Stitch a Patchwork of Color Using Only Seed Beads

Fast & Fabulous Nature-Inspired Jewelry Designs p. 62

JUNE/JULY 2019 Weave a Colorful Bargello Cuff Style Create a Statement & Meet Artist Wendy Ellsworth Looming with Beads * 5 Things I wish I Knew Before p. 12 * Beach Blanket Bracelet p. 14 * Desert Sky Bracelet p. 18 * Garden Party Lariat p. 21

Desert Sky Bracelet by Lindsay Burke p.18

BARGello Bracelet by Michelle Gowland, p. 44 WWW.INTERWEAVE.COM Kantha & Rainbow Mountains (in progress) by Cheri Carlson

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John Bead Corp. — Beads, Crystals & Components | www.johnbead.com Tel: (416)757-3287 | Toll Free: 1(888)755-9055 | E-mail: [email protected] contents JUNE/JULY 2019 VOLUME 22 NUMBER 4

Designer of the Year Projects 29 AGAVE CUFF Wendy Ellsworth This colorful cuff uses three-dimensional geometric beading techniques. 34 LOUKA BRACELET Vezsuzsi Stitch a patchwork of color using only seed beads. 38 BACK-TO-BACK SPIKES NECKLACE Susan Sassoon Use seed beads to create unusual 29 38 spiked components. Features 12 FIVE THINGS I WISH I KNEW WHEN I STARTED BEAD LOOMING 24 WENDY ELLSWORTH: CREATIVE, ARTISTIC, GENEROUS, SPIRITUAL

Departments 4 Passing Through 6 Cool Stuff 85 Techniques 85 Stitch Index 34 14 88 Bead Buzz

Advertising Section 11 WEAVE A JEWELED TAPESTRY: BEADING ON A LOOM Projects Katie Hacker 14 BEACH BLANKET BRACELET SPONSORED BY FIRE MOUNTAIN 48 STAR FLIGHT GEMINI PENDANT GEMS AND BEADS Susan Pelligra Kathy Simonds 18 DESERT SKY LOOMED BRACELET 52 DEWDROP EARRINGS Lindsay Burke Evelína Palmontová 21 GARDEN PARTY LOOMED LARIAT 55 MELON DELIGHT WRAP BRACELET Cindy Kinerson Amy Haftkowycz 44 BARGELLO BRACELET 58 MYSTICAL PORTAL PENDANT Michelle Gowland Marianna Zukowsky

Dewdrop Earrings by Evelína Palmontová page 52

On the Cover BARGello Bracelet By Michelle Gowland Page 44

2 WWW.INTERWEAVE.COM 48 18 56

21 62 63

12 64 67

Project Rating Fast & Fabulous: Inspired by Nature Our three-level project rating system is found in the project instructions. 62 TIMBERLINE WRAP BRACELET 66 MONARCH’S DESTINATION £¡¡ Kristina Hahn Eleniak UNKNOWN NECKLACE BEGINNER LEVEL 63 RAINFOREST NECKLACE Sandra Lupo Quick and easy Anne Perry 67 NATURE WALK NECKLACE ££¡ 64 SONORAN DESERT NECKLACE Michelle McEnroe INTERMEDIATE LEVEL 68 BEACHCOMBING NECKLACE Moderate time commitment Deb Floros Terry Ricioli £££ 65 WOODLAND PATINA NECKLACE ADVANCED LEVEL Debbie Blair Longer time commitment

For Stitch Index, see page 85.

BEADWORK JUNE/JULY 2019 3 passing through

EDITORIAL Translations EDITOR Tamara Honaman TECHNICAL EDITOR Meredith Steele The beautiful BARGello Bracelet design on the INTERIM MANAGING EDITOR Katie Hacker cover is Michelle Gowland’s translation of the tradi- COPY EDITOR Nancy Arndt tional Bargello needlepoint embroidery technique. MARKETING & ADVERTISING She executed the design so well using two-hole shaped beads and luscious ADVERTISING MANAGER Marilyn C. Koponen color palettes. This may seem odd, but looking at Michelle’s designs trans- [email protected], (877) 613-4613 CLASSIFIED ADVERTISING Stephanie Griess ported me back to the early days of using polymer clay. [email protected], (877) 613-4630 In the mid-1990s, Laura Liska devised a technique that translated her AD TRAFFICKER Cari Ullom love of Bargello into polymer. She displayed some of her work during the MARKETING MANAGER Jessi Rodriguez Masters Invitational Polymer Clay Exhibition and Sale (MIPCES), and it CREATIVE SERVICES was wonderful to see her work up close. The details, colors, and the way SENIOR DESIGNER Connie Poole she was able to create layers of color that transitioned seamlessly were PRODUCTION DESIGNER Mark Dobroth ILLUSTRATOR Laura Shell mesmerizing. PHOTOGRAPHY George Boe Other artists were also translating natural materials and patterns or techniques into this new medium. City Zen Kane, the company run by Steven Ford and David Forlano, created beautiful ikat designs in polymer. Ikat is an Indonesian dyeing technique applied to fibers before weaving FOUNDER Linda Ligon them into fabric. Tory Hughes was instrumental in creating faux recipes DIRECTOR OF CONTENT, CRAFT Tiffany Warble that had our pasta machines busy night DIRECTOR OF MEDIA SALES Julie Macdonald SENIOR DIRECTOR OF CRAFTS MARKETING AND ECOMMERCE and day creating faux ivory, turquoise, OPERATIONS Kimberly Greenlee and cinnabar, to name a few. I still love seeing how artists translate things they love using mediums they are passionate about—it’s something we see in beadwork all the time. Agave Cuff by F+W MEDIA, INC. Wendy Ellsworth (page 29) is her interpre- CHIEF EXECUTIVE OFFICER Gregory J. Osberg tation of thorny plants found in the SVP, GENERAL MANAGER F+W CRAFTS GROUP David Pyle desert. MANAGING DIRECTOR F+W INTERNATIONAL James Woollam Susan Pelligra brings us a taste of VP, CONSUMER MARKETING John Phelan summer in her bead-loomed version of a VP, DIGITAL Jason Revzon beach towel in Beach Blanket Bracelet (page 14). VP, PRODUCT MANAGEMENT Pat Fitzgerald Next time you’re working with a piece of fabric or cutting flowers from your garden, take a close look at what you see, then challenge yourself to translate that into beads using traditional off-loom stitches or weaving Designs in this issue of Beadwork® are for inspiration and personal use only. Exact reproduc- them on a loom! tion for commercial purposes is contrary to the spirit of good craftsmanship. Designs may not be taught or sold without the expressed permission of the author. Beadwork does not Speaking of looming—this issue is filled with bead-looming resources. recommend, approve, or endorse any of the advertisers, products, services, or views advertised Beadwork Beadwork Julianna Avelar, inventor of the Jewel Loom, shares five things she wishes in . Nor does evaluate the advertisers’ claims in any way. You should, therefore, use your own judgment in evaluating the advertisers, products, services, and views she knew before looming one of her iconic designs. Three favorite advertised in Beadwork. Beadwork contributors show standout looming designs, and Katie Hacker Beadwork (ISSN 1528-5634) is published bimonthly by Interweave, a division of F+W Media, has a great article highlighting one of our favorite looms. If that’s not Inc., 4868 Innovation Dr., Fort Collins, CO 80525-5576. USPS #018-351. Periodicals postage paid at Fort Collins, CO 80525, and additional mailing offices. © 2019 F+W Media, Inc. All rights enough to get you weaving, be sure to read Megan Lenhausen’s How to reserved. Reproduction in whole or in part is prohibited, except by permission of the publisher. Use a Bead Loom at interweave.com. Subscription rate is $29.95/one year in the U.S., $34.95/one year (U.S. funds) in Canada, and $39.95 (U.S. funds) in other countries (surface delivery). Printed in the U.S.A. POSTMASTER: Wishing you happy summery days filled with beading and weaving. Please send address changes to Beadwork, PO Box 433289, Palm Coast, FL 32143. Retailers: If you are interested in carrying this magazine in your store, please contact us: Email [email protected].

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try your hand at this beautiful, 9. Lampwork artist Sheila Davis shaped beads on the market. The intricate knotwork. Get your copy presents these gorgeous cones Chevron Duo bead, similar to the of Joan Babcock’s English-language that any jewelry designer would 6x9mm EVA bead, is 10x4mm and FastFast&Fabulous & Fabulous Margaretenspitze Designs for Jewelry, drool over. Kiln annealed, like all 8mm from base to tip. The Cymbal Tassels Pattern Pack Natural Forms in Macramé at of her beads, these cones will hold line consists of metal beads and This pattern pack just screams www.micro-macramejewelry.com. up to wear. Check out her website components designed especially to summertime to me. From elegant 8. Ranger Industries has an at www.stonedesignsbysheila work with multi-holed shaped beads. and demure to big and bold, awesome array of jewelry-making .etsy.com. It includes bead substitutes, as well as you’ll be sure to find something to supplies from ICE Resin by Susan 10. The BeadSmith earned a side beads that nestle into nooks and love in the Fast & Fabulous Tassels Lenart Kazmer. I had the oppor- second spot on the Cool Stuff list crannies, and specialized endings Pattern Pack. This Fast & Fabulous tunity to play with their new jewelry with their new Ginko and Chevron and clasps designed to fit and Pattern Pack features nine tassel mold, industrial bezels, findings, Duo beads and their amazing new complement the most popular multi- projects such as necklaces and and silk sari ribbon. I love the line of Cymbal metal fashion holed shaped beads. See design earrings, using leather, chain, faceted jewel-cut shape of the elements. The new Ginko beads examples at www.beadsmith.com cord, and fabric. Check it out at molds. Everything you need for measure 7.5mm and are designed (wholesale only) or ask your favorite www.interweave.com. all your ICE Resin creations is at to fit with many of the multi-hole bead retailer. www.rangerink.com. www.interweave.com

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10 WWW.INTERWEAVE.COM ADVERTISEMENT WEAVE A JEWELED TAPESTRY Beading on a Loom Katie Hacker

appearance of the woven design. Cylindrical seed beads provide a very smooth, uniform look, while round seed beads are a little bumpier and can be used to create an artisanal feel. Two-hole seed beads, small crystal beads, and stone beads can all be used with varying warp spacing to create beautiful woven jewelry. A trendy technique in beading on a loom is to use leather cords as the outside warp strands. This method gives the woven strap more heft, a nice finished edge, and is particularly popular for wrap bracelets. It’s also hot right now to stitch a beaded strap that fits inside a channel bangle bracelet or pendant. Even a small piece of loomed beadwork can make a big impact! There are a variety of ways to finish the ends of loomed beadwork. Choose your favorite before you start looming because it could dictate the dimension of your design. For example, you can keep it simple and stitch a bead-and-loop closure, stitch a piece of soft leather over the selvage edges and attach a clasp to the leather, or use a ribbon clamp-style component for a finished look. Beading on a loom is a versatile technique to add to your beading repertoire. The process PHOTO COURTESY OF FIRE MOUNTAIN GEMS AND BEADS can be soothing, and the resulting loomed beadwork can suit many styles. Whether you go for a traditional look or use a more unconven- EADING ON A LOOM IS A FAST WAY TO cuff. Claudia freely admits that fibers are her tional approach, looming is a beautiful way to Bweave a fabric of beads that can be turned first love, but she learned how to weave with take your beadwork in a new direction. The into a piece of jewelry. The effect looks similar to beads because she could see that beads would Mirrix Loom and others are available at square stitch and results in an even piece of add a whole new dimension to looming. www.firemountaingems.com. beadwork that can be used in a variety of ways. Loomed beadwork is basically a small jeweled USING A BEAD LOOM KATIE HACKER is the interim managing tapestry that you can wear. It’s easy to get started beading on a loom. editor of Beadwork and the host of Beads, Claudia Chase invented the original Mirrix You need just a few materials: C-Lon or your Baubles & Jewels on PBS. She likes mixing Loom (shown here) when her children were favorite stringing material; a strong, flexible shaped beads with seed beads to make young, and she was shuttling them to all of their beading needle; clasp; scissors; glue; and beads. loomed-beadwork bracelets. various activities. A dedicated fiber artist and As with fabric, the vertical threads are the “warp” weaver, she wanted a fully functional portable threads, and the horizontal threads are the “weft” loom that she could use on the go. The Mirrix threads. When you’re beading on a loom, the ENTER THE SWEEPSTAKES Loom includes everything she was looking for, beads are strung onto the weft threads. FOR A CHANCE TO WIN A MIRRIX LOOM with a shedding device, adjustable tension, Editor Tamara Honaman says, “Looming can FROM FIRE MOUNTAIN GEMS AND BEADS variable spacing of the warps, and optional be a very meditative process. Once you have $264 value accessories. your loom warped, it’s only a matter of adding www.interweave.com/ Claudia was my guest on episode 1410 of in your beads. You can do that by following a fire-mountain-gems-beadwork-giveaway/ Beads, Baubles & Jewels, where she showed us pattern or making things up as you go along.” APRIL 19 - MAY 19 how to mix fibers and beads to make a beautiful Your bead choice will affect the finished

BEADWORK JUNE/JULY 2019 11 5 Things I Wish I Knew When I Started Bead Looming AUTHOR: JULIANNA C. AVELAR ORIGINALLY PUBLISHED ON INTERWEAVE.COM

I STARTED BEAD LOOMING OVER 20 YEARS AGO, and I still love the soothing back-and- forth process. Once a few rows are complete, you can relax, and the technique becomes very meditative. I especially enjoy working with a mix of beads and figuring out which ones fit between the warp threads. I’m happy to share these five tips that I wish I’d known when I started bead looming.

12 WWW.INTERWEAVE.COM Here, I would use twelve size 8° seed beads and one size 11° seed bead in place of this particular bugle bead. Keep even tension as you loom for a nice, smooth weave.

CHECK YOUR BUGLE BEADS able to get her restarted so she could 1BEFORE YOU START WEAVING. finish her cuff by the time the class was I am a huge fan of bugle beads and finished. Although it’s important to work with numerous colors and sizes. I have maintain consistent tension while bead used bugles in my bead-weaving projects looming, be careful that you don’t pull so since day one. When you work with bugles, tightly that you buckle or otherwise make sure the ends of the beads are not damage your work. sharp. If they are, use a fingernail file to carefully file the ends smooth. If you skip FORGET WHAT YOU KNOW checking the ends of your bugles, you 4ABOUT BEADING, ESPECIALLY IF might find the beads have cut your thread. YOU ARE AN OFF-LOOM BEADER. Another bugle-bead tip is to assess how I have witnessed people use handstitching many seed beads you can pair up to equal techniques on the loom, which can really Knotting the ends makes a clean finish that fits inside a slide clasp. the length of your bugle beads. Once you get you off track when creating your warps know the number, substitute seed beads and wefts. Bead looming is very linear. Just for the bugles every so often while take your time, read the instructions for weaving, just to mix things up! your project, and have faith that the project will work out! When you’re ready to create CHECK BEAD-HOLE SIZES your own designs, you’ll have a sense of 2AHEAD OF TIME. how to plan and use the loom efficiently. Check to make sure that your needle and thread will fit through the beads MAKE THINGS EASY AND USE before weaving. It’s a good idea to test a 5A SLIDE CLASP. small sampling of each bead type, just to When I first started bead looming, be safe. Remember that you’ll need to I learned how to loom a bracelet and sew accommodate the smallest bead hole in on a clasp. Back in those days, this was the your selection. Some beads can be reamed only option I knew about for finishing a if necessary, but it would be tedious to loomed bracelet. Now, there are many ream all of the beads in your design. If your different styles of clasps that you can use needle and thread don’t fit the bead holes, to finish your beaded loomwork. Slide clasp with adjustable closure. experiment with different combinations A slide clasp is my favorite way to finish until you find ones that work. my loomed bracelets. After you tie all of the warp threads together and trim JULIANNA “JEWELS” AVELAR GIA AJP, BE CAREFUL NOT TO PULL them, add a small amount of white glue inventor and patent holder of the Jewel Loom 3TOO TIGHTLY! to the knots, then slide the clasp over products, is a well-known mover and shaker in I had a surgical nurse in one of my your end row of beads. I have found that the creative lifestyle community. As an Mixed Beaded Boho Cuff classes, and she both size 8° and 11° seed beads work innovator, weaving expert, jewelry designer, pulled so hard that she literally ripped her perfectly with slide clasps If your beads author, product developer, on-air talent and project right off the loom! We giggled and don’t exactly fit, you can use chain-nose social media celebrity, Julianna has turned she admitted that her time in the ER doing pliers to open the slide clasp a bit to millions on to the joys of connecting creativity stitches was to blame! Together, we were accommodate the beads. and self-love through artistic expression. ●

BEADWORK JUNE/JULY 2019 13 Beach Blanket Bracelet SUSAN PELLIGRA

Main Colorway

14 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. 1 WARP. Following the manufacturer’s earn how to increase and decrease directions for your loom, use the beading Lyour loomwork with this summery thread to form 26 warps, evenly spaced bracelet. It's a mini beach blanket! across about 1 ½ ". Note: To strengthen the edges of the loomwork, you may double TECHNIQUES the warp thread for warps 1 and 26. Treat Loomwork these doubled warps as one warp thread as Brick stitch you weave. Fringe 2 WOVEN BASE. Weave the body of the PROJECT LEVEL ££¡ bracelet: MATERIALS Prepare: Tie one end of 6' of thread to the 0.5 g white pearl AB size 15° seed beads (A) second warp. Place a long needle on the 0.5 g silver-lined light cranberry size 15° other end of the thread. seed beads (B) Row 1: String 23D; pass under warp threads 2 g white pearl Ceylon size 11° seed beads (C) 2–25 and pop 1 bead between each 10 g white pearl Ceylon size 11° thread (Fig. 1, green thread). Note: Warp cylinder beads (D) slots 1 and 25 will be empty. Bring the 0.5 g silver-lined chartreuse size 11° cylinder beads (E) needle up to the top between warp 0.5 g white-lined orange size 11° cylinder threads 25 and 26. Hold the beads in beads (F) place while passing back through each 2 g turquoise green luster opaque size 11° bead, this time over the top of the warp cylinder beads (G) threads 25–2. Pass the needle under 3 g dark coral galvanized size 11° cylinder warp 2 and then back up to the top to beads (H) catch warp 2 (Fig. 1, blue thread). Slide 2 pairs of gold 8×13mm round magnetic clasps the beads down so they sit against the 4 gold 8mm twisted jump rings base of the loom. Crystal 8 lb FireLine braided beading thread Row 2 (Increase): String 1D; pass around TOOLS warp thread 1 and back through the D Scissors just strung, exiting under warp thread 2. Bead loom String 24D; pass under the warp threads Size 10 long beading needle and pop 1 bead between each thread. Size 10 sharp (short) beading needle Hold the beads in place while passing 2 pairs of chain- or flat-nose pliers back through each bead, this time over FINISHED SIZE the top of the warp threads (Fig. 1, red 2½ " x 7¾ " thread). Adjust the beads so they sit adjacent to the previous row. Rows 3–98: Repeat Row 2 ninety-six Susan used the following Delica colors times, following the chart (Fig. 2) for for this project: DB201, DB147, DB420, bead placement. Add new weft thread and DB217 as needed.

Fig. 1: Forming Rows 1 and 2

Fig. 2: Chart

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 15 Beach Blanket Bracelet

Row 99: String 25D; pass under the warp Hold the beads in place while passing just strung and the last 1C/2D exited of threads and pop 1 bead between each back through each bead, this time over the base. Tie a half-hitch knot around the thread. Hold the beads in place while the top of the warp threads 25–2 threads of the loomwork where you have passing back through each bead, this (Fig. 3, red thread). Secure and trim just exited, taking care not to pull the time over the top of the warp threads. the weft threads. beadwork (Fig. 5, green thread). Pass up Pass back through the last D strung, exit- through the next 2D/1C. String 5A, 1B, ing under the warp thread 2 (Fig. 3, 3 EMBELLISH. Finish the ends of the 3A, 1B, 1A, and 4B; skip the last 3B strung green thread). loomwork and embellish the edges: and pass back through the beads just Row 100 (Decrease): Pass the needle over Remove: Release the beadwork from the strung and the last 1C/3D exited of the warp 2, then back down to the bottom loom. Allow piece to rest on a flat surface base. Tie a half-hitch knot around the to catch warp 2. String 23D; pass under before tying off threads. Add a short nee- threads of the loomwork where you warp threads 3–25 and pop 1 bead dle to 1 warp thread, then secure the have just exited, taking care not to pull between each thread (Fig. 3, blue thread and trim; repeat twenty-five times the beadwork (Fig. 5, blue thread). thread). Note: Warp slots 1 and 25 will using the other warp threads. Pass up through the next 3D/1C (Fig. 5, be empty. Bring the needle up to the Brick-stitched Edging: Begin 4' of new red thread). Continue fringe across the top between warp threads 25 and 26. thread with a short needle that exits from length of the beadwork, tying half- the top D of Row 2 (see the start dot in hitch knots at variable intervals in the Fig. 4). String 2C; pass under the con- loomwork after each fringe is added. necting thread between Rows 3 and 4, Remove the stop bead; secure and trim Alternate then pass back up through the second C the threads. Colorway Materials just added (Fig. 4, blue thread). String 1C; pass under the connecting thread Repeat Fringe Edging on the other edge of between Rows 5 and 6, then pass back the base. 0.5 g white pearl AB size 15° seed up through the C just added (Fig. 4, red beads (A) thread). Note: Rows 1 and 100 will not 4 CLASP. Add the clasp: 0.5 g black opaque size 15° seed beads (B) have a brick-stitch bead, these must be Clasp 1: Use the pliers to close one end of 1 2 g white pearl Ceylon size 11° seed clear to add slide end tubes. Continue in end tube. Slide Row 1 of the beadwork beads (C) brick stitch across the length of the bead- into the tube through the open end. Use 10 g white opaque size 11° cylinder work by stringing 1C, passing under the the pliers to close the second end of the beads (D) nearest connecting thread between tube, securing Row 1 in the tube. Use 1 0.5 g matte light pewter galvanized size 11° cylinder beads (E) rows, then passing up through the C just jump ring to attach one half of 1 clasp to 3 g black opaque size 11° cylinder added. Secure and trim the threads. one of the loops on the end tube. Use 1 beads (F, H) Repeat Brick-stitched Edging on the other jump ring to attach one half of the sec- 2 g turquoise green luster opaque size 11° edge of the base. Flip the beadwork over. ond clasp to the remaining loop on the Swarovski cylinder beads (G) Fringe Edging: Add a stop bead to 6' of end tube. 30 matte light teal 4mm sea glass rounds new thread with a short needle, leaving a Clasp 2: Repeat Clasp 1 on the other end of × 2 silver-plated 35 6mm slide end tubes 6" tail. Pass through the top 6D/1C of the bracelet, using the second end tube × 2 pairs of silver 7 9mm round magnetic Row 98 (Fig. 5, purple thread.) String and the second halves of the clasps and clasps 5A, 1B, 3A, 1B, 1A, and 4B; skip the last 3B taking care to match the polarity of the 4 silver 6mm jump rings strung and pass back through the beads magnets.

OPTION Use a picot edging instead of the fringe to create a simpler look.

16 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. Fig. 3: Stitching Rows 99 and 100

artist’s tips ❯ The size of the slide end tubes necessitates the decrease to 23 columns of beads. To avoid needing to increase and decrease, form 24 warps instead of 26 and cross off or cover the edges of the chart with a piece of paper. ❯ Allow your beadwork to rest between weaving sessions by loosening the loom tension just a bit. Once you complete all rows, remove the piece from loom and, Fig. 4: Adding Brick- again, allow the piece to rest on a flat stitched Edging surface. These “rests” help prevent the beadwork from bunching up when you tie off the threads. ❯ If you have difficulty passing through the beads during Step 3, switch to the smaller needle.

SUSAN PELLIGRA teaches her beadwork designs at Bead Dazzle in Point Pleasant, New Jersey. Contact Susan at www.beadedbythe beach.com for her original peyote and bead-loom patterns. Fig. 5: Weaving Fringe Edging RESOURCES Check your favorite bead retailer or contact: Delica cylinder beads and all other materials: Bead Dazzle, (732) 295-6679. www.beaddazzlepoint.com ●

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 17 Desert Sky Loomed Bracelet LINDSAY BURKE

18 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. 1 WARP. Following the manufacturer's reate a gently wavy loomed bracelet directions for your loom, use the beading Cwith Delica beads and 2mm Swarovski thread to form 12 warps, evenly spaced crystals. The adjustable slide clasp makes it across about ¾ ". a perfect adornment for any wrist. 2 WOVEN BASE. Weave the body of the bracelet: TECHNIQUE Prepare: Tie one end of 6' of thread to 1 Loomwork outer warp. Place a needle on the other PROJECT LEVEL £¡¡ end of the thread. MATERIALS Row 1: String 11A; pass under the warp 3 g silver-lined light navy blue Duracoat threads and pop 1 bead between each size 11° cylinder beads (A) thread (Fig. 1, blue thread). Hold the 3 g nutmeg dyed Duracoat opaque size 11° beads in place while passing back cylinder beads (B) through each bead, this time over the 3 g sienna dyed Duracoat opaque size 11° top of the warp threads (Fig. 1, red cylinder beads (C) thread). Slide the beads down so they sit 3 g dark maroon dyed Duracoat opaque against the base of the loom. size 11° cylinder beads (D) Rows 2–76: Repeat Row 1 seventy-five 3 g matte black size 11° cylinder beads (E) 194 jet 2mm Swarovski crystal rounds (F) times, following the chart (Fig. 2) for 2 navy blue 17mm embroidery-thread bead placement. tassels with gold cap 2 gold 15×5mm slide end tube with 3 CLASP. Finish the ends of the beadwork 3mm closed loop and add the clasp: 1 gold 5.5×7mm tube slide clasp Remove: Release the beadwork from the 4 gold-plated 20-gauge 4mm jump rings loom. Add a needle to 1 warp thread, × 4 gold 2 6mm glue-in chain ends with ring then secure the thread and trim; repeat (fits 1mm beading chain) A eleven times using the other warp 3½ " of gold 1mm beading chain threads. Add a needle to one end of the B Black satin 6 lb FireLine braided weft thread, then secure the thread and C beading thread D Super New Glue trim. Repeat on the other side of the loomwork to secure the warp and weft E TOOLS threads. F Scissors End Tubes: Use the pliers to close one end Beading loom of 1 end tube. Slide Row 1 of the bead- Size 11 beading needle work into the tube through the open 2 pairs of chain- or flat-nose pliers end. Use the pliers to close the second FINISHED SIZE end of the tube, securing Row 1 inside Adjustable from 6½ " to 9½ " the tube. Repeat on the other end of the woven base. Set aside. Glue: Cut the beading chain in half. Apply a small amount of glue to one end of 1 Lindsay used the following Delica color piece of chain and insert it into 1 chain numbers for this project: DB2191, end; repeat with the second half of the DB2110, DB2142, DB2120, and DB0310 beading chain. Insert the free end of each chain through the tube slide clasp in opposite directions. Apply a small amount of glue to the free end of 1 piece of chain and insert it into 1 chain end; repeat with the second half of the beading chain. Ensure that all ends are in place and allow to cure. Connect: Use 1 jump ring to attach 1 tassel to one free end of 1 beading chain; repeat with the other beading chain. Use 1 jump ring to attach the beading chain to 1 loop on 1 end tube; repeat with the Fig. 1: Forming Row 1 other beading chain. Fig. 2: Chart

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 19 Desert Sky Loomed Bracelet

LINDSAY BURKE lives in the Seattle area with her husband and two beautiful daughters. She artist’s tips is the CMO for Fusion Beads and has been with ❯ them since 2000. You can find her work in Try creating your own pattern Make It in other colors using graph paper several publications or in her book Sparkle and colored pencils. (Interweave 2016), or watch her YouTube instructional videos. Contact Lindsay ❯ Substitute 2mm fire-polished at [email protected]. rounds for the crystal beads. RESOURCES Check your favorite bead retailer or contact: Delica cylinder beads, Swarovski crystals, Miyuki slide end tubes, Jewel Loom beading loom, Tulip beading needles, and all other materials: Fusion Beads, (888) 781-3559, www.fusion beads.com. ●

Explore stunning beading projects with the 12 Designer of Year Bead Weaving Patterns eBook!

Create beautiful jewelry designs using bead embroidery, herringbone, netting, and more. Discover projects by top experts including a Dragonfly Pendant by Sherry Serafini, the Stepping Stones Bracelet by Leslee Frumin and the Ocean Lily Lariat by Agnieszka Watts.

Get Your Copy Today at Interweave.com Available in Digital Edition.

20 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. Garden Party Loomed Lariat CINDY KINERSON

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 21 Garden Party Loomed Lariat

1 PREPARE. Cut the silk lamé braid cord Row 2: String 1C, 1B, 1C, and 1B; repeat se loomwork with beads pre-strung on into 5 equal lengths of 65"; place one end of from * to **. Adjust the beads so they sit Uthe warp threads to create a long, each cord in the bead clamp, leaving 6" against the previous row. Slide down 1 playful lariat with tasseled ends. tails. Use the big-eye needle to string 80A row of A beads on the warp threads so onto each cord. they sit against this row; pass through the nearest A (Fig. 1, orange thread). TECHNIQUE 2 WARP. Follow the manufacturer’s direc- Row 3: String 1B, 1C, 1B, and 1C; repeat Loomwork tions to set up your loom. Tape the ends of from * to **. Adjust the beads so they sit PROJECT LEVEL £¡¡ the cords to one of the loom’s rollers. Note: against the previous row. Slide down 1 MATERIALS You may also choose to tie the ends of the row of A beads on the warp threads so 14 g frosted gold-lined aqua size 11° cords into a slipknot around the roller hook. they sit against this row; pass through seed beads (A) Tape or knot the other end of the cords to the nearest A (Fig. 1, purple thread). 21 g topaz transparent rainbow size 11° the second roller and wind the excess cord Row 4: String 1C, 1B, 1C, and 1B; repeat triangle seed beads (B) onto one roller, keeping a portion of the from * to **. Adjust the beads so they sit 21 g ivory Ceylon size 8° seed beads (C) beads free. Use the cords to form 2 warps against the previous row (Fig. 1, green 1 g bead soup of 2–4mm mixed beads about ½ " apart. Note: These will be your thread). (seed beads, metal, crystal, etc.) outer warps. Warp the loom so there are a Row 5: String 1B, 1C, 1B, and 1C; repeat 28' of metallic teal 18 ct. silk lamé braid cord total of 3 warps evenly spaced between the from * to **. Adjust the beads so they sit Green 6 lb WildFire braided beading thread outer warps. Note: You may remove the against the previous row. Slide down 1 Jewelry cement clamp if you feel that the cords are securely row of A beads on the warp threads so TOOLS attached to the roller and the beads will not they sit against this row; pass through Scissors spill out. the nearest A (Fig. 1, blue thread). Bead clamp Row 6: String 1C, 1B, 1C, and 1B; repeat Big-eye needle 3 WOVEN BASE. Weave the body of the from * to **. Adjust the beads so they sit Masking or painter’s tape lariat: against the previous row. Slide down 1 Bead loom Prepare: Tie one end of 6' of thread to 1 row of A beads on the warp threads so Size 10 beading needle outer warp, leaving a 4" tail. Place a nee- they sit against this row; pass through Tweezers dle on the other end of the thread. the nearest A (Fig. 1, red thread). FINISHED SIZE Row 1: String 1B, 1C, 1B, and 1C; *pass Row 7–end: Repeat Rows 1–6 until the 52" under the warp threads and pop 1 bead loomwork is 48 ½ " long. Note: Release the between each thread. Hold the beads in tension of the rollers and roll the loom- place while passing back through each work onto the first roller as needed. As bead, this time over the top of the warp you run out of A beads on the warp threads** (Fig. 1, pink thread). Slide the threads, un-tape the warps from the sec- beads down so they sit against the bot- ond roller and use the big-eye needle to tom of the warps. add more A in groups of 80. Secure and trim the weft threads.

Fig. 1: Looming Rows 1–6

artist’s tips ❯ The best bead loom for this project is the beginner bead loom sold in almost all craft stores and bead shops. You can also use any standard bead loom with rollers or hooks on the end. ❯ Use different colors of silk lamé braid to change the appearance of your lariat. Part of the appeal of this project is that you can see the color and texture of the warp threads.

22 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. Fig 2: Finishing the ends

4 FINISH. Release the beadwork from the CINDY KINERSON is a bead artist and Alternate loom. Tie the end cords of one end into an teacher specializing in bead-loom weaving. Colorway Materials overhand knot and use the tweezers to She teaches at national bead shows, and her cinch it close to the beadwork. Use one tail work has been published widely in both books end to string 1–1 ¼ " of bead soup and tie and magazines. She co-owns the Reno Bead PURPLE PATHWAY several overlapping overhand knots secure Shop with her husband and can be reached 14 g milky light amethyst size 11° seed to the fringe beads; repeat four times at [email protected]. beads (A) (Fig. 2). Apply a small amount of glue to 21 g matte dark olive size 11° triangle each knot; allow to cure, then trim the tails. RESOURCES Check your favorite bead seed beads (B) Repeat this entire step on the opposite end retailer or contact: Toho seed beads, triangle 21 g medium amethyst transparent size 8° of the beadwork. seed beads, bead soup, thread, Hypo cement, seed beads (C) bead looms, and Bead Bug bead clamps: 1 g bead soup of 2–4mm mixed beads (seed beads, metal, crystal, etc.) Reno Bead Shop, (775) 322-2225, www.reno 28' of amethyst ruby 18 ct. silk lamé braid beadshop.com. Silk lamé braid cord: Stitch in cord Time, (775) 829-9222. ● Green 6 lb WildFire braided beading thread Jewelry cement

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 23 Wendy Ellsworth: Creative, Artistic, Generous, Spiritual An interview with Wendy Ellsworth and excerpts from her book Beading—the Creative Spirit

BY TAMARA HONAMAN

Wendy Ellsworth has been beading since the 1970s. She started beading as a way to release feelings stirred up over the state of the nation and the political unrest in the United States during that time. What she discovered was an outlet that led to a lifetime of art and a path she could not have predicted.

BEADING TO INNER PEACE Upon graduating from the University of Colorado, and during a difficult period in the United States, Wendy took to the Colorado mountains: “I needed to seek guidance on the meaning of life. I moved to a miner’s cabin at 11,000 feet; we had no electricity or running water. I read Autobiography of a Yogi and started to bead circular mandalas as a form of meditation. Cirque du Soleil I applied the mandalas to the front of Necklace & Bangle 17½ ”l x 3”w I designed this collar to evoke handmade leather handbags and sold the colorful costumes of the ALL PHOTOS BY DAVID ELLSWORTH UNLESS OTHERWISE NOTED. them in Aspen. Creating mandalas helped Cirque du Soleil performers. me find my center after years of schooling and through all the turmoil that was going colors she was inspired by. Wendy feels continued to bead for meditative benefit, on around me. I realized then, beading was the mandalas she made during this but beading and art were not her main my medicine; the balm to help me through 10-year journey exemplify finding her focus during this time. the chaos.” sacred center. As the boys grew and became more The word mandala comes from the independent, Wendy followed her path ancient Sanskrit language of India and ON THE PATH back to beading and artistic pursuits. She translates to “circle” or “center.” Wendy From Colorado to Wendy’s life shared her work through galleries, creates mandalas as a means for recon- in Pennsylvania. workshops, and publications. In addition to necting with her internal center and for In 1980, Wendy married her second success in these pursuits, she again exploring a new path to spiritual and husband, David Ellsworth, an artist and appreciated the spiritual nature and creative expression. When reflecting on professional woodturner. Together, they healing beading offered. She shares this the mandalas that were created in the raised her two sons from her previous from her book: mountains, Wendy could remember that marriage in a home they designed and “Walking through my eastern Pennsylvania each one began with one single bead built in rural Bucks County, Pennsylvania. forest one day, I noticed a tree branch on the centered on a stretched piece of leather. Early on, Wendy worked for her local school ground, and when I picked it up, it spoke to This beginning symbolized finding her district in order to provide health insurance me: “Bead me!” I found that rather amusing center in the moment. She then created for her family, allowing David to pursue his and brought the stick into my studio to study the mandala in geometric patterns, using passion and develop his business. She it and think about its request to be beaded.

24 WWW.INTERWEAVE.COM The branch resembled a human torso with HELPING OTHERS Wendy wanted to meet the women who arms but no legs, and as I studied it, I began to Wendy gives and does for others as part are carrying out their centuries-old see the potential for transforming it into a of her ministry. beadwork tradition. She found her purpose beaded figure that could be mounted on a In 2003, Wendy applied for and was and jetted off. base of wood. awarded a grant from the Pennsylvania Once on the ground in Kenya, Wendy “I started by beading around the surface of Council on the Arts. The $5,000 award was realized she could make a difference in their the stick using the gourd stitch. I used this hers to use as she felt appropriate. She lives. Wendy partnered with Debby Rooney, bead-weaving technique to completely cover meditated to find the right path for this founder of Beads for Education, and the stick with seed beads, and the stick grant. The answers she received were a trip through this organization she was able to became a fragile wooden armature for the and Kenya. share her beading knowledge, teaching the woven beads. I used the colors of the chakras Around this same time, she discussed her Maasai women new techniques—primarily to indicate the different parts of the stick’s exploration of the physics of light with a finishing techniques—to improve their “body.” woodworker and friend. Through conversa- beadwork. “Little did I know that I was about to plumb tion he shared, “Unless it has a surface Wendy has made many trips to Kenya over the depths of my psyche and bring to the upon which it can reflect, light is darkness.” the years. In addition to helping the Maasai, surface parts of myself that needed to be What a paradox! Wendy then met a she has also helped the Samburu women. examined, processed, healed, and cameraman for the BBC, and his thought Through all of her time with the tribes, it transformed.” resonated and catapulted her into action. was clear, in addition to basic needs of food An entire series grew from this first “The country that has the most dynamic and shelter, education was vital to the beaded stick figure, and through each light is Kenya—you should go to Kenya.” women who needed to help their daugh- figure Wendy found healing, sanity, and a She factored this into her travel plans. ters be free. shining light into a journey of self- She began looking into Kenya and In the Maasai and Samburu cultures, discovery. “Because beading demanded that beadwork, and she discovered the education is almost nonexistent. I be fully present to process, it helped me give elaborate beadwork of the Maasai and Continuing to help support these women birth to a new self that was able to trust and Samburu women. Both tribes create today, Wendy sponsors girls to help them love again.” beadwork for adornment and income. have a new way of life. One woman she

Samburu women of Unity Village PHOTO: WILL DAVIS & MEREDITH GRADY

Resisting the Mirror Stick Figure 15"h x 15"w x 9"d, glass seed beads, wooden stick, slate base,1994. This figure represents the contortions one goes into Tanjung Kandi SeaForm 3”h x 4”w x 4”d when resisting looking into the mirror of Truth. Utilizing multiple increases to make my SeaForms ruffle, I inadvertently PHOTO: GEORGE ERML discovered the secret to hyperbolic structures in Nature.

BEADWORK JUNE/JULY 2019 25 sponsored attended Catholic University in Nairobi, then continued on to the Kenya School of Law. She is now the second female Samburu attorney of Kenya and Director of Legal Affairs in her county.

For more on Unity Village and the Samburu women, please see the Beadwork February/ March 2019 issue or visit www.interweave.com.

TIMES OF CHANGE Beading is the thread that weaves through all her chapters; it is not a chapter of its own. In 2004, Wendy experienced some health issues and that changed everything. She withdrew her work from galleries, stopped teaching, traveling, and beading. Once she recovered and was back to pursuing her art, she found the beading field had changed, and her work no longer felt relevant. Magazines were not interested in her beaded vessels, as their audience was Wisteria Flower Mandala focused primarily on jewelry. Workshop formats were no longer limited to a few people for a few days where she could teach all facets of beading, from color theory to stitching techniques. She felt like things were more commercially directed and less about the joy of making. Not one to give up, Wendy found other outlets to share her work. Just as Wendy’s brain fog (a lingering symptom from her illness) lifted, SkyLight Paths Publishing approached her and asked if she would be interested in writing about beading as a meditative spiritual practice. In 2009, she was ready for this endeavor and committed herself to writing Beading—the Creative Spirit. “Beading has been such a spiritual process for me, all these years. Being able to write about it, made it clear how important beading has been to my journey. “

Wendy and David have recently relocated to a warmer climate and started a new chapter in their artistic pursuits. They now live in a creative community that offers new galleries to display her work, new opportunities to collaborate, and where they can offer studio tours. A recent collaborative effort, Wendy and David had their work on White Lotus Flower Mandala display in the Philadelphia Art Museum, Recently, I turned to mandalas again and created beaded dimensional flowers. My husband, David, created the and Wendy recently had her first individual frames. These flower mandalas were on exhibit at the Philadelphia Art Museum through 2018. Wisteria Flower Mandala, 14⅝ ”d x 1¼ ”h; White Lotus Flower Mandala 4½ ”d x 3”h. exhibition in New Jersey.

26 WWW.INTERWEAVE.COM Green Tower Cuff 4”h x 3”d Multi-layered geometric beadwork holds a real fascination for me.

Geometric Necklace 21”l x 5”w x ¾ ”h Taos Cuff 2¼ ”h x 3”d Repetition in geometric patterning results in a structure that can be manipulated into different shapes. This piece was inspired by the architecture and colors of many buildings in Taos, NM.

Wave Necklace 1 24”l x 1½ ”h x 3”w Kaleidocycles 1”h x 2¼ ”w My interest in hyperbolic curvature led me Joining four flat triangles into tetrahedrons that are to explore how to use it to make free-form jewelry. hinged together, these kaleidocycles are turning toys that are fun to make and play with.

BEADWORK JUNE/JULY 2019 27 GEOMETRY, BEADING INTO THE FUTURE, AND SAGE ADVICE “Set the waves in motion, cast that pebble—it’s exciting to see where the path leads.” Circles are still present in Wendy’s work today, but she goes beyond the bounds and takes these designs to new dimensions. “Geometric beadwork is so interesting to me, and I’m so in love with it. I recently taught a 3-D design in West Virginia that made use of hyperbolic parabolas—a warped square—which transforms flat beadwork into three dimensions. It’s wild!” See Wendy’s necklace in Beadwork February/ March 2019 for a design made using a warped square. Wendy affirms that she is committed to the beadwork field completely—not for personal gain but to share what she is creating and learning through outlets that are conducive to her methods of teaching Tanjung Datu SeaForm with blown glass base 6”h x 7½ ”w x 6½ ”d color, design, and technique. The most complex SeaForm I have made to date includes my grandfather’s gold and turquoise cufflinks. Wendy does not bead to compete with others, but uses beading as a meditative practice. “Beading is solitary and can take you deeper if you attach consciousness to the work. It is not listening to music, news, or television. The rhythm of stringing and weaving beads helps you contemplate and give time to yourself.” A favorite quote of Wendy’s is “Most people are human doings not human beings.” She interprets this as “We are humans in a state of doing not a state of being and there is a huge difference between these two. When you are really able to come to that place of being as opposed to doing, beading can bring you to the place of being: beading with a consciousness to calm yourself, to find equilibrium so as you face your day you can face the influences that bring us fear and face that fear rather than react to it.” “Don’t get lost in the spiral of influences and find a balance—use social media, television, and radio in moderation. When overwhelmed, beading can help you filter out the “noise” and find your center. And if you have trouble finding time, find a way to make the time—15 minutes at the end of your day, 15 minutes before you start your day—something somewhere so you have time for you. Nurturing allows you to connect to self. Keep a bead tray handy (out of reach from your children and pets but not so out of reach you forget about it), Spring Delight Pansy Necklace 21”l x 6½ ”w shut the door, and give yourself that time. From my 4 Seasons necklace series pansies represent the full delight of spring arriving. Make it a priority and set good healthy boundaries to allow that time for you.” ● 28 WWW.INTERWEAVE.COM 2019 Agave Cuff WENDY ELLSWORTH designer of the year

Main Colorway

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 29 nspired by the thorny and spiky plants of the American Southwest, this colorful cuff Iuses three-dimensional geometric beading techniques.

TECHNIQUES Flat peyote stitch Herringbone stitch 1 PREPARE. Add a needle to 10' of thread. Row 10: Note: Fold the beadwork out as Wrap 5' of the tail onto the bobbin. Place a you work this row to help form the PROJECT LEVEL ££¡ stop bead on the thread just above the point increases. Work 8 peyote stitches MATERIALS bobbin. with 1C in each stitch. Work 2 peyote 4 g turquoise opaque size 11° cylinder stitches with 1D in each stitch. *Work 1 beads (A) 2 BAND. Use flat peyote and herringbone herringbone stitch with 2F. Work 2 pey- 2 g underwater blue opaque Duracoat stitches to create the band: ote stitches with 1D in each stitch. Work size 11° cylinder beads (B) Rows 1 and 2: String 126A. 8 peyote stitches with 1C in each stitch. 1 g matte turquoise AB opaque size 11° cylinder beads (C) Row 3: String 1A; pass back through the Work 2 peyote stitches with 1D in each 2 g silver-lined bright fuchsia size 11° last A of the previous row. String 1A, skip stitch. Repeat from * three times. Work cylinder beads (D) the next A, and pass back through the 1 herringbone stitch with 2F. Work 2 1 g matte yellow size 11° cylinder next A; repeat 61 times. peyote stitches with 1D in each stitch. beads (E) Rows 4 and 5: Repeat Row 3 twice Work 8 peyote stitches with 1C in 2 g matte black size 11° cylinder Rows 6 and 7: Repeat Row 3 twice, using B each stitch. beads (F) for A. Row 11: Work 8 peyote stitches with 1C in 5 transparent light blue AB 3.4mm Japanese drops (G) Row 8 (begin points): Work 9 peyote each stitch. Work 3 peyote stitches with 1 silver 25×10mm 4-strand rectangle stitches with 1B in each stitch. *String 2F 1D in each stitch. *Work 1 herringbone slide-lock clasp and pass back through the next B of the stitch with 2F. Work 3 peyote stitches Smoke 6lb FireLine braided beading previous row. Work 10 peyote stitches with 1D in each stitch. Work 7 peyote thread with 1B in each stitch. Repeat from * stitches with 1C in each stitch. Work TOOLS three times. String 2F; pass through the 3 peyote stitches with 1D in each stitch. Scissors next B of the previous row. Work 9 peyote Repeat from * three times. Work 1 her- Size 12 beading needle stitches with 1B in each stitch (Fig. 1). ringbone stitch with 2F. Work 3 peyote 3½ " plastic bobbin Note: Follow the chart in Fig. 2 (beadwork stitches with 1D in each stitch. Work flattened for clarity) for bead placement for 7 peyote stitches with 1C in each stitch. FINISHED SIZE Rows 9–20. Row 12: Work 7 peyote stitches with 1E in 6¾ " Row 9: Work 9 peyote stitches with 1C in each stitch. Work 4 peyote stitches with each stitch. Work 1 peyote stitch with 1D in each stitch. *Work 1 herringbone 1D. *Work 1 herringbone stitch with stitch with 2F. Work 4 peyote stitches 2F. Work 1 peyote stitch with 1D. Work with 1D in each stitch. Work 6 peyote 9 peyote stitches with 1C in each stitches with 1E in each stitch. Work stitch. Work 1 peyote stitch with 1D. 4 peyote stitches with 1D in each stitch. Wendy used the following Delica color Repeat from * three times. Work 1 her- Repeat from * three times. Work 1 her- numbers for this colorway: DB658, ringbone stitch with 2F. Work 1 peyote ringbone stitch with 2F. Work 4 peyote DB2130, DB878, DB1340, DB1592, stitch with 1D. Work 8 peyote stitches stitches with 1D in each stitch. Work DB310. with 1C in each stitch. 7 peyote stitches with 1E in each stitch.

Fig. 1: Working Row 8

30 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. 2019 designer of the year

20 18 16 14 12 10

Fig. 2: Chart: Rows 9–20

Row 13: Work 7 peyote stitches with 1E in through the next F. Work 6 peyote 1E in each stitch. Work 5 peyote stitches each stitch. Work 5 peyote stitches with stitches with 1D in each stitch. Work 4 with 1D in each stitch. String 1F; pass 1D in each stitch. *Work 1 herringbone peyote stitches with 1F in each stitch. through the next G. Repeat from * three stitch with 2F. Work 5 peyote stitches Work 6 peyote stitches with 1D in each times. String 1F; pass through the next D. with 1D in each stitch. Work 5 peyote stitch. Repeat from * three times. String Work 5 peyote stitches with 1D in each stitches with 1E in each stitch. Work 5 1G; pass through the next F. Work 6 pey- stitch. Work 6 peyote stitches with 1E in peyote stitches with 1D in each stitch. ote stitches with 1D in each stitch. Work each stitch. Repeat from * three times. Work 1 her- 6 peyote stitches with 1F in each stitch. Row 16: Note: Fold the beadwork in as you ringbone stitch with 2F. Work 5 peyote Note: This row forms the point tips. work this row to help form the point stitches with 1D in each stitch. Work Row 15: Work 7 peyote stitches with 1E in decreases. Work 7 peyote stitches with 1E 6 peyote stitches with 1E in each stitch. each stitch. Work 5 peyote stitches with in each stitch. Work 4 peyote stitches Row 14: Work 6 peyote stitches with 1F in 1D in each stitch. String 1F; pass through with 1D in each stitch. *String 1F; pass each stitch. Work 6 peyote stitches with the next G.*String 1F; pass through the up through the next F and down 1D in each stitch. *String 1G; pass next D. Work 5 peyote stitches with 1D in through the following F. Work 1 peyote each stitch. Work 5 peyote stitches with stitch with 1F. Work 4 peyote stitches with 1D in each stitch. Work 6 peyote stitches with 1E in each stitch. Work 4 peyote stitches with 1D in each stitch. Repeat from * three times. String 1F; pass up through the next F and down through the following F. Work 1 peyote stitch with 1F. Work 4 peyote stitches with 1D in each stitch. Work 7 peyote stitches with 1E in each stitch.

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 31 2019 designer of the year

19 17 15 13 11 9

Alternate Row 17: Work 8 peyote stitches with 1C in stitch. Work 8 peyote stitches with 1C in Colorway Materials each stitch. Work 3 peyote stitches with each stitch. Work 2 peyote stitches with 1D in each stitch. *String 1F; pass up 1D in each stitch. Repeat from * three through the next F and down through times. String 1F; pass up through the next ORANGE the following F. Work 1 peyote stitch F and down through the following F. Work 4 g orange opaque size 11° with 1F. Work 3 peyote stitches with 1D 1 peyote stitch with 1F. Work 2 peyote cylinder beads (A) in each stitch. Work 7 peyote stitches stitches with 1D in each stitch. Work 8 pey- 2 g matte orange AB opaque size 11° with 1C in each stitch. Work 3 peyote ote stitches with 1C in each stitch. cylinder beads (B) stitches with 1D in each stitch. Repeat Row 19: Work 9 peyote stitches with 1C in 1 g kumquat opaque size 11° from * three times. String 1F; pass up each stitch. Work 1 peyote stitch with cylinder beads (C) through the next F and down through 1D. *String 1F; pass up through the next 2 g matte turquoise opaque size 11° the following F. Work 1 peyote stitch F and down through the following F. cylinder beads (D) with 1C. Work 3 peyote stitches with 1D Work 1 peyote stitch with 1F. Work 1 1 g matte yellow size 11° cylinder beads (E) in each stitch. Work 7 peyote stitches peyote stitch with 1D.Work 9 peyote 1 g maroon opaque size 11°cylinder beads with 1C in each stitch. stitches with 1C in each stitch. Work 1 (F, herringbone points) Row 18: Work 8 peyote stitches with 1C in peyote stitch with 1D. Repeat from * 1 g cranberry opaque size 11° each stitch. Work 2 peyote stitches with three times. String 1F; pass up through cylinder beads (F, Row 14) 1D in each stitch. *String 1F; pass up the next F and down through the fol- 1 g matte black size 11° cylinder beads (F, through the next F and down through the lowing F.Work 1 peyote stitch with 1F. embellishment) following F. Work 1 peyote stitch with 1F. Work 1 peyote stitch with 1D. Work 8 5 silver-lined orange 3.4mm Japanese drops (G) Work 2 peyote stitches with 1D in each peyote stitches with 1C in each stitch. 1 gold 25×10mm 4-strand rectangle slide-lock clasp Smoke 6 lb FireLine braided beading thread

GREEN 4 g matte metallic green iris size 11° cylinder beads (A) 2 g matte transparent lime size 11° cylinder beads (B) 1 g matte chartreuse ab size 11° cylinder beads (C) 3 g semi-matte silver-lined orange size 11° cylinder beads (D, F, Row 14) 1 g silver-lined pale lime opal size 11°cylinder beads (E) 1 g cedar opaque Duracoat size 11° cylinder beads (F, herringbone points) 1 g black opaque size 11° cylinder beads (F, embellishment) 5 coral-lined chartreuse 3.4mm Japanese drops (G) 1 silver 25×10mm 4-strand rectangle slide-lock clasp Crystal 6lb FireLine braided beading thread

32 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. artist’s tips ❯ Be careful of the thread wrapping around other beads as you stitch each row. ❯ You may hide the attachment of the clasp by stitching through the band on the back side of the beadwork, one column of beads from the edge. ❯ To adjust the size of the band, you may increase the total number of beads strung in Rows 1 and 2 by groups of four, which will add one peyote stitch to each end of the band per group of four beads added.

Fig. 3: Adding the clasp

WENDY ELLSWORTH began beading professionally in 1970. Her bead art has been featured in numerous gallery exhibitions, books, and periodicals. She received a Fellowship from the Pennsylvania Council on Row 20: Work 9 peyote stitches with 1B in 4 CLASP. Note: Double your thread by the Arts in 2003 that took her to Kenya to study each stitch. *String 1F; pass up through adjusting the tail length so that the tail does the beadwork of the Maasai and Samburu. She the next F and down through the fol- not pull through the beads. Use the work- had her first solo exhibition at the Hunterdon lowing F. Work 1 peyote stitch with 1F. ing thread to pass through the 2 edge A Art Museum, Hunterdon, New Jersey, in 2018. Work 10 peyote stitches with 1B in each directly above (Fig. 3, orange thread). Her book Beading—the Creative Spirit: Finding stitch. Repeat from * three times. String String the bottom clasp loop; pass through Your Sacred Center Through the Art of 1F; pass up through the next F and the second edge A, then pass through the Beadwork was published in 2009. She recently down through the following F. Work 1 next 1A/1B/1C directly above (Fig. 3, pur- relocated to Weaverville, North Carolina, with peyote stitch with 1F. Work 9 peyote ple thread). String the second clasp loop; her husband, David. Visit their website at stitches with 1B in each stitch. pass through the next edge C, then pass www.ellsworthstudios.com. Rows 21 and 22: Work 63 peyote stitches through the next 2E/1C directly above with 1B in each stitch; repeat. (Fig. 3, green thread). String the third RESOURCES Check your favorite bead Rows 23–27: Work 63 peyote stitches with loop of the clasp; pass through the next retailer or contact: Delica cylinder beads: 1A in each stitch; repeat four times. edge C and the next 1B/2A directly above Beyond Beadery, www.beyondbeadery.com. (Fig. 3, blue thread). String the fourth Japanese drop beads: Caravan Beads, www 3 EMBELLISHMENT. Work 63 peyote clasp loop; pass through the next edge A .caravanbeads.com, (800) 230-8941. Thread, stitches with 1F in each stitch. Set the work- (Fig. 3, red thread). Secure and trim this clasp, and Huggy Spool winder bobbin: ing thread aside. Remove the bobbin from thread only. Use the other thread to Fire Mountain Gems and Beads, (800) the tail thread. Use the tail thread to work repeat this entire step on the other end of 355-2137, www.ﬁ remountaingems.com. 63 peyote stitches with 1F in each stitch on the band, taking care that the clasp is Needles: BeadCats, (503) 625-2323, the other edge of the band. positioned to close properly. www.beadcats.com. ●

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 33 2019 Louka Bracelet VEZSUZSI designer of the year

Main Colorway

34 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. Round 6: String 1G; pass through the next titch a patchwork of color using only 2F. String 4F; pass through the next 2F. Sseed beads.The result is a stunning Repeat from the beginning of this round beaded tapestry you can wear! three times. Pass through the first G of this round (Fig. 2, red thread). Round 7: String 2G; pass through the next 1 END COMPONENTS. Use circular pey- 2F. String 1F; pass through the next 2F. TECHNIQUE ote stitch to create the end components: String 2G; pass through the next G. Circular peyote stitch Round 1: Use 5' of thread to string 4D, leav- Repeat from the beginning of this round PROJECT LEVEL ing a 4" tail. Pass through the beads again three times. Pass through the first 2G of ££¡ to form a tight circle; use the working this round (Fig. 3, blue thread). MATERIALS and tail threads to tie a square knot. Pass Round 8: String 2G; pass through the next 0.5 g light caramel Ceylon size 15° through the first D of this round (Fig. 1, F. String 2G; pass through the next 5G. Japanese seed beads (A) purple thread). Repeat from the beginning of this round 1 g light caramel Ceylon size 11° Japanese seed beads (B) Round 2: String 1C and pass through the three times. Pass through the first 2G of 1 g matte turquoise luster size 11° next D; repeat three times. Pass through this round (Fig. 3, red thread). Japanese seed beads (C) the first C of this round (Fig. 1, blue Round 9: String 3G; pass through the next 3 g chalk travertine size 8° Czech thread). 2G. String 1A, 1B, 1D, 1B, and 1A; pass seed beads (D) Round 3: String 4E and pass through the through the next 2G. Repeat from the 2 g delphinium Duracoat opaque next C; repeat three times. Pass through beginning of this round three times. Pass size 11° cylinder beads (E) the first 2E of this round (Fig. 1, red through the first G of this round (Fig. 4, 3 g pear opaque size 11° cylinder thread). blue thread). beads (F) 4 g azure Duracoat opaque size 11° Round 4: Round 10: String 1E; pass through the next String 3B; skip the next 1G of cylinder beads (G) 2E. String 1F; pass through the next 2E. the previous round and pass through the 4 light turquoise Picasso 5×3mm Repeat from the beginning of this round following G. Weave through beads to exit faceted rondelles (H) three times. Pass through the first E of from 1G before the opposite point of this 1 antiqued brass 6×9mm magnetic this round (Fig. 2, purple thread). component. String 1B, one half of the clasp Round 5: String 2F; pass through the next clasp, and 1B; skip the next 1G of the pre- Smoke 6lb FireLine braided F. String 2F; pass through the next E. vious round and pass through the follow- beading thread Repeat from the beginning of this round ing G. Weave through beads to exit from TOOLS three times. Pass through the first 2F of the second B added in this round (Fig. 4, Scissors this round (Fig. 2, blue thread). red thread). Secure and trim the tail Size 10 beading needle thread; don’t trim the working thread. FINISHED SIZE Repeat this entire step, swapping the E 6½ " and G beads to create a second end component. Vezsuzsi used the following Delica colors for this project: DB2134, DB1131, and DB2133.

Fig. 1: Forming End Components Rounds 1–3

Fig. 2: Weaving End Components Rounds 4–6

artist’s tip Play with the colors that make you happy to come up with your own creative colorway.

Fig. 4: Adding End Components Fig. 3: Stitching End Components Rounds 9 and 10 Rounds 7 and 8

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 35 2019 designer of the year

Fig. 5: Weaving Fig. 6: Stitching Row 1 Unit 2 Row 2 Unit 1

Alternate Colorway Materials

BRIGHT COLORS 0.5 g matte turquoise green rainbow size 15° Japanese seed beads (A) 1 g matte lime opaque size 11° Japanese seed beads (B, Round 9) 1 g matte turquoise luster size 11° Japanese seed beads (B, Band Connection, C, Round 1) 3 g lemongrass semi-glazed size 8° Japanese seed beads (D) Fig. 7: Adding 2 g azure Duracoat opaque size 11° Row 2 Unit 2 cylinder beads (E) 4 g dark orchid Duracoat opaque size 11° cylinder beads (F and G alternating) 4 g kumquat Duracoat opaque size 11° cylinder beads (F and G alternating) 4 light turquoise Picasso 5×3mm faceted rondelles (H) 2 BAND ROW 1. Unit 2: 1 antiqued copper 6×9mm Use circular peyote Use 5' of thread to repeat End magnetic clasp stitch to form the first row of the band: Components Rounds 1–8. Repeat End Smoke 6lb FireLine braided Unit 1: Use 3' of thread to repeat End Components Round 9, passing through beading thread Components Rounds 1–9. Secure and the leftmost 1B/1D/1B set of the previous trim the threads. unit and the bottommost 1B/1D/1B set of AUTUMN COLORS Unit 2: Use 3' of thread to repeat End the unit directly above in place of string- 0.5 g light olivine size 15° Japanese Components Rounds 1–8. Repeat End ing the first and second 1B/1D/1B set of seed beads (A) Components Round 9, passing through this unit (Fig. 7). Secure and trim the tail 1 g yellow travertine size 11° Japanese seed beads (B, Round 9) the rightmost 1B/1D/1B set of the previ- thread; don’t trim the working thread. 1 g matte lime opaque size 11° Japanese ous unit in place of stringing the third Units 3–6: Repeat Unit 2 four times. seed beads (B, Band Connection, C, 1B/1D/1B set of this unit (Fig. 5). Secure Round 1) and trim the threads. 4 END CONNECTION. Connect the end 3 g yellow travertine size 8° Japanese Units 3–6: Repeat Unit 2 four times. components to the band: seed beads (D) Align 1 end component with the center of 2 g avocado green opaque size 11° cylinder beads (E) 3 BAND ROW 2. Use circular peyote one end of the band. Use the working 4 g toast Duracoat opaque size 11° stitch to form the second row of the band: thread from 1 end component to pass cylinder beads (F and G alternating) Unit 1: Use 5' of thread to repeat End through the nearest corner G of the bottom 4 g lime green luster opaque size 11° Components Rounds 1–8. Repeat End unit. Weave through beads to exit from the cylinder beads (F and G alternating) Components Round 9, passing through nearest A, toward the end component 4 green gaspeite opaque 5×3mm faceted the bottommost 1B/1D/1B set of the unit (Fig. 8, purple thread.) String 1H; pass rondelles (H) directly above in place of stringing the through the nearest A of the end compo- × 1 antiqued brass 6 9mm magnetic clasp second 1B/1D/1B set of this unit (Fig. 6). nent. Weave through beads to exit from the Smoke 6lb FireLine braided beading thread Secure and trim the tail thread; don’t trim mirror A of the current end component the working thread. (Fig. 8, blue thread). String 1H; pass

36 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. OPTION Create an even more complex look by swapping the colors of each unit of the band as you work.

Fig. 8: Weaving End Connection

through the nearest A of the top unit of the the working thread and trim. band. Weave through beads to exit from Repeat this entire step four times with the corner G of the bottom unit (Fig. 8, red the working threads of the bottom thread). Repeat the thread path of this en- components. tire connection to reinforce; secure and trim the working thread. VEZSUZSI is a Hungarian bead-jewelry Repeat this entire step on the opposite designer and teacher who lives in Austria. She end of the band with the second end started making jewelry in 2007 and is inspired component. by mathematics, nature, colors, and texture. Vezsuzsi is a member of the Starman TrendSet- 5 CENTER CONNECTIONS. Connect ters team. See her patterns at www.beadsby the units of the band: vezsuzsi.etsy.com, read her blog at www Use the working thread of the leftmost bot- .vezsuzsi gyongyei.blogspot.com, or email her tom unit of the band to string 1B; pass at [email protected]. through the next G of the following unit. Weave through beads to exit from the top- RESOURCES Check your favorite bead corner G of the same unit (Fig. 9, purple retailer or contact: Miyuki size 15° and 11° thread). String 1B and pass through the seed beads and Delica cylinder beads: next corner G; repeat three times (Fig. 9, Caravan Beads, (800) 230-8941, www blue thread). Weave through beads to exit .caravanbeads.com. Czech Matubo size 8° from the top-corner G of the topmost unit seed beads, clasp, and thread: Beadaholique, of the band, toward the unit to the left. (866) 834-4618, www.beadaholique.com. String 1B; pass through the next G of the Faceted rondelles: Lima Beads, (734) Fig. 9: Stitching Center Connections previous unit (Fig. 9, red thread). Secure 929-9208, www.limabeads.com. ●

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 37 2019 Back-to-Back Spikes Necklace designer of the year

38 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. SUSAN SASSOON

se seed beads to create unusual 1 COMPONENTS. Use flat and tubular Uspiked components and connect right-angle weave and a variation of tubular them in an unexpected way in this peyote stitch to create the components: dramatic statement necklace. Round 1: Use 4' of thread and A to form a strip of right-angle weave 6 units long, leaving a 4" tail (Fig. 1, green thread). TECHNIQUES String 1A; pass down through the first A Flat and tubular right-angle weave of Unit 1. String 1A; pass up through the Tubular peyote stitch variation last A exited in Unit 6 and through the PROJECT LEVEL ££¡ top A just added (Fig. 1, red thread). Round 2: Insert 1D point down into the MATERIALS ring of beadwork and hold it in place as 2 g blue rainbow transparent size 15° you stitch the following rounds. Working Japanese seed beads (A) off of the top beads in Round 1, work 7 9 g dark metallic bronze size 11° Japanese seed beads (B) peyote stitches with 1B in each stitch. 63 aquamarine 3mm fire-polished Pass through the first B of this round rounds (C) (Fig. 2, only one side of beadwork 18 etched matte oro gold AB 7×17mm Fig. 1: Forming shown) spike beads (D) Components, Round 1 Round 3: String 3B; pass through the last B 126 cream 2mm glass pearl rounds (E) exited and the nearest 1A/1B. String 2B 1 gold 7×12mm lobster clasp and pass down through the nearest B of 2 gold 5mm jump rings the previous unit, then pass through the Smoke 6 lb FireLine braided beading last B exited of this unit and the next thread 1A/1B; repeat four times. Pass up through TOOLS the nearest B of the first unit in this round Scissors (Fig. 3, green thread). String 1B; pass Size 11 beading needle down through the nearest B of the previ- 2 pairs of chain- or flat-nose pliers ous unit and the following 1B/1A/3B FINISHED SIZE Fig. 2: Weaving (Fig. 3, blue thread). 18½ " Components, Round 2 Round 4: Work 7 peyote stitches with 1E in each stitch. Align the hole of the D with the B just exited; pass through the D (Fig. 3, red thread). Pass through the Round 5: String 1C, 1E, and 1C; pass nearest E on the opposite side of the D through the last E exited and the fol- and back through the D just exited; pass lowing 1B/1E. String 1C and 1E, then through the last B exited and the follow- pass down through the nearest C of the ing E. Note: This anchors the beadwork to previous unit and through the follow- the D. ing 1E/1B/1E; repeat four times. Pass up through the nearest C of the first unit of this round. String 1E; pass down Fig. 3: Stitching through the nearest C of the Components, previous unit and the following Rounds 3 and 4 1E/1B/1E/1C/1E (Fig. 4, blue thread). Round 6: Work 7 peyote stitches with 1B in each stitch. Pass through the first B of this round (Fig. 4, red thread). String 1D and pass through 1E on the oppo- Fig. 5: Weaving site side of the beadwork. Pass back Components, Fig. 4: Adding Rounds 7–9 through the D just exited and through Components, the first B exited. Rounds 5 and 6 Round 7: String 3B; pass through the last B exited and the nearest 1E/1B. String 2B, then pass down through the nearest B of the previous unit and through the next 1B/1E/1B; repeat four times. Pass up through the nearest B of the first unit in this round. String 1B; pass down through the nearest B of the previous unit and the following 3B (Fig. 5, purple thread).

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 39 2019 designer of the year

Alternate Fig. 6: Connecting ColorwayCl Materials Mt il the components

EARRINGS 0.5 g blue rainbow transparent size 15° Japanese seed beads (A) 1 g bright bronze size 11° Japanese seed beads (B) Round 8: Work 7 peyote stitches with 1A in 3 CONNECT. Use right-angle weave to 4 bronze iris 6mm bugle beads each stitch. Pass through the first A of this connect the straps and components: 16 aqua 3mm fire-polished rounds (C) round (Fig. 5, green thread). Strap 1: Use the working thread of 1 strap 4 etched matte oro gold AB 7×17mm Round 9: String 3A; pass through the last A to string 1B; pass down through a hori- spike beads (D) exited and the nearest 1B/1A. String 2A, zontal B on the top half of the first com- 28 ivory 2mm glass pearl rounds (E) then pass down through the nearest A of ponent. String 1B; pass through the last 1 pair of gold 24×20mm ear wires the previous unit and through the next B exited of the strap. Repeat the thread Smoke 6 lb FireLine braided 1A/1B/1A; repeat four times. Pass up path to reinforce. Weave through beads beading thread through the nearest A of the first unit in to exit from the mirror horizontal B on COPPER NECKLACE this round. String 1A; pass down through the opposite side of the component (2 3 g blush galvanized permanent-finish the nearest A of the previous unit and the units from the last unit exited) (Fig. 6, size 15° Japanese seed beads (A) following 2A of this unit (Fig. 5, red purple thread). 9 g silver galvanized permanent-finish thread). Secure and trim the threads. Set Top Connection: String 3B; pass through size 11° Japanese seed beads (B) aside. the last B exited of the previous com- 2 g light topaz AB transparent 6mm Repeat this entire step eight times for a ponent and the first 2B just added. bugle beads total of nine components. Lay the compo- String 1B; pass through a horizontal B 114 old copper 3mm pressed-glass nents on your work surface side-by-side on the top half of the next component. rounds (C) 28 etched old copper 7×17mm spike with the points oriented vertically. String 1B; pass through the last B beads (D) exited of the connection. Weave 1 etched old copper 8mm 2-hole 2 STRAPS. Use 6' of new thread and B to through beads to exit from the mirror pyramid stud bead create a strip of right-angle weave 46 horizontal B on the opposite side of 196 blush 2mm glass pearl rounds (E) units long; secure and trim the tail thread the component (2 units from the last 1 copper 9×14mm lobster clasp but don’t trim the working thread. Repeat unit exited) (Fig. 6, green thread). 2 antiqued copper 6mm jump rings this entire step using 4' of new thread, Repeat from the beginning of this con- Smoke 6 lb FireLine braided but this time secure and trim the working nection seven times (Fig. 6, blue beading thread and tail threads. thread).

40 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. artist’s tips ❯ To save thread, don’t trim the working thread of each component. Secure the thread of each component and use it to form the connection between the next OPTION component. For a different look utilizing ❯ As you work, pass through the beads the same components, attach an extra time, following the thread path the components lengthwise you’ve created, to strengthen your work. using 6mm bugle beads. This will ensure a longer lasting, more durable piece that you can wear for years to come.

Strap 2: String 1B; pass up through 1B at the end of the second strap. String 1B; 4 CLASP. Use 1 jump ring to attach pass down through the last B exited of the lobster clasp to the end B of 1 strap. the last component (Fig. 6, red thread). Attach 1 jump ring to the end B of Repeat the thread path to reinforce the the other strap. join. Secure and trim the working thread. Bottom Connection: Start 4' of new SUSAN SASSOON is an architect and a thread that exits from the bottom hori- beader who loves fitting together shapes of zontal B of the last component directly all sizes. She is a member of the Beadsmith below the top horizontal B of the top Inspiration Squad and sells her tutorials at connection (see the black start dot in www.sosassybysusansassoon.com and Fig. 6). *String 3B; pass up through the www.sosassysusansassoon.etsy.com. She can last B exited and through the first 2B just be reached on Facebook: So Sassy By Susan added (Fig. 6, black thread). String 3B; Sassoon or via email at sosassybysusan pass down through the last B exited and [email protected]. the first 2B just added (Fig. 6, turquoise thread). String 1B; pass through a hori- RESOURCES Check your favorite bead zontal B on the bottom half of the next retailer or contact: Miyuki size 15° seed component. String 1B; pass through the beads, clasp, jump rings, and thread: Fire last B exited in the connection. Weave Mountain Gems and Beads, (800) 355-2137, through beads to exit from the mirror www.ﬁ remountaingems.com. Size 11° horizontal B on the opposite side of the Japanese seed beads, ﬁ re-polished rounds, component (2 units from the last unit and glass pearl rounds: Fusion Beads, exited) (Fig. 6, pink thread). Repeat from (888) 781-3559, www.fusionbeads.com. * seven times (Fig. 6, orange thread). Spike beads: Back2Bead, (646) 773-5895, Secure and trim the working thread. www.back2bead.com. ●

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 41 Professional Quality Seed Beads

‘Indian Summer’ Bead Crochet Necklace by Candice Sexton www.candicesexton.com Featuring TOHO® PermaFinish Seed Beads TOHO DISTRIBUTORS

TOHO PermaFinish is available in:

6/0, 8/0, 11/0 and 15/0 Rounds,

Bobby Bead as well as Aiko Cylinder Beads www.BobbyBead.com and Demi Round Beads

Starman Beads www.CzechBeads.com See more at Facebook.com/TeamTOHO

BARGello Bracelet MICHELLE GOWLAND

Main Colorway

44 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. 1 BAND. Use a variation of peyote stitch Row 2 and the first A just added (Fig. 2, reate a slinky bracelet that feels great to form the band: green thread). String 1B and 1A; pass up Cto wear using 2-hole CzechMates bars. Row 1: Use 5' of thread to string 1C, 1H, 1C, through the second hole of the last N Stitch a colorful pattern that is reminiscent 1J, 1C, 1K, 1D, 1L, 1D, 1M, 1D, 1L, 1D, 1K, exited (Fig. 2, blue thread). *String 1N; of Bargello needlepoint. 1C, 1J, 1C, 1H, and 1C, leaving a 4" tail pass through the next H (second hole). (Fig. 1, purple thread). String 1H; pass through the next J (sec- Row 2: String 1N; pass through the second ond hole). String 1J; pass through the TECHNIQUE hole of the last H strung. String 1H; pass next K (second hole). String 1K; pass Flat peyote stitch variation through the second hole of the next J. through the next L (second hole). String PROJECT LEVEL ££¡ String 1J; pass through the second hole 1L; pass through the next L (second hole). MATERIALS of the next K. String 1K; pass through the String 1K; pass through the next K (sec- 0.5 g green iris size 15° seed beads (A) second hole of the next L. String 1L; pass ond hole). String 1J; pass through the 1 g matte green iris size 11° seed beads (B) through the second hole of the next M. next J (second hole). String 1H; pass 10 green turquoise Picasso size 8° String 1L; pass through the second hole through the next H (second hole). String seed beads (C) of the next L. String 1K; pass through the 1N; pass through the next N (second 4 gold Duracoat size 8° seed beads (D) second hole of the next K. String 1J; pass hole) (Fig. 2, red thread). 2 matte teal size 8° seed beads (E) through the second hole of the next J. Row 4: String 1A and 1B; pass down 3 green iris size 8° seed beads (F) String 1H; pass through the second hole through the nearest 1A/1N (first and sec- 5 g matte green iris 3.4mm Japanese drops (G) of the next H (Fig. 1, green thread). ond holes) of Row 2, then pass up 83 metallic suede light green 6×2mm 2-hole String 1N; use the working and tail through the first A just added (Fig. 3, CzechMates bars (H) threads to tie a square knot. Pass up orange thread). String 1B, 1A, and 1O; × 73 Atlantis green 6 2mm 2-hole through all the beads (same holes) of pass through the second hole of the next CzechMates bars (J) 63 olive opaque 6×2mm 2-hole Row 1 (Fig. 1, blue thread). String 1A, 1B, N. String 1N; pass through the next H CzechMates bars (K) and 1A; pass down through all the beads (second hole). String 1H; pass through 53 Pacifica avocado 6×2mm 2-hole (same holes) of Row 2 (Fig. 1, red the next J (second hole). String 1J; pass CzechMates bars (L) thread). through the next K (second hole). String 39 Pacifica ginger 6×2mm 2-hole Row 3: String 1A, 1B, and 1A; pass up 1K; pass through the next L (second CzechMates bars (M) through the nearest C of Row 1 then hole). String 1K; pass through the next K × 91 blue iris 6 2mm 2-hole CzechMates bars (N) down through the next N (first hole) of (second hole). String 1J; pass through the 54 cream luster opaque 6×2mm 2-hole CzechMates bars (O) 1 antiqued silver 9×31mm 5-strand slide clasp 10 silver-plated 4×5mm wireguards 10 stainless steel 4mm jump rings Gray One-G nylon beading thread TOOLS Scissors Size 10 beading needle FINISHED SIZE 7"

artist’s tips ❯ Don’t use FireLine for this project it will make the design too stiff. ❯ You can easily create your own BARGello patterns with standard graph paper or use a program such as StitchSketch on your tablet or computer. Just be sure to draw the beads 2×1 to accommodate the two holes! ❯ Any pattern can be translated, even ones that start in the middle and mirror on each side. To do so: leave a long tail and work from the center of the band outwards. Once you finish one half, use the long tail to work Fig. 1: Forming Fig. 2: Stitching Fig. 3: Weaving backwards for the second half. Rows 1 and 2 Row 3 Row 4

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 45 BARGello Bracelet

Alternate Colorway Materials

HOT LAVA OPTION 0.5 g dark coral Duracoat size 15° Jazz it up seed beads (A) with a fancy ClaspGarten 1 g gold Duracoat size 11° seed beads (B) clasp. 6 gold Duracoat size 8° seed beads (C) 13 dark coral Duracoat size 8° seed beads (D, E, F) 5 g frosted pastel mudbrick opaque 3mm Magatama drops (G) 83 matte metallic lava 6×2mm 2-hole CzechMates bars (H) 73 red opaque 6×2mm 2-hole CzechMates bars (J) 63 Pacifica strawberry 6×2mm 2-hole CzechMates bars (K) 53 Pacifica tangerine 6×2mm 2-hole CzechMates bars (L) 93 Pacifica ginger 6×2mm 2-hole CzechMates bars (M, O) 91 metallic suede purple 6×2mm 2-hole CzechMates bars (N) 1 gold 9×33mm 5-strand slide clasp 10 gold-plated 4×5mm wireguards 10 gold 4mm jump rings Gold One-G nylon beading thread

GETTING WARMER 0.5 g green iris Duracoat size 15° next J (second hole). String 1H; pass through beads to exit from the mirror B seed beads (A) through the next H (second hole). String on the opposite side of the band. Repeat 1 g light brown Picasso size 11° 1N; pass through the next N (second from the beginning of this embellish- seed beads (B) hole) (Fig. 3, green thread). String 1O, ment. Secure and trim the threads. 6 matte metallic dark green size 8° 1A, and 1B; pass through the nearest seed beads (C) 1A/1N (second hole), 1O (first hole), and 2 FINISH. Finish the ends of the bracelet: 4 green gold luster size 8° seed beads (D) 4 silver-lined dark orange size 8° 1A (Fig. 3, blue thread). String 1B and Wireguards: Note: Repeat the thread path seed beads (E) 1A; pass up through the second hole of of each wireguard twice to reinforce 2 silver-lined light orange size 8° the O (Fig. 3, red thread). throughout this step. Start 2' of new seed beads (F) Rows 5–49: Repeat from * twenty-two thread that exits up from the bottom J 5 g frosted bronze3mm times, following the chart in Fig. 4 for (second hole) of Row 49. String 1 wire- Magatama drops (G) bead placement. guard; pass through the second hole of × 79 Pacifica tangerine 6 2mm 2-hole Row 50: String 1C; pass through the next K the wireguard, the last J (second hole) CzechMates bars (H) (second hole). String 1E; pass through the exited, and the next 1C/1H/1F (Fig. 6, 67 matte metallic antique gold 6×2mm 2-hole CzechMates bars (J) next J (second hole). String 1C; pass orange thread). String 1 wireguard; pass 57 green luster opaque 6×2mm 2-hole through the next H (second hole). String through the second hole of the wire- CzechMates bars (K) 1F and pass through the next N (second guard, the last 1H/1F exited, and the next 47 metallic suede light green 6×2mm hole); repeat. String 1F; pass through the 1N/1F (Fig. 6, purple thread). String 1 2-hole CzechMates bars (L) next H (second hole). String 1C; pass wireguard; pass through the second hole × 91 metallic suede dark green 6 2mm through the next J (second hole). String of the wireguard, the last F exited, and 2-hole CzechMates bars (M, O) 1E; pass through the next K (second the next 1N/1F/1H (Fig. 6, green 86 Pacifica strawberry 6×2mm 2-hole CzechMates bars (N) hole). String 1C; pass through the next L thread). String 1 wireguard; pass through 1 antiqued brass 29×36mm 7-strand (second hole). String 1A and 1B; pass the second hole of the wireguard, the last box clasp down through the nearest 1A/1L (first 1F/1H exited, and the next 1C/1J (Fig. 6, 10 antiqued brass 4×5mm wireguards and second holes), then pass through the blue thread). String 1 wireguard; pass 14 black 4mm jump rings 1A/1B just added (Fig. 5). through the second hole of the wire- Gray One-G nylon beading Embellish: String 1G and pass through the guard and the last J exited (Fig. 6, red next B; repeat forty-six times. Weave thread). Secure and trim the threads.

46 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. Clasp: Use 1 jump ring to connect 1 loop of the clasp to 1 wireguard; repeat four times. Repeat this entire step on the opposite end of the band to create a mirror clasp connection, taking care that the clasp is positioned to close properly.

MICHELLE GOWLAND has been beading since 1988. She travels the East Coast full-time in an RV with her fiancé, two cute lapdogs, and their brilliant service puppy. Michelle gets her beading inspiration from travel, baseball, drum circles, and the great outdoors—plus frequent stops at local bead shops to keep her stash freshly supplied. Contact Michelle at www.therollingbeadweaver.com.

RESOURCES Check your favorite bead retailer or contact: Seed beads and Miyuki Japanese drops: Beads on Cannon, (843) 723-5648, www.beadsoncannon.com. CzechMates bars and clasp: Jennifer Fig. 5: Stitching Row 50 Wiles Studio, (941) 900-2067, www.jennifer wilesstudio.com; Potomac Bead Company, www.potomacbeads.com; Beads on Cannon, (843) 723-5648, www.beadson cannon.com. All other materials: Michaels, (800) 642-4235, www.michaels.com. ●

OPTION Use similar techniques to create matching earrings.

Fig. 4: Bead Pattern Fig. 6: Finishing the ends

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 47 Star Flight Gemini Pendant KATHY SIMONDS

48 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. 1 PENDANT FRONT CENTER. Use eave a reversible pendant that’s out circular netting to create the center of Wof this world using CzechMates the pendant: QuadraTiles and diamond beads! Round 1: Use 4' of thread to string {1F and 1B} five times, leaving a 4" tail. Note: The first holes of the F strung will be referred TECHNIQUE to as the bottom/inside holes; when in Circular netting the upright position, these holes will sit Circular herringbone stitch at the inside of the circle formed by this PROJECT LEVEL ££¡ round, at the bottom of the component. Each F also has one bottom/outside hole, MATERIALS one top/outside hole, and one top/inside 1 g bronze size 15° seed beads (A) hole. Pass through the beads (same 3 g bronze size 11° seed beads (B) holes) again to form a tight circle; use the 3 g semi-glazed turquoise rainbow size 11° seed beads (C) working and tail threads to tie a square 1 g bronze size 8° seed beads (D) knot. Pass through the first (bottom/ 10 matte turquoise 6.5×4mm 2-hole inside) hole of the first F strung and the Back CzechMates diamonds (E) bottom/outside hole of the same F 10 matte metallic flax 6mm 4-hole CzechMates (Fig. 1, blue thread). Note: You’ll now QuadraTiles (F) begin working in the opposite direction. 10 matte turquoise 3mm English-cut Round 2: String 1B, 1E, and 1B and pass Round 3: String 1B; pass through the sec- rounds (G) through the nearest F (bottom/outside ond hole of the next E. String 1B; pass 10 bronze 3mm fire-polished rounds (H) hole) of Round 1; repeat four times. through the next F (top/outside hole). 2 gold-plated 6mm jump rings Repeat the thread path to reinforce. Repeat from the beginning of this round Smoke 6 lb FireLine braided beading thread Pass through the top/outside hole of four times. Repeat the thread path to TOOLS the last F exited (Fig. 1, red thread). reinforce. Pass through the top/inside Scissors Note: You’ll now begin working in the hole of the last F exited (Fig. 2, blue Size 10 beading needle opposite direction. thread). Note: You’ll now begin working 2 pairs of chain- or flat-nose pliers in the opposite direction. FINISHED SIZE Round 4: String 1B and pass through the 1¾ " next F (top/inside hole); repeat four times (Fig. 2, red thread). Weave through beads to exit from the nearest bottom B of Round 2, toward an E. Flip the beadwork over.

Fig. 1: Forming Pendant Front Center, Rounds 1 and 2

artist’s tip Check the holes of the multi-holed Fig. 2: Stitching Pendant Front beads before you begin. These beads Center, Rounds 3 and 4 can sometimes have blocked holes.

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 49 Star Flight Gemini Pendant

2 PENDANT FRONT SPOKES. Use circular herringbone to create the spokes of the pendant: Round 1: String 2B and pass through the next B of Pendant Front Center, Round 2; repeat nine times. Step up for the next and subsequent rounds by passing through the first bead added in the current round (Fig. 3, pink thread). Round 2: String 2B; pass through the next B of the previous round. String 1C; pass through the next B. Repeat from the beginning of this round nine times (Fig. 3, turquoise thread). Round 3: String 2B and pass through the next 1B/1C/1B of the previous round; repeat nine times (Fig. 3, orange thread). Round 4: String 2B; pass through the next B of the previous round. String 2C; pass through the next B. Repeat from the beginning of this round nine times (Fig. 3, purple thread). Alternate Fig. 3: Weaving Front Colorway Materials Pendant Front Spokes

BLUE SUEDE 1 g bronze size 15° seed beads (A) 3 g metallic blue suede size 11° seed beads (B) 3 g metallic purple suede size 11° seed beads (B, Pendant Back Spokes) 1 g bronze size 11° seed beads (C) 1 g bronze size 8° seed beads (D) 10 matte metallic flax 6.5×4mm 2-hole CzechMates diamonds (E) 10 matte metallic flax 6mm 4-hole CzechMates QuadraTiles (F) 20 bronze 3mm fire-polished rounds (G, H) 2 antiqued brass 6mm jump rings Smoke 6 lb FireLine braided beading thread

OXBLOOD 1 g bronze size 15° seed beads (A) 3 g hybrid gold red pepper suede opaque size 11° seed beads (B) 3 g bronze size 11° seed beads (C) 1 g bronze size 8° seed beads (D) 10 matte metallic flax 6.5×4mm 2-hole CzechMates diamonds (E) 10 gold-marbled oxblood 6mm 4-hole CzechMates QuadraTiles (F) 10 gold luster red 3mm melon rounds (G) 10 bronze 3mm fire-polished rounds (H) Fig. 4: Finishing the 2 antiqued brass 6mm jump rings pendant Smoke 6 lb FireLine braided beading thread

50 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. Make a lighter weight one- sided pendant by stitching only Pendant Front.

OPTION Create matching earrings using similar techniques

Round 5: String 2B and pass through the Back Spokes: Repeat Step 2, Rounds 1–6 Reinforce: Repeat the thread path of the next 1B/2C/1B of the previous round; using C for B, B for C, and H for G. Secure embellishment, using a firmer tension repeat nine times (Fig. 3, green thread). and trim the tail thread; don’t trim the and skipping the D added to form points Round 6: String 2B; pass through the next working thread. (Fig. 4, red thread). Secure and trim the B of the previous round. String 1A, 1G, working thread. and 1A; pass through the next B. Repeat 4 FINISH. Join the two sides of the pen- Attach jump rings through the D at 2 points from the beginning of this round nine dant and embellish the edge: of the pendant and connect your choice of times (Fig. 3, blue thread). Join: Align the pendant front and back so chain. Round 7: String 1D; pass through the next that the raised centers are facing outward 1B of the previous round. String 1B; pass and the spokes are aligned. Use the KATHY SIMONDS is an Idaho native who has through the next G. String 1B; pass working thread of Pendant Back to pass been beading for almost twenty years. She is a through the next B. Repeat from the through the point D of Pendant Front Starman TrendSetter, fascinated with all shapes beginning of this round nine times Spokes Round 7; pass through the next C and sizes of beads and enjoys the challenge of (Fig. 3, red thread). Secure and trim the of Pendant Back. String 1B; pass through combining them in her designs and patterns. threads. Set aside. the next H. String 1B; pass through the Contact her at [email protected], next C. Repeat from the beginning of this KathySimondsDesigns on Facebook and 3 PENDANT BACK. Use circular netting round nine times. Pass through the next www.kathysimondsdesigns.etsy.com. and circular herringbone to create the back point D (Fig. 4, purple thread). of the pendant: Embellish: Note: Use light tension for this RESOURCES Check your favorite bead Back Center: Use 6' of thread to round. String 1C, 1B, 1C, 1D, 1C, 1B, and retailer or contact: Jump rings: Via Murano repeat Step 1. 1C, then pass through the next point D; www.viamurano.com. All other materials: repeat nine times (Fig. 4, blue thread). Artbeads.com, (866) 715-2323. ●

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 51 Dewdrop Earrings EVELÍNA PALMONTOVÁ

Main Colorway

52 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. 1 BEZEL. Use flat and tubular right-angle beadwork over the front of the rivoli. Pass titch a sparkling dewdrop with a weave and peyote stitch to form the bezel: through the next 2B of this unit to exit SSwarovski crystal rivoli in an easy right- Round 1: Use 4' of thread and B to form a from the mirror B of the same unit in angle weave bezel. strip of right-angle weave 11 units long, Round 1 (Fig. 2, green thread). leaving an 18" tail (Fig. 1, purple thread). Round 5: String 1C and pass through the String 1B; pass up through the nearest B next B; repeat eleven times (Fig. 2, red TECHNIQUES of the first unit. String 1B; pass down thread). Secure and trim the tail thread. Flat and tubular right-angle weave through the last B exited in the previous Set aside. Peyote stitch unit, then pass through the next 3B PROJECT LEVEL ££¡ (Fig. 1, green thread). 2 TEARDROP. Use a variation of peyote MATERIALS Round 2: Working off of the top B in stitch to form the teardrop: 1 g metallic cosmos size 15° seed beads (A) Round 1, use tubular right-angle weave Teardrop Loop: Use 4' of new thread to 3 g gunmetal gray permanent-finish size 11° and B to form the second round, exiting string {1E and 1D} twenty times (Fig. 3, seed beads (B) from the top B of the last unit in this orange thread). String 1E; pass back 2 g starlight galvanized permanent-finish round (Fig. 1, blue thread). through the second hole of the same E. size 11° seed beads (C) Round 3: String 1A and pass through the String 1D and pass through the second 3 g starlight galvanized permanent-finish next B of Round 2; repeat eleven times hole of the next E; repeat five times. size 8° seed beads (D) (Fig. 1, red thread). Secure and trim the String 2C and pass through the second × 2 g pastel light blue 5 2.5mm 2-hole working thread. Flip the beadwork over. hole of the next E; repeat seven times. SuperDuos (E) 2 foil-back crystal 10mm Swarovski Round 4: Insert 1 rivoli faceup into the String 1D and pass through the second crystal rivolis beadwork so the back of the rivoli hole of the next E; repeat five times. Pass 2 marine blue 6mm glass pearl rounds (F) touches Round 3. Use the tail thread to through the first hole of the last E exited 1 pair of stainless steel 20×18mm ear wires string 1A and pass through the next B of and the next D (Fig. 3, purple thread). Crystal 6 lb FireLine braided beading thread Round 1; repeat eleven times. Snug the Top: String 1C; pass up through the mirror TOOLS D on the other end of teardrop loop and Scissors the next E (first hole). String 1E and 2C; Size 11 beading needle pass back through the second hole of the E just strung. Pass through the first E FINISHED SIZE (first hole) of the teardrop loop, then × 1" 27⁄8" weave through beads to exit from the second C just added (Fig. 3, green thread). String 1F and 2C; pass back through the F, pass down through the nearest C, and pass up through the adjacent C (Fig. 3, blue thread). String 6B; pass through the next 2C at the top of the F. String 6B; pass through the next 2C at the bottom of the F, then weave through beads to exit from the first C at the top of the F (Fig. 3, red thread).

Fig. 1: Forming Bezel, Rounds 1–3

artist’s tip Create a matching pendant by stitching a bail in place of the ear-wire loop.

Fig. 3: Weaving the teardrop Fig. 2: Stitching Bezel, Rounds 4 and 5 loop and finishing the top

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 53 Dewdrop Earrings

Alternate Colorway Materials

PINK 1 g 24k gold-plated size 15° seed beads (A) 3 g gold lustered raspberry size 11° seed beads (B) 2 g aluminium galvanized permanent- finish size 11° seed beads (C) 3 g aluminium galvanized permanent- finish size 8° seed beads (D) Fig. 4: Adding the ear wire 2 g pastel pink 5×2.5mm 2-hole and connecting the bezel SuperDuos (E) 2 foil-back crystal 10mm Swarovski crystal rivolis 2 rose 6mm glass pearl rounds (F) 1 pair of stainless steel 20×18mm ear wires Crystal 6 lb FireLine braided beading Ear-wire Loop: String 2C, 1 ear wire, and thread 2C; pass down through the next C and pass up through the following C. Repeat TURQUOISE the thread path to reinforce, then weave 1 g higher metallic June bug size 15° seed beads (A) through beads to exit from the seventh D 3 g green teal galvanized permanent- of the teardrop loop (Fig. 4, blue 4 Repeat Steps 1–3 for a second earring. finish size 11° seed beads (B) thread). 2 g aluminium galvanized permanent- EVELÍNA PALMONTOVÁ is a proud mother finish size 11° seed beads (C) 3 CONNECT. Position the bezel inside of two children and works as a dental 3 g aluminium galvanized permanent- the teardrop and align the C of Round 5 assistant. She did Gobelin embroidery for finish size 8° seed beads (D) with the bottom 8D of the teardrop loop. thirteen years but now fills her free time with × 2 g turquoise 5 2.5mm 2-hole *Pass through the nearest C of Bezel, making beaded jewelry. Contact Evelína at SuperDuos (E) 2 foil-back crystal 10mm Swarovski Round 5, then pass through the last D www.svetrucnychprac.sk. crystal rivolis exited of the teardrop loop. String 1C; pass 2 green turquoise 6mm glass through the next D of the teardrop loop. RESOURCES Check your favorite bead pearl rounds (F) Repeat from * six times. Pass through the retailer or contact: Toho seed beads, 1 pair of stainless steel 20×18mm nearest C of Bezel, Round 5, then pass Swarovski crystal rivolis, and all other ear wires through the last D exited on the teardrop materials: Fire Mountain Gems and Beads, Crystal 6 lb FireLine braided loop (Fig. 4, red thread). Secure and trim (800) 355-2137, www.ﬁ remountaingems beading thread the thread. .com. ●

54 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. Melon Delight Wrap Bracelet AMY HAFTKOWYCZ

Main Colorway

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 55 Melon Delight Wrap Bracelet

1 PREPARE. Use the jump ring to attach Row 2: String 2C; arrange the beads his fun and unique twist on today's the 18mm textured ring to the hole at the between both cords, then pass the Tpopular wrap bracelets incorporates end of the metal component with one hole. needle over the bottom cord. Pass under artistic handmade metal components and Fold the cord in half and tie a lark’s head the bottom cord and pass back through stacked beads to create an easy-to-wear knot through the remaining two holes at the 2C just strung, exiting over the top piece. Simply switching out the bead the other end of the metal component. Lay cord. Pass under the top cord and pass colors will give you a completely different the cord on your work surface horizontally through the 2C, exiting over the bottom look and feel! with the 18mm textured ring to the left. cord. Pass under the bottom cord (Fig. 2, Add a needle to 6' of thread. Knot the end blue thread). of the thread onto the bottom cord near Row 3: String 1C, 1A, and 1C; arrange the TECHNIQUE the lark’s head knot, leaving a 4" tail; pass beads between both cords, then pass the Brick stitch variation the thread under the bottom cord (Fig. 1). needle over the top cord. Pass under the PROJECT LEVEL £¡¡ top cord and pass back through the MATERIALS 2 BODY. Use a variation of brick stitch to 1C/1A/1C just strung, exiting over the 4 g red Picasso opaque size 8° seed beads (A) weave the body of the bracelet: bottom cord. Pass under the bottom cord 3 g bronze size 8° seed beads (B) Row 1: String 1A; arrange the bead and pass through the 1C/1A/1C, exiting 24 bronze 2mm cubes (C) between both cords, then pass the needle over the top cord. Pass under the top 36 blue turquoise Picasso 4mm melon over the top cord. Pass under the top cord (Fig. 2, red thread). rounds (D) cord and pass back through the A just Rows 4–13: Continue adding beads in the 8 aqua Picasso 4mm fire-polished rounds (E) strung, exiting over the bottom cord. Pass same manner, following Fig. 3 for bead 26 bronze 1.5–2mm metal beads with 1mm under the bottom cord and pass through placement. hole (F) the A, exiting over the top cord. Pass Rows 14–92: Repeat Rows 4–13 seven × 1 antiqued bronze 12 8mm 3-hole metal under the top cord (Fig. 2, green times. Repeat Rows 4–12. component with 1mm holes thread). Rows 93–95: Taper the ends as in 1 antiqued bronze 14×16mm shank button 1 antiqued bronze 18mm textured ring Rows 1–3, decreasing in size. Secure 1 antiqued bronze 18-gauge 8mm twisted the threads and trim.. jump ring 55" of dark brown 1mm waxed cotton cord Dark brown #1 Tuff-Cord nylon beading thread TOOLS 2 pairs of chain- or flat-nose pliers Scissors Big-eye needle FINISHED SIZE 7½ "

Fig. 1: Preparing the end

Fig. 2: Stitching Rows 1–3

56 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. Fig. 3: Finishing the bracelet

Alternate 3 FINISH. Use the ends of the cords to Colorway Materials form an overhand knot close to the beadwork. Use both cords to string the shank button, then form an overhand knot ¼ " from the previous knot. Use both cords to 4 g matte olive green opaque size 8° seed beads (A) tie an overhand knot ½ –¾ " from the previ- 3 g bronze size 8° seed beads (B) ous knot. Use 1 cord end to string 10F; 24 bronze 2mm cubes (C) repeat with the other cord, then use the 36 pumpkin Picasso 4mm melon ends of the cords to tie an overhand knot. AMY HAFTKOWYCZ has been immersed in rounds (D) Use 1 cord end to string 3F and tie an over- the world of beads since 1994, specializing in 8 metallic rust 4mm fire-polished hand knot after the last bead strung; repeat lampworking, metalsmithing, metal clay, and rounds (E) with the other cord. Trim the ends of the bead weaving. Amy was a Beadwork Designer 26 bronze 1.5–2mm metal beads with cords about ¼ " from the knots (Fig. 3). of the Year in 2015, and she also co-owned a 1mm hole (F) bead store in New Jersey called Artful Beads for 1 antiqued bronze 12×8mm 3-hole metal component with 1mm holes 10 years. Amy now enjoys working full-time out 1 antiqued bronze 14×16mm shank artist’s tips of her home, designing projects and selling button beads, kits, and her metal clay creations online ❯ For a smoother look, use 4mm pressed- 1 antiqued bronze 18mm textured ring and at bead shows. Contact Amy at www. glass rounds for the melon rounds. 1 antiqued bronze 18-gauge 8mm trixiesjewelbox.etsy.com or trixiesjewelbox@ twisted jump ring ❯ For a bracelet that’s adjustable gmail.com. 55" of dark brown 1mm waxed cotton in length, add one or two more button cord loops. RESOURCES Check your favorite bead Dark brown #1 Tuff-Cord nylon beading ❯ thread Add a drop of super glue to the cord retailer or contact: All materials: Trixie’s Jewel knots to ensure they don't come untied. Box, www.trixiesjewelbox.etsy.com. ●

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 57 Mystical Portal Pendant MARIANNA ZUKOWSKY

Main Colorway

58 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. 1 PENDANT BACK. Use tubular peyote Round 5: String 2B; pass through the next se tubular peyote stitch to form this and herringbone stitches to form the back A of the previous round. Work 13 peyote Umystical unisex pendant and hang it of the pendant: stitches with 1B in each stitch. Repeat from your choice of cord, chain, or ribbon. Rounds 1 and 2: Use 12' of thread to string from the beginning of this round twice 69A; pass through the first 24A to form (Fig. 1, purple thread). a tight circle, leaving a 6' tail (Fig. 1, Round 6: String 2B; pass through the next TECHNIQUES black thread). B of the previous round. Work 14 peyote Tubular peyote stitch Round 3: String 2A; pass through the next stitches with 1B in each stitch. Repeat Herringbone stitch A of the previous rounds. String 1A, skip from the beginning of this round twice PROJECT LEVEL ££¡ 1A of the previous rounds, and pass (Fig. 1, turquoise thread). through the next A; repeat ten times. Rounds 7–9: Repeat Round 6 three times, MATERIALS Repeat from the beginning of this round increasing by 1 peyote stitch on each side 2 g semi-matte champagne galvanized size 11° tw c . St p p fo th n xt and s bs - n ach o nd ( ). cylinder beads (A) i e e u r e e u e i e r u Fig. 1, green thread q nt o nds by pass n th o h th St n 1B; pass th o h th n xt 4 g copper galvanized size 11° cylinder ue r u i g r ug e Round 10: ri g r ug e e beads (B) first bead added in the current round B of the previous round. Work 18 peyote 1 copper 12×16mm Eye of Horus charm (Fig. 1, pink thread). stitches with 1B in each stitch. Repeat 1 antiqued copper-plated 6mm jump ring Round 4: String 2A; pass through the next from the beginning of this round twice 1 plastic cocktail straw; 1⁄8" diameter A of the previous round. Work 12 peyote (Fig. 1, blue thread). Secure and trim Black 4 lb FireLine braided beading thread stitches with 1A in each stitch. Repeat the working thread. TOOLS from the beginning of this round twice ( ). Scissors Fig. 1, dark green thread Size 11 beading needle 2 pairs of chain- or flat-nose pliers FINISHED SIZE 2 × 1¾ "

Marianna used the following Delica numbers for this project: DB1152, DB046

Fig. 1: Forming Pendant Back

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 59 Mystical Portal Pendant

artist’s tips ❯ Wind the long tail onto a bobbin to keep it neat until you use it. ❯ Use even, medium tension for the entire project. ❯ Take care that the straws are angled toward each other for a snug fit inside the beadwork.

2 PENDANT FRONT. Use tubular peyote (Fig. 2, turquoise thread). connection. Secure and trim the thread. and herringbone stitches to form the front Round 5: String 2B; pass through the next Charm: Attach 1 jump ring to the charm. of the pendant: B of the previous round. Work 14 peyote Use a lark’s head knot through the jump Round 1: Use the tail thread to string 2A; stitches with 1B in each stitch. Repeat ring and pendant to attach your choice of pass through the next A of Pendant Back from the beginning of this round twice necklace cord. Round 2. Work 10 peyote stitches with 1A (Fig. 2, green thread). in each stitch. Repeat from the beginning Rounds 6–8: Repeat Round 5 three times, MARIANNA ZUKOWSKY fell in love with of this round twice (Fig. 2, pink thread). increasing by 1 peyote stitch on each side bead weaving after enjoying many types of Round 2: String 2A; pass through the next in each round (Fig. 2, blue thread). crafts and hobbies. She loves inspiring her A of the previous round. Work 11 peyote fans and adorning her friends and family with stitches with 1A in each stitch. Repeat 3 FINISH. Use peyote stitch to finish the her creations. Contact her at marushaz@ from the beginning of this round twice pendant: yahoo.com. (Fig. 2, dark green thread). Straw: Cut the cocktail straw into three Round 3: Repeat Round 2, increasing by 1 pieces of 1 ¾ " with 45-degree-angled RESOURCES Check your favorite bead peyote stitch on each side (Fig. 2, purple corners (Fig. 3). Insert the straws into the retailer or contact: Delica cylinder beads, thread). beadwork. TierraCast Eye of Horus charm, jump ring, Round 4: String 2B; pass through the next Zip: Align the beads of Pendant Back and thread: Fusion Beads, (888) 781-3559, A of the previous round. Work 13 peyote Round 10 and Pendant Front Round 8 so www.fusionbeads.com. Cocktail straw: stitches with 1B in each stitch. Repeat they interlock; use the working thread to Check your local grocery store. ● from the beginning of this round twice weave through beads to form a seamless

60 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. Alternate Colorway Materials

PLUM/GRAY 2 g gray luster galvanized size 11° cylinder beads (A) 4 g matte metallic plum iris size 11° cylinder beads (B) 1 antiqued silver 12×16mm evil eye charm 1 sterling silver–plated 6mm jump ring 1 plastic cocktail straw Black 4 lb FireLine braided beading thread

SILVER/BRONZE 2 g pewter galvanized size 11° cylinder beads (A) 4 g dark steel size 11° cylinder beads (B) 1 antiqued brass 12×16mm Eye of Providence charm 1 antiqued brass-plated 6mm jump ring 1 plastic cocktail straw Black 4 lb FireLine braided beading thread

Fig. 2:: Weaving Pendant Front

Fig. 3: Preparing the straws

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 61 fast & fabulous EASY-GOING INSPIRATION

Be inspired by nature with 7 fresh ideas that draw from the beauty of the world around us. (Instructions follow on page 68.)

Timberline Wrap Bracelet Kristina Hahn Eleniak Show your love for the outdoors with this rustic bohemian wrap bracelet. Perfect for those seeking adventure, or in need of a reminder to keep climbing toward their goals.

62 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. fast & fabulous

Rainforest Necklace Anne Perry Create a unique focal by inserting beaded head pins through a series of chain links, then add contrasting dangles and a large central pendant for extra drama.

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. BEADWORK JUNE/JULY 2019 63 fast & fabulous

Sonoran Desert Necklace Deb Floros Inspired by the splendor of the Sonoran desert, this artist combines copper elements with jasper and green glass to represent the colors and textures of the landscape.

64 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. fast & fabulous

Use similar techniques to make matching earrings.

Woodland Patina Necklace Debbie Blair For a playful forest-inspired necklace, string up an assortment of beads and charms refl ective of what you’d gather during an adventurous hike in the woods.

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. BEADWORK JUNE/JULY 2019 65 fast & fabulous

Monarch's Destination Unknown Sandra Lupo Th e migration of the monarch butterfl y, which has become a changing and uncertain journey, inspired this design. Historically, the winter migration has ended in the mountains of central Mexico, but some of the insects' destination in recent years has become southern Florida.

66 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. fast & fabulous

Nature Walk Necklace Michelle McEnroe Th is nature-themed necklace, with sunshine yellows and dark wood browns is like a walk through the brisk morning air.

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. BEADWORK JUNE/JULY 2019 67 fast & fabulous

Beachcombing Necklace Terry Ricioli A snapshot of the beach, this freeform necklace will remind you of trips to the ocean, collecting driftwood, shells, and sea glass along the shore.

68 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. fast & fabulous

the short cord, allowing enough room for the TECHNIQUES beads to slide a bit. Repeat entire step four times. Simple wireworking 5. Trim cord ends so they are 2" long. Slide both MATERIALS cord ends to the copper cord crimp end, then use 18 red-orange Picasso 6×7mm faceted-glass cones pliers to crimp tight. 2 amber Picasso 11×13mm stamped glass ovals 6. Attach one end of the chain to the leather cord 9 green-and-white striped 7×11mm plastic bicones end by opening and closing the chain link as you 1 patinated brass 31×50mm acanthus-leaf pendant would a jump ring. Attach one 6mm jump ring to 19 antiqued brass 22-gauge 2" head pins the free end of the chain. Use one 4mm jump ring 2 antiqued brass 22-gauge 2" eye pins to attach the clasp to the previous jump ring. 7 antiqued brass 6mm jump rings 7. Use one 4mm jump ring to attach the remain- 2 copper 6×14mm unsoldered flat oval rings ing 6mm jump ring to the free end of the moun- 1 antiqued copper 6×12mm hook tain connector. 15½ " of antiqued copper 5×9 /8×5mm fancy chain KRISTINA HAHN ELENIAK is a Canadian designer 13" of antiqued copper 10mm unsoldered and the creative force and founder of Peacock & Lime. cable chain With a love for color and a passion for old things and TOOLS good stories, she loves to create pieces that combine Flat-nose pliers Timberline Wrap Bracelet visual aesthetics and intention with the goal of Round-nose pliers Kristina Hahn Eleniak evoking an emotional response in the individuals Wire cutters TECHNIQUES who wear them. Kristina can be found at www.pea FINISHED SIZE Knotting cock andlime.com or to see the latest work, follow 20" (adjustable; with 3½ " focal) Stringing along on Instagram @peacockandlime. Crimping RESOURCES Check your favorite bead retailer or 1. Use 1 eye pin to string 1 amber glass oval; form Painting contact: Seed beads: BobbiThisNThat on etsy, www.bobbi a wrapped loop. Use 1 jump ring to attach the MATERIALS thisnthat.etsy.com. Mountain link: IngredientsforLovely, www wrapped loop to the leaf pendant. 25 assorted beige/turquoise/green/blue .ingredientsforlovely.etsy.com. Clasp and jump rings: 2. Cut the fancy chain into one 6 ¾ " piece and one size 2° seed beads BohemianFindings on etsy, www.bohemianfi ndings.etsy.com. 8 ¾ " piece. Use 1 head pin to string 1 red-orange × 1 stainless steel 35 15mm mountain link connector Crimp end: ArtBeads.com, (866) 715-2323, www.artbeads.com. cone (wide end first), the center link of the long × 1 antiqued copper 9 12mm lobster clasp Chain, patina paint, and metal sealer: Vintaj, (888) 592-6272, section of fancy chain, and 1 red-orange cone (nar- 2 antiqued copper 4mm jump rings www.vintaj.com. Leather cord: Nunn Design, (800) 761-3557, row end first). Form a simple loop that attaches to 2 antiqued copper 6mm jump rings www.nunndesign.com. ● the amber glass oval on the pendant. 1 antiqued copper 5×10mm leather cord crimp end 3. Use 1 head pin to string 1 red-orange cone as 9½ " of antiqued brass 4×7mm unsoldered before, the fancy chain link on the right side of the flat oval chain pendant, and 1 red-orange cone; form a simple loop. 37" of brown 1.5mm distressed leather cord Repeat entire step three times, each time stringing Patina paint in Aged Bronze the fancy chain link to the right of the previous link. Metal sealer and patina extender glaze 4. Repeat Step 3 on the left side of the pendant. TOOLS 5. Use 1 head pin to string 1 striped plastic bicone; Needle-nose pliers form a simple loop that attaches to the red-orange Bent-nose pliers cone on the right side of the pendant. 6. Crimping pliers Repeat Step 5 three times on the right side of Scissors the pendant and four times on the left side of the Paint brush or cotton swab pendant. 7. Use 2 pairs of pliers to open 1 flat oval as you FINISHED SIZE would a jump ring. String one end of the long fancy 22" chain and one end of the short fancy chain and close the flat oval. Repeat using the remaining flat 1. Working on a protected surface, use the paint- oval on the free ends of the fancy chain. brush or cotton swab to apply patina paint to the 8. Separate the cable chain into one 4 ½ " piece and mountain link connector to create a weathered or one 8 ½ " piece. Use 3 jump rings to attach one end oxidized look; let dry. Apply metal sealer to protect of the short round chain to 1 flat oval. Use 3 jump the finish; let dry. rings to attach one end of the long round chain to 2. Thread the leather cord through the loop on the remaining flat oval. one end of the mountain link connector and 9. Attach the hook to the free end of the short adjust the cord ends so you have one 12" and one round chain by opening the end link as you would 25" length of cord. a jump ring. 3. Use the long cord end to form a slip knot 10. Use 1 eye pin to string 1 amber glass oval; around the short cord, snugging the knot close to form a simple loop that attaches to the free end of the mountain link connector. the long round chain. Use 1 eye pin to string 1 4. Use the short cord end to string 5 seed beads. Rainforest Necklace striped plastic bicone; form a simple loop that Use the long cord end to form a slip knot around Anne Perry attaches to the previous amber glass oval.

70 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. ANNE PERRY is the director of a learning center in you use in your own necklace face the same direc- Southern California. She has been beading in her tion, you will need to use a small jump ring at the spare time ever since her best friend cleaned out her top of each connector where it joins the strand of craft closet and gave Anne all of her beads. beads (Step 4).

RESOURCES Check your favorite bead retailer or 1. Use 1 head pin to string 1 faceted-glass round. contact: Faceted-glass cones and plastic bicones: Bead Bistro, Form a wrapped loop that attaches to the bottom www.beadbistro.com, www.beadbistrocrafts.etsy.com. Leaf of 1 copper oval connector. Repeat entire step four pendant: Filigree and Me, (503) 779-9788, www.fi ligreeandme times. .com. All other materials: A Place to Bead, (626) 219-6633, 2. Use the beading wire to string 1 crimp tube and www.aplace2bead.com. ● one half of the clasp; pass back through the crimp tube and crimp. String 1 copper flat round and 1 seed bead. 3. String {1 jasper nugget and 3 seed beads} six- teen times. 4. String 1 jasper nugget, 1 seed bead, 1 copper connector, and 1 seed bead. Repeat four times. 5. Repeat Step 3. String 1 jasper nugget, 1 seed bead, 1 copper flat round, 1 crimp tube, and the other half of the clasp. Pass back through the crimp tube and crimp.

Sonoran Desert Necklace Deb Floros Woodland Patina Necklace TECHNIQUES Debbie Blair Stringing TECHNIQUES Crimping Simple wireworking Simple wireworking MATERIALS MATERIALS 1 olive-green 5mm pressed-glass round 1g dark mauve size 11° seed beads 1 dark-green 7×10mm luster pressed-glass oval 5 prairie green luster 10mm faceted-glass rounds 1 mottled green jasper 10×8mm puffed diamond 38 jasper 14–17×9–12mm smooth nuggets 7 assorted medium- and dark-brown 4mm wood 2 copper 5mm flat rounds rounds × 5 copper 10 30mm textured oval connectors 1 dark brown 45mm resin horn shell ring 1 copper 26mm toggle clasp 1 olive-and-brown 17×20mm ceramic oval with 5 copper 20-gauge 1½ " head pins leaf imprint 5 small copper jump rings (optional; see “Note” 1 sage green 19×27mm ceramic leaf pendant below) DEB FLOROS is an experienced jewelry designer 1 brown/white/blue 22×25mm ceramic mushroom 2 copper 2mm crimp tubes living in Cave Creek, Arizona, with her husband and pendant 26" of copper .019 beading wire three crazy kitties. You can find Deb on Etsy, Amazon 1 brass 12×16mm leaf charm TOOLS Handmade, and Facebook at Deb Luvs Jewelry 1 pewter 12×18mm owl bead Round-nose pliers Designs. 1 patinated copper 15×28mm acorn pendant × Flat-nose pliers RESOURCES Check your favorite bead retailer or 1 brass 8 12mm lobster clasp Crimping pliers contact: Seed beads: Beyond Beadery, (800) 840-5548, 1 brass 22-gauge 2" head pin Wire cutters www.beyondbeadery.com. Glass rounds: Lima Beads, (734) 2 brass 6×9mm oval jump rings (small) FINISHED SIZE 929-9208, www.limabeads.com. Similar jasper: Happy Mango 5 brass 8×11mm oval jump rings (large) 23" Beads, (970) 532-2546, www.happymangobeads.com. Similar 1 copper 9mm rope jump ring copper fl at rounds: Ayla’s Originals, www.aylasoriginals.com. 2 brass 8mm round jump rings Note: The artist used copper connectors from Alternate hammered oval links: Yadana Beads, www.yadana 2 gunmetal 10×7mm ribbon crimp ends her personal stash that are no longer available. beads.etsy.com. Similar toggle clasp: Linden Avenue Designs, 27" of brown-with-white polka dots ½ " wide Her connectors have a loop at the top that sets www.lindenavenuedesigns.etsy.com. All other materials: cotton ribbon at a ninety-degree angle to the loop at the bot- Fire Mountain Gems and Beads, (800) 355-2137, www.fi re 6½ " of antiqued brass 24-gauge wire tom. If both holes (or loops) in the connectors moun tain gems.com. ● Patina inks in Verdigris and Cinnebar

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TOOLS DEBBIE BLAIR is a Colorado native who enjoys 5 gold 8mm twisted jump rings 1 small paint brush cooking, gardening, and teaching others how to 2 gold 2mm crimp tubes Round-nose pliers make art and jewelry. Visit her website at www.pink 2 gold 4mm crimp covers 2 pairs of chain-or flat-nose pliers dahliacreative.com. 10" of brass-plated 18×21mm textured oval chain Wire cutters 6" of gold 22-gauge wire RESOURCES Check your favorite bead retailer or × FINISHED SIZE contact: Similar green jasper diamonds: Fire Mountain Gems 1 gold 15 16mm cone or 20" of gold 20-gauge wire (for use with cone mandrel tool) 28½ " and Beads, (800) 355-2137, www.fi remountaingems.com. 16" of satin gold .025 beading wire 4mm wood rounds: Beads & Honey, www.beadsandhoney.com. 1. Use the paint brush to apply a small amount of Ceramic oval and mushroom: Gaea, www.gaea.indiemade.com. TOOLS verdigris patina ink onto the belly of the owl bead; Ceramic leaf pendant: Marla’s Mud, www.marlasmud.etsy.com. 2 pairs of chain- or flat-nose pliers let dry. Apply cinnabar patina ink to the remainder Brass leaf charm: Vintaj, www.vintaj.com. Similar owl bead: Wire cutters of the front and back of the owl, including a light Beadaholique, (866) 834-4618, www.beadaholique.com. Crimping pliers coat on the feathers; let dry. Paint the eyes using Ribbon and Vintaj patina inks: JoAnn Fabric and Crafts, (888) Cone mandrel tool (optional) verdigris patina ink. 739-4120, www.joann.com. All other materials: FusionBeads, FINISHED SIZE 2. Use the head pin to string 1 wood round, the (888) 781-3559, www.fusionbeads.com. ● 24" (with 4½ " focal) owl, and the olive-green round; form a wrapped loop that attaches to 1 large oval jump ring. 1. Use the beading wire to string 1 crimp tube and 3. Use one 2" piece of wire to form a wrapped the small ring on 1 spacer bale; pass back through loop that attaches to the brass leaf charm. String 1 the crimp tube and crimp. Cover the crimp tube wood round, the dark-green luster oval, and 1 with 1 crimp cover. String 1 bead cap, one 10mm wood round; form a wrapped loop that attaches to crystal, 1 leaf bead, one 8mm crystal, 1 small piece 1 large oval jump ring. of the fan focal, one 8mm crystal, 1 leaf bead, one 4. Use one 2 ½ " piece of wire to form a wrapped 10mm crystal, 1 medium piece of the fan focal, one loop that attaches to the mushroom pendant. 10mm crystal, one 8mm crystal, one 10mm crystal, String 1 wood round, the ceramic leaf oval, and 1 1 large piece of the fan focal, and one 6mm crystal. wood round; form a wrapped loop that attaches to 2. String the branch link. Repeat Step 1, reversing 1 large oval jump ring. the stringing sequence. 5. Use 1 small oval jump ring to string the leaf 3. Divide the chain into two 5" pieces. Use 1 jump pendant. Use one 2" piece of wire to form a ring to attach one end of one section of chain to wrapped loop that attaches to the previous jump the large ring on the spacer bale; repeat using the ring. String 1 wood round, the jasper puffed dia- other chain. mond, and 1 wood round; form a wrapped loop 4. Use 1 jump ring to attach one half of the clasp that attaches to 1 large oval jump ring. to the free end of one chain; repeat. 6. Use 1 small oval jump ring to attach the copper 5. Use the 22-gauge wire to form a loop large acorn to 1 large oval jump ring. enough to fit through the center of both tassels. 7. Using 2 pairs of pliers, attach the dangles just Use the straight-up wire to string the cone, the formed to the resin horn shell ring in the following large-hole rondelle, and one 6mm crystal; form order from left to right: owl, brass leaf, mushroom, a wrapped loop. ceramic leaf, acorn. 6. Optional: To form a custom wire cone for the 8. Attach the copper jump ring to the top hole in Monarch’s Destination Unknown tassels, attach the large cone mandrel to the base the shell ring. String the jump ring to the center of Sandra Lupo of the cone mandrel tool. Insert one end of the the ribbon. Place 1 ribbon crimp end on one end TECHNIQUES 20-gauge wire into the hole in the base of the of the ribbon and use pliers to gently crimp shut; Stringing mandrel. Holding the tool in one hand and the repeat on the other end of the ribbon. Crimping wire in the other, wrap the wire around the man- 9. Attach 1 round jump ring to 1 ribbon crimp Simple wireworking drel from the base to the tip, keeping each wrap end. Use the remaining round jump ring to attach Cone-making (optional) snug against the previous wrap. Use wire cutters the clasp to the other ribbon crimp end. MATERIALS to cut the wire at the tip of the mandrel and from the hole in the base of the mandrel. Trim the wire 3 topaz 6mm crystal bicones at the tip of the cone mandrel. Remove from the 6 topaz or crystal copper 8mm crystal rounds mandrel. Cut any excess wire rounds from the top 8 crystal golden shadow or Colorado topaz 10mm and/or bottom of the cone for a custom fit on the crystal rounds tassels. Use pliers to tuck the wire ends in slightly. 2 jet black 2 ½ " beaded tassels with 3mm 7. faceted-glass rounds Use 1 jump ring to attach the tassel component to the bottom of the branch link. 1 black onyx 11–23×14–34 fan focal (6-piece set) 1 antiqued gold 6×2mm large-hole rondelle 4 antiqued gold 7×12mm oval leaf beads 1 antiqued gold 7×35mm branch link 2 antiqued gold 10×4mm bead caps 2 gold 8×3mm hammered spacer bales with loop 1 gold 14×10mm hammered hook-and-eye clasp set

72 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SANDRA LUPO is a New Jersey artist who teaches at 4 ebony 8×16mm twisted wood ovals iron oval link, 1 ebony wood slice link, 5 yellow bead shops, museums, and Bead Fest events. She also 1 yellow/green/brown 42×65mm ceramic opal nugget links in consecutive order, 1 ebony creates instructional videos and contributes how-to oak-leaf pendant wood slice link, 1 tiger iron oval link, and 1 tiger projects to various publications. As an inventor, 1 pewter 34×18mm large-hole honey bee pendant iron oval link. Use one 5mm jump ring to connect Sandra is excited to share her designs, instructions, 1 pewter 62×26mm moth link the previous tiger iron oval link to the 11mm jump and demos based on her Conetastic Cone Mandrel 23 antiqued brass 21-gauge 1½ " eye pins ring in Step 7. Tool Set and accessories. Watch some of her videos 2 antiqued brass 5mm jump rings 11. Cut the Irish waxed linen cord into three 12" and contact her at www.sandsstones.com. 24 antiqued brass 7mm jump rings pieces. Use all 3 pieces of cord to form a lark’s head 2 antiqued brass 11mm rope jump rings knot on the pendant. Use all 3 cords to form a dou- RESOURCES Check your favorite bead retailer or × ble knot on the previous 11mm jump ring. *Use contact: Swarovski crystals, jump rings, and focal set: Fire 5 ½ " of antiqued brass 11 15mm flat oval chain one cord end to string 1 ebony wood slice; form a Mountain Gems and Beads, (800) 355-2137, www.fi re moun 36" of dark chocolate 3-ply Irish waxed-linen cord knot and trim the end, leaving a ¼ " tail.** Repeat taingems.com. Tassels: Bead Dazzle, www.beaddazzlepoint TOOLS from * to ** using the remaining cord ends and .com. Antiqued gold beads, link, clasp, and fi ndings: TierraCast, Wire cutters wood slices and varying the lengths of the tails. (wholesale only), (800) 222-9939, www.tierracast.com. All 2 pairs of chain- or flat-nose pliers 12. Use one 7mm jump ring to attach one end of other materials, including Conetastic cone mandrel tool: Round-nose pliers the moth link to the beaded strand so it sits 2 links Beadalon, www.beadalon.com. ● Scissors above the focal; repeat. FINISHED SIZE 28" (with 3" focal) 1. Use 1 eye pin to string 1 faceted-glass rondelle, 1 tiger iron oval, and 1 faceted-glass rondelle; form a simple loop. Repeat five times. 2. Use 1 eye pin to string 1 faceted-glass rondelle, 1 citrine nugget, and 1 faceted-glass rondelle; form a simple loop. Repeat. 3. Use 1 eye pin to string 1 faceted-glass rondelle, 5 yellow opal sticks, and 1 faceted-glass rondelle; form a simple loop. Repeat. 4. Use 1 eye pin to string 1 faceted-glass rondelle, 1 yellow opal nugget, and 1 faceted-glass rondelle; form a simple loop. Repeat six times. 5. Use 1 eye pin to string 1 faceted-glass rondelle, 1 ebony twisted oval, and 1 faceted-glass rondelle; form a simple loop. Repeat three times. 6. Use 1 eye pin to string 1 faceted-glass rondelle, 3 ebony wood slices, and 1 faceted-glass rondelle; form a simple loop. Repeat. 7. Use one 5mm jump ring to connect 1 tiger iron oval link to one 11mm jump ring. 8. Use 7mm jump rings to connect the links MICHELLE MCENROE has been making jewelry and formed in Steps 1 through 6 to one another in the designing beadwork since 2008. Her work has been following order, connecting the first link to the published in numerous magazines, and she is a previous tiger iron link in Step 7: 1 tiger iron oval regular participant in the monthly challenge at link, 1 citrine nugget link, 1 citrine nugget link, 1 www.artbeadscenestudio.com. Michelle enjoys the opal stick link, and 1 opal stick link. Open one sunshine in Plano, Texas, where she lives with her 11mm jump ring and string the free end of the husband, a large collection of guinea pigs and previous opal stick link. String the honey bee pen- bunnies, and her three adult children when they dant onto the same 11mm jump ring. String 1 yel- are home. Find her on Etsy at www.mcenroe low opal nugget link onto the same 11mm jump moments.etsy.com. ring so it is opposite the previous opal stick link. Nature Walk Necklace Close the jump ring. Michelle McEnroe 9. Use 7mm jump rings to continue connecting RESOURCES Check your favorite bead retailer TECHNIQUES the following links to one another, starting with or contact: Glass rondelles: Arte Bella Surplus, www Simple wireworking the previous yellow opal nugget link: 1 yellow opal .artebellasurplus.etsy.com. Yellow opal and tiger iron: Dakota Knotting nugget link, 1 tiger iron oval link, 1 ebony twisted Stones, (866) 871-1990, www.dakotastones.com. Citrine: Fire MATERIALS oval link, and 1 ebony twisted oval link. Use one Mountain Gems and Beads, (800) 355-2137, www.fi re moun 46 amber Picasso 3×2mm faceted-glass rondelles 7mm jump ring to connect one end of the chain to taingems.com. Ebony slices: In the Clouds Beads, www.inthe 10 yellow opal 12–22×3–6mm rounded sticks the previous ebony twisted oval link. Use one cloudsbeads.etsy.com. Twisted ebony ovals: Beads & Honey, 6 matte tiger iron 13×18mm flat ovals 7mm jump ring to connect the free end of the www.beadsandhoney.etsy.com. Pendant: Mary Harding 7 yellow opal 15–18×11–13mm faceted nuggets chain to 1 ebony twisted oval link. Jewelry, www.maryhardingjewelry.etsy.com. Green Girl honey 10. 2 citrine 18×20–23mm tumbled nuggets Use 7mm jump rings to continue connecting bee pendant and moth link: Bead Lady, www.beadlady.etsy links as before, starting with the previous ebony 12 ebony 7×18mm side-drilled elongated .com. All other materials: Lima Beads, (734) 929-9208, ● wood slices twisted oval link: 1 ebony twisted oval link, 1 tiger www.limabeads.com.

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TOOLS etc., in a random fashion, forming a knot before Scissors and after each combination of 1 to 4 beads. Note: Bead reamer You may wish to lay out the beads before stringing Drill with 3⁄32" drill bit them in order to determine the position and spac- Disposable plastic cup ing of the beads so they are placed in a pleasing Disposable gloves order. Dish detergent FINISHED SIZE TERRY RICIOLI loves to make things. She shares her 23" (with 8" fringe) love of creating in her classes, with friends and family, on the web, and in books and magazines. When not Note: Use etching solution to give shiny glass designing crafts and jewelry, she enjoys hiking, beads a matte look that is similar to sea glass. traveling, and getting together with family. Terry lives with her husband on the family vineyard in Sonoma 1. Cut the twine into 4 equal pieces, each measur- County, California. ing 48". Cut the waxed linen cord into 5 equal pieces, each measuring about 25". RESOURCES Check your favorite bead retailer or 2. Drill two holes in the driftwood, about ½ " from contact: Blue glass bead assortment; rudraksha rounds; wood each end. Set aside the largest wood chip to use chips; bone rondelles; shell slices, cubes, chips, and nuggets; for the toggle. Carefully ream the hole in the wood and starfi sh: Bead Gallery by Halcraft at Michaels, (800) chip so that 4 strands of twine will fit through the 642-4235, www.michaels.com. Coco wood rondelles, hole. driftwood, shell spikes, twine, and waxed linen cord: JoAnn 3. Following the manufacturer’s directions, place Fabric and Crafts, (888) 739-4120, www.joann.com. Etchall Dip the glass beads into the plastic cup and cover with ‘n Etch solution: Etchall, (623) 933-4567, www.etchall.com. ● etching solution. Swirl and let sit for 15 minutes. Pour the etching solution back into the container to reuse for another project. Rinse the beads with water, then use a drop of detergent mixed with water to remove the residue. Lay the beads on a paper towel to dry. 4. To form the straps, string one hole in the driftwood to the center of 2 pieces of twine. Form an overhand knot. 5. Use 1 strand to string 1 bead; gather a second strand and use both strands to form an overhand Beachcombing Necklace knot. Use a third strand to string 1 bead; gather Terry Ricioli the first strand and use both strands to form an overhand knot. Continue in this manner using all TECHNIQUES 4 strands, varying the bead shapes and colors and Stringing exchanging strands so that they weave together Knotting down the entire length of the twine. Use all Glass etching 4 strands to form an overhand knot. Drilling 6. Use all 4 strands to string the large wood chip MATERIALS (toggle); form an overhand knot. 50 assorted light- and dark-blue 4–10mm glass 7. Repeat Steps 4 and 5 on the other half of the beads (cubes, rounds, ovals, etc.) necklace. Note: The artist used about 17 beads on 9 brown 8mm rudraksha rounds each half of the necklace. Use all 4 strands to cre- × 15 wood 8–16 20–24mm chips ate a loop large enough for the large wood chip 13 brown-and-black 8×6mm coco wood rondelles (toggle) to fit through; form an overhand knot. 1 piece of driftwood, about ¾ " wide by 4" long by 8. To form the focal, wrap 1 piece of waxed linen ¼ " thick cord around the driftwood twice and position it × 8 white and brown mix 8 12mm engraved bone next to one of the straps. String 1 bead and 1 rondelles shell spike and form an overhand knot below the × 7 natural 5 14–16mm swirl shell slices driftwood. Repeat entire step four times, adding × 8 white 6 6mm shell cubes beads in the following order and positioning 16 brown 8–10mm shell chips each cord horizontally across the piece of drift- 14 aqua 11×7mm shell nuggets wood: 1 swirl shell slice to the first cord, 1 shell 13 natural ivory 6×25–30mm shell spikes nugget and the star to the second cord, 1 shell 1 white 20×20mm simulated lava stone starfish slice to the third cord, and 1 bead and 1 wood 16' of twine chip to the fourth cord. 10½ ' of white waxed linen cord 9. On each strand of waxed linen that hangs Etching solution below the driftwood, add assorted beads, shells,

74 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. Discover life-changing freedom and fun

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For two-needle ladder stitch, add a Begin tubular herringbone stitch For tubular brick stitch, join a ladder- STITCH INDEX needle to each end of the thread. with a foundation ring of one- or two- stitched foundation row into a ring by String 1 bead and slide it to the center needle even-count ladder stitch. passing through the first and last Brick stitch: 14 of the thread. String 1 bead with one String 2 beads. Pass down through the beads of the row, with the holes facing Crimping: 60, 62, 64 needle and pass the other needle back next bead and up through the follow- up. *String 1 bead and pass under the Fringe: 14 through the bead just added; repeat ing bead in the ladder. Repeat around closest exposed loop of the founda- Herringbone: 29, 46, 56 to form a strip. the ring. At the end of the round, pass tion ring. Pass back through the same Knotting: 60, 65, 66 through the first beads of the previous bead and repeat, adding 1 bead at a Loomwork: 14, 18, 21 and current rounds to step up to the time. Finish the round by passing Netting: 46 new round. down through the first bead and up Peyote: 29, 34, 38, 42, 50, 56 through the last bead of the current round, then string 2 beads to begin Right-angle weave: 38, 50 STOP BEAD the next round. Stringing: 60, 62, 64, 66 A stop bead (or tension bead) holds Wireworking: 61, 62, 63, 64, 65 your work in place. To make one, string PEYOTE STITCH a bead larger than those you are work- For one-drop even-count flat peyote ing with, then pass through the bead stitch, string an even number of beads to one or more times, making sure not to create the first two rows. Begin the third split the thread. row by stringing 1 bead and passing back through the second-to-last bead of the previous row. String another bead and pass back through the fourth-to-last bead PASS THROUGH of the previous row. Continue adding VS PASS BACK THROUGH 1 bead at a time, passing over every other Pass through means to move the nee- bead of the previous row. FRINGE dle in the same direction that the BRICK STITCH Exit from the foundation row of beads beads have been strung. Pass back Stitch a foundation row in one- or two- or fabric. String a length of beads plus through means to move the needle in needle ladder stitch. String 2 beads 1 bead. Skipping the last bead, pass the opposite direction. and pass under the closest exposed back through all the beads just strung loop of the foundation row and back to form a fringe leg. Pass back into the through the second bead. String FINISHING AND STARTING foundation row or fabric. NEW THREADS 1 bead and pass under the next exposed loop and back through the Two-drop peyote stitch is worked the Tie off the old thread when it’s about bead just strung; repeat. same as one-drop peyote stitch, but with 4" long by making an overhand knot 2 beads at a time instead of 1 bead. around previous threads between beads. Weave through a few beads to hide the knot, and trim the thread close to the work. Start the new thread by tying an overhand knot around previous threads between beads. Weave through several beads to hide the knot and to reach the place to For odd-count flat peyote stitch, resume beading. string an uneven number of beads to cre- HERRINGBONE STITCH ate Rows 1 and 2. String 1 bead, skip the Form a foundation row of one- or two- last bead strung, and pass through the STRINGING needle even-count ladder stitch and To decrease within a row, string next bead. Repeat across the row (this is Stringing is a technique that uses exit up through the final bead. String 2 1 bead and skip a loop of thread on Row 3). To add the last bead, string 1 bead beading wire, needle and thread, or beads, pass down through the next the previous row, passing under the and knot the tail and working threads, other material to gather beads into a bead in the ladder, and pass up second loop and back through the clicking all beads into place. Start the next row (Row 4) by passing back through the strand. through the following bead; repeat to bead. the end of the row. Step up for the last bead added. Continue in peyote next row by wrapping the thread stitch, turning as for even-count at the end of this and all even-numbered rows. around previous threads to exit up At the end of all odd-numbered rows, add through the last bead strung. To form LADDER STITCH the last bead, pass under the thread loop the next row, string 2 beads and pass at the edge of the previous rows, and pass For one-needle ladder stitch, string down through the second-to-last back through the last bead added. 2 beads and pass through them again. bead of the previous row and up Manipulate the beads so their sides through the following bead. Repeat, To increase within a row, work touch. String 1 bead. Pass through the stringing 2 beads per stitch, passing 2 stitches in the same loop on the pre- last bead added and the bead just down then up through 2 beads of the vious row. strung. Repeat, adding 1 bead at a previous row and stepping up as time and working in a figure-eight before. The 2-bead stitch will cause pattern. the beads to angle in each column, like a herringbone fabric.

VISIT WWW.INTERWEAVE.COM/BEADING FOR VALUABLE BEADING TIPS AND TECHNIQUES. BEADWORK JUNE/JULY 2019 85 techniques (continued)

Begin a midproject peyote-stitch Work odd-count tubular peyote stitch round. Repeat from ** twice, then step row, use the right needle to string increase by working a stitch with 2 beads the same as even-count tubular peyote up as before. Work each round the 2 beads; pass the left needle through in one row. In the next row, work 1 bead in stitch; however, it isn’t necessary to step same way. the next bead on the previous row each stitch, splitting the pair of beads in up at the end of each round. and back through the last bead strung the previous row. For a smooth increase, use very narrow beads for both the two- NETTING drop and the one-drop between. String a base row of 13 beads. String 5 beads and pass back through the fifth bead from the end of the base row. String another 5 beads, skip 3 beads of the base row, and pass back through the next bead; repeat to the end of the row. To turn, pass back To make a midproject peyote-stitch through the last 3 beads (one leg of decrease, simply pass the thread through 2 beads without adding a bead in the last net). String 5 beads, pass back the “gap.” In the next row, work regular through the center bead of the next one-drop peyote stitch over the decrease. net, and continue. Work with tight tension to avoid holes. RIGHT-ANGLE WEAVE For one-needle right-angle weave, string 4 beads and pass through the first 3 beads again to form the first unit. For the rest of the row, string 3 beads and pass through the last For circular peyote stitch, string bead exited in the previous unit and 3 beads and knot the tail and working the first 2 beads just strung; the threads to form the first round; pass For circular netting, string {1A and 1B} thread path will resemble a series of through the first bead strung. For the sec- six times; pass through the beads figure eights, alternating direction For cubic right-angle weave, string ond round, string again to form a circle for the founda- with each unit. To begin the next row, 4 beads, leaving a 3" tail. Pass through 2 beads and pass through the next bead tion round and pass through the next pass through beads to exit from the the beads again to form a tight circle; of the previous round; repeat twice. To 1A. *String 1A, 1B, and 1A; skip 1 bead top bead of the last unit. String use the working and tail threads to tie step up to the third round, pass through and pass through the following bead 3 beads and pass through the last a square knot and pass through the the first bead of the current round. For the in the previous round to form a “net.” bead exited and the first bead just first bead strung. For the first face of third round, string 1 bead and pass Repeat from * five times, then step up strung. *String 2 beads; pass back the cube, string 3 beads and pass through the next bead of the previous for the next round by passing through round; repeat around, then step up at the through the next top bead of the pre- through the last bead exited at the the first 2 beads of the first net. String end of the round. Continue in this man- vious row, the last bead exited in the bottom of the cube, then pass through ner, alternating the two previous rounds. 2A, 1B, and 2A; pass through the mid- previous unit, and the 2 beads just the first bead just added. For the sec- It may be necessary to adjust the bead dle bead of the nearest net in the pre- strung. Pass through the next top ond face of the cube, string 2 beads count, depending on the relative size of vious round. Repeat five times, then bead of the previous row. String and pass back through the next bead the beads, to keep the circle flat. step up for the next round by passing 2 beads; pass through the last bead of at the bottom of the cube, then pass through the first 3 beads of this round. the previous unit, the top bead just up through the nearest bead on the Work each round the same way, exited, and the first bead just strung. side of the first face, pass through the increasing the number of A beads as Repeat from * to complete the row, 2 beads just added, and pass through necessary to keep the work flat, and then begin a new row as before. the next bead at the bottom of the stepping up by passing through the cube. For the third face of the cube, first half of the first net. string 2 beads; pass down through the nearest side bead on face 2, pass through the next bead at the bottom of the cube, and pass up through the first bead just added. For the fourth face of the cube, string 1 bead; pass For even-count tubular peyote stitch, down through the nearest side bead string an even number of beads and knot on face 1, pass back through the the tail and working threads to form the next bead at the bottom of the first 2 rounds; pass through the first cube, pass up through the nearest 2 beads strung. To work Round 3, string side bead of face 3, and pass 1 bead, skip 1 bead, and pass through the through the first bead just added. next bead; repeat around until you have added half the number of beads in the To begin two-needle right-angle Pass through the 4 beads at the top first round. Step up through the first bead weave, add a needle to each end of to complete the cube. For subse- added in this round. For the following the thread. Use one needle to string quent cubes, the beads at the top of rounds, string 1 bead and pass through 3 beads and slide them to the center the previous cube will act as the the next bead of the previous round; of the thread. *Use one needle to bottom of the new cube. repeat, stepping up at the end of each For tubular netting, string {1A and 1B} string 1 bead, then pass the other nee- round. six times; pass through the beads dle back through it. String 1 bead on again to form the foundation round. each needle, then repeat from * to *String 1A, 1B, and 1A; skip 1B and pass form a chain of right-angle-weave through the following 1B in the previ- units. To turn at the end of the row, ous round to form a “net.” Repeat from use the left needle to string 3 beads, * twice, then step up for the next then cross the right needle back round by passing through the first through the last bead strung. Use the 2 beads of this round. **String 1A, 1B, left needle to string 3 beads, then and 1A; pass through the middle bead cross the right needle back through of the nearest net in the previous the last bead strung. To continue the

86 WWW.INTERWEAVE.COM VISIT WWW.INTERWEAVE.COM/BEADING FOR VALUABLE BEADING TIPS AND TECHNIQUES. LARK’S HEAD KNOT Lark’s head knots are CRIMP/CORD ENDS LOOMWORK To form a wrapped loop, begin with a great for securing Crimp/cord ends consist Follow the manufacturer’s instructions 90° bend at least 2" from the end of stringing material to of a loop attached to a for warping your bead loom. Note that the wire. Use round-nose pliers to another piece, such as a tube. Dab the leather, you will need one more warp thread form a simple loop with a tail overlap- ring or a donut. Fold the plastic, ribbon, or other than you have number of beads in a ping the bend. Wrap the tail tightly stringing material in cord with jewelry glue, row. Tie a thread to an outside warp down the neck of the wire two or half. Pass the fold then place it in the (tie onto the left warp if you are right- three times. Trim the excess wire to through a ring or donut, crimp/cord end. If you’re handed or the right warp if you are finish. Make a thicker, heavier-looking then pull the ends through the loop crimp/cord using a crimp end, crimp left-handed). Use a needle to string wrapped loop by wrapping the wire created and pull snug. end it as you would a crimp the first row of beads and slide them back up over the coils, toward the tube. down to the knot. Bring the beaded loop, and trimming at the loop. OVERHAND KNOT weft thread under the warp threads and push the beads up so that there is This is the basic knot for tying off DANGLES one bead between each two warp thread. Make a loop with the stringing Dangles can threads. Hold the beads in place and material. Pass the cord that lies behind be strung as pass back through all the beads, mak- the loop over the front cord and they are, ing sure that the needle passes over through the loop; pull snug. attached the warp threads. End the threads by using jump weaving back through the beadwork, rings, or tying knots between beads. For a wrapped-loop bail, center a linked to other bead on a 3" or longer piece of wire. loops. Use a wrapped-loop dangle Bend both ends of the wire up the SQUARE KNOT head pin or sides and across the top of the bead. This knot is the classic sturdy knot suit- eye pin to string the bead(s), then form Bend one end straight up at the center able for most stringing materials. a simple or wrapped loop. of the bead, then wrap the other wire Make an overhand knot, passing the around it two right end over the left end. Make HEAD PINS/EYE PINS or three times. Form a another overhand knot, this time pass- Head pins are straight wires with a wrapped loop ing the left end over the right end; flat disc, ball, or other shape at one with the pull snug. end. Eye pins are straight wires that straight-up end in a loop. WIREWORKING wire, wrap- To open a jump ring, grasp each side ping it back of its opening with a pair of pliers. down over the Don’t pull apart. Instead, twist in already-formed coils. Trim the opposite directions so that you can excess wire. open and close it without distorting CRIMPING the ring’s shape. For a coil, use one hand to hold the Crimp tubes are seamless metal tubes end of the wire against a mandrel. used to secure the end of a beading With the other hand, wrap the wire wire. To use, string a crimp tube and around the mandrel the connection finding (i.e., the loop head pins eye pins in tight loops. To of the clasp). Pass back through the remove the coil, tube, leaving a short tail. Place the WIREGUARDS slide it off the man- crimp tube in the front notch of the drel and cut the crimping pliers and squeeze to shape Wireguards provide a smooth metal For a simple loop, use flat-noseose pliers wire from the spool. the tube into an oval. Use the back channel to protect the stringing mate- to make a 90° bend at least ½" from Add vertical loops notch of the crimping pliers to press rial from chafing the end of the wire. Use on either end to use the coil as is, or the length of the tube down between against a connector. round-nose pliers to grasp cut the coil at certain intervals to make the wires, enclosing them in separate String a crimp tube, the wire at the tip; roll the jump rings or split rings. chambers of the crescent shape. then pass up pliers toward the bend, Rotate the tube 90° and use the front through one half of but not past it, to preserve notch of the pliers to fold the two the guard and down the 90° bend. Adjust the For a spiral, form a small loop at the chambers onto themselves, forming a the other half. Pass pliers as needed to continue the wrap end of a wire with round-nose pliers. clean cylinder. Trim the excess wire. the guard and wire through the loop of around the nose of the pliers. Trim the Enlarge the piece the connector, pass wire next to the bend. Open a simple by holding onto CRIMP BEADS the wire back through the crimp tube, loop by grasping each side of its open- the spiral with chain-nose pliers Crimp beads are serrated metal beads. snug the tube up to the guard, then ing with a pair of pliers. Don’t pull and pushing the Twisted crimp tubes and crimp beads crimp. apart. Instead, twist in opposite direc- wire over the pre- can be secured by squeezing them flat tions so that you can open and close it vious coil with your thumb. with chain- or flat-nose pliers. without distorting the loop’s shape. JUMP RINGS To form a double simple loop, make Jump rings the 90º bend at least 1" from connect holes the end of the wire. Make a and loops. Open a jump simple loop and continue ring by grasp- wrapping the wire around ing each side of its opening with a pair of the round-nose pliers to pliers; don’t pull apart. Instead, twist in form two complete loops. opposite directions so that you can open and close without distorting the shape.

VISIT WWW.INTERWEAVE.COM/BEADING FOR VALUABLE BEADING TIPS AND TECHNIQUES. BEADWORK JUNE/JULY 2019 87 bead buzz KATIE HACKER BEAD ALL ABOUT IT

people who love the art and craft of Bead Fest Philadelphia making jewelry. Many vendors provide demonstrations of their products, such as new tools or ideas for using their inven- A JEWELRY ART EXPERIENCE tions in creative ways. You’ll find everything from handmade one-of-a-kind beads and components to jewelry supplies to expand your stash. Artist Diane Hawkey says, “Bead Fest was my first ‘big’ bead show about 15 years ago. It was exciting for me because a brand-new audience on the East Coast got to see my work, and I got to meet so many bead artists. I was sort of starstruck that first time. I think I’ve done Bead Fest every year since then. My favorite part of the show is Artisan Alley, where the artisan bead makers are all grouped together. There’s so much amazing creativity in one place. It’s also where I meet my best friends who are bead artists. It feels like a bead party down our aisle.” If you’re looking for a quick dose of inspiration, you’ll find it in the inexpensive and speedy Make-It Take-It projects in the Expo Marketplace. A variety of vendors will share their newest products in fun, trendy jewelry designs that you can Susan Lenart Kazmer’s Caging Industrial class. complete on the spot. If you don’t have time for a class or can’t commit to a workshop, this alternative allows you to GET READY TO HONE YOUR SKILLS, This year, more than 35 instructors will try a new product or technique in a more supply your stash, and connect with other teach classes on bead weaving, kumihimo, laid-back setting. beadworkers and jewelry makers! Bead metal clay, polymer clay, metalsmithing, Whether you take a class, shop the Expo Fest Philadelphia takes place August and more. There are 150 classes over the Marketplace, or both, there are plenty of 14–18, 2019, at The Greater Philadelphia course of five days, so you can learn a new opportunities to find inspiration at Bead Expo Center at Oaks. Classes begin August skill or take your favorite technique to the Fest. If you’re traveling from afar, there are 14th, and the Expo Marketplace is open next level. Plus, all students receive a free hotels and restaurants close to the event. August 16–18th for some of the best 3-Day Expo Marketplace general admis- Connect with other beaders, supply your shopping around. You won’t want to miss sion pass when you register for at least studio, and add more techniques to your it, whether you’re making jewelry for one 3-hour or longer workshop. You’ve skills at Bead Fest Philadelphia! yourself or for resale. It’s a creativity seen many of the instructors’ projects in workshop and giant pop-up shop all the pages of Beadwork. Their classes rolled into one! present the unique opportunity to spend Almost 20 years old, Bead Fest is the time with and learn alongside them. largest bead and jewelry event on the East Instructor Susan Lenart Kazmer teaches Coast. There were seven teachers offering at Bead Fest every year. She says, “I have 14 classes and exhibitors filling 100 booths very inquisitive, interesting people from when the show began. Editor Tamara all walks of life in my classes there. I have Honaman remembers standing at the creators from movie sets to students who front door in hopeful anticipation that are professionals in the field of jewelry people would come. A half-hour before and just need to replenish their creative the very first Bead Fest opened, people juices. Also, I love that if a student forgets Nikki Thornberg, Marsha Neal, Diane Hawkey, and were lined up to get inside, and a worth- to bring something, they have easy access Stacy Louise Smith at Bead Fest. the-wait annual tradition was born. to cutting-edge tools and materials right Tamara says, “It’s amazing to see how it’s on the show floor.” KATIE HACKER is the interim managing grown. It really speaks to the passion of More than 200 vendors from across the editor of Beadwork and the host of Beads, beaders and jewelry makers and all of our country typically exhibit at Bead Fest’s Baubles & Jewels on PBS. You might bump into instructors and vendors who make it all Expo Marketplace. You can shop, meet the Katie shopping the aisles at the Bead Fest Expo possible.” artisans and exhibitors, and connect with Marketplace. ●

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