Beading Projects * WE 7 ene. Vintage ‘ovtly & J antique paper Sewing patterns ».2» | M Beautiful jewelry from vacation pleA large, flat bead creates the ok of a cabochon without neasement work!1. Thread your beading needle with about 4 yds. of thread. String on the lange gemstone bead, leaving a 9-12-in. tail. Pick up enough size 11/0 antique gold seed beads to fit around one-half of the gemstone’s diameter. PY the gemstone and tie a knot to secure. 2. Pick up enough size 11/0 antique gold seed beads to fit around the other half of the gemstone’s diameter (Fig. 1) PT the gemstone and tie a knot to secure Surrounding the Gemstone with Circular Ndebele L, Row 1. PY the first two seed beads. *Pick up two size 11/0 antique gold seeds. PT the next two seed beads Gig. 2); pull snug. Repeat from * all the way around. When you reach the end, PT the two beads in the first Ndebele stitch. 2. Row 2, Pick up two size 11/0 antique gold seeds. PT the top seed bead in the next Ndebele stitch. PT the top seed bead in the next Ndebele stiteh (Fig. 5). Pick up two seed beads and con- tinue working Ndebele all the way around. 5. Row 3. Position the needle so that it’s exiting the first top bead in the next, Ndebele stitch. *Pick up one flower bead and one size 11/0 antique gold seed, and PBT the flower bead and the next top seed bead. Pull the thread snug, Pick up lone size 11/0 pearl seed bead. PT the top seed bead in the next Ndebele stiteh (Fig. 4). Repeat from * all the way around. When you reach the end, PT the next set of Ndebele to secure. Tie a knot and PT the beads back to the first row of seed beads. Framing the Focal Bead 1. Position your needle so it exits @ seed bead in the first row worked. “Pick up two size 11/0 pearl seed beads, skip two beads, and PT the third antique gold seed bead in this row (Fig. 5). Repeat from ° all the way around. PBT the top row of size 11/0 seeds. 2. We want the focal bead to look like a cabochon, but because it is a bead and will spin, we need to secure it: PT to the back of the piece. Your thread should exit, from a bead on the first row. Pick up enough size 11/0 seed beads to fit across to the opposite side, forming a bridge. PT 1 bead on that side and add another row, creating two bridges (Fig. 6). PT a seed bead in the first row and secure. PT the bridges two or three times to secure. Cut yyour thread, Bracelet Band (Note: Refer to the Technique Guide, p. 79, for basic even-count flat peyote stiteh diagrams.) L. Peyote stitch. Thread your needle with 2 yds. of thread. Pick up eight size 11/0 antique gold seeds. Pick up one size 11/0 antique gold seed bead, skip the first bead in the previous row, and PT the second bead. Pick up another size 11/0 bead, skip the next bead, and PT the fourth bead in the row. Continue working peyote stitch until the end of the row. Tarn your work and stitch another row of peyote stiteh. Work @ length of peyote stitch 3-38 in. tong. 2. Side picot. Position the needle so it exits a bead at the end of the band. When you look at the side of your work, you ‘can see the thread along that side. This is where we are going to work, 3. *Pick up one size 15/0 frosted pink seed, one size 11/0 pearl seed, and one size 15/0 frosted pink seed. Skip the frst thread along the side and pass under the next thread (Fig. 7). **Pick up one size 15/0 seed, one size 11/0 seed, and one size 15/0 seed. Skip the next thread and pass under the following thread. Repeat from ** the length of the band. PT to the other side and repeat from *. Always pass under the thread in the same direction 4. Repeat Steps 1-3 to create a second band. 5. Attaching the band. Position your thread so that it exits from the first high bead at the end of the band. Working from the back of the focal piece, find the side center where you will attach the band. PT a seed bead in the outer- most row of the focal piece. PT the next high bead on the band. With the band snug against the focal piece, PT the next bead on the focal piece. Continue attaching until you reach the end of the band. PBT your work two or three times to make sure the band is secure. Repeat on the other side with the second band, Anat You'll Need Materials: + 1 1%in. long Flat oval gemstone bead + 2 tein. long Rose quartz beads + 29 Small glass lower beads—colors to coordinate + 8 4mm Bicone crystals-colors to coordinate + 12 3mm Bicone crystals~colors to coordinate + 1 tube each size 11/0 Seed beads— pearl and antique gold +L tube each size 15/0 Seed beads— antique gold and frosted pink + LTwo-strand clasp + The Bead Smith® FireLine, 6-1. test Tools: + Size 12 beading needle Additional Supplies: + Basic beading supplies For product information, see Sources of Supply on p. 64. Dimensions: s in. Intermediate project Glossary: PT=pass through; PBT=pass back through Econo-tp: Skip the gematones on the band—insiad fill in with a lot more fringing 6. Attaching clasp. Position your thread so it exits from the first high bead at the end of the band. Pick up three size 15/0 antique gold seeds. PT one loop of the clasp. PT the next high bead, low bead, and high bead in the band. Pick up three size 15/0 antique gold seeds. PT the other loop in the clasp. PT the bead at the end of the band. Reinforce your work a few times. oe. - sy Bead Unique + June 2011 97. Repeat Step 6 to attach the second half of the clasp to the other end. Embellishments (Note: Refer to the Technique Guide, p. 80, for basic fringing and bead stack diagrams.) 1. Position your needle so that the thread exits from a bead in the band that lines up witha loop inthe clasp. “Pick up cone 4mm crystal and one size 15/0 seed bead. PBT the crystal and into a seed bead in the band®®. Needle over to another seed bead in the band that is in line with the other loop of the clasp and repeat from * to **. Reinforce. Repeat this step on the other band 2, Position a smaller gemstone bead horizontally along the band near the focal piece. Postion your thread so that it exits from a bead in the band next to where your gemstone is placed. PT the gemstone, and then PT a seed bead in the band. Reinforce your work and exit the gemstone on the side facing the 10 Bead Unique June 2011 center of the bracelet. Pick up one size 11/0 seed, one size 15/0 seed, one 3mm crystal, and one size 15/0 seed, PBT the crystal and the size 15/0 seed. ull snug, Pick up one size 15/0 seed, one 3mm crystal, and one size 15/0 seed. PBT the crystal and size 15/0 seed. Pick up one size 15/0 seed, one 3mm crystal, and one size 15/0 seed. PBT the crystal and the size 15/0 seed. PT the size 11/0 seed and the gemstone bead, Pull snug. 3. Your needle should be exiting from the other end of the gemstone. Pick up five size 15/0 seeds, one flower bead, and one size 15/0 seed. PRT the flower bead and three seeds. Pick up three size 15/0 seeds, one flower bead, ‘and one size 15/0 seed. PBT the flower bead and three size 15/0 seeds. PT the next two size 15/0 seeds. PT the gem- stone bead and pull snug. PT a seed bead in the band. PBT the gemstone. Pick up one size 15/0 seed, one 4mm crystal, and ‘one size 15/0 seed. PBT the crystal and size 15/0 seed. Pull snug. You can add as many fringes as you erystals and/or mm crystals. When you are happy with the embellishments, PT the gemstone bead and back into the seed beads in the band. Tie off your thread. 4. Repeat Step 3 on the other band, being careful to attach the clasp where it will close correctly. If you have questions concerning this project, contact the editors of Bead Unique Magazine. Email: editors@beaduniquemag.com ‘Website: worw.beaduniquemag.com Debbie McDermot Is a artist move drawings and Sculptures have been exhibited throughout Los “anges. Sef love with adn us ana for 200%, and she wow teaches at San Gabriel Bead Company tn Arcadia, California, and at bead shows atone’ Shei looking foraard 0 rofsament 0 se fan focus on rata eoting wearable at rough ‘eadigI Need More A girl can never have enough earrings! Earrin: gs | All the earrings you see here were made using techniques found in our Technique Guide. p. 77. \ f\ Cy é Ge 689 6 AA Deipsd by Cathy Jones, Brass fining rom Filigree & Me (FiigreeAndMe.con), crystal rom SWAROVSKI ELEMENTS (CREATE-YOUR-STYLE.COM) 1; Desiend by Debbie NeDermot. All beads a Lindngs avelable t you local lad store; Designed by Marguret Zine Lampwork baer wines rom Mz Glas (MZslss.com), Dz Desoned by Stephanie Aw. Lampwork bens Srom Stephanie Arn Designs (Stephaniecadscom);E: Designed by Kal Burns Al beads and Lc valabe through The Hole Bead Shoppe (ThelfoleBesdshop com): F Deslred by Chenl Depant ll rads end findings evs a your ioeal peed stove: Gs Designed by Cathy Jones. rate hneings from Hligree & Me (PuigreeanaMe com), erysal rom SWAROVSKI ELEMENTS (CREATE YOURSTYLE COM; I: Desigd by Kelli Burns All bonds and Lucite avaiable through The Hele Bead Shoppe (TheHoleBeaéShop con); I: Designed by Bat Val Beads, All beads and finding avaiable at your local bead store : Designed by Kell Bennett. Clay Deads crested by designer, XK: Designed by Bad Vel Beads All beads and firings avalable at You lcal bead store: L: Designd by Debbie MeDomtt. Cota from SWAROVSKL ELEMENTS (CREATE-YOUR-STYLE COM): M: Designed by Kell Burns. All beads and Lucite evaileble through The Hole Beed Shoppe {ieHoleBesdShop con). 42 Bead Unique + June 2011- Olebas Part 3; France 5 dy Debbie McDermott In 2009, my friend, Diane, and 1 decided to take a rip together to Europe to celebrate 25 years of working in children’s services, Last issue, I took you along to Amsterdam, Next stop: France! My cousin, Susan, has lived in France for 22 years; Diane and 1 stayed with fier for @ good por- tion of our trip. One beautiful day, Susan took us to a little éréperie just steps from her apartment. The créperie is owned by a family from Brittany, so the crépes are authentic and absolutely delicious —I just had to try the gingerbread crépes with caramel ice cream. The next day, Diane andah took a walk to the Eiffel Tow On our way back to my cou' house, we stopped at them and picked up a baguett for a late lunch, Quite! wouldn't you say? Over dinner, I mentiane Susan how much Vd love European coins to make a pi Of jewelry. Museums and q wonderful tourist destinatio France offer souxenir ec Re an image of the building imprint on them. The coin I used to ere: ate this necklace was from “Napoleon's Tomb/Musée de © varmée. 16 Bead Unique June 2011 7- oT check our own stash for souvent colns PT the next two seed beads (1 Continue working right-angle we you have a length of beadwork fit around the circumference of 5, Join the ends together: Exi ‘bead on the last set worked. Pic size 15/0 seed bead and PT the| bead on the opposite end of th Pick up one size 15/0 seed the end seed bead of the otha ing both ends together (Fig. 3)(5 4. Peyote stitch. Position where itis exiting from a high up one size 15/0 seed bead next high bead, Repeat fr of this row (Fig. 4). Whet the end of the row, if number of stitehes, you Avinat You'll Need Materials: + 1 1cin, diameter Souvenir coin or other coin-shaped object 60 SWAROVSKI ELEMENTS 3mm Bicone Crystals~Light Colorado Topaz + 1 tube size 15/0 Seed beads-bronze + 1 tube size 11/0 Seed beads-gunmetal 1 Clasp of choice=gold ‘The Bead Smith FireLine, 6-Ib. test Tools: + Beading needle, size 12 ‘Additional Supplies: + Basic beading supplies Py 22 product information, see Sources off E> supply on p. 64. Dimensions: 17 in. Intermediate project = high beads and pull the fe: You may need 10 run ‘through the high beads a pnd time to pull down snug enough} in the coin faceup, Thread the needle Glossary: PT—pass through; © Econo-tip: SESE Can't afford trip to Prance? Use a new FH coin and add a great patina to your ‘thread, leaving @ 1-yd. “up four size 15/0 seed beads. PT. a circle of peyote. PT the high thread snug, Once the coi snug, tie a knot with th: and the tail thread to st place. (Note: The coin should si inside the casing. Ifnot, the next step wall help tighten it up) ‘6. Position your working thread to exit from a high bead in the outermost row. (This row should be halfway between the first and last rows of the casing) Pick up ‘one size 11/0 seed bead. PT the next high ‘head. Pick up one size 11/0 seed bead, Continue working all the way around. Tie 2 knot to secure your work. Creating the Bail 1. Thread your needle with 1 yd. of thread, leaving a 9-in. tail. Pick up 12 size 15/0 seed beads. Work 32 rows of peyote stiteh, Zip the ends together, creating a ‘tube (Fig. 5). Reinforce the seam. 2. Center the tube on the top of the pendant. Your working thread should be exiting from the second bead from the end. PI a size 11/0 seed on the pendant, and then PT a sizo 15/0 seed on the bail ‘that sits closest to the size 11/0 seed you just exited. Continue to attach the bail to the pendant in this manner (Fig. 6). Reinforce your work, 3. Position your thread so it exits from an end bead on the bail. Notice the thread on the outside of the bail: this thread is called the “ditch*—we will be stitehing in the ditch. *Pick up one size 15/0 seed bead and pass under the side thread, Pick up another size 15/0 seed bead and pass under the next side thread the ditch (Fig. 7). Repeat from * all ng this side. Repeat this step for the her side of the bail.Have you ever thought abou many fun and cool ways there are to use metal clay? WE HAVE! But since we don’t have the time to do it ourselves, we want YOU % Show us an innovative way that you've used metal clay (silver, gold, copper, or ‘bronze). Our first-prize winner will receive a FREE l-year subscription to Lissue! Bead Unique! Photos of our top picks will appear in our August 2 Your Challenge: + Start metal elaynin any ofthe flowing categories: ar Jewel, home dar, oF ishion. “ates digital photograph of your subsion and eal oust eltors@beaduniquemag.com Lets get started! The “fine print”: + Weencourage you to upload your image tu Facebook group photo album so our online communi of Beaders cn view sour work However to ofialy ener he contest, you muscle send your image to edtoraatbeaduniquemag.com «Al designs submited mus beth ats’ origina! design, You may ony submit your own work You ny submit at many pees es you'd ee "hon sloteaphing your work please lke hightsoution image (300d, a least 2x2" and save tin your ils, Email ws a smaller JPEG Tac pace) tp 10 SMB only, your work b chosen, we wil request th hgh-esoltion version ofthe image fren. « Yet willbe coven based onorghaity and unity of dig concept. Extra point wil be given or untae of mati. + Winner wll be announced on ou Faccbok soup on May 3.7011 Submission deadline is May 1, 2011. WIRE Ree LUe eer UM AS Peps reese ‘able Mention: ree wus FIND US ONLINE! Website: www.beaduniquemag.com * Facebook: Search groups for Bead UniqueNecklace Designed by Janel Gradowski I love spiral stitch. For this piece, I challenged myself to come up with something chunky and substantial using tiny seed beads. 20 Bead Unique « June 2011Instructions: (Note: You will need to add more ‘thread as you work on this project. Refer to the Technique Guide on p. 77 for how to add new thread. Make sure threads are securely knotted when starting or ending) 1. Thread your needle with a a com- fortable length of thread and place a stop pper bead 6 in. from the end. 2. To make the clasp loop, pick up one size 8/0 seed bead, five size 11/0 seed beads (either color, the button, and five size 11/0 seed beads. PBT the size 8/0 bead to form a loop. Tighten. Pik up two size 8/0 beads (Fig 1) 5. Pick up one size 8/0 and five char- ‘reuse size 11/0 beads. Slide the beads down to the base of the thread. PT the top three size 8/0 (core) beads (two from the previous stitch and one added in this stitch). Tighten. Move the 11/0 beads of this half of the stitch to the left side ofthe core (Fig. 2). Rotate the spiral so that the newly added 11/0 beads are now on the right side ofthe core 4. Pick up nine size 11/0 citrus mix beads. Slide the beads down to the base of the thread. PT the top three size 8/0 core beads (the same beads used in Step 3) ‘Tighten. Move the size 11/0 beads of this half of the stitch to the left side of the core (Fig, 5). Rotate the spiral so that the newly added 11/0 beads are now on the right side of the core. To make a natural, freeform color patter, randomly switch size 11/0 seed bead colors every 2-7 stitches. Use citrus mix size 11/0 beads on the half of the stitch that you were using chartreuse size 11/0 beads for and vice versa, keep ing the five size 11/0 seeds and the nine size 11/0 seeds on opposite sides of the spiral 5. Repeat Steps 3 and 4 until your necklace is 16 in. long (including clasp) cor at least 1 in. longer than your desired length, The length will decrease after Step is complete. Continued on page 68. | SAU! products available from ‘The Bead \ bead stove. .s What You'll Need Materials: + 20 grams each size 11/0 Seed beads chartreuse and citrus mix + 10 grams size 8/0 Japanese seed bbeads-matte transparent white |+ ¥-1-in, Shank button for clasp + The Bead Smitht® FireLine, 6-Ib. test + Stopper beads Tools: + Size 12 beading needles (two) ‘Additional Supplies: + Basic beading supplies, glue For product information, see Sowrees of ‘Supply on p. 64 ‘Weasel (beadweasel.com) or at your local Dimensions: Necklace: 15 in.; Doubled as bracelet: 7 in Intermediate project Glossary: PT=pass through; PBT=pass back through Tips: + Wrap the necklace around your wrist twice and wear it as a chunky, double- strand bracelet. | + As you tighten the thread, always) remember to move the size 11/0 seed beads you are currently working with to the left of the size 8/0 (core) beads so thet they are sitting on top of the core bead above the same type of spiral from the previous stitch © Econo-tip: Begin with a classic antique button and ‘match your beads to that, Bead Unique + June 2011 21Serenit Trail” Designed by Jess Italia Lincoln for Vintaj® Natural Brass Co. Repurpose an old ring into a unique focal and connector! ———Tnstruetions: Creating Bead Links and Connectors . Slide a turquoise oval onto an Eye Pin. Form a simple wire loop at the top (see Technique Guide, p. 77). Repeat three times for a total of four bead links. 2. Use round nose pliers to form a simple loop with the two rivet points on the Butterfly Decorivet. Repeat ‘once more for a total of two butterfly ‘connectors. 3. Use a 5.25mm Jump Ring to con- rect a turquoise bead link to the back of the sterling silver ring. Continue by con- necting a butterfly connector and a sec- fond turquoise bead link using 525mm Jump Rings. 4. Cut 12 in, of Chain. Open a 4.75mm Jump Ring and attach it through one end of the Chain; connect it to the last turquoise bead Link, and then close the Jump Ring, 5, Open a second 4.75mm Jump Ring. Attach it through the opposite end of the Chain, and then attach it to the loop of the second butterfly connector. 6, Use 5.251m Jump Rings to connect the butterfly connector to two turquoise bead links. 22, Bead Unique + June 2011 7. Attach two 5.25mm Jump Rings to the loop of the last turquoise bead link. ‘Attach and secuze a Love Knot Creative Bar to the last Jump Ring. 8 Slide the Love Knot through the ster- ling silver ring to create the togele clasp. Create Focal 1, Cut remaining 6 in. of Chain into three 2-in. sections. 2, Slide a Chain section through a glass leaf. Bring both ends of the Chain up above the leaf to create a loop. Use a 44min jump Ring to secure the ends of the Chain and connect it to a second section of Chain, 5. Slide the new Chain section through the sterling silver ring. 4. Repeat Step 2, attaching it to the ‘opposite end of the Chain section. 5. Open a dmm Jump Ring and Link it ‘through the hole of a Rivoli Drop. Attach it ‘through an opening of the Chain just above the two loops you previously created. Anat You'll Need Materials; + 2.8mm SWAROVSKI ELEMENTS Rivoli Drops (Art. 6428) + 411mm x Hinm Turquoise flat irregular oval beads + 2 Lisa Kan Designs Lampwork Serenity Series glass leaves + 1 Old ring + Vintajie Natwal Brass Co¥: 219mm x 12mm Poetic Butterly DecorivetsArte Metal, #ADVO10 152m x 8mm Love Knot Creative | Bar-Natural Brass, #TB60 4 Lin, Eye Pins-Natural Brass, #EP1 4 4mm jump Rings—Natural Brass, R10 2.4.75mm Jump Rings-Natural ‘Brass, #R20 6 5.25mm Jump Rings—Natural Brass, 4JR50 418 in, 2rum Figaro Chain-Natural Brass, #CH85 Tools: + Chain nose pliers (2 pairs) + Rosary or round nose pliers + Wire cutters | Additional Supplies: + Basie beading supplies sAvailable through Galena Beads (GalenaBeads.com). For product information, see Sources of ‘Supply on p. 64. Dimensions: 17 in. to ring, 20 in. with leaf dangle Boginning project ‘¢ Econo-tip: Have an old ring that’s been in your fam ily for generations but has been sitting in your jewelry box for years? This project. is a great way to let it see the light of day! No matter what size itis, it will “fit If you have questions concerning this project, contact the editors of Bead Unique Magazine. Emil: editors@beaduniquemag.com ‘Website: www beaduniquemag.com Jess Italie Linc’ design nonce is far reaching As the esucetor fr Vinay Neti Brass Co, she teaches tnd shore many ips au tachaigues through online eos and Inthe Vint Jewelry Techniques Book She Weise comer of Galona Beads and Vina} Earth er design set tnpied By nature anal ts re Sure For day pian, wi the Vat} blog and Teo Galery a insicom24 Bead Unique «June 2011 This simple netting technique, paired with delicate crystal branch fringe, results ina necklace that’s so much fun to touch and wear.Instructions: (Note: The diagrams for this project show the beads you are adding in gray and the beads already added in white.) Necklace 1, Cut off a length of thread that will be comfortable for you to work with. Leaving about an 8-in. tail, pick up one pearl and move it down to the end of your thread. Now circle around and PT the pearl again. This pearl is your stop bead, 2. Pick up 17 size 11/0 seed beads, a peat, and a size 15/0 seed. Skipping the size 15/0 seed, PBT the pearl and throe seeds, 3. Pick up three size 11/0 seeds, a pearl, and a size 15/0 seed, Skip the size 15/0 seed and PBT the pearl, the three seeds you just added, and three seeds in the column (Fig. 1) 4. Repeat Step 5. 5, Pick up three size 11/0 seeds, skip three seeds, and PT the next bead Repeat; Pick up three beads and PT the top bead (Fig. 2). (Note: Unless I specifi cally tell you to pick up a size 15/0 seed, ’m always referring to size 11/0 seeds.) 66. Flip your work so that the peatls are facing away from you. I always orient my beadwork for this necklace so that I'm ‘working avway from my body. Pick up four seeds, skip two seeds, and PT the next bead. Notice that you've needled through the center bead in a group (Fig. 3). Pick up three center bead of the next g: beads (Fig. 4), 7. Flip your work again. Pick up seeds. Skip the bead closest to your needle and PT the next bead. This creates @ picot (Fig. 5), Pick up three seeds and PT the center bead in the next group of three beads. Pick up three seeds, and skipping three beads, PT the next bead (ig. 6). If you haven't already removed te stop bead, i's okay fo pull it off if its in your way. 8, Flip your work. Pick up four seeds and PT the center bead in the next group of three beads. Pick up three more seeds ‘and PT the center bead of the next group of three beads (Fig. 7). Pick up three seeds, a Crystal, and a size 15/0 seed. Skipping the size 15/0 seed, PBT the Crystal and one seed bead (Fig. 8) 9. Flip your work. Pick up four seeds and PT the center bead in the next group of three beads. Pick up three more seeds. Skip three beads and PT the next bead (Fig. 9). Flip your work. Pick up four seeds and PT the center bead in the next group of three beads. Pick up three seeds fand PT the third bead of the next group of four beads (Fig, 10). Bicone Crystals + The Bead Smith Fivel. beading thread of choice Tools: + Beading needle, size 10 or 12 Adktonal Supls + Basic beading supplies For product information, see Sources of ‘Supply on p. 64 Dimensions: 18 in. Intermediate project Glossary: PT=pass through; PBt=pass back through Tips: + You'll need to add thread as you work When adding thread, always start the | new thread before ending the old one. When your working thread has about 8 in. left, rethread your needle with a new length of thread. PT six to eight beads, and then carefully tie a halt-hiteh iknot between two beads. Repeat this at | least twice more, changing direction of the thread several times. End by exiting from the same bead as your old thread. ‘Weave in the old thread. You haven't lost, your place! yy faceted Czech glass beads will cre ate just as much sparkle in the light. 10. Time to make a matching picot for the other side of the Crystal: Flip your work as needed. Make the picot the same way as you did before: Pick up three beads, skip the one closest (0 the needle, and PT the next bead. Pick up three beads and PT the next group of three beads, Pick up another three beads and PT the second bead ofthe top group (Fig. 11) ‘LL, Make the top turn with four beads, then add the next group of three. Next, welll make another pearl branch: Pick up 10 seeds, a pearl, and a size 15/0 seed Contined on page 70. Bead Unigue * June 2011 25L Pike Her Shoes Beller Designed by Addie Henry While looking around eBay one day, I found a package of these plastic doll shoes for 49¢. How can you beat that? Mhen they arrived in the mail, 1 decided téMiitake,a project that used every Colorfuljshoe. 26 Bead Unique + June 2011Instructions: Shoe Charms 1. Cut a S-in, length of wire. Begin to create a wrapped loop on one end (see ‘Technique Guide, p. 77), stopping after the loop is made and before wrapping. Pick up a shoe with a heel strap and slide the strap into the loop, close the loop, and complete the wrap. Repeat for all shoes with heel straps. Set aside 2. Use the nail to poke a hole in the back of each shoe without a heel strap. Repeat Step 1, sliding the wire loop through the hole on the back of the shoe. Repeat for all shoes without heel straps. Setwside Bead Dangles 1. Cut a 3-in, length of wire. At one end, tse round nose pliers to form a tiny simple wire loop. Slide desired beads ‘onto the wire, combining 2-3 beads for each charm. Make 7-9 bead charms. 2. Make dangles with silver beads. Plastic Ring Charms 1, Cut a 3-in, length of wire. Wire-wrap ‘loop around the ring, Repeat for al rings Assembling Bracelet 1. Use jump rings to attach one-half of the clasp to each end of the chain, 2. Attach shoe charms evenly spaced along the bracelet with wrapped loops. 5. Attach bead dangles evenly spaced along the bracelet with wrapped loops. ‘4. Attach shoe charms where desired with wrapped loops. If you have questions concerning this project, contact the editors of Bead Unique Magazine. Email; editors@beaduniquemeg.com Website: www.beaduniquemag.com “Adie Belongs 0 fai of desis and atts, She tones combine techniques and mars urns toops ad fs nt at use coer. Materiats: + 90 in. 20-ga. Wire-silver plated + 25-50 Plastic doll shoes + 3 Lin, Plastic rings + 2.8mm Round crystal beads* + 4 Flower-shaped dyed coral beads* + 4 Small lampwork beat ‘8 4mm Spacers—black* 2. Winged heart beads—silver 2 Jump rings-silver 1 Clasp-silver 7 in, Wide link chain-silver + Chain nose pliers (2 pairs) + Flush cutters + Round nose pliers |+ Small nail ‘Additonal Supplies: + Basic beading supplies, small nail *Or enough beads of choice to create 7-9 beaded dangles For product information, see Sources of Supply on p. 64 Dimensions: 7 in. Intermediate project © Econo-tip: ‘Ask friends and family to give up the doll shoes they have in their attics. You'll be surprised how many have been saving them for years, Bead Unique + June 2011 27nique ~ June 2011While seamstresses still use dress forms for 4 their original purpose, most of us are drawn to their graceful form and vintage feel. Dress forms are enjoying a resurgence in popularity, so they are readily available in craft and gift stores. To create my embellished version, I used some items from my childhood. I guess that makes me vintage! The skirt is made from a sewing pattern (the pattern I used was sold in 1965). I bought it at a yard sale, but it was originally purchased from a fabric store in the town where I grew up. Since my mother sewed a lot of my clothes when I was a child, I have happy memories of spend- ing lots of time in that store looking at the rows of fabric bolis. The beads and jewelry components I used are a collection of memories. The 1960s cameo pendant came from Mom’s jewelry box. | found the pearls in an affordable strand at my favorite antique mall. I cut the strand apart and turned it into two bracelets that have a vin- tage look with a contemporary twist. My hope is that you will find similar materials that have meaning to you. Have a little fun with it, and your dress form will make you smile each time you look at it. Instructions: 1, Cut six pieces of pattern paper about 15 in. wide by about 6 in. tall. Exact mea- surements are not necessary. 2. Finger-gather three pieces around ‘waist of dress form. Wrap ribbon around waist and tie in knot at back to hold paper in place. Gather three more pieces of paper around waist for a second layer. Wrap ribbon around waist to hold in place, Tie a knot at back. Tie @ bow over the knot, Fluff out the skirt pieces. 3. Attach the focal pendant to the top of the dress form using the large jump ring. 4, Bracelet 1. Crimp round toggle piece to a 12-in, piece of beading wire (see ‘Technique Guide, p. 77). String on a pearl and two bicone crystals. Repeat that pat- tern until the bracelet is the desired length. Crimp the toggle bar piece to end of wire. Trim end, Attach bracelet to ‘waist of dress form. 5. Bracelet 2. Crimp round toggle piece to a 12+in, piece of beading wire. String on a pearl and a black disc. Repeat until the bracelet is the desired length. Crimp toggle bar piece to end of wire. Trim end. Hang on dress form where desired, If you have questions concerning this project, contact the editors of Bead Unique Magazine. Email: editors@beaduniquemag.com Website: warw:beaduniquemag.com ‘Sas interest mal things vintage started 2 tena: fr wher she worked partie im her grandmothers ‘nique shop. She nose combines her Tove of Beautfal thangs from past eas and a ew lve 9f beading 0 ake vince ples of at Anat You'll Need Materials: ‘ein, tall Wire dress form ‘Vintage sewing pattern Aatique jewelry focal pendant 1 yard in. wide Grosgrain ribbon Strand of antique pears, Beading wire 4 Crimp beads or tubes 2 Togele clasps Filler beads (Iused 6mm green bicone crystals and 4mm black discs) + 1 Large jump ring Tools: + Crimping tool + Scissors: + Wire cutiers Additional Supplies: + Basic beading supplies For product information, see Sources of Supply on p. 64, Dimensions: vary Beginning project Tips: + Make bracelets that fit you, They will play a dual role: jewelry you can wear ‘and jewelry to decorate your dress form. ‘© Econo-tip: our your local antique and thrift stores {or great vintage/antique items! Bead Unique June 2011 29First Glass What You'll Need | Making the Bead: | + Glass rods-petroleum green, pea ‘een, and dark yellow” Lampworking Tools: + Graphite paddle + Kiln + Lampworking torch + Mandrels dipped in bead release** + Smooth mashing pliers | Brake Neots | 3 Layered disc beads in different sizes and shapes + 3 Small beads-coordinating colors (must be larger than the holes in the dises) + 23.in. wide Strips of fabric ‘coordinating color/pattern + $n, Medium rickrack-coordinating, color Tools for Bracelet: + Iron and ironing surface + Measuring tape + Sewing machine + Sewing needle + Scissors + Straight pins + ‘Thread in a contrasting color | Additonal Supplies: + Basic beading supplies | *Available through Arrow Springs (ArouSprings.com). *eijcin. mandrels were used. If you use | 4 larger diameter, the hole wilt be too large and the bead zill be floppy on your bracelet. | For product information, see Sources of | Supply om p. 64. Beginning lampworking project Eoono-: ind abi or old tablet That shop for your bracelet you polio eepecentaye ferent poh 30 Bead Unique + June 2011 Ligue, Ds Designed by Kim Ballor Ihave recently had my eye on fabrics with bold geometric patterns. Wanting just a hint of that look, I made these beads with stripes and unusual shapes. They are spunky and almost cartoonlike in their imperfections. Instructions: = ‘Making the Bead (Note: These instructions assume basic lampworking knowledge.) 1, Heat a small gather of petroleum ‘green glass, Wrap around heated man- drel, forming a narrow spacer bead. The footprint should be about * in. in width Heat the bead to make it smooth and even (Fig. 1). (Design Tip: Layer colors as ‘you wish; no need to follow me!) 2. Keeping the bead warm, heat a ‘medium gather of pea green glass. Wrap ‘around the spacer bead. Try to keep the same width and an even depth of glass in the wrap. Heat the bead to melt it flush ‘with the petroleum green. Use the mash- ing pliers to keep the dise fat. Roll on thearaphite paddle to keep the bead roundish. ‘Add layers of color as desired, melting in and reshaping the bead after each layer addition (ig. 2). 3. Add layers until the bead is the desired size. Evenly heat the bead. Heat one side until just glowing. Press it onto the paddle to atten a section of the edge. Heat and fatten sections as desired to make triangles, diamonds, or any shape (Fig. 3) 4. Evenly heat the bead. Use the mashing pli cers to keep the disc flat. 5. Evenly heat the bead. Place bead in the kiln to anneal. Bracelet 1. Cut two pieces of fabric that are 5 in, wide and the length of your wrist measurement plus Lin. 2. Stitch fabric together with right sides together, leaving one end open, 3. Turn fabric right-side out and press seams flat. Fold in the unfinished edges at the end; press. Place the ends of the rickrack between the pressed folds, so that the rickrack loop is just long enough to go around your largest ‘bead. Hold in place with pins. 4. Topstitch around all four sides using ‘thread in a contrasting color. 5. Using needle and thread, stitch the largest bead to the other end of the cuff, placing the center of the bead about 1 in. from the end. Stitch up from the back, through the bead, through a smaller bead, and back down through the dise bead. Knot thread to secure. Repeat to attach the medium and small beads, referring to the project photo for placement. If you have questions conceming this pro- ject, contact the editors of Bead Unique ‘Magazine, Email: editors@beaduniquemag.com ‘Website: wwwbeaduniquemag.com Starting as a jewelry maker, Kim has been exploring creating lampwork beads for the last ew years. She Inet her love of Beads and Beading fom her maicraal ‘grandmother, who made besutfat Prench-beaded flowers, Find out more about Kim ai hwithink blopipotsom and nase howseboomot com. Bead Unique «June 2011 31Second Glass with a One art concept that appeals to me is the “golden ratio.” The idea, in my interpretation, is that the brain seems to like designs that are divided roughly into sections of % and ¥. I’ve used that idea to good effect in this bead. Instructions: 1. Wrap a thin core of clear glass around the mandrel and smooth to an even tube with your graphite paddle ig. 0) 2. Lay the silver foil out on your graphite paddle, Heat the bead to a mild glow, and then pick up the silver foil by rolling the bead across it to cover (Fig. 2) Burnish on with your paddle until itis well attached. 53, Begin encasing with clear glass. Make sure the silver-coated bead stays ‘wart (not hot) and the encasing glass is hot and glowing. Wrap the clear glass in a ‘inuows coil from one end to the ‘making sure to push the glass onto < and onto the last section of coll ~~: o trap bubbles (Fig. 3). The sil cna gold color, of it might ie paddle, smooth 5, Add a stripe of pastel aqua near the bottom and the middle of your bead; then, add a stripe of transparent aqua on top of each pastel aqua stripe (Fig. 5). 6. Add two stripes of pastel green (#212) between the previous stripes, and then add a stripe of uranium yellow on top of each green stripe (Fig. 6). 7. Add a few random dots of copper ‘green to the bottom two stripes (Fig. 7). '8, Roll the aqua end of the bead in roles frit (Fig. 8). 9, Shape the bead using your paddle, flatten with ice tongs or mashers, and then continue shaping with your paddle until it is a nice diamond with one end slightly longer than the other. This will be ‘the final shape of your bead, so take your time. 10. Heat one side of the bead to a glow so that the outside is hot while the inside remains stiff. Using your goldstone stringer, rake from the raku end up about halfway through the clear end (Fig. 9), Twist Designed by Laurie Ament > What You'll Need Materials: + COE 104 Effetre glass-clear (#006), pastel aqua (#232), transparent light agua (#034), pastel green (#212), transparent uranium yellow (#070), ‘and pastel copper green (#219) + Goldstone stringer + Reichenbach raku frit (COE 96) + Silver foi, cut to size (about Vin. Tong and wide) Tools: + ein, mandrel dipped in bead release + Graphite paddle + Stainless steel ice tongs or flatteners + Stainless steel pick or sake ‘Additional Supplies: + Basic beading supplies, egg (hard boiled, peeled), graph paper, permanent marker, zipper-lock baggie For product information, see Sources of Supply on p. 64. Dimensions: 1-in. bead Intermediate lampworking projectand twirl the stringer at the top of the rake (Fig. 10). Do the same thing on the other side, but in the opposite direction, pulling from the clear end to the middle of the striped area and twisting. LL In the center of each twist, place a dot of aqua, melt down and heat the dot to a glow, pause, and then plunge the pick into the center of the dot (Figs. 11 and 12) 12. Dot transparent aqua over each plunged dot, and follow the design on ‘each side with three or four smaller dots (Fig, 13). 13. Add a few more dots of transparent aqua on the sides of the bead, at the top on one side, and at the bottom on the other (Fig. 14). Direct some best 2 « dot to make z 14. Cool the bead in che Se anneal in your kil If you have questions coneerins project, contact the editors of Unique Magazine. Email: editors@beaduniquemag.com ‘Website: www beaduniquemag.com Law Ament began xpermenting with ot glass th ther danger i 1999. Since then, she has continua 0 fie las, wth its malleable colors and endless poss Dies of form, to be am ideatcohicle of creative ‘xpresson. She says, "Everytime T light the torch, thre i en opeortuniy fo lear something ness” Visit her singlassdsgn biospotcom. it easier to we make your bead more 5 ing. It is highly recom: put this bead directly i anneal, rather than setting anneal later. Bead Unique * June 2011 33Give four girls the same scrapbooking component to design with, and what do you get? Four stunning beaded pieces! This issue, each BUG (Bead Unique Girl) started out with her ‘own scrapbook page “bauble” from KéCompany “Butterflies are my favorite garden visitors. This encased Monarch butterfly makes me think of gorgeous filigree jewelry and beautiful black lace fabric.” ~ Lynn Hughes “L'm not sure why butterflies always call out ‘Victorian’ to me. When I think ‘Victorian; I think of black velvet ribbons, high collars, big cuffs, and lots of lace and ruffles.” ~ Naomi Key 34 Bead Unique + June 2011Buoded: Gordo ‘Most of the winged insects I see in Colorado are assorted shades of drab yel- lows, oranges, and browns, so it was refreshing to work with this alluring blue butterfly. I decided to cultivate a garden of pearls, crystal, and brassy metals for her to ‘hide’ in.” ~ Megan Savors Window of Wonder “I was inspired when I saw how using black seed beads gave depth to the butterfly, and how copper tones blended so well with the gold and pink in her wings. I used powdered mica eye makeup for the background and I think it really set the tone. This was a fun necklace to create!” ~ Cheryl Trapani Sourees For all pieces: Scrapbooking butterfly baubles from K&Company (kandcompany.com); all beads and remaini ‘components available through your local bead store. Bead Unique June 2011 351 Could Just Live Here! (Owner Gina Beauvais Most bead artists know from an early age that their hands were just meant to bead; Gina Beauvais is no exception. In 1986, she made a bracelet for the wrist of her handmade “Cabbage Patch Doll” and it has remained there for 25 years She comes from a crafty family: Her father, who owns an electronics store, was “enthusiastic and creative, fixing clocks, Lionel trains, and pinball machines, showing me how to use hand tools at a young age,” she explains. ‘Meanwhile, her mother ‘aught her to sew, craft, and cook. Her father also taught the family how to put together circuit boards and cables, and how to solder the components. Aiter dinner, the family would assemble cireuit boards. “I though every family did this? says Gina. AAs she got older, Gina began to work with jewelry more consistently, making beaded jewelry that she would sell in New Jersey shore towns and repairing jewelry for @ local antique store. Repairing jewelry is still something Gina loves to do, "because the jewelry is always so rich in history, memory, and full of emotion” Gina went to college planning to major in advertising or graphic design (to appease all the “You're going to college to make jewelry?” skeptics), but she contin- ‘ued to take jewelry electives, and it was- n't long until she changed her major to silversmithing. She graduated from the University of Arts in Philadelphia with a BA in crafts and a minor in art education. And after that, it was inevitable that Gina would open her own bead shop. ‘Wirework is one of Gina's specialties and she thinks that itis “a very exciting 36 Bead Unique + June 2011 wer Wi Studia Chester Springs, Pennsylvania facet of jewelry work.” She teaches intet- mediate and advanced students the prop- erties of sterling, brass, and copper so that they can have a true understanding of the metals that they are using. She encourages her customers to use wire “because it is the next step in turning, their bead stringing into true jewelry art- work.” She demonstrates adding wire to earrings, wire-wrapping beads, and using wire to make clasps. ‘There is never really a typical day in the area surrounding Gina’s shop: you ‘might see anything from wild foxes and hawks to people launching hot air bal- loons, feeding chickens, and catching frogs. Inside the shop, of course, much jewelry-making goes on, and you may find students cutting cabochons with a grinder, drilling sea glass, soldering jump ings, stringing rosaries, preparing memo- by Noelle A. DeMarco JEWELRY & BEADS ry wire bracelets, hammering letters, or stringing beads. It is a comfortable, casual atmosphere that encourages creativity. ‘You'll find two large working tables, music playing, laughter, and plenty of good coffee. “It is a place to escape regu- lar life and nurture your creative side for a few hours” says Gina. All beading sup- plies are available and store tools are ready for borrowing. Gina also adds that“regular customers are always helping each other with inspiration and technical skills” Some signs around the store read “What happens in the bead store stays in the bead store” and “Keep Calm and Bead On?" Words to live by, wouldn't you say? Gina runs adult jewelry classes through local night school education catalogs. Alter plenty of practice, students are wel- come to create oodles of jewelry. “I design and draw my own handouts for each class” says Gina, “allowing students to go home and practice with notes from class. I teach each class based on a tech- nique, not a finished product. One of Gina’s programs at Silver ‘Wings Studio deserves special mention: For children on summer hiatus from school, her Summer Kids Classes offer classes in jewelry making, painting, col- lage, scrapbooking, art journaling, and more. What a wonderful way to get kids away from the television and on a cre- ative journey that will last a lifetime! Gina's original work is always on dls: play and for sale. “I recommend and encourage students to copy my work or use it as @ springboard to their own designs. Most of the jewelry is aecessibly displayed so that everyone can examine the work and try things on” Customers will find that most of Gina's inventory consists of carefully chosen natural gemstones, sterling findings, and handmade glass beads. Her goal is to offer beads that you can’t find elsewhere. “'m inspired by the intrinsic qualities of natural gemstones,” she says. “There is a very powerful primitive attraction to nat- ural gem beads; we are inspired by the color, texture, and pattern of agates, jaspers, and turquoise. Customers can grab a bead board, touch all the beads, and experiment with design, color, or texture” ‘The shop also offers exciting events, like Chocolate Night: Gina will cover everything she can think af with choco: late, like cashews, strawberries, marsh. allows, cookies, and pretzels. They have a chocolate-and bead—buffet. There are annual Valentine’s Day and Mother’s Day parties as well, where mothers and daughters are invited to make bracelets, together. In the past, she’s had a fashion party that included a casual clothing line for sale during the event, and a party belore the opening of Harry Potter and “I never saw my life any other way and love making jewelry” ~ cina Beauvais the Deathly Hallows: Part 1, where everyone had fun making charm neck- laces with dragons, owls, and crystal charms, “Lnever saw my life any other way and love making jewelry? Gina says. "It is tremendously rewarding to make jewelry that customers wear every day and for special occasions like weddings and birthdays” Stop in and sey hello to Gina if you're ever in her neck of the woods. You can chat about gemstones, wire wrapping, and leave with a beautiful new piece of jewelry. And with a visit that may also include hot air balloons, chickens, and frogs, what's holding you back? For more information, vist: silver Wings Studio 215 Pottstown Pike Chester Springs, PA 19425 (610) 458-5356 vowwsilverwingsjewelry.com Contributing Writer Profile: Dodie isa graduate of East Sroudsburg Universiy ‘uh Bachelor of Arte in Engh Writing and @ Minor tn Fonetpn Stee/German. You son uma find herb the eho cooking or baling, or xed a omeplacecomforabie ith aod book Bead Unique + June 2011 37Hammered eon ‘Designed by Megan Savors I love the color and striation of these long briolettes and wanted to showcase them ona simple hammered hoop. Gold and silver didn’t quite match—enter copper, our inexpensive friend! Instructions: ‘Hoops 1. Use your flush cutters to cut 2 4-in. length of 20-ga. wire, File the ends smooth. 2. Shape the wire around a mandrel about 3-4 in, in diameter (I used a regular shampoo bottle top!) 3. With chain nose pliers, grasp close to one end of the hoop. Sit the hoop on the anvil. Using the flat end of the ball een hammer and avoiding ' in. on either end, begin to hammer the shape flatter. ‘Turn over and continue flattening on the opposite side, 4. Position your chain nose pliers in from one end and make a right-angle bend. Move to the other side, grasp the very end with your round nose pliers, and create a horizontal loop (Fig. 1). 5. Once your hoop is as flat as you ‘would like it to be, use the ball side of the ‘hammer to make little dents on one side, then on the next (Fig. 2). Your hoop may ‘warp a bit during the hammering, but you should be able to reshape it easily when you're done. 38 Bead Unique + June 2011 6. Repeat Steps 1-5 for the second hoop. Set hoops aside. Briolette Drops 1. Cut a 13-in. piece of 24-ga. wire Slide a briolette to within 1 in. of the nd. Push the ends up to form an X over the apex of the briolette (Fig. 3). The short end should be behind the long one 2. Bend the long end at an angle so that it faces straight up towerd the ceil ing, and bend the shorter end so that it points to the left, Turning your briolette over so thatthe short end ison top, wrap the short end around the long end twice. Clip and tuck in your end (Fig 4). 5. Create a loop with the long wie just above the bottom wrap. Make sure that the loop is big enough to accommodate the hammered hoop. Wrap down to the bottom wrap, continue wrapping over it, and keep wrapping. 4. Once you reach the hole inthe brio lette, wrap twice more, then wrap back up the bead toward the loop, going over the wraps already in place (Fig. 5). You Continued on page 40. Aviat You'll Need Material + Sin, 20-ga, Round, dead-soft wire— ‘eopper + 26 in, 24-ga, Round, dead-soft wire copper + 2 Large turquoise magnesite briolettes Tool Siin, diameter mandrel Ball peen hammer Chain nose pliers Flush cutters Jeweler’s anvil or steel block Metal file Round nose pliers Additional Supplies: + Basic beading supplies For product information, see Sources of Supply on p. 64, Dimensions: 2 in. Intermediate project © Eoono-tip: ‘These earrings would look great using ‘any skinny, top-deilled bead in an earthy color, Try drilling a hole through some favorite beach or forest finds.Continued from page 58. should have enough wire to wrap two or three times over the wraps. End with a few wraps right under the loop. Clip your wire and tuck in the end using chain nose pliers. 5. Add the wrapped briolette to the hoop. 6. Repeat Steps 1-5 for the second briolette. If you have questions concerning this project, contact the editors of Bead Unique Magazine, Email: editors@beaduniquemag com ‘Website: www.beaduniquemag.com Megan Savors oxns a bead shop called The Peacock ‘Shap n Clonal, CO, wheve she diplays many spark. iy things for beatles to cove. You con procastnale th ect tarsi wo Peep, ‘ron her lo at Macatee Dogs Som KO European Odyssey Part 3: France Continued from page 17 Spiral Rope 1. Thread your needle with 3 yds. of thread, leaving a 9-in. til. Pick up three size 11/0 seed beads and four size 15/0 seed beads. PT the three size 11/0 seed beads, pulling your thread snug. Move the four size 15/0 seed beads to the leit and hold the work in your left hand. *Pick up one size 11/0 seed bead and four size 15/0 seed beads. Skipping the first size 11/0 seed bead, PT the next two size 11/0 seed beads and the one size 11/0 seed bead that you just added (Fig. 9). Pull the thread snug and move the four size 15/0 seeds to the left, holding the work in your left hand. Repeat from * until you have a Tength of spiral rope about 16 in. long. Attaching the Clasp 1. Slide the spiral rope through the bail. With your working tread at the end of the spiral rope, pick up seven size 15/0 seed beads, one-half of the clasp, and three more size 15/0 seed beads. PT the fourth, third, second, and first size 15/0 40 Bead Unique + June 2011 seed beads (Fig. 10). PT three of the size 111/0 seed beads in the spiral rope and tie ‘a knot. PT the four size 15/0 seed beads in the spiral rope and back down through the size 11/0 seed beads to reinforce. Tie off and cut the thread. Repeat on the other end of the spiral rope for the other half of the clasp. If you have questions concerning this project, contact the editors of Bead Unique Magazine. Email: editors@beaduniquemag.com ‘Website: www beaduniquemag.com, Debbie MeDermott isan alt thous dhsoings and sculptures have been exhibited throughout Lot ‘Anges. She fl ove th eating as an at fom fe 2008, and she now teaches ai San Gabriet Bead Company i Arcadi, Califo, and ef bead shows atonaida: She sookingforeard to reireent 50 she ‘focus om her arta renting teeoabe trek ‘ending ralleplleWhat You'll Need Materials: + Kabola Design: 1 Flutterby Artisan Clasp, #019 1. Small Butterfly Charm—Antique ‘Copper, #01291-IR 2 Flower Connectors—Antique ‘Copper, #FF-8997 418 in. Peanut Chain—Antique Brass 18 in, Belcher Ladder Chain~ ‘Antique Copper 18 in. Cable Chain—Antique Copper 5 5mm Oval freshwater peatls~peach 3 4mm x 7mm Czech glass daggers— ‘matte triangle design 5 10mm Czech glass rondelles~gray + 9 4mm Open juinp rings—antique ‘copper/brass + 52 in, 24-ga. Head pins-antique ‘copper/brass + 82 in,, 22-ga. Head pins-antique ccopper/brass Tools: *+ Chain nose pliers (2 pairs) + Metal hole punch, + Round nose pliers + Tape measure or ruler + Wire cutters ‘Additional Supplies: + Basic beading supplies For product information, see Sources of Supply on p. 6% Dimensions: 18 in, Beginning project, Tips: + Clip one loop off each Flower Connector ‘before assembling the necklace. As an alternative, keep both loops and attach a dangle to the end of each Connector when your necklac ed * Econo-tp: The dare bras findings in this piece will beautifully accommodate any vintage beads you might have on hand. 42 Bead Unique + June 2011 beautiful closure. Instructions: 1. With the metal hole punch, punch a hole in the bottom center ofthe left wing on. the large half of the Flutterby Clasp. Next, punch a hole in the bottom center of the right wing on the small half of the Flatterby Clasp, 2. Use a jump ring to attach one end of the Cable Chain to the outside loop on the large half of the Clasp. Use a jump ring to attach the other end of the Cable Chain to the outside loop on the small half of the Clasp. ‘3. Use jump rings to attach each end of, the Belcher Ladder Chain to corresponding middle loops on each hal of the Clasp. 4. Use jump rings to attach each end of the Peanut Chain to corresponding inside loops on each half of the Clasp. Designed by Kelly and Beth Botal for Kabela Design This perfect springtime necklace fastens in the front with a uniquely 5. Attach the Simall Butterfly Charm through the hole in the small haf of the Clasp with a jump ring. Attach one Flower Connevior through the hole you punched in the large half of the Clasp with a jump ring. 6. Use a jump ring to attach the remain- ing Flower Comnecior to the Peanut Chain about 1 in, away from the small half of the Clasp, Set necklace aside 7. Slide a freshwater pearl onto @ 24-ga, head pin and ereate a simple wire loop at the top (see Technique Guide, p. 77) Repeat for each of the remaining freshwa- ter pearls. Set aside. 8 Slide a rondelle onto a 22-40. head pin and create a simple wire loop at the Continued on page 70.Effortless. Accessories e Sometimes, creating a great accessory takes nothing more than a few tums of wire or a focal bead, something to string it on, and a good knot. The techniques used to create these pieces can be found in the Technique Guide on p. 77. Fireball Designed by Barbara Lewis for Painting with Fire Sweetheart 4 Designed by Kerri Fuhr Focal beads ani cuff blank from Painting with Fire (PaintingWithFireArtwear.com); sil ribbons from Mudhound Studio (trww.etsy.com/shop/jmozart) Lampwork heart focal from An Kerri Fuhr (KerniFu.com); fap fcc det conponer po & *£ ‘sweetrockcandybeads.etsy.com a s Designed by Blaine Forbes % (etsy.com/shop/weelainy) 44 Bead Unique + June 2011