Best of Step by Step Beads 2011

best of
the Right Colors for Your Pieces

PAGE 94
Favorite Beaded Jewelry Designs! the step by step
FAVORITE BEADED JEWELRY DESIGNS! THE BEST OF STEP BY STEP BEADS
COLOR SAVVY How to Choose
41
MAKE THIS:
Equator Beads necklace
PAGE 18
MOST POPULAR PROJECTS

to stitch, string, and wirework
41 MOST POPULAR PROJECTS | EASY PEYOTE

beadworkmagazine.com
EASY PEYOTE STITCH!

9 gorgeous peyote designs
learn beadwork step-by-step!
13
bead-by-bead tutorials
BONUS!
7 Stunning Polymer + Metal Clay Projects
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best of
the
step by step
Departments
6 131 140 Editors Letter Bead-by-Bead Tutorial Basic Stringing and Wireworking Techniques Contributors
Features
94 129 Colorworks by Margie Deeb Patina 101
by Lora Hart
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142
Loop De Loop by Martha Aleo
99
Pod Necklace by Judy Dunn
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best of step by step beads
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48
Projects
10 Lucies Branching Out by Tarlee Scholl & The Hole Bead Shoppe Spiceberry by Jenna Colyar-Cooper 42 16 18 20 23 28 30 Silky Sensation by Lucy Arnold 44 Equator Beads by Leslie Rogalski 46 Blue Jean Queen by Carole Rodgers 48 Hoopla! by Beth Kraft 50 Rainforest by Terri Wlaschin 52 Silver Comet by Leslie Rogalski Loop De Loop by Martha Aleo Crystal Wave by Bonnie Clewans Sparklefest by Meri Nash Aderhold 54 56 58 61 38 Tandem by Carole Rodgers Peaceful Dreams by Lorelei Eurto The Look of Links by Patricia C. Vener Striking Jasper Melody Marie Murray Eccentric Concentric by Leslie Rogalski Crystal Raindrops by Jordana Hollander Hollywood Chandeliers by Bonnie Clewans Silver Waters by Pat Wexelblat Bugles & Beads by Robin Cowart Starsh by Lynn Davy Crystal Buckles by Anne Jackson Comet Anemone by Leslie Rogalski 40 14
23
Hoopla! by Beth Kraft
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34 36
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Turn It Over by Gabrielle E. Neijman Eternity Circles by Cathi Tessier Tangled Vines by Robin Cowart Heart to Heart by Carol Dean Sharpe Hip to be Square by Marilu Morency River Cuff by Lynn Davy Starburst by Leslie Rogalski Poodle Beads by Leslie Rogalski
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by Helen Breil
70 72 74 76 79 82
Focal Frame Pendant
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4
Have a Ball! Allison and Tracy Stilwell
ON THE COVER
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Equator Beads by Leslie Rogalski
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River Cuff by Lynn Davy
Projects
86 89 92 Have a Ball! Allison and Tracy Stilwell Braided Choker by Lucy Arnold Mod Pods by Leslie Rogalski 104 Basketweave Pendant by Jana Roberts Benzon Dancing Arcs by Ronna Sarvas Weltman Focal Frame Pendant by Helen Breil Hammered Silver Pendant Jennifer Kahn Two Views by Lora Hart Precious Findings by Lora Hart 108 112 116 121 125 BONUS CLAY PROJECTS! 99 Pod Necklace by Judy Dunn
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editors letter
tm
Beadweaving with Friends

I remember the 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 couldnt tell which beads were supposed to be up or down. Then, she showed me a nifty trick that youll nd on page 132 in the Bead by Bead sectionno 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 Ive 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 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,
EDITORIAL EDITORIAL DIRECTOR James B. Bogner, III EDITOR-IN-CHIEF Denise Peck GUEST EDITOR Jane Dickerson MANAGING EDITOR Karla Rosenbusch EDITOR, BEADINGDAILY.COM Jennifer VanBenschoten PUBLISHING PUBLISHER, 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 PRODUCTION ART 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
Jane Dickerson, Guest Editor former Managing Editor/Editor in chief of Step by Step Beads
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.
Download a copy of all the latest eMags at interweavestore.com/Jewelry/Magazines/eMags.html
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 BOOKS PUBLISHER 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
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Beadwork (ISSN 1528-5634) is published bimonthly by Interweave Press LLC, 201 E. Fourth St., Loveland, CO 805375655. (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.
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Wire Style 2 45 New Jewelry Designs 112 pages; 1-hour DVD ISBN: 978-1-59668-255-9 $22.95
We to make
make it easy for you great jewelry
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: ht p //www beada o .com/ airytalecol ec on.as http://www.beadalon.com/fairytalecollection.asp http://www.beadalon.com/fairytalecollection.asp ada / ryt co asp
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.
Create Something Great

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To nd a Beadalon retailer near you, please visit www.beadalon.com/locatewheretobuy.asp
necklace
PEYOTE STITCH, STRINGING & FRINGE
Lucies Branching Out

Tarlee Scholl & The Hole Bead Shoppe
Did you know?
Lucie is the nickname for Lucite?
This leafy necklace is made in three stages: Work small, evencount 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.
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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 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 pliers Finished size: 16
learn the lingo

Conditioning: Usually running 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.
Peyote stitch the tube beads 1. Pattern 1, wide red stripe center (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 18. 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.
1A and pass through bead 7. String 1B and pass through bead 5. String 1A 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.
String beads on the wire 4. Measure and cut 21 of beading wire.

Place a stopper bead 2 from one end of the wire. String 26 size 6s. String 1 vitrail crystal, 1 size 6, 1 peyote-tube Pattern 1, 1 size 6, 1 vitrail crystal, and 3 size 6s. String 1 vitrail crystal, 1 size 6, 1 peyotetube Pattern 2, 1 size 6, 1 vitrail crystal, and 3 size 6s. String 1 vitrail crystal, 1 size 6, 1 peyote-tube Pattern 3, 1 size 6, 1 vitrail crystal, and 3 size 6s. Repeat pattern, reversing the order of the peyote tubes, starting with peyote Pattern 3, then 2, then 1. String 26 size 6s.
3. Pattern 3, two wide red stripes (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 pass through bead 5. String 1A and pass 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.
2. Pattern 2, two thin red stripes (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
Crimp on the clasp 5. 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 rmly. Trim wire tail with wire snips.
Figure 1
Figure 2
Figure 3 beadworkmagazine.com
11
project
LUCIES BRANCHING OUT
6. Remove the stopper bead from the other end of the wire. Repeat Step 5 but dont 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 between the strung beads. Use the crimping pliers to crimp the tube rmly and trim tail with wire snips. Add crystal dangles 7. 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 (gure 4a). String 8 size 11s, 1 rose crystal, and 1 size 11. Skip the size 11 and pass back through the crystal and 2 size 11s (gure 4b). String 6 size 11s and pass (moving clockwise) between the rst crystal and size 6, through the size 6 (gure 4c), peyote tube, and size 6. Pass a second time through the entire dangle section to reinforce.
Did you know?

Whats the difference between vintage Lucite and resin? Differences are subtle and technical but could inuence 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 thermalset 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 nal product is homogeneous in structure. If all the components are not mixed correctly, the 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 thermalform plastic, a nished product that is heated to a melting temperature and injected into a mold to make a shape. A thermalform plastic can be heated again and reshaped in a different 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 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!
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 (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 beadwork, and trim. Add the fringes with leaves 9. Fringes are added in the sections of 3
size 6 beads. The 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 tying the end of the new thread in a square knot between a crystal and the rst of the 3 size 6 seed beads (gure 5a). Pass through the 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 11s, 1 leaf, and 3 size 11s. Skip the last 3 size 11s, the leaf, and 3 size 11s before the leaf, and pass through the next 5 size 11s (gure 5a to 5b). The size 11s you skip form a little loop holding the leaf to the stem. 12
Figure 4
10. First branched leaf: String 2 size 11s, 1 leaf, and 1 size 11. Skip
the last size 11, pass back through the leaf and 2 size 11s. (The size 11 you skip will sit on one side of the leaf; too large to pass through the hole of the leaf, its holding it to the fringe.) Pass up the stem through the next 5 size 11s. Repeat this step to add 2 more short branches with leaves. Pass through the last 5 size 11s, through the second size 6, and exit between the second and third size 6 (gure 6a to 6b).
Figure 7
11. Create a second fringe with 1 leaf at the end and 1 short branch with a leaf (gure 7): String 14 size 11s, 1 leaf, and 3 size 11s. Skip the leaf and the last 3 size 11s before the leaf. Pass up through the next 8 size 11s. String 2 size 11s, 1 leaf, and 1 size 11. Skip the last size 11 and pass back through the leaf and the 2 size 11s. Pass through the last 3 size 11s, through the last size 6, the crystal, the next size 6 and through the peyote tube. Exit the 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 (gure 8): String 30 size 11s, 1 leaf, and 3 size 11s. Skip the last 3 size 11s and pass up through 8 size 11s. 14. Make your short branched leaf fringes the same as in Steps 10 and 11: String 2 size 11s, 1 leaf, and 1 size 11. Skip the last size 11, pass back through the leaf and 2 size 11s. Pass up through the next 5 size 11s. Repeat to add a total of 4 short branched fringes. Exit through the last size 11s, 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 rst and second size 6 beads. 15. Repeat Step 9 (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. Figure 8
Did you know?
Rows of peyote stitch can be counted two ways.

The traditional method counts on the diagonal. Many artists count rows along the sides
13
bracelet
EVEN-COUNT PEYOTE
Spiceberry
Jenna Colyar-Cooper
Add a twist to a basic peyote bracelet! Strips of basic even-count peyote are braided together to create an intricate-looking bracelet.
Arists Tip
Use a single strand of FireLine to allow for a little more give in each strip of peyote. If you nd you have difficulty keeping your tension steady, or are concerned about durability, try doubling your FireLine.
WHAT YOU NE ED
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-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: 7
14
Peyotestitch the strips 1. Thread a needle on a 5 piece of beading thread. Work evencount peyote 4 beads wide and 8 long for each of the ve colors. Start a new thread for each strip.
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 strips 5. 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 2. Line the strips up matching their ends side by side in the following order: copper, garnet, plum, gold, and berry. Use remaining 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 theyre laid out. Pass back through the last row you created in Step 2 so your needle is exiting the rst bead in the last half row (Figure 2). the copper (strip 1) over the garnet (strip 2) and under the plum (strip 3). The copper (strip 1) is now the middle strip.
Artists Tip
As you braid the 5 strands, make sure to turn the strips so they lay nicely.
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.
Copper 1
Garnet 2
Plum 3
Gold 4
Berry 5
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.
Attach one bar clasp 3. Line up the 5-strand tube bar clasp so that the edge of the
rst loop sits behind the bead your needle is exiting. Using your remaining working thread, stitch around outside edge of the loop 45 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.
Complete the cuff 11. When youve completed the braiding, temporarily bind the
braid with tape about from the ends of the strips.
12. Line up the strips at next to each other in the order theyre braided, similar to the way you lined them up in Step 2. Reposition the piece of tape if that helps to free up the ends to complete 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 t correctly when the cuff goes around your wrist!
RESOURCES: All materials and tools from www.FusionBeads.com.
Copper 1
Garnet 2
Plum 3
Gold 4
Berry 5
15
bracelet
RIGHT-ANGLE WEAVE VARIATION
This bracelet uses a variation of right-angle weave, creating a lovely, smooth bracelet. Matte, semi-matte, and lustre beads in different sizes bring a nice mix to the pattern.
Silky Sensation
Lucy 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
16
1. Determine the length of the bracelet by measuring your wrist and subtracting the length of the clasp. 2. Thread the needle with 23 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).
Artists Tip
On 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. 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 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 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 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).
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. beadworkmagazine.com
17
bead
BEADWORK
EQUATOR BEADS
Leslie Rogalski
It couldnt 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 cant 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 t through wood bead
18
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 nal ring bead. Add equator beads (Figure 2) 7. Pass halfway down into the rst spoke stitched, exiting
between the fourth color B and fth color A beads (including the ring bead).
Figure 1
8. Make a loop around the thread of the spoke between the cylindersnot through the spoke beadsand string 1C bead. Pass around the thread in the next spoke between the fourth color B and 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 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 2
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necklace
TWO-NEEDLE RIGHT-ANGLE-WEAVE
Blue Jean Queen

Carole Rodgers 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 rightangle-weave heart and string it from easy-to-make asymmetrical straps. Make this pendant to wear with your favorite comfy jeans!
WHAT YOU NE ED
11 at oval 18x13mm kyanite beads 43 at round 8mm kyanite beads 72 faceted round 4mm hematite beads 26 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
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Figure 5
A note about illustrations

This project refers to the black needle and the red needle, as indicated in the illustrations, to show the different thread paths.
Make the heart shape 1. Cut as long a piece of thread as is comfortable, about 2 yd. Thread a needle on each end. Pull up so there is an even amount of thread on each needle.
10. On the black needle string 1 hematite,

1 kyanite, 1 hematite, and 1 kyanite.
2. On the black needle, string to the center of the

thread 1 hematite and 1 round kyanite, four times.
11. On the red needle, string 1 hematite. Pass through the side kyanite bead of the middle square in the 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 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 hematite, and pass through the last kyanite bead just strung on the red needle (Figure 8).
Figure 6
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 kyanite, 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 gure eight, or 2 squares connected at a corner (Figure 2).
6. On the black needle, string 1 hematite, 1 kyanite, 1 hematite, and 1 kyanite. 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).
Figure 3
Figure 7
Figure 1
Figure 4 Figure 2
Figure 8
OPENING PHOTO: JIM LAWSON.
21
project
BLUE JEAN QUEEN
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.
Figure 9
Make a dangle 16. 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.
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Figure 10
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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).
Katie Hacker
19. Crisscross both needles in opposite directions

through the bottom hematite bead, exiting into the kyanite beads on either side (Figure 10).
Kristal Wick
20. Work up through the piece, follow existing thread paths around each square (dont 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 straps 21. 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.
Candie Cooper
Mark Nelson
Leslie Rogalski
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. LEARN MORE
Figure 11
ABOUT THE SHOW & WHEN YOU CAN WATCH AT
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.
BeadsBaublesandJewels.com
CLAUDIA CHASE
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. Middleeld, OH 44062; (440) 632-5343.
OURS 6 F U L L H IL A B L E A L S O AVA D ON DV
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beaded slider
SINGLE-NEEDLE RIGHT-ANGLE WEAVE AND BRICK STITCH
Hoopla!
Beth Kraft
Single-needle right-angle weave and brick stitch are used to combine 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 different sizes and types, including anodized aluminum, base metal, and precious metals. Make sure theyre lead free! Experiment with different ring sizes but rememberthe number of re-polished beads will change depending on the ring size. Use opaque re-polished beads for the richest color.
Artists Tip
Each design begins with a variation of right-angle weave that will join 2 solder rings together.
WHAT YOU NEED

Small slider: 4 colors size 11 seed beads (A, B, C, D) 1820 3mm re-polished beads 2 lead-free solder rings, 12 size Large slider: 4 colors size 11 seed beads (A, B, C, D) 2830 3mm repolished beads 1820 4mm repolished beads 2 lead-free solder rings, 12 size 2 lead-free solder rings, 34 size Beaded end caps: 4 colors size 11 seed beads (A, B, C, D) 5660 3mm re-polished beads 4 lead-free solder rings, 12 All: FireLine 6lb or 8lb Size 12 needles Thread Heaven or beeswax Thread Zapper or scissors
23
project
HOOPLA!
Small slider 1.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 surgeons knot to tie the thread onto the ring, leaving a 4 tail to be worked in and trimmed later. 3. Pick up 1 small 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 re-polished bead. The 2 rings will be parallel with the bead between them.
8. Pick up 1B, 1 small re-polished bead, and 1A. Pass through the second small re-polished bead, the second B, and through the third small re-polished bead just added. Pass between the rings and through the center of the rst ring. Bring the thread to the outside of the rst ring and pass back through the third 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 re-polished bead; you are in position for the next RAW unit. Repeat to encircle the rings with re-polished and seed-bead RAW units.
4. Pick up 1A (blue) seed bead and 1 small re-polished bead.

Pass between the rings and through the center of the second ring. Note: The rings and thread will show between the beads and along the edges as you stitch and will be visible in the nished piece.
9. Add a seed bead on each ring to link the rst

and last re-polished beads into a RAW unit.
5. Bring the thread to the outside of the second ring; pass

back through the second re-polished bead and continue through the center of the rst solder ring.
Brick stitch edge

Use 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 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 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.
6. Bring the thread to the outside of the rst ring and pass
back through the second 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 re-polished beads held rmly between the rings.
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.
7. Pass through the rst re-polished bead, the A seed bead, and exit the second re-polished bead to complete the rst round of RAW; you are in position to start the next RAW unit.
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12. Repeat Step 11 to cover the top of the ring, usually between 1822 seed beads. Join the rst and last seed beads together.
18. Repeat Step 17, decreasing by a single bead in regular in22 beads together. Weave the thread into the beads and trim.
tervals 34 times around the circle. Join the rst and last seed
13. To complete Side Two, turn the slide over, pass up through the nearest re-polished bead, and exit moving from right to left through a B seed bead. Repeat Steps 1012. Weave the thread into the beads and trim. Large slider 14. Repeat Steps 18 using two 3/4 solder rings to create a
larger slider; use 4mm re-polished beads for the center beads and 3mm re-polished beads instead of seed beads in the RAW units.
19. Repeat Steps 1518 to complete Side Two of the large

slider. Beaded end cap.
20. Follow small slider Steps 112 for Side One of the beaded end cap. 21. Exit from the top of the 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 between the re-polished beads under the second ring to position thread for next step.
15. Repeat Steps 1012 to complete one round of seed-bead

brick-stitch edging on Side One of the large slider. When nishing the brick stitch rounds do not cut the thread but continue with the next step.
16. Exit from the top of the 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.
23. Do not work a row of seed-bead brick stitch on Side Two of the end cap; instead brick stitch about ten 3mm re-polished beads inside the ring. Exit under the second ring and to the outside between the RAW beads; pick up 2 re-polished, pass down through the center of the ring and out under the ring between the seed beads. Pull or poke the re-polished beads to lie along the inside rim of the ring. Pass back up through the second re-polished bead just added. Pass through the rst re-polished bead from the top to the bottom, and pass through the second re-polished bead, from 25 bottom to top. The thread will be exiting from the top of the second re-polished bead. The extra step stabilizes the beads when starting brick on the ring.
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.
25
project
HOOPLA!
24. Pick up 1 re-polished and pass under the ring. Pass thread over the ring edge and up through the re-polished from the bottom (ring side) to the top. Repeat around to ll the ring with re-polished beads. Join the last 2 beads together 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
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 re-polished 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 re-polished beads, decreasing if needed. Pass through the 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.
fabulous fabric. glamorous glitter.
TURN ORDINARY MATERIALS INTO EXTRAORDINARY DESIGNS
TUR N O R DINARY M ATER I A LS INTO EXTR A O R DINARY D ESI G NS
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.
Get Started Today

with this must-have, easy-to-follow jewelry resource youll use again and again!
O P
WAT C H A P R E V I E W AT
InterweaveStore.com/BeadedBraceletsDVD
26
withl Wick Krista
necklace
WIREWORK AND STRINGING
Rainforest Necklace
Terri 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.
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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 Finished length: 14; will stretch to 18. 10 bead-stopper springs or clips Crimping pliers Wire cutters Long chain-nose pliers
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.
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 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 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 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 nish this end of the necklace. Crimp rmly. Trim only 4 ends. Do not cut the fth wire.
3. Place strands side by side on your beadwork surface. Strands should be about 10 " curled but can vary within ". Remove or add beads as
7. Repeat Step 5 with the other part of your clasp.

RESOURCES: Accents Beads, accentsbeads.com.
29
earrings
FLAT RIGHTANGLE WEAVE
Silver Comet
Leslie Rogalski
These dramatic earrings are actually just 90 turns of basic at RAW; they hang askew on the ear wire like zigzags of the night sky!
WHAT YOU NEED

For 1 34 earrings: 32 Swarovski Jet 4mm bicones 9 Swarovski Comet Argent light 4mm bicones 2 closed 3mm silver jump rings FireLine 6lb shing line #12 bead needle 1 pair silver ear wires Scissors
30
PHOTO BY JIM LAWSON.
1.Thread your needle on a 4 length of FireLine. String 4 crystals, 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 14). 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.
Artists Tips
Rightangle 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!
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.
4. Heres your 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. Heres another corner turn for color: Pick up 1 light and 2 Jet (beads 17, 18, and 19). Pass clockwise through beads 15 and 17. Youre now ready to start working your third leg of the zigzag.
8. Gently twist open the loop of one ear wire, string on the
jump ring and earring, and close the earwire loop. Repeat for your second earring. RESOURCES: Check your local bead store.
31
necklace
SIMPLE FRINGES
Loop De Loop
Martha Aleo
This necklace is a wonderful way to use up odd beads and play with color, shape, and design at the same time. Its 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.
32
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 412mm 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 Finished length: 24 1 shank button Size 13 beading needle 20 of exible beading wire Beige Sylamide thread Beeswax Crimping pliers Wire cutters
Artists Tip
To 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.
1. Cut 30 of beading wire. String 1 crimp tube and the shank button on the end of the wire. Bring 23 of wire back through the crimp tube. Secure the crimp with crimping pliers.
4. Bring the wire back through the crimp tube, the bighole bead, and 23 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 wont matter because the weight of the necklace will hold the button and loop closed.
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. 2. String 1 bighole glass bead to cover the
crimp and 24 of size 6 seed beads, covering the 23 tail.
5.
Wax 3 of Sylamide and thread the needle. 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. 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.
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.
RESOURCES: Check your local bead store.
6. 3. String 1 bighole bead, 1 crimp tube, and enough size 6 seed beads to make a loop big enough to go around the button.
33
bracelet
TWO-NEEDLE LADDER STITCH
Crystal Wave
Bonnie Clewans
Using two needles makes this bracelet look like right-angle weave, but technically its 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 its easy for beginners to learn and fun for anyone to make!
Crystal color shown: Swarovski Blue Zircon (5000) Crystallized Elements
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.
WHAT YOU NE ED
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 34
Figure 1
Artists Tip
I 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.
Create the ladder base 1. 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.
Continue adding 6mm crystals, crisscrossing in this ladder-stitch technique, until you reach about 1 short of your desired length, allowing for the clasp.
Figure 2
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 rst needle, forming a loop holding the clasp. Your needles should crisscross through the 4mm crystal, exiting both holes pointing in opposite directions (gure 1).
String the togglering clasp 7. 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 attached 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 gure 1.
Make the waves 8. 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 temporarily just to avoid accidental sticks.
Did 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.
Figure 3
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 (gure 3). Repeat for the length of the bracelet. Finish 10. 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. Rethread 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.
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 (gure 2) as you did with the 4mm in Step 4.
35
bracelet
TRIANGLE WEAVE
Sparklefest
Meri Nash Aderhold
This super-sparkly band of owers is an easy-to-learn variation of right-angle weave. Each ower has 6 trianglestitched petals. Once you become comfortable with triangle weave, youll never want to stop, and the color variations are limitless!
Artists 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 snowakes. Use green crystals around the outside and richer colors inside to evoke owers.
36
WHAT YOU NEED

4 g of size 15 seed beads: silver, gold, or clear AB CRYSTALLIZED Swarovski bicone elements (5301): 5258 color A (outside color) 4mm 2 color A, (outside color) 3mm 6066 color B (inside color) 4mm (1011 owers, depending on wrist size, 6 crystals per ower) 1 size 1012mm lobster clasp Finished length: 6, without clasp 1 size 57mm split ring Size 13 beading needles WildFire beading thread Beeswax or Thread Heaven Scissors to cut WildFire
Figure 1
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 tangling by re-waxing after every 3 owers.
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).
Figure 2
Figure 3
8. Triangle stitch 5: String 1 seed bead, 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 gureeight 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 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). one 4mm A (bead 11), 2 seed beads, 1B (bead 12), and a seed bead. Close the triangle: 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).
2 4 3
4
2 3 5 6
Figure 4 1
Figure 5
9. Complete the rst ower: string 1 seed bead, one 4mm A (bead 13), and 1 seed bead. Close the triangle and the whole 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 counterclockwise through 2 more seed beads and bead 10; exit the next seed bead (Figure 7). 10. Repeat Steps 49 to make 911 more
owers (depending on wrist size). Try different colors of B beads around the outside for more variety!
3 5 8
3 5
8 10
Figure 6
2 4 12 9 10 3 5 8 7 6
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.
Figure 7
11
Figure 8
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).
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.remountaingems.com.
2 14
11
12 9 10
5 8 7
4 12 9
3 5 8 10
11
7. Triangle stitch 4: String 1 seed bead, 1B

(bead 9), 2 seed beads, one 4mm A (bead
37
bracelet
STRINGING
Tandem
Carole Rodgers
Beads with more than one hole offer unlimited design possibilities. You can weave them or string them in unusual ways and have a lot of fun designing with them.
WHAT YOU NE ED:

Hematite Bracelet 31 hematite 3.5x13mm 2-hole bar beads 35 silver-plated 4mm round 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 exible beading wire
WHAT YOU NE ED:

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 uted metal beads 1 gold 3-strand clasp 6 gold 2mm crimp beads 27 of .015 gold-plated exible beading wire Wire cutters Crimping pliers Bead sorting dish or cloth Finished size: 7
38
Hematite bracelet 1. Cut the beading wire into three 9

pieces. String 1 uted bead and 1 crimp bead. Pass the wire through the middle hole of the clasp and back through the uted bead and crimp.
5. Attach the second wire to the outside loop of the clasp that is closest to a bead that is pointing up. You will have 16 up beads and 15 down beads.
and crimp. Secure the crimp and trim the excess wire.
2. String the dome beads alternating

with the gold spacer discs. Use alternate holes on the dome beads so all the domes face up. Continue stringing until all the dome and spacer beads have been used.
6. String 1 hematite bead and 1 uted

bead. Continue across bracelet passing through 1 hematite and picking up 1 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.
2. Push the wire up so you have about a 4mm loop around the clasp loop and about a 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 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 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.
3. String 1 crimp tube, 1 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 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 nal strand.
RESOURCES: Focal bead: abeadstore.com. All other resources: Fire Mountain Gems and Beads, remountaingems.com.
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 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 bracelet 1. Using gold wire, string 1 crimp, 1 uted
bead, and the middle loop of the clasp. Bring the wire back through the uted bead
Trs Turquoise by Marlene Blessing
~ Free
Stringing Designs! ~
Eye on Midnight by Sharon Borsavage
Download your FREE eBook today:
5 FREE
Beading Projects to Learn
How to Bead
ut these Check o designs, g stringin or make pick one all! them
G E T YOUR F RE E P RO J E C T S AT:
www.BeadingDaily.com/ FreeStringingProjects
Sorbet in August by Michelle Mach
39
necklace
WIREWORK
Peaceful Dreams
Lorelei Eurto
Create a simple wire-wrapped beaded necklace with several handmade artisan-jewelry components.
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 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
40
Artists Tip
Before 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 component 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 lampworked round instead of the quartz bead. Repeat this step, stringing 1 quartz bead, but dont wrap the second loop. Attach the second loop to the Peace link, then complete the wrap. (Figure 3)
1
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, connecting each to the previous wrapped loop; do not wrap the 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 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 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 ligree tube bead. Close the jump ring and attach 2 more jump rings to that main jump ring, creating a small threeloop chain.
8. Create 1 quartz link, attaching the rst loop of the link to the last loop on the necklace; 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. ndings: FusionBeads.com, fusionbeads.com. Copper wire: Michaels, michaels.com.
4a
4b
41
bracelet
BEAD STITCHING
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!
The Look of Links

Patricia C. Vener
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.
WHAT YOU NE ED
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-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: 6 To lengthen this bracelet: There are 4 links or loops per inch, 15A beads and 4B beads per loop. Obtain extra beads (about 68A ( g) and 18B beads) for each inch of desired extra length.
42
Make the links 1. Thread a needle on 5 of thread. Place a

stopper bead, leaving a 10 tail.
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 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.
2. String 3A (purple), 1B (gold), 3A, 1B,

3A, 1B, 3A, and 1B for a total of 16 beads.
nal link. Reinforce by passing around the loop again. Pass back into the chain and tie a secure surgeons knot between two beads. Weave threads around through a couple links to hide the tails and trim.
3. Pass through all beads again to reinforce. Exit the rst gold bead strung. 3
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 rmly between your thumb and forenger. Pass through the rst 3A and 1B strung in this loop to close the loop that links through the previous one.
Artists Tip
Tip to tighten thread: Gently roll beads between your thumb and forenger as you tighten thread whenever you have to pull beadwork snugit helps ease the bead friction so the thread can pull tighter.
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.
Loop 2 Add the clasp 8. Use two pliers to gently twist open a Loop 1
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.
Learn the Lingo

Vermeilvermay is silver that has been goldplated. (Gold plate can often be used on metal base.)
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.
9. Check the bracelet for t, allowing about 1 for the clasp. Create a 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
43
necklace
EVEN-COUNT PEYOTE & STRINGING
Striking Jasper
Melody Marie Murray
This easy project teaches you how to peyotestitch 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.
WHAT YOU NE ED
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
44
Make the bail strip Make small tube beads 1. Cut 3 of FireLine and thread the needle. 4. Cut 3 of FireLine and thread the
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. 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.
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 motherof-pearl, 1 clear crystal, 1 large (10x7) peyote tube, 1 clear crystal, 1 mother-ofpearl, 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.
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 evencount 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.
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, remountaingems.com.
String the necklace 5. 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.
45
pendant
STRINGING
Eccentric Concentric
Leslie Rogalski
Heres 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-ringthis project has no limits, but watch the weight of the pendant so your O-rings dont sag into O-vals!
WHAT YOU NEED

Rubber O-rings, several sizes Shown: 3 small thin rings OD (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 t through seed beads or beading thread and needle Scissors
46
Artist Tips
Choose thick or thin rings visually and dont 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 t as bails over your cord. Choose lightweight materials for beads, such as the resin shown here. Lucite, seedbeaded bead, single mediumsized 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 section (CS). CS measurements are tiny fractions such as 1/16 and 3/32.
CROSS SECTION (CS)
INSIDE DIAMETER (ID)
OUTER DIAMETER (OD)
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 ending 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 concentric medium O-ring, then nish your strand by passing through the remaining tiny Oring and the largest Oring. 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!
47
bracelet
BEADWORK
Crystal Raindrops
Jordana Hollander
Create beautiful beaded raindrops to surround delicate bicone crystals, then nish with an even-count peyote toggle clasp.
Create the raindrop crystal band 1. Thread the needle onto 4 yd of thread. Add a stop bead, leaving a 10 tail.
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 7 with clasp
2. String 6A and 1 crystal down to the stopper. Pass through

the 6A again, starting at the rst bead and working towards the crystal. Hold the work between your thumb and index nger with the crystal on top.
STOP BEAD
3. String 3A and 1 crystal. Pass through the last 3A of the previous 6 beads. Flip work to hold with the new crystal on top.
STOP BEAD
48
4. Pass through the last 3A added. You will now see a V

surrounding the crystals; 3A on each side of the crystal.
10. Pass through the loop several times to reinforce. Use halfhitch knots to secure the tail and working thread, weave in the ends and trim.
Make the toggle bar 11. On a new 1yd length of thread, work A beads in even-count
STOP BEAD
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 rst raindrop around the crystal. Turn your work to hold the raindrop between your thumb and index nger.
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 several 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.
STOP BEAD
re 5
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 ip the work over as needed to continue.
ure 7

STOP BEAD
Figure 6
8. Repeat Step 7 to raindrop all crystals. Make the clasp loop 9. String 11A. Pass through the second and rst A from Step 7 to
form a loop the width of the bracelet.
STOP BEAD
Figure 7
49
earrings
NO-NEEDLE CRISSCROSS WEAVE
WHAT YOU NE ED
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
Hollywood Chandeliers
Bonnie Clewans
Fast and fabulous, these easy earrings use a no-needle, crisscross technique youll love. With graduated sizes of glittering crystals or sparkly faceted glass beads, the red carpet look is minutes away!
50
1. String three 10mm beads to the middle of 1 strand of wire. 2. Crisscross the wires through one 8mm
bead in opposite directions (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 crisscross through one 4mm bead (gure 2).
Figure 1
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 (gure 3).
Figure 3
5. Snug the wires to pull the beads into a nice position without gaps, but not too tightly that the beads dont dangle gracefully. Use chain-nose pliers to squash the crimp beads. Use the wire cutters to trim any excess wire.
RESOURCES: CGM Findings, cgmndings.com. Bead Gallery, beadgallery.com.
Figure 2
51
necklace
BEADWEAVING
Silver Waters
Pat Wexelblat
Fast and fabulous! No needles needed for this shimmering, feminine necklace. Use exible beading wire and a crisscross technique.
Artists 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 doesnt 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 dont correct it, the bend will be permanent.
WHAT YOU NE ED
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 5 of .014 or .013 exible beading wire Chain-nose pliers Crimping pliers Wire cutters Clamp or bead stopper clip Finished length: 16
52
1. Cut the 5 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. Dont atten the tube with pliers, or it wont t inside the clasp ring.
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.

A B
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.
First ring 2. 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
11. Gently pull the two wires protruding

from the crossover bead wire ends to close the 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 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 rst beaded loop as your clasp loop when wearing the necklace.
Note: The 3mm silver beads are the crossover beads, through which both wires will crisscross as you work the length of this necklace.
8. Repeat Steps 57 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 nal ring and clasp.
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 rst wire, in the opposite direction. Pull to create your rst ring. Make sure the beads have covered the short wire ends protruding from the crimp tube.
Final rings 9. 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 rst wire.
RESOURCES: Silver beads: Rio Grande, riogrande.com. Swarovski crystals: Atlantic Gems, Inc., atlanticgems.com. Clasp: Rings & Things, rings-things.com.
53
bracelet
LADDER STITCH & PICOT
Bugles & Beads

Robin Cowart
Add glitter to your glamour with this beautiful little bracelet. This easyto-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
54
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 rst bugle strung so the beads are sitting next to each other. Pass through the second bugle bead.
6. String 3 seed beads, 1 crystal, and 1 seed bead. Pass back through the crystal.
3. String 1 bugle bead, pass back through the second bugle, and through the bugle bead just added.
7. String 3 seed beads and pass through the next bugle. Repeat
the ladder stitch until youve reached your desired length, minus the clasp.
4. 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.
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.
Make Your Beadwork Stand-Out Among the Crowds!

Add Beautiful Bezels and Custom Clasps For One-Of-a-Kind Designs!
S SET YOUR S STONES IN STYLE!
T Take your jewelry to the ne next next level with beautiful be bea bea beaded bezels. Join e Mel Meli Melinda Barta as she e sh sho shows you step by se ste step how to set caboc ch chons, rivolis, buttons, an and more. n
DESIGN CREATIVE CLOSURES FOR YOUR BEADED JEWELRY!

G Give Give your beadwork the pro pro professional look and durability it de it deserves with custom clasps. d Ge Get 10 watch-and-learn lessons an and design techniques to n n nish your jewelry with handm ma made toggles, rings, buttons an and loops, snaps, and more.
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55
earrings
HERRINGBONE & PEYOTE STITCH
Starfish
Lynn Davy
A combination of peyote and herringbone stitches in two seed bead sizes gives this quick-and-easy starsh its seashore shape!
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 Roundnose pliers stack: A column of beads, most commonly used to refer to pairs of beads in herringbone stitch.
Learn the Lingo

stepping up: When you pass through a stitched bead to be in position for the next round or row.
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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 rst bead again.
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.
2. Work in peyote stitch: Exiting from the 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 rst bead, step up by passing through the rst A bead of this round again.
6. Switch to the smaller A beads and work in herringbone to add 3. Work in herringbone to form the arms of the starsh. 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 rst B strung. 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 nal round, add 1A to the tip of each stack, or starsh arm.
4. Stitch 2B on top of each stack of the previous round passing through all the edge beads between the stacks.
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!
57
earrings
EVEN-COUNT PEYOTE
Did you know?
Different 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 affect the look of your work.
Crystal Buckles
Anne Jackson
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 at-nose)
Heres a fun project if youre 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 strip 1. 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.
4. String 1 bead and make a peyote stitch, passing through the last edge bead on the lower right side of the beaded 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 alternating 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.
tail thread
Make the basic peyote strip 2. 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 bottom 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 beadwork following existing thread paths. Trim. back of crystal
1 10th
edge
bead
Decrease the end of the strip

Decreasing requires repositioning the needle to exit a specic 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. edge beads
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.
Note: When you make the second earring, Steps 79 will be reversed so that the tips of the earrings will be opposite each other when attached to the ear wire.
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.
working thread
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.
14th edge bead back of crystal 10th edge bead
59
project
CRYSTAL BUCKLE EARRINGS
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. back of crystal 14th edge bead 10th edge bead back of crystal
back of crystal
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 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 wire 13. 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 rst earring you made, for mirror symmetry in the pair!
RESOURCES: Swarovski crystal frames: Fire Mountain Gems and Beads, remountaingems.com. Aiko seed beads: Bobby Bead, bobbybead.com. Miyuki Delica Beads: Caravan Beads, caravanbeads.com.
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 rst 2 beads of the bail.
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60
bracelet
FRINGE
Comet Anemone
Leslie Rogalski
My favorite anemone bracelets contrast the tip beads against the fringe stem beads for a truly lush look. Im 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.
WHAT YOU NE ED
30 g size 6 matte black seed beads (for fringe stems and core beads) 230250 Swarovski Comet Argent light 4mm bicones or rounds (for tips) Matching silver or crystalset clasp 2 crimp tubes .018 exible beading wire FireLine 8lb Beading needle Scissors Crimping pliers Wire cutters Bead Stoppers
Artists Tip To make this bracelet, crimp clasps onto a core strand of beads, then sew fringes between the beads.
61
project
COMET ANEMONE
Determine your bracelet length 1. Make the core nished length at least 1/2" to 3/4 larger than
your desired length because the fringes 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 clasps length. Example: For a 7 bracelet with a 1 clasp, subtract 1 for a subtotal 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 beads 2. 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.
Note: Fringes should sit in a cluster against the core beads; dont 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 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.
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 beads width of space between the stopper and the bead next to it. By waiting to crimp the other end of the core, youll 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.
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.
Adding the fringe

You 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. Starting at the crimped clasp end, leave a 5 tail and stitch through the rst core bead. Tie a double square knot with your tail and working thread between the 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.
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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.
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.
length of thread, making a surgeons 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 carefully trim any exposed tail ends. Continue adding fringe.
Finishing 11. When youre satised your bracelet length is comfortable (remember to include the length of your clasp in that 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 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 obscure; trim carefully. Your bracelet may seem snug when you rst put it on, but the fringes will atten out against your wrist. Nice work!
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 atten out against your wrist a bit for the truest test of t. Youll notice now how the fringes add to the bulk of the bracelet! How to add thread
When youre down to about 8 of working thread, exit the base of a fringe at the core beads. Knot the tail onto a new
RESOURCES: Check your local bead shop for all beads, crystals, and ndings. FireLine 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 1012mm rounds. Make random length, spiked fringes with bugle beads and varied sizes of seed beads. Blast your bracelet with texture using a mix of coordinated colors and varied bead surfaces.
63
pendant
SQUARE STITCH
Turn It Over
Gabrielle 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
64
Tiles 1. 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.
Artists tips Dont use transparent beads or the reverse side will show through. Square-stitched tiles: Stitch these 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.
Side A Side A Side B Side B
Side A Side B
Side Side AA Side Side BB Figure 4
Tile 3
Tile 2
Tile 3
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.
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 16. Tie off threads and trim.
Bail 8.Thread your needle with about 6 of thread. Use color 5. Evenly match the edge beads along the top and bottom 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 layers to close the top of the tile.
ROW 1 B ROW D 1 2 3
A to square-stitch 18 beads across for as many rows as are needed to 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 tubes 9.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.
65
project
TURN IT OVER
Connect the tiles 10. Thread your needle with about 6 of thread. Pass
down through the rst column of beads in one connector tube; leave a 4 tail. Pass down through Tile 1, Side A, Row 5. Pass down through the rst column of beads in a second connector tube. Pass down through Tile 2, Side A, Row 5. Pass down through the 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 rst connector tube.
Turn the pendant over. Cross thread over diagonally to pass down through the rst column of the rst connector tube.
2
Connector tube top view.
Repeat Step 10 to add connector tubes to Side B. Do not tie off thread.
Side A
Side B
Attach the bail 11. Using your working thread, stitch the top 4 beads
on the 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!
Tile sides shown separately for clarity.
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necklace
SQUARE STITCH
Eternity Circles
Cathi Tessier
Photo by Jim Lawson.
Eternity Circles presents a clever and easy way to embellish a simple square-stitch strip. Once you learn the basic technique, youll have fun trying all the variations. Make this stylish chain to link your love of beading to a hot fashion trend!
67
project
ETERNITY CIRCLES
WHAT YOU NE ED
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 Scissors Finished length: optional for bracelet or necklace
Artists 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.
Square-stitch strip 1. Thread 2 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 nger to push the 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).
Figure 1
Figure 2
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).
Figure 3
Add circles 5. String 8 silver beads and pass through

the previous silver row, forming a semicircle 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 rst semicircle you created (Figure 4).
6. Repeat Steps 25 for as long a length as desired, less 1 allowance for the clasp, ending with 3 rows of gold beads (Figure 5).
Figure 4
Figure 5
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How to add thread

When 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 working 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.
Closure 7. 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.
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! Editors Note: I found it easier to 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 gure eights (Figure 7).
Figure 6
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.
Try This!
Vary the color of the circles. Vary the placement and shape of the circle; create doubles, lled in circles, swirls, and gure eights. Change the number of beads in your circle to make them more or less round, more or less elliptical.
Figure 7
69
bracelet
BEADWEAVING
Tangled Vines
Robin Cowart
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 different 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.
WHAT YOU NE ED
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 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.
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Make the base row 4. At one end of the base row, pass 1. String 1 crimp tube on the beading wire. through beads 1 and 2, leaving a 5 tail.
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. 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.
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 uff the vines when nished.
2. String 6075 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.
Stitch the vines 5. 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.
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 nal few knots.
3. Cut a 4 piece of thread, condition it with Thread Heaven, and thread your needle.
knots around core wire
Download your 7 FREE Peyote Stitch Patterns

~ Master the beading stitch beaders love most!
Finger Food by Leslie Rogalski
~ Discover seven peyote stitch patterns that will expand your beading skills. ~ Learn how to create unique seed bead jewelry.
Beading Daily is your Comm unity for Inspiration, How-tos, Free Projects & More!
Its time to peyote stitch! Get your free projects at:
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Banded Tapestry Cuff by Kathy King
www.BeadingDaily.com/freepeyotepatterns
71
bracelet
BRICK STITCH
Heart to Heart
Carol Dean Sharpe
72
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.
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 saffron luster (DB-118) Beading thread to match Needle Scissors Finished length: 7 1/2
Attach the heart-shaped button 1. 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 adjacent 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 button 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.
Attach the beaded loop 5. 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 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 rst gold tip bead where the loop began. Pass through the 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 nish, pass back into the beadwork and weave in the thread to secure; trim.
A great tip!
Use a new piece of thread to attach any closure. If something goes awry, you wont need to rework any of the main piece of beadwork!
73
bracelet
SQUARE STITCH
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 montes strung between the units of matte cube beads. Complete this chic cuff with easy two-needle weaving in a crisscross method.
WHAT YOU NE ED
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 montes 1 long slider clasp with 2 connector loops Silkon #2 thread 2 Big Eye needles Scissors Finished size: 7
Learn the Lingo

Montes (pronounced montayz) are at-backed crystals already attached to components that have 4-way thread or wire channels, ready for stringing or attaching.
74
Artist Tip
Pin down the top end of the bracelet to a bead mat, using a quilters pin.
Make the cube-bead unit 1. String a needle onto both ends of 3 yd of thread. 2.
Row 1: String 3 cube beads to the center of the thread.
String the monte connection 6. On left needle, string 2 seed beads, 1 monte, and 2 seed
beads. On the right needle, string 2 seed beads and crisscross through the monte from the opposite side. String 2 seed beads.
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.
6 1
5 2
4 3
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.
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.
6 1
5 2
4 3
Add the clasp 9. 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.
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.
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 montes: Dreamtime Creations, dreamtimecreations.com. Silkon and cube beads: Fire Mountain Gems and Beads, remountaingems.com.
7 6 1
8 5 2
9 4 3
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bracelet
EVEN-COUNT PEYOTE
River Cuff
Lynn Davy
This simple even-count peyote cuff was inspired by a river sparkling 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!
Artists Tips
When choosing the beads, pick a mixture of different nishes(silverlined, 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 23 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 dont lose all of them. Use beads with a shiny 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 different sizes, or a mixture, and try out different colors, too.
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
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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.
side edge
1 2 3 4 end edge 5 6 end edge 7 8 9 10 11 4
3. String 16 seed beads, including 1 size 8 in a random 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 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 counting the picot bead) (Figure 3). Add the closure rondelles 8. 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.
12 13 14 16 15 Figure 1 13 14 16 15 Figure 2
side edge Figure 3
8 in bead row 7 6 5 4 3 2 in bead row Figure 4 1
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. Remember to reinforce.
Add other rondelles 10. 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 rst rondelle is on an in side bead. Repeat Step 8 but do not pick up a size 11 bead between the cuff and the rondelle: the remaining rondelles are stitched at to the beadwork (Figure 5).
Figure 5
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project
RIVER CUFF
11. Repeat Step 10 to add an evenly spaced line of rondelles at against the strip along one side of the strip. Adjust the last couple rondelles as needed to 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 loops 13. Remove the stop bead. Thread the tail
on a needle. String enough size 11 seed beads to 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 t over the rondelle. Undo if needed by removing the needle and pulling out the thread, adding or subtracting beads for a better t over the rondelle, and repeating the stitching of the loop into the beadwork.
14. Weave through the beads to exit a parallel 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.
Figure 6 5 Figure
still easy after all these years.

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JEWELRY BY Sara Richardson, Gaea Cannaday, Jeanine Center, and Cindy Wimmer.
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pendant
ODD-COUNT PEYOTE & SQUARE STITCH
Starburst
Leslie Rogalski
Create a crystal starburst around an exquisite wheelshaped nding and learn to decrease oddcount peyote to a center point to display an accent dangle. Whip up an easy squarestitched bail and youre ready to wear the pendant on your favorite cord.
WHAT YOU NEED

1 rhodiumplated and cubic zirconia (CZ) 15mm (O.D.) wheel component 1 rhodiumplated and CZ 6x8mm drop component 24 jet 4mm Swarovski crystal bicones 1 g rhodiumelectroplated 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 Flatnose pliers Roundnose pliers Jewelry glue Small Bead Stoppers Finished pendant: 3 without bail
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pendant
STARBURST
Crystal starburst 1. Working with doubled thread helps stiffen 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.
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 oddcount peyote until you have 14 rhodium beads along both sides of your panel. Remove the stopper bead after a few rows.
2. Pick up 1 crystal,1 green bead, 1 crystal,and 1 rhodiumbead. 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.
5. Weave through the beadwork to reposition your thread for the decrease: On the side youre exiting, pass through the secondtolast rhodium bead and the thirdtolast black bead. Pass through the secondtolast black bead and through the last black bead. Work peyote to the end of the row.
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 rst wheel opening and knot securely to the tail thread.
Peyote panel and dangle 3. Gently work a closed jump ring into the open loop of the
dangle teardrop. Use your atnose and roundnose pliers to close the loop. Set aside.
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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.
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 at below the starburst with the smooth rolled edge of the tube facing younot 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.
11. Row 3: String beads 79. Pass through

the previous row and the row just strung.
12. Row 4: String beads 1012. Pass through the previous row and the row just strung. Note: After the rst 4 rows, thread the tail thread onto a needle and pass once through Rows 2 and 1 to tighten the rst row. Do not trim. 13. Continue in 3beadwide square stitch
for enough rows to t around your chain or cord. If you want to change the cords, make the bail long enough to slide over a clasp.
7. Thread a needle on the tail thread. Fold over the nondrop end and zip it closed along the fth rows of the panel, forming a narrow tube. See the ZipUp Bead by Bead on page 22. Exit out the tube end from inside the hollow, not through a bead.
14. When your bail is the desired length,

pass through Row 1, the last row, and through Rows 14 (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.
Bail 10. Attach a 3beadwide squarestitched 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.
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 36. Pass through all beads again. Pull the rows of beads snugly against each other. Pass through the previous row and the row just strung.
RESOURCES: CZ ndings: Ezel Findings, ezelndings.com.
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beads
EVEN-COUNT PEYOTE & FRINGE
Poodle Beads
Leslie 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 ruffs. Ruff!
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
Artists Tip
Round seed beads (not cylinder beads) work best for the looping fringes, but cylinder beads work ne for peyote tubes.
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Stitch a peyote tube 1. On a 4 piece of thread, string 8 size 6

beads. Attach a Bead Stopper leaving a 6 tail.
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 beadwork between your ngers to assist in allowing the thread to pull tighter. You should now be able to remove the Stopper. Continue in peyote stitch.
Make the peyote tube 8. 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 illustrative purposes so the thread can be more easily seen. When you make your peyote tube you do not need this paper tube.
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 rst beads you strung and give them a staggered appearance.
1
6. At the end of the row, reverse direction

as in Step 3.
9. Crisscrossing back and forth, zip the

two sides of the tube together, passing through the out beads.
7. Continue until you have a strip with 5 beads along each side.
4 7
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project
POODLE BEADS
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!
13. Make 5 loops, working around the 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.
Make the loops 11. Your needle needs to be exiting out one of
the ve end beads. Since tying the knot places your thread between beads, reposition the needle: pass in (toward the tube beadwork) through one bead next to the knot and out (away from the beadwork) through an adjacent bead.
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.
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 motion up through the next bead around the 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
Bracelet by Donna Kraidman.
11
15
12
16a
16b
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learn the lingo

Making a tube from a strip of peyote is called the zip up because the beads t together like the teeth of a zipper, with alternate beads staggered to sit in and out.
Voil!
String poodle beads with other beads for fun, fast, nished jewelry.
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felt beads
EMBELLISHMENT
Have a Ball!
Allison and Tracy Stilwell
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, holiday ornaments, and anything else you can imagine! Basic sewing skills will be very helpful in this project.
Learn the Lingo

Wool 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 ber arts.
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Add dots or lines

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 ngers for a line, then position it on the felt bead (Figures 1 and 2).
Figure 3
WHAT YOU NE ED
Wool felt beads Wool roving Felting needles Small sharp scissors
2. Work the roving into the felt bead: poke

the needle in and out of the color spot and the felt bead underneath.
3. Dene the shape: fold stray 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).
Figure 1 Figure 4
4. When the shape is almost nished, move the end of the needle in a circular motion to gather the remaining ne wisps of roving together. Work those wispy ends into the bead. Clean up with scissors.
Figure 2
Artists Tip
Make new colors easily by blending two or more roving colors. Gather little puffs of a few colors together and pull the bers apart with your ngers, keeping the ball of uff together until the colors are mixed to your liking.
Felting needle tip

A felting needle is very sharp, with a barbed tip that hooks the 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!
Try This! Vary the sizes and colors on the same bead.
87
project
HAVE A BALL!
Embroider a felt bead

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.
WHAT YOU NE ED
Embroidery or millinery needle Cotton 6strand DMC Embroidery Floss Wool felt beads Scissors
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 stitchesits easy to sew through wool felted beads!
Add buttons, beads, and sequins

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. Exit on the outside where you want to position your rst sequin or bead.
WHAT YOU NE ED
Assorted tiny sequins, buttons, beads Beading needle Beading thread to match or contrast Scissors
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.
RESOURCES: Wool roving, felt balls: Ornamentea, ornamentea.com.
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necklace
STRINGING
Braided Choker
Photo by Jim Lawson; all other photos courtesy of the author.
WHAT YOU NE ED
Bead soup: See Step 2 for details 2 three-hole spacer bars 2 eye pins 4 14 yd of thin, exible beading wire 2 cone end caps 6 crimp beads Clasp Cellophane or masking tape Round-nose pliers Chain-nose pliers Wire cutters
Lucy Arnold
This braided choker works well with one, two, or even three colors. Its a wonderful excuse to use a whole collection of different beads in your favorite color.
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project
Artists Tip
BRAIDED CHOKER
3. Divide the beaded strands into 3 pairs, putting dissimilar

strands together. They may be dissimilar in size, shape, or nish. Color family will be the one thing they all have in common.
These instructions are for a 16 choker. I beaded 14 1/2 strands, which resulted in 12 1/2 of braiding. In determining your nished length, remember to include the measurement from the spacer bars to the ends of the clasp; mine was 1 3/4. Thus, my 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.
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.
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.
5. Holding the wire ends together, string 5 size 8s 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 8s. 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.
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.
7. Repeat Steps 46 with the remaining pairs. 8. String 1 cone end cap and 1 size 6 seed bead onto the eye pin.
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.
9. Using chain-nose pliers, bend the eye pin down at a right

angle against the size 6 bead. Trim the pin to about 38.
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. 90
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.
13. String the pairs of wire ends through the second spacer bar, maintaining the braiding to the end.
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.
14. Repeat Steps 5 and 6. 15. Repeat Steps 810. 16. Attach one part of the clasp to each eye-pin loop.
12. Add or subtract a few beads from each strand as necessary 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.
TRY THIS!
Have fun with variations in color, size, and shape!
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necklace
STRINGING
Mod Pods
Leslie Rogalski
Match the scale and style of your designs with the right 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.
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 exible beading wire 2 larger holed 3mm crimp tubes Crimping pliers Wire cutters Bead Stoppers Finished size: 22
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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 1214 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.
size 8 accent color, 1 black 8, and 7 size 8 beads alternating black and white, starting with white. String a different 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 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 starting 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.
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 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 rmly around all wires. The size 3 should slide down over the crimp tube.
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 cant t all the wires through.
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 8s starting with white (next to the size 3) and ending with a black. String 1
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 doesnt slide into the beads. Crimp 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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feature
COLORWORKS
Turning Inspiration into a Palette

Adapted and abridged from The Beaders Color Palette (Watson-Guptill, 2008) By Margie Deeb
Photo by Margie Deeb from The Beaders Color Palette.
Youre going about your day and stumble upon a combination 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. Determine what makes the color scheme sublime. Note the graceful movement of color within the gradations. By simply using a few of these colors I cant achieve this elegant movement. Im limited by my medium of beads. Unless Im weaving rows of seed beads into a tapestry, I accept that this movement of color will not be part of my 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. Ill use lighter versions of bead colors to achieve more luminosity. Pay attention to the amount of each color relative to the other. I experiment with proportions, changing the 94
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. Ive reduced the amount of green and brown to accents. From what Ive learned above Ive selected a possible bead palette. Even though theres no true lavender in the photo, light amethyst works beautifully with the beads Ive chosen, as does the yellow green peridot. Ive also included a couple of yellow possibilities, one transparent and one opaque. Because beads and gemstones are not the exact colors of the at swatches, experiment not just with proportions but also how different nishes interact with each other.
Photo by Shutterstock from The Beaders Color Palette, copyright 2008 by Margie Deeb. Published by Watson-Guptill Publications.
The Beauty of Analogous Colors

By Margie Deeb
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 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 melliuous quality. Its colors swirl and 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 adjacent colors) are intrinsically harmonious, making them easy to combine successfully. Analogous schemes are grouped in a specied area of the wheel, tending toward warm or cool, allowing mood and emotion 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, natures 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 Deebs Color Report for Bead Artists Spring/Summer 2009. Photo by 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.
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COLORWORKS
Finding Inspiration in the Colors of a Culture

By Margie Deeb
Finding inspiration in a countrys 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. Lets 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. Womens saris are spectral extravaganzas. Buddhists in Indias Tibetan settlements regard saffron yellow and auburn as sacred colors, and their robes reect 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 ligree. In jewelry, Indias passion for gold can be traced to very early times. SaraBeths Beledi necklace epitomizes the texture and detail of Indian jewelry. The colors of Margie Deebs 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.
Photograph by Shutterstock: www.shutterstock.com
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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Using Dominance to Create Harmony

By Margie Deeb
Visual harmony is created when there exists a balance of similarities and differences. Enough concordance and enough contrast must be at play to achieve dynamic tension. But too many differences confuse the eye. What if every bead in your stash were dumped into one huge bowl? Though enticing, the arrangement wouldnt be harmonious or well designed. Such a random mix offers delightful textures and colors, but provides no visual harmony. After 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 nding order through concordancecolors that are similar. The dominance of an elementbe it color, line, design, texture, or shapes and sizes of beadsunies a nished piece, giving it a sense of oneness. Achieve harmony by elevating one or two elements above all others, making them dominant.
In her lampworked bracelet, Kristy Nijenkamp establishes single color dominance with the color peach.
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 lampworked bracelet. Each bead contains many colors, but the dominant color of the whole bracelet is the transparent peach, which unies all the palette members. 2. The tonal approach uses dominant tones (muted or intense) rather than specic hues. The vivid colors of Margie Deebs Spectral Tapestry work as a group to achieve color dominance. No single color dominates: the piece is unied 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. Mermaids 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 different 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 youre on your way to color mastery.
The vivid colors of Margie Deebs Spectral Tapestry work as a group to achieve color dominance.
Mermaids Collar by Margie Deeb uses a family of cool, analogous colors to achieve color dominance.
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COLORWORKS
Inspiration from Winters Contrasts

By Margie Deeb
Winter is a time of contrast: angular, dark branches outlined against at expanses of stark white; gust of biting cold wind outside, and the warmth of the hearth inside, soft snow against hard, crackling 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. Its a great time to spend many cozy hours conjuring new color combinations by the replace. Contrast (difference) 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 differences 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 nishes and materials. Combine smooth beads with faceted, irregular, or chunky beads. Place shiny metallics next to at matte nishes, lusters next to transparents.
Festival of Fringe necklace from The Beaders Color Palette by Margie Deeb.
Texture contrasts are both visually and tactilely fascinating. Everyone loves to touch fringe laden with different sized beads. Add texture to seed bead weaving by introducing larger beads, peyote ruffles, 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 Beaders Color Palette by Margie Deeb.
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necklace
POLYMER CLAY
Pod Necklace
Judy Dunn
This project uses the mica shift technique to create a subtle pattern on the surface of the clay. A metal leang pen adds a gold highlight to the edges, then the components are stitched together using a variation of a stitch used in bookbinding.
WHAT YOU NEED

2 oz pearl Kato Polyclay 2 oz translucent Kato Polyclay Kato color concentrate for desired color Size 611 seed beads in color to match or contrast Nymo thread in coordinating color Krylon leang pen (this brand only) Friction tube clasp Cyanoacrylate glue (optional) Cornstarch or spray water bottle Beeswax Pasta machine Acrylic roller Work surface Texture sheet or textured rubber stamp Oval cutters: 1 x and 1 x 1 1 sheet of acid-free heavyweight paper Baking pan Toaster oven (dedicated for nonfood use) 400-grit sandpaper Drill with 12mm drill bit Scissors
.019 exible 49-strand beading wire Flexible blade (rigid blade will not work)
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Artists Tips
POD NECKLACE
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 leang pen, others may react over time with the clay and soften it.
1. Blend the pearl and translucent clay together in a 1:1 mix. Mixing the translucent 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 concentrates 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 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 nd it easier to add a thin dusting of cornstarch or a spritz of water to the surface of your texture sheet rst, for easier removal.
see the pattern created with the texture. This image is formed by the light reecting 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.
6. Accordionfold 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 manufacturers 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.
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 fth setting on my machine).
8. Cure at the manufacturers recommended 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.
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.
3. Lay the sheet of clay at on the work surface, textured side up. Using your 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 at surface again. After you slice away the textured surface, you will
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Learn The Lingo

cure: this is the proper term for what happens to polymer clay when its in the oven. Using the term bake is not an accurate description since its 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.
10. Using the metal leang pen, highlight the edges of the pods. Two coats are usually required.
12. Cut a 1518 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.
13. You will now have two ends extending out of the back of the oval. They should be about equal in length. The next oval will be opposite this rst one. String each end through the back of one of the holes of the second oval.
11. Using the drill, drill 2 holes along the folded edge, about 45 mm from each outside edge for the small pieces, and 56 mm from the outside edge for the larger pieces. If desired, mark the hole placement prior to drilling.
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. One strand will go across the front and out through the other hole.
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POD NECKLACE
On the other strand, string your beads as you did with the rst oval, then go back down through the opposite hole. Pull the strands tighter, but leave a small amount of slack.
15. The last oval goes between the 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.
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 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.
14. The third oval will go in between the rst 2 ovals. Feed each strand of Nymo thread through 1 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.
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 nally another small pod.
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.
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20. Arrange the pods in whatever alignment is most visually pleasing to you. The pods can still be rotated along three different 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 different 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.
RESOURCES: Clay and oval cutters, pasta machines: PrairieCraft.com, prairiecraft.com; Polymer Clay Express, polymerclayexpress. com; Munro Crafts, munrocrafts.com. Krylon leang 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, remountaingems.com.
A single pod, small or large, can make an attractive pendantor for a bolder look, go for more pods clustered together or spaced apart.
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necklace
POLYMER CLAY
I was playing with some slices from one of my favorite types of milleori 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 wonderfully to a bolo-style necklace.... thus a new and interesting style was born!
Basketweave Pendant
Jana Roberts Benzon
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) 332 drill bit Optional: Latex gloves or nger cots (to prevent ngerprints in clay)
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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).
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).
8. Continue taking the sheet back and 2. At the thickest setting on the pasta machine, roll out a sheet of clay approximately 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 dont worry if your triangles arent exact. Blend the edges of each color together with your nger or a rounded tool. Run through the pasta machine on the thickest setting in the direction shown.
forth (accordion style) until youve formed a loaf. Roll each fold to smooth out air bubbles. After you have completed the loaf, square it up by slicing off the ragged edges on all four sides.
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 thinner 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 doesnt fold over on itself, or it may stick together and ruin the sheet. Trim both light and dark ends.
Divide and wrap the loaf. 9. Lay the loaf on your work surface with 3. Fold the bottom of the clay sheet up to the top, making sure the sides line up.
PHOTO BY TODD MURRAY; ALL OTHER PHOTOS COURTESY OF THE AUTHOR.
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.
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, approximately 1520 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 rst to prevent locking in air bubbles.
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.
10. Put a layer of white clay, rolled to a #5 (medium-thin thickness) on the pasta machine, on the top and bottom.
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BASKETWEAVE PENDANT
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.
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 periodically 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, helping it to lengthen a little more.
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 canes 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.
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 using 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 canes 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.
Continue applying all methods of reduction until it is 19 long. Now cut the cane into twelve 1/2 sections, removing approximately 1/2 of scrap from each end.
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.
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...dont worry about these yet.
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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 1213 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.
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, matching up trenches to form a tunnel. Gently, but firmly, press the slices together everywhere 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.
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.
18. Combine the four pieces of cane together, placing the slices so that a continuous 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. 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 according to the manufacturers 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.
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.
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.
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.
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focal bead
POLYMER CLAY
Dancing Arcs Polymer Bead

Ronna Sarvas Weltman
WHAT YOU NE ED
PHOTO BY JIM LAWSON; ALL OTHER PHOTOS COURTESY OF THE AUTHOR.
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
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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 ow to a shape that would otherwise be static. The gradations of the marbling and curves of the triangles give the bead a lively uidity that is reminiscent of dance. Visual movement is heightened by adding metallic powders, which reect light and add to the vibrancy of the bead.
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 effect, Create a marble color blend 1. Create an olive color blend. Begin by gathering a bit
of white, green, black, and blue. but dont blend it too thoroughly because in the next step you will be blending it more.
Form a bead 6. Roll the clay into a round bead. Tip: Its 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 dont 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 cant go backwards if its blended too uniformly. If the blend isnt quite subtle enough, atten it with the pasta machine, the brayer or even your ngers, and roll a new bead.
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.
7. Now the marbling is blended enough to have some aesthetic subtlety but still has enough marbling to form an interesting base bead.
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DANCING ARCS
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 nger. Note: Be sure your index nger is placed exactly opposite the end where youve poked the hole. We all have little homing devices in our ngers that enable the point of the needle tool to aim straight for them. Its all part of that eye-hand coordination thing. 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.
9. After youve 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 accents 10. To create a toned-down gold color, rst gather
some gold clay with a bit of white and black.
Place triangle accents on the bead 13. 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 youre happy with the placement, gently tap and smooth the triangle accents so theyre rmly adhered to the base bead.
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.
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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, nely dust the bead with the metallic powder, adding extra powder to the sides of the
triangles to give them a more nished look.
16. Bake your beads according to the manufacturers

directions for temperature and for at least 40 minutes. RESOURCES: Bamboo skewers: Supermarket. All other supplies: Dick Blick, dickblick.com or Michaels, Michaels.com.
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pendant
POLYMER CLAY
Focal Frame Pendant

Helen Breil
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.
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 nish 1 focal bead , about or 9mm in diameter 112
1 red Delica bead Santa Fe Red Piata 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
Prepare the focal bead

This project uses an open-box bead 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 nishing work, go to Step 2. 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 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 manufacturers recommended temperature (Figure 1). 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 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 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 youve 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 puffed out, the more pleasing the sunkenin effect that is achieved when the focal bead is inserted (Figure 3).
Figure 1
1.
Figure 2
Trim the back

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).
Create the starburst

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 2 square. Make a starburst pattern, holding 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 nd it easier to create the lines working from the center out to the edges. Dont worry about being too neat through the middle. It will later be hidden by the focal bead (Figure 2).
4.
2.
Figure 3
Apply mica powers

Alcohol inks will be applied after baking. 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 possible. Dont worry about the powder getting on the metal frame, it can be washed off after baking.
Figure 4
5.
PHOTO BY JIM LAWSON; ALL OTHER PHOTOS COURTESY OF THE AUTHOR.
Apply the focal bead

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 rmly and evenly into the clay, all the way down to your work surface. You should have a nice rounded cavedin effect. Place the pendant into the oven and bake for 45 minutes at the manufacturers recommended temperature (Figure 5).
6.
Attach clay to focal frame
3. 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 cornstarch to the inside edges and back of the
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FOCAL FRAME PENDANT
Remove the components

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. Working 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.
7.
Apply the ink

For this project, you will be using Santa Fe Red Piata 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 effect can
8.
be lost. But thinning these other colors with rubbing alcohol can help alleviate this problem. 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 application. 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
back in the frame to show the vibrant shine of three layers of ink, before the gloss is applied (Figure 6).
Apply the gloss

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/nishes.htm for a list of some polymerclay compatible glosses. My personal favorite is All Night Media Plaid Liquid Embossing clear gloss 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 2448 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 border area. If the gloss builds up in this area, your clay insert may not 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, including the focal bead area, and reinserted the focal bead while the gloss was still wet as a means to secure it.
9.
Figure 5
Figure 6
Glue the insert in place

Figure 7a Figure 7b
Once the gloss is dry, put the nished clay insert into the frame and ensure it still 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 modied 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. Squarebox focal bead (and all other focal beads shown): Beadfx.com, product code: tc94-5653-60; Antique Rhodium Metal Bead Frame, Small Double Dot Square.
10.
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necklace
METAL CLAY
Hammered Silver Pendant

Jennifer Kahn
The two techniques, hammering the disk pendant and setting the stone, are presented in separate sections. As you make the pendant, I suggest working 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 youre not sure which is which, examine the color: the light one is PMC+ and the darker one is PMC3.
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WHAT YOU NEED

Approx. 12 of a 28-gram package of PMC+ Pea-size amount of PMC3 Rolling tool Deck of cards Teon 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 office supply stores) Olive oil Plastic circle template with 2 circle (available from office supply stores) Pin tool Ruler Tissue blade Spray bottle Saran Wrap 316 and 932 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 (dont use one that is misshapen or has a seam) Needle le 400-grit sandpaper Kiln shelf Kiln Ball peen hammer Steel bench block 6mm almandine garnet Tweezers Slip container (small plastic 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 nish the beaded strands 6 sterling crimp beads, 2mm Crimping pliers 2 chain nose pliers Sterling S-hook clasp
The Hammered Disk

Although large in area, this piece does not use a lot of PMC+ because its rolled out to only a 2-card thickness. The disk gains strength because hammering work hardens it. Its bold, but delicate and its an easy piece to make.
Rolling out the clay 1. Place 12 of a 28-gram package of PMC+ on a 3 x 5

PHOTO OF FINISHED NECKLACE BY FRANK DESANTIS; ALL OTHER PHOTOS COURTESY OF CELIE FAGO.
piece of Teon 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.
Cutting out the disk 2. 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 removing 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.
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 Teon, reposition it, then resandwich it between the plastic and Teon. Roll a couple more times to ensure uniform thickness.
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HAMMERED SILVER PENDANT
Cutting out the center hole and bail hole 3. Position a 316 circle cutter over the center mark made on your 2 disk accuracy is important here if you want your stone to be centered. If youre 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 youve made, judge how to correct your circle (if its slightly off). Repeat until you have a sense of where to the cutter should be placed for it to be centered. Press rmly on the cutter; once youre happy with its placement, remove it. If the circle youve 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 red and shrunk 12%, youll nd the hole will be smaller too; this works to your advantage creating a nice shelf for your stone to sit on after youve set it in your PMC3 bezel. Using a cocktail straw or 3mm brass tube section, cut out a hole for the bail approximately 18 from the edge, anywhere on the disk. Set the piece aside to dry. As an alternative, use a ex-shaft, Dremel, or hand drill to make a hole in the PMC when its leather-hard.
Drying and warping 4. If you let the circle dry naturally, it wont
warp. However, if you try to hasten the drying 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 atten during ring. But if you need to rene the shape after its dried, it must be 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 Teon. Firing the disk Place the Teon/clay sandwich under a 6. Put the disk at on a kiln shelf and re at heavy book; after about 15-20 minutes, the 1650F for 10 minutes. clay should atten out. Once at, place it on a piece of Teon for another 10 minutes to dry.
Rening the disk 5. After the disk is completely dry, use a

needle le to rene 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 youve sanded the entire outside edge of the disk.
Hammering the disk 7. 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. Dont hit the edges too hard or they will distort and get too sharp. If this does happen, le the edge smooth with a jewelers le. Hammering this way causes the disk to curve like a potato chip. I like this added dimension, but if you dont you can atten the disk with a rawhide or plastic mallet. Your hammered disk is now ready to be joined with the set stone.
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Setting the Stone

After 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 efficient 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 continuous 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 sometimes tear. With some experimentation, I developed this simple method for making a uniform, seamless bezel. Regardless of what size stone youre working with, youll 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 (1564) almandine garnet cabochon, and therefore used 316 and 932 circle cutters. Here, I used a garnet, but Ive also successfully fired moonstone and peridot in PMC3 as well.
pick up the stone and place it over the hole, then push the stone down with your nger. Place the clay from the cut-out hole into a small container with a few spays of water and put it aside youll need it later for slip.
Making PMC3 slip 11. 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 its 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.
316 circle cutter 6mm garnet 932 circle cutter
Cutting out the bezel 10. Position the 932 circle cutter over
the stone. Press down gently to create an impression then pull back up to check your accuracy. If its not centered, use the impression youve 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 dont 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.
Rening the bezel 12. 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 ngernail.
Rolling out the clay 8. Roll out a pea-size piece of PMC3 5

cards high, working in the same manner as you did in Step 1. Its 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 ring.
Cutting a hole for the stone 9. Cut out a circle with the 316 circle cutter
(same one used for cutting the center hole out of the disk in Step 3). Using tweezers,
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project
HAMMERED SILVER PENDANT
Attaching the set stone to the hammered disk 13. 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 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 dampened paintbrush. Turn it over again (rightside up) and set it aside to dry. After its dry, paint an additional layer of slip where the bezel meets the disk so theres 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. Its important that no clay remain on the stone so that light can pass through it.
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 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 balance 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 theres no excess slack between the crimp bead and the jump ring you dont want it stiff, just close enough to the jump ring so excess wire isnt showing. Once everything is in place, compress the crimp with crimping pliers. Repeat this process to add the other 2 wires to the same jump ring.
17. For the rst strand, string spinel chips

with a garnet interspersed every inch. For the second strand, string inch-long sections 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 modied slightly in the center to accommodate the pendant. Continue stringing each strand, matching the second half to the rst
Firing the set stone to the hammered disk 14. Place the pendant (face up) at on the
kiln shelf. Fire at the lowest PMC3 setting, 1110F, for 30 minutes. Because stones are subject to thermal shock, its 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 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-
18. To 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 dont 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.
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pendant
METAL CLAY
Two Views
Lora Hart
Women are complex creatures. We have many moods. We experience different aspects of our personalities from day to day, and everybody knows its a womans prerogative to change her mind. The design of this reversible necklace allows us to dress for success no matter which persona were trying to present. Display the sensuous Cattails side when youre indulging your Bohemian spirit, and the gem-set Interference side on days when you take yourself more seriously. Either way you spin it, youll enjoy making and wearing this twosided pillow-bead pendant.
WHAT YOU NEED

18 gram package of PMC + PMC+ Slip/Paste Speedre Kiln Brass wire brush Tissue blade or rectangular cutter PVC pipe roller Reusable Parchment Paper Badger Balm 14 round stencil brush 4 mm cubic zirconia cabochon of your choice 12 oz. glass jar Ziploc bag 12 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 ber blanket
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pendant
TWO VIEWS PILLOW BEAD
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 wont roll around. I used a Ziploc bag partially lled with rice. This bead consists of four parts: front, back, and two sides. Well be making each part separately and assembling them after they are bone dry. Because the very structure of a bead gives it more strength than a at item, well 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, well start out a little thicker. 2. Use the PVC pipe to roll out a sheet of PMC+ threeplaying 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.
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 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 ngernail to check if the piece is ready to remove. 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 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 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 nd that trying to sand at edges on both sides of the rectangle at once can be challenging, so I like to concentrate on one side at a time, applying gentle pressure with my ngertips on the north end. Then, Ill 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.
Tip: Playing cards are manufactured in various thicknesses. 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

PHOTO BY TODD MURRAY; ALL OTHER PHOTOS COURTESY OF THE AUTHOR.
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 t. Let dry completely and sand if necessary.
parchment. Use a tissue blade or rectangular cookie cutter to cut a shape approximately 34 X 118 and drape it sideways across the glass jar.
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7. Once the two joined halves are dry, sand the open
eliptical sides to make sure they will create a at, level base for the sides.
8. Now lets 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.
also nd sandpaper in ne grits at an auto body shop. Repeat with the other side and use your damp 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 dont dry out. Pick up one of the circles and roll it into a ball using the nger of one hand in the palm of your other hand, then set aside to dry completely. Repeat with the other three circles.
9. Roll out a sheet of clay three-cards thick. For contrast, the sides will be given a mirror 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 at piece and join the two together. Then use a paintbrush to smooth away any slip that oozed out of the join. Repeat with the other side and when dry, le as necessary to match the contour of the bead. We intentionally made these pieces thick so the next step wouldnt compromise their integrity. Laying one side of the bead at on top of the sandpaper, sand the surface with 400-, 600- and then 1200-grit sandpaper. Make about 812 passes with each grit. I like to use the 3M Tri-M-Ite Polishing Paper sold by Rio Grande, but you can
12. To make the appliqu 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 appliqu stretches a bit when you move it onto the bead, the hole will still be a good size. Use the 58 Lilac Kempers 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 appliqu, and place it on the bead. Press down on the appliqu with a barely damp paintbrush to make sure it is fully attached to the bead.
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TWO VIEWS PILLOW BEAD
13. Use a pair of tweezers to place the 4mm cabochon

in the hole. It should 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 appliqu. Use the tweezers to pick up a dry, tiny ball. Dip the bottom in slip, then place it on top of the dampened clay. Repeat with the other three balls. Let dry and sand as needed.
The stove itself gets quite hot, so use the usual common sense precautions to guard against burning. Be sure to read and follow the manufacturers operating instructions before setting up and operating the kiln. The Speedre is designed to operate at a room temperature 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 ber cone while the binder is burning off, but will be contained within the cone during normal ring. I placed a small piece of painters tape on the gauge at 1650 so I could make sure the temperature didnt rise above the maximum.
15. Fire the pillow bead on a small piece of ceramic ber

blanket at 1650 for ten minutes. I used the Speedre kiln to 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.
Set a timer for ten minutes and read a bit of a good book, glancing at the temperature gauge every few minutes. This ring system requires more monitoring than a kiln, but less than torch ring and gives more consistent results than the Hot Pot or stovetop ring.
16. Let the piece air cool before wire-brushing the entire
bead, then sand the sides to a mirror 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. Emphasize 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.
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findings
METAL CLAY
Precious Findings
Lora Hart
WHAT YOU NE ED
PHOTO BY FRANK DESANTIS; ALL OTHER PHOTOS BY DONA DICARLO.
18-gram package of PMC+ PMC+ syringe PMC+ slip 20-gauge ne silver wire, 2" Acrylic roller, or 6" piece of PVC pipe Flat acrylic sheet, 212" 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 watercolortype paintbrush Drinking straws Coffee 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 125
project
PRECIOUS FINDINGS
Sometimes, nding the perfect components for a special design can be challenging. By learning to create your own original ndings, you can move your jewelry making skills to a whole new level.
4. Lightly smooth the seam; it will be perfected after the bead is dry. Be careful not to nick the clay with your ngernail or use too much pressure, you dont 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 Styrofoam. Repeat Steps 14 to make 4 more beads. Feel free to vary the lengths, if you wish.
Tip: Water + clay = slip. You dont want to get water between the clay and straw as you work, because it will create slip and when dry, this will make it difficult to remove the bead. Also, the outside of the tube bead will dry faster than the inside, so use this to your advantage.
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 34" wide x 114" long. Wrap the remaining clay in plastic wrap and set aside.
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 dont 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 lling with the syringe. Youre 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.
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 lls any void.
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 remove too much clay. Let dry thoroughly before moving on to the next step.
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Applying slip. 8. Place the bead on a straw or handle of a paintbrush 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.
12. Wait 12 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 plastic wrap, and wait for them to re-hydrate before pressing 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.
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 79 times, building up to the desired thickness. Repeat this decorating technique with all the beads.
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 le, create a at space on the jump ring, at the seam. Dampen the at section with water and a paintbrush, then extrude a small line of PMC+ syringe on the at section.
14. While the extruded clay on the jump ring is still Making jump rings.
I like to make lots of jump rings at a time and save them in a little container so theyre right there anytime I want to use them. Youll need 5 for this project. moist, dampen a place on the tube bead with your paintbrush. Using tweezers, affix the jump ring to the tube bead by pressing the two together. Repeat to add the other 2 jump rings to this tube bead.
10. Place a page protector sheet on your work surface. Using a lightly oiled, 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 doesnt evaporate. Next, coil the clay around a lightly oiled coffee stirrer, keeping each wind close to, but not touching, the previous coil.
15. Using the #3 or #4 brush, smooth away any excess 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 1315 to attach the last 2 jump rings to the remaining tube beads.
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project
PRECIOUS FINDINGS
Creating a toggle clasp.

Before beginning the clasp, we will need to prepare 2 wire connectors. Two different shapes work well for use in a clasp, a Ushape and an Omega-shape. Ive 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.
Using at nose pliers, bend the wire ends back on themselves until theyre horizontal.
wire to further strengthen the join. Let dry completely.
Making the male part of the clasp. 8. Use your ngers and a lightly oiled at
acrylic sheet (or a CD case) to roll a wire of clay approximately 3.54mm thick on a page protector sheet. Cut the ends with your tissue blade to create a log about 114 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.
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, measuring from the top of the curve to the tip of the legs.
4. Cut the wire ends to approximately 12, from tip to tip. Squeeze the tips of the legs to atten, using 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 2. Flatten the tips of the legs on the U by
squeezing with at nose pliers. This will help the wire slide easily into the clay and ensure that it wont pull out after ring. Rough up the ends of the wire with sandpaper before implanting into the clay. a piece of parchment paper. Cut the clay into a rectangular shape 34 x 114 using the tissue blade.
6. Using a template and X-Acto knife or a

circle cutter, make a 12 hole in the top half of the rectangle. Use tweezers or 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.
9. Using a paintbrush, ll the void with slip and then gently press together. Careful! You dont want to dis tort the cylinder shape of the bar. Let dry completely. If necessary, continue to 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 1650F kiln. The clay around the Omega-wire will shrink during ring and this may cause the bar to bend slightly. I like this effect, but you can use a rawhide mallet to gently hammer the bar straight again, if desired.
Omega-shape connector. 3. This connector resembles the Greek letter Omega, an open circle with a splayed leg on either side. Wrap a piece of wire entirely around the tip of your round nose pliers.
11. Remove your pieces from the kiln and let them cool completely. Burnish to a satiny nish with a wire brush, and if you have a tumbler, tumble for additional polish. 7. Using the paintbrush, paint some slip into the holes where the wire entered the clay. Allow the slip to travel up onto the
RESOURCES: PMC materials and tools: Whole Lotta Whimsy, wholelottawhimsy.com; PMC Connection, pmcconnection.com.
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feature
PATINA 101
Patina 101
Lora Hart
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 ndings can also be customized with a dip in home-brewed patina. The two most common formulas developed for use with either sterling or 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, Griffith Silver Black, and Vigor, which produces a black, antiqued surface.
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 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.
Before
Because re and polishing compounds can affect the process, adding patina should be the last step when 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
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Photos courtesy of the author
Liver of Sulfur
The dry dark-green nuggets of liver of sulfur (LOS) are light and air sensitive, and their effectiveness will deteriorate with prolonged exposure. Store LOS in a dark, airtight container (such as a brown bottle or black 35mm lm container), and only make up as much solution as you will use in one session. Developing from gold to brown to rose, violet, blue, and nally black, results appear more quickly when both the metal and solution 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 youre coloring many pieces at one time, prolong the workability of the LOS by placing it on a heating pad or coffee warmer. If it starts to look cloudy, it has lost its zippour it down the sink and start another batch.
When youre satised 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 hydroHA with highlights removed chloric acid by clearly labeling the container and taking it to your local hazardous waste facility.
After
If 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 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 oor wax. Be aware that these treatments may slightly darken the appearance of the patina.
gold
rose
blue
Hydrochloric Acid
This liquid solution should be used at room temperature in a wellventilated workspace. It is considered hazardous waste and must be handled with care. Pour about an inch into a dedicated, lidded, plastic 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.)
RESOURCES: Hydrochloric acid: Midas Black Max,

Griffith 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.
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Bead by Bead
LEARNING THE BASICS ONE BEAD AT A TIME
Brickstitched beads sit next to each other like tires 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 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 clockwise, 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 previous 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).
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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 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!
Heres 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). Thats it! Continue in peyote, making this loop turn to connect the new bead each time you return to the tail end of a row.
On a piece of 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 t into each other when the sides of the piece are brought together.
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.
Even-count tubular peyote makes horizontal rings. You can work clockwise or counterclockwise around your tube.
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.
Figure 1
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even-count tubular peyote contd
4. Each time a row ends, go through the last bead of the

Figure 2
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 tubular support, such as a dowel or straw, will be helpful.
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 illustrations. 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.
Figure 1
Figure 2
Figure 3
Figure 4
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If youre familiar with at RAW, youre ready for cubic RAW. Imagine a childs block with 6 sides. Each side is made of a unit of 4 beads sewn in RAW. Beginning with 3 units of 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 14 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 57 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 810 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 1315 in alternating colors as shown. This unit shares bead 2 with the first cube. Pass through bead 2 and then through beads 1314 again (Figure 9).
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cubic RAW contd
10. String beads 1618 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 913 to create more cubes. Square stitch lines beads up one on top of another, like loomed work. You pass through each bead several times, so be sure your bead holes will accommodate 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.
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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 youll know where to start your new thread. Trim the thread carefully. String a stopper bead leaving 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 singlestrand 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 practice 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 snowake; 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 1315 and sew through bead 8. Pick up beads 1618 and sew through bead 9. Pick up beads 1921 and sew through bead 10. Pick up beads 2224 and sew through bead 11. Pick up beads 2527 and sew through bead 12. Pick up beads 2830 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 3135 and sew through bead 17 (the middle bead in the next loop). Pick up beads 3640 and sew through bead 20. Pick up beads 4145 and sew through bead 23. Pick up beads 4650 and sew through bead 26. Pick up beads 5155 and sew through bead 29. Pick up beads 5660 and sew through bead 14. Finish by weaving the working 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 13 as before, creating rounds

13. 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 youre 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 3
Figure 4
Figure 1
Figure 2
Figure 5
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basic stringing and wireworking techniques

crimp tube Crimping Crimp tubes are seamless metal tubes used to secure the end of a beading wire. To use, string a crimp tube and the connection 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 at with chain- or at-nose pliers. Crimp covers hide crimp tubes and give a professional 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. placing a crimp cover crimp/ cord end
wireguard
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 youre using a crimp end, crimp it as you would a crimp tube. Wireguards provide a smooth metal channel to protect the stringing material from chaffing 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.
Pass Through vs Pass Back Through Pass through means to move your needle (or beading wire) in the same direction that the beads have been strung. Pass back through Knotting
means to move your needle (or beading wire) in the opposite direction.
overhand
square
half-hitch
surgeons
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 overhand 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 surgeons 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 strandsone 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.
Oxidizing Silver with Liver of Sulfur Always wear vinyl or latex gloves, work in a well-ventilated area (liver of sulfur has an unpleasant odor that quickly dissipates), and carefully read manufacturers 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 manufacturers 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 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 solution; 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 buffing 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 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.
140
ush/wire cutters
round-nose pliers
at-nose pliers
crimping pliers
chain-nose pliers
Wireworking A B
Metal wire comes in many 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-hardthe 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; dont pull apart. Instead, twist in opposite directions so that you can open and close without distorting the shape. B. Head pins are straight wires with a 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 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 overlapping the bend. Wrap the tail tightly down the neck of the wire to create a couple of coils. Trim the excess wire to nish. Make a double-wrapped loop by wrapping the wire back up over the coils, toward the loop, and trimming 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 pendants. 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 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 at end of a ball-peen or chasing hammer to atten the wire, then use the ball end of the hammer to add texture.
opening a jump ring head pins eye pins
C
simple loop
D
double simple loop
E
wrapped loop
G
wrapped-loop dangle
wrapped-loop links
I
wrapped-loop bail
cone
hammering beadworkmagazine.com
141
Contributors
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. Margie Deeb is the author of The Beaders Guide to Color and The Beaders Color Palette. Twice a year she publishes the invaluable Color Report for Bead & Jewelry Designers in conjunction with Pantone, the worlds 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 Margies 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 immediacy. 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 ber or with pastels.
Martha Aleo works in seed beads, polymer clay, glass, metal, and things she 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.
Lorelei Eurto is a self-taught jewelry designer and coauthor 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 Instructors 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 entrepreneurs around the world discover, re-imagine, and rene their artistic voice; to learn more visit lorahart.com. Jordana Hollander is a self-taught beadaholic. Her beadweaving 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 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 ve years through a local shop called Imagine in Bemus Point, New York, something she has discovered that she truly loves to do. Jennifer Kahn was well-known artist Celie Fagos apprentice 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.
Jana Roberts Benzon teaches workshops internationally, and sells her work at the Museum of Fine Arts, Boston, several other galleries on the East Coast, and in the Intermountain 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 Helens 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.
142
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 ber arts. She is a gallery artist and teacher, living with her family in Southern California. Marilus 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 components into cohesive wholes. She lives in Oregon and sells her work at salamanderhouse.etsy.com. Follow her blog at salamanderhouse.blogspot.com. Gabrille E. Neijman (Esther) lives in the Netherlands and spends her spare time seed-bead weaving. She sells her jewelry through her online store, GreenEnvyDesigns.nl, or visit her gallery, green-envy-designs.deviantart.com. To contact Esther, e-mail [email protected].
Carol Dean Sharpe has been the owner, designer, beader, inventory manager, and bookkeeper at sandbers.etsy.com for the past six years. She specializes in creating peyote atwork cuffs (and the patterns for those cuffs), 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 efforts. They both enjoy following their creative bliss, running with sewing machines whirring, paints owing, and threads weaving in and out of projects! Cathi Tessier is the founder of the Guild of American Beaders, 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 programs, 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 Patricias 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 contributing 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 Wexelblats work is getting more varied than ever, after more than ten years playing with beads, clay, wire, and ideas, and shes still having fun doing it. Not only that, but shes still married to her best friend!
Carole Rodgers is an internationally-known designer, teacher, and author. She is the author of 99 pattern leaets 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 personality 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.
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.
143
California
San Gabriel Bead Co.Arcadia
www.beadcompany.com
Beads, books, gourds, tools, workshops, metals, and friendly advice. TueThu 129, Fri 126, Sat 106, Sun 125.
325 E. Live Oak Ave. (626) 447-7753
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 Mexico
The Beading Heart of Santa FeSanta Fe
www.beadingheartof santafe.com
Largest selection of SEED BEADS in Santa Fe as well as numerous semiprecious strands, pearls, crystals, and Czech glass. We provide instruction 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. MonSat 105:30. Email [email protected]
939 West Alameda St. (505) 988-8961
Illinois
Aylas Originals Bead BazaarEvanston
www.aylasoriginals.com
Time stands still when you enter our sumptuous world of beads. Extraordinary colors, shapes, and creative possibilities await. We welcome you with genuine service and helpful hands. Come and let your imagination run free.
1511 Sherman Ave. (877) 328-AYLA (847) 328-4040
the market {stop to shop}
Maine
Beads on the KennebecAugusta
www.beadsonthekennebec.com
Our customers say were 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. TueFri 105, Sat 103.
North Carolina
OrnamenteaRaleigh
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 supplies, books, and unusual ribbons. We will be your favorite bead store!
509 N. West St. (919) 834-6260
Advertisers Index
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
333 Water St.
(207) 622-1666
Maryland
Bead BoutiquePrince 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]
28 Solomons Island Rd. South (410) 535-6337
Texas
Antiques, Beads & Crafty PeoplePearland
www.abcraftypeople.com
Our crafty people can help with your selection from our full line of beadand jewelry-making supplies. Custom jewelry. Special orders welcome. Classes and parties. MonSat 106. (S. of Houston)
2517 E. Broadway St. (281) 997-3600
Michigan
Stony Creek Bead & GalleryYpsilanti Twp.
www.stonycreekbead.blogspot.com
Supporting 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.com
2060 Whittaker Rd. (734) 544-0904
Canada
BeadFXToronto
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-service 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, Toolsway 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
experience
Missouri
Plum BazaarBranson
www.plumbazaarbeads.com
includes instructional
WIRE ART JEWELRY
CALIFORNIA-BASED JEWELRY DESIGNER SHARILYN MILLER

presents 16 new wire bracelets, necklaces, pendants, and earrings. In Wire Art Jewelry Workshop, she shows you how to make each stunning gallery-level piece and offers expert tips on creating custom components and ndings. Plus, get a bonus DVD of Sharilyn demonstrating each loop, twist, and bend for one-of-a-kind art jewelry.
DVD
Wire Art Jewelry Workshop Step-by-Step Techniques and Projects Sharilyn Miller 160 pages, 16 projects, 1-hour DVD
144

Best of Step by Step Beads 2011

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What are some of the beadwork projects featured in the magazine?

What are some of the beadwork projects featured in the magazine?

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best of

the Right Colors for Your Pieces

Favorite Beaded Jewelry Designs! the step by step

FAVORITE BEADED JEWELRY DESIGNS! THE BEST OF STEP BY STEP BEADS

COLOR SAVVY How to Choose

MOST POPULAR PROJECTS

41 MOST POPULAR PROJECTS | EASY PEYOTE

EASY PEYOTE STITCH!

learn beadwork step-by-step!

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Sew-on Stones, Flat Backs

Earn Rewards Points with every purchase!

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Loop De Loop by Martha Aleo

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Beadweaving with Friends

Download a copy of all the latest eMags at interweavestore.com/Jewelry/Magazines/eMags.html

best of step by step beads

minutes of video instruction in

des inclu ional t truc ins

make it easy for you great jewelry

Create Something Great

PEYOTE STITCH, STRINGING & FRINGE

Lucies Branching Out

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WHAT YOU NEED

learn the lingo

String beads on the wire 4. Measure and cut 21 of beading wire.

3. Pattern 3, two wide red stripes (gure

Crimp on the clasp 5. On the wire, string 1 crimp tube and

LUCIES BRANCHING OUT

Did you know?

Did you know?

Rows of peyote stitch can be counted two ways.

best of step by step beads

RIGHT-ANGLE WEAVE VARIATION

best of step by step beads

7. Pass through 6 beads of the new stitch,

11. When the fourth row is completed,

WHAT YOU NEED

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

Blue Jean Queen

best of step by step beads

A note about illustrations

10. On the black needle string 1 hematite,

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

OPENING PHOTO: JIM LAWSON.

BLUE JEAN QUEEN

15. String 1 hematite and pass through the kyanite

your own home!