BEAD} Ete THE PAGO S2 From O editors O Bead&Button magazine 25 projects 12 all-new 7 classic favorites 6 graphed patterns Refresh your beading skills with new techniques /) Finish your work like a pro Choose the right necklace lengthWasa OUR ee a SHOWROOM _ vee wi ot J lene” ib di 018) VE TN, i i mr ars me "Tn ia Bey BEADS GAL@RE = DNSHESR NIALON ALE WN © * : = Wholesale To The Public The One-Stop Bead Shop Mail Order To The ucts 3320 S. Priest Drive, #3 {| Mon - Wed: 10am - 6pm Tempe, AZ 85282 elma ee -nes tela) | Sat: 10am - 6pm 800-424-9577 B Sun: 10am - 4pm ones online Get in the loop! Hear about new products, (a sales & promotions. OF A Pah fy ie a | Best Discount Chart on the web! facebook.com/BeadsGalore PC me ue eer ent) Santee spe peer es PCR YAY Reus NGI) Se Selim Melo NN ieee C1 www.BEADSGALORE.COMayy an Nene Oa, CL, for you FA} a to make ed Bir Ly GES a a 4 ess os nc) @ Wee revo apy lesa = Ba -a jf PiXSE CD 9 my z Create Something Great™ON THE COVER “Casual contour” necklace y Tea Benduhn p52 ‘ader’s EXPERT ADVICE 7 | Designing with color by Lesley Weiss 10 | Design by your own rules by Sherry Serafini 12| Tips for successful beadwork by Anna Elizabeth Draeger 14 | Necklace fitting 101 by Maggie Roschyk 16 | Bead-crochet fibers and hooks by Linda Lehman 18 | Get crystal clear about crystals by Julia Gerlach H ager $5 PATTERNS 19 | Reading patterns 20 | Peyote patterns 21 | Loomwork/square stitch patterns 22 | Herringbone stitch patterns STITCH WORKSHOPS 23 | Square stitch 24 | Loomwork 26 | St. Petersburg chain 28 | Bead crochet 30 | Netting 32 | Chevron chain PROJECTS 35 | Russian eyelets Suspend pearls in the center of a double St. Petersburg chain by Lesley Weiss 38 | Chain-link bracelet Get the look of fine jewelry with seed beads by Donna Pagano Denny aback 29S 978-0882 800-9 bh Kamba Ping Ca, 2027 Cast Ckoe, PO, Bx 1812 Wakes 5817-162. © 200 Kare Ie Bars len Go Mae neues may eeepc prt ar mw wt rian parse om he pene SALE COP PAGE'S? 95,895 Cran nd Intra pgato US. ns ran an US tao. Cran pcs cues GS 9412271 S200 Pad US A40 | Diamonds and pearls Embellish a crystal band with pearls by Janice Chatham 43 | Mata Hari bracelet Turn to history for design inspiration by Sue Sloan 46 | Petite presentation Stitch small beaded beads with gemstones by Lesley Weiss 48 | Going in circles Use chevron chain to make cute components by Julia Gerlach 51 | Braided bracelet Intertwine crochet ropes for a comfortable cuff by Olga Mihaylova 52 | Casual contour Make a gently curving collar in chevron chain by Tea Benduhn 54 | Edge strategy ‘Anchor jump rings to the edges of a narrow band by Carol Branting 56 | Feathery St. Petersburg lariat Add fringe to a long, lean necklace by Hatsumi Oshitani 59 | Bejeweled bridge Crystals pull netting into a shapely band by Kim Spooner 80 | Fast finish String beads on warp threads during loom setup to hasten finishing by Julia Gerlach 62 | Window bracelet ‘Accent a square stitch 83 | Crochet hoops p32 bracelet with bead-filled | Combined crochet openings techniques add texture by Alice Korach to hoop earrings by Julia Gerlach 65| Drops and dangles BONUS CONTENT Create pretty lines with 86 | Ask Anna gemstone briolettes Anna Elizabeth Draeger by Julia Gerlach answers questions about professional finishing 70 | Out of line techniques, determining bead quantities, and more secondarylike the Vietorian era, could be made using popular period colors. In the modern world, we're surrounded by inspirational color schemes. Check out the colors fashion designers are using by looking at online catalogs or going to a few stores. Home magazines are a great source for color combinations as well. The same colors that look great together on walls, drapes, and upholstery look good together in jewelry. If you find a color grouping that looks beautiful in a 7a ee) COLOR SCHEME VOCABULARY: ‘Warm colors have bright, energetic tones. Reds, oranges, and yellows make Up the heart of the warm color farm Cool colors are mellow and relaxing Blues, greens, and violets are at the center of the cool color family Monochromatic color schemes use different values of a single color. Dark red, bright red, and pink make up one mono- chromatic scheme, while pale blue, bright blue, and navy make up another. Analogous color schemes use adjacent colors on the color wheel and flow smoothly from e 8 ‘one color to the next. Green, blue-green, and blue are analogous, as are violet, red-volet, and red, Complementary colors analogous are positioned directly painting, the fabric of a skirt, of the graphics on a sign, borrow it for your jewelry if you wish, The natural world is another great source for color schemes. If Look out my window and I'm struck by the sight of evergreen branches covered with snow, there’s no reason I can’t incorporate the If you've found a strand of gemstones or a hank of seed heads in colors you love, use that as the starting point for your design. Whichever route you take, your own eyes and instinets will guide you toa combination that suits your tastes and needs. © deep green and bright white of that scene into a piece of jewelry. Likewise, the reds and yellows of aurumn leaves or the varying blues of the ocean can suggest beautiful combinations for beaded jewelry. ‘The beads themselves can also provide plenti- ful color inspiration, Lesley Weiss is a writer, editor, ard beader living in the metro Milwaukee area, Wis.. in the U.S. She's the author of The Absolute Beginners Guide: Stitching Beaded Jewelry, in care of Bead&Button. across from each other on the color wheel, Blue and orange are complamen- ‘tary, as are green and red, These colors provide the most drastic contrast e 8 Split complements use one color en"? and the colors on either sid ots a- ¢€ complement, Blue, red-orange, and & yellow-orange make up one spilt ld complement color scheme. complementary Triads use three colors spaced equally apart on the color wheel, Primary colors and secondary colors are both examples of triads. Tetrads use four colors spaced equally or symmetricaly on the color wheel. Green, red, yellow-orange, and blue-violet form a tetrad spaced equally around the color wheel, while red-orange, yellow-orange, blue-green, and blue -violet form a tetrad made from two complementary pairs nw. BeadAndButton.com | Tha Beader’a Handbook 2a EXPERT ADVICE Design by your Own rules Let your personal preferences guide you in creating your next masterpiece. by Sherry Serafini ’m often asked how T go about designing a piece of beaded jewelry. It's not always easy to explain the creative process, but I do have a good place to start. First, I select a focal point. This could be a cabochon, a large bead, an image, or something, inspired by my imagina- tion, nature, or a book. Tfind inspiration in things that appeal to my individuality and my inner self. When I sce something I like, I feel it. Follow your instincts when defining beauty ‘We all have different personalities, and we are drawn to different visual stimuli. The main thing is to be visually aware, to look closely at what you see in order to consider its possibilities. Unusual stones and ‘Sherry's Sedona Sunrise won second place in the crystal jewelry category beads are particularly of Bead&Button's 2010 Bead Dreams competition. appealing to me. I once 10 The Beader's Handbook 2 | www.BeadAndButton.combought several large beads and look for Selecting a coordi- fabric to see how the beads in the shape of something that you see nated fabric foundation background affects skulls. [felt compelled to within them. "This may __ is important. Ultrasuede _ the appearance of the take these “grotesque” inspire you to create. makes a good founda-_bead color. objects and make them literal representation, tion and is available in beautiful by surround- like a beaded leaf. Ox, many colors. Use contrasting ing them with gorgeous a conceptual idea may bead finishes crystals and hand- spring to mind, like the Examine the and sizes selected beads. concept of a river. details in each Bead finishes are another ‘These types of visual T sometimes need Piece you use consideration. For the twists challenge our to fuel my ideas. If The next step is select- turquoise project, I may perceptions and can Ifind myself feeling ing beads that will play shiny brown beads make a piece of bead- uninspired, Itake an _bring out the color in _against matte blue work unusual, ifnot evening and pore over _the focal piece. Beads__ beads. This allows both provocative. They make beautiful books. may __are like small tubes sets of beads to pop us think about the have beader’s block of paint to me, and out. [often pair seed nature of beauty and until [pick up a book _the placement of beads, pearls, and why we consider one on vintage jewelry or _—_bead colors affects crystals this way. thing to be beautiful Victorian history, only _ the entire design. Of course, you will and another ugly. to find myself ina Let's say my main _want to keep bead sizes, designing frenzy. piece is turquoise, which in mind during your Keep your eyes has blue-green tones sorting process, Create open for myriad Compare colors and earth-colored veins. different bead combina- influences in multiple T'm likely to choose a _tions on your design find inspiring influ. Components variety of brown and surface and see what ences everywhere. After I have selected blue beads to comple- you like. You may want Took beyond the the focal piece for my ment the turquoise. to pore over your own obvious and try to beadwork and thought Atthis point, I sort books to find jewelry see and feel the sources about embroidering amy beads to select the you like and take a of my inspiration, like design, Texamine the ones T want to use. close look at pairings the irony in the beauty main piece, whether The colors of beads of sizes. ofa-skull. Inotice the it isa stone,a button, _in plastic tubes can be Keep in mind, leaves ona tree or the or an interesting piece deceiving, so [like to however, that my advice angles ina cabochon. of metal. Playing off spill the beads, along does not involve fol- Your inspiration may this main component, _ with pearls and crystals, lowing rules! Experi- lie in cabochons, but- choose additional on my table and arrange menting with your own tons, or even vibrantly components that com- them in combinations. _ideas is what design is colored fabric. We're plement its coloring. _—_also place them on my all about. not inspired by the same things, and that’s the most exciting aspect of creativity. Your work will not be my work; your work will be its own master- piece. Find something you like and visualize it in beads. Or, you may want to sift through your Sherry Serafini is a beadwork artist from Natrona Heights, Pa. Her work is recognized nationally and has received many awards over the years, including second place in both the crystal jewelry and finished jewelry categories of Bead&Button’s 2010 Bead Dreams competition, Sherry co-authored The Art of Bead Embroidery, available at KalmbachStore.com. You can see more of her work at serafinibeadedjewelry.com. mie Peace wow. BeadAndButton.com | The Beader's Handbook 214a EXPERT ADVICE Tips for successful beadwork A little preparation before sitting down to bead can reduce frustration. by Anna Elizabeth Draeger believe the best way to techniques involved length you can manage makes a difference with master anything isto prevents frustration without tangling it), some stitches. jump in and spend while you work and position the needle ¢ When beading with hours working on it. * Know your tools. about five inches from sharp beads or crystals, While experience may My dad isa big believer the end of the thread. _pulll the thread straight be the best teacher, the in “the right tool for the Every time you pull through the hole of the following tips may help right job” (don’t ever __ your thread through the _ bead, If you pull it at an you on your way to opena paint can with beadwork, the friction _ angle, you may weaken successful beadwork. a chisel in my dad’s creates a weak spot the thread or scrape the presence), and that is where the thread sits. nylon coating off of the Getting started something I will never in the needle. If you beading wire, compro: * Before you begin a forget. With all the cool move the needle along —_mising the integrity beading project, find tools on the market to the thread as you work, _ of your finished piece. outall you can about make beading easier, _-you will create weak the materials you plan it pays to research each spots along the length _- Finishing to use. If you want cone. Don’t buy cheap _of it, which could * When you end your todo beadwork that _ tools. If you stick with possibly compromise _final thread, it is very involves stitching, beading, you willend your beadwork. important to retrace learn which threads up wanting the best * When you add the thread path before and needles will work tools that you can thread, weave the new knotting the thread. best with the beads afford. And if you thread into the existing Sew through the beads used in the project. don’t stick with beading beadwork, and exit that attach the clasp If you are mostly (which is, of course, where your old thread and the last few rows stringing, research unlikely), it will be left off before youend or stitches to lock the the sizes and styles of easier to sell adecent _the old thread. This thread in place. In my flexible beading wire, set of tools. sounds simple, but it opinion, it is more so you can choose the is important to exit in important to weave correct diameter and While you're the same direction as___through the beadwork strength for your beads. working your old thread. If you than to tie knots * Review the basics * Ifyou are doing bead change the direction (although I do both). before starting a stitching, work witha of the thread, you If you tie a knot or two project. Familiarizing comfortable length of may be stitching in the without retracing the yourself with the thread (which is a wrong direction, which thread path, and the 12 The Beader's Handbook 2 | www.8eadAndButton.comknot comes undone, your beads could start falling off. But if you have woven through your work repeatedly and the knot comes undone, you will notice a little tail sticking out before your piece starts falling apart, giving you the opportunity to fix the problem. * Practice techniques, including tying knots and crimping, to perfect your finishing skills. Purchase inexpensive crimp beads, and prac- tice until you are satis- fied with your results. + A small dot of glue (such as G-S Hypo Cement) on the final knot of your project can help secure it. Inever recommend using superglue because its thin consistency makes it difficult to control, and the glue travels along the thread, gluing the beads ‘Anna took her own advice while stitching these three bracelets for her book Crystal Brilliance, available from Kalmbach Books. and thread together. * Relax and enjoy @ coto * Get help. If you your time beading. BeadAndButton.com, become frustrated, ‘With all the stress of and click on the ask for help ata local everyday life, beading Resources tab to view bead store or take a should be a way to our Beader’s Glossary class. BeadAndButton. unwind and express for information about stringing materials, thread, beads, tools, and much more. com also has videos your creative side, © on several techniques, online basics, an exten- sive glossary, and many other resources to make beading easier. Cryst P\\| Anna Elizabeth Draeger has more than y 20 years of beading experience and is an associate editor at Bead&Button magazine. To order Anna’s book, visit KalmbachStore, com. To see more of Anna's work, visit her website, bttp:/iweb.mac.comibeadbiz. wow. BeadAndButton.com | The Beader's Handbook 213,EXPERT ADVICE Necklace fitting 101 Find the perfect length for your designs to complement the people who wear them. by Maggie Roschyk nan ideal world, selecting and wearing jewelry would be straightforward: See the necklace, love the neck- lace, buy it, and wear it. But realistically, many consumers buy beautiful hand-crafted jewelry that they hardly ever wear. Let’s be hon- est with ourselves and ask, “Why aren’t we wearing these pieces?” ‘The answer may have to do with the way a necklace fits, Know your necklace lengths Commercial fashion designers create cloth- ing in a range of sizes. Jewelry designers, on the other hand, often make one-sized pieces. Think about the dynamics of these two approaches. For the jewelry designer, form often takes over during the creation process, and function is left on the side of the road. 14 The Beader's Handbook 2 | www.BeadAndButton.com But when you create something, don’t you want it to be worn and enjoyed? And when you buy a necklace,wouldn’t it be nice if you could actually wear it? So let’s focus on function for a moment, beginning with standard industry guidelines for necklace lengths. * Choker and collar length, 13-16 in. (33-41 em): Chokers and collars lie on the neck or just above the collarbone. Making a necklace this length can be tricky. Some people love and look attractive in chokers, others do not. Also, a collarbone-length piece needs to be ‘measured on each person — there’s not much room for error. Including an extender chain on the piece helps ensure a com- fortable fit. * Princess length, 17-19 in, (43-48 em): The princess-length necklace, falling just below the collarbone, is probably the most common necklace length. Keep in mind that if the necklace hangs too low, it can easily slip under clothing and be hidden from view. Matinee length, 20-24 in, (51-61 em): This length necklace drapes onto the chest. It is a very modern and trendy length and is perfect for necklaces featuring large focals. Opera length, 28-32 in. (71-81 em). Opera-length pieces drape onto the mid- section of the body. ‘This is a wonderful length, especially if the beads have a tex- ture that the wearer will want to touch. Be mindfal of using materials that could break. This length can swing and smack into a car door, so avoid Choker and collar length, 13-16 in, (83-41 cm) focals that will flap around. Also, this length requires a spe- cial focus on balance. Remember that the heaviest part of your necklace will answer the call of gravity and shift downward Lariats and ropes, ‘more than 40 in, (1 m): Long necklaces are the multitaskers of jewelry. Wrap them around your neck once, twice, even three times, Lariats and ropes are versa- tile and can work with any neckline. Real fit for real bodies Industry guidelines can be very useful when making jewelry. They prevent us from creating pieces that are too long for a bracelet and too short for a necklace. They also help us understand how a piece is intended to fit. But guidelines alone are not enough. We need to take into con- sideration the different sizes and shapes ofa Princess length, 17-19 in, (43-48 cm) people and their prefer- ences for how things fit. Designing jewelry for yourself and others must involve some custom tailoring. Remember, haute couture is custom fitted and impeccably tailored. Why not do the same for your one- of-a-kind creations? Follow these six tips for customizing your designs. Purchase a yard of heavy cotton cord, available from any craft or fabric store. When determining the perfect necklace length, drape the cord around the wearer's neck. Mark the desired length on the cord with a marker, and use a tape measure to record that measure- ment. Why use cotton cord? The cord will drape, whereas beading wire or thread will not. You can also suse the industry guidelines to determine the perfect length. Take these descriptions of necklace lengths to the wearer and see how they match the body heal Matinee length, 20-24 in. (51-61 cm) you're fitting. For most industry guidelines, there is a range in length. ‘Which length in a range suits the wearer? Also, neck diameter differs from person to person, which affects where a necklace falls on the body. Does 17 in. (43 cm) actually fall just below the collar- bone on the wearer? If nor, figure out how much you need to adjust. If the wearer likes the fit of a favorite necklace, measure it and use that measurement as a guideline when making ‘a custom piece for her. ‘When making projects from Bead&Button, use the measurement listed in the materials list as a guideline. If you are making an 18-in. (46 cm) necklace, you know the designer intended it to sit just Opera length, 28-32 in. (71-81 cm) below the collarbone, Follow tip 1, 2, or 3 to determine if you need to change the length. If you are using a focal bead, where will i fallin relation to the décolleté? A large Lariats and ropes, more focal can fall into cleav- than 40 in. (1 m) age or disappear under the neckline of clothing it, wear it. Use industry —not attractive. Large standards only as a focals work best in guideline for where necklaces that fall a necklace is expected between princess and to fall. matinee length, or Custom-tailored between matinee and necklaces possess a opera length. These tangible worth to the lengths position the wearer. A woman focal safely above or appreciates it when below the bustline, jewelry is made for Ignore suggestions _her body. Plus, you that small people feel great knowing that should only wear dainty you've created jewelry jewelry or large people that’s both attractive should wear larger and will be worn com- pieces. If you love it fortably. How haute and feel comfortable in couture is that? @ Maggie Roschyk says beading is like sitting down with a close friend and having a wonderful conversation. You can follow Maggie’s ongoing conversation about beads at BeadAndButton.com/MaggiesMusings. wow. BeadAndButton.com | The Beader's Handbook 215,a EXPERT ADVICE 4 4 Bead-crochet \ filoers and hooks . Steel crochet Use the right tools to get hooks are essential for a handle on bead crochet. bead crochet. by Linda Lehman am often asked about Tight is best Ifind that a size 8 Less twist, what fibers and for bangles Susan Bates crochet ‘tess work, hooks to use for When making bangles hook works best with more drape bead-crochet projects. with seed beads, like size 20 crochet cotton. If Twant to use all Many people come to _—to use size 20 crochet. ‘The Bates hook has a 8? or 6 seed beads for bead crochet from cotton because it sharper “nose” than a necklace, I prefer beading, not crochet, creates the tight drape _ others on the market. Opera crochet cotton, so they aren’t familiar that’s perfect for a ‘The sharper nose makes size 5. It has a soft, with how various fibers bangle. My favorite it easier to maneuver the spongy quality, which behave. Here’s an over- _is Flora, but you can hook under the bead makes it a bit easier to view of fibers and hooks — substitute Manuela or but over the yarn of the crochet than yarn with to use for different Cebelia, all of which previous round. Bates _a tighter twist. projects, and where are available from hooks are available from In addition to neck- you can buy them. Handy Hands Tatting. many online merchants, __ laces, | used Opera for including joann.com. my beaded handbag in Where to buy + Presencia and Opera: BagLady, Inc., (888) 222-4523, baglady.com * Silkon and Gudebrod: Fire Mountain Gems and Beads, (800) 355-2137, firemountaingems.com + Flora, Manuela, and Cebelia: Handy Hands Tatting, (217) 379-3802, hhtatting.com ‘+ Susan Bates hooks: Jo-Ann Fabric and Craft Stores, (888) 739-4120, joann.com Bead crochet is a great * Stringth: Rio Grande, (800) 545-6566, way to make bangles rlogrande.com like these. 16 The Beader's Handbook 2 | www.8eadAndButton.comthe June 2002 issue of Bead&Button. ‘When making a necklace with Opera, Inormally use a Bates size 4 hook. For my beaded handbag, I used a Bates size C hook. ‘Why the different hook? When making jewelry, all the yarn is on the inside of the tube, and doesn’t show other than to add a touch of color. When making a handbag, you want to see a lot of the yarn, The size C is a bigger hook than the size 4, which allows the yarn to show better. For a necklace with more drape, I use either Presencia size 30 or Opera size 20. The finest crochet cotton in the country, in my opinion, is Presencia. It works for necklaces and especially lariats because the thinner cotton produces more drape than Opera or Flora. Presencia and Opera are available from BagLady, Inc. ‘When using size 30 crochet cotton, I usually use a size 9 Bates hook. For even more drape, Tuse a slightly larger hook (sizes 5-7). Tension, silk, and sharp edges If you have trouble obtaining the correct tension, try the follow- ing: If the tension is too tight, use a hook The gorgeous fall colors in Linda's bead-crochet lariat were perfect for the October 2004 cover of Bead&Button. one size larger. If you are crocheting too loosely, use a hook one size smaller. When I'm crocheting a beaded edging, as I did for my beaded scarf in the February 2006 issue of Bead&Button, like to use Gudebrod silk. Ihave no problem getting Delicas onto the largest (FFF) size Gudebrod, and I usually use a Bates size B hook. Gudebrod is available from Fire Mountain Gems and Beads. However, Talmost never use Gudebrod when making bangles or ropes, because Gude- brod is more expensive and harder to work with. Silk is not very clastic, so your arms do all the work to maintain the correct tension. If you use Gudebrod, stop and stretch your arms often. Crochet cottons, on the other hand, have varying degrees of elasticity, which helps maintain the tension and allows your arms to work a little less. Recently, I’ve been working with gem- stones, chips, and rondelles and find that these beads’ sharp edges tear most materials. I've had some luck using both Silkon (a nylon thread available from Fire Mountain Gems and Beads) and Seringth {also nylon, available from Rio Grande). Tuse the largest size Stringth T ean find (cither size 1 or 2), but often have to drop to a size smaller if the holes in the stones are too small. I adjust my hook accordingly toa size 8 or 9. Thope this informa- tion helps you plan your next bead-crochet project. Just remember: Crochet is meant to be enjoyed, and there- fore enjoyment, not perfection, should be the goal. @ A lifelong interest in fiber arts gave Linda Lehman the background she needed to master bead crochet. She co-authored the book Bead C chet Jewelry, and her bead-crochet lariat graced the October 2004 cover of Bead&Button, Linda has taught at the Bead&Button Show as well as at many bead shows and stores around the country. You can see more of Linda's work at etsy.com/shoplwearableartemporium. ‘wow. BeadAndButton.com | The Beader's Handbook 217Get crystal clear EXPERT ADVICE about crystals — by Julia Gerlach & ergy? &* > e term “crystal” brings to mind many things — natural rock forma- tions, fancy glassware, whimsical figurines, new age ideas, and, for headers, some of the most beautiful beads available in the market- place. As such, it’s no wonder that there is some confusion regard- ing crystal beads. What exactly are they? ‘What are they made of? One common misconception about crystal beads is that they are cut from mineral crystals that are mined from the earth, but that’s not true. In rock formations, the term “crystal” refers to the specific crystalline structure found in quartz crystal and some other minerals. Grystal beads are manufactured using the same materials that make ordinary glass, that is, sand (silica), soda ash (sodium car- bonate}, and limestone (calcium carbonate) transformed by heat and water. The magic ingredient that gives crystal extra clarity, weight, and sparkle is lead oxide. Most products called crystal {including glassware, figurines, and crystal heads) contain 10-35 percent lead oxide. Several different terms are used for crystals in their myriad forms. For example, crystal stones are erred to sometimes r as rhinestones, Strass, pastes, or diamantes The different stone shapes have their own names, like rivoli (a round stone that is pointed on both the front and the back), chaton (a round stone that has a flat back and a faceted front that has been cut so it does not have a point}, and dentelle (a round stone with a pointed back and a faceted front that has been cut so it does not have a point). These names are often used interchangeably, which can be confusing. Furthermore, some stones are measured by stone size (SS), which is a term borrowed from the traditional jewelry industry, while others are measured in millimeters. Another product that sometimes causes confusion is the crystal pearl. A crystal pearl has a crystal core cov- ered with a pearlescent coating. Why cover a crystal in a coating? One benefit of crystal pearls is that they are uniform in shape, size, and color. Second, the hole of a crystal pearl is larger than that of a normal freshwater pearl. Third, they are a huge improvement over other faux pearls, like plastic, because their weight and luster are similar to natural pearls. The largest manufac- turer of crystal beads is Swarovski, based in Wattens, Austria. Swarovski is known for its high-quality beads, cabochons, and jewelry components. Recent developments have led to wide availability of both Czech and Chinese crystals also. To find projects featuring crystals and crystal pearls, turn to Lesley Weiss’ eyelets” bracelet, p. 355 Janice Chatham’s “Diamonds and pearls” bracelet, p. 40; Tea Benduhn’s “Casual con- tour” necklace, p. $25 and Kim Spooner’s “Bejeweled bridge” bracelet, p. 59.0 “Russian Julia Gerlach is senior editor ~ special projects at Kalmbach Publishing. Contact her at jgerlach@kalmbach.com. 18 The Beader's Handbook 2 | www.8eadAndButton.comBB esrtenns Readin patterns Incorporate graphics and images in your beadwork by following graphed patterns. by Anna Elizabeth Draeger stepoystep Working from graphed patterns differs from reading other stitching diagrams in that pat- terns are usually worked in a single stitch for the entire piece, with only the bead colors changing to create an image or graphic. While it’s not difficult to bead from a pattern, these instruc- tions may help you master this skill, Setup First check your pattern to identify the stitch as well as the size and type of beads required. Use the pattern to select bead colors. After you've gath- ered your beads, place them in small dishes or in piles on your work surface. You may want to label each color with a letter and make a note on the pattern of the letter assignments. Stitching Decide which row will be your starting point. In flat patterns that are all one width, is easiest to start in one of the corners. If your pattern is not the same width throughout, start at the widest point and decrease as needed. At the top of this page is a basic even- count peyote stitch (Basics, p. 91) pattern with diagonal stripes. Refer to the pattern as you follow the step-by- step instructions. [14] To begin, pick up all the beads for the first two rows, starting from the lower left- hand corner. In this pat- tern, that means picking up two black beads (color A), two red beads (color B), and two black beads (As) (figure, a-b). [2] For row 3, read the sticky note along the top pattern from right to _of the row you are about, left: Pick up a B, skip to work, covering up the the last A picked up, future rows. As you fin- and sew back through ish each row, move the the next A. Pick up an ruler or sticky note to A, skip a B, and sew expose the next row. through the next B. ‘Working patterns Pick up a B,skip an A, in stitches other than and sew through the peyote is similar, but last A in the row (bo). with small differences. [3] For row 4, read In square stitch (Stitch from left to right: Pick Workshop, p. 23), begin up aB, and sew through by picking up all the the next B (from now beads for the first row. on, the beads you sew For subsequent rows, through will stick up, read the pattern in which is why they alternating directions, are sometimes called _as in peyote stitch. “up-beads”). Pick up For herringbone an A,and sew through stitch (Basics), work the next A. Pick up a B, — the first row in ladder and sew through the _stitch (Basics), then next B (c-d). work the subsequent [4] Continue following rows in herringbone, the pattern, alternating reading the pattern in between reading from _ alternating directions. right to left and then In loomwork (Stitch left to right. Workshop, p. 24), pick As you stitch, use a__up the beads starting ruler or sticky note toon the same side for keep track of your place each row. © in the pattern: Place the edge of the ruler or Contact Anna Elizabeth Draeger at anna@beadandbutton.com. wow. BeadAndButton.com | The Beader's Handbook 2 19| PATTERNS: PEYOTE STITCH @ 0B-178 © 0B-201 w 0B-175 w 0B-274 wm 08-295 wm 08-723 wm 08-722 08-721 DB-B54 = DB-234 = 08-010 Snowman pendant Ler this charming little lady brighten your mood this winter. Stitched in even-count peyote stitch (Basics, p. 91) with 11° cylinder beads, this pendant measures 27he x 35h in. (7.3 x 9.2 em) Begin in the center, and work the rows vertically, decreasing (Basics) as needed. — Ronit Florence Toronto, Ontario, Canada ronit_florence@yahoo.ca Five a day If you ever need a reminder to eat your veggies, look no further. This pattern featuring a carrot, a tomato, an egg- plant, broccoli, an onion, a pepper, and a cucumber will put you in the mood for salad. Stitched in even-count peyote stitch (Basics) using 11° cylinder beads, it creates a slim bracelet measuring 6% x Yin, (16.2 x 1.9 em). = Julia Gerlach Milwaukee, Wis., U.S. jigerlach@kalmbach.com 20 The Beader’s Handbook 2 | www.BeadAndButton.com me rane or Tr L L cs if mat , tH out or we-752 8-161| PATTERNS: LOOMWORK OR SQUARE STITCH © Toho 0050 Sitvertned brown ) Toho F251A Topaz matte AB © Toho 430D Opaque sapphire lustre @ Toho 430B Opaque dlue lustre © Toho 4318 Opaque grass green lustre © Toho 431 Opaque medium green lustre © Toho 1206 Marbled opaque turquoise @ Toho 425 Opaque red lustre © Toho 1201 Marbled opaque rose @ Toho 404E Opaque pumpkin lustre La fleur Inspired by an Art Deco style stained glass lighting fixture, this bracelet fea- tures two modified fleur de lis radiating from a central bud. Worked in square stitch (Stitch Workshop, p. 23) or loomwork (Stitch Workshop, p. 24) with 9508555. 88800 9 11° seed beads, it measures OEE 7x Lin. (18 x 2.5 cm). Raseeeesneg g — Ruth Bryont core tere rere Columbus, Obio, U.S. In flight Traditional Eastern European folk designs for embroidered cross- stitch patterns are easily adapted to bead loomwork or square stitch. The designs are usually stitched in one color — either red or black — on a white or cream background. This flock of birds design was copied from an antique fabric. Stitched with 11° cylinder beads, it makes a bracelet measuring 7 x2 in, (18 x 5 cm). = Lynne Soto Whitefish Bay, Wis., U.S. mscalto2@att.net wow. BeadAndButton.com | The Beader's Handbook 224HERRINGBONE STITCH PATTERNS: © Opaque light bone *, » @ Opaque forest green 2 °@ @ Brown iis x0 eo 2 a “- @ Opaque green (Matte lime green Winter sampler Tused the classic red, green, and white color combination associated with the winter holidays to make a cute bracelet reminiscent of needlework samplers. ‘Worked in herringbone stitch (Basics, p. 91) with 11° seed beads, this bracelet measures 6"/: x 1% in. (16.5 x 4.4 cm). ladded three small button-and- loop closures to secure the bracelet. eee eee SSCS SSCS peccecocececccecs peseceneseces material caught my eye bracelet with a funky flower theme after a at the fabric store. Worked in 11° cylinder beads, this pattern creates a 6% x 1%-in. (16.2 x 2.9 cm) band. Tattached a crimp end and a small magnetic clasp at each end to complete the bracelet. = Julia Gerlach Milwaukee, Wis., U.S. jigerlach@kalmbach.com Funky flowers ‘The Beader’s Handbook 2 | www. BeadAndButton.com| STITCH WORKSHOP: SQUARE STITCH Squared away fi Learn this straightforward stitch for sturdy beadwork. by Lynne Soto eadwork stitched in square stitch looks like a grid: The beads are stacked directly above and below each other in parallel rows. Square stitch resembles loom- work, and patterns for the two techniques are often interchangeable. Square stitch is espe- cially useful for small pieces for which a loom isn’t practical — pieces that use beads in mul- tiple sizes, and those with increases and decreases along the edges. It is also sturdy, which is desirable if you are making, jewelry that will get a lot of wear FIGURE 1 FIGURE 2 stepbystep Square stitch [1] Pick up the required number of beads for the first row, then pick up the first bead of the next row. Sew through the last bead of the previous row and the first bead of the current row again (figure 1). [2] Pick up a bead, and sew through the next- to-last bead of the pre- vious row and the bead just picked up (figure 2) Repeat across the row. Increasing [1] To increase the width of your work by one bead, pick up two beads at the end of a row. Sew through them both again (figure 3), then resume working across the established row. [2] To make a match- ing increase on the other edge, complete the row, then pick up two beads. Sew through them again, then sew through the end bead in the previous row and the two end beads in the new row (figure 4). Decreasing To decrease the width of your work, sew through the beadwork to exit the bead below where the new bead will be added. Pick up a bead, and sew through the bead your thread just exited and the new bead (figure §). Continue in square stitch across the row. Two-bead square stitch [4] Pick up an even number of beads for the first row. Pick up two beads, and sew through the last two beads in the first row and the new beads (figure 6, a-b). [2] Pick up two beads, and sew through the next two beads in the previous row and the new beads (b-c). Repeat across the row. © Lynne Soto is a contributing editor for Bead&Button, Contact her at mscalto2@att.net. FIGURE 4 VV FIGURE 5 FIGURE 6 ‘wow. BeadAndButton.com | The Beader's Handbook 2 23,a STITCH WORKSHOP: LOOMWORK. The warp and the weft Borrow techniques from traditional fiber arts to create a fabric of beads. by Lynne Soto the process of weaving beads into the warp and weft on fiber looms predates written history. In North America, native peoples were weaving bands of beads before European settlers arrived. They first used beads made from shell, clay, bone, wood, and other natural materials. Their looms were also made of natural materi- als — small tree boughs, cured animal hides and sinews, and plant fibers. Needles were made from bone. These light- weight looms were easy to hold in one’s lap. The European intro- duction of metal tools and iron needles con- tributed to changes in 24 The Beader’s Handbook 2 | www.BeadAndButton.com bead looms. When European traders intro- duced glass seed beads in the 17th century, Native American bead artists incorporated this new material into their designs. Brightly colored native bead- work decorated ceremo: nial vessels, wampum, belts, clothing, footwear, tools, and weapons. It was also worn as jewelry and hair ties. Native weavers developed a number of loomwork tech- niques, many of which were based on basket- weaving, braiding, and handheld finger- weaving methods. They perfected the single- and double- strand square weave Suitable for many types of beadwork, looms are especially useful for large projects. and variations of these methods. The single- strand square weave is similar to today’s loom- work technique in which a single weft passes through the same row of beads twice Today, the bead loom has many variations in size, framework con- struction, and materials. ‘The basics of bead weav: ing on a loom, howeve remain the same. stepbystep Warping the loom [1] Tie the end of a spool of thread to a screw or a hook at one end of the loom. [2] Guide the thread between two coils of the spring and across to the other end of the loom. Guide the thread between the corre- sponding coils of the opposite spring, and wrap it around the screw or hook at this end. Go back over the spring, placing the thread in the next coil. Cross over to the first end of the loom, plac- ing the thread in the corresponding coil, and wrap it around the screw or hook. Note: If you are using beads that are larger than 11® seed beads, you may want to skipFIGURE 1 FIGURE 2 FIGURE 3 cna FIGURE 4 FIGURE 5 one or more coils, [3] Push the beads up the beads needed for Sew through the corre- between warp threads. up between the warp _the decrease row, and _ sponding bead in the [3] Continue wrapping threads with your position them. At the adjacent row, the first the thread between finger (figure 3). other end, skip the bead again, and the coils, keeping the [4] Sew back through warps to the right of _next bead or two in the thread a bead’s width the beads, keeping the the beads that will be _ row. Repeat, moving apart (figure 1), until _ needle on top of the omitted, and sew back down the end row. At you have one more warp threads (figure 4). through the newly the end of the row, sew warp thread than the [5] Repeat steps 2-4 __added beads (figure 5). __into the beadwork, and number of beads in the to complete the pattern, end the thread (figure 6). width of the pattern. ending and adding Finishing the [3] Repeat with the Keep the tension even, thread (Basics, p. 91) loomwork remaining warp but not too tight. Tie as needed. [1] To remove the threads, moving away the last warp thread [6] Once you complete beadwork from the from the end row as to.ahook or screw on the last row, secure the loom, carefully cut the you end each thread. the loom, then cut the working weft thread warp threads as close [4] Repeat on the other thread from the spool. by weaving it into to the screw or hook —_ end with the remaining the beadwork. as possible. warp threads, making Weaving the [2] Starting with the sure to maintain even pattern Decreasing end warp on one side, tension throughout the [1] Tie the end of a To decrease, sew under thread a needle, and strip of loomwork. If Lyd. (.9 m) length of the end warp thread sew through the first you pull too hard, the thread to the first warp of the row you just, bead in the end row. beads will bunch up. © near the top or bottom completed, and sew of the loom. back through the beads To watch a video demonstration of loom [2] Bring the thread you'll omit in the weaving, visit BeadAndButton.com/videos. behind the warp threads. decrease row. Wrap the String the first row of working thread around beads, from left to right the warp thread that Lynne Soto is a contributing editor for (figure 2), and slide will be the left edge of Bead&Button. Contact her at mscalto2@att.net. them to the knot. the decrease row. Pick wow. BeadAndButton.com | The Beader's Handbook 2 25| STITCH WORKSHOP: ST. PETERSBURG CHAIN Step it up Worked in single or doubled variations, St. Petersburg chain is gaining popularity around the world. by Lesley Weiss riginally from and more exciting Russia, St. design possibilities Petersburg chain are being explored has become more and as intrepid beaders more fashionable with discover the stitch. beaders around the St. Petersburg globe. Its unusual, chain has been in the asymmetrical technique background of the and stepped form has _ beading scene for a made it a favorite while, first appearing among experienced in the form of leaves beaders for decades, and ornaments, and Both single and doubled variations of St. Petersburg chain make beautiful jewelry. more recently becoming popular in chains and bezels. Many dedicated beaders in the Western world taught themselves the stitch by studying the illustrations in Russian-language beading books, such as The Art of Beading by Maya Anufrieva. 26 The Beader’s Handbook 2 | www.BeadAndButton.com Eastern European and Asian beaders have been exploring the possibilities of this stitch longer. The stitch can be worked with just about any type of bead, but it’s casiest to start with two types or two colors of seed beads.| Dy! half of the thread on a ! stepoystep card or bobbin, so it i Single St. stays out of the way as 2 Petersburg chain you work the first half [1] Attach a stop bead of the chain, (Basics, p. 91) to a [2] Work as in steps riGuRe? FIGURE? ~—~«éIGURES comfortable length 2-8 of “Single St. of thread. Petersburg chain” until [2] Pick up six A seed the band is the desired @ beads. Sew through length. Attach a stop ! ( the third and fourth bead to temporarily i i Asagain, so the fifth secure the thread. : and sixth beads form [3] Remove the stop >~ 2 an adjacent column bead from the starting {figure 1). end of the chain, Pick [3] Pick up a B seed up six As, and sew bead, and sew back through the third FIGURE4 FIGURES “FIGURES through the next three and fourth As again Asin the column {figure 7). {figure 2). [4] Pick up a B, and [4] Pick up a Band sew back through the sew through the two As next three As in the in the newest column —_column (figure 8). {figure 3). [5] Sew through the [5] Pick up four As, adjacent B from the and sew through the _first side of the chain first two As just picked and the two As in the up, sliding the four newest column of the beads tight to the exist- second side (figure 9). ing chain (figure 4). Pull tight. FIGURE 7 FIGURE ® [6] Pick up a B, and [6] Pick up four As, sew back through the and sew through the next three As in the first two As again. column (figure 5). Pick up a B, and sew [7] Pick up a B, and back through the next sew through the two three As in the column. Asin the new column —_ Sew through the next B {figure 6). in the first chain and oY [8] Repeat steps 5-7 through the two As & to the desired length. _in the newest column (figure 10). Repeat Double St. this step to the end Petersburg chain of the chain. 0 FIGURE 9 FIGURE 10 [4] Attach a stop bead (Basics, p. 91) at the center of 2 yd. (1.8 m) of thread. Wind up one Lesley Weiss is a writer, editor, and beader living in the metro Milwaukee area, Wis., in the @ watch a video tutorial on St. Petersburg U.S. Contact Lesley in care of Bead&Button. chain at BeadAndButton.com/videos. vnww.BeadAndButton.com | The Beader's Handbook 227| STITCH WORKSHOP: BEAD CROCHET Slip and slide Learn to make bead- crochet ropes and join the ends invisibly. Start with a repeating pattern of colors to by Julia Gerlach learn bead crochet. he slip stitch stitch your hook should cord through the loop. the previous round, and | method of tubu- be going into. Inthe [3] Work a bead chain flip that bead to the lar bead crochet instructions below, we stitch: Slide a bead right (figure 9). Slide a isa popular technique _ show a five-around down to the hook, bead down to the hook, often used for making rope using a different yarn over the hook yarn over (figure 4), and beautiful beaded ropes. bead color for each (figure 2), and pull the pull the cord through This workshop shows stitch in the round, cord through the loop. both the stitch in the how to make a slip [1] String the beads for Repeat to make a total previous round and stitch rope and how to your project onto the _of five bead chain the loop on the hook. join the ends invisibly. cord, keeping in mind stitches. The bead chain Repeat around the ring, that the first beads should curl into the working each stitch stepoystep — sungwillbethelast shape of a comma into the loop that beads worked. For (photo a. attaches the next bead Bead-crochet learning purposes, [4] Use a bead slip in the previous round. ropes string 3-4 fe. (.9-1.2 m) stitch to join the chain If you used a differ- A multitude of fibers of beads in a repeating into a ring: Insert the _ent color for each bead can be used in bead pattern of five colors. hook to the left of the in the round, each stitch crochet, which is Donotcut the cord first bead in the chain, —_ will be worked in a worked with a steel from the spool — wind flipping the bead to stitch with the same crochet hook. You'll the strung beads around the right of the hook —_color bead. As you need to experiment to the spool, and unwind (photo b). Slide the next _ work, notice that the find your preferences. them as you work bead down to the hook, beads in the working See p.16 to read about [2] Begin with a slip __and yarn over (photo ¢). round sit perpendicular bead-crochet guru knot: Leaving a 10-in. Pull the cord through _to the beads in the Linda Lehman’s picks, (25 cm) tail,makea both the stitch in the _previous rounds. They While learning bead loop in the cord, cross- previous round and —_will be flipped into crochet, you may find ing the spool end over the loop on the hook —_ place when you work it helpful to work in the tail. Insert the hook (photo d). This is the firse the next round. Work a repeating pattern so inthe loop, yarn over _ stitch of the next round, _to the desired length. you can easily see what (figure 1), and pull the [5] Continue working Cut the cord, leaving a in bead slip stitch: 6-in. (15 em) tail, and @® ‘1o see a video demonstration of bead Insert the hook to the pull the cord through crochet, go to BeadAndButton.com/videos. lefe of the next bead inthe last stitch. 28 The Beader’s Handbook 2 | www.BeadAndButton.comInvisible join Beaders have found a number of ways to join the ends of a crochet rope. The following, method can be used with a slip stitch bead- crochet rope of any bead count diameter. ‘The instructions below refer to a five-around rope, but if you make a six-around rope, for example, adjust the counts in the instruc- tions accordingly. [1] To bury the ending tail, thread a tapestry needle, and carefully sew into the middle of the rope, exiting between two beads several rounds into the work. Sew in and out of the rope several times, crossing over the cord within the rope without sewing through any beads, and trim the cord as close to the beadwork as possible. [2] Thread a tapestry needle on the beginning tail, which is exiting the first stitch in the first round. Identify the five beads added in the final round and the five beads in the first round. ‘The beads in the final round lie sideways because they haven’t yet been locked in place. [3] Line up the ends of the rope, aligning the pattern. On the rail end of the rope, sew under the loop of the fifth bead from the end. Flip the bead to the right as you would while crocheting (photo e). Notice that this bead is the same color as the one your cord just came from at the other end of the rope. [4] At the beginning of the rope, sew under the loop of the second bead in the first round (photo f, sewing toward the third bead. [5] Cross over to the tail end again, and sew under the fourth bead from the end of the round (photo g). [6] Continue working back and forth between the ends, flipping the beads in the final round and matching up the pattern. Snug up the ends as you work, After you've flipped the last bead on the tail end, sew under the first bead at the beginning end again. End the tail as in step 1.0 Contact Julia Gerlach at jgerlach@ kalmbach.com. “b ft FIGURE 1 FIGURE 2 FIGURE 3 wow. BeadAndButton.com | The Beader's Handbook 2 29STITCH WORKSHOP: NETTING Netting 101 Gather some seed beads, a needle, and thread, and get to know flat, tubular, and circular netting. by Anna Elizabeth Draeger Any size seed bead can be used in netting. If you've never tried it before, you may want to start with 8" seed beads instead of the 11°s shown in these samples. etting isa versa- the spaces within the In the following instrue- Tubular and Ne stitch that piece. Fewer beads tions, [used five beads Circular netting creates afabric produce a denser, more _per stitch. Once you ‘These two styles of of interconnected fabric-like weave. feel comfortable, try netting are similar, diamond-shaped loops. _ Netting is a close varying the size of the but tubular netting Netting can be worked relative of peyote stitch netted stitches by using creates a tube, and with any odd number (Basics, p.91); if you a different number of _ circular netting is flat, of beads per stitch, but were to pick up only _beads per stitch, like _ radiating from a center the more beads you use one bead per stitch, three, seven, or nine. circle of beads. in each stitch, the larger you would be working [1] Pick up 40 11° seed in peyote. beads, skip the last nine Tubular netting 30 The Beader’s Handbook 2 | www.BeadAndButton.com ‘Work the following 11s, and sew through —_—[] Pick up 24 11°, techniques with com- the next 11° with your __and sew through them fortable lengths of needle pointing toward again to form a ring, thread. If desired, condi- the tail (figure 1, a-b). exiting the first 11° tion your thread (Basics) [2] Pick up five 11%s, picked up. before you begin. skip five 11° in the [2] Pick up five 11°s, base row, and sew skip five 11° in the stepbystep — trough the next 11" ring, and sew through (b-c). Repeat tocom- the next 11° in the Flat netting plete the row (o-d). ring (figure 2, a-b). Flat netting is often [3] To turn and start Repeat to complete used to make simple the next row, pick up _the round (b-<). Step bands, collar neck- six 11%, skip three up through the first laces, oF larger 11°s in the previous three 11°s in the first scarflike sections row, and sew through _stitch (o-d). of beadwork. the center 11° in the [3] Pick up five 1125, next stitch (d-e).. skip five 1125 in [4] Repeat steps 2 the previous round, and 3 to complete the and sew through the sample (-f. center 11° in the next stitch in the previousround (d-e). Repeat to complete the round, and step up through three 11%s in the first stitch (e-). [4] Repeat step 3 to complete the sample. Circular netting Each round of circular netting requires addi- tional beads in each stitch to allow the piece to lie flat. [1] Pick up 10 11%s, sew through them again to create a ring, exiting the first 11° picked up. [2] Pick up three 11°s, skip an 11° in the ring, and sew through the next 11° (figure 3, ab). Repeat to complete the round, and step up through the first two 11°s in the first stitch (b-c). [3] Pick up five 11°s, skip three 11°s in the previous round, and sew through the center 112 in the next stitch {c-d). Repeat to com- plete the round, and step up through the first three 11% in the first stitch (d-e). [4] Continue adding rounds, increasing two beads per stitch per round to complete the sample (e-f). © Anna Elizabeth Draeger is an associate editor at Bead&Button magazine. Contact her at anna@beadandbutton.com, or visit her website, http:llweb.mac.comlbeadbie. FIGURE 1 FIGURE 2 FIGURE 3 ® Check out a video on the techniques shown is article at BeadAndButton.com/videos. wow. BeadAndButton.com | The Beader's Handbook 2 31| STITCH WORKSHOP: CHEVRON CHAIN ait THM My LILA Use the same beads but alternate their placement for two very different looks. Connect , the Vs Take a cue from netting to work an elegant stitch. by Tea Benduhn hevron chain The stitches differ in outer edges of the strips chain by connecting C takes its name the arrangement of (the yellow beads). the ends. Once you are from the alker- their shared beads ‘To change the width familiar with the stitch, nating and inverted and the direction of ofa stitch, increase or you can add embellish- Vsthat make up the the thread path. As decrease the size or ments and create your center strip. Sometimes a relative of netting, number of beads in ‘own variations, referred to as zigzag chevron chain can be the bridge. You can stitch, it isa variation _ thought of as a series change the height of of netting. of linked turns. the row by increasing Historically, netting You can change the __or decreasing the size variations can be found look of chevron chain _ or number of beads in most cultures around by changing bead sizes _in the connector or the world, from Africa and bead counts to diagonal strips. Vary to Asia and the Ameri- create a tightly woven _chevron chain by cas. Cultures that piece or aloose, open changing colors and worked with seed beads look. Ithelps to think experimenting with developed their own of a chevron chain their arrangement. Try bead-netting and bead- stitch as having three _using different beads weaving techniques, basic elements: a pair or bead counts on the and there is some of diagonal strips (the top and bottom bridges. resemblance between _green beads in figures While chevron chain stitches. For example, 1-8), a connector is normally worked chevron chain looks _at the point of the asa single chain, you similar to triangle strips’ intersection can add rows to create weave, which is related (the gray beads), and a panel. You can to right-angle weave. _a bridge joining the work tubular chevron 32 The Beader’s Handbook 2 | www.BeadAndButton.comAlternate bead sizes / in the top and bottom bridges to form a curve. ic chevron chain,” the stepoystep group of three As Single chevron represents a connector, chain the Bs represent the [1] Ona comfortable diagonal strips, and the length of thread, attach Cs represent a bridge. a stop bead (Basics, To work the first g p-91), leaving a 6-in. stitch, pick up a con- ‘ (15 em) tal nector, a diagonal strip, [2] Pick up three color a connector, a bridge, A seed beads, three a connector, and a color B seed beads, diagonal strip, and three As, three color C sew through the first ° seed beads, three As, connector. In each and three Bs (figure 1, subsequent stitch, pick FIGURE 2 FIGURE 3 a-b). Sew back through —_up a bridge, a connec- the first three As (b-c). tor, and a diagonal [3] Pick up three Cs, strip, and sew through three As, and three Bs, the previous connector. and sew back through Once you have the the last three As added basic pattern, you can inthe previous stitch _create variations. (figure 2). In figure 4, large [4] Repeat step 3 beads create a dense (figure 3) to the desired stitch. A seed bead is length. The direction of used as the connector; the Vs will alternate a seed bead, 4 mm with each stitch. round crystal, and a seed bead are used for Single chevron each diagonal strip; variations and a seed bead, a Figures 4, 5, and 6 6 mm vintage glass show just afew of the bead, and a seed bead possible variations of are used as each bridge. “Single chevron chain,” In figure 5, more all of which follow beads in the diagonal the basic principle of —__ strip add height. A. Tea Benduhn is an associate editor at using connectors, a pair 6 mm pearl is used as Bead&Button. Contact her at thenduhn@ of diagonal strips,and the connector; two seed | beadandbutton.com. a bridge. In “Single beads, a 3 mm rondelle, wow. BeadAndButton.com | The Beader's Handbook 2 33and two seed beads are the previous row (d-e). used for each diagonal [6] Repeat steps 4 and strip;andaseed bead, 5 to the desired length. a3 mm rondelle, anda seed bead are used as Connecting the each bridge. ends into a ring FIGURE 6 In figure 6, larger [1] Follow steps 1-4 of beads in the bridge add “Single chevron chain,” width. The connector _ending with an even alternates between a number of stitches and seed bead at the bottom the same number of and a 4mm pearl at the _ bridges along the top top; each diagonal strip and bottom edges. consists of a seed bead, [2] Pick up three Cs, a4mm bicone crystal, and sew through the anda seed bead; and corresponding three the bridges alternate As in the first stitch between a 5 mm and (figure 8, a-b). a 6 mm bicone crystal [3] Pick up three Bs, oofe0e, fv Ree )09G Po! with a seed bead on and sew through the FIGURE 7 FIGURE 8 each side. corresponding three As in the previous Adding rows stitch (b-c). [1] Follow steps 1-4 of [4] Pick up three Cs, “Single chevron chain.” and sew through the [2] With your thread corresponding three As exiting a bottom A, in the first stitch (cd). sew through the follow- ing three Cs, three As, Tubular chevron three Bs, three As, chain and three Cs at the You can create a top (figure 7, a-b). chevron chain tube [8] Pick up three As, two ways: three Bs, three As,three © Follow the steps in Cs three As,and three “Single chevron chain” Bs. Sew back through to the desired length, the first three As added “Adding rows” to and the three Cs in the the desired height, and previous row that your “Connecting the ends” thread exited at the to create the tube. start of this step (bc). # Follow the steps in [4] Pick up three As “Single chevron chain” and three Bs, and sew to the desired length, through the last three “Connecting the ends” As added in the previ- to create the tube, ous step (c-d). and “Adding rows” [5] Pick up three Cs, to the desired height three As,and three Bs, of the tube. @ and sew through the three As added in the previous step and the next three Cs in 34 The Beader’s Handbook 2 | www.BeadAndButton.comST. PETERSBURG CHAIN Russian eyelets Add accent beads in the center of a double St. Petersburg chain by Lesley Weiss Slip the end 8 mm through the opening at the other end to clasp the bracelet. ‘wow. BeadAndButton.com | The Beader's Handbook 2 35,FIGURES FIGURE 6 FIGURE 7 Double St. Petersburg chain is as three As in the column easy as its single counterpart. In this __ (figure 4, 2-6). . [6] Pick up a B, and version, you'll create great shapes by cay through the rwo As joining and separating the chains. in the new column (b-e). [7] Repeat steps stepbystep [8] Pick up a color B and 6 until the chain 11" seed bead, and sew _—has 38 Bs along each First chain back through the next edge, ending and [4] Attach a stop bead three Asin the column adding thread (Basics) (Bases, p. 91) acthe (igure 2, a+b). as needed. Secure the center of a comfortable [4] Pick up aB,and —_ thread with a stop bead. length of thread. sew through the two As [2] Working in St. in the next column Second chain Petersburg chain (Stitch (D0). [1] Remove the stop Workshop, p.26), pick [5] Pick up four As, bead from the starting up six color A 11®seed and sew through the beads, Sew through the first pwo As just picked end of the first chain, and thread a needle on the tail. [2] Pick up an A, an 8 mm pearl, and aB. Skip the B, and sew back through the 8 mm and the next A (figure 8). [3] Follow step 2 of “First chain” to begin the next stitch (figure 6, a-b). Continue in St. Petersburg chain, but sew through the B added in step 4 of third and fourth As up, sliding the four DESIGNER’S NOTE: again, so the fifth and beads tight to the DO en eee cd sixth beads form a Ske Me joined stitches instead of two in eacl second column next Pick up a B, and sew Sees ete a to them (figure 1). back through the last 36 The Beader’s Handbook 2 | www.BeadAndButton.comee e—@ @ @ FIGURE 9 0°80 20 ® ee O58 © oce 00 06 @ 0% @°.20% @°26 e260 o%eLe FIGURE 10 FIGURE 11 ®@ 0652 0 Oe © 8% e FIGURE 12 “First chain” to connect the stitch to the first chain, then sew through the two As in the new column (b-c). Begin another stitch (figure 7, a-b). Continue the stitch, but sew through the next center B in the first chain (b-) [4] Work steps 5 and 6 of “First chain” three times, causing a second chain to split off from the first (figure 8). [B] Repeat step 5 of “First chain.” Pick up a Band an 8 mm, and sew through the corre- sponding B on the first chain (figure 9, a-b). Sew back through the 8 mm and the B so that the thread goes through the B from both sides (b-c). Sew through the two As in the new column (cd). [6] Repeat step 4 of “Second chain” to extend the split for three more stitches, then work two stitches as in step 3, joining the two sides. [7] Repeat steps 4-6 three times. Clasp loop [4] Remove the stop bead from the end of the first chain, Work four stitches on each chain, forming a split. [2] On one chain, work a fifth stitch (figure 10), then pick up two As and a B. Skip the B, and sew back through the two As just added and the other 112s in the column (figure 11). [3] On the other chain, pick up two As, and sew down through the bottom two As on the first chain and up through the two new As (figure 12, a-b).. Pick up a B, and sew down through the next Lesley Weiss is a writer, editor, and beader living in the metro Milwaukee area, Wis.,in the U.S. She's the author of The Absolute Beginners Guide: Stitching Beaded Jewelry, available from Kalmbach Books. To order her book, go to KalmbachStore.com. Contact Lesley in care of Bead&Button, wow. BeadAndButton.com | The Beader's Handbook 2 three As in the column and up through the last B and the column of As on the other chain (b-c). End both threads. © materials bracelet 6% in. (16.5 cm) + 58mm oystal pearls + 118 seed beads 5 gcolor A 3gcolor B * nylon beading thread, size D * beading needles, m2 For the colors used in this project, see our Resource Guide at BeadAndButton comv/resources 37—————— PEYOTE STITCH @arbraeitnls Gold-plated seed beads give teeth aenisicamerteolss the look of fine jewelry Co Ue Lg A, eed ni Chicas Sea cas CCCs Pipes ean acter Small swatches of flat peyote joined into tubes materials connect end to end, making an elegant beaded bracelet 7H chain. Each link works up quickly, giving you harlottes a big dose of instant gratification. + magneto clas seed beads. Working [3] Continue in pe 4b step step in flat even-count stitch for a total of [4] on2f.(61.em) peyote stitch (Basics), 12 rows to make a of Fireline, attach a skip the last two small scrip that is six stop bead (Ba: At ind sew back beads wide and ha: p.91), leaving through the previous _beads on each straight (15 cm) tail. 112 (figure 1, a-b). Work edge (figure 2). Zip up [2] Pick up seven two more stitches to the edges (Basics and y 11? Charlottes or complete the row (b-c). photo a) to form a tube. either end. 38 The Beader’s Handbook 2 | www.BeadAndButton.comBH os Hed EDITOR’S NOTE: CaO R CR aru Cao) Seam OL LS CL COC SLR Leen (photo b). Retrace the eight 11°s, the remain- thread path through the _ ing loop on an end link, loop two or three times, and half of the clasp.

B 6 mm, and two B 11° (b-©). Repeat around oe the ring. Remove the for the B 11% and a. 6 stop bead, and end the _B 11% for the A 11%s. s eS tail (Basics), but do not» Make one small com- LWP -0*e'D end the working thread. ponent with color C [7] Repeat steps 1-6 to 6 mms and 3x 4mm. FIGURE ¢ make two more large _rondelles. Use C 11°s components (with seven for the B 11% and € 3mmsand6mms,as B11" for the A 11° e . % e above) and three small * Make two small com- . components (with six ponents with color A ) € 3mmsand6mms), 6 mms and 3x 4 mm 5 varying the colors as _rondelles. Use A 11°s . desired or as follows: for the B 11% and 7 e : + Make one large B 11° for the A 11°, ~ component with color yo) A 6mms and color D Assembly < ) J 3 mms. Use A115 for [1] Arrange your all the 11%. components as desired. y oe * Make one large com- Sew through an end. >» ® ponent with color D component to exit at » @./ FIGURE 4 6mm and 3mm pearls. figure 4, point a. ee Substitute color C 118s [2] Pick up three B 11%, vnnw.BeadAndButton.com | The Beader's Handbook 2 49FIGURE 6 two B 11%, offset from center, and three B 11°%s, and and sew causing the bracelet sew back through the through the to take ona wavy line. __D 3 mm (figure 6, a-b). middle B 11°, [5] Add 12 in. (30cm) Pick up three B 11°s, aD 3mm, and three D 3mm, and of Fireline (Basics) in _and sew through the B 114s, and sew B 11° added in the an end component, two adjacent edge 11s through the two previous step (b-c). andexitan 118 oppo- _in the component (b-c). adjacent 11° at the Retrace the thread path site where it connects _Retrace the thread edge of the component —_a few times to secure __to the previous compo- _ path several times, {a-b). Continue through the connection, and end nent. Pick up three and end the thread. the next three B11%s, the thread. B11%,aD 3mm, three Repeat at the other theD3mm,andthe [4] Connect the B 11s, half of the clasp, end of the bracelet. © following B 112 (b-c). remaining components [3] Pick up two B11°s, as in steps 1-3. Because and sew through two some components have | Julia Gerlach is senior editor - special adjacent edge 11s in six 6 mms and others projects at Kalmbach Publishing. Contact the next component have seven, some of the | her at jgerlach@kalmbach.com. figure 5, a-b). Pick up connections will be 50 The Beader’s Handbook 2 | www.BeadAndButton.comBEAD CROCHET Braided Put your bead- racele nt a use as you make this beautiful bracelet. Intertwining ropes come together in a soft and stretchy bangle designed by Olga Mihaylova Discover the easy rhythm of bead crochet with materials this bangle of three crochet ropes braided together. bracelet 3 in. (7.6 em) ran ; pear outside diameter Working with the tiny 11° cylinder beads may take and 2%41n. (6.4 om) some time, but you'll love the detailed results. inside diameter + 49 11% Japanese stepoystep [stitch Workshop, p.28). [6] Lay the three ropes cylinder beads in Insert the hook to the next to each other with each of 3 colors: [4] Measure around left of the first bead, _the starting ends all on ABC the widest part of your and join the chain into the same side. Tape + spool Gutermann hand.To accommodate a ring with a bead the ends together, and polyester topstitch- the braiding, each rope stitch (Stitch Workshop). braid the ropes together | _ ing thread in each of will need to be about [4] Work in bead slip _ tightly. Making sure 3.colors: A, B,C one-third longer than stitch until the rope isthe colors line up at the 1.5 mm steel crochet your hand measure- the desired length. two ends, tape the ropes | hook ‘ment. Mine were Leaving a 6-in, (15cm) together at the other beading needles, #11 814 in, (21.6 em). tail, cut the thread from end (photo). tepestry needle, #26 [2] Thread a beading the spool,and pull the [7] Use the invisible tape needle on the color A tail through the loop _join method (Stitch thread, leaving the of the last stitch, Workshop) to join thread attached to the [5] Repeat steps 2-4 _the ends of each rope. spool. String color A with colors Band C, Remove the tape, 11? cylinder beads to. _making the ropes and end the threads equal five times the exactly the same length. (Stitch Workshop). @ desired finished length of the rope. I strung 45 in. (1.1 m). Olga Mibaylova is the owner of Koolkat Designs in [3] Leaving a 10-in. Mt. Lebanon, Pa., in the U.S. For more information, (25 em) tail, work five visit her website, olisbeadwork.com. bead chain stitches wow. BeadAndButton.com | The Beader's Handbook 251Create a curved chevron chain to caress your collar designed by Tea Benduhn Using a classic chevron chain with stepbystep modified bead counts, you can [1] Accach a stop bead shape your chain to follow the (Basics, p. 91) to 3 yd. natural curves of your neck for (2.7 m) of Fireline, leav- . . ing a 12-in. (30 cm) tail. a choker that drapes just right. [2] Pick up four 11° seed beads, a4 mm 52 The Beader’s Handbook 2 | www.BeadAndButton.com You'll love the easy elegance of this pretty collar so much, you may want to make ‘one in each of your favorite colorways. bicone crystal, six 11%, a color A 8 mm bead, six 11°, a4 mm, and two 11%s, and sew back through the first two 11°s picked up (figure 1, ab). [3] Pick up an 112, anA, five 11%, a 4 mm, and two 11%s, and sew through the middle two 11s between the previous 4 mm and 8 mm (b-c). [4] Pick up two 11%s, a color B 8 mm bead, six 11%s,a 4mm, and two 114s, and sew back through the third and fourth 11°s between the previous 4 mm and materials necklace 14 in. (88 em) + 8mm round beads 39 color A 19 color 8 58 4 mm bicone crystals 5-7. 11*seed beads Feline 6 Ib. test beading needles, 8 mm (¢-d). #10 or #12 [5] Repeat steps 3 and 4 for the desired length, To find a bead store, visit BoadShopFinder. com. using As and Bs as, needed so that there is a B followed by two As along both the top and the bottom. Each B will be opposite a pair of As. [6] Pick up four 11°s, an A, and an 11°. Skip the 112, and sew back through the A and an 112 (figure 2, a-b). Pick up five 11%, and sew through the third 112 between the 4 mm and 8 mm in the previous stitch and the next few 1145 (b-<). Retrace the thread path a couple of times to reinforce the connection, and end the thread (Basics). [7] Remove the stop bead, and thread a needle on the tail. Pick up enough 11°s (about 21) to fit around the A on the opposite end, and sew through the last two 11°s your thread exited (figure 3). Retrace the thread path a few times to reinforce the connection, and end the thread. © DESIGNER’S NOTE: BOO RT aay DOC aR REL) Ce ORO RUS aoe Ur Bur RO RRC oe BT uM oC Rely CU Re ut Tea Bendubn is an associate editor at Bead&Button magazine. Contact her at thendukn@beadandbutton.com. FIGURE 1 o> FIGURE 2 a Od wo ; X ? reunes wow. BeadAndButton.com | The Beader's Handbook 2 53.SQUARE STITCH Cylinder beads anchor jump rings to a narrow band designed by Carol Branting strategy Create a lacy, metallic ruffle with interlocking jump rings. Use silver and gold-filled jump rings or lightweight titanium jump rings in two colors to give a square stitch bracelet a clever embellishment. stepoystep —leylinder beads for End and add thread the fourth row. (Basics) as needed. Band [2] Working in square [3] To taper the end, [1] On 2 yd. (1.8 m) of _ stitch (Stitch Workshop, _ stitch two more rows, thread, attach a stop _p. 23), complete the decreasing each row by bead (Basics, p. 91), band using cylinders. _two beads. Reinforce Teaving a 12-in, (30cm) After stitching each each row as shown tail. Following the chart _ row, reinforce the (figure 2, a-b), and (figure 1), start at the beadwork by sewing _—_end with a two-bead lower left corner of the through the previous _point (b-c). main portion of the row and the new [4] Pick up a soldered band, and pick up eight row just stitched. jump ring, and sew 54 The Beader’s Handbook 2 | www.BeadAndButton.com through the two-bead point again. Retrace the thread path a few times to secure the jump ring, and end the thread (photo a). [5] Open a color A jump ring (Basics). Attach the soldered jump ring and half of the clasp. Close the jump ring. [6] Remove the stop bead. Thread a needle on the tail, and repeat steps 3-5. [7] Add 1 yd. (.9 m) ofFIGURE 1 FIGURE 2 ? ¢ FIGURE 3 thread in the beadwork, and exit row 4 on one end of the bracelet. [8] Pick up a cylinder. Skip row 5, and sew through the edge bead of rows 6 and 7 {figure 3). Repeat along the edge, adding a bead to every third row. These beads will be referred to as tabs. [9] Sew through the beadwork, and add tabs to the correspond- ing rows along the other edge. The tabs should line up across from each other. End the thread. Jump ring edge [4] Open 35. A jump rings. Slide an A through a tab. Close the ‘A (photo b). Repeat on this edge for the length of the band. [2] Open 68 As. Slide an A through two adjacent jump rings attached to the band, and close the A (photo ©). Repeat to double it (photo d). Repeat for the length of the band. [8] Open 33 As and 33 color B jump rings. Slide an A through two bottom jump rings so that it lies under the jump ring attached to a tab. This will cause the bottom jump rings to flip. Close the A (photo e). Repeat with a B, positioning it between the jump ring attached to the tab and the A just added. Close the B (photo f). Repeat for the length of the band. [4] Repeat steps 1-3 along the other edge. © materials bracelet 8 in. (20 em) + 1-89 11" Japanese cylinder boads in each of 5 colors clasp 280 8 mm inside- diameter (1D) jump rings, 22-gauge anodized titanium or steriing siver (color A) 70.3 mm ID jump rings, 22-gauge anodized titanium or gold-iled (color 8) 2.3 mm ID soldered jump rings Silamide, or Nymo 8 conditioned with bbooswax beading needles, #12 bentnose pliers chainnose pliers Contact Carol Branting in care of Bead&Button. wow. BeadAndButton.com | The Beader's Handbook 2 55)ST. PETERSBURG CHAIN Feathery t. Petersburg echoria Learn double St. Petersburg emma long, lean lariat eran Hatsumi Oshitani Re ened Pore ect cy lends this lariat an CerThe unusual pattern of Russian St. Petersburg chain makes this project a delightful break from routine. Be patient as you learn this stitch, and you'll be rewarded with a beautiful fringed lariat. stepoystep First chain [4] Attach a stop bead (Basics, p. 91) to the center of 2 yd. (1.8 m) of thread. [2] Working in St. Petersburg chain (Stitch Workshop, p. 26), pick up six color A 11° seed beads, skip the last two, and sew through the third and fourth As again (figure 1) to form two columns. [3] Pick up an A, and sew back through the last three As in the column (figure 2, a-b). [4] Pick up a 3 mm fire-polished bead, and sew through the two As in the next column (b-). [5] Pick up four As, and sew through the first two again (figure 3, a-b). [6] Pick up an A,and sew back through the last three As in the column (b-c). [7] Pick up a 3 mm and sew through the two As in the next column (c-d). [8] Repeat steps 5-7 until the chain is about 45 in, (1.1 m), ending and adding thread (Basics) as needed. Attach a stop bead, and do not trim the thread. an fringe, string PET Ce AT) Cer EE eae] Seer Deen Penmaes Ce full as desired. FIGURE 1 FIGURE 2 FIGURE 3 FIGURE 4 nw. BeadAndButton.com | The Beader's Handbook 2 57Second chain [4] With a new length of thread, repeat steps 1-3 of the first chain (figure 4, a-b). [2] Sew through the first 3 mm in the first chain, and continue through the two As in the next column (b-c). [3] Repeat steps 5-7 of the first chain, but instead of picking up a 3 mm in step 7, sew through the next 3 mm in the first chain, and continue through the two As in the next column (-d). Repeat along the length of the first chain, Branched fringe [1] Continuing with the working thread 58 The Beader’s Handbook 2 | www.BeadAndButton.comMODIFIED NETTING Bejeweled bridge Crystal accents pull netting into a shapely band designed by Kim Spooner Metallic beads give the appearance of fine jewelry while sparkling orystals shine through a bezel setting. ‘nw. BeadAndButton.com | The Beader's Handbook 2 59FIGURE 1 FIGURE 2 FIGURE 3 FIGURE 4 This clever technique allows you to give netting a more rigid structure. Once you embellish the top surface of the band, the arch sits comfortably on your wrist. materials bracelet 7 in. (18 em) #115 mm round, crystals 5g 1t*seedbeats | Stepbystep [4] Pick up two As,aB, a B, and two As, in each of 2 colors: and two As. Sew through Skip five beads in the AB Band the middle B in the pre- previous row, and sew 3-49 154 seod [1] Onacomfortable vious row (o-c).Pick up through the next B beads, color C length of Fireline, two As, Band two As, (figure 3, a-b). clasp attach a color B11* skip five beads in the [8] Pick up two As, 24-8 mm jump seed bead as a stop previous row, and sew a B, and a C. Sew back rings bead (Basics, p.91), through the next B (e-d). through the B (b-o). Firoine 6 Ib. test leaving a 10-in. [B] Pick upaC,and Pick up three As, sew beading noodles, | (25 em) sail. sew back through the through the B and C in 2 [2] Pick up a repeating previous B (d-e). the previous point, and 2 pais of plers pattern of two colorA [6] Pick up three As, __sew back through the B 11° seed beads andaB a ByandaC.Sew back —_(e-d). Continue through To tind a bead store, four times. through the B (figure 2, the three new As, the B, visit BeadShopFinder. | [B] Pick upacolorC ab). Pick up two As, and the C in the new com 15# seed bead, and and sew through the point, and sew back sew back through next Bin the previous through the B (d-e). the last B picked up row (b-e). paling in themnetted {figure 1, a-b). [7] Pick up two As, as stitches with crystals that are slightly larger than the openings gives the bracelet a natural curve. 60 The Beader’s Handbook 2 | www.BeadAndButton.comFIGURE 5 FIGURE 7 FIGURE 6 From this point on, when you add the three As along the edges of the netted band, make sure that they stay to the back surface of the band. To do this, make sure your thread is exiting to the back of the band when you exit the Bs, and sew into the Bs from the back of the band. [9] Repeat steps 4-8, but in step 5, sew through the C next to the B instead of picking up a new one (figure 4). Continue until you have 22 points along each edge of the band, ending on step 4. [10] Work a center end stitch referring to figure 5, and end the working thread (Basics). Repeat with the rail. Embellishments [1] Add 1 yd. (.9 m) of EDITOR’S NOTE: PO CICES Marita To change the length of the bracelet, CRE add or omit two rows of netting at a time netted base (figure 6, so that you end up with an odd number point a). eee aad [2] Pick up aS mm round crystal, and sew through the next center Cs. Pick upaC,and Sew through the next B, back through the sew through thenext five Cs. ‘mm, and through the __ five Cs (e-d). [6] Sew through the B your thread exited at [5] Sew under the adjacent center B in the the start of this step threads in the base base, the last C, and the (eb). Sew through the between the adjacent _—_B in the base again. 5 mm again (b-<). Band two Asto anchor [7] Repeat steps 2-6 [3] Pick up nine Cs, this side of the ring to add a total of 11 and sew through the to the base. Sew 5 mms. End the thread. S mm again, positioning — through the fifth C [8] Open a jump ring the Cs along the edge of again, and continue (Basics), and attach half the 5 mm (figure 7, a-b). through the next 10 Cs. _ of the clasp to an end Repeat (b-c). Sew under the threads netted stitch. Close the [4] sew through the _in the base between jump ring. Repeat on nine Cs just added, the adjacent Band two the other end. © pick upaC,andsew As, and sew through through the next nine the 10th C again (d-e). Kim Spooner is a jewelry designer and instructor specializing in embroidery and bead weaving. Contact her via e-mail at cisraydesigns@yahoo.com, or view her website, cisraydesigns.etsy.com. wnww.BeadAndButton.com | The Beader's Handbook 2 61SQUARE STITCH Window bracelet Add dimension to a simple band with bead-filled openings designed by Alice Korach I's easy to make ‘openings in your beadwork with ‘square stitch. 62 The Beader’s Handbook 2 | www.BeadAndButton.comDiscover the shaping possibilities of square stitch as you make this bracelet. Once you see how easy it is to make the square openings, imagine what other shapes you could create. stitches with two color B 11° cylinder beads per stitch, and one stitch with two As (figure 2, a-b). [3] To make the first side of a window, work a stitch with two As, then work a stitch with a B (b-©). Working in the opposite direction, work a stitch with a B and an A, then work a stitch with an A (c-d). [4] Work as in step 3 to add three more partial rows (d-e). [5] Pick up five Bs stepoystep Band [4] On 2 yd. (1.8 m) of conditioned thread (Basics, p. 91), attach a stop bead (Basics), leav- ing a 12-in. (30 cm) tail. [2] Pick up 10 color A 112 cylinder beads for row 1. Work in two- bead square stitch (Stitch Workshop, p. 23) as follows: Row 2: Pick up two As, sew through the last two As in the previous row and the two new beads again, and pull and two As (ef and them snug so the two photo a). new beads begin to [6] Work four partial form a parallel row (figure 1, a-b). Pick up two As, and sew through the next two As in the previous row and the two As just added (b-c). Work three more stitches with As to complete the row. Rows 3 and 4: Work five two-bead stitches with As. Row 5: Work one stitch with two As, three rows as in steps 3 and 4 (fg and photo b), then stitch the last partial row to the correspond- ing beads in row (figure 3, a-b). [7] Zigzag through the last two partial rows (b-o). Pick up a 5-6 mm accent bead, and sew through one of the mid- dle partial rows on the other side of the win- dow (c-d). Sew through FIGURE 2 First side FIGURE 3 wnnw.BeadAndButton.com | The Beader's Handbook 2 63the adjacent partial tow, the accent bead, materials and the corresponding bracelet 6% in. partial row on the (16.5 cm) second side (d-e). * 8-9 5-6 mm accent Retrace the thread beads FIGURE 4 path to reinforce the 11° Japanese connection, then cylinder beads zigzag through the 8g color A beadwork to exit 8 gcolor 8 the end row (4). Veen. (1.8- [8] Work as in steps 1.6 cm) button 2-7 until the band is with shank YM in, (1.3-1.9 cm) nylon beading short of the desired thread, size D, length, ending and conditioned with adding thread (Basics) booswax or Throad as needed. Work four Heaven more rows with As. beading needles, #10 or #12 ishing [1] To add the button, sew through the bead- [4] Pick up enough work to exit between As to form a loop the second and third around the button, beads in the end row and sew through the (figure 4, a-b). Work six beads added i three stitches with the previous step (b-c). As (b-c).. Retrace the thread [2] sew through the path several times to beadwork to exit the reinforce the loop, middle of the row just and end the thread. added (figure 5, a-b). [5] Add a new thread, Pick upan A andthe and exit an edge bead shank of the button. in the last full row at FIGURE? Sew back through the _one end of the bracelet. A just added and the Pick up three Bs, and next A in the end row sew through the next (b-<). Retrace the two edge As to add a thread path to reinforce _picot (figure 7, a-b). the connection, and Repeat (b-0) for the EDITOR’S NOTES: end the thread. length of the bracelet. SCO) [3] Remove the stop Sew through to the ee eee canes ee) bead from the tail, other edge of the the purple bracelet, p. 62: In step 2 of and repeat step 1 bracelet, and repeat. © ing,” pick up an A,a 12mm flower MRUtCCe on Penn Rut ice Ce UC a UO Ue RSE Ce * For daintier picot edging, substitute SECC OR CUCL) Alice Korach is the founding editor of Bead&Button, Contact her in care of Bead&Button. 64 The Beader’s Handbook 2 | www.BeadAndButton.comST. PETERSBURG CHAIN rops ange angles Create pretty lines with briolettes by Julia Gerlach Enhance a delicate beaded chain with a fringe of colorful gemstone briolettes. ‘wow. BeadAndButton.com | The Beader's Handbook 2 65Stitch a classic Y-necklace using St. Petersburg chain and gemstone a é drop embellishments. He: 1D’ the next three 11°s in the 5 ae ieee column (figure 4, a-b). b Neck chains [7] Pick up a Charlotte, [4] Attach a stop bead a Sx 7 mm briolette, (Basics, p.91) atone and a Charlotte, FIGURE1 FIGURE 2 FIGURE 3 end ofacomfortable and sew through the length of Fireline or two 11%s in the next thread, leaving an 8-in. column (b-c). (20 cm) tail. [8] Repeat steps 5 (c-d) [2] Working in St. and 6 (figure 5, a-b), Petersburg chain (Stitch then repeat step 4 (b-c). Workshop, p. 26), pick [9] Continue working up six 11° hex-cut as in steps 5-8, ending a beads, and sew through and adding thread the third and fourth (Basics) as needed, beads again so the fifth until the chain has . and sixth beads form 20 briolettes. Set the an adjacent column chain aside. (figure 1). [10] Repeat steps 1-9 FIGURE 4 FIGURE 5 [3] Pick up a 13° to make a second chain, Charlotte, and sew but when the chain is back through the one stitch short of the next three 11% in the finished length, align column (figure 2, a-b). the two chains so the [4] Pick up three briolettes on each face Charlottes, skip the outward. Work the first last Charlotte, and part of the final stitch sew back through the __as in step 5 (figure 6, previous one. Pick up a+b). Instead of picking a Charlotte, and sew up a Charlotte, sew through the two 11°%s in through the end FIGURE 6 the next column (b-c). Charlotte and an end [5] Pick up four 11°s, pair of 11°s on the and sew through the other chain (b-<). Sew first two 11s just through the adjacent picked up (figure 3) end pair of 11%s (c-d). [6] Pick up a Charlotte, [11] Pick up 19 11%, and sew back through _five Charlottes, a \ DESIGNER'S NOTE: NALCO URC Leo od TO eR ue) POR Ru Coe RU ey Oe R CEE oombriolette, and three Charlottes. Sew back through the first two Charlottes picked up in this step and the next 11° (figure 7, ab). [12] Pick up three Charlottes and a brio- lette, and sew through the 11° your thread is exiting and the next 11° (b-o). [13] Repeat step 12 five times, then continue as in step 12 with the following adjustments: * Work two stitches with four Charlottes and a briolette. * Work five stitches with four Charlottes, a brio- lette, and a Charlotte. * Work five stitches with five Charlottes, a briolette, and two Charlottes. You should have added a briolette to all but the first of the 11s added in step 11 [14] Pick up an 11°, and sew through an end pair of 11°s on the other chain (figure 8, a-b), Sew through the adjacent pair of 11°s, the Charlotte connect- ing the two chains, and the two end pairs of 11% on the other chain (b-c). [15] Sew through the top 11° from step 11, pick up three Charlottes, a briolette, and three Charlottes, and sew through the 11° again (c-d). Sew through the 11° with- out a briolette on the other side, and repeat. End the thread. Clasp [4] On 1 yd. (.9 m) of Fireline or thread, attach a stop bead, leaving a 6-in. (15 em) tail. Pick up two 11°, sew through them again, and pull snug so they sit side by side. Working in ladder stitch (Basics), make a ladder four beads long (figure 9). Form the lad- der into a ring (Basics) by sewing through the first and last 112s. [2] Using 11°s, work in tubular herringbone stitch (Basics) to make a tube that is 10 beads long. Sew through the final round using a ladder stitch thread path to snug up the beads (photo a). [3] Pick up 24mm round bead and a Charlotte, skip the Charlotte, and sew back through the 4 mm and the 11° opposite the 11° your thread exited at the start of this step (photo b). [4] Sew through the column of 11°s to exit the other end of the tube, and repeat step 3. Sew through all four columns twice to make the toggle bar more rigid. End the thread. FIGURE 7 FIGURE 8 OT FIGURE 9 ‘wow. BeadAndButton.com | The Beader's Handbook 2 67c FIGURE 10 materials necklace 16% in. (41.9 em) # 61.5x7 mm fat faceted gemstone briolettes 44mm round beads 10g 11° hex-cut beads 8-8 g 18% Char- ites Firoine 6 Ib, test or nylon beading tivead, size D beading needles, ne For the colors used in this project, see our Resource Guide al BeadAndButton com/resources, FIGURE 11 f FIGURE 12 68 The Beader’s Handbook 2 | www.BeadAndButton.com [Sleemarertetstrt bead from one chain, and pick up a Charlotte, a 4mm, and a Char- lotte. Sew through the middle of the toggle bar, and pick up a Charlotte. Sew back through the toggle bar, pick up a Charlotte, and sew back through the 4 mm (photo c). Pick up a Charlotte and two 11%s, and sew through the end two 114s in the last column (photo d). Sew through the two 11° just added, pick up a Charlotte, and sew back through the two 11s just added (photo e). Retrace the thread path through the clasp connection, and end the thread. [6] On 1 yd. (.9 m) of Fireline or thread, work a strip of St. Petersburg chain that is long enough to make a loop around the toggle bar. Work as in steps 1-5 of “Neck chains,” making every transition from one column to the next with a picot of Charlottes instead of alternating with a briolette (figure 10). When the strip is long enough, pick up two 11s, and sew through the first pair of 11°s at the start of the strip and the two new 114s (figure 11). Work a final set of inner and outer picots, and exit an inner round Char- lotte (figure 12). Sew through the inner round of 11%s and CharlottesFIGURE 13, (figure 13, a-b) to firm up the center. End the thread. [7] Remove the stop bead from the remain- ing chain, and pick up a Charlotte, a4 mm, and a Charlotte. Sew through a pair of 11s in the loop, an adjacent pair of 11°%s, and back through the Charlotte and 4 mm (¢-d). Pick up a Charlotte and two 114s, and sew through the end two 11°s in the last column and the two 11% just added (d-e). Pick up a Char- lotte, and sew back through the two 11% just added (e-f). Retrace the thread path through the clasp connection, and end the thread. © Julia Gerlach is senior editor ~ special projects at Kalmbach Publishing. Contact her at jgerlach@kalmbach.com. nw. BeadAndButton.com | The Beader's Handbook 2NETTING | * Out of eh Ine Irregular bead shapes and sizes lend texture to netting by Anna Elizabeth Draeger To use larger stone chips, as seen in the labradorite version, pick up only two stone chips in each stitch instead of three, and use 8° seed beads instead of 11°s. Netted stitches are usually very uniform. Make those materials straight lines less predictable by using stone chips — no bracelet 7 in. (18 cm) 7" . © 276.4 mm stone two beads are alike! They push their way out of bounds chips for a bracelet with loads of substance. + 4-69 11" seed beads + clasp stepbystep —«il-Pick uptwo 11" and an 11". Skip the + 24-6mm jumprings seed beads, three stone last 19 beads, and sew + Fireline 6 lb. test [4] On 3 yd. (2.7 m) of chips, three 11%, three back through the next + beading needles, #12 | Fireline, attach a stop stone chips, three 11", 11” (figure 1, a-b). + 2 pairs of pliers: bead (Basics, p. 91), three stone chips, 11 [2] Pick up an 11%, leaving a 12-in, (30cm) 11%s, three stone chips, three stone chips, three 70 The Beader's Handbook 2 | www.BeadAndButton.comFIGURE 1 11s, three stone chips, and an 11°, Skip 11 beads in the previous row, and sew through the next 11° (b-c). [3] Pick up nine 11°s, three stone chips, and an 11°, Counting from the 112 your thread exited at the start of this step, skip six beads in the previous row, and sew through the next 11° (figure 2, a-b). [4] Pick up an 11°, three stone chips, three 114s, three stone chips, and an 11°, Skip 11 beads in the previous row, and sew through the next 11° (b-c). [5] Repeat steps 3 and 4 until the band is, about 1 in. (2.5 cm) short of the desired length, ending on step 4. [6] Pick up 17 11%, skip nine beads in the previous row, and sew 2 ) FIGURE 2 through the next stone chip and the next nine beads (figure 3, a-b). Pick up 13 11°s, skip the last two 11*s added in the last stitch, and sew through the next 15 112s (b-c). Attach a stop bead to the work- ing thread. [7] Remove the stop bead from the tail, and repeat step 6, but instead of attaching a new stop bead at the end of the step, end the tail (Basics). [8] Remove the stop bead from the working thread, pick up an 11°, and sew through the next seven 11°s along the edge of the bracelet (figure 4, a-b). Repeat {b-c) along the edge until you reach the end. Sew through 28 11s on the end of the bracelet, then repeat adding 11s FIGURE 3 FIGURE 4 along the other edge. Retrace the thread path of the end 11% added in step 6, and end the leg thread. ¢ [ollOpentajumpins (Basics), and attach half of the clasp around the two center 11% on one end of the bracelet {photo}. Close the jump ring, Repeat on the other end. © «. Contact Anna Elizabeth Draeger at anna@beadandbutton.com. vow. BeadAndButton.com | The Beader's Handbook 274Infinity Use an invisible crochet join to make these bangles beautiful bracelets designed by Linda Lehman Drop beads give these seamless bangles a fun and lively texture. 72 The Beader’s Handbook 2 | www.BeadAndButton.coma b These seemingly seamless crochet bangles are a joy to make and wear. Use this technique to create a secure and materials , imperceptible join for any crochet bangle, and follow + 894mm drop the pattern to make a bracelet with a beguiling twirl beads, color D of colorful beads. 89 11" Japenese seed beads in each Stepoystep [4] Workeight bead thread from the spool of 2 colors: B, C . chain stitches (Stitch [9] Block the crochet 3g 11* Japanese Crochet tube ‘Workshop, p. 28), tube by pinning the cylinder beads, [4] Measure around leaving a 12-in. (30cm) ends to a terry-cloth color A, the widest part of your tail (photo a). towel and spraying it spool Flora crochet hand to determine the [5] Join the bead chain with water. Let it dry cotton thread #20 length of your crochet into a ring by inserting ight. This will (or Opera #20, rope. You will crochet the crochet hook under _ stretch the tube, so you obelia #20, or Finca approximately 16 rows and to the left of the may have to remove Perle cotton #8) per inch (2.5 cm). first bead and working _a few rows of stitches. 1.4 mm steel [2] Thread a Big Eye a bead slip stitch crochet hook needle on the crochet __(Stitch Workshop Joining the ends Big Eye needle cotton, leaving the and photo b).Thenew [1] Thread a tapestry stry needle, #28 thread attached to bead is the first bead needle on the tail safoty pins the spool. String the in the second round. coming out of the spray bottie with following: [6] insert the crochet first round. Sew up water Round 1: Three color A hook to the left of the through the middle torry-cloth towel 112 cylinder beads, two second bead in the first of the tube, and exit color B11 seed beads, round, push this bead __ between two beads. To find a bead store, ‘one 4mm drop bead, over to the right, slide Sew back through the Visit BoadShopFindor onecolorC11°seed anew bead downto —_tube close to where com. bead, and one 4 mm. Round 2: Three As, two Bs, and three Cs. Continue stringing, alternating rounds 1 and 2, until you use all the beads. End with round 2. [3] Slide the beads down on the spool to give yourself about 20 in, (51 cm) of work- ing thread. As you crochet, adjust the beads so you don’t run out of working thread. the hook, and work a bead slip stitch. [7] Continue to work in bead slip stitch until the tube is long enough to slip over the largest part of your hand when the ends are connected. End with the bead pattern for round 1. [8] Work a slip stitch without a bead, and pull the working thread through the last loop until you have a 12-in. (30 cm) tail. Cut the the thread exited, and tie a half-hitch knot (Basics, p. 91). Repeat [8] Follow the invisible a few times, and trim. _join method (Stitch [2] Thread the needle Workshop) to connect on the working thread. the ends (photo d). Align the first and last. [4] End the working rounds, keeping the thread as in step 1. pattern intact (photo c). Linda Lebman is a bead-crochet expert with a lifelong interest in fiber arts. Read her advice on choosing the right bead-crochet fibers and hooks on p. 16. wow. BeadAndButton.com | The Beader's Handbook 273.Dr CHAIN Dress up a chevron chain with flowers Large beads stitch up quickly to make a lovely bracelet designed by Yvanne Ham Have fun with this adaptable pattern. Make a wide or narrow band, and embellish it to your liking. 74 The Beader’s Handbook 2 | www.BeadAndButton.comThe traditional triangular shapes of chevron ch materials get a makeover with perfectly placed fire-polished both projects beads that form stylized flowers. Make either a single * Fireline 6 to. test, or double version of the chain, embellish it if desired, Se ened and finish with a coordinating toggle clasp. with beeswax or Thread Heaven stepoystep — bead, rwoDs,andaB, sew through the last boading needles, and sew through the picked up in the #12 Wide bracelet last C picked up in the previous stitch (gh). ‘Side one previous stitch (+e). [9] Repeat steps 3-8 wide bracelet [1] On 2 yd. (1.8 m) of [6] Pick up a Ca until the band is 8 in. (20 cm) Fireline or conditioned 4mm round,two Cs, approximately ¥4 in. * 4mm fio thread (Basics, p.91), and a B, and sew (1.3 em) short of the boads attach a stop bead through the last D desired length. End 48 color A (Basics), leaving a 6-in. picked up in the previ- __with step 3, then pick 86 color B (15 cm) tail. ous stitch (ef). up aD,an A, two Cs, 55-69 4 mm [2] Pick up two color [7] Pick up a D,a B, a 4mm round, and a C. round beads, C11 seed beads, a two Cs,anda4mm Sew through the last color G 4mm round bead, two round, and sew C picked up in the 11® seed beads Cs,a color A 4 mm through the last © previous stitch (figure 2, Sg colorC fire-polished bead, two picked up in the a-b), then continue 3.g color color D 11° seed beads, previous stitch (f-g). through the next A, 3.g color E andanA.Sew through [8] Pick upaC,anA, two Ds, A, and C (b-<). (optional) the first C again (figure two Ds, and an A, and 1, ab) narrow bracelet [3] Pick up a C,a Bin. (20 em) 4 mm round, two Gs, Mental mantra: For each stitch in “Side ‘+ 4mm fire-polished and an A, and sew back | one” (except the first and last stitches), beads through the last D you'll pick up five beads — a small bead, picked up in the previ- a big bead, two small beads, and a big ark ure b.ana, | bead — prior to joining to the previous rel ean erate stitch. The exact bead sequence is not round beads round, and sew back intuitive, however, so until you understand 11° seed beads through the last C the pattern, Yuanne suggests repeating this 4g color Dae mantra to yourself as you're working: 2 gecolorD el rick ope Co a cptoe | Sal bigy small, small, big, join. joc B 4 mm fire-polished FIGURE 1 FIGURE 2 wow. BeadAndButton.com | The Beader's Handbook 275FIGURE 4 EDITOR’S NOTE: You can substitute Ue eu ee See ae Hs cul co OM CORR RUS Cees Ree CR Om Cue PS TC en) Side two [4] Pick up a C,a 4mm round, two Cs, and an ‘A, and sew through the last D added on the first side (figure 3, ab). [2] Pick up a D, and sew back through the A and the last G added in the previous itch (b-c). [3] Pick up a C,a 4mm round, two Cs, and an A, and sew through the D added in the previous stitch (¢-d). Continue through the next three beads in the band (d-e). [4] Pick up a Cand a 4mm round, and sew through the last C picked up in the previous step (ef). [5] Pick up a C,aB, two Ds, and a B, and sew through the C picked up in the previous stitch (fg). Continue through the next three beads in the band (g-h). [6] Pick up a C anda B, and sew through the last D picked up in the previous stitch (M-i) [7] Pick up a D,a B, two Cs, and a 4mm round, and sew through the C picked up in the previous stitch (14). Sew through the next three beads in the band 6-4). [8] Pick up a D and an A, and sew through the last C picked up in the previous stitch (kK). [9] Repeat steps 3-8 to the end of the band, ending with step 4 (Lm). Pick up a C, and sew back through the last 4 mm round (m-n). End the working thread and tail (Basics) Embellishment [4] Add 1 yd. (.9 m) of Fireline or conditioned thread to the beadwork (Basics), and exit at figure 4, point a. Pick up four Cs, and sew through the next two Cs along the edge (ab). Repeat (b-c) around the entire bracelet. To limit the embellishment to this outline, as in the copper bracelet (p. 74), end the thread. [2] To add the picot edging, as in the blue bracelet (p. 74), sew @ To experiment with colors for this bracelet, go to BeadAndButton.com/resources to download a blank pattern. 76 The Beader’s Handbook 2 | www.BeadAndButton.comthrough the beadwork to exit at point d. Pick up a Cand four color E 11° seed beads, and sew through the first E again (d-e). Pick up a C, and sew through the middle two Cs in the next set of four embellishment Cs (e-f). Repeat around the bracelet, and end the thread. Clasp Toggle bar [4] On 1 yd. (.9 m) of Fireline or conditioned thread, attach a stop bead, leaving a 6-in. (15 em) tail. Using Cs, work eight rows in flat even-count peyote stitch (Basics) to make a strip that is 10 beads wide with four beads along each straight edge. Zip up (Basics) the strip to form a tube. [2] To add accent beads to the toggle bar, sew through the center of the bas, and exit one a few times,and end __Retrace the thread path end (photo a). the thread. a few times, and end [3] Pick up a 4mm the thread, and an 11°, skip the Toggle loop 11°, and sew back [1] Add 1 ft. (30 cm) of Narrow bracelet through the 4 mm Fireline or conditioned Follow the instructions and the bar (photo b). _ thread in the beadwork, _ for side one of the wide Repeat on the other end and exit at the middle bracelet, but alternate of the bar. Retrace the of the end opposite the between three colors thread path a few times, toggle bar. of fire-polished beads remove the stop bead, [2] Pick up enough (colors A, B, and F) and end the threads. 11s to accommodate _for the flower motifs. [4] Add 1 ft. (30 cm) of the toggle bar, sew back — Embellish as in the Fireline or conditioned through the first 11° _ wide bracelet, if desired, thread in the bracelet, picked up, and sew into and add a clasp. @ and exit at the center the beadwork (photo d). of one end, Pick up four 11%s, sew diagonally through two center 114s on the bar, and sew back through the four 11°s (photo c). Sew into the beadwork, retrace the thread path Yeanne Ham has suffered severe “magpie syndrome” since she made her first beaded ring in elementary school with a handful of seed beads and a bit of tarnished craft wire. She has been obsessed with all things beady ever since. Contact Yuanne at yvannel @comcast.net. wow. BeadAndButton.com | The Beader's Handbook 2.77ry! SQUARE STITCH Make cute earrings with square stitch dangles designed by Lesley Weiss ‘Though square stitch is usually worked flat, this project shows you how it can be used in the round. Just a few seed beads and bugle beads are needed to make these lightweight, casual earrings. stepoystep _ firs 15", 8, and 15° [4] Continue stitching (figure 1, a-b). in square stitch (Stitch Square dangles [2] Pick up a bugle, Workshop, p. 23), [4] On 30 in. (76 cm) and sew through the adding bugles above of thread, leaving a 15%, 8%, and 15* your _the 15*-8°-15° pattern, 6-in, (15 cm) tail, pick thread exited and the and a 15, an 8%, and up a 15* seed bead, bugle just added (b-c). a. 15® above the bugles. an 8° seed bead,a 15°, [3] Pick up a 15°, an Sew through the first anda 3mm bugle bead. 8°, and a 15°,and sew _bugle added in this Repeat three times. through the next bugle round (b-c). Sew through all the in the previous round [5] Pick up a 15% an beads again to forma and the new 15%, 8%, 8%, and a 152, and sew ring. Sew through the and 15° (figure 2, a-b). through the bugle your 78 The Beader’s Handbook 2 | www.BeadAndButton.com Square stitch gets a makeover with beads in different sizes and shapes. materials pair of earrings 393mm bugle beads + 298° seed beads * 1 g 18° seed beads * pair of earring findings + nylon beading thread, size B or 0 = beading needles, m2 * 2pairs of pliers To tind a bead store, visit BeadShopFinder. com.acipicenagraril a Assembly [4] On 16 in. (41 cm) of thread, pick up a bugle, a 15°, an 8°, and a 15° four times, then pick up one of the squares (photo a). [2] Sew through all the beads again to form a ring. Sew through the beads a few more times to stiffen the ring, and exit an 8%, [8] Pick up 12 15%, and sew through the 8° and the 15° again to form a loop (photo b). End the threads. [4] Open the loop (Basics) of an earring finding, attach the dan- gle, and close the loop. [5] Repeat steps 1-4 to a thread just exited and the three new beads again (figure 8, a-b). Continue stitching in square stitch as in step 4, and sew through the first three beads added in this round (b-c). [6] Sew through the beadwork to stiffen the shape, and end the threads (Basics, p. 91). [7] Repeat to make a second square. make another earring. © DESIGNER’S NOTE: To make a bracelet, extend the square ‘shape to seven rounds to make a focal bead. String it on beading wire with an 8 mm round crystal on each side. Then, work the pattern in flat square stitch for six rows, and stitch the first and last rows together to form a tube. Make six tubes, and string them on each side of the focal bead, separated by 4mm bicone crystals and 6 mm rondelles. FIGURE 2 FIGURE 3 Contact Lesley Weiss in care of Bead&Button. wow. BeadAndButton.com | The Beader's Handbook 2 79LOOMWORK Seed beads strung on warp threads between loomwork panels bring fluidity and drape to this cuff. S | Make this entire bracelet on the loom by stringing ° ° seed beads onto the warp nls threads at setup time by Julia Gerlach I like panels of loomwork separated by strands of seed beads, but I didn’t want to have to tie off 120 warp threads. My solution was to put the warp threads to use by stringing seed beads on them between my panels. This cut down the number of warp threads I had to finish off to only about 40. 80 The Beader’s Handbook 2 | www.BeadAndButton.com stepbystep Loom setup [1] Cut about 4 yd. (3.7 m) of thread, and tie one end to a hook or screw on the loom. Attach a needle to theother end, and pick up about 3% in, (8.3 cm) of 11% seed beads. Guide the thread through two coils on the spring at this end of the loom and two corresponding coils at the other end, posi- tioning the seed beads between the two springs (photo a). Wrap the thread around a screw or hook at this end. [2] Guide the thread between the next set of coils, and pick up the same amount of beads asin step 1, Cross over to the other spring, guide the thread through the next set of coils on that end (photo b), and wrap the thread around the nearest screw or hook. [3] Repeat step 2 twice or until your thread is too short to span the distance between the springs. Tie the thread to the nearest screw or hook, keeping it snug. [4] Repeat steps 1-3 until you have 22 warp threads, each strung with 3% in, (8.3 em) of seed beads. Panels [4] With your loom in a horizontal position, separate the beads on each warp into two equal groups. Push them to the ends of the loom. [2] Thread a needle on 2 yd. (1.8 m) of thread, and tie the end to the FIGURE 1 wow. BeadAndButton.com | The Beader's Handbook 281ee a @BOOCOo0000c0S @G0oooCeseaeea0o000e8 DESIGNER’S. NOTE: ecu urd Poser) OCU TO RCCL ero Cues Tec a Cera ary Pea CEC UG on Ct and download the Cee ae cag a @BOO0GOGS0G00S08 GBOeSG0808S8088' FIGURE 3 center of the left warp. 9 Skip the next five [3] Following the [4] Cut the bracelet cylinders in the end pattern in figure 1, from the loom, leaving row, and sew back +59 11%Czech seed | work the center panel the warp threads as through them (figure 3). beads in loomwork (Stitch long as possible. At Retrace the thread path + 3-49 11% Japanese | Workshop, p.24) with each end of the brace- through the loop a cylinder beads in 11° cylinder beads, let, end all the warp few times to secure the each of 3 colors ending and adding threads (Stitch Work- connection, and end 2magnetic clasps | thread (Stitch Work- _ shop) but two. the thread. Repeat with nylon beading shop) as needed. When — [2] With a remaining the other warp thread thread, size 0 the panel is complete, warp thread on one remaining on this panel. beading needles, end the tails. end, exit the last row [8] Repeat step 2 at #2 [4] Working asin steps of the panel between _the other end of the + loom 2and 3, follow figure 2 the two beads at the bracelet. © to work the end panels, edge. Pick up three To‘ind a bead stor, | makingsure they are cylinder beads, half visit BeadShopFinder. | snugged up close to the of a magnetic clasp, Contact Julia Ger- com beads on the warps. _and three cylinders. lach at jgerlach® kalmbach.com. 82 The Beader’s Handbook 2 | www.BeadAndButton.comBEAD CROCHET | Crochet =3 Add texture to p ‘e\ bead crochet with looped stitches containing beads of various sizes by Julia Gerlach Go casual or dressy with these earrings by altering the color scheme and choosing between gemstones or seed beads. nw. BeadAndButton.com | The Beader's Handbook 2 83.stitching time. stepbystep [1] Thread a twisted- wire or Big Eye beading needle on the end of the cord or thread, leaving the cord attached to the spool. String the follow- ing: 15 11° cylinder beads and five repeats ofan 11° seed bead, a 3 mm gemstone or 8° seed bead, an 11° seed bead, and four cylinders (photo a). Repeat the pattern shown in the photo six times, then string 15 cylinders. [2] Make a slip knot (Stitch Workshop, p. 28) 8 in. (20 cm) from the end of the cord, and insert your hook into the loop. Work in bead crochet (Stitch Work- shop) as follows: Round 1: Work five bead chain stitches, placing one cylinder in each stitch (photo b). Join the bead chain into a ring with a bead slip stitch. This is the first stitch of round 2. 84 The Beader’s Handbook 2 | www.BeadAndButton.com Combining bead slip stitch with a looped variation creates visual interest while also speeding up Round 2: Counting the stitch used to join the ends of the bead chain into a ring as the first stitch, work a total of five bead slip stitches, placing one cylinder in each stitch. Round 3: Work five bead sl one cylinder per stitch. Round 4: Slide the next seven beads (four cylin- ders, an 11°, a 3 mm or 82, and an 114) up to the beadwork, and work a bead single crochet: Yarn over after the last 11°, and pull through the stitch in the previous row (photo c). This will leave two loops on the hook. Yarn over again, and pull through both loops on the hook (photo d). Repeat four times to make a total of five stitches, each with a loop of four cylinders, an 11°,a 3 mm or 8°, and an 11° (photo e). Round 5: Insert the hook between the fourth cylinder and the first 11° of the first loop, keeping the four stitches withcylinders behind the hook and the other three beads in front of the hook (photo f). Work the first half of a single crochet stitch without a bead (yarn over, and pull through the stitch in the previ- ous row) (photo g), then slide the next cylinder up to the hook, and work the remaining half of the single crochet stitch (photo h). Work the rest of the round (four stitches) in bead slip stitch with one cylinder per stitch, inserting the hook between the fourth cylinder and the first 112 in each loop. Rounds 6 and 7: Work five bead slip stitches with one cylinder per stitch (photo i). Rounds 8-31: Cura Sin, (13 em) piece of 24-gauge wire, and string it through the center of the beadwork. Work as in rounds 4-7 six times, working around the wire in the middle of the tube. [3] Work one more round of slip stitch without beads to reposit round of beads. on the end Contact Julia Gerlach at jgerlach@ kalmbach.com. [4] Cut the cord, leaving an 8-in, (20 em) tail, and pull the tail through the loop. [5] Thread the tapestry needle on one end of the cord, and sew into the beaded tube. Exit between two beads, and trim. Repeat with the tail (photo j). [6] Curve the bead- work into a circle, and bend both wire ends straight up over the beadwork (photo k). [7] String a 4x 6 mm metal bead over both wire ends, and make a wrapped loop (Basics, p.91) with one end, covering both wire tails with the wraps (photo I). Trim the other tail flush with the top of the wraps (photo m). [8] Open the loop (Basics) of an earring finding, attach the wrapped loop made in step 7, and close it. [9] Repeat steps 1-8 to make another earring. © materials air of earrings + 24x6mm metal beads 708 mm faceted gamets or 8° soo. beads 4-2 11" seed beads 2-89 11% cylinder boads pair of earring findings 10 in. (25 om) 24-gauge whe, halt-hard Tutt-Cord #1 ‘twisted-wire or Big Eye beading needle tapestry needle, #28 1.4 mm stool crochet hook chainnose pliers roundnose pliers wire cutters nw. BeadAndButton.com | The Beader's Handbook 2 85as c Bead crochet Dear Anna, I’ve VW been crocheting ~~ with yarn and thread J for more than 50 years, - but I cannot seem to Our very own associate gait , : chet. I closel editor answers readers’ cethe piers, bur afer U2 beading questions the first or second round, I can’t figure out where to put the hook. by Anna Elizabeth Draeger Even when I thought Thad it right, I got lost Whether you want to know how tes hc eee cad i round and couldn’: many beads you'll need to make penone trae a stitched project or are confused the last round and tan unfamiliar techni which was the round about an unfamiliar technique, below. Itnever looked a bunch of grapes. Here you can find answers here. nice and smooth like _are a few things you the pictures. HELP! can try to get started: ~ Beth * Work each round in a Boy,doTknow different bead color so what you're talk- that you know when a ing about. Even after _ new round is starting earning how to bead (photo a). For example, crochet, sometimes _string several six-bead still have trouble with rounds using a different those first few rounds. color of 8° seed beads The beads all clump _per round. together and look like © When | first started Q Dear Anna, ‘The size of the pat- Thave printed tern depends on the peyote graph paper the size of beads you from the “How To” sec- are using. In order to tion of BeadAndButton, _ illustrate this, I made com soIcan draw my up 1-in. (2.5 em) sam- own pattern. IfI want ples in several bead the finished piece to sizes for the four most measure 5x7 inches commonly used stitches: (13 x 18 cm), how peyote, herringbone, To Ask Anna your beading questions, large will my pattern loomwork, and square g0 to BeadAndButton.com/AskAnna. have to be? stitch. Here’s a chart - Rachel with my results. 86 The Beader’s Handbook 2 | www.BeadAndButton.comcrocheting, I strung a repeating pattern of a 10* seed bead, an 84, a 6°,a 4 mm accent bead (like a Czech glass bead), a different 6° bead, and a different 8° {photo b). This way each bead in the round was different, and I found it easier to keep my place. * String all your beads on the crochet thread, but instead of starting the first round using a bead chain stitch, start the first round in ladder stitch (Basics, p. 91) to begin with an even base. Join the beads into a ring (Basics), then begin crocheting. Sometimes that helps me maintain the rows. * Use bigger beads and thicker crochet thread. Start with 8°s or 64s; any bigger and you end up with beads with too large of a hole. Thicker thread helps fill the holes and is also much easier to see. * Choose a thread color that contrasts with the beads you are using. Obviously, on a finished piece you want the thread to blend in, but when you are learning, a contrasting color is helpful. Also, avoid black thread, as it is difficult to see. © Take a peek at our online videos to watch Senior Editor Julia Gerlach demonstrate a few rows of crochet and also how to join the ends. * If all else fails, take a class or find someone to show you and sit with you as you work out the first few rows. After seeing it done, bead crochet made perfect sense to me, and Iwas able to “get it.” * Keep trying! Once you get the hang of it, bead crochet is a relax- ing technique to work in, plus you can take it almost anywhere. Dear Anna, how do Tattach a toggle clasp to the end of a crochet rope? - Joie Thave a simple answer for you. You'll need your finished rope, a tapestry needle, two bead caps or small cones, two or more accent beads, and about 12 in. (30 cm) of 22-gauge wire, Cut a 6-in. (15 em) piece of wire, and make a wrapped loop (Basics, p.91) on one end. Leave an 8-in. (20 cm) tail at each end of your finished rope, and thread the tapestry needle on one tail. Stitch the wrapped loop to the end of the rope using the tail (photo c). End the tail (Stitch Workshop, p. 28) Slide the large open- ing of a bead cap or cone over the remaining wire, and add one or more accent beads if femmaca fora Rei ou La 15% cylinders | 20-21 beads 20 beads across, | 16 beads across, across, 40 rows _| 19 rows 20 rows 15° seed beads | 24 beads across, | 22 beads across, | 16 beads across, 81 rows 16 rows 22 rows 11? eylinders | 20 beads across, | 19 beads across, | 14 beads across, 80 rows 18 rows 17 rows 11° seed beads | 16-17 beads 17 beads across, | 12 beads across, across, 23 rows _| 12 rows 6 rows 10° cylinders | 16 boads across, | 14 beads across, | 10 beads across, 24 rows 18 rows 18 rows desired (photo d). Make the first half of a wrapped loop above the accent bead, and slide half of the clasp into the loop. Complete the wraps, and trim any excess wire (photo ¢). Repeat on the other end of the rope. Now that we know how many beads are in a square inch, we can multiply the desired length and width of the finished piece by the number of beads in the sample. For example, to make your $ x 7-in. (13 x 18 cm) piece using 11° cylinder beads in peyote stitch, multiply 5 times 20, and 7 times 30. This tells you that your wow. BeadAndButton.com | The Beader's Handbook 2 87pattern should be 100 beads wide and 210 rows long. Remember that in peyote stitch, you need to pick up all the beads for the first two rows to get started (see p. 19 for more on reading patterns). Subsequent rows contain only half the number of beads in the overall width. To count rows, count the number of beads along both straight edges (along the edges where the thread shows). While my samples are pretty close to being perfect squares, differ- ent beads (such as Czech seed beads), stitching tension, and thread thickness may Bead stitching Dear Anna, lam trying to stitch a necklace that includes several focal beads with about six inches of spi- ral rope on each side. The overall length will be about 18 in. (46 cm). Here is my problem: I want to end the spirals at the point where the glass beads begin, but I can’t make it flow. What should I do? — Debbie In order to stitch a fluid spiral rope featuring a section of focal beads, you need to start with a base row. Secure one end of your 88 The Beader’s Handbook 2 | www.BeadAndButton.com produce a different count, so I advise you to use my chart only as a guideline. If you need to be truly precise, do a test square with the beads and thread you are going to use in your pattern to get an accurate count. Dear Anna, how can I calculate the number of beads Iwill need in a tubular herringbone or peyote stitch rope? Because there are differences in dye lots and sometimes certain color mixes are retired, I know that I need to plan ahead and buy enough for the project. But recently Itried to make a neck- flexible beading wire with a Bead Stopper or some tape. String all the base beads for one side of your neck- lace, then the focal beads, then the base beads for the other side of your necklace. Using beading thread, work one side of the necklace in modified spiral rope, stitching only the loops, and using the base beads on the wire as the core beads (photo g). Start a new thread in the base beads on the other side of the focal beads, and stitch a spi- ral on the second side lace in twisted herring- bone stitch, and I had to convert it into a bracelet because I ran out of beads. How can I avoid this in the future? = Guylaine That is tricky to answer because it depends on how many beads are in each round and the size of beads you are using. To determine a bead count for your particu- lar project, stitch up a sample tube that is 1 in, (2.5 cm) long, then count the number of beads in each round and the number of rounds in the sample. Multiply the beads per round by the number of rounds to find the number of beads in one inch, Then decide how many inches your necklace will be, and multiply that by the number of beads in your sample tube. This will give you the approximate number of beads you'll need. You can also weigh the sample, then multi- ply the weight by the number of inches you'd like the finished neck- lace to be. This will give you the approximate weight of beads you'll need to buy. The thread in the sample will add a bit of weight, but it will be better to have left- over beads than not enough heads. Art-glass beads by Scott Bouwens of Bearfoot Art, bearfootart.com (photo h). Use crimp beads (Basics, p. 91) and a clasp to finish the ends of the necklace. This method is good for two reasons. First, you create a sturdy base to support your focalDear Anna, I am confused about bugle beads. Sometimes the size is listed as a number (example, #1) and sometimes it is listed in millimeters (like 3 mm). Ts there a standard way of measuring bugles? ~ Alyssa Tam glad you asked because I have been working with bugles lately and have had some frustrations of my own! Before I talk about bugle bead sizes, P'd like to cover bugles in general. Bugle beads are cylindrical glass and occasionally metal tubes that come in a beads, which can be too heavy for some beaded ropes. And second, you can attach the clasp with crimp beads, which is more secure than stitching a clasp onto a beaded rope. If you want a continuous article without a clasp, string all of your beads, and cross the wire ends through a crimp bead near the back of the necklace. Temporarily secure the ends until you are almost done with the spiral. Leaving a little slack between beads, crimp the crimp bead, and trim the beading wire. Finish range of lengths from 2-35 mm. You can find longer bugles, but they are generally used for things other than jewelry. Like seed beads, bugles vary in quality. When using bugles in designs, it is important to look for several factors. First, check to see if the bugles are consis- tent in length. It can be frustrating to make something with bugles if you have to sort through hundreds to find 20 that are the same length. Japanese bugles tend to be more consistent in length than others. ‘There are also a few shape variations, the spiral over the crimped section, and end the threads. Dear Anna, I've been enjoying making a variety of tubular bracelets using bead caps to cover the last row on each end. I then stitch the clasp in place. I’m not always happy with how it looks, though. Sometimes the last few rows end up looking flattened where the cap sits. Do you have any tips that can help me obtain a more finished look? - Diane including round, hex- cut, and twisted. Round bugles are smooth cyl- inders; hex-cuts have six sides or facets; and twisted bugles are hex- cuts that have been twisted (photo ‘The most important thing to look for in bugles is smooth, rounded ends. If you are stitching with bugles that have sharp, jagged ends, they may cut your thread. I personally like Japanese bugles because they tend to have smoother ends. The sizing of bugle beads varies as well. Each manufacturer has its own set of number codes, so a #2 Japanese bugle won't be the same Although some- times it is unavoid- able, stitching a clasp directly to the end of a tubular project can result in a weak join that may wear out over time, especially if the thread runs through metal or sharp beads. Ending a beaded tube in a secure way is important to ensure both a professional look and a quality product that will last cover the years. Let me explain how to create a fitting finish that will avoid collapsed ends and provide a great way to attach a clasp. ‘The stitch I used for | | % Round t Twisted length as a #2 Czech bugle. Furthermore, the width of bugle beads varies also, generally from 1-2 mm. The best way to know what you are getting is to look at the Tength and width of the bugle beads. The pack- age or description may just say 6 mm, which refers to the length, but since bugles can vary in width, it’s better to get both measurements before buying. my sample project is tubular peyote. I used a variety of bead sizes from 6° to 11° seed beads, and as I approached the last few rounds, I began to omit the larger sizes, using some of the smaller beads in their place. This allowed the last round to come together in a tight cir- cle, which is important when using this finish- ing technique. Before completing, the last round, I made a wrapped loop at the end of a 6-in. (15 cm) piece of 22-gauge wire. Ithen strung a bead that fit snugly inside the wow. BeadAndButton.com | The Beader's Handbook 2 89m center of the tube but would not slip out after completing the last round (photo i). I slid the loop and bead into the tube (photo j), and, holding the wrapped loop and bead in place, I stitched the last round, then secured it with several thread paths (photo k). It is important to check that the wire will not slide out, so I pulled on the wire to make sure it would stay put. Satis- fied that it was secure, Tended my thread. This created a clean end and a place to securely add a clasp. Next, I strung a small bead cap and an accent bead on the wire 90 The Beader’s Handbook 2 | www.BeadAndButton.com (photo I) (you could also use a cone or other decorative spacer). I made the first half of a wrapped loop after the bead, strung half of the clasp, completed the wraps, and trimmed the ‘excess wire (photo m). After repeating this on the other end of the tube, [had a secure, professional finish on the ends of my tubular peyote necklace. Although it may take more than one attempt, and you may have to make some adjustments for different stitches, this method should work for finishing just about any tubular stitch. Start by making a short tube, then apply this technique to see how it works. When you get the hang of it, you will have a new technique for ending all of your tubular necklaces and bracelets. Dear Anna, T purchased some angular stone beads at a show, only to get them home and realize they weren’t beads — they were cabochons. How can I enclose these in peyote stitch bezels so I can incorporate them into a necklace? = Samantha When working with sharp angles, the sizes and styles of beads is important to consider. Using smaller seed beads gives the bezel more flexibility, especially when sur- rounding a sharp corner. Larger seed beads may not cover as nicely. Here are a few exam- ples of what I came up with using seed beads. For the stone in photo n, I worked the first two rounds using 10® cylinder beads, then switched to 11° seed beads for the next round and then 15* seed beads. This gradual decrease in bead size allows the beadwork to gently snug up around the sides of the cab without having to add too many rounds, which would cover the face of the stone and hide some of the detail. For the stone in photo 0, I used the same size beads, but I built up only the corners to give the bezel a more customized look. To do this, I stitched through the previous rounds instead of adding beads in the areas where I didn’t want extra beadwork. Only the corners of the beadwork come up over the top of the cab, leaving most of the face exposed. For the cab in photo p, I wanted to mimic the look of a wire-wrapped cab, so I worked the two rounds with 114s, then switched to 15°s for the next round. This created a narrow bezel, which did not hold the stone in place. I used 15% to stitch a free~ form netting over the face of the stone to secure it. You could just catch the corners in the netting if you don’t want to hide too much of the face of the cab. ©BEBE cxsics THREAD & KNOTS Adding thread ‘To add a thread, sew into the beadwork several rows prior to the point where the last bead was added. Weave through the beadwork, following the thread path of the stitch. Tie a half-hitch knot (see Half-hitch knot), and sew through a few more beads. Repeat a few times, and exit where the last stitch ended. Conditioning thread Use either beeswax or micro- crystalline wax (not candle wax or paraffin) or Thread Heaven to condition nylon thread. Wax smooths the nylon fibers and adds tackiness that will stiffen your beadwork slightly. Thread Heaven adds a static charge that causes the thread to repel itself, so don’t use it with doubled thread. Stretch the thread, then pull it through the conditioner. Ending thread To end a thread, weave back into the beadwork, following the existing thread path and tying two or three half-hitch knots (see Half-hitch knot) between beads as you go. Change directions as you weave so the thread crosses itself, Sew through a few beads after the last knot, and trim the thread. Half-hitch knot Pass the needle under the thread between two beads. A loop will form as you pull the thread through. Cross back over the thread between the beads, sew through the loop, and pull gently to draw the knot into the beadwork. Stop bead Use a stop bead to secure beads tempo- rarily when you begin stitching. Choose a bead that is distinctly different from the beads in your project. String the stop bead, and sew through it again in the same direction. If desired, sew through it one more time for added security. STITCHES Herringbone stitch Flat [1] start with an even number of beads stitched into a ladder (see Ladder stitch}. Turn the ladder, if necessary, so your thread exits the end bead pointing up. [2] Pick up two beads, and sew down through the next bead in the ladder (a-b). Sew up through the third bead in the ladder, pick up two beads, and sew down through the fourth bead (b-c). Repeat across the ladder. [3] To make a turn, sew down through the end bead in the previous row and back through the last bead of the pair you just added (a-b). If desired, hide the edge thread by picking up an accent or smaller bead before you sew back through the last bead of the pair you just added. Pick up WP }- OPO PI two beads, sew down through the next bead in the previous row, and sew up through the following bead (b-<). Continue adding pairs of beads across the row. Tubular [A] Stitch a ladder (see Ladder stitch) with an even number of beads, and form it into a ring. Your thread should exit the top ofa bead. [2] Pick up two beads, and sew through the next bead in the previous round (a-b). Sew up through the next bead, and repeat around the ring to complete the round (b-0). To step up, sew up through the first bead in the previous round and the first bead added in the new round (c-d). [3] Continue adding two beads per stitch. As you work, snug up the beads to form a tube, and step up at the end of each round until your rope is the desired length. Ladder stitch Traditional method [A] Pick up two beads, and sew through them both again (@-b). [2] Add subsequent beads by picking up one bead, sewing, through the previous bead, and then sewing through the new wnww.BeadAndButton.com | The Beader's Handbook 91BEBE cxsics bead (b-c). Continue for the desired length. This technique produces uneven tension which you can easily correct by zigzagging back through the beads in the opposite direction. Alternative method [1] Pick up all the beads you need to reach the length your pattern requires. Fold the last two beads so they are parallel, and sew through the second-to- last bead again in the same direction (@-b). ~~ A [2] Fold the next loose bead so it sits parallel to the previous bead in the ladder, and sew through the loose bead in the same direction (a-b). Continue sewing back through each bead until you exit the last bead of the ladder. SS ey = Forming a ring If you are working in tubular brick or herringbone stitch, form your ladder into a ring to provide a base for the new technique: With your thread exiting the last bead in the ladder, sew through the first bead and then through the last bead again. Peyote stitch Flat even-count [1] Pick up an even number of beads (a-b). These beads will shift to form the first two rows. [2] To begin row 3, pick up a bead, skip the last bead picked up in the previous step, and sew through the next bead (b-0). For each stitch, pick up a bead, skip a bead in the previous row, and sew through the next bead, exit- ing the first bead picked up (cd). ‘The beads added in this row are higher than the previous rows and are referred to as “up-beads. [8] For each stitch in subsequent rows, pick up a bead, and sew through the next up-bead in the previous row (d-e). To count peyote stitch rows, count the total number of beads along both straight edges. Decreasing at the edge After finishing a row, sew under the adjacent thread bridge along the edge of the beadwork, and sew back through the bead your thread exited and the last bead added. Zipping up orjoining = gf NY renee, falda flat peyote iia piece invisibly, fy gy y match up the “PPT Ty two piecesso hg the end rows Shay fit together. i “Zip up” the pieces by zigzagging through the up-beads on both ends. 92 The Beader’s Handbook 2 | www.BeadAndButton.com WIRE TECHNIQUES Crimping Use crimp beads to secure flexi- ble beading wire. If the crimp bead won't be visible, you can simply slide the crimp bead into place, and squeeze it firmly with chainnose pliers to flatten it. For a more finished look, use crimping pliers: [1] Position the crimp bead in the hole of the crimping pliers that is closest to the handle. [2] Holding the wires apart, squeeze the tool to compress the crimp bead, mak- ing sure one wire is on each side of the dent. [3] Place the crimp bead in the front hole of the tool, and position it so the dent is facing the tips of the pliers. Squeeze the tool to fold the crimp in half. [4] Tug on the wires to ensure that the crimp is secure. Wrapped loops [1] Using chainnose pliers, make a right-angle bend approximately 1% in, (3.2 cm) from the end of the wire. [2] Position the jaws of the roundnose pliers in the bend. [3] Curve the short end of the wire over the top jaw of the round- nose pliers. Aa[4] Reposition the pliers so the ower jaw fits 7 snugly inthe 4 Plain loops [1] Using chainnose pliers, make a right-angle bend approximate ly %/ in. (6 mm) from the end of Opening and closing loops and jump rings [4] Hold a loop or a jump ring with two the wire [2] Grip the tip of the wire with roundnose pliers. Press downward slightly, and rotate the wire into a loop. [3] Let go, then grip the loop at the same place on the pliers, and keep turning to close the loop. The closer to the tip of the roundnose pliers that you work, the smaller the loop will be. loop. Curve the wire downward around the bot- tom jaw of the pliers. This is the 5 first half of a wrapped loop. [5] To complete the wraps, grasp the top of the loop with chain- nose pliers. [6] Wrap the wire around the stem two or three times. Trim the excess wire, and use chain- nose pliers to gently press the cut end close to the wraps. pairs of pliers. [2] To open the loop or jump ring, bring the tips of one pair of pliers toward E you, and push the tips of the other pair away from you. [3] Reverse the steps to close the open loop or jump ring. © A we eee eT eS ein) 4 Pn tod Peete TT) ss, Pat PU ace OCC iis a Na FiligreeBeading.com wow. BeadAndButton.com | The Beader's Handbook “DO YOU HAVE...?” YES WE DO! WE HAVE OVER 20,000 QUALITY ITEMS IN THE EASTERN FINDINGS 217 PAGE CATALOG Oe ee cL ere ed Gerace oad 93Unlimited Inspiration! 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Each project is tosted by our editors, with photos and accurate, step-by-step instructions you can easly folow. No matter ‘what your experience level, ‘Bead&Button is your complete beading resource! od Bauschka lune 2009) BeaaaBution www.BeadAndButton.com Magazines as 4, UNIQUE as the jewelry you BeadStyle magazine is loaded with grea you can make cr loss! See how easy it car ckiace, bracelet carting sets in today’s hottes! colors and styles with our step-by- step instructions. You'l see why BeadStyle is the world’s best-seling beading magazine! Helene Teigsras September 2009, BeadStle www.BeadStyleMag.com ss acl ais uicateo aires: Art Jewelry magazine gives you quality instructions, expert advice and editor insight direct from ‘our in-house jewelry studio! You" discover new techniques for al sil levels, too's, and materials including al, wire, stones, gems, metal clay, and polymer clay, Plus, you'll ‘even get tips on running your own business and reviews of the latest products and books. ‘ogo Gerard July 2008 Art Jewelry www.ArtJewelryMag.com Order online or call: 1-800-533- ed eer ST ME Ele ReC SoS CoMCSresources ewes designer aMA NAGE ER Pricing Jewelry Made Easy! 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The magazine i at resporstie eohcal ore n ams oF age nos Get even more benefits online Bead&Button subscribers get access to these great online features: * 300+ FREE projects and patterns * Reader Forums * How-to videos * Editors’ Blog * Beader's Glossary + E-mail newsletter © Online account management Visit us online at BeadAndButton.com today! Pras ‘The Beader’s Handbook 2 | www. BeadAndButton.comFIRE AAOUNTAIN GEMSieey “Friendly Service since 1973) One Fire Mountain Way, DEPT CO18 Grants Pass, OR 97526-2373 America’s Favorite Beading and Jewelry Supply Company™ Request your Free full color 452 page catalog of HOT jewelry-making supplies Call 1.800.355.2137 or go online www.firemountaingems.com You supply the creativity, we supply everything else!° Jane Reichhold, CA FINALIST 2009 Jewelry-Making Contest eS x ye SS Patoa Boaains