Holidays| 6 Seed Bead Techniques
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Glitter Text
All That Glitters – Spark and Dazzle from the Permananent Collection co-curated by Janine LeBlanc and Roger Manley Randy and Susan Woodson Gallery January 23 – July 12, 2020 Through the ages, every human society has demonstrated a fascination with shiny objects. Necklaces made of glossy marine snail shells have been dated back nearly 135,000 years, while shiny crystals have been found in prehistoric burials, suggesting the allure they once held for their original owners. The pageantry of nearly every religion has long been enhanced by dazzling displays, from the gilded statues of Buddhist temples and the gleaming mosaics of Muslim mosques and Byzantine churches, to the bejeweled altarpieces and reliquaries of Gothic cathedrals. As both kings and gods, Hawaiian and Andean royalty alike donned garments entirely covered with brilliant feathers to proclaim their significance, while their counterparts in other cultures wore crowns of gold and gems. High status and desirability have always been signaled by the transformative effects of reflected light. Recent research indicates that our brains may be hard-wired to associate glossy surfaces with water (tinyurl.com/glossy-as-water). If so, the impulse drawing us toward them may have evolved as a survival mechanism. There may also be subconscious associations with other survival necessities. Gold has been linked to fire or the sun, the source of heat, light, and plant growth. The glitter of beads or sequins may evoke nighttime stars needed for finding one’s way. The flash of jewels may recall an instinctive association with eyes. In jungles as well as open grasslands, both prey and predator can be so well camouflaged that only the glint of an eye might reveal a lurking presence. -
Tracing Sixteenth Century Beads in South America to Understand Their Impact on Indigenous Ritual Practices and Material Culture at the Time of the Spanish Conquest
Tracing Sixteenth Century Beads in South America to Understand Their Impact on Indigenous Ritual Practices and Material Culture at the Time of the Spanish Conquest The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Feinzig, Kristi May. 2017. Tracing Sixteenth Century Beads in South America to Understand Their Impact on Indigenous Ritual Practices and Material Culture at the Time of the Spanish Conquest. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33813391 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Tracing Sixteenth Century Beads in South America to Understand Their Impact on Indigenous Ritual Practices and Material Culture at the Time of the Spanish Conquest Kristi May Feinzig A Thesis in the Field of Anthropology and Archaeology for the Degree of Master of Liberal Arts in Extension Studies Harvard University March 2017 © March 2017 Kristi M. Feinzig Abstract This thesis examines bead preferences in Peru, Venezuela, and Colombia before and after the Spanish Conquest during the sixteenth century. By examining the spread of beads across a region, I was able to gain insight into colors and materials that people desired and identify potential patterns of resistance to glass beads. Information about the cultures and societies of my study are gleaned from examining glass and shell bead dispersion and their use before and after this period of significant cultural impact. -
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 FREE SHIPPING / FREE RETURNS / GREAT REWARDS join the fun at artbeads.com/rewards! SEE WHAT WE’RE SERVING New Czech Bead Recipes 24 Unique Recipes 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-dimen- sional 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. -
Seed Beads and Off-Loom Bead Weaving Stitches
Seed Beads and Off-Loom Off-Loom Stitches Bead Weaving Stitches Off-loom weaving techniques have originated from around the world and have been passed down from ancient times and tribes. Here are some of the most commonly used stitches. SEED BEADS Brick This stitch is found in Native American traditions, Seed beads are small glass beads sized by number. The notably Comanche and Cheyenne, as well as African larger the number, the smaller the bead. The most Zulu tribes. It creates off-set rows with the beads commonly used seed bead sizes are 6/0, 8/0, 11/0 and 15/0, arranged in a brick-like pattern. It creates the same look with size 15/0 being the smallest. They come in other sizes as peyote, but is stitched very differently. 145 Harrison Street and shapes as well. Oak Park, Illinois Peyote Peyote stitch is found in Native American and West 708.848.1761 Seed beads on hanks (strands African beadwork. It is a very strong stitch that produces, www.beadinhand.com that are bundled together), are like brick stitch, off-set rows arranged like brick paving. It Mon, Tue, Thur, Fri: 10-6 generally made in the Czech ish can also be made in flat tubular, spiral or flat circular pieces. Wed: 1 -6 Republic. They tend to be Sat: 10-5 | Sun: 12-5 rounder, more donut shaped, with Right Angle Weave The origin in unknown for this beading smaller holes. technique but it is found in beaded pieces from Africa, Seed beads in tubes are generally made in Japan. -
Glossary of Jewellery Making and Beading Terms
Glossary of Jewellery Making and Beading Terms A jewellery glossary of beading terms and jewellery making terminology combining clear images with easy to understand dictionary like definitions. This bead glossary also provides links to more in depth content and bead resources. It can be used as a beading A to Z reference guide to dip into as needed, or as a beading and jewellery glossary for beginners to help broaden beading and jewellery making knowledge. It is particularly effective when used alongside our Beading Guides, Histories, Theories and Tutorials, or in conjunction with our Gemstones & Minerals Glossary and Venetian Glass Making Glossary. A ABALONE These edible sea creatures are members of a large class of molluscs that have one piece shells with an iridescent interior. These shells have a low and open spiral structure, and are characterized by several open respiratory pores in a row near the shell’s outer edge. The thick inner layer of the shell is composed of a dichroic substance called nacre or mother-of-pearl, which in many species is highly iridescent, giving rise to a range of strong and changeable colors, making it ideal for jewellery and other decorative objects. Iridescent nacre varies in colour from silvery white, to pink, red and green- red, through to deep blues, greens, and purples. Read more in our Gemstones & Minerals Glossary. Above are examples of Paua and Red Abalone. ACCENT BEAD Similar in purpose to a Focal Bead, this is a bead that forms the focus for a piece of jewellery, but on this occasion rather then through its size, it is usually through contrast. -
BEAD WORK S E C O N D E D I T I O N E D I T E D B Y J U L E S & K a E T H E K L I O T
BEAD WORK S ECOND E DITION EDITED BY J ULE S & K AETHE K LIOT A Compilation of Original Early Twentieth Century Sources by Belle Robinson Sophie T. LaCroix Emma Post Barbour Virginia Snow LACIS PUBLICATIONS BERKELEY, CA 94703 his LACIS, SECOND EDITION of BEAD WORK has been expanded to include an Tunabridged republication of the following early 20th c. publications: PRISCLLA BEAD WORK BOOK; A COLLECTION OF NEW AND OLD BEAD WORK WITH PATTERNS AND LessoNS FOR WORKING, edited by Belle Robinson, published in 1912 by Priscilla Publishing Co., OLD AND NEW DESIGNS IN BEADWORK, BOOK NO. 20: SAUTOIR CHAINS, BEADED Necklaces, BAGS, PURSES, SLIPPER BUCKLES, WATCH FOBS, ETC. by Sophie T. La Croix from this same period, published by St. Louis Fancy Work Co. NEW BEAD BOOK by Emma Post Barbour, published in 1924 by National Trading Co.. and selections from: VIRGINIA SNOWS AUTHORITY ON BEAD BAGS, NECKLACES ETC. BOOK NO. 29 by Virginia Snow, published in 1926 by Collingboume’s Virginia Snow Studios Original page numbers have been left intact where different from book pages and should be used for text references. It should be noted that all references to materials and prices are as originally published and are no longer relevant other then for historical data. SUPPLIES In addition to the obvious bead, supplies needed can include fine threads, usually either of silk, nylon or linen, beading needles, fine crochet hooks and knitting needles, tambour needles, accessory items such as purse handles, ear wires, etc. and bead looms. SOURCES CF SUPPLY LACIS specializes in fine beads for beadwork, the finest crochet hooks and knitting needles, bead looms, purse frames and a full line of tools, materials and books for lace making, embroidery and costume. -
How to Do Brick Stitch
How To Make a Wrapped Loop on a Head Pin Here are some simple instructions on making a wrapped loop on a head pin. This technique can be handy for making basic earrings, adding drops from a necklace or bracelet, and many other cool beadwork applications. Difficulty: Easy Time Required: 20 minutes Here's How: 1. Place beads or other objects on the head pin, making sure they go all the way down the shaft, and that the head of the pin is flush with the bead. 2. Using a pair of chainnose pliers, bend the wire right next to the bead away from you at a right angle. 3. Grasp the bent wire with your round nose pliers just beyond the bend. Pull the end of the wire back around the tip of the pliers. Go all the way around and make a loop around the tip of the pliers, until the wire points in the other direction. 4. Now that you have the loop formed, you may slip the chain, ear wire or other finding into the loop, so that you will be closing the wrapped loop with the item attached. 5. Grasp the top of the loop with your round nose pliers to hold it steady while you use your chainnose pliers to grasp the remaining free wire and wrap it twice around the wire below the loop. 6. Cut the remaining wire flush with the work, and press it against the wire gently, using the tip of your chainnose pliers. 7. Use a small file to clean any rough edges from the cut. -
Memories in Beads Forever, Borne by the Frailty of Threads
MEMORIES IN BEADS FOREVER, BORNE BY THE FRAILTY OF THREADS AN EXHIBIT ON THE OCCASION OF BEAD EXPO 2007, OAKLAND, CALIFORNIA MARCH 30, 2007 TO EXHIBIT CATALOG APRIL 30, 2007 LACIS MUSEUM of LACE and TEXTILES 2982 ADELINE STREET, BERKELEY, CA 94703 THE LACIS MUSEUM OF LACE AND TEXTILES MLT was established in October of 004, as the legacy of Kaethe Kliot who Lwas the spirit of the Lacis Textile Center and Retail Store, a haven for the tex- tile community and all involved in virtually every aspect of the textile arts…a place where she provided support, encouragement and knowledge to all. This spirit re- mains, after her untimely passing in 00, in the Museum which encompasses all that she loved. This spirit is best exemplified by comments received from those she touched: …whenever I needed to recharge my spirit, I knew that a visit to Lacis would do the trick… …her sense of the appropriate, that just-rightness which made Laces the alluring treasure trove that draws us in… …her enthusiasm was contagious and she always wanted to share it. She was the consummate teacher… …she had a mission to share everything she knew… …she did what she loved and her passion and enthusiasm was always evident… …Kaethe was the sort of person one takes with them – part of who I am is because of her… …She will be remembered for many things; for me it will be a sense that all is possible… he core of LMLT is the lace and textile collection of Jules & Kaethe Kliot, Trepresenting 40 years of dedication to the preservation of the finest of human handiwork. -
Vol 6 No 4 Fall 1993
J ~ 01.,tum£'t 1., 1,.Jua'[tE'[fy Volume 6 Number 4 Fall 1993 Edited by James Kovalcin Cover art by Susan L. Toker With great thanks to the following people for submitting articles: Susan L. Toker Betsy Marks C. E. Ballis Nora Mai Toni Lay Cat Devereaux Pierre Pettinger Wendy Purcell Table of Contents Beginner's Porcupine Quill Work ---------- 4 The Creation of Agalla- ------------------ 6 Australasian ScilFi Media Convention ---------- 8 Costume Trends in Middle Eastern Dance -------- 10 Coming attractions ----------- - - - - - - - - - --- 12 ConFrancisco; A Personal View ---------------- 13 ConFrancisco; Masquerade Winners- ------------- 16 Magic of Camelot --- - -------------------- 18 President' Message --- - - ----------------- 21 Murphy's Laws of Sequins -- - --------------- 22 Guild Chapters- ----------- - ---- - ------- 23 Th~ COSlum~r's Qu.rt~r1y - F.U1993 3 Beginner's Porcupine Quill Work by Susan L. Toker ------------------> My experimentation with quill work is about $4.50 for a 1/4 oz undyed and $5.50 dyed. really the fault of ''The Last of the Mohicans", My one, only and yet incomplete project from a demonstration by a Lakota woman at our was to make an wrist band using quill wrapped local museum. She talked about beadwork, leather 1/4 "strips. I made my biggest mistake in quillwork and brain-tanned leather and using a thin suede leather that is very stretchy. demonstrated some of the basics of each. Er, I While I will be able to work around this, I hope, it should also mention that I was "guilted" into is not a good backing choice. Non-stretchy writing an article, You can untwist my arm now, materials that can be pierced by sewing needles Jim. -
Tracing Sixteenth Century Beads in South America to Understand Their Impact on Indigenous Ritual Practices and Material Culture at the Time of the Spanish Conquest
Tracing Sixteenth Century Beads in South America to Understand Their Impact on Indigenous Ritual Practices and Material Culture at the Time of the Spanish Conquest The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Feinzig, Kristi May. 2017. Tracing Sixteenth Century Beads in South America to Understand Their Impact on Indigenous Ritual Practices and Material Culture at the Time of the Spanish Conquest. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33813391 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Tracing Sixteenth Century Beads in South America to Understand Their Impact on Indigenous Ritual Practices and Material Culture at the Time of the Spanish Conquest Kristi May Feinzig A Thesis in the Field of Anthropology and Archaeology for the Degree of Master of Liberal Arts in Extension Studies Harvard University March 2017 © March 2017 Kristi M. Feinzig Abstract This thesis examines bead preferences in Peru, Venezuela, and Colombia before and after the Spanish Conquest during the sixteenth century. By examining the spread of beads across a region, I was able to gain insight into colors and materials that people desired and identify potential patterns of resistance to glass beads. Information about the cultures and societies of my study are gleaned from examining glass and shell bead dispersion and their use before and after this period of significant cultural impact. -
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ALTENEW front cover_ADS 05/06/2019 14:59 Page 1 £3.50 ISSUE 140 JUNE/JULY 2019 CraftBusinesswww.craftbusiness.com The leading trade title for the craft industry ALTENEW.COM INTERVIEW SUSTAINABILITY BOOKS Get ready Empowering What are to hear me women Martha’s Rohr through fashion top picks? P20 P23 P26 2 NEWS Welcome T Mark Hayhurst T @craftbiz T [email protected] T Well the summer is fi nally here – at times! It was great to meet a lot of you at the Stationery Show London this year. It certainly was a great event and the Stationery Awards ceremony following the fi rst day was also a resounding success. In this issue, independent retail advisor Henri Davis, fresh from the Chameleon Art Products launches world’s fi rst Stationery Show London, takes a look at the hot trends in the stationery market and how they impact the crafting world. We also chat with Eco-dyer India Flint whose exhibition, colour blending fineliner pens on Kickstarter incomplete journeys, will be at The Festival of Quilts this summer, T Chameleon Fineliners, a great everyday pen Simply swap the tops of the pens and the ink about her life, art and sustainability. but one that also allows people to instantly blend infuses to allow for perfect blending between any Continuing on the sustainability theme, Nina Kovacevic, founder 2,3,4, or more colours, has launched on two colours. and creator of sustainable fashion label War & Drobe, talks about Kickstarter. Julia Benben, director of product development hosting her very fi rst sewing workshop at London Craft Week in The fi neliners are the latest product from a for Chameleon Art Products, said: “The world is full association with The Prince’s Trust. -
View Resource Guide
Bev Koski Katie Longboat Jean Marhsall Olivia Whetung Guest curated by Lisa Myers Resource Guide Textile Museum of Canada October 10, 2018-May 26, 2019 Beads, they’re sewn so tight, guest curated by Lisa Myers, is an exhibition of work by four contemporary artists who innovate in the field of beading and quillwork. In beadwork, threads create structure and hold beads together, creating a seemingly invisible scaffold. As metaphor and as material, they unite form, design and meaning. Beads, they’re sewn so tight takes up the depths of social and political relations embedded in the visual language of pattern and surface design including living traditions with an emphasis on family and community networks. Beads, they’re sewn so tight features over 40 beaded works by Bev Koski, Katie Longboat, Jean Marshall and Olivia Whetung, many of which are shown here for the first time. From weaving to loom-work and embroidery, their artwork threads together formal aspects of artmaking such as colour and composition with critical issues such as language retention, stereotypes, and social and environmental injustices for Indigenous people. "I see these artists as not merely using beadwork in their art practices but building on the technique and knowledge of beading and quillwork," said Myers. "They have each honed different beading techniques, working meticulously to convey meaning through work that’s conceptually driven." Bev Koski’s new beaded series consists of swatches of modernist abstract patterns found in day-to-day life, from product packaging to family photographs. Pattern is also a focus of Katie Longboat’s study of her Cree grandmother’s bead designs, which inform her experimentation with Cree floral design and Haudenosaunee raised beadwork.