gree connector. Repeat this section to

add another 2" chain to the upper-

right side of the large filigree and fili-

gree connector. Set the assembly aside.

Toggle bar: Use the head pin to string

1A and the toggle bar (front to back);

form a wrapped loop. Set aside.

Bead chain: Use 10" of beading wire to

string 1 crimp tube; pass through the

upper-left side of one filigree connec-

tor, then pass back through the tube

and crimp. Repeat to attach a second

10" piece of beading wire to the

upper-right side of the same filigree

connector. Use the left beading wire

to string 2 brass 3mm beads (to cover

crimps), {1H, 1 bead cap (narrow end

first), 1J, 1 bead cap (wide end first),

1F, 1E, 1F} twice using G in place of F

the second time, and 3A; repeat with

the right beading wire. Use both

strands to string {1H, 1 spacer, 1J,

1 spacer, 1F, 1E, 1F} twice. Use both

wires to string 1 crimp tube and the

wrapped loop of the toggle bar; pass

back through the tube and crimp.

Repeat entire section using the right

filigree connector and toggle ring. ✦

BARBARA FALKOWITZ is co-owner of Artful Beads Studio and Workshop in Pennington, New Jersey, where she designs and teaches original work. A trip to Prague and Jablonex served as a great source of inspiration, and Barbara feels lucky to be a part of the bead world.


contact: Fireline beading thread, Soft Flex beading wire, Delicas, and all other beads and findings: Artful Beads Studio and Workshop, (609) 737-1077, www.artfulbeadstudio.com.

Fig. 3: Stitching the outline

Fig. 4: Adding the picot edging

Fig. 5: Forming the final picot-edging stitch

ARTIST’S TIP

Different styles of filigree can

be substituted for the ones

listed. You need the smaller

filigree to be approximately

two-thirds the size of the

larger one to accommodate the

embroidery and picot edging.


02102011121209

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LAYERS OF HERRINGBONE-STITCHED PETALS surround a ruby crystal in this antique-inspired bracelet. The floral centerpiece can also become the focal piece for a necklace.

1) BEZEL. Work tubular peyote stitch to

bezel the square stone:

Rounds 1 and 2: Use 3' of thread to string

32F, leaving a 6" tail. Tie a square knot

to form a circle and pass through the

first 2F to clear the knot. Pass the tail

through a few beads and trim it close to

the work (Fig. 1—black thread).

Round 3: String 1F, skip the 1F previously

added, and pass through the following

F; continue to work tubular peyote

stitch with 1F in each stitch for a total

of 16F. Step up for the next round by

passing through the first bead added

in this round (Fig. 1—purple thread).

Round 4: Work tubular peyote stitch with

1F in each stitch for a total of 16F

(Fig. 1—green thread).

Round 5: Work tubular peyote stitch with

1A in each stitch (Fig. 1—blue thread). Pass

through the 16A just added to tighten

(Fig. 1—red thread). Weave through beads

to exit from Round 1.

Round 6: Work tubular peyote with 1A in each

stitch. Place the square stone into the bead-

work faceup, then pass through all the As

just added to tighten. Weave through beads to

star-crossed bracelet L a i n a G o o d m a n

TECHNIQUEStubular peyote stitchherringbone stitchfringestringingcrimping


Fig. 1: Working Rounds 1–5 and tightening Round 5

ARTIST’S TIP

This bracelet should fit snugly,

so include the clasp when you

measure the length of the

band. For example, the clasp

and crimp covers take up about

1", so the band should measure

5¾" for a 6¾" bracelet.

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BEADWORK QUICK+EASY april/may 2011 Q+E 39 BEADWORK QUICK+EASY a

MATERIALS1 g sparkling silver size 15° seed beads (A)3 g gray gold luster size 15° seed beads (B)1 g metallic copper size 15° seed beads (C)1 g turquoise bronze luster size 11° seed

beads (D)1 g beige bronze luster size 11° seed

beads (E)1 g steel blue size 11° cylinder beads (F)1 g dusty rose size 11° cylinder beads (G)57 crystal 2.5mm crystal bicones (H)20 indigo 2.5mm crystal bicones (I)15 champagne 3mm crystal bicones (J)46 crystal gold luster 4mm fire-polished

rounds (K)75 antique cream 4mm pearls (L)1 ruby 10×10mm faceted, foil back, square

crystal stone1 sterling 15×10mm 2-strand filigree bow

clasp4 sterling 2×3mm spiral crimp tubes4 sterling silver 4mm crimp coversSmoke 4 lb braided beading thread36" of nylon .014 braided beading wireTransparent tape

TOOLSSize 12 beading needleScissorsChain- or flat-nose pliersWire cuttersCrimping pliers

FINISHED SIZE: 6¾"

exit from Round 3 (Fig. 2). Note: These

rounds are worked out of order, with

Round 6 attached to Round 1. Take

care when setting up for the petals to

exit the correct round.

2) OUTER PETAL BASE. Work tubular

herringbone stitch to set up a base for

the petals:

Round 1: String 2B and pass through the

next F in Round 3; repeat fifteen

times to add 32B. Step up for the next

and subsequent rounds by passing up

through the first B added in the

current round.

Round 2: String 2B, pass down through

the next B of the previous round and

up through the following B; repeat

fifteen times to add a total of 32B.

Round 3: Repeat Round 2.

3) OUTER PETALS. Work flat herring-

bone stitch to form individual petals:

Row 1: String 2B, pass down through the

next B of Round 3 in Step 2, then

string 1C and pass up through the fol-

lowing B of Round 3; repeat twice.

String 2B and pass down through the

next B in Round 3. To step up for the

next and subsequent rows, loop the

thread between beads of the previous

rounds and pass back up through the

last 2 beads exited (Fig. 3).

Row 2: String 2B and pass down through

the next B, C, and B of Row 1; repeat

twice. String 2B and pass down

through the next B of Row 1; step

up (Fig. 4).

Rows 3–10: Repeat Rows 1 and 2 eight

times, substituting G for C in Row 3,

D for C in Row 5, H for C in Row 7,

and I for C in Row 9.

Fig. 2: Securing the stone Fig. 3: Stitching Row 1 of the large petal

Fig. 4: Stitching Row 2 of the large petal

Picots: String 1C and pass down through

the next B/I/B of Row 10; repeat

twice. String 1C and pass down

through the next B in Row 10. Weave

through beads to exit the first B of

the next herringbone-stitched stack in

Round 3 of the petal base (Fig. 5).

Repeat this section three more times to

create 4 petals around the base. Weave

through beads to exit the bezel’s Round 2

from a bead that’s centered over a large petal.


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ARTIST’S TIP

If you don’t want to string the

beads for the band in a random

order, make up two patterns and

alternate them when you put them

through the bail of the flower.

4) INNER PETALS. Herringbone-stitch

the small petals:

Row 1: String 2A, pass through the next

F of the bezel’s Round 2; repeat once.

String 2A and pass through the fol-

lowing F of Round 2. Form a hidden

turnaround at the end of this and

subsequent rows as with the large

petals.

Row 2: String 2A, pass down through the

next A of Row 1, string 1C, and pass

up through the following A; repeat

once. String 2A and pass down

through the next A of Row 1.

Row 3: String 2A, pass down through the

next A/C/A of Row 2; repeat once.

String 2A and pass down through the

next A of Row 1.

Rows 4–9: Repeat Rows 2 and 3 three

times, substituting F for C in Row 4,

E for C in Row 6, and I for C in Row 8.

Picots: String 1C, pass down through the

next A/I/A of Round 9; repeat once.

String 1C and pass down through the

next B in Row 9. Weave through beads

to exit the nearest F on Round 2 of

the bezel.

Repeat this section three times to form

4 inner petals. Weave through beads to

exit from Round 1 of the bezel.

5) CENTER EMBELLISHMENT. String

1C, 1H, and 1C; pass back through the

H. String 1C and pass through the next

F in Round 1 of the bezel. String 1A, 1C,

and 1A; pass through the next F in

Round 1 (Fig. 6). Repeat this section

around the bezel for a total of 8 fringes

and 8 picots. Weave through beads to

exit 1A in Round 5.

6) BAIL. Peyote-stitch a bail to the back

of the flower:

Row 1: String 1B and pass through the

next A in Round 5 of the bezel; repeat

three times (Fig. 7—green thread).

Row 2: String 1B and pass back through

the last A added in Row 1 of the bail;

repeat three times (Fig. 7—blue thread).

Rows 3–16: Repeat Row 2 fourteen times


Zip: Lay the beadworked strip across the

back of the stone. Match the beads of

Row 16 to those of the bezel’s Round 5

so they interlock like a zipper. Weave

through the beads of both Row 16 and

Round 5 to form a seamless join

(Fig. 8). Pass through all the beads

added in this step again to reinforce.


7) FINISHING. Cut a 9" length of wire

and place a piece of tape 1" from the tip;

repeat three times. On each wire, string

H, J, K, and L in random patterns using

half of the beads needed for the desired

length of the band, then string 12B on

each wire. Gather the open wire ends

and string the flower’s bail, centering it

on the Bs just strung. Separate the wires

again and string H, J, K, and L in ran-

dom order on each wire to form the

other half of the band. Use 1 crimp tube

to connect each wire end to half of the

clasp; repeat with the remaining 3 wires,

placing 2 wires on each clasp loop.

Remove the tape from the other wire

ends and use crimp tubes to connect to

the other clasp half. Add the crimp

covers to every 2 crimps. ✦

With a background in fashion design, LAINA

GOODMAN has a passion for all media, including beadweaving, metalwork, metal clay, sewing, felting, and more. As co-owner of Artful Beads Studio and Workshop in Pennington, New Jersey, she has the opportunity to teach classes and share her enthusiasm for everything artistic. Laina lives in Hillsborough, New Jersey, with her husband and their cat.

RESOURCES Check your local bead shop or contact: Braided beading thread, Delicas, and all beads and findings: Artful Beads Studio and Workshop, (609) 737-1077, www.artfulbeadstudio.com.

Fig. 7: Forming the bail

Fig. 6: Embellishing the flower’s center

Fig. 8: Attaching the bail

Fig. 5: Adding Rows 3–10 and the picot of the large petal


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BEADWORK april/may 2011 41

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http://tohobeads.net/

Awp

classic quartet R o x a n n e R o g e r s

TECHNIQUESodd-count peyote stitchpicot

See pp Q+E 48 and 94 for helpful technique information.

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ACCENT A FOUR-CRYSTAL CENTERPIECE with a sparkling margarite, then finish it with an odd-count peyote-stitched band to create a beautiful vintage-style ring.

MATERIALS2 g antique gold size 15° seed beads (A)4 Indian pink 3mm crystal bicones (B)4 burgundy 6mm crystal bicones (C)1 foil-backed volcano 5mm margariteSmoke 6 lb braided beading thread

TOOLSScissors2 size 12 beading needles

FINISHED SIZE: 22mm (ring top)

1) RING TOP. Stitch the crystal and

seed-bead ring top:

Round 1: Use 4' of thread to string {1A

and 1C} four times, leaving an 8" tail.

Tie a knot to form a circle and pass

through beads to exit from the first C

added (Fig. 1—blue thread).


last C exited to form a loop, then pass

through the next A and C; repeat

three times to form a total of 4 loops.

Weave through beads to exit from the

first 5A added in this round (Fig. 1—

red thread).


last A exited and the next 4A added

in the previous round to form a picot.

String 1B and pass through the fol-

lowing 5A from the previous round.

Repeat to add a total of 12A and 4B.

Weave through beads to exit from

the first B added in this round (Fig. 2).

Round 4: String 5A, pass through the last

B added, and weave through beads to

exit from the following B added in the

previous round; repeat to add a total

of 20A (Fig. 3). Secure the thread

and trim.

Fig. 1: Stitching Rounds 1 and 2


Fig. 3: Forming Round 4

ARTIST’S TIP

Use firm tension

when working the

band so the ring

holds a tight shape.


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Fig. 4: Stitching the first strands onto the center

Fig. 5: Finishing and reinforcing the ring top

Fig. 6: Connecting the strip to the ring top

Fig. 7: Adding the picots to the band

Center: Place a needle on the tail thread

and pass through the nearest C.

String 4A, the margarite, and 1A;

pass back through the margarite.

String 4A; pass through the C oppo-

site the last one exited (Fig. 4). String

4A; pass through the margarite and

1A and pass back through the mar-

garite. String 4A; pass through the

C adjacent to the last one exited (Fig. 5—

blue thread). Repeat the thread path on

the opposite side to reinforce and cen-

ter the beads (Fig. 5—red thread). Secure

the tail thread and trim. Set aside.

2) BAND. Work odd-count peyote stitch

to form the ring band:

Strip: Use 5' of thread to peyote-stitch a

strip 31A wide (or an odd number of

A long enought to fit around the back

of the finger) and 7 rows long, leaving

a 6" tail. Weave through beads to exit

from an end A in Row 3.

Connection: String 4A, pass back through

the first A of one picot of the ring top’s

Round 3, the nearest A from Round

2, and the third A from the same

picot. String 3A, pass back through

the first A added in this section, and

pass through the end A in Row 5 of

the strip. Repeat the thread path to

reinforce and weave through beads to

exit up through the end A of Row 1

(Fig. 6).

Picots: String 3A and pass back through

the last A exited on the strip to form a

picot. Weave through beads to exit

from the end A in Row 7. String 3A

and pass back through the last A

exited (Fig. 7).

Repeat the Connection and Picots sec-

tions to connect the other end of the

strip to the ring top. ✦

ARTIST’S TIP

Add or subtract 2 beads in the band

length for each half-size adjustment.

For example, 41 beads would make

a size 8½ ring; 43 beads would make

a size 9.

ROXANNE ROGERS is a self-taught beader and has been beading for about four years. Her inspiration comes from her son and daughter-in-law.


or contact: All materials: FusionBeads.com, (888) 781-3559.


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BEADWORK april/may 2011 45

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http://www.helby.com/


Y O U R B E A D I N G C O M M U N I T Y

gatherings Michelle Mach

Longtime Portland Bead Soci-

ety member Carol Perrenoud

recalls the group’s first meeting

back in 1988. “It was standing

room only. We didn’t know so many

people cared about beads.” Now that

this Oregon group has grown to about

400 members, she says that it’s unusual

to have fewer than 100 people at their

meetings, most of which feature nation-

ally recognized speakers, such as Valerie

Hector, Gail Crosman Moore, and

Sharilyn Miller.

Access to inspiring speakers is just

one benefit. Members can apply for

education grants to fund bead classes

or borrow from a library of 1,300 books,

magazines, videos, and DVDs housed

at a local bead shop. They can attend

the group’s annual retreat or compete

in its bead challenge. Last year, the

society sponsored a traveling display

of its members’ beadwork that rotated

to area libraries.

From her booth at the society’s annual bead show, Bobbye Brown shows off a colorful display of beadwork from around the world.

Carol Perrenoud took first place with her whimsical purse in the 2010 Margaret Scovil beaded bag competition held at the society’s annual retreat.

The society purchased Jennifer Gallagher’s Sweet Glass Basket through funds raised for its museum gift program. The piece will go to the Bead Museum in Glendale, Arizona. (You can see more of Jennifer’s work on page 40.)

PORTLAND BEAD SOCIETYTo raise money for its activities,

the organization hosts a two-day bead

show each November, attracting more

than 75 vendors and 1,200 shoppers.

A second annual show, Art and Ele-

gance in Beads, gives members a venue

for selling their finished work. This

show is held jointly with other guilds in

the area, but the society’s support for

the creative community doesn’t stop

there. They also purchase beadwork for

Portland’s Museum of Contemporary

Craft and the Bead Museum in

Glendale, Arizona.

Not surprisingly, members gener-

ously share their beading skills. One

member, Bobbye Brown, aka The Bead

Lady, regularly visits schools, shelters,

and children’s groups, using beads as a

way to educate people about history and

geography. Others volunteer to teach

classes at the children’s hospital and

homeless shelters.

For one member joining the Port-

land Bead Society was a life-changing

event. When Teresa Sullivan joined

nearly twenty years ago, she was mainly

interested in trade beads and their his-

tory. But exposure to seed-bead artists,

such as David Chatt and Joyce Scott

helped develop her interest in bead-

weaving. Now, Teresa teaches and

exhibits internationally, her interest in

beads transformed from a sideline to a

full-time career.

Society President Karen Bettin notes

that with so much going on the chal-

lenge for members is “keeping a balance

between helping out with these wonder-

ful activities and still having time to do

what we love: bead.”

Learn more about the Portland Bead Society at

www.beadport.com.

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\

From setting up your workspace and selecting proper tools and materials to mastering techniques and exhibiting your work, The Workbench Guide to Jewelry Techniques is your trusted companion for all your creative jewelry projects.

Inside you’ll fi nd:

conversion tables, and an extensive list of resources

What If Your Workbench Could Talk?

Find The Workbench Guide to Jewelry Techniques as well as a great selection of other

Interweave products at your local bead shop or independent craft retailer.

The Workbench Guide to Jewelry Techniques

$34.95, 320 pgs,

volume!

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more techniques

These basic instructions are for techniques used in this issue’s projects and are from The Beader’s Companion (Interweave, 2005). Don’t have this popular book? Call (800) 272-2193 or visit interweavestore.com.

B E A D E M B R O I D E RY

For single stitch embroidery, begin by passing the needle through the fabric, from wrong side to right side, at the place where the first bead is to go. String a bead and pass the needle back through the fabric right next to the bead. Pass the needle back through the fabric where the next bead is to go, string 1 bead and pass back down through the fabric. Continue. Note: Use bugle beads between 2 seed beads to protect the thread from the sharp edges on bugle beads and single-stitch as one bead.

T E N S I O N B E A D

A tension bead (or stopper bead) holds your work in place. To make one, string a bead larger than those you are working with, then pass through the bead one or more times, making sure not to split the thread. The bead will be able to slide along but will still provide tension to work against when beading the first two rows.

F R I N G E

Exit from the foundation row of beads or fabric. String a length of beads plus 1 bead. Skipping the last bead, pass back through all the beads just strung to create a fringe leg. Pass back into the foundation row or fabric.

W I R E W O R K I N G

To form a simple loop, use flat-nose pli-ers to make a 90° bend at least ½" from the end of the wire. Use round-nose pli-ers to grasp the wire at the tip; roll the pli-ers toward the bend, but not past it, to preserve the 90° bend. Adjust the pliers as

needed to continue the wrap around the nose of the pliers. Trim the wire next to the bend. Open a sim-ple loop just as you would a jump ring (see below).

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 two or three times. Trim the excess wire to finish. Make a thicker, heavier-looking wrapped loop by wrapping the wire back up over the coils, toward the loop, and trimming at the loop.

To open a jump ring, grasp each side of its open-ing with a pair of pliers. Don’t pull apart. Instead, twist in opposite directions so that you can open and close without distorting the shape.

H A L F - H I TC H K N OT

Half-hitch knots may be worked with two or more strands—one strand is knotted over one or more other strands. Form a loop around the cord(s), pull the end through the loop just formed, and pull tight. Repeat for the length of cord you want to cover.

O V E R H A N D K N OT

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 and through the loop. Pull tight.

S Q U A R E K N OT

The square knot is the classic sturdy knot for securing most stringing materials. First make an overhand knot, passing the right end over the left end. Next, make another overhand knot, this time passing the left end over the right end. Pull tight.

S U R G E O N ’ S K N OT

The surgeon’s knot is very secure and therefore good for finishing off most stringing materials. Tie an overhand knot, right over left, but instead of one twist over the left cord, make at least two. Tie another overhand knot, left over right, and pull tight.

G L U I N G

Place a sparing amount of glue on knots to secure them (we recommend G-S Hypo Cement or clear nail polish) or use enough glue to completely secure beads to a surface (E6000, Terrifically Tacky Tape). Allow any glue to dry thoroughly before continuing. Seal large glue-beaded surfaces with Mod Podge.

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