ee irae eet ee ee ere: Adventures With Thon ; RERRAR Inside, you'll find 12 projects in 5 styles. You'll also: + learn basic techniques and the variety of their applications | «learn Bette’s own 3D fringe |e meet the Goddesses of Stretch - Fi, Babette, and Dottie Through instruction and diagrams, you'll discover: 6 a * 4 collars featuring interlaced spike fringe oe 3 collars featuring kinky fringe #2 collars featuring loop fringe variations * 3 collars featuring Bette's 3D fringe —No special glasses needed! Includes easy to understand diagrams “My broad collar format is loosely based on the Egyptian style with additional influences from the Americas and ihe Vietorians. Working within one confined format continually challenges my creativity by allowing me wulimited possibilities for color, fexture and structural variation, as well as the inclusion of non-traditional fechniques. The ladders, the basic structural component use, are made using the same technique developed by the Egyptians 5000 years ago.” Bette has been beading for 25 years and is known as an amazing colorist. Her collars are in the personal collections of people throughout the United States, Canada and England. She travels extensively to teach and has been published in Bead and Button magazine. As a gallery artist, she was featured in 2 of Linda Fry Kenzle's books, “The Irresistible Bead” and “Dazzle: Creating Artistic Jewelry and Distinctive Accessories.” She was recently asked to be a contributing artist in Valerie Hector’s upcoming book “The Art of Beadwork.” This is Bette’s first book. vii $21.95 US. || | $32.95 Canada NE 136106) Tale e : : orto neu apollo) i Cr (I hope you have enjoyed using this book as much as I enjoyed putting it together. If you have any difficulties or need a helping hand, please contact me at: bkelley@phoerising.com Thanks again for buying my book. fists LhillogPHOENIX RISING Bette Kelley i 224 Corry Street Yellow Springs, Ohio 45387 Tel. (937) 767-1910 : Fax. (937) 767-2102 e-mail bkelley@phoerising.com Phoenix Rising“ Adventures with Broadcollars Dedember, 2002 Dear Reader. “Thank you for buying my book, | hope you enjoy it. Unfortunately, several errors crept into my. book, Adventures with Broad Collars, while | wasn't looking. They are listed below. Page 6: Carryou find the Korean spelling of "attached"? Pages 40 and 46: Step #7 refers you to page 40; this should have read page 42, but page 42 is now page 18 (see below). So replace "page 40" with "page 18". Pages 40 and 46: Step #9 refers you to page 41; this should have read page 43, but be-sure to read the page 43 information below. Pages 40 and 46: Step #10 refers you to page 36; this should have read page 44 Pages 40 and 46: Step #11 refers you to page 37; this should have read page 45. Page 42: What was | thinking? Ignore this page in its entirety, and use page 18 instead. Your bead holes will be disoriented if you use this page. Page 43: Replace the verbiage with the following; the bolded sentence was added, for clarity itis very important to line up the edge of the lower/3rd ladder with the edges of the upper bugles before you start sewing together. With 4 yards of thread, begin at a lower net as shown - your needle should come out the bead right before the center bead of the upper net. Add an upspike and buffer bead and go down through the bugle unit of the third ladder. Come up the neighbor bugle back through the spike and into the next net, avoiding the center bead. Continue across the nneeklace in the same fashion. The bugles are usually evenly spaced, except in the sharpest part of the curve where there may be more. Page 66: On the color chart for Ancient Alchemy, change the following. "I*is really bronze delica — it would be really hard to use all those teardrops in the bottom of the loop! "J" was omitted from the descriptions, itis the copper teardrop. Unfortunately, | can no longer find copper teardrops, and have substituted brown iris ones in their place. 4Adventures With Biers i 12 Intermediate Projects in 5 Styles S \ Basic Techniques Included y Qyb BETTE KELLEY www.phoerising.comBette KeLLey This book is dedicated to my grandparents: Emma Nylin, who taught me to use a needle at age 8; and David Barnett, who raised me to believe I could do anything. And to my husband: Wayne, who always believes Nylin, who passed along his great sense of color, And to my parents: Dot and A big thank you to all my friends for their unending support Published by Phoenix Rising Press 224 Conry Street Yellow Springs, Ohio 45387 bkelley @phoerising.com ISBN 0-9711361-0-6 © 2001 by Bette Kelley All rights reserved Printed in Korea by Graphics International Cover anid title page design by Stephen Rumbaugh ‘Text design and Prepress by Jane Baker Diagrams by Wayne Gulden Photographs by Joe Van De Hatert, Mare Siemer, Thom Meyer Drawings by Carol Culbertson ‘The designs contained in this book are the author's. You are free to use these designs for your own pleasure, to make necklaces for you and all your friends and relatives. Please give me credit where credit is due. If you decide to make your fortune selling broad collars, you must come up with your own designs, as these are protected by copyright laws. They may not be reproduced, copied, stored, oF manipulated for any commercial use without my written permission, None of these images is within the public domain,ApveNTURES wiTH BROAD CotLars Contents Introduction and General Information 4 Basic Technique/General Skills 9 The Projects Introduction 27 Photographs 28 Alice in Springtime 34 Carmelita 38 Split Rock 40 Tea and Crumpets 46 Byzantium 49 Blues for the Nineties 54 Ice Storm 56 Somber November 58 Glacier Lake 62 Ancient Alchemy, Aurora, Into the Woods 65Berre Kenny Introduction Greetings and welcome to the wonderful world of broad collars! I've been a working artist most of my adult life, The essence of my artistic philosophy is that “Art Saves Lives.” I believe that if we surround ourselves with beauty in all facets of our lives, the quality of our lives will increase and the world will become a better place. Tam fascinated by the challenge of taking something flat and making it fit something curved. ‘The neck area fulfills this requirement nicely as well as presenting the perfect arena for my collars! My broad collar format is loosely based on the Egyptian style with additional influence from the Americas and the Vietorians. Working within one confined format continually challenges my creativ- ity by allowing me unlimited possibilities for color, texture, and structural variations as well as the inclusion of nontraditional techniques. The ladders, the basic structural collar component that I use, however, are constructed employing the same technique the Egyptians used 5000 years ago. Color is always the driving force behind my artwork. I view myself see into color schemes a translator of the world I T continually try to capture the “essence” of a place I’ve been, something 've seen or felt, and express that essence through color, Twas introduced to the basic techniques in 1992 as part of a class taught by Virginia Blakelock and Carol Perrenoud and I’ve been experimenting ever since. Through this book I hope to share with you what I've tried, leamed, and invented. So come along for the ride. ‘The book contains 12 projects in 5 different styles, including directions for the infamous 3-D fringe. A general technique section is followed by the specific projects. I hope you have as much fun making your collars as I've had creating mine. Feel free to improvise! My three goddesses of stretching, Fifi, Babette, and Dottie, have consented to make guest ap- pearances in this book. Look for them and their helpful hints about stretching scattered throughout. Bette Kelley Yellow Springs, Ohio June 2001ADVENTURES with BRoaD CoLtars General Information Supply List Following is a list of supplies you will need to acquire in addition to the beads. 1, Foamcore, approximately 15" x 15"; anything can be used as long as you can pin into it and draw on it The size does not have to be exact. Locate foameore at an arts supply store. Further instructions for its use are found on page 7 and 12 . #10 needles. A package is a nice luxury as then you don’t have to keep switching. #12 or #13 needles—or both—in case the beads fill up and the #10s are too big. Fray Check/clear fingernail polish—used for finishing the ends of ties. Either will work. I prefer Fray Check. It’s found in fabric stores. Hypo cementijewelers comenvclear fingernail polish—for gluing thread ticofls to backbars Thin pins.Ball-headed silk pins are the best and kindest to your fingers. Back to the fabric store. Do not use T-pins! They are way too fat Sewing scissors. Tip: put the smal] ones on elastic around your neck so they're always handy. They also ‘cause comment at the grocery store when you forget to remove them. 8. Bead surface. I use a chamois (actually several) so I can “layer” if need be. Look, now I'm in the car section of the variety store and people think I have a car fetish, 9. Good light! 10, DMC perle cotton size #3—back once again to the fabric store. 11, Sanding stone/sandpape/“*Foot"sander. These are used for smoothing the edges of the sharp, uneven bugles. Sanding stones are used in stained slass, sandpaper is at the hardware store, and I bought that foot sander/file thing at the grocery store in the personal eare section, 12, Assortment of larger beads to finish off the tie ends; the holes must be large enough to accommodate one strand of the perle cotton. 1 generally don’t go larger than 6mm round, but have used 10 x 4 mm long, beads 13, 5 inch cirele, eut from matboard if you want it to last. Thi obtained at a frame store. They'll have to cut it to size, Not everyone has a ci experience, Call ahead and ask. is used as your neck edge guide and can be s the voice of Beads and backbars are usually available from me if you can’t locate them elsewhere. ‘Three optional items to consider: 1, Hemastats or needle nose pliers for pulling needles. 2, Beeswax or Thread Heaven 3. Good books on tape Tired of shopping? Me too. Let's go bead somethingBette Ketiey Read This or Weep! Basic Broad Collar Guidelines + Stand up and stretch every hour!!!! Exercise direetions are scattered throughout the book + Always use Nymo D thread. Select the color to match the beads where the thread will show on the edges. If using white or light transparent beads, color match to those beads and color the edge threads with permanent marker. Be sure the marker is permanent! # LO needles whenever possible, They cull out beads with small holes and they’re easier to thread. Switch only when necessary. Save small hole beads for fringe, - Ladders are made separately and then atteched together. - For the most part, each process requires a new thread. + Alternate sides when making ladders. The goal is to have an equal number of threads on each side for tying off to the backbar at the end - When the first ladder is finished, run the bottom thread up through the neighbor bugle so both threads are at the top of the ladder. For subsequent ladders, place the threads where they are most needed for tying off to the backbar, and move either the top or bottom thread through the neighbor bugle as necessary. + Wait until the end to weave in thread ends. Always end with the thread going down. Remember—GRAVITY IS NOT YOUR FRIEND! jays ... Want to have more money to buy beads? Good posture = less chiropractic = more money = more beads. Always sit with your pelvis in a pelvic tlt position; this keeps you from slumping in the middle. Your knees should be bent at a 90-degree angle. Keep your work elevated, or use enlargers so you avoid cither bending your neck down or sticking it out. Stand up and exercise and stretch at least ‘once an hourApyentures with Broap CoLtars Neck Form SY -inch diameter circle Necklace Back Edge \ /) \ | OF ON \ Side Front \ / Side Front 7 “sy Center FrontBette Ke Basic Setting Up Locate your neck form and the neck form pattern on the preceding page. Lay your form over the pattern circle and transfer all markings, T usually use a ruler, but its not absolutely necessary, especially if it means doing more dreaded shopping. You should now have markings for the CF (center front), back edges, and SF (side front) markings. The SF marks are not always used. But it’s nive to have them at the ready. This size neck form will make a collar that is approximately 15 inches long. This does not count backbars or ties. They are designed not to meet in the back, but tie as did the real ones. They are also then adjustable for neck size or neckline. To make your collar shorter of longer, adjust evenly at the back edge. Conter the circle on the edge of one end of your foamcore with the edge of the circle against the edge of the foameore. Trace around the citcle and transfer the markings you need from your neck form to the foamcore. Notice that the back edge of your necklace/collar is situated in from the edge of the foamcore and this is a good thing. It makes for much easier construction and pinning. Note: If you use your foamcore enough, the holes will eventually get too big and make pinning harder and harder. Simply retrace the neck form in another place on the same piece of foameore, When this side is worn out, tum it over, I mean, you paid for this, not to mention spent valuable beading time looking for it, Use it tll it’s worthy of being pitched! Dottie Says .. . Hands Crampy? Shake "Em Up Baby! Hold your hands in front of you, and vigorously shake them back and forth 10 times.ADVENTURES with Broan Coutars Basic Techniques/General Skills Broadcollars are composed using several basic techniques, in enullessty new and different combinations. This section is comprised of one-page diagrams and verbiage devoted to teciching you these basic skills. You will be referring back to this section during the construction of the projects, Fifi Says... How're those shoulders doing? Circle them arms! Hold your arms out straight from your shoulders, palms up. Circle 10 times forward and 10 more in reverse.Bertre KELuey Ladders—Option 1 ‘This technique produces a ladder with buffer beads on both top and bottom edges. per the picture at the bottom of this page jequenice: Seed - Bugle - Seed - Seed - Bugle - Seed The first ladder uses 4 yards of thread mN Yt SA Re hl ees Push to center of threads “Working” needle always travels ia oppasite direction of stationary needle & the thread holding the beads to be attachedADVENTURES wiThH BROAD Covtars Ladders—Option 2 This technique produces a ladder with no buffer bead on the inside edge, per the drawing at the bottom of this age. This technique is best used with bugles that have smooth edges or have been sanded. It also works best for the second or subsequent ladders when they are grouped together. Note: When using this technique as a second or subsequent ladder, begin it at the opposite edge from the first ladder. When finishing this ladder, make it slightly shorter than the previous one, and add beads as needed when sewing the ladders together. String Sequence: Seed - Bi 3+ Push bead “units” to center of thread Note: To help prevent sliced threads, pull the thread gently against the unbuffered bugle head edges. “Working” needle always travels in opposite direction of stationary needle & the thread holding the beads to be attached.Berre Keuuey Ladder Layout Instructions ‘Much of this information was first presented in Volume 17 of Bead & Burton magazine. The direotions for laying out the neck form are discussed in “Basic Setting Up,” page 8. Important Note: Never split your thread. If it happens, carefully remove your needle, back out the thread, and try again. Ifthe thread remains split, you will be unable to snug up your bugle units. After you've constructed your first two bugle units (one unit = seed-bugle-seed), pull both threads gently but firmly to align the beads. Pin both edges of the ladder at the back edge, with a seed beud aligned with the neck edge as shown below. Every 4-5 units, align to the neck edge and pin, The outside will flare slightly. Frequent pinning helps to keep the spacing even. Continue to the other back edge. When making the second ladder, start at the opposite back edge. ‘Three helpful hints: 1. Remove the pins from the outer edge of the first adder, so they won't snag the thread. 2. Repin the second ladder as necessary. 3. Lind it easier to string beads with the thread coming from the inside edge and sewing the thread corning from the outside edge. This helps to avoid snagging the first ladder pins with your thtead, This will be true on any subsequent ladders as well, Traved Neck Form (or neck edge) Back Edges of Necklace center Front Foameore id aADVENTURES WITH BRoap Cottars Connecting Multiple Rows of Ladders COOVSCCOCCOCCS As you join the ladders, notice that they won't line up exactly where the curve is most pronounced. Every s0 ‘often, you will need to skip an entire unit on the bottom ladder, or jog: push up through the bottom bugle, but 0 up the same bugle you just came down on the top row. An alternate plan is to come up the bottom bugle, hook the threads of the top bugle, and come down the same bottom bugle. When you get to the second side, add as many bugle units as necessary to make this ladder the same length as the previous one. Note: | find it easier to turn my foameore 90 degrees so that when I'm sewing, I'm going back and forth instead of up and down. Halfway across, I turn the board 180 degrees so I’m sewing towards myself. Use only ‘as many pins as you really need, as they get in the way. FYI: When you join any rows of ladders, ALWAYS sew them to the ladder immediately above. If possible, every so often, run the thread all the way to the top ladder and then back down. This adds strength. = igsBette Ketvey Ladder End Thread Placement The instructions for making multiple ladders should produce something that looks a little like the picture below ‘These 2 threads are from the first ladder, with the bottom thread having been run up the neighbor bugle. These 2 threads are from the second ladder They will wait patiently for further instructions. ‘This thread is start of the “sewing-together” thread. I begin at the bottom of the second ladder, just to have a thread end down here for probable tie-off use later This thread is the end of the “sewing together” thread. Ic will either finish here or at the top. Two of the three threads available need to be moved to the top of the first ladder. These are necessary for tying offADVENTURES WITH BROAD COLLARS Netting First Row with Picot Edging Options Cas head picot ; ~ Vy e a hk & sy 4 r ry abies ~< Ay ae Co M4 Xo OO AK XX | eee ec c CK SOOSE AAS X) At the back edge, adjust f the length of the second ladder \ to be even with the first SeL# Sometimes a bugle will Wry have to be added to the Ki) first row as well to make the eae picot edging come out even Recall that to make the curve come out right, there will be more beads on the bottom ladder than the top. When adding picots and netting, itis important to keep constant the mumber of bugles between the common beads. This means you will have “jog” occasionally between the rows. This will use 4 yards of thread.Betre KEeLiey Netting Ist Row & Flat Edging Start With 3 yards of thread, begin at the bottom of the now-joined ladders. Sew up to the top, ald a bead, come down the neighbor beads, and add the first row of netting (9 beads for the first net, 8 for subsequent). Skip (wo beads, go up, add another bead. Come down through the bugle beads and the top seed bead to begin the next net. Proceed across the necklace. Note: [ find it easier to begin the flat edging now, to save thread space for later. However, this technique sometimes creates a changing bead count within the edging. If you require a constant bead count in the edging. do not add this bead now, and we will attach the entire edging later. Sometimes you will end up with the ‘wrong count at the end. ‘There are three options: I. Ignore, especially if just one bead off. 2. If you are one bugle shy, the picot can sit on top of just one bugle. 3. Add bugle units to make it come out even. If you choose this. the bugles must be added in the same fashion as the original ladders. € ooton xz CMe Start of Flat Edging , oO 8" til for extra oO beads if needed ; Ae \ 5 ) WY Fenangrw CO) CLG OO) SA SYD aa aes 9 beads per net Ge CO Co. 6.6 Carey eS Y OO ‘2g ‘ene? SANADVENTURES WITH BROAD Coutars Connecting Flat Edging Option 1 Use this option if you have already have the one bead in place. With 2 yards of thread, start at an edge, and simply fill in the spaces alternating the colors A and B, with however many beads are necessary to fill the space. Proceed across the necklace. When you reach the opposite edge. tie a couple of half hitches and return through all the beads in the edging. Note: itis frequently hard to maintain the altemating color pattem with se = sed \ | iho d nie pe mal E ] 2 tt ae jooaees is a 3 ic Option 2 Use this option if you do not have the one bead in place. With 3 yards of threads, start al un edge, and string unit of 3 ("A-B-A”). Go down a bugle unit of the first ladder only, come up the neighbor bugle unit, through the last delica ("A") again. String another unit (“B-A-B”) and proceed across the necklace. You are sewing in ‘ backwwards loop, This isa real pain to do. Hint: Having a pair of hemastats to pull needles with helps im- mensely, If room is tight, switch to a size 13 needle. If there is no space in the bugles, use a brick stitch approuch and catch the ladder threads. ‘ ie eX 2a).Bette Ketrey Netting 2nd Row At the end of the Ist row of ni tie 2 half hitches over the exi tension. Continue on, across 1 dd the correct 9 beuds and go through the center bead of the first row and at the top left of the center bead. This is important to keep even Note: Sometimes the netting does not come out as pictured below. Then you have a chance lo exercise your creativity. [use a variety of fudges (depending on how bad itis: vanilla, chocolate, peamut butter... ). The ‘worst case is you are off by two beads. You ean ignore it, or add extra bugle units (this is pretty painful, once everything is built) Center beadsADVENTURES wit Broap Courars Netting 3rd (and subsequent) Rows Proceed as in the second row. Reverse direction, tie knot as in 2nd row, but it is now located to the upper tight of the center bead. Proceed across necklace. When you reach the end, leave the thread and proceed to the next step. O O O O O IsseesceesccesccessBette Ketvry Attaching Netting to a Lower Ladder Itis very important to line up the edge of the Lower ladder with the edges of the uppet bugles before you start her. With 4 yards of thread, begin ut the center bead as shown and sew down the bu, underneath the lower center bead. Itis asually about 3 bugles in from the edge, sorta as shown, Come up the neighbor bugle (2 bugles from the edge) back through the center bead, and continue on across the necklace (essentially you are sewing in a backwards loop). The bugles are usually spaced about 2 apart, except that in the sharpest part of the curve there may be more. — 2 —ADVENTURES WITH BROAD COLLARS Finishing Details [finish the buck edges of the collar by tying off the loose threads to a backbar, which is a long metal finding with holes on both edges. This allows me to tie off the necklace to the inside edge of the backbar and attach the ties to the outside edge. Always start at the top and work down, When tying off, always have 2 threads with which to work. If for some reason you have only one, move another thread over of—gasp—add a thread inand weave in its other end. In my Basic Broad Collar Guidelines, | mentioned the importance of having the thread ends evenly divided between the edges and now you know why. Backbar Attachment 1. Position the fitst backbar so that the top of the first ladder is at the top of the backbar. 2. Pick up the 2 threads and tie a surgeon’s knot (a square knot with an extra loop) 3. Using a # 12,13 needle, sew/loop one thread through a top hole in the backbar, going from top to bottom and around the edge. Repeat this 2 more times. 4. With a second needle, bring the 2nd thread through the same hole but in the opposite direction—from bottom to top. Do this for a total of 3 times. 5. Pull the threads tight and position the bugle bead so that it sits on top of the holes in the backbar, covering them. Tie another surgeon's knot. 6. With the longer of the 2 threads, go down the outer bugle to the next tic-off position. If there is not a 2nd thread already here, bring it down from above and use it. 7, Continue in this manner for all ladder ends. Also use the center points of nets for tic-off not tie off fringe edges unless my backbar is too long and I need to cover it 8. When finished, repeat on the second edge, making sure that you start in exactly the same position as the first side 9. When both sides are finished, weave in all ends, remembering to end them going down, Always go up and down several times or work your way down the collar at an angle. Ending in a bugle is always preferable. Fray Check the end that protrudes, let dry and clip. If you can pull itto the back, even better. 10, Avoid ending in netting if possible as the ends will work out, 11. If there’s no second thread nearby to knot before burying, take extra care to go up and down a lot of bugles to anchor the thread 12, Use Hypo cement/clear fingemail polish to glue all tic-off points on the buckbars. generally do Once I get the backbars attached, T always finish my neckpieces with braided ties. This allows adjustment for neck size and neckline. | use a technique called Braiding with Seven. Braiding with Seven 1 always use DMC Perle Cotton #3. Ik comes in a wide variety of colors and is cotton, so when tied it won't slip. Each package contains 16 yards—enough to make 4 ties or 2 sets. 1 measure from my nose to the tip of my fingers; this is slightly over a yard, Measure off 6 lengths and cut. Measure off the 7th one and make it about 8-10 inches longer than the first 6. Fold #7 in half and cut into 2 pieces. Divide the 6 lengths into 2 sets—3 long ones and one shorter one. One set is for the first side and the other for the second, ‘What your backbar attachment looks like will determine how you attach the threads, Ifthe attachment point is large, fold your threads in half, push through the opening and make a half hitch. If' your opening isBette Keiiey small or you're going through a jump ring, pull the threads through the opening one at a time, then line up the ends on one side, Find the middle and make an overhand knot, being sure to push it ight or position it as close to the backbar as possible. Anchor the non-working end firmly to something so that you can maintain some tension, T usually pin it to my foameore, This produces a tighter braid, Divide the strand into a left group and a right group with 4 on ‘one side and 3 on the other. On the following page is a diagram of how this is done, to help all you visually ‘oriented people. You will also have the short tail—he's too young to cross the street without an adult so he always travels with his neighbor, Hold the group of four and pick up the outermost strand and transfer it co the inside edge of the opposite group. That group now contains 4, so pick up the outermost strand and transfer it to the inside of the opposite group and repeat endlessly. I hold both groups in my hands at all times and use my ‘thumbs to hold in place what I’ve already braided so the tension stays tight. When you've done all but about 4- 5 inches, tie an overhand knot, being sure that it’s tight and covers where the braiding has stopped. Repeat on the second side, Finishing the Ties ‘Thread an assoriment of larger beads on the ends of the ties—I try fora mix of color and shape that repeats the colors in the necklace. Use an overhand knot at the end of the thread to secure the bead. If your favorite bead has a hole that’s too big, thread on a smaller bead underneath and tie your knot, Fray Check to glue the knots on the ends of the threads, let dry, clip off, and tidy with your fingertips if necessary. —n—AbveNTURES wiTH Broap CoLLars Braiding with Seven Finding Cut three lengths that are one+ yards long and fold in half. Cut one length that is slightly longer than the folded lengths. When beginning to braid, separate the threads so that there are four on one side and three on the other as per the picture above. Do not count the short end of # 7 as a thread. When braiding, always start with the “4” side and always move the outside thread from one side to the inside of the opposite grouping. Finding Repeat on the opposite side. Continue in this manner until the braid is as long as desired. Tie an overhand knot to finish off. Hint: keep your tension tight and remember the short guy can never travel alone. —23—Berte Keccey Problems? The Doctor Is In! + Beads too full of thread? Yes they will break and this is the voice of experience! Carefully move the thread over to the next available bead by carefully weaving your needle in and out of the ladder threads or the ladder! joining threads, Keep the tension even to loose s0 the shape of your collar won't distor. + Broken bead? rst scream really loud—foot stomping is good. Walking away is good. Now that you're calm—you are calm, right?—carefully, ever so carefully crush and or remove the remaining bead/corpse. Find a replacement bead. Stay calm and keep breathing. Thread up a needle either with a new thread—Grrrr, another end to weave in—or locate a layabout thread nearby and move him into position. If your thread is new, start at some distance and weave your way over the “empty” spot, insert the bead, and continue the piece or bury your thread—whatever is appropriate. Ifthe “newly deceased” had been fall of thread, make sure the “new-improved” bead sits on top of the formerly encased thread. When finishing up the collar, these exposed threads will either need to be Fray Checked or glued to reduce abrasion. + Running out of thread? Find a good place to start and stop. This is more important than “wasting” 8 inches of thread. My favorite place is the top of ladder not close to an edge. (Those places need to be saved for tying off and burying.) Start the new thread next door so that at the end these threads can be knotted and buried. * Thread too short for burying down? Here are 2 “iricks” and a last resort. 1. Push the needle partway down the chosen burying bead, then thread it and continue pushing it down, Here isa good place to use hemastats or needle nose pliers to pull the needle out. 2. Push the already threaded needle, eye-end first, down the desired bugle. One hopes it will unthread in the middle of the bugle, while you continue gently pulling it down. Last Resort—Fray Check or glue the thread and carefully clip when dry, With luck, the stiffness will at least slow down gravity, Hmmmm—wonder if this works on aging bodies?ADVENTURES WITH Broan CorLaes Dottie says... Reach for the Sky, Pardner! Stand and stretch one arm towards the sky, palm up, and feel the stretch all along the side of the body. Do the other side. Repeat 10 times, Oh, | feel so much better now! Fifi says... Twist and Shout. Hold your hands in front of you. Rotate your wrists and hands around one another, Repeat 10 times, then reverse and do 10 more. This keeps your wrists moving,Berte Ketcey Pictured above ore the findings used for the various projects inthis book. On the left are the oblong 57mm fidings, in a varers of meta finishes. The 29 findings, in a variety of sles and metal fishes, are located in the upper right corner. If you cannot locate the carrect size findings pleane comsact me. {always have them available. right Silver 1-5 cre SPmum. #1 = Antique Copper, #2 = Antique Bronze, #3 = Bright Gold, #4 = Amigue Sitver, #5 #6-12-ar0 29m, #6 Silver Victorian Floral, #1 5-Sirand Art Deco Silver, #7 = Bright Gold Figure 8, #8 = Antique Copper Victorian Flora), #9 = Bright right Gold Viciorian Filigree, #21 = Light Bronce Vietorian Flgree, #12 = Brigh Silver Figure &ADVENTURES wiTH BROAD CoLLars The Projects The following projects began life as collars created during my stint on the high-end craft fair circuit. I have grouped together similar styles, but in my inimitable way, each has some variation. They generally proceed from easier to more difficult, but all are on an intermediate construction level. This section begins with a colar photo of each project. Ldescribe the inspiration for each piece and the construction steps. A color chart, listing bead colors and sizes, plus thread and backbar specifications, is next. It is followed by techniques specific to each style. Feet free 10 improvise or call for help if need be. Always remember, “How hard can it be?” Enjoy and remember to stretch.Bette Keniry Project 2: Carmetivs 5pADVENTURES WITH Broap CoLLaRs Project 3. Split Rock Project 4. Tea and Crumpets — a9 —Bette Kevisy RHMHMHARAHAARHREAARARnhnAhnnnanaaeADVENTURES WITH Broap CocLars Project 7. Tce Storm Project &. Somber November — 3 —Berre Ketter Project 9. Glacier Lake Project 10. Ancient Alchemy AHRrrnrnnnrnirnrntrnrntnirnitnirnitiT@nmyirnuéiq@gmirnmsireuéiegéiegaggADVENTURES WITH BRoap CoLLans Projées 11. Aurons Project 12. dno the Woods —iaBette KELLEY © 1. Alice in Springtime Iwas asked to do a “how-to” article for Bead and Button magazine, Originally, the article was to appear in the spring issue. So the editor, Alice Korach. asked for a piece in lavenders and soft greens—a very springlike palette. When I went to select the colors, my eyes were drawn to the jade-sreen beads, and the memories they evoked of a lake in Glacier Park we had seen several years ago, while hiking out West. The piece is named for Alice. First Created: Tanuary, 1996. Cover Feature, Bead & Button magazine, Vol. 17, February 1997, Construction Steps Ladder Layout—page 12, general section. First Ladder, Ladder Option |—page 10, general section, Second Ladder, Ladder Option 2—page 11, general section. Joining Ladders—page 13, general section, Ladder Thread-End Placement—page 14, general section. Netting First Row and Picot Edging —page 15, general section. This project uses the 4-bead picot Netting note: if using size 9 3-cuts (as shown in the photo), use an 1-bead netting, not 9 as shown in the color chart. If using seed beads, a 9-count netting is good. 7. Netting Second Row—page 18, general section. This count is 9, as shown, 8. Netting Third Row—page 18. general section. The count here should be the same as in step 6 above. 9, 31d/Lower Ladder, Ladder Option 1—page 10, general section, 10. Attaching 3rd/Lower Ladder to Netting—page 20, general section. 11. Interlaced Fringe Ist Pass—page 36, project section. 12, Interlaced Fringe 2nd Pass—page 37, project section 13, Finishing Details—pages 21-23, general section. 14, Wear with style! aRApventures wir BRroap Coucars Alice in Springtime Color Chart Bead counts on this picture are accurate, except in the fringe section, Reler to the fringe assembly diagrams for these counts, pages 36-37. The 25mm green bugles are no longer available, but the same color is available ina 12mm. You can casily substitute both M and N. To keep the scale correct, you might want t0 also use ‘7mm or 9mm bugle for the third ladder. Your necklace will then resemble Split Rock. All seed beads are 11", unless otherwise noted. Picot § CC A i 8 Butler Beads ) ¢ First Ladder in Butler Bead _ Second Ladder F | Bulfer Beads G { Lavender C/L Xtal Netting 1st Row H Bronza Delica i C= Green CML Green Giocae eens Simm Purple Multicolor Matte Netting 2nd Row J Bronze Delica Gus 1 = Smm Teal Matte a Purple C/L Xtal Netting 3rd Row H Bronze Seed Beads ‘enter Beads land Purple C/L Blue Buffer Beads 6 Blue Zircon Transparent 12mm Lavender Matte Lower 3rd Ladder | kK 2’ Bronze 3-cut | 25mm S/L. Purple Buffer Beads ic N = Purple Multicolor Matte num Emerald Transparent Interlaced Loop Fringe B % s N Buffer beads ' o Bugles M ° Picot eSBette KeLvey Interlaced Fringe: First Pass You have an option of using 12 yards of thread for both passes, or 6 yards for one pass. String the following sequence: 13 “x,” the spike, 3 picot beads. Come back up through the spike, up through the last “x common bead. Then string 12 more “x.” Go up through a bugle as shown, the top buffer bead and the center bead. ‘Come down the neighbor bugle and proceed on. OADVENTURES WITH BROAD Cortars Interlaced Fringe: Second Pass Start besveen the frst 2 nets. Sting the following sequence: 13 “” spike, 3-beadpicot, Come back through the spike, and the k bead. Add 12 “y.” Come up a bugle centered between the nets, add a seed bead, Zo back down either the same or neighbor bugle, and proceed. Only the top part of the thread path is shown. Hint: Remember to have one leg of the fringe underneath and one on top. Neted Fringe, each ‘side has 13 bead, (one leg on top and one below, —37 —Bette Keeiey é 2. Carmelita 4 ‘This necklace was patterned somewhat after a custom order. The opera Carmen was a design project when I was studying theater in college, plus I'd seen various movie versions. I grew up in San Antonio listening to and watching Flamenco music and dancing, so the palette was @ given. I had almost finished the necklace when I heard the song “Carmelita” by Waylon Jennings on the radio, thus its new name. First Created: October, 1995. April, 1996: Trunk Show, Beadazzled, Tyson's Corner, Va. June, 1996: Art to Wear "96, Fort Wayne, Ind. Construction Steps 1. Ladder Layout—page 12, general section. 2. First Ladder, Ladder Option 1— page 10, general section 3. Second Ladder—Ladder Option 2, page 11, general section. 4. Joining Ladders—page 13, general section. 5. Ladder Thread-End Placement—page 14, general section. 6. Netting First Row and Picot Edging—page 15, general section. This project uses the 4-bead picot, 1. 8 9 Netting Second Row—page 18, general section, 3rd/Lower Ladder, Ladder Option |—page 10, general section, ‘Attaching 3rd/Lower Ladder to Netting—page 20, general section, 10. Interlaced Fringe Ist Pass—page 36, project section. Note: look closcly at the color chart, Between the bugle and the picot is a buffer bead and a bicone, 11, Interlaced Fringe 2nd Pass—page 37, project section. 12, Finishing Details—pages 21-23, general section. 13, Wear with fiery abandon! Dottie Says ... When was the last time you stood up and stretched? Do the Squeeze Play. Make an individual fist with both hands. Open your hands as wide as you can, and stretch your fingers back. Repeat 10 times.ADVENTURES WITH BROAD COLLars Carmelita Color Chart Bead counts and alignments on this picture are accurate, except in the fringe section. Refer to the fringe diagrams for these counts, pages 36 and 37. All seed beads are 1’, unless otherwise noted. The top two bugle rows (C and D) are black and gray. Either row can be either color as long as only one of them is shiny. The same applies for the bottom fringe bugles. Sometimes, for variety, I matte the netting beads, for contrast. Picot Buffer Beads First Ladder Buffor Beads ‘Second Ladder Buffer Beads Netting 1st Row Center Beads Netting 2nd Row Center Beads Buffer Beads Lower 3rd Ladder Butfor Beads Interlaced Loop Fringe Butfer Boads Fringe Bugles Butfor Beads Bicone Picot A oe oe} wom x a 7D > o and A a2 >orom o A= Transparent Red SIL Xtal 4/5mm Black Opaque D=6mm Hematite Twist Hema = Black Matte Delica G-=6mm Black Matte H = 20mm Hematite Twist 1 = 25mm Black Opaque J = 2mm Red Bicone Black Opaque. Nymo D: Black and Light Gray DMC #3: Black or Red or Gray Backbars: 57mm Antique SilverBerre Keivey 3. Split Rock 34 The name derives from a lighthouse on the north shore of Lake Superior, just above Duluth, Minn, Itis also the name of the Summer Arts program at the University of Minnesota at Duluth, where I first learned to make this style of necklace, This palette was my first attempt and remains a favorite First Created: Prototype, January, 1993, For Real, November, 1994. December, 1994: Gallery Five One-Woman Show, Tequesta, Fl April, 1996: Trunk Show, Beadazzled, Tyson’s Comer, Va. Construction Steps |. Ladder Layout—page 12, general section . First Ladder , Ladder Option 1—page 10, general section, Second Ladder, Ladder Option 2—page 11, general section. Joining Ladders—page 13, general section. Ladder Thread-End Placement—page 14, general seetion. Netting First Row ond Picot Edgine—page 15, general section. This project uses the 3-bead picot. Netting Second Row with Up Spike—page 40, project section, 3rd/Lower Ladder, Ladder Option 1—page 10, general section Attaching 3rd/Lower Ladder to Netting—page 41, pr 10, Interlaced Fringe Ist Pass—page 36, project section. 11. Interlaced Fringe 2nd Pass—page 37. project section. 12. Finishing Details—pages 21-23, general section. 13, Wear to rave reviews! Ce aVADPH agADVENTURES With BROAD CoLtars Split Rock Color Chart Bead counts and alignments on this picture are accurate, except in the fringe section, Refer to the fringe diagrams for these counts, pages 44 and 45. The color picture is slightly different from this color chart. Your choice. This chart produces a less risky-construction necklace. All seed beads are 11’, unless otherwise noted, Picot 2 : Buffer Beads { 2 AL First Ladder A Buffer Beads x At Second Ladder 8 Buffer Beads H 7 mam, oe Sra 2 eee } c C = Lavender Luster Netting 1stRow D = Cinnamon Matte Samer pace mo; E = 5mm Blue Lavender Multi " A mm S/L Turquoise Netting 2nd Row Rate Center Beads H= Blue Iris Up/Long and Down/ Sots ‘J = [2mm Copper Iris Metal Short Spikes Long=F = Turquoise A/B Transparent u ul L= Copper Delica Q@QO. cant N=si Purple Delica Butfer Beads at Lower 3rd Ladder id Dolca Buter Beads ei Nyimo Di Rosy Tan and Brown DMC 43: Turquoise or Purple 0 Tmm Antique Copper aQ é Interlaced Loop Fringe , BuerBeads =, POO Fringe Bugles [| J PicotBette KeLLey Netting 2nd Row with Up Spike ‘After completing the Ist row of netting, revetse direction to begin the second row of netting, now with spikes String half the top net (5 beads) and all of one bottom net (7 beads, a total of 12 beads). Co through the center bead ofthe first row and tie 2 half hitches over the existing thread at the top Teft of the center bead. This is important to keep even tension. Add a bugle “unit” (seed-bugle-seed). Come back up the bugle, so through the center bead again in the same direction, Add the next net and continue on across the necklace. You are sewing, in a backwards loop when adding the spikes. When you reach the end, leave the thread and proceed to the next step, As noted in the general instructions (page 18), sometimes the netting does not come out as pictured below. Then you have a chance to exercise your creativity when you attach the lower ladder. ‘Thread from Ist row, or begin new O O Oo Oo Oo 3 ce Thea trom 1st108, oF Comer bas ose * second net Bbaads | Ege Pessiitios =aADVENTURES witH Broap CoLuars Attaching Lower Ladder to Netting with Up Spike It is very important to line up the edge of the lower ladder with the edges of the upper bugles before you start sewing together. With 4 yards of thread, begin ata lower net as shown—your needle should come out the bead right before the ‘center bead of the upper net. The needle goes down the spike and through the bugle unit of the third ladder. ‘Come up the neighbor bugle back through the spike and into the next net, avoiding the center bead. Continue across the necklace. The bugles are usually evenly spaced, except in the sharpest part of the curve, where there may be more, ge Posies Edge Positilies | Lowertard LadderBrite Ketiey Interlaced Fringe—First Pass ‘You have an option of using 12 yards of thread for both passes, or 6 yards for one pass. String the following sequence: 13 “x”, the spike, picot bead(s). Come back up through the spike, up through the last "x" common bead. Then string 12 more “x”. Go up through a bugle as shown and the buffer head of the up spike. For subsequent fringes, string 12 “x” instead of 13. Come down the neighbor bugle and the common bead of the fringe net and proceed on. This method uses a common bead at the top. Directions for no common bead at the top are on pages 36-37. oo 000. a | O17 S 0.0 ° Upspies ° ° elas | \ | | ees tied Fings, each sie has 13 beadsADVENTURES WITH Braap CouLars Interlaced Fringe—Second P. Align the “Center Bead of the Spikeless Net” with the two neighbor bugles with which you will start, Come up one of them, string the following sequence: the necessary number of shim beads (the diagram shows 2) followed by a bugle unit (seed, spike, seed). Go through the aligned center bead, come back down the bugle Unit, the shim(s), and the neighbor bugle. Then string the following: 13 “y,” spike, and picot. Come back through the spike, the last “y” common bead. String 12 more “y" and repeat across the necklace. On subse- quent fringes, remember to string 12 “y's” instead of 13 Hint: Remember to have one leg of the fringe undemeath and one on top. ‘Spkcless Net Up Spikes — Down Spikes Down Spike Shire censrameasi —— A% SR SRY, il oO (Common Bed Neted Fringe, each side has 13 beads, ane lag on topand one below "¥* Comman SeadBerre Kevvey e 4. Tea and Crumpets 3 This necklace reflects the wallpaper in the tearoom at The Comer Shoppe in Fairborn, Ohio, It recalls the countless aftemoons of tea, treats, and talk with my various costume buddies. A bit of civilization away from the raucousness of life backstag First Created: September, 1993. July, 1994: Westmoreland Nationals, Craft Award of the Year, Latrobe, Pa. April, 1996: Trunk Show. Beadazzled, Tyson's Corner, Va. June, 1996: Art to Wear “96, Port Wayne, Ind. October, 1996: Kittrell-Riffkind Gallery Show, Dallas, Tx. Construction Steps 1. Ladder Layout—page 12, general section 2. First Ladder, Ladder Option 1—page 10. general section. 3. Second Ladder, Ladder Option 2—page 11, general section. 4, Joining Ladders—page 13, general section, 5. Ladder Thread-End Placement—page 14, general section. 6. Netting First Row and Flat Edging—page 16, general section. i 8 9. Netting Second Row with Up Spike—page 40, project section. 3rd/Lower Ladder, Ladder Option |—page 10, general section. Attaching 3rd/Lower Ladder to Netting—page 41, project section. 10. Interlaced Fringe Ist Pass—page 36, project section, Note: The color chart shows a 5-bead picot at the spike bottom. 11 Interlaced Fringe 2nd Pass—page 37, project section. 12. Connecting Flat Edging—page 17, general section. 13. Picot Overlay—page 48, projects section. 14, Finishing Details—pages 21-23, general section, 13. Wear with elan! — 46 — MOR MOMnMOMnMMnBAHAnAMnnAAnnnnnnaahnnainADVENTURES with. Broap Cortars Tea and Crumpets Color Chart Bead counts on this picture are accurate, except in the frin; ge section, Refer to the fringe assembly diagrams for these counts, pages 44 and 45, All seed beads are 11’, unless otherwise noted. Flat Edging ‘aur Beads First Ladder Butter Beads Overlay Pioots Second Ladder Butler Beals Center Beads Netting 1st Row Center Beads Netting 2nd Row Center Beads Up/Long and Down/Short Spikes. Delica Buffer Beads Lower 3rd Ladder Delica Buffer Beads Interlaced Loop Fringe Bulfer Beads Fringe Bugles Looped/Picot = A= 4/5mm Blue Purple Matte ‘5¢6mm S/L Royal Blue C= Peach Opaque D = Transparent Red E = Copper Delica P= 12mm Green Picasso G = 6mm Twisted Silver H= Green Greasy 12mm Gold A/B Metal Blue Tris K = 20mm Antique Copper Twist L=25mm S/L. Royal Blue M = Metallic Light Green N= 4/5mm Gold A/B. Nymo D: Dari Plum ancl Navy DMC #3: Royal Blue o Light Green Backbars: 57mm Antique CopperBetre Kervey Picot Overlay We are going 19 follow the top row of netting as a thread path to evenly space the picot overlays. The pattern is 3 all-green overlays followed by 1 all-peach one, Begin at an edge with 3 yards of thread, Have your needle ‘come out the common bead at the top of the net. Go up a bugle and buffer bead on the second ladder only. Come out the buifer bead, add the 3-bead picot, come down the neighbor buffer and bugle, through the common bead at the top of the netting, Proceed across the necklace in this fashion. You may find it easier to use a smaller needle, if space is tight. instead of the bugle, as some bugles are notorious : It is especially important to come out the buffer bea for sharp edges. Coe 8 =ApVEsTURES with BRoab CoLLars é 5. Byzantium 4 Twas doing some costume research for another project and happened to spend a long time looking at all the clothing from the height of the Byzantine era, and then reflected on all the Orthoclox church interiors I've seen. Their use of rich colors and lavish amounts of gold are truly wonderful. Just looking atthe pictures, | could almost smell the incense. First Created: November, 1994. December, 1994: One Woman Show, Gallery Five, Tequesta, Fl May, 1995: Ohio Chapter of Women’s Caucus for Art, Toledo, Oh. July, 1995: Beadwork: Beyond Boundaries, Berea, Ky. March, 1996; Texas National "96, Nacogdoches, Tx. April, 1996: Ohio Designer Craftsman—Best of 96, Columbus, Oh, Construction Steps |. Ladder Layout—page 12, general section. Ladder, Ladder Option 1—page 10, general section, Second Ladder, Ladder Option 2—page L1, general section. Joining Ladders—page 13, general section. Ladder Thread-End Placement—page 14, general section. Netting First Row and Flat Edging—page 16, general section. Netting Second Row—page 18, general section. The bead count on your color chart is correct. The color photo shows 2mm twisted bugles, which are no longer available. I have substituted beads that require a larger number (9 in place of 7 for each net) 8, 3rd/Lower Ladder, Ladder Option I—page 10, general section. 9. Attaching 3rd/Lower Ladder to Netting —page 20, general section. Note: I have removed the spike shown in the color photo, because it did not lie well. Why do you think I submitted it to so many shows? Nobody would wear it, well, maybe anything for beauty 10. Kinky Fringe Verbiage—page 51, project section. 1, Kinky Fringe—page 52, project section 12, Kinky Fringe Reduction Chart—pages 53, project section, 13. Connecting Flat Fdlging—page 17, general section. I4, Finishing Details—page 21~23, general section. 15. Wear with panache!Berre Kevvey Byzantium Color Chart Bead counts in this picture are accurate, except in the fringe section. Refer to the fringe assembly diagrams for these counts, page 52, Some of the beads in the color photo are vintage and no longer available. I have also removed the spikes in the netting section, as they never lie well, All seed beads are size 11’, unless otherwise noted, Flat Edging Butter Beads First Ladder Buffer Beads Second Ladder Butler Beads Center Beads Netting 1st Row Cenior Beads Netting 2nd Row Center Beads: Buffer Beads Lower 3rd Ladder Buffer Beads Banga BandA Kinky Fringe Landa AandD AandD Fringe Bugle AandB 6 A = Black Maite Delica a B= Bronze Delica C= Tmm Red AB D D = Brown Iris E= 7mm Blue Iris E F = Bronze G =Transparent Red i 12mm Blue Iris I= Blue Iris F L= Bronze 3-cuts 6 Plus randomly scattered G on the ends \ of the legs 6 J Nymo D: Red and Navy Blue DMC #3: Navy \ Backbars: 57mm Gold or Antique Gold J Leg ~— ‘AandB <—— fine andl AandL Danda DandA nroaonrenmrnrrmrermrmrinnAnintnrnirtnnrninaninhtinhnrtnhnnApventures with Broap Cotuars Kinky Fringe Construction Details ‘To construct the fringe, reel off 10 yards of thread and do not cut. You will be starting in the middle and ‘working to one edge, and each half takes 10 yarels. With luck, you will have 10 yards left on the bobbin, IF long threads are the bane of your existence, or your bobbin runs out, oh well, use a shorter one and you" Il have to start another one later. Leave the bobbin above the lower ladder and come down the center bugle. String 39 beads for the spine, plus a bugle and buffer at the bottom. Come back up the bottom bugle and make leg #1 by adding 5 beads plus an end bead. Pull the thread all the way through, keeping a tight tension. Go back through the 5 leg beads and up the spine several beads. Continue to make branches in this fashion. The branches are merely loops on the center spine. The tighter the tension, the perkier your branches will be. There are 3 segments to the spine: lower, middle and upper. Initially, each section has 13 beads, and as you proceed to the edges, you must reduce the spine per the reduction chart, The lower segment begins with 4 branches, while the middle and upper segments begin with 3 branches. The bead count in the legs also reduces. When you the top of the spine, go up the neighbor bugle, come down the adjoining neighbor, and begin with the next spine. When possible, go through the center bead of the netting to provide more strength. Dottie says... Recycle and do the “Bandolay.” A hidden broccoli benefit is the rubber band that comes around it, Put your fingertips together and put your rubber band over them, Open your fingers as wide as possible. This is great for building muscle. Do 5 times vwith each handBerre Keviey Kinky Fringe a re Ey ee (with 10 yards) Oo OW. a carenroesse | C) CS HA | mss PO OS Gs ie 7 Ke) @) es O_o oy End bead ¢ Spine waa Oo | QO mamsean cy, OR 13 spine beads Oe, E ig ) Og oon 6. @ -, ok eee Bottom bugle y 3 = MDORhnnRAnnnnnnnnnnnnannnnnnnnninnnnnn.ADVENTURES WITH BROAD CouLars Kinky Fringe Reduction Chart ‘You will startin the center and work all the way to one edge before starting in the center again and working to the other edge. This is the reason you leave 10 yards on the bobbin. There will be 7 full-length fringes in the middle (the center one plus 3 on cach side). After that, the spine will reduce by one bead per each fringe until approaching the edge. The following reduction pattern lists the number of beads in the spine and tells you how many beads to have between legs. For example, there are 4 legs in the lower section and 3 in the middle and upper sections in the beginning. This is important for color change, as each section has it own set of colors, Also remember (o randomly scatter accent beads on the leg bead ends. The picture below covers half the necklace, from the center line to one edge, Use some discretion with the number of beads between legs from fringe to fringe, you want to avoid creating holes in your pattern # of beads par leg #otepines | # Ofspine # of beads #of legs plusend bead =) of 9p beads | betweeniags | lower mid yppar_| lower mid_ upper cont a pe o Ss Ss D z s COEOHOQOSO) Zaoveronos no n>e eoa © " = ‘To construct the fringe, reel off 6 yards of thread and do not cut. Leave the bobbin above the lower ladder and ‘come down the center bugle. String beads in the proper sequence and go up the neighbor bead. When possible, go through the center bead of the netting to provide more strength, You will startin the center and work all the way to one edge before starting in the center again and working to the other edge. There will be 7 full-length fringes in the center ( the center I plus 3 on cach side). To read the reduction pattern, for each number listed you use one less bead of that color. When you have finished the entire reduction pattem, continue with the last count until the edge. There are 31 numbers in the reduction pattem. This translates to x +31 + 3(full) + I(eenter) + 3(full) + 31 + x fringes, where x is a variable umber depending on the width of your necklace. Tip: Put a pin in the center fringe when starting the second side as a marker, so you don’t lose your place. 1235 21 12357 2245 21357 2135 11464 Note: Iris very easy for long threads to become twisted when working, It is therefore necessary to frequently tuntwist your thread to avoid creating twisted loops.Bette KeLLey & 9. Glacier Lake 4 ‘The colors in Glacier National Park, the jade-green color of the lake, the purples and blues of the skies and mountains, continue to haunt me. They truly are “Purple Mountains Majesty Created: July, 1996. Construction Steps Ladder Layout—page 12, general section. First Ladder, Ladder Option 1—page 10, general section. Second Ladder, Ladder Option 2—page 11, general section. Joining Ladders—page 13, general section. Ladder Thread End Placement—page 14, general section. Netting First Row and Picot Edging—page 15, general section. This project uses the 4-bead picot Netting Second Row—page 18, general section. Netting Thied Row—page 19, general section. Loop Fringe general information—page 61, project secti Loop Fringe and Reduction Patte—page 64, project section. Finishing Details—pages 21~23, general section. Wear majestically! ome Fitst Ladder A= Mauve Brown Delica terete B = Matte Gray Triangle fanart C= Gray Matte Delica Netting D = 6mm Green A/B Matte Twist Black Matte Delica © aneon Bats 2 mm Forest Green Matte i Hee G= Green kris ] Pestana tetiae H = 5mm Black Matte Faceted Ball | Dark Sage Delica 6 Biterbes J=X-hole Black Matte Tiny Tear 66) . ‘The center strand is | and E delicas, with sO accent beads. Accent beads are a variety of Teast 4 shapes and sizes: 2, 3, 4, 5, 6mm balls, 4 pears, small pentagons, and any small oddly tite, watermelon chevrons, green and black ‘opaque. peridot, blue zircon, and any other ee Oo za eo ae [oa oOaeco shaped vintage beads. Colors include hema- cool green, black diamond, opaque black, smoky topaz, cool and reddish browns. Any so rings transparent beads should be matted. an Nymo-D: Dark Green and Black DMC #3: Dark Green Backbars: 29mm Antique Copper re CE. = siADVENTURES WITH BRoap Contars 3-D Fringe Details No special glasses needed!! Leese Ladder 1 developed this fringe to add a textural element. Basically, it’s @ loop with an ane ees accent bead waist and a spike in the above the deca, middle. This is accomplished by sewing in ot as shown accircle 2 times. Determine the exact ‘center of the necklace. Reel off 7 yards if ‘you can sew with this length, or shorten if OBOOOO) re dea ake necessary. Don’t cut the thread, but leave belo re dln, te bobbin at the top ofthe ladder, Pic- note ste tured at lft i a full-length fringe. Come down the center bead and add the follow- ing: 5G, A, 3G, H(the accent waist), 9G, A, 13G, delica accents, center tear, then reverse: delica accents, 13G, A, 9G, go through the accent waist, then 3G, A, SG ewes ste" and up the neighboring bugle. Come back shown down the original side all the way until you come out the accent waist to begin the spike. The spike is composed of a random number of delicas/seed beads, and a variety of accent beads. The bottom of the spike can be any number of delicas/seeds, usually separate the accent beads by 3 to 5 delicas/seed beads. Vary each spike’s eee accent beads by shape and color. Never rot as shown use more than 4 accents, 34s better be- cause of weight and cost. As the fringe decreases in length, adjust the spike accordingly. The last ones are all the same Sora size and will only accommodate one ‘alcas accent bead. Continued on the next page. The teatop ‘The accent bend Inthe center spe, se random deteas ‘andl dimensional beads ©. The detca af>a on >adandsnn QOWOSS : QOQO008 009 —a=Berve Keiey 3-D Fringe Layout No special See the reduction pattern for details. lasses needed}! This drawing is not to scale, There are more beads and fringes than are shown, 3) The last several | | yee ieee: 2) Continuing eee | | according othe | paitem, on less bead per frin; 1) Starting from the center, you make $ full-tength fringes. It helps to puta distinetive accent bead in the center as a marker. i 4} The second side has 4 full-length fringes in the center, and decreases as per the first side, To begin the second side, reel off Xx yards of thread (as much as you can handle). Come down the neighbor bead to where you san and continue. You will only make 4 full-length fringes before beginning the decrease, This makes a total of 9 full length fringes in the center. Work the second side accents to blend or balance the first side, but not be an exact copy. They should appear totally random,ADVENTURES WITH BROAD CoLLars Fringe Reduction, 3-D Fringe Necklaces Not to Scale After the full-length fringes, the pattern reduces by one bead each time, It proceeds down from the top, first eliminating beads above the “HI” bead, then below. In the pattern, the “H” bead is shown for reference, The ‘numbers that are in bold indicate a count change, The accent beads surrounding “J” never reduce. The actual arrangement of these beads varies among necklaces, so refer to the color chart for an accurate count. moi | & aelgge 748 6 aoe Gene, 56 4G 4G 4G 40 3G 9G 8G 26 36 ca 3G 9G 36 aa 40 0G Ap00g0oooooooooooGgG 3G 3G 2G 2G 2G 2 1G 1G 1G 0G 0G OG 0G 0G OG 0G 0G ataia ny ie O ( OOO DOS OO CeCe ere 9G 9G 9G BG 8 8G 8G 7G 7G 7G 6G 6G 5G 5G 4G 4G 4G ‘OO0gG oOo ooo oooooGgG 150 196 19G 196 120 120 120 126 110116 116 196 100 9G 9G ea 70 ! ro Lo -—— SS ea vA A Be 3G 3G iO 4Er 0a og oh OOO 1G 0G oe i oa 5G 5G an —Bere Ketuey Babette says . .. Do Prowd Mary ‘This will prevent your becoming round-shouldered. It stretches out your upper chest muscles and counteraets the tendency to hunch over your work. Depending on your circumstances, you can hang from doorway with your arms behind you, 2 la the prow ofa ship, as I am demonstrating; or you can put your arms behind you, Clasp your hands and stretch. Try to pu your shoulder blades together to ‘open your chest. Try to hold this pose for 30 seconds so your muscles remember what to do.