Scribd Logo
Upload

Welcome to Scribd!

  • A Beaders Reference - JANE DAVIS PDF

    Uploaded by

    1770518322263
    1K views162 pages
    Jewelry Macking

    Original Title

    A Beaders Reference - JANE DAVIS.pdf

    Copyright

    © Attribution Non-Commercial (BY-NC)

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    Jewelry Macking

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    1K views162 pages

    A Beaders Reference - JANE DAVIS PDF

    Uploaded by

    1770518322263
    Jewelry Macking

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    of 162
    A Beader’s Reference (©2003 by Jane Davis All rights reserved. No portion of this publication may be reproduced or eransmitted in any form of by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher, except by 2 reviewer who may quote brief passages in a critical article or review to be printed in a magazine or newspaper, or electronically tuansmixted on radio oF television, Published by krause publications ‘An F8W Publications Company 700 East State Street * lola, WI §4990-0001 715-445-2214 © 888-457-2873 ‘www. krause.com Please call or write for our free catalog of publications, Our tollfree number to place an order or obtain a free catalog is (800) 258-0929 Library of Congress Catalog Number: 2003 108446 ISBN: 0-87349.554.3 Eudited by Maria LTurner Designed by Marilyn McGrane Dedication | dedicate this book to Carole Tripp. You have been a mentor, teacher, inspiration, and most of all,a very good friend throughout my journey in beadwork, ~~ Acknowledgments ~~ Many thanks to my wonderful, talented editor, Maria Turner, who pulled this book cogether. As always, ic has been 2 pleasure working with you. Thank you Marilyn MeGrane for ereating the beautiful design and layout of the book Thank you Amy Tincher-Durik for getting this book under way. You have been a great advocate for me and my ideas ac Krause. Thank you to Carole Tripp of Creative Castle for your help in choosing and fincing beads for many of the pieces on these pages and for caotdinating many Cf the gallery items throughout the book. Thankyou to the imaginative and beaueful concribucions of the gallery ardsts, who have allowed me to include their work in this book. The work of Delinda Vannebrightyn Amura, Margo C. Field. Kathy Heniyoji, Corinne Loomer, Lisa Taylor, Carole Tripp, and Liz Smith has enhanced these pages. Thank you to Susan Lazear, owner of Cochinelle,and designer of the program J used for many of the charts in this book Stitch Painter: This has been a ‘wonderful program to use for designing and editing designs. Your support staff has helped me through every question on using the program, and | have found ‘the program to be ideal for designing. Introduction .......-----4 4 Section I: Basic Stitches and Graphs .. . 8 Section 2: Charts * Brick and Peyote Sticches + Herringbone Sticch : + Lacm and Square Stigches 4l + Netting Stitch . + Design Gallery... ....2+ Section 3: Cords + Crochet Cords .... + Buttonhole Stiech Cords + Other Corded Seeches --. 2. ++ + Design Gallery Section 4: Edgings and Fringe .. 88 + Eggs oes 2.90 + Frings lndetual Danglor va. 0.96 + Fringe Shousttes 2.005 97 + Design Gallery. - Section 5: Projects ......... 104 * Thread Spool Scissors Holder + Dragon Bex Band 106 Pin Cushion oe osl38 «: Fringe on Organdy Bag . aT) + Floral Medley Needle Book ....142 espe paca it4 + LoomworleWall Hanging... 146 + Grocn-and-Gold Nesting Border + Fleurde-ls Gate Purse 150 on Gourd Bow! us + Scissors Chatelaine .............120 Contributing Artists . . + Peyote Sitch Key Chain boa + Crochet Bracelet and Neckce ...130 Indexes... .. 4+... 158 Brick Stitch Art Deco Purse 134 (a Introduction 6 | introduction jewelry or needlework for years, beading has finally come into its Cown as a separate creative art and craft form. There are books aplenty on every type of beadwork imaginable, and bead shows and bead stores are everywhere. With this blossoming of beading incerest comes 2 need for more designs and mare idess on new ways to work with beads and create unique works. That is why I have created this source of Gesigns and ideas especially for beaders. From the large center- piece designs, co the srall repeats, to the finishing couches of fringes and edgings youll find the components you need to create rmary new and exciting beadwork projects.And you have a varieny of beadwork techniques co choose from, including peyote, brick, loomwork, square stitch, crochet cords, herringbone, and netting Following the charts and designs are a dozen projects showine just some of the ways you can pick and choose elements from the book to gather together a fished plece. Throughout tie book, you will also find examples of inpiratonal piecas by various bead- work artists showing similar ideas and variations of patterns in the book. How to use this book | have envisioned this book from the beginning as a type of reference book, lke 2 dictionary or encyclopedia, where you can look up an image by category or by bead stitch, or juse thumb through it to get ideas for your next project. Therefore, | have rumbered all the illustrations, and set up two indexes: one ‘grouped by subject and one by bead stitch. There is also a third general index. The photos of finished project: and tho 12 step-by-step projects at the back of the book are meant to inspire you with possiblities you may not have thought of before. The rest of the book serves as a tool for you to Use to make your very own special creations. | hope you find this book a basic resource in your beadwork adventure. A note about pattern repeats Some of the pattern charts are single elements, and some show repeated designs to give you an idea of what the repeated patiern looks lke. They are meant to be used es shown. or cropped down to a portion of the pattern, or repeated over and over again, wherever your creative impulses lead you. Introduction \7 Section 1 Basic Stitches and the Graphs The following stitches describe only the very basics of each stitch and are just meant as a visual aid in identifying the graph, not as an instruction for working the stitch, For more detailed instructions. on techniques, such as beginning and ending specific stitches or turning comers, consult 4 technique book on the stitch. This book is meant as a companion book to my previous beading book, “The Complete Guide To Beading Techniques? (Krause Publications, 2001). You cam find det itches th of working th The graphs throughout this are created for the following stitches. Because of space constrain’s and the evolving nature of beading, I was not able to include graphs for every beading slitch, so 1 chose graphs that are the most versatile, the most common, and a few graphs of stitches that I like because they are quick and easy to stitch. Section 1 Brick (Comanche) and Peyote (Gourd) Stitches: The same graph is used for both of these stitches. The peyote stitch is worked from top to bottom or bottom to top Tumed sideways, the graph becomes the reference for the brick stitch. | oriented most of the designs for peyote stitch since it is the more commenly used stiech of the two. Ie is ako a faster stitch to work. When using the graphs for peyote stitch projecrs, especialy when you have cropped the design, be sure to check that you have the corner bead on the first row. In some eases, you may need to begin working from the bottom up to achieve this. Herringbone Stitch: You can use the loomwork graphs for herringbone stitch, but they don't really show an accurate image of the horizontal stretch of the design. Thay also don’t show which two beads to pick up for each stitch. The graphs in this section more O00 OO 10. SDS999Ds S9B99999B9i accurately show the stiech seructure QQQQQQQQO0O QQQOCQQOQ0O 10 | Basic stitches and Grapns Basic Stitches and Graphs E Loomwork, Square Stitch, Needlepoint, and Cross Stitch: This is a very versatile graph Since ie fs on a standard grid pattern, it can be used for any project chat uses a standard graph, from needlepoint 20 cross stitch to the bead stitches mentioned previousy.| have set up the graph for beads ona loom, working most patterns from side to side ‘The graph proportions differ from chart to chart, so be sure to calculate your finished size by making 2 small sample in your choice of beadwork vechnique.You can also get an idea of the finished piece by photocopying the pattern and adjusting the height on the copy.An example of the difference in the stretch of the graph designs is shawn on the Black Victorian Gate Purse (page 148) and the cover design. The cover was made in loomwork, and the purse was made in herringbone stitch. The purse design is stretched a litle horizontally compared to the cover loomwork, yet they both work well as designs. Netting: | chose a three-bead netting graph for the designs in this book Ie is one of the dens- est of the netting stitches, which allows for more detailed designs than most other netting patterns. Netting easly lends itself to Celtic knoowork,so that is what I concentrated on for the designs in this stiteh: Gari Stixches and’ Graphal [i Section 2 Charts is a collection of many pattem ideas, from small, simple repeats to large landscape You can use these designs in a variety of ways The first and most basic is to just stiteh th lesign as presented, making a fat piece of beadwork to use however you want, from placing in a tray or the top of 2 box to framing it for a picture. But don't stop ther Most of the designs can be repeated to create a border. Many can be worked in on direction, then reversed and worked the other way, creating a mirror image of the design an be cropped and used just for small sections that create a nice composition for your project. The charts are numbered and organized by sfiteh, with the stitch type at the front of the number. For insiance, the second chart in the herringbone section is #HO2. This way, you an easily find the chart you want fo use in the stitch type you are looking for Section 2 “Brick and ‘Ryote Stitches 802 & B03 B04 14 |arick ane Peyote Stitenes B09 Bil Bid 16 Jarict and Peyote Stitches BI3 BI4 BIS Vt E Bg ee fA eae | pete Hace ee gt Hea BI6é ET. Brick and Peyote Stitches BIT Bis BIa B20 18 | Brick and Peyote Stitches Charis B2I B22 823 B24 Brick and Peyote stitches| 19 Section 2 = 825 20 [Brick ang Peyote stitches T Ct TT CELEErT Iie TILL eaee eee Stlseteftl obe TT Se TELIETTCL ETT Titi TUTTI TTT Er rit ii) TITTTTT CELLET TTT Tritt Toe TEE TITTT TTI Tritt itin zt TELL EE EEE Seo o Ent LLLLTTT Tr rere TIT) CLLITT LEELEGILLIT iii TT TTLTL ro SE Tit TT Tere PIPE PT Tiere os (eile etter] LEEITIOTErri it TT LITT ttt tt rrr iin ELLTTT TT TEEEICrrre PEPE EEE eb Peer Perit TITTEr Trot rr ri ty Brick and Peyote stitenes| 27 Section 30 S and Peyote Stitches 22 |arice Charts B32 Brick and Peyote stitenes| 23 Charts 25 Brick and Peyote Stitches Section 2 Ht a Section 2 iad, re HEE ad 28 | prick and Peyote Stitches 838 Brick and Peyote stitches| 29 Section 2 B39 30 | Brick and Payote Stitches Charts Brick and Peyote Stitcher 3! Pro y Charts Htlerringbone Stitch HO! HOS HO03 Ho6 Ho Ho? Charis Herringbone suireh| 35 in Section 2 HI a CRC CK Hi4 eC 36 | Herringbone Stitch |37 SES Se 3339 3939 93 i a fe 209339 i a 38 |e Hingbone Stitch Charis H2I H23 Bs H24 Herringbone Stitch 93 33 99 93 33 33 38 95 38 4o | Here ngbone Stit Loom and Square Sti tches Loa Section 2 Lo5 Los Lov L08 Los Lio 44 | keom and Square Stitches us Lie ui7 Lom and Square suitehes| 45. us Lig 20 46 [Loom and Square Stitches Section 2 Charts Loom and Square Sticches|47 as v6 7 48 [Loom and Square Stitches Charts 49 oom and Square Stitches Section 2 Netting Stitch 5O | Netting stiten Z Z 2 © & e & ¢ SI Netting Stitch Section 2 Nos NO? NOB NOP NiO 52 [Netting stitch Charis NII NI2 NIB NI4 NIS NI6é Netting Stitch 53 Section 2 Nis NIg 54 | Netting Stitch N20 Nai N22 Netting stiten| 55 Section 2 56 | Netting Stiteh Charts Netting Stiteh| 57 N29 N30 $OOSSs 58 | Netting stiten Charts Design Gallery Sea In this vintage beaded bag, the central design is a repeated mirrorimage abstract floral design, with a geometric border across of the beg, Netting is a great stitch to use for a variety of ciegonal plaid patterns, such as this amulet bag from Bead Neted Patterns. Section 2 This vintage steel-cut French beaded loomwork purse shows how a small pattern, such as the star design, can be repeated to create an overall design. The purse is enhanced with such details as the simple looped edging along the flap, the striped pattern in the wrist strap, the solid backing with just one star in each bottom corner, and the zigzag fringe This vintage clutch purse from Belgium has a couched foral beadwork pattem in size 15 seed beads with steel-cut borders. 60 | oesien Gallery, — Chars This antique steel-cut loomwork beaded bag from the collection of Laura Lauth Williamson has a vibrant symmetrical pattern with a looped twisted fringe, the same as fringe pattern #FO4 (page 95). Here, | have taken a variation of the small leaf pattern #806 (page 15) and used it as a theme for this forest-themed amulet bag, The colors and fringe reflect the idea of earth and forest Design Gallery 61 This beadwork by Margo C. Field entitled “Passion for Paisley” shows a combination of pattern and fringework. ‘Margo Ciel This detail of a vintage beaded bag has a floral center leading into a fan design at the top and small floral design along the bottom. A very simple geometric pattem with a This beautiful antique frame that opens to a ‘Photo courtesy Margo C.F zigzag fringe embellishment enhances this box-shape is attached to a basic stripe- kite cart. patterned bag with loops along the bottom, An antique bead-crocheted miser's bag shows a simple, small diamond pattern and a geometric border with a metal fringe in a basic rectangh shape (#F 11, page 97) with alternating beads at the ends. This amulet bag by Corinne Loomer uses a Thic bead.crocheted amulet bag uses a very subtle geometric pattern by BrendaWhitehead small leaf pattern in one color of beads and in Heirloom Peyote and then adds an opulent repeats it randomly over the bag surface in ‘twisted fringe as in fringe pattern #FO7 different arrangements. The edging along the (page 96) and a basic rectangularshape #FI sides of the bag is the simple looped edging (eage 97) E02 (page 90), This antique steel-cut loomwork beaded bag has a geometric and floral pattern with a netted fringe ending in a zigzag pattern at the bottom, as in fringe outiine #F16 (page 97). 64 Charts This antique bead knitted purse has been worked up with a different floral ang butterfly design on each side. A variety of patterns work well together in this vintage steel-cut art deco purse, from the zigzag along the strap to the chevron shapes for the body of the bag to the curving patterns along the flap. This original beadwork called “Night Bloom: by Margo C. Field combines basic looped fringe in #FO! (page 94) and simple patterns to create an overall cohesive design A variety of Celtic patterns in netting create this delicate purse in size |S by seed beads. < ama G66 | Design Gallery Charis “Seed Bead Weeds” amulet bag by Margo C. Field shows layered fringe and an overall pattern working together as a whole. Photo courtesy Margo C. Feld This detail of the back of the beaded bag by Delinda Vannebrightyn Amura combines patterns everywhere, from the main design of the tree-and-pillar motif to the small floral leading into chevrons at the base of the strap. Section 3 Cords Ce can be used for everything from straps on a purse to the focal point of a necklace. They also can be tised in stitch imaginable, many of whieh are being newly created all the time. Following are patterns for beac-erachet or briek stitch cords and. buttonhole stitch cords, as well as an idea list with brief how-to instructions for several other cord techniques. Here are two examples of bead-crochet cords using (top) a portion of #841 bordered by a gold line of beads and (bottom) #C18 using dark blue and bronze for the blue and cream in the chart TO |crachet Cords Crocheted cords have been made for many years, and were especially popular in the 192s. In recone years, the process has enjoyed renewed interest \ith all the experimentation with new techniques and patterns of beads. There are many varations of vechniques for making crochet cords, from che number of beads The fellowing patterns are for the method of cord crochet that | usualy use:The charts use from 10 to 12 beads in each round or row and are strung from right to left. beginning at the top of the chart and working down.You can also string the beads following the chart from left to right beginning at the botzom of the chare and working up to the top, but this will create a reverse image of the pattern. | string the approximate number of repeats to complete the pattern and work in the round in slipstiteh, sliding the hook through the next stitch the bead is on, pushing the bead to the back of the hook, then sliding one bead down to the work, and completing the slipstitch as usual, ‘each round vo the size and type of thread or cord used to crochet. ——— Cords Crochet cords| 77 Section 3 72 | crochet Cords Cons “Buttonhole Stitch Cords Here is a new idea for making cords for bracelets or necklaces. If you know how to embroider in butionhole stitch, it will help you understand this stitch, since you are simply making buttonhole stiches with a bead slid into each stitch as itis made. ‘There are two things to remember when working this stitch The first is to always pass the needle around the thread to the right of the next bead, passing the needle down from top to bottom behind the thread the bead is on,and then over the work: ing thread,as shown in the illustration at right The second is to pull the thread until the new bead sits below and to the left of the bead you just passed the needle next tp,again shown in the illustration. Sometimes, as you pull the thread to tighten it, the thread slips over to the lefe of the bead that is on the thread, and you need to work: i back to the right of the bead.You should not stitch through any beads except when weaving in the ends of the thread For step-by-step instructions for this stitch, see the project instructions on pages 116-117 for the Striped Bracelet. To follow the chart for this stitch, add one stitch with a bead for each colored diamend-shape, working each row from left to right, top to bottom. Buttonhole St ch Cords|75 7G | urionhole stitch Corde it Other Cord Stitches Following are more ideas for straps and cords. Most of the following tech more suited to creative changes in design through variations in bead types and sizes. rather than in charted patterns: therefore, | don’t have color charts with these techniques. They still are great options to consider when forming designs, though: iques are African Helix This established stitch ie noe at commonly used, though it is very similar to the buttonhele or halfthitch cord. Because there is more than one bead used in each loop, the variations are most often made in the number, ype, and size of beads used in the pastern repeat. 78 |otrer Cord stitches Conds A quick refresher in African Helix: The easiest way to get used to this stitch ie co use two colors of beads and work the first several rows around a pencil The tighter you pull your stitches, the firmer the tube will be. 1 Seeing four repeats of three light-colored beads and cone dart-colored bead. Tie the tall and working thread into a square knot 30 you have a circle of beads about 6" from the tal end of the threaé. Slip the circle of beads onto the pencil 2 sving tree light-colored beads and two dark-colored beads. Pass the needle down behind the thread in the circle of beads. after the frst tee light-colored beads and before the ‘rst darkecolored bead, pulling che dhread tight so you have a loop of beads with the thread pulled tightly between the beads in the circle S seing three lighc-colored beads and two dark-colored beads. Pass the needle down behind the thread in the circle of beads, after the nexe three light-colored bead and before the next dark-colored bead, pulling the thread tight so you now have two loops of beads with the thread pulled tightly berween the beads in the circle. Repeat this step once more. sep? 4 -To begin the next round, string three light-colored beads and two dark-colored beads, Pass the needle down behind the thread of the loop of beads you added in step 2, passing between the three light- colored beads and the wo dark-colored beads. Pull che thread tight until the new loop of beads is in place S Repeat step 4 for each loop of beads arcund. As you pull the thread through, make sure it stays in place between the groups of light and dark beads. The dark beads will form the spiraling ne around the tube as you work Wen youve done about three or four rounds, you can side the wube off the pencil and work the stiches in your hand, manipuating the beads so the thread slides into the correct positon as you pull through Other Cora stitches 719 8O | Other Cord stitches Classic Spiral Twist This ie a wonderful old stitch, referred to by several different rames, that has many possibilities depending on the size and type of beads you use,as well as the number of suitches you pass through for exch repeat A quicle refresher in Classic Spiral Twi ‘The easiest way to work this stitch Isto use two colors of beads When you are comfortable with the stitch, you can vary everything from the number of bres in each loop, to combining sizes and types of beads, T scring ‘our light-colored beads and three dark-colored beads. Pass back through the all light-colored beads towards the needle end of the thread creating 2 oop of beads 2 sting one ightcolorec bead and three dark-colored beads, B Pass through the last three light-colored beads from the first four beads you strung in step | and the new light-colored bead from step 2, keeping all the dark-colored beads wo the right of the needle as you pass it up through the light-colored beads + scring one light-colored bead and three dark-colored beads. Pass through the last three light-colored beads inthe growing chain and the lighe- colored bead you jst strung, keeping the dark beads to the right of the needle as you pass ie through the beads. 5 continue step 4, always passing the needle through four beads, three on the growing cord and the one light-colored bead. Always keep the dark beads to the right of the needle 2s you pass it through the light-colored bbeaés.Your dark beads will spiral around the light bead strand, which take on a wavy curve. Seep | sep Cords Herringbone Cord (Ndebele Cord) This is a very speedy cord to make since you are adding two beads for each stitch you work The herringbone slant the beads take on gives this cord 2 unique and interesting tex- ture all is own, Netted Cords Netted cords have a very fluic stretchy quality that can work very well in-neck- lace and bracelet designs Varying the size, type. and number of beads in each stitch Is one way to vary the design, but you can alse add a small pattern, stitch through more er fewer beads for each stitch, and use changing numbers or types of beads In each loop to create new designs. At right, a beautiful use of color in “Ambrosia Lariat" by Liz Smith, Liz has pulled colors from the beads used in the fringe tassels at the end of the lariat and worked them in a graduated pattern of three-bead tubular netting Other Cord st es|81 In "Dream of the Nymph; Delinda Vamnebrightyn Amura used a variety of peyote stitch bands and cords to create this unique original work of art. Right-Angle Weave Cord This stitch is a little more complex to understand at first chan some of the other stitches, but once you get the hang of ie, ie is a very fun stitch to work creating a cord similar to the peyote stiteh cord in feel and drape. 62 other Cord Stitches Peyote Stitch Cords and Bands ‘A simple band of peyote stitch can make a wonderful neck or wristband. The Fleur-de-tis Gate Purse (page 150) uses 2 two-bead wide band that is then embellished with beads, pearls, and garnets. The plaid amulet bag on page 59 uses a fourbead-wide band with an easy repeat patiern to complement the bag pattern. Peyote stitch cords are very versatile in large ‘or small sizes. You can add pattern to this stitch by using portions of any of the brickipeyote charts, or by changing the type and size of tho beads in the stitches, Cords Design Gallery This project “Galaxy,” by Liz Smith creates a confetti effect by the use of so many different beads, This necklace by Liz Smith closes in front, showing the embellishment ‘on the netted tube cord and the individual dangles that make up the fringe/tassel ends. &3 Design Gallery Section 3 Carole Tripp lariat from the class she took with Carol Wilcox Wells at the Beads on the Vine 2002 retreat is a great example of the subtleties of color and how the classic spiral twist cord with an intricate fringe can make a wonderful design. These two bracelets are made in buttonhole stich The one on the left uses pattern #C20 (page 76),and the one on the right is worked in size 5 beads with one drop bead in each row. When the bracelet was complete, | stitched over it agzin with loops of size 15 seed beads and drop beads. “Summer Leaf Necklace” by Lisa Taylor embellshes a right-angle weave tube with Swarovski crystals and other beads, creating an elegant chain for the leaf fringe pendant. 8F | Design Gaitery Cords This necklace uses 2 peyote stitch tube, beginning with black size || seed beads, graduating to labradorite chips, and then In‘“Botanical invention” by Margo C. Field, the back to the black size 11 seed beads. The. flowers, which dangle from a simple netted band, fringe is a combination of #FO5 and #F09, are herringbone stitch tubes with branched fringe pages 95 and 96, worked off of a classic stems and leaves (#°10, page 96, and #€16, page spiral rope cord. 2), The stamens are a basic fringe dangle (#FOS, page 95). Detail of “Leaf Motif” by = Margo C. Field é 2 and “Leaf Motif" 2 matching i 3 carrings 3 é Design Gallery| 85. Section 3 This beautiful lariat by Lisa Taylor is made in a herringbone stitch tube, These two little ladies, entitled “Head Over Heels," by Sylvie Elise Lansdowne employ alittle of everything from the stripe and checkerboard patterns, to the peyote stitch tube legs, to the fringe and edging ruffles along the skirt, slee and necks of their outfits. In'"The Journey, Delinda Vennebrightyn Amura has incorporated a Variety of patterns and techniques, including surface color patterns, cords, and multi-layered fringes. At left is an example of a netted ‘tube used for the wrist strap of a purse, | added a little detail of a Celtic knot near the clasp to tie in wrth the Celtic knot pattem worked on the bady of the purse, Design Gatiery|87 Section 4 Edgings and Fringe Eu s and fringe are beadwork ails that finish off a piec add to its personality, frothy Victorian fringework on a scarf or purse to a simple, tailored clean edge ona book co ng from frit and form. To me, an than 4" long, purpose of holding two pieces of fabric or beadwork together, Although an edging is often added only as a finishing touch, it is close and tight enough sfiteh that it could be structural if needed. Fringe, on the other hand, is longer and its purpe s pure decoration, embellishin piece and finishing it off. Fringe nost always stitched more loosely so the individual dangles hang and having a fluid quality, rath sticki fly at odd a Lodgings From simple brick stitch comes the most common ‘edging in beadwork (#EI I),yet there are many other ‘edgings that are less commonly used and just as use- ful and interesting, Following are several ideas, from sticehes over the edge (HED!) to more complex designs. This fs the simplest bead edging, where one bead is simply slipped ones che thread before each stitch over the edge of the piece. The bead hole slants ‘rom front to back, and the sutch needs to be taken very close to the edge for the beads to stay in place. Section 4 To add a deual to the three-bead edging, you can take a backstiech and add a bead on the top of the fabric or finished beadwork. This variation on #E0I lines the beads up along the ‘edge better since you make a half hitch knot after ‘each stitch, £02 Here, three beads are slid into the stiech. This stitch hides the thread better than #£0!, and the beads fit better together along the edge. You can take deeper stiches, using more beads in each stitch and letting, the beads cover the whole edge of the fabric or beadwork, creating a thick edge. 90 |Edzines E05 Here, three beads are slid into the stitch, just as in +#E02. However since you make a knot after each bead, the bead: don’: slide over the edge of the work and stay lined up along the bottom edge. gins and Fringe Varying the number of beads in each stitch opens up the possibilities. The single bead could be a drop bead or @ crystal or the three-bead section could be graduated beads “This stitch places one bead on each side of the fabric cor beadwork, ‘Again, by varying the number of beads, and then the ‘ype of beads, you open up all the possibilities of design. Graduating the number of beads in each stitch can make a nice undulating pattern. ‘One row of brick stitch worked along the edge can make a nice design as well as be structural ‘Add an extra bead between your brick stitch and you have the classic edging sctch used by many beaders. cosings|91 Section 4, E12 “To make the stitch a litele longer, add three beads between brick stitehas You can vary this idea by the ‘type of beads you use, making the center bead of the three 2 different color, size, or type of bead. E13 By varying che number of beads between the brick stitches, you increase the options.You could even start with this concept and work into a long fringe. Here is an example of gradually increasing the length by passing through more beads on each successive loop and then tapering back down again. 92 |easines ‘This edging employs the “turnaround bead” used so. often in fringe, E16 Small leaf cedgings can be created by using this patiern, ‘This edging creates a small scallop-shape. ts only disadvantage is that you will need to scoot through some beads or the fabrie edging to get into position ‘to make the next scallop. Here is a more intricate picot edging, which coms bines the basies of HEI and #EI5. This larger variation of #EI7 adds a picot at the center bottom of the pattarn, Edgings and Fringe ‘Combining simple and more complex techniques adds interest to edgings, like this combination of +HE02.and variation of #ELS. This purse is edged along the sides in a variation of #E13 (page 91), along the flap in #EI5 (page 91), with a straight rectanguler twisted fringe as in #F06 (page 96) and #FI (page 97). “Beyond the Gate" by Delinda \Vannebrightyn Amura shows a tapered fringe using alternating dangle patterns with a smalle* layer of fringe on top tapering in the oppostte direction. Fol Here is the basic loop fringe, the simplose and easiest of all the fringes to complete. 94 |r Section 4 ‘Fringe Tai ee ER EE Misiaoreop tangs har shoes actually only two basic ways to make the individual dangles that create a fringe. Individual Dangles ‘The first—and easiest—way ta create fringe isto simply string 2 strand of beads, followec by a stitch next to the first bead strung creating a hanging loop of beads. This technique can be varied by the number and type of beads used, ae well as by the distance each stitch is made and by all the other techniques that can be worked on fringe. The other type of fringe occurs when you string a strand of beads, skip the last beads) strung (the turnaround bead}, and then pass the needle back up through all che other beads so that you create one single harging strand of beads This second technique can be varied equally as much as the first, as well a combined with it. For both of these frings types, you ean twist the strands, work a beadwork stitch on part or all of the strands to thicken them, make branches along the strand, or vary the spacing of the fringe by overlapping or stitching each with large spaces. berween. Following are a samy finished fringework. ng of fringe ideas and some examples of ‘You can add interest by varying the length of the loops of fringe, ings and Pringe This is the most common fringe, rmade by stringing a length of beads, skipping the last bead (or several beads) strung,and then passing the needle back up through the rest of the beads. By varying the type and number of beads anywhere along the strand, you can achieve many different designs. A denser fringe and a different loole can be achieved by overlapping the loops as they are stitched in place. Fo4 F06 Here, you string a length of beads, skip a bead, pass through a bead, and chen string 2 length of beads equal to the first length and cwist the thread until the bead strands kink up, ‘twisting together Then, you pass through the fabric ‘edge or beadwork to prepare for tho next dangle in your fringe. Twisted fringe creates 2 beautiful edging, though ic kes more ume than some of the other techniques. A favorite of antique purse makers, each new strand of beads is passed through the previous loop several times to create a twisted fringe. Fringe | 9S 96 |Frivse This marrage of AFOS and E05 (both on page 95) isa nice balance in design, adding a new cexoure to the straight fringe. ‘This dangle design is actually the first step in netcing, Using it in a fringe adds wicth to ‘the dangles, creating a thicker fringe. Having the dangle begin and end in different places along the ‘edge is another variation for fringe desien. Finally, here Is branching fringe, which ean be used to make short or fong thick texcure, fc is made by stringing a length of beads, skipping che last bead strung and passing back through some of the beads, then repeating the process to the desired length, and working back up through the sain strand, making smaller strands along ‘the way. By using specialty beads, you can make a meandering vine or ‘ocean seaweed. Fringe Silhouettes Fringe because os large ste in propordon to the res ofthe plese ced to be considered ae = whole in addleion eo the consideration you give the individual beads and byout of the dangles you make. The length of the fringe is usually the first consideration in deciding on a design. Then, there is the overal shape of te fringe seccon, which is most often ust rectangle, zigzag, or capered shapes. However there are other posses as wel:You could ure the fringe to frame a special ampworc bead (H20, page 98), or rake fe eurs long £0 thet ie the min focus of the place. You alsa could follow one of the graphed patterns on previous pages to create an image in the fringe pattern. Folowing ae some basic shape Heas for your fringe and examples of some ofthe shapes in fished ee Fil Fla A basic single-length fringe. A straight-odgod pointed fringe long in the center and short on the sides. FIS FZ Fringe, long on one side and tapering straight along the bottom to the short side. A tapered fringe, with a smocth curve ending in = poine at the center FI3 Fé Fringe, long on one side and ‘curving up to a shore straight section of fringe at the other side. A-uniform zigzag fringe. Fringe| 97 Section 4 A tigaag fringe with the ‘A.wavy edge with a single-length fringe mirrors the center section longer than silhouette. the sides. A Inaged-edged piece, with a fringe cha mirrors it part of the ‘way across and then is extra ong in one section. The edge of the piece is angled, but the fringe is seraight at the FI9 ‘A smooth curved fringe, long on the sides and shore in the middle. The same curved fringe as #F19 makes a great frame for an accent cangle in the middle. Fringe, draping in the opposite direction of the edge. A single-length fringe on an angid edge. 98 | Frnee Design Gallery Design Gallery Liz Smith's “Schehezade,” shown here in two color variations, uses a simple peyote stitch ribbon in triangle beads, and then adds a frothy edging, creating a great neckpiece to show off a favorite accent bead. This finger knotted lariat by Corinne Loomer boasts tassels at the end made of random arrangements of beads, each dangle creating a unique design. This loomwork bracelet by Kathy Henjyoji uses a vary smple pattern accented by a picot edging 99 Design Gallery G "Deco Red Suede Amulet Bag” by Margo C. Field This riobon erie bag by Carole Inep uses an asymmetrical ringe as in fringe shouette fe eciged slong the ace move To ch #F23 (page 98), as well as pattems and edgngs. brick stitch, edging pattern #EI0 (page 91), along the top in HEI (page 91), with a tapered, partially twisted fringe, #FOT (page 96), shaped as in #FI4 (page 97). 100| design Gattery Design Gallery "Romancing the Stone” by Lisa Taylor uses netting to create a wonderful romantic neckpiece. The inner edge is dotted with litte picots, while the outer edge has short, simple, basic dangles (#F0S, page 9%) This elegant Victorian-style loomwork choker by Kathy Henjyoji adds detail with the delicate picot edging leading into the tapering flinge pattern 101 Design Gallery Section 3 Here is a quick and creative use of fringe by Margo C. Field called "Hair Sticks,” dressing up This lariat by Corinne Loomer combines chopsticks for your hair herringbone stitch end a braided strand for the cord, plus polymer clay leaves and various wildlife tassels and accents. Short branching fringes (#FI0, page 96) edge this abalone shell bola by Corinne Loomer: 102| Design Gallery Photo courtesy Margo C, Fad Bp i e i 3 = Here area callection of pieces by Margo C. Feld, Clod ¢ from top left “Study in Bronze and Blue Amulet Bag” "Santa Fe Angel’ “Beaded Bottle Pendant,’ “Esther Necklace!” “White Amclet Bag” "Deco Earrings," “Seascape Amulet Bag" and “August Necklace and Earrings." All are great examples of fringe and pattern combined into a belanced whe Section 5 Projects Thiessen tees ascent projects that showcase different ways to use the patterns mentioned earlier in this book Many of them are simple projects, where just a small amount of beadwork is used fo enhance an item. (These can ofien be some of the most enjoyable projects since they are not as time consuming or skillintensive, yet you beautiful nonetheless.) Other projects, like the Fleurdelis Gate Purse, are more involved. Section 5, _ Dragon “Box Band 106| P-asor 80 is an example of mirrorimage repeats. You could take this design and repeat the pattern in one direction over and over again, or as I did here, when you reach the end (or in this case the middle of the heart), turn around and follow the pattern back in the other direction. In 1999, | entered this box in the Second Miyuki Delica Challenge, sponsored by Caravan Beads of Portland, Maine. The peyote stitch strip is only 18 beads tall, so it works up quickly and can be used to decorate a box as shown, or it can be sewn to a purse, bag, or on a band of clothing. If you or someone you know is interested in Renaissance fairs, the design would look great appliquéd on a vest, belt, or other item to wear to a fesiival, though purists would agree that the Japanese beads would definitely not be period items! Dragon Box Bare| 107 Section 5 Finished size of beadwork: ‘Approxtnately 1" ell x 8A" long. Materials-- + Box or other fished item with 3 ae + Site I | Delea beads in che following colors re igh 9" eng +8 game gold #04 +4 gams bronze #221 +2 grams brown #734 + | gram siversined rod #802 + | grim yellowlorange #651 1 gam orange 652 Sl gam red 4723 + Gold- She 6 blue sne-whtestiped sted beads » Size S dark be triangular bead » Sige 6 blacktined Gear AB beacs Sino 8 blun-green hex bea Pena "= Beading thread (a. calor loc to or darker tan mos: ofthe beads sea) += Banding needle “bead ameures are approximate You miy need sighly more offs depending on your fished piece General Instructions 1 Tea 9-00r length of threzd around a pencil, making 2 square knot and leaving 26" tail to weave in later Position the tail above your work so ie wont get caughc up in the progressing beadwork. 2Werking in a counterclockwise direction, pick up a bead and past the needle through the loop of thread, to the right of the bead. as shown in Figure | This is the first purple damond-stape in the row (upper left comer) of the pattern chart ee oe oe Chart 3 Repeat sxep 2 around the thread on the pencih adding cone bead of each type (six bead oral). The firse row of the chart is now complete. +t Begin the spiral pattern by adding the next bead to the rghe of the fist bead you surung,and using the same type of bead as the bead that ie ‘on the stitch you wil be pasting the needle ‘through,as shown in Figure 2, Pull the thread ‘igh 30 the new bead lies up just below and vo the lft of che frst bead . Repeat until the sube, when stretched slightly equals the measurement around the widest part of your hand (Gis is usually bout 7/4" to 814"). Make sure the ast boad you add isthe last bead in the bead sequence that you started out with S Slide the tube off the pencil and line up the ‘ends £0 the pattern continues in 2 spiral. Weave through the beads at the joint several times, making knots and sliding through beads unl the bracelet is seamed together: Weave in ends. Figure 2 Using the same technique as ‘the Striped Bracelet, this bracelet is worked in pattern #C30 below Striped Bracelet| | 17 _ Section 9 | See a small, simple pattern is all you need to make something special. This netted band of cabling adds a lot to this gourd bowl. Green-and-Gold Netting order on Gourd “Bowl 1 1.8|creen and-Golé Netting Border on Gourd Bow! Ma eridl$isccnnsersesnnsavenamns + Gourd bow. about daneten peed and varsished Finished size: /4° tall. = Decorate ii long enoigh ogo round the bowl 16 rams geen sie II seed bad, => grams bro ste U1 asad bende + Groen bedng thread = Beading reee + Sewing necle ard green tread Tel Gia “eae amcurts are spproxenate You may need sighty more or les depending fo your Fhe piece <> Chart © General Instructions 1 Fic the trim around the top edge of the bowl, overtapping the ends about ",and cut ‘excess trim beyond the !0° overiap. 2 Remove trim from the bowl and sew the overlapping section together with the sewing needle and thread. Srhread the beading needie with a 6-fo0t length of beading thread and take 2 small stitch in the bottom edge of the trim. Tie the tail, working thread into a knox with a 6" tall to weave in later F Following the cable-neceing chart, repeat the netting pattern around the trim. ‘Weave in ends. S Glue the trim to the top edge of the bow. Green-and-Gold Netting Border on Gourd Bow! 119 Beers Gino ne 120} scissors Chatelaine l his elegant beaded chatelaine is an example of an edging used both for decoration and for function. Ultrasuede pieces are held together by the decorative beaded edging. The example uses black beads to contrast the red Ultrasuede, but you could use coordinating beads instead Also, using larger beads or making the stitches closer together along the edge of the suede will create a ruffled effect. Scissors Chatelaine 121 Finished size: 114" wide x 33h" long, not including neck chain. Section 5 Maer Cal Loner nes narermnesns 121 x 3 peces of Utrasiee or suet + AS ilongfacennc beads +8 Yong black beads + haze 6 back seed edt +5 sze 8 red seed beats (2 Wong Jade red bile bends rams" sze 8 back rangle bes +4 grams ong red twisted habeas +4 grams” sie 11 ea red send beads +4 grams® sine II black seee beads + Sebsors “Tracing paper and pen + Several paperetps "Bead armounes are approximate You may need sity more or less ‘depending on your finished pisces General Instructions Figure | Figure 3 122| scissors Chatelaine 1 Using the pattern in Figure |. trace the front and back onto the ‘tracing paper and cut out the shapes to create patcerns. 2 Place the pattems on the suede, mark around them with pen. and cut out. 3 Feld front piece over along the dotted line on the pattern. Stitch six black size 11 seed beads across fold to hold the fold in place. a5. shown in Figure 2. 4 Line up the front and back suede using paperelips to hold in place, S Begin picot edge as shown in Figure 3, making stitches about 34! apart on the suede, or make them closer together to make a ruffled edge. (Nove:You will noed more of the smal faceved beads to male the ruffled edge ‘option, At the center bottom, use two size 8 ced beads and ‘one size 6 black bead for the ‘center bottom picot. instead of the faceted bead (see photo of finished project). Projects, 6 Continue up the other side and around the back of the piece of suede to the Beginning. End by sticching ince the firs bead in che pactern along the edge. “T Sticch the center desail through the six beads along the front. as shown in Figure 4 S Accach a 5-foct length of thread to tha side of the chatehine at the {old in the front and string the neck chain, following the pattern in the photo of the finished project or creating your own pattern. ‘Take a stitch in the opposite side of the chatelsine and pass back through al the beads in the neck chain, adding more beads if desired, then weave in the thread Figure 4 | Scissors Chatelaine| 1 23 ‘Ryote Stitch “Key Chain . 1.24| Peyote stiten Key Cnain are fun and quick to make, and | hese little key chain are very versatile too. They are 2 good project when you want to try out color combinations and make something useful at the same time, to teach someone how to do a little beadwork, or to make a small gift of beadwork. You can write a tiny message on the bottom of the wood base, then hide it with a long fringe, or make a short looped edging. You can use them as Christmas ornaments, tassels, or zipper pulls. Make the simple edging in the instructions, or follow any of the fringe patterns to make a more ornate edging or fringe as shown in the photo of key chains. The instructions were originally written for a beginner's project, so they are great for a new beader. Peyate Stitch Key Chain] | 25 Materials. veevvervirrscvces : 14 grame® each of sine 11 Dalen bead 2 lowe: ; * dark blue purple #636 ‘ + medi Bl 1693 i cel 608 Finished size: A" wide > 1" ell not including fringe or y geld 34 jump rings. | + 14 ste 8 seed beads + [all wooden can” base + Sap 11 pexaing nucle Whigs boating shroad + %ong screw eye =| eal about) mp ring “+ age about 74) jump ring «Hamer and ral + Phers + Score + Clear fingernail posh or pune ane varnish (opin) ‘Bead amouts are approxinate-You may need sly more or lest depending on your fnished pecs Genenl Instructions Before the beading: T The wooden key chain can be used unfinished, or painted and varnished. Clear or colored fingernail polish works great. Only the top rim needs to be painted. You can also write a liale message on the bottom of the wood base, which is especially nice i ite a git, 2 Next, using 2 nail and hammer, tap an indentation in the top center of the wood base. B Screw a serew eye into the wood base at the indentation you made with the nal. Holding the screw eye with a par of pliers and twisting the wood base, while resting it on a table, makes, this process easier. Do not serew the screw eye in beyond the threads on the screw eye or you may break the screw eye. +} Accach the smal jump ring to the screw eye and the large Jump ring to the small jump ring Now you are ready to begin, beading 126 Peyote Stitch Key Chain Completing the project: T Onto 2 6-foot piece of thread, string 26 dark blue beads. String through the beacs agun to form a circle, being careful not to pierce the thread already chrough the beadsyas shown in Figure |. 2 Leaving a 6" cal tighten the ring of beads around the base. as shown in Figure 2 Thea square knot, 3 Beginning at round three on the patrern, pick up 2 {oid Dead, skp the first bead on the ring, and pass the needle through the next bead on the ring, as in Figure 2. Pull tight. Repeat step 3 four more times, folowing the color patzern on the graph from right vo lef (reverse if lofehanded) Siren adding the sixth bead, don't slop a bead on the ‘wood base, just pass through the next bead, 2s shown in Figure 4.This bead wil sic at an angle until the next rouné, and is shown on the graph without a bead above ie because ic will make 2 new vertical line of beads. G Convinue in batie peyote stitch, adding six more bead, and then make one more increase stitch, as in step 5. ‘T For the last bead in the round, pass the needle through two beads to get the needle in position for the next round, as shown in Figure 5.This maneuver shifts where ‘you begin tie round by one bead. The graph is marked ‘with a diagonal line to indicate thie changing first bead position. (continsed) Figure 2 Figure 3 Peyote Stitch Key Chain | 127 1.28| Peyote tch Key Chain Continue basic peyote stiteh (no more increases), following the design graph for the remainder of rounds. D)Afeer the final round from the graph. begin the bottom edging by adding four small beacs, one farge bead, four small beads, and then pass the needle through the third bead away on the previous round of the base. Continue around in the same manner, three times around, until there is a loop entering and exiting every bead on the bottom round of peyore stitch You will need to pass over the loops before adding the nine-bead loop and pass under the loops before passing the needle through the bead on the wooden base to make the loops overlap each other, as shown in Figure 6 Figure 6 1 Oro hide the excess threads, pass the needle through the beads on the base of the key chain, then change direction and weave through several more, as shown in Figure 7 Repeat so that about 2° of thread is woven into the beads and the chread has passed over itself once or twice, Cut the thread a2 close a= possible to the beadwork. Figure 7 Projects Peyote 5 Stiten Key Ch 129 Crochet “Bracelet and “Necklace 180| crochet Bracelet and Necklace Projects, I. bead-crochet necklace and bracelet set are made using the small rosebud pattern #COI, page TI. They are examples of how you can take any of the brick/peyote stitch patterns and use them for bead-crochet tubes, The size 15 beads for the bracelet and size I] beads for the necklace are worked 12 beads around, rather than the usual six beads. That way, there is more room for the pattern. Crochet Bracelet and Necklace 131 tion ‘ Material soeve-rvecvvaeeees Finished size: (bracelet) 814" long, : depending on beads and clasps Bracelet + size 15 seeu beads? as follows: 4 grams medium areen 2 gains lwender «10 grams of cream +110 yards of 1000 denier sik cord + Size 10 crochet hook + 2ster cone beads +216" accent beads Toggle ani lop esp Beading needle = Beadhig thread (ri color to match background beads) if you prefer not to use the silk card for the bead and clasp section, or your beads have holes that are too small for the “Bead amounts are appromase-Yeu may need sly ‘more or lets depending on your ished piece. thread to fit through, weave in the end of the thread when General Tnstructions you have finished crocheting, 1 To make the bead-crochet section, string the beads and attach your favorite onto the sik following the pattern in the chart, stringing beading thread to string the teach row of beads from righe to left (begin at the Gees aica Whey arrow), working from the top row of the chart to the bostom of the chart. Repeat the pattern seven times. 2 Begin your crochet with an 18 tail, s0 you can use that thread to string the other beads and clasp on later Work bead-crochet,slipsttching in front of the previous bead and siding a new bead into each stitch, 12 stitches around, until all the beads have been crocheted S bul che thread through the last loop and cut thread ro 18" + Tivread the needle with one of che 18" lengths of thread and string the cone and beads onto the thread and one. part of the clasp Pass back through the beads and anchor the thread in the erocheowork. 5 Pass back through the beads and the clasp and then back to the crocherworle Weave in the end, G Repeat seeps 4 and 5 for the other end of the bracelet 1.32| crochet Bracelet and Necklace Materials0+» oa Finished size: (necklace, croche: section) Necklace 7H long +S | seed bade lows: ae = 3 rans ler : (eeeneean +4 cone or coups teds (or ers of crochet scion) said tegirncine bane 408 dok bats aeeelgenes ++ 10 silver cap beads (for pearis) iar ead wenssiei tee rienced peat +e crea pear cocon +Sina 10 coche hole coe + Beating rade scan, "Bead svouns are approx You may need shh Fee oe dorset oe pow the pia” Genenl Instructions 1] Work the crochetwork the same as for the bracelet, ‘except string sbcand-a-half repeats of the design, instead cof seven repeats, and weave in the ends of the pearl cotton when done. 2 awach the beading thread at one end of the crochetwork. Following the pattern sequence in the project photo of the finished necklace or using your own design, string your beads and one end of the clasp, measuring from the center of the crochetwork to the clasp to determine haf he finished desired length S pass back and forth through the beads at least once amore for strength, and then weave the end ineo the crocheowork. f Repeac steps 2 and 3 for the beads and casp on the other side of the necklace. furse Art Deco h Art Deco Purse 1342-1 | his project shows how you can take a pattern and edit it to fit what you want to make. It is also an example of a limited amount of beadwork used to embellish a larger project. The three hanging beads on this purse inspired the color choices for this project and the art deco style design is a favorite in my family. This relatively large purse takes much less time to make than a fully beaded purse and is a nice size in the size § seed beads. If you : made the same beadwork design in size 11 seed beads, ; it would fit on the similar small pinch purse frames available. ariek Stiteh Art Deco Purse| 135 Section 5 Material sess + Ste 8 seed beids* a flows: = 40 grains fig blve charotns * T grams coppercolored © grams medium Bae «6 grams siver

    You might also like