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Use and Applications of Draping in Turkey's
USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION DUYGU KOCABA Ş MAY 2010 USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF IZMIR UNIVERSITY OF ECONOMICS BY DUYGU KOCABA Ş IN PARTIAL FULFILLMENTOF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF DESIGN IN THE GRADUATE SCHOOL OF SOCIAL SCIENCES MAY 2010 Approval of the Graduate School of Social Sciences ...................................................... Prof. Dr. Cengiz Erol Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Design. ...................................................... Prof. Dr. Tevfik Balcıoglu Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adaquate, in scope and quality, as a thesis for the degree of Master of Design. ...................................................... Asst. Prof. Dr. Şölen Kipöz Supervisor Examining Committee Members Asst. Prof. Dr. Duygu Ebru Öngen Corsini ..................................................... Asst. Prof. Dr. Nevbahar Göksel ...................................................... Asst. Prof. Dr. Şölen Kipöz ...................................................... ii ABSTRACT USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION Kocaba ş, Duygu MDes, Department of Design Studies Supervisor: Asst. Prof. Dr. Şölen K İPÖZ May 2010, 157 pages This study includes the investigations of the methodology and applications of draping technique which helps to add creativity and originality with the effects of experimental process during the application. Drapes which have been used in different forms and purposes from past to present are described as an interaction between art and fashion. Drapes which had decorated the sculptures of many sculptors in ancient times and the paintings of many artists in Renaissance period, has been used as draping technique for fashion design with the contributions of Madeleine Vionnet in 20 th century. -
Iroquois Beadwork Teachers Guide
This is an older Teacher Guide made into a PDF for our new Societies and Territories site at http://societies.learnquebec.ca Note also, the new location for the Iroquois Beadwork Kids’ Zone ! at http://blogdev.learnquebec.ca/societies/iroquois-beadwork-kids-zone/ Home Many First Nations in Québec and Canada have lonG practiced beadwork. This art has become a very real tradition for two Iroquois nations in particular, the Mohawks, who live near Montreal, and the Tuscaroras, who live on the American side of NiaGara Falls. This website and the McCord Museum exhibition that inspired it - Across Borders: Beadwork in Iroquois Life - are based mainly on the beadwork of these two nations. The photoGraphs and the imaGes of beaded objects, which are a combination of old and new, show that the art of beadwork not only has a lonG history but is still very much alive today. In order to reflect this reality, a number of objects were made especially for the Across Borders: Beadwork in Iroquois Life exhibition which was held last year at the McCord Museum and is now travelling to various locations in North America. The exhibition is orGanized and circulated by the McCord Museum, Quebec, and the Castellani Art Museum of Niagara University, NY, in collaboration with the Kanien'kehaka Raotitiohkwa Cultural Center, Kahnawake, the Tuscarora Nation community beadworkers within New York State, and the Royal Ontario Museum, Toronto. This project is beinG developed by teachers and consultants in partnership with the McCord Museum and the Kanien'kehaka Raotitiohkwa Cultural Center. Iroquois Beadwork: General Overview What initiated the project? The project was initiated when Ann Cohen, pedaGoGical consultant at Sir Wilfrid Laurier School Board, toured the Across Borders Iroquois Beadwork exhibition at the McCord Museum in 1999. -
Making Beaded Jewelry 11 Free Seed Bead Patterns and Projects Ebook
Making Beaded Jewelry: 11 Free Seed Bead Patterns and Projects Copyright © 2012 by Prime Publishing, LLC All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without written permission from the publisher, except in the case of brief quotations embodied in critical articles and reviews. Trademarks are property of their respective holders. When used, trademarks are for the benefit of the trademark owner only. Published by Prime Publishing LLC, 3400 Dundee Road, Northbrook, IL 60062 – www.primecp.com Free Jewelry Making Projects Free Craft Projects Free Knitting Projects Free Quilt Projects Free Sewing Projects Free Crochet Afghan Patterns Free Christmas Crafts Free Crochet Projects Free Holiday Craft Projects Free DIY Wedding Ideas Free Kids’ Crafts Free Paper Crafts 11 Free Seed Bead Patterns and Projects Letter from the Editors Hey beading buddies, Confession time: How many of you have an overflowing supply of seed beads? It’s OK; we’re all guilty. It’s the mark of a true beader! But every once in a while, you need to clear out the seed bead stash (before it threatens to bury you alive), right? Well with that in mind, we’ve collected 11 amazing seed bead jewelry patterns and projects to help you keep your bead hoarding tendencies at bay! From stunning necklaces, to fabulous earrings, and with plenty of gorgeous cuffs and bracelets in between, we’ve got all the jewelry patterns you need to say “Sayonara!” to that infinite seed bead abyss that is currently swallowing your craft room. -
Ancient Civilizations Huge Infl Uence
India the rich ethnic mix, and changing allegiances have also had a • Ancient Civilizations huge infl uence. Furthermore, while peoples from Central Asia • The Early Historical Period brought a range of textile designs and modes of dress with them, the strongest tradition (as in practically every traditional soci- • The Gupta Period ety), for women as well as men, is the draping and wrapping of • The Arrival of Islam cloth, for uncut, unstitched fabric is considered pure, sacred, and powerful. • The Mughal Empire • Colonial Period ANCIENT CIVILIZATIONS • Regional Dress Harappan statues, which have been dated to approximately 3000 b.c.e. , depict the garments worn by the most ancient Indi- • The Modern Period ans. A priestlike bearded man is shown wearing a togalike robe that leaves the right shoulder and arm bare; on his forearm is an armlet, and on his head is a coronet with a central circular decora- ndia extends from the high Himalayas in the northeast to tion. Th e robe appears to be printed or, more likely, embroidered I the Karakoram and Hindu Kush ranges in the northwest. Th e or appliquéd in a trefoil pattern. Th e trefoil motifs have holes at major rivers—the Indus, Ganges, and Yamuna—spring from the the centers of the three circles, suggesting that stone or colored high, snowy mountains, which were, for the area’s ancient inhab- faience may have been embedded there. Harappan female fi gures itants, the home of the gods and of purity, and where the great are scantily clad. A naked female with heavy bangles on one arm, sages meditated. -
Bead Weaving on a Loom
Bead Weaving on a Loom Objective: students will be able to describe the process of weaving and demonstrate how Native Americans and others wove beads on a loom to create long, narrow bands such as hair ties and bracelets. They will produce a patterned beaded band influenced by their visual study of Native American geometric patterns in their Web and print resources. They can discuss how the use of color, shape, and value in Native American beading has changed through the years because of the influence of other cultures. Grade Levels: Grades 5-7th Time Required: Several class periods (or use of free time) Materials: Purchased bead looms or To make a loom (see instructions below): Cardboard cut to loom pattern, craft knife, wood glue, pins 2 wide round-headed ½"screws Beading supplies; Scissors Seed or pony beads (larger beads for younger students) Linen or nylon thread Needle Bead patterns (Graph paper or online interactive bead pattern makers) Motivation: Beads have been used by many cultures, including Native American, for thousands of years. A defining moment in Native American cultures came upon their exposure to European glass beads in the seventeenth century they were ready to use, rich in color, hard and durable, and could be traded for with pelts. Native Americans became very interested in obtaining glass beads. They used the beads to decorate clothing, vessels, tools, and weapons. Seed beads adorned bags, moccasins, hair ties, and other garments. When tourist trade increased after 1900, Native Americans created beaded items especially for this market. Patterns reflected the styles of the time as well as traditional designs. -
Dewdrop Beaded Bead. Beadwork: ON12, 24-26 Bead Four: Treasure Trove Beaded Bead
Beadwork Index through December 2017/January 2018 Issue abbreviations: D/J =December/January FM = February/March AM = April/May JJ = June/July AS=August/September ON=October/November This index covers Beadwork magazine, and special issues of Super Beadwork. To find an article, translate the issue/year/page abbreviations (for example, “Royal duchess cuff. D10/J11, 56-58” as Beadwork, December 2011/January 2012 issue, pages 56-58.) Website = www.interweave.com or beadingdaily.com Names: the index is being corrected over time to include first names instead of initials. These corrections will happen gradually as more records are corrected. Corrections often appear in later issues of Beadwork magazine, and the index indicates these. Many corrections, including the most up-to-date ones, are also found on the website. 15th Anniversary Beaded Bead Contest Bead five: dewdrop beaded bead. Beadwork: ON12, 24-26 Bead four: treasure trove beaded bead. Beadwork: AS12, 22-24 Bead one: seeing stars. Beadwork: FM12, 18-19 Bead three: stargazer beaded bead. Beadwork: JJ12, 20-22 Bead two: cluster beaded bead. Beadwork: AM12, 20-23 Beaded bead contest winners. Beadwork: FM13, 23-25 1800s-era jewelry Georgian jewels necklace. Beadwork: D14/J15, 80-81 1900s-era jewelry Bramble necklace. Beadwork: AS13, 24-27 Royal duchess cuff. Beadwork: D10/J11, 56-58 1920s-era jewelry Art Deco bracelet. Beadwork: D13/J14, 34-37 Modern flapper necklace. Beadwork: AS16, 70-72 1950s-era jewelry Aurelia necklace. Beadwork: D10/J11, 44-47 2-hole beads. See two-hole beads 20th anniversary of Beadwork Beadwork celebrates 20 years of publication. -
Bead Weaving - Ahmedabad, Gujarat Technique of Beadwork by Prof
D’source 1 Digital Learning Environment for Design - www.dsource.in Design Resource Bead weaving - Ahmedabad, Gujarat Technique of Beadwork by Prof. Bibhudutta Baral and Rakshitha NID, Bengaluru Source: http://www.dsource.in/resource/bead-weaving-ah- medabad-gujarat 1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Video 6. Contact Details D’source 2 Digital Learning Environment for Design - www.dsource.in Design Resource Introduction Bead weaving - Ahmedabad, Bead weaving is a technique of beadwork for which seed beads are the chief material that is used. The technique Gujarat of bead weaving is to weave seed beads together onto a plane fabric or to make a three-dimensional object like Technique of Beadwork ball, box, clasp etc. They are also used for making flower, stringing and to fill-up the space between other beads by in jewelry and also to make a whole new jewelry from beads. They are generally used in embroidery and also ex- Prof. Bibhudutta Baral and Rakshitha pended for loom and off loom bead weaving techniques like brick stitch and peyote stitch. These beads are very NID, Bengaluru small yet uniformly shaped that are available in innumerable shapes, colors, sizes and textures. Most commonly seed beads are prepared using glass. The history of beads dates back to Late Old Stone Age (the Upper Paleolithic). But during those days beads were large in size probably made of ivory or shells. The seed beads which are presently used for beads weaving is also Source: an ancient art that can be traced back in the Egyptian items dating back to 4000 years. -
Read Book How to Make Brick Stitch Seed Bead Earrings
HOW TO MAKE BRICK STITCH SEED BEAD EARRINGS. BOOK 2 : 8 PROJECTS PDF, EPUB, EBOOK Galiya | 40 pages | 19 May 2016 | Createspace Independent Publishing Platform | 9781533347312 | English | none How to Make Brick Stitch Seed Bead Earrings. Book 2 : 8 Projects PDF Book Step 1. To ask other readers questions about How to make brick stitch seed bead earrings , please sign up. View more in Seed Beads. Subscribe to: Posts Atom. Pattern for Daisy Earrings. Seed Bead Earrings Pattern Free. Printers do not always print the pattern colors correctly. This allows you to personalize how you brick stitch your pattern a little more. Kirsti Vandevord rated it it was amazing Apr 08, Seed Bead Hoop Earrings Pattern. Typically, this is a central row in the pattern. Step-by-Step Instructions Step 1 Leaving a long tail, complete rows of the brick stitch Santa using the provided diagram and decreasing brick stitch rows. E - Aqua Blue Beads - 6. Step 8. Seed Bead Earring Pattern. Adding Products To Your Cart. Check out the link for the pattern tutorial and you will find out how easy it is. Subscribe to: Posts Atom. See details. Book of Patterns 2 , please sign up. C - White Beads - The colorful solid or transparent beads are suitable for all sorts of beading techniques including peyote and brick stitches, as well as simple stringing and braiding designs. Book of Patterns 2. How to Make Brick Stitch Seed Bead Earrings. Book 2 : 8 Projects Writer These earrings are so sweet for Christmas. Pendant Bead Count:. Goodreads helps you keep track of books you want to read. -
Rustic Rope © Melissa Grakowsky Shippee
Difficulty: ««¶¶¶ Advanced Beginner www.mgsdesigns.net Rustic Rope © Melissa Grakowsky Shippee This necklace features 13mm antique cut beads (also called English cuts) from Perry Bookstein plus unusual Japanese 8/0 cut beads and 11/0 seed beads. If you can’t find these unusual materials, you can substitute the more common 10mm antique cut beads, 11/0 seed beads, and 15/0 seed beads. Page 2 What You’ll Need... Symbol/Supply Name # Weight Toho 8/0 cut beads, matte bronze 8/0 1269 32g Toho 11/0 seed bead, bronze 11/0 288 2g Czech antique cuts, (aka English antique cut 10 cuts), aqua gold luster Notions Size 12 to 13 beading needles, beading thread (8lb Fireline recommended) Tools Scissors, beading mat. Techniques Tubular herringbone stitch, peyote stitch. About the diagrams... Beads already added when you start a step are shown new in the diagram in color with a normal outline. Beads you need to add in the current step are shown with a red outline. Thread paths going through beads are dashed, and thread coming out of beads is solid. Old thread paths old are not shown. The arrow represents the needle. The dot indicates the start of the thread path. Page 3 Glossary stitch through - v. To go through; put the needle through; needle through. stitch - n. A bead or set of beads picked up and added to beadwork and the beads stitched through; one set of a repeat. pick up - v. To put on your needle, ie. “pick up three 11As”. step up - v. To go through without adding beads, usually referring to the first bead(s) in the row being completed, in order to get the thread in place to start the next row. -
Contents INTRODUCTION
Contents INTRODUCTION ......................................................................... 6 PROJECTS Bumps on a Rope | Herringbone | Julia Gerlach ................................... 8 Four Stitches; One Stunning Rope | Brick • Herringbone • Peyote • Square Stitch | Michelle Bevington ........................................................11 Supple Ropes | Herringbone | Jill Wiseman ........................................14 Twisted Lentils | Tubular Herringbone | Linda Gettings .......................16 Floral Finery | Peyote • Tubular Herringbone | Mary Carroll ................18 Two-Tone Helix | Herringbone | Linda Gettings ...................................22 Linked Ladders | Ladder Stitch | Julie Walker .....................................24 Layered Ladders | Ladder Stitch • Right-Angle Weave | Lisa Keith ....26 It’s a Wrap | Right-Angle Weave | Beth Stone .....................................29 Power Trio | Cubic Right-Angle Weave | Isabella Lam .........................32 Playful Pathways | Right-Angle Weave | Anna Elizabeth Draeger ........34 Double the Fun | Crossweave | Jane Danley Cruz ...............................36 Twisted Sisters Spiral | Spiral Rope | Isabella Lam. ...........................38 New Spin on Spiral | Spiral Rope Variation | Anna Elizabeth Draeger ..40 Out for a Spin | Spiral Rope Variation | Carol Perrenoud .....................42 Grapevine Rope | Circular Netting Variation | Carolyn Cave ................44 Net Results | Netting • Peyote | Susan Yvette England ........................47 Primary -
The Venetian Bead ~.~ Margaretolo~.~ Story, Part 2
4: . The journal of the Center for Bead Research Volume 12, Number 1 Issue 27 1999 (1 of2) • The Venetian Bead ~.~ MARGARETOlO~ .~ Story, Part 2: The Beads Quick reference chart to Venetian glass beads . The Beads Venetian History 7th c Torcello glass 1296 first recorded glass beads d. 1460 Barovier; cristallo, latticino 1486- Margaretari and Patemostri founded ·1480 ~ 7-layered Chevrons - 1610 1480 "Newly discovered" 1520 - Nueva cadiz - 1610 1510 Glass beads ''born'' 1550 • Gooseberry - 1900 1528 Supialume founded 1560 - Early Blues - 1750 . A speo method becomes very popular 1576-1614 Antonio Neri 1570 - Flush Eyes - 1635 1575 Drnwn with 3 sets ofmultiple stripes - 1620 4 sets ofstripes = 17th c.; wound with stripes = 19th c. 1600 - 415-layered chevrons, green, a speo, striped. flattened 1600 - Green Hearts - 1836 1600 - Blue-white-blue and White-clear-white - 1690 1647 Supialume on par 1600 - "Old whites" clear over white - 1890 with other two guilds • 17th century dominated by drawn monochromes 1677 Miotti, aventurine Seedbeads, including charlottes, important trade items 1685 De Aura gold ruby 1725 - Squiggle design. 1899+ 1718 Venice loses much Lampworking grows in importance of her empire 1750 - Barleycorns -1840 1797 loses rest ofempire 1820 - Goldstone decoration - present 1820s-1860s seed bead 1830 - Wound white! yellow hearts - 18701 finishing mechanized 1839 - White hearts - present 1840 - Microbeads - 1900 1843 - Bussolin patents Difforences in trading patterns: gas lamp for lamp America - spiral designs, spots winding Africa -
Recycled Glass Bead Production in Selected Towns in Ashanti
RECYCLED GLASS BEAD PRODUCTION IN SELECTED TOWNS IN ASHANTI (Darbaa, Asuofia Asamang and Akropong) BY EUNICE KANKAM-DWUMFOUR (B.A) INDUSTRIAL ART, CERAMICS A thesis submitted to the school of graduate studies, KNUST in partial fulfillment of the requirements for the award of the degree of Master of Philosophy in African Art and Culture Faculty of Fine Art, College of Art and Social Sciences. September, 2009 © 2009 Department of General Art Studies CHAPTER ONE INTRODUCTION 1.1 Background of the Study Glass which is manufactured from naturally occurring materials such as silica (obtained from sand, flint pebbles or quartz), soda ash, lime stone etc have over the years been recycled. In countries like the United States and Great Britain about 80% of all produced glass bottles are recycled (Glass recycling information sheet, 2007). In recycling glass, unlike paper and other products, no loss in purity can be observed provided the glass is well cleaned and sorted by colour. In the actual manufacturing of the glass, from raw ingredients, an exceptionally high quantity of energy is needed to turn the raw materials into a melted glass batch. The melting temperature for pure silica is 2200°F or 1710°c, obviously this temperature is far above the temperature range of most kilns. That notwithstanding, this high temperature makes glass production uneconomical, environmentally unfriendly (pollution) and capital intensive. Recycling glass, therefore, helps to save energy and thereby reduces cost of production. The glass to be recycled is broken into smaller pieces called cullet and mixed with a quantity of raw ingredients to form a batch which is then introduced into the melting tank.