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beadworkmagazine.com
Scheherazade
necklace
LIZ SMITH
Liz created the rich texture in this
simple peyote-stitched ribbon by
using a mix of triangle seed beads.
41 Favorite Jewelry' Designs
1) RIBBON. Use 6’ of thread to string
5 triangles leaving a 5" tail. Pass back
through the third bead to begin flat
peyote stitch. Work a strip 4 beads wide
for about 8”. making sure the tension of
the ribbon remains flexible, not stiff or
floppy. Tie the strip in a loose flattened
knot near the center (Fig. 1).
Fig. 1:.vи
the center knot (Fig. 3). When you
reach the knot, pass through beads to
exit the bottom of the strip on the
other side of the knot and repeat Steps 2
and 3 for the other half of the strip.
MATERIALS
75 g size 1T triangle beads in assorted
bronze finishes
10g bronze size 15 seed beads
About 150 assorted 3-4mm accent beads
(crystals, pearls, stones, and fire-polished
glass)
3 gold 4x12mm biwa pearls
1 gold 12mm focal pearl
5 gold-filled 1 Vi" head pins
4" of gold-filled 28-gauge wire
4” of gold-filled long-and-short chain
Gold-filled clasp hook
Smoke 6 lb braided beading thread
TOOLS
Beading needle
Scissors
Wire cutters
Chain- or flat-nose pliers
Continue working peyote stitch at each
end of the strip for 7%” on either side
of the knot. Leave the tail threads for
attaching the clasp in Step 6.
2)	FRINGE. Embellish the ribbon with
picots and fringe:
Bottom Loops: Begin a new thread at the
knot and pass through the layers of
beads to secure the knot with a few
stitches; exit the bottom of the strip to
one side of the knot. *String 5 size
I5°s. skip an edge bead, and pass up
through the third bead and down
through the fourth. Repeat from * to
the end of the strip (Fig. 2).
QKQCDGBieGOnt
CCOIICGCCCCOB
IBWCKJEtOBEBt
Fig. 2:	•• tv - ><•	< Ay .7 th,  on
Top picot: Pass through the end of the
strip to exit the top edge. String 3 size
I5°s, *pass under the loop of thread
between the next 2 triangles, and
back through the last bead strung.
String 2 size 15°s and repeat from * for
the top edge of the strip back toward
Pendant: Pass through the knot beads to
exit one of the bottom folds of the
knot. String 5 size I5°s, I biwa pearl,
I size 15°, the focal pearl, I size 15°.
2 biwa pearls, and 3 size I5°s. Pass back
through the 2 biwa pearls. I size 15°,
the focal pearl. I size 15°. 1 biwa pearl,
and 1 size 15°. String 4 size 15°s and
pass through the bottom of the knot
(Fig. 4). Pass through the beads several
times to reinforce.
Fig. 4:
Embellished loops: Pass through beads to
exit the second bead of the first loop.
*Stnng 1 size 15°. 1 accent bead, and
3 size 15°s. Pass back through the
FINISHED SIZE: 16”
accent bead, the first size 15°. and
through the third bead of the loop.
String 1 size 15°, I accent bead, and
3 size 15°s. Pass back through the
accent bead and the base size 15° bead
and through the fourth and fifth beads
of the loop. Pass through the first
and second beads of the next loop and
repeat from * for all the bottom loops
(Fig. 5).
litlift
Fig. 5:	 'Acct
3) CLASP. Create the necklace s
closure:
Clasp chain: Use the tail thread at one
end of the strip to string 6 size 15°s.
the first link of a 1” piece of chain,
and 6 size 15°s. Pass through the
end of the strip and the beads just
strung several times to secure; trim.
Use the tail thread at the other end
14 beadw0rkmaga2ine.com

of the strip to attach a 3" piece of
chain. Use 4” of wire to form a
wTapped loop that includes the
end of the 1" chain; string 1 accent
bead and form another wrapped
loop that includes the clasp hook
(Fig. 6).
Fig. 6:
Dangles: Use a head pin to string 1 accent
bead, then form a wrapped loop that
includes the last link of the 3” chain.
Repeat to add 4 more dangles to the
chain. ♦
RESOURCES
Check your local bead shop or contact:
FireLine braided beading thread and all other
beads and findings: Creative Castle, (80S)
499-1377, www.creatrveca5tie.com, or The
San Gabriel Bead Co., (626) 447-7753, www
.beadcompany.com. Kits. Liz Smith, lizbeadl
©sbcglobal.net, wwwliz5mithde5ign5.com.
41 Favorite Jewelry Designs	15
necklace
LESLEE FRUMIN
Leslee’sfashion-conscious sister requested
OLltt 1П* ОП tllC FltZ this necklace of pearls and semiprecious
±	stones. She gets tons of compliments on the
piece, but doesn’t reveal her source ... or
the fact that her source made it up in a day
TECHNIQUE
:: right-angle weave
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
16 beadworkmagazine.com
1)	RIGHT-ANGLE WEAVE. Work a
6l-unit chain of right-angle weave:
Unit 1: Use the thread to string I pearl
and I charlotte four times, leaving a
7’ tail to work the clasp and fringe.
Pass through the first 6 beads to exit
the third pearl.
Units 2 and on: String I charlotte and
I pearl three times. String I charlotte.
Pass through the last bead of the
previous unit and first 4 beads just
strung, exiting from the second pearl
(fig. 1). Repeat fifty-nine times.
Fig. 1: Units 1 and 2
2)	CLASP. Use the tail thread to string
1 charlotte. W of french wire, and one
half of the clasp; pass back through the
charlotte and ihrough the first pearl.
String 1 charlotte and ’/♦" of french wire;
pass through the clasp again and back
through the charlotte and the pearl. Tie a
knot to secure the thread, then pass back
through 1 charlotte and 1 pearl to exit the
bottom pearl toward the necklace (Fig. 2).
Fig. 2: Connecting the first half of the clasp
3)	FRINGE. String 1 charlotte. 1 pearl,
1 charlotte. 1 teardrop. 1 charlotte.
1 pearl, and 1 charlotte; skip a bottom
pearl and pass through the next bottom
pearl (Fig. 3). Pull snug and tie a half-
hitch knot. Repeat entire step
twenty-nine times.
Fig. 3: Working the first fringe
MATERIALS
3 g gold size 13° charlottes
30 amber 9x6mm top-drilled cubic
zirconia teardrops
244 peach 3mm pearls
1” of fine gold french wire
1 gold 10mm S-dasp with citrine inlay
15‘ of 6 lb braided beading thread
4)	FINISHING. Pass through the char-
lotte above the last pearl and attach the
clasp as in Step 2. Secure the tail threads
with 3 or more half-hitch knots tied be-
tween beads, then trim. ♦
,..ARTI.S.T...'.S...TIPS............,
; • If adjusting the length of this
necklace, it is a good idea to work i
from the center of the thread.
Without cutting the thread, un-
roll about 2Уг' of FireLinefrom
the spool. Thread the needle and
start stitching using right-angle
weave as in Step 1. When the
working end of the thread is
about 12" long, unroll 2Vi'from
the spool, cut the thread, add a
needle to the new end, and con-
tinue to work the necklace as be-
fore. Check the necklace length in :
a mirror. Attach one half of the
clasp and work the fringe. Re-
check the length. Add or subract
units with the 12" tail. Add fringe i
as needed and attach the second
half of the clasp as in Steps 2-4.
i • If working with a box clasp, make
sure the necklace is not twisted
when attaching the second half of i
the clasp. You may find it helpful
to keep the clasp closed during
stitching to prevent one of the
halves from accidently getting at- i
tached upside down.
TOOLS
Size 12 beading needle
Scissors
RESOURCES
Check your local bead shop or contact:
Cubic zirconia: Africa Stones (wholesale only),
(626) 962-5800, www.africastones.com. Kit
for this project: www.lesleefrumin.com.
FINISHED SIZE: 16V*"
41 Favorite Jewelry Designs
17
necklace
PEGGY WRIGHT
topaz rendezvous
•;V' S
TECHNIQUES
:: tubular herring
bone stitch
:: right-angle weave
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.




Peggy loves playing with color
gradations when beading. This
particular lariat uses gradation
both for the herringbone-stitched
tube, in whichyou blend two
colors of triangle beads, and the
tassels, in whichyou blend two
colors of seed beads.

18 beadworkmagazine.com
1)	T ASS EL. Work tubular herringbone
stitch with loops of fringe in every other
round: begin the tube by working off a
6mm labradorite with a hole large
enough to handle several passes of
thread. (You may substitute it with a
6mm fire-polished bead if necessary—
the bead will be hidden under the
fringe anyway.)
Start: Use 6’ of doubled waxed thread to
string 1 labradorite, leaving a 6” tail.
•String? jet-lined	yt
triangles (A) and	I
pass back through
the labradorite.
String 2 dark topaz
zairit 3mm and
pass through the	Цл /
labradorite again.
Repeat from *	‘1: $tz*rtin8
twice so that you
have 6 beads on
each end of the labradorite; pass
through 1A (Fig. l).
Round 1: String 2A. pass down through
the next A and up through the A in the
next set. Repeat twice, then step up for
the next round by passing through 2A.
Round 2: Fringe A: String 2A and pass
down through the next A. String
18 seed beads (3 frosted plum, I silver-
lined dark topaz, I frosted plum.
3 silver-lined dark topaz. I topaz
gold luster, I silver-lined dark topaz,
3 topaz gold luster, I light gold. I topaz
gold luster, and 3 light gold), 5 fire-
polished (I dark topaz zairit 3mm,
I dark smoked topaz 4mm, I labrador-
ite 6mm, I dark smoked topaz 4mm,
and I dark topaz zairit 3mm), and
18 seed beads (3 light gold, I topaz gold
luster, I light gold. 3 topaz gold luster,
I silver-lined dark topaz. I topaz gold
luster. 3 silver-lined dark topaz,
I frosted plum, I silver-lined dark
topaz, and 3 frosted plum); pass up
through the next A to complete the
stitch (Fig. 2). Repeat twice, then step
up for the next round by passing
through 2A.
Round 3: Repeat Round I.
Fig. 2: Working Rounds 1 and 2
Round 4: Fringe B: Repeat Round 2,
stringing 42 seed beads for each loop
of fringe (6 frosted plum, I silver-
lined dark topaz, 1 frosted plum,
2 silver-lined dark topaz, 1 topaz gold
luster, 1 silver-lined dark topaz.
2 topaz gold luster. 1 light gold,
1 topaz gold luster. 10 light gold,
1 topaz gold luster, 1 light gold, 2 topaz
gold luster, 1 silver-lined dark topaz.
1 topaz gold luster. 2 silver-lined dark
topaz, 1 frosted plum, 1 silver-lined
dark topaz, and 6 frosted plum; (Fig. 3).
Fig. 3: Working Rounds 3 and 4
Rounds: Repeat Round 1.
Rounds 6-18: Repeat Rounds 2 through
5 until you have 5 rounds of fire-
polished loops and 4 rounds of
seed-bead loops.
2)	1 UBE START. Work tubular herring
bone for З’/а” beyond the tassel, using
jet-lined topaz triangles.
3)	TUBE TRANSITION. Work a
9-round color transition of jet-lined
topaz triangles (A) into amethyst-lined
topaz triangles (B):
Transition Round 1: Work IB and IA
around.
Transition Round 2: Work 6A.
Transition Round 3: Work IA and IB
around.
Transition Round 4: Work 6A.
MATERIALS
56 g total size 10° triangle beads (14 g each
of jet-lined topaz, dark amethyst-lined
topaz, gold-lined topaz, and pink-lined
amber)
55 g total size 1Г Japanese seed beads
(11g each of frosted plum AB, silver-ltned
dark topaz, topaz gold luster, and light gold
AB for the tassels and brown metallic iris
for the stem)
192 total 3mm fire-polished rounds (72 dark
topaz zairit for the tassels and tube start;
120 dark topaz AB for the stem, top tassel,
and tube accent)
84 total 4mm fire-polished rounds (72 dark
smoked topaz for the tassels and tube
accent, 12 topaz AB for the stem)
44 labradorite 6mm faceted rounds
2 topaz 6mm fire-polished rounds (optional)
Beige size D nylon beading thread
Beeswax
TOOLS
Size 12 beading needles
Scissors
FINISHED SIZE: 52”
Transition Round 5: Work IB and IA
around.
Transition Round 6: Work 6B.
Transition Round 7: Work IA and IВ
around.
Transition Round 8: Work 6B.
Transition Round 9: Work IВ and 1A
around.
4	Work tubular herringbone using dark
amethyst-lined topaz triangles for about
1” beyond the transition.
5	Repeat Step 3, transitioning from
dark amethyst-fined topaz (A) into pink-
lined amber triangles (B): then work
IW of only pink-lined amber triangles.
6)	ACCENT RING Work 1 round using
dark topaz 3mm. 1 round using dark
smoked topaz 4mm. and 1 round using
dark topaz 3mm fire-polished.
7)	CENTRAL LARIAT. Work 14” to
reach the midpoint of the lariat, transi
tioning from pink-lined amber, to gold
lined topaz, to pink-lined amber, to dark
amethyst-lined topaz, to jet-lined topaz.
41 Favorite Jewelry Designs
19
to dark amethyst-lined topaz triangles.
Before you work the second half,
measure the length of the completed
beadwork from the end of the tassel and
adjust the central length as desired. Work
another 14” (or the distance of your first
side), reversing the color sequence and
adding the second accent ring. Repeat
Step 1 in reverse to work the second
tassel from the accent ring to the end
of the tassel.
8)	LATTICE STEM. Work flat, single-
needle right-angle weave using brown
metallic iris size ll°s (A), dark topaz
3mm rounds (B). and topaz 4mm
rounds (C) for six 5-unit rows (Fig. 4):
Row 1: Use 6 of thread to string ЗА. IB,
ЗА, and IB. leaving a 6" tail; pass
through the first ЗА and IB. *String
ЗА. IB, and ЗА; pass through the IB of
the previous unit and the first ЗА and
IB just strung. Repeat from * twice.
String ЗА. IB. IC. IB, and ЗА; pass
through the IB of the previous unit
and the first ЗА and IB just strung
(fig. 4a).
a
b
химик*
W.tWJ
Fig. 4: Creating and embellishing the stern
Rows 2-5: Continue as in Row I.
Row 6: Wrap the flat piece of beadwork
around the tube so that the 4mm beads
are even with the top of the tassel. Use
IB per stitch to connect Rows I and 5,
except at the bottom of the lattice
where you use IC to complete the last
unit (Fig. 4b).
9	Weave through beads to exit a 3mm
round at the top of the lattice. String ЗА;
pass up through 2 tube beads, down
through the next 2. back through the
ЗА just strung, and through the next
3mm (Fig. 5). Repeat around, secure the
thread, and weave through beads to
the bottom of the lattice.
Fig. 5: Stitching the stem to the tube
10)	LATTICE LOOPS. Work another set
of loops off the bottom of the lattice to
blend it into the tassel (Fig. 4c):
Loop 1: Exit a 4mm round and string
42 seed beads (6 frosted plum, I silver-
lined dark topaz. I frosted plum,
2 silver-lined dark topaz. 1 topaz
gold luster, 1 silver-lined dark topaz,
2 topaz gold luster. 1 light gold. 1 topaz
gold luster, 10 light gold. 1 topaz gold
luster, 1 light gold. 2 topaz gold luster,
1 silver-lined dark topaz, 1 topaz gold
luster. 2 silver-lined dark topaz.
1 frosted plum. 1 silver-lined dark
topaz, and 6 frosted plum); pass
through the 4mm round and loop of
beads again to reinforce.
Loop 2: Exiting the same 4mm round,
string 9 seed beads (6 frosted plum.
1 silver-lined dark topaz. 1 frosted
plum, and 1 silver-lined dark topaz),
1 dark topaz 3mm round, 1 labradorite
6mm round, 1 dark topaz 3mm
round, and 9 seed beads (1 silver-lined
dark topaz, 1 frosted plum. 1 silver-
lined dark topaz, and 6 frosted plum);
pass through the 4mm round and loop
of beads again to reinforce.
Weave through the next right-angle
unit and repeat to work 2 loops off each
4mm round. ♦
{making color
GRADATIONS
•	The secret to smooth gradations of color is
value-the lightness or darkness of colors.
The closer the values are, the smoother the
gradations. It's easiest to find colors close
in value if you move between hues on the
color wheel (such as amber and purple or
green and blue); you may find it difficult to
locate the values that you need to create
smooth gradations if you stay with a single
hue. Also, use beads that have similar
finishes. It's difficult to move between shiny
and matte beads.
[COLOR CHECK
•	Before starting the tassel, string seed beads
in your proposed colorways to see how well
the colors blend. Do the same with the tri-
angles, testing the blend by working a short
herringbone tube (Step 3, Rounds 1-9).
Blending one color into another requires
about one inch of beading and the total
length of the lariat (tube only) depends on
how you want to wear it: 38" for a single
wrap or 48" for a double wrap.
RESOURCES
Check your local bead shop or contact:
Miyuki triangle beads and seed beads:
Caravan Beads, (207) 761-2503, www
caravanbeads.com. Nymo nylon beading
thread and 3mm and 4mm fire-polished
rounds: Shipwreck Beads, (800) 950 4232,
www.shipwreckbeads.com.
20 beadworkmagazme.com
necklace
waves of pearls
MIWAKO NARA
TECHNIQUES
:: tubular and flat
peyote stitch
:: right-angle-weave
variation


See pulbout stitch guide
between pp. 48-49
for helpful technique
information.
This necklace looks like a shiny ribbon rippling aroundyour neck.
Glass pearls are enclosed in tubular peyote-stitched bezels and
joined with swirling diagonal peyote-stitched strips. Round stones or
crystals can replace the pearls with equally beautiful results.
22	beadworkmagazine.com
BEADS
1) BEZEL. Work tubular peyote stitch
around an 8mm pearl with pink cylinder
beads and size 15° purple seed beads:
Rounds 1 and 2: Use 2 of condit ioned
thread to string I pearl and 9A. Pass
through the pearl again, leaving a 6"
tail. String a second set of 9A; pass
through the pearl and first 9A again
(Fig. l). String I A. pass through the
second set of 9A. string 1A, and pass
through the first 1A to form a ring
around the pearl (Fig. 2).
Fig. 2: Completing Rounds 1 and 2
Round 3: String IA. skip IA from the pre-
vious rounds, and pass through the
next LA. Repeat tubular peyote stitch
for a total of 10A. Step up for the next
round by passing through the first A of
the current round (Fig. 3).
Fig. 3: Working Round 3
Round 4: Repeat Round 3.
Round 5: Repeat Round 3, this time using
1 size 15° in each stitch instead of IA.
Pull the thread tight to snug the seed
beads around the pearl. Weave
through beads to exit from Round 1.
Turn the work upside down to com-
plete the next two rounds.
Round 6: Repeat Round 3.
Round 7: Repeat Round 5 (Fig. 4). Secure
the thread and trim.
Repeat entire step thirteen times for a
total of 14 bezeied pearls.
Fig. 4: Finishing the bezel
2) CLASP BUTTON. Stitch another
bezeied pearl to form the clasp button:
Rounds 1-6: Repeat Rounds l-6 of Step I.
Rounds 7 and 8: Repeat Round 3 of Step I
twice.
Round 9 (decrease): String I A; pass through
the next 2A of the previous round.
Repeat for a total of 5A. Step up
through the first A added in this
round.
Round 10: Work IA in each stitch (Fig. 5).
Pass through the beads again to
tighten. Secure the thread and trim.
Set the clasp button aside.
Fig. 5: Decreasing for the clasp button
MATERIALS
3 g transparent purple AB size 15° Japanese
seed beads
4 g pink luster size 11 ° cylinder beads (A)
6 g transparent light purple iris size 11“
cylinder beads (B)
3 g purplish brown iris matte metallic size
11° cylinder beads (C)
2 g gold-lined pearl size 1T Japanese seed
beads(D)
15 mauve 8mm crystal pearl rounds
Purple size D nylon beading thread
Thread conditioner
TOOLS
Size 12 beading needle
Scissors
FINISHED SIZE: 15”
(EXPANDABLE TO 17*’)
Rows 1 and 2: Start 4’ of conditioned
thread that exits right to left from a
bezeied pearl’s Round 4 (the final A
round on the back of the bezel),
leaving a 9” tail. String 7B, ID, and
IB; pass back through the seventh B,
making sure the D sits on the outside
of the beadwork (Fig. 6).
Fig. 6: Working Rows 1 and 2 of the outer strip
Row 3: Work 2 stitches with IB in each
stitch. Pass through the next Round 4
A from right to left.
Row 4: String IB and pass back through
the last В added in the previous row.
Work 2 stitches with IB in each stitch.
String IB, ID. and IB: pass back
through the В just added before the ID
(Fig. 7).
WAVES
3) OUTER STRIP. Work peyote stitch off
the bottom of a bezeied pearl to form the
outer portion of a swirl:
Fig. 7: IVo/Aog Rows 3 and 4
41 Favorite Jewelry Designs 23
Row 5: Work 2 stitches with IB in each
stitch (Fig. 8. purple-outlined beads);
pass through the next Round 4 A from
right to left and pull tight so the
beadwork curves.
Rows 6 and 7: Repeat Rows 4 and 5.
Row 8: Repeat Row 4.
Row 9: Work 2 stitches with IB in each
stitch. Don’t connect to the next
Round 4 A on the bezel.
Row 10: Work 3 stitches with IB in each
stitch. String IB, ID. and IB; pass back
through the В just added before the
ID.
Row 11: Work 3 stitches with IB in each
stitch: pass through the next Round 4
A from right to left.
Row 12: Work 4 stitches with IВ in each
stitch. String IB. ID, and IB: pass back
through the В just added before the ID.
Row 13: Work 3 stitches with IВ in each
stitch; don't connect to the next
Round 4 A on the bezel.
Row 14: Work 4 stitches with IB in each
stitch. String IB. ID, and IB: pass back
through the В just added before
the ID.
Row 15: Work 4 stitches with IB in each
stitch: pass through the next Round 4
A from right to left.
Row 16: String IB and pass back through
the last В added in the previous row.
Work I stitch with IC. Work 3 stitches
with IB in each stitch. Secure the work-
ing thread and trim (Fig. 8); set aside.
Fig. 8: Finishing the outer strip
4)	INNER STRIP. Work peyote stitch
from the top of a second bezeled pearl
to form the inner portion of a swirl:
Rows 1 and 2: Start 4’ of conditioned
thread that exits left to right from
Round 1 (the second A round from
the top of the pearl) of a second
bezeled pearl. String ID and 8C. Pass
back through the sixth C (Fig. 9).
Fig. 9: Starring the inner strip
Row 3: Work 2 stitches with IC in each
stitch; pass through the next Round 1
A from left to right.
Row 4: String ID; pass back through the
last C added in the previous row. Work
2 stitches with IB in each stitch. String
3C; pass back through the first C just
added.
Row 5: Work 2 stitches with IB in each
stitch: pass through the next Round 1
A from left to right and pull tight so
the beadwork curves.
Row6: String ID: pass back through the
last В added in the previous row. Work
2 stitches with IB in each stitch. String
3C; pass back through the first C just
added.
Rows 7 and 8: Repeat Rows 5 and 6.
Row 9: Work 2 stitches with IB in each
stitch. Don’t connect to the next
Round 6 A on the bezel.
Row 10: Work 3 stitches with IB in each
stitch. String 3C; pass back through
the first C just added.
Row 11: Work 3 stitches with IB in each
stitch; pass through the next Round 6
A from left to right.
Row 12: String ID: pass back through the
last В added in the previous row. Work
3 stitches with IB in each stitch. String
3C; pass back through the first C just
added.
Row 13: Work 3 stitches with IB in each
stitch: don’t connect to the next
Round 4 A on the bezel.
Row 14: Work 4 stitches with IB in each
stitch. Don’t trim the thread.
5)	CONNECTING THE STRIPS. Zip
the outer and inner strips together to
complete the swirl:
Align: Position the beadwork from
Steps 3 and 4 so both bezeled pearls
are right side up. Align the inner strip
so it swoops down from the top and
the outer strip so it swoops up from
the bottom. Move the final rows of
each strip so the lone C on the outer
strip and the last C on the inner strip
touch.
Zip: Use the working thread from the
inner strip to string IC; pass through
the C on the outer strip toward the
end of that strip. Pass back through the
C previously added (Fig. 10) and pull
tight.
Fig. 10: Connecting the inner strip (left) to the
outer strip
Alternately pass through the up beads at
the end of each strip, zipping a total of
6B together and exiting from Row 14 of
the inner strip.
Complete swirl: Work 1 stitch with IB. Pass
through the next Round 1 A on the
second bezeled pearl from right to left.
Strins 1D. pass back through the last В
added 1 Fig. 11) and pull tight. Secure
• he :hread and trim (Fig. 12).
Fig. 11: ' •	- -«с’D
24 beadworkmagazine.com
Fig. 12: The completed connection
6)	SWIRLS. Work an outer strip on the
opposite side of the second bezeled pearl
and an inner strip on a third pearL
Connect the two as in Step 5. Repeat to
connect a total of 13 bezeled pearls.
7)	CLASP. Use the tail threads of the
bezeled pearls at the end of the necklace
to form the clasp:
Button: Weave the tail thread of a bezeled
pearl at one end of the necklace
through beads to exit Round 6, near
the start of the first outer strip. String
12B; pass through 2A in Round 10 of
the clasp button. String 12B; pass
through the last bead exited at the end
of the necklace. Repeat the thread path
to reinforce; secure the thread and
trim (Fig. 13).
Fig. 13: Attaching the clasp button
Loops: Weave the tail thread of the bezeled
pearl at the other end of the necklace
through beads to exit Round 4. near
the start of the inner strip. String 29B;
Fig. 14: Forming the clasp loops
pass through the last A exited at the
end of the necklace and through the
first 16B just strung to form a
circle. String 27B; pass through the
I4th-I6th beads of the first circle and
the first 15 beads just strung. String
27B; pass through the 13th-15th beads
of the second circle. Repeat the entire
thread path to reinforce. Secure the
thread and trim (Fig. 14). ♦
4
'V
Ki
RESOURCES
Check your local bead shop or contact:
Delica beads: Miyuki, www.miyuki-beads
.co.jp/ (Japanese). Glass pearls: Swarovski
#58'10, www.kiwa-inc.co.jp/ (Japanese).
U.S. Source: Fire Mountain Gems and Beads,
(800) 423-2319, www.firemountaingems
com.
These pink and gold necklace variations show
how the wave pattern in the design is well suited
to subtle color blending, no matter what shades
you choose. The gold version of the necklace
shown here takes the design in a slightly dif-
ferent direction by creating a pearl focal and
adding texture with alternating luminous pearls
and sparkling crystals in the wave patterns.
41 Favorite Jewelry Designs 25
crystal drop
Nancy designed a flared bell shape
to accent a large crystal, adding
increases in tubular
herringbone. Beading
wire inside the tubular
herringbone tubes
supports the weight
of the ciystal.



TECHNIQUES
:: tubular herring-
bone stitch
:: stringing
:: crimping
See pulbout stitch guide
between pp. 48-49
for helpful technique
information
' K. r L. \



1)	FOCAL START. Work a short tube
using tubular herringbone stitch:
Start: Use 8' of waxed thread to string 4A
starter beads (to be removed later),
leaving a 5' tail. Pass through the first
bead again, being sure not to pierce
any of the starter bead thread.
Round 1: String 2A: pass through the next
starter bead. Repeat
around for a total
of 8A. Step up for
the next round by	ff	\
passing through the	\
first bead of this
round (Fig. l).
Rounds 2-6: Work 2A Fig. -j. Working
in each stitch.	Round 1
2)	FOCAL BOTTOM (FLARED BELL).
Continue working tubular herringbone
stitch with 2A in each stitch; increase the
tube by stringing additional beads be-
tween stitches, referring to Fig. 2:
Round 7: String IC between each stitch.
Round 8: String ID between each stitch.
Round9: String 2C between each stitch.
Round 10: String 2D between each stitch.
Round 11: String IC. ID. and IC between
each stitch.
Round 12: String 4C between each stitch.
Round 13: String IC, 2D, and IC between
each stitch.
Round 14: String IC, 3B. and IC between
each stitch.
Round 1$: String IC. 4B. and IC between
each stitch.
Round 16: String 1В and pass down
through 2A. Pass through Round 15's
IC. 4B. and IC and down through 2A
in the next column (Fig.2a). Repeat
around for a total of four times. Pass
through beads and trim.
3)	FOCAL TOP. Remove the 4 starter
beads in order to use the tail thread. Use
8A beads (2 beads in each stitch) to work
a total of 10 rounds of tubular herring-
bone stitch above the flare.
4)	STRAPS. Flatten the beadwork so that
2 columns of A beads are aligned front to
Fig. 2: Working the bottom of the focal
back and there is a column on each side
(as shown in Fig. 2); work the straps off
these columns:
Beginning with the rightmost column of
beads, work a 4-bead tubular herring-
bone strap that is about 8%" with 2A in
each stitch (Fig. 3a) for a total of 4 beads
around. Tighten thread after every stitch
by pinching the top round of beads. Pass
through the last	71
round again to	b V/*—
secure; do not	, ~'(1	(.
trim thread.	i	t
Repeat Step 4 for	4 J,
the second strap,
working off the left	_ , л .
. ,	? c t	Fig. 3: Beginning
side column of the	the straps
flared bell for the
second strap (Fig. 3b). To test the straps
are of even length, hang them; work
rounds until they match visually.
5)	STRINGING. Join the crystal
beadwork and clasp: Use 19" of wire to
string 2 crimp tubes; pass back through
the crimp tubes and position 1 tube at
Vx»” and one at Vis" above the crystal;
crimp the tubes. Repeat with the second
ware. Use both wires to string the Bared
bell; separate the wires to pass 1 wire
through each herringbone strap.
Gently pull the wires to hide the top of
the crystal inside the flared bell. Mark
one wire Vi" above the strap ends and
match the second wire to that mark.
Use 1 wire to string 2 crimp tubes and
one half of the clasp; pass back through
the tubes. Snug the the clasp near the
mark; crimp the tubes. Repeat for the
MATERIALS
1 g raspberry iris transparent size 15° seed
beads(C)
1 g 24k gold size 11 ** seed beads (B)
24 raspberry iris transparent size 1T seed
beads(D)
14 g 24k gold iris size 10 cylinder beads (A)
1 golden shadow 30x50mm crystal pendant
8 gold 2mm crimp tubes
1 vermeil 19x45mm hook-and-eye clasp
38" gold-plated .014 beading wire
Gold size D nylon beading thread
Natural beeswax
TOOLS
Size 11 needle
Scissors
Wire cutters
Permanent marker
Crimping pliers
FINISHED SIZE: 2 0”
(WITH 2 V* " FOCAL)
other strap and the other half of the
clasp. Trim the ends.
6)	FINISHING. Continue tubular her
ringbone stitch to cover the crimp tubes:
Repeat Round 2 to cover the crimp tube,
leaving '/я" between the last round and
the clasp.
Next-to-last round: Work 2B in each stitch.
Last round: String IВ on top of each
column and IC between each stitch.
Repeat around for the remaining
2 columns. Pass through existing
thread paths in the columns around
the crimp tubes until beadwork is
secure; trim thread.
Repeat entire step for the second strap. ♦
RESOURCES
Check your local bead shop or contact:
Swarovski De-Art crystal pendant and seed
beads: Creative Castle, (877) 232-3748,
www.creatrvecastle.com. Similar clasp Are
Mountain Gems and Beads, (800) 355-2137.
www.firemountaingems.com.
41 Г avorite Jewelry Designs 27



fldlKIUCt
elizabethan
necklace
LORI STRONER
This project for advanced
off-loom beadweavers uses pearly
triangle-weave beaded beads strung
together with gorgeous vermeil
findings to produce a stunning
necklace that will makejou
feel queenly!
TECHNIQUES
:: triangle weave
:: stringing
:: crimping
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
28 beadworkmagazine.com
PROJECT NOTES
Each of the following geometric forms can be created using triangles or, in this case,
triangle-weave units. Here, each edge (or side) of each triangle consists of one pearl;
each pearl is connected to another pearl with one seed bead between, forming a
vertex. While the face of each triangle shares its pearly edges with the face(s) next
to it, be sure to always string a seed bead at each end whenever adding a pearl.
You will be passing through the
pearls several times, so wait
until all the beads are added
and then weave through beads
to reinforce as needed.
BEADED BEADS
1) DOUBLE TETRAHEDRON SMALL
BEADED 81	Build face-to-face
tetrahedrons using sculptural triangle
weave points off each side of a flat
triangle to create a small beaded bead:
Unit 1 (base): Use 2' of doubled thread to
string (LA and IB} three times, leaving
a 4" tail, fie a knot to form a snug
triangle: pass through 2 beads, exiting
a pearl.
Unit 2: String IA. IB. IA, IB. and IA; pass
through the last pearl exited again and
the first 2 beads just strung (Fig. l).
Fig. 1: Units I and 2 of the tetrahedron
Unit3: String IA. IB. and LA; pass back
through the next base pearl. String IA
and pass up through the nearest pearl
of the previous unit and the first
2 beads of this unit (Fig. 1).
F’g- 2: Units 1-3 of the tetrahedron
Tetrahedron: 4 triangles, 4 corners
(3 seed beads each), and 6 edges/lavender pearls.
Icosahedron: 20 triangles, 12 corners
(5 seed beads each), and 30 edges/lavender
pearls.
Dodecahedron: 20 triangles, 20 corners
(6 seed beads each), which form 12 pentagonal
sides with 30 edges/olive pearls.
Unit 4: Use seed beads to connect the
pearls of the first and last units: String
IA and pass through the next base
pearl; string LA and pass up through
the nearest pearl of Unit 2: string IA
and pass down through the last pearl of
die previous unit (Fig. 3). Check that
your tetrahedron has 6 pearls and
12 seed beads (3 at each vertex).
Fig. 3: Units 1-4 of the tetrahedron
Units 5-7: Weave through beads to exit a
pearl in Unit I. Turn the beadwork
over and repeat Units 2-4. adding a
total of 3 pearls and 9 seed beads
(Fig.4). Weave through beads to rein-
force; secure the thread and trim.
Fig. 4: Units 1-7 of the double tetrahedron
Repeat entire step five times for a total of
6 small beaded beads.
2) ICOSAHEDRON MEDIUM BEADED
•_ E A DS Use lavender pearls and seed
beads to weave a sphere of 20 triangles,
enclosing I core bead inside:
MATERIALS
10g lavender size 15' Japanese seed
beads (A)
367 lavender 4x5mm rice pearls (B)
35 olive 5x6mm rice pearls (C)
23 olive 5x7mm rice pearls
8 cream or clear pearlescent 10mm plastic
or wood (core) beads*
30 sterling silver 2mm seamless rounds
14 gold-filled 3mm seamless rounds
1 gold-filled 4mm round
1 vermeil 3.5mm daisy spacer
15 sterling silver 5mm daisy spacers
15 vermeil 7.5mm daisy spacers
14 vermeil 6x2mm star bead caps
14 vermeil 9x7mm filigree bead cones
1 vermeil 32mm toggle clasp
1 sterling silver 22-gauge 2" head pin
3 gold 2x3mm crimp tubes
2 gold-filled 4mm crimp covers
5" of sterling silver 20-gauge wire
27" of .015 beading wire
Clear 4 lb braided beading thread
*NOTE: You may need to adjust the size of the
core bead if it does not fit snugly inside of
the beaded bead, as the exact size of the
beaded bead may vary based on the actual
size and shape of the pearls used.
TOOLS
Scissors
Size 12 beading needle
Wire cutters
Round-nose pliers
Bent chain-nose pliers
Crimping pliers
FINISHED SIZE: 24”
(WITH 3V." FOGA1J
Unit 1: Use 3' of doubled thread to string
{IA and IB} three times, leaving a
4” tail. Tie a knot to form a snug tri-
angle: pass through the first 2 beads
strung, exiting a pearl.
Units2-9: String IA. IB. LA. IB. and 1A;
pass through the last pearl exited and
the first 4 beads just strung to exit the
second pearl (Fig. 5). Repeat to work a
triangle-weave strip 9 units long.
Fig. 5: Units 1 and 2 of the icosahedron strip
41 Favorite Jewelry Designs 29
Unit 10: String lA. IB, and lA: pass down
through the second pearl of Unit I.
String LA and pass up through the last
pearl of the previous unit (Fig. б). Pull
tight to form the strip into a ring with
5 pearls along each edge.
Fig. 6: Units 1-10 of the icosahedron strip
Unit 11: Exit a pearl along one edge of the
strip. String 1A, IB. 1A. IB. and 1A;
pass through the last pearl exited again
and the first 2 beads just strung (Fig. 7).
Fig. 7: Woi ting Una 11 off the strip of the
icosahedron
Unit 12: String LA. IB, and lA: pass back
through the strip’s next edge pearl.
String 1A and pass through the
nearest pearl of the previous unit and
the first 2 beads of this unit. String 1А
and pass through the strip’s next edge
pearl (fig. 8).
Fig. 8: Una 12 of the icosahedron
Unit 13: String LA. IB, and LA; pass down
through the last pearl of the previous
unit and the beads of this unit to exit
the pearl just strung.
Unit 14: Repeat Unit 12.
Unit 15: String 1A; pass up through the
nearest pearl of Unit 11. String 1A and
pass down through the last pearl of the
previous unit and the next 2 beads of
this unit, exiting a pearl (Fig. 9).
Fig. 9: Unit 15, completing half of the icosahedron
Units 16-20: Place one 10mm bead inside
the cupped beadwork. Repeat Units
11-15 around the opposite edge of the
strip. Make sure the hole of the 10mm
bead is aligned with the center of the
top and bottom of the bead (the vertex
of Units 11-15).
Weave through beads to reinforce; secure
the thread and trim. Set aside.
Repeat entire step seven times for a total
of 8 medium beaded beads.
3) DODECAHEDRON FOCAL
BEADED В E A D Cover 1 medium
beaded bead (henceforth referred to as
the “core”) from Step 2 with a layer of
lavender pearl tetrahedron facets, then
connect the top vertices of the facets with
olive pearls to highlight the 12 pentago-
nal faces of this beaded bead:
Tetrahedron facets: Start 3' of doubled
thread that exits a pearl of the core.
Work Units 2-4- from Step 1, using a
3-pearl triangle of the core as the base
unit (Unit 1) to form one half of a
double tetrahedron (Fig. 10); repeat for
Fig. 10: Working the tetrahedron facets of the
dodecahedron
each of the 20 core units. Note; If you
find yourself confused about whether
you've stitched together all the sides of
a tetrahedron, check to see that each
pearl has a seed bead connecting it to
the pearl to its right and another seed
bead connecting it to the pearl to its
left. Each face of the tetrahedron
should have a total of 3B (one from the
core bead) and ЗА. The top vertex of
the tetrahedron will have a total of ЗА;
the vertices where pearls added in this
step connect to the core bead will have
a total of 2A.
Pentagon 1: Exit up through a pearl in
one of the 5 tetrahedron facets sur-
rounding the hole at the top of the
beaded bead. String LA. IC. and lA;
pass down through the closest pearl of
an adjacent tetrahedron facet. String
1A; pass up through the pearl last
exited on the first tetrahedron facet
and the first 2 beads added in this step
to form a triangle-weave unit (Fig. 11a).
dodecahedron
String LA pass down through the
adjacent pearlthe outside of the
second tetrahedn: r. tact* String LA;
pass up through he outside pearl of
the first tetrahedr - facet. String LA.
Weave throurn bead? to exit down
through a pearl tn an a-r.acent tetrahe-
dron facet that s urrounds the hole at
the top c • те	bead 'Fig. 11b);
Fig. 11b .
seed beasts	~ ur t т* top of the bead
*
to form а гегтэгж -.гдге - saving
through - _r •-	- pearif as before to
secure each. гезе-	the
tetrahedron жт T2
30 beadworkmagazine.com
Fig. 12: Completing a pentagon at the top
of the dodecahedron
Pentagons 2-6: Continue connecting
tetrahedron facets, working I pentagon
off each side of the first pentagon.
Pentagons 7-12: Connect tetrahedron
facets on the second half of the beaded
bead as before (and as shown in the
photograph). Repeat the thread path as
necessary to strengthen. Secure the
thread and trim. Set aside.
NECKLACE
P E N f A N T Use the 20-gauge wire
to form a wrapped loop and string
one 2mm round. 1 cone (narrow end
first), one 5x7mm pearl, the 4mm
round, one 5mm spacer, one 7.5mm
spacer, the focal beaded bead. 1 bead cap
(wide end first), one 2mm round, 1 cone
(narrow end first), one 5x7mm pearl,
one 5mm spacer, one 7.5mm spacer,
1 medium beaded bead, one 7.5mm
spacer, and one 5mm spacer. Form a
wrapped loop.
Use the head pin to string one 2mm
round, the 3.5mm spacer, one 5x7mm
pearl, and 1 bead cap (wide end first).
Form a wrapped loop that attaches to the
second wrapped loop formed in this
step. Set aside.
5) STRINGING. Use the beading wire to
string 1 crimp tube, 9A. and the bar half
of the clasp; pass back through the tube
and crimp. Cover the crimp tube with
I crimp cover. String IB. one 2mm
round, 1C. one 2mm round. IB. one
3mm round, one 5x7mm pearl, one
3mm round. IB, one 2mm round.
1 bead cap (narrow end first). 1 small
beaded bead (lengthwise), 1 bead cap
(wide end first), one 2mm round, 1B.
one 3mm round, one 5x7mm pearl,
one 3mm round. IB. *one 2mm round,
1 cone (narrow end first), one 5X7mm
Choose pearls that are
consistent in size and
shape to ensure the
roundness of the beaded
beads.
spacer, 1 medium beaded bead, one
7.5mm spacer, one 5mm spacer, one
5x7mm pearl. 1 cone (wide end first),
one 2mm round.* 1C. one 2mm round.
1 bead cap (narrow end first), 1 small
beaded bead (lengthwise), 1 bead cap
(wide end first), one 2mm round, and
1C. Repeat from * to *. String IB. one
3mm round, one 5x7mm pearl, one
3mm round, IB. one 2mm round.
1 bead cap (narrow end first), 1 small
beaded bead (lengthwise), 1 bead cap
(wide end first), one 2mm round, and
one 5x7mm pearl. Repeat from * to *.
String one 3mm round and 1 crimp
tube. Snug the beads and crimp; do not
trim the wire.
String the pendant so the wire sits
over the crimp tube. Repeat entire
step, reversing the stringing
sequence; do not string the last
12 beads, crimp tube, or other
half of the clasp. Instead, string
the remaining crimp tube and
the ring half of the clasp; pass
back through the tube, crimp,
and cover. ♦
RESOURCES
Check your local bead shop or contact:
Pearls and 10mm rounds: Michaels, (800)
642-4235, www.michaels.com. Vermeil
dasp: Via Murano, (877) 842-6872, www
viamurano.com. FireLine braided beading
thread: FusionBeads.com, (888) 781-3559.
Sterling silver and similar gold findings: Nina
Designs, (800) 336-6462, www.ninadesigns
com.
41 Favorite Jewelry Designs 31
necklace
earthy zen
MARLENE BLESSING
Stitching seed beads in an earthypalette can truly bt a
fen experience—at least it was for Marlene when she
worked on this combo of tubular herringbone stitch and
silver chain. And the distinctive pendant by artist
Kate McKinnon gives the piece a beautiful edge.
1) TUBE. Work a herringbone-stitched
tube for 9’/a”:
Ladder round: Use 6 of waxed thread to
ladder-stitch ЮЛ, leaving a 6” tad.
Pass through the first and last beads to
form a tube, exiting the top of the
first bead.
Rounds 1-18: String 2A. pass down
through the next bead and up through
the following bead in the previous
round. Repeat four times; step up at
the end of the round by passing up
through 2 beads.
Rounds 19 and on: Work 1A and 1В in
each stitch for 7", then repeat
Rounds 1-18. Weave the tail
threads through a few rounds to
reinforce each end of the tube and
trim close.
2) STRINGING. Use the beading
wire to string 1 crimp tube. 20A,
and one end of the chain; pass back
through the tube and crimp. String
1 bead cap and enough silver rounds to
fill the tube; slip the herringbone tube
over the rounds. String the pendant
onto the tube. String the bead cap.
1 crimp tube. 20A. and the other end
of the chain; pass back through the
tube and crimp. ♦
RESOURCES
Check your local bead shop or contact:
Seed beads and Nymo nylon beading thread:
Beyond Beadery, (800) 840-5548, www
.beyondbeadery.com Chain: Saki Silver, (513)
861 -9626, www.sakisilver.com. Bead caps;
Pacific Silverworks, (805) 641-1394, www
.pacificsilverworks.com. Pendant: Kate
McKinnon, www.katemckinnon.com
MATERIALS
10g brown matte metallic size 11 seed
beads (A)
5 g brown matte size 11 ’ seed beads (B)
About 40 sterling silver 6mm rounds
18" of Thai silver 10mm round chain
1 fine silver 12x58mm pendant
2 sterling silver textured 9mm (inner
diameter) bead caps
2 sterling silver 2mm crimp tubes
13Vz" of silver .019 beading wire
Brown nylon beading thread
Beeswax
TOOLS
Size 10 or 12 beading needle
Wire cutters
Crimping pliers
Scissors
FINISHED SIZE: 3 1 • 4 ”
41 Favorite Jewelry Designs 35
necklace
turquoise collage
MARCELLA AUSTENFELD
TECHNIQUES
:: right-angle weave
:: ladder stitch
:: wireworktng
:: knotting
:: stringing
See pulbout stitch guide
between pp. 48—49
for helpful technique
information
This bohemian-style necklace is a fun and
stylish collage of both materials anc techniques.
The result is a free-spirited de: gr. that employs
off-loom beadweaving, wireuo^'g. knotting,
and stringing.
36
bcadworkmagazine.com
1)	BEZEL Using 3* of thread and
8 charlottes per unit, make a 4-unit-wide
strip of right-angle weave that fits the cir-
cumference of the turquoise slice snugly.
Join: Exiting up through the last unit at
the end of the strip, string 2 charlottes
and pass down through the mirrored
beads at the first row of the strip.
String 2 charlottes and pass up
through the 2 charlottes you originally
exited. Weave through the beads to exit
down through the side beads of the
next unit on the end of the strip (Fig. l).
Continue to complete the right-angle-
weave units down the edge to connect
the strip into a tube. Exit from a pair
of charlottes at the bottom of the tube.
Fig. 1: ><	:i  D
Back: Weave through all the beads at the
bottom of the tube several times, pull-
ing tightly to cup the beadwork. Tie a
knot between beads to secure the shap-
ing. Place the turquoise slice inside.
Front: Weave through the beads to exit
from a pair of charlottes at the top of
the tube. Weave through the beads as
before, pulling tightly so the slice is sur-
rounded by the beadwork. Tie a knot
between beads to secure the shaping;
trim the thread close to the work.
2)	BAIL. Use a comfortable length of
thread and charlottes to make a strip of
ladder stitch 2 beads wide by 8 beads long.
Sew the ends of the strip to the place on
the bezel that would best suit the bail
(Fig. 2). Reinforce the connection, secure
the thread, and trim close to the work.
3)	EMBELLISHED JUMP RINGS. Use
2" of 22-gauge wire and one 4x6mm
teardrop to form a wrapped-loop bail
Fig. 2:
that attaches to I jump ring (Fig. 3). Make
a second dangle that attaches to the same
ring. Repeat for a total of 7 teardrop
jump rings: set aside.
Fig. 3:	.v •	.
Use I head pin to string I charlotte and
I turquoise nugget; form a wrapped loop
that attaches to one of the teardrop jump
rings. Repeat twice to add nugget dangles
to 2 other teardrop jump rings; set these
teardrop/nugget jump rings aside.
String I charlotte and I accent bead on a
head pin and form a wrapped loop that
attaches to a jump ring; set this accent
jump ring aside.
4)	CENTER SECTION. Cut 8" ofcord
and tie an overhand knot: Fold the cord
3” from one end; tie an overhand knot
with the tip of the fold, tightening the
cord to form a */2" loop and leaving a
short tail (Fig. 4). String 3 silver spacers,
the beaded bail, and 3 silver spacers. Tie
an overhand loop at the end of the cord
so that this section is about 3" long.
Trim any excess cord. Set aside.
Fig. 4:
MATERIALS
5 g silver size 13° charlottes
3 g assorted size 11е seed beads to match
turquoise
14 turquoise 4x6mm glass teardrops
30-40 assorted 3-6mm accent beads
(silver, pearl, crystal, glass, eta)
3 dear/blue/yellow 4x9mm lampworked
borosilicate (boro) rondelles
4 dear/blue/yellow 8mm boro drops
2 blue 10x16mm twisted porcelain
spatter beads
3 turquoise 12mm nuggets
1	turquoise 40x52x6mm slice
11	sterling silver 6mm twisted wire spacers
4 sterling silver 2Vz" head pins
9 sterling silver 6mm soldered jump rings
Smoke 6 lb braided beading thread
16" of 2mm brown leather cord
2' of sterling silver 22-gauge wire
2' of sterling silver 24-gauge wire
TOOLS
Size 13 beading needle
Round-nose pliers
Chain- and flat-nose pliers
Wire cutters
FINISHED SIZE: 23°
(WITH 2‘A" FOCAL)
5) RIGHT SECTION. Cut 8" ol cord and
tie an overhand knot as before at one
end. String I porcelain bead to about
%" from the knot. Leaving a I" tail, coil
the end of the 24-gauge wire around the
cord between the bead and the knot five
or six times, moving the wraps up toward
the bead; trim the wire tail and use
chain-nose pliers to squeeze the ware
into the cord.
Herringbone wrap: Holding the bead close
to the coil, bring the wire up along the
side of the bead, cross over the front of
the cord, around the back (Fig. 5). and

Fig. 5:			i'
41 Favorite Jewelry Designs
37
over the front. Bring the wire down
along the other side of the bead, cross
over the front of the cord, around the
back, and over the front (Fig. б). Repeat
wrapping four or more times: do not
trim the wire.
Fig. 6:	‘.Vo।: i
Seed wrap: Use the wire tail to string 5” of
seed beads; wrap the beaded wire
around the cord to make a few coils at
one end of the porcelain bead. Bring
the wire behind the porcelain bead
and repeat at the other end. adding
beads as necessary. When finished
wrapping, remove any extra seed beads
left on the wire and wrap the plain
wire around the cord to secure. Trim
the wire tail and use chain-nose pliers
to squeeze the wire into the cord.
Use the cord tail to tie an overhand knot
next to the seed beads, then string 1 boro
drop. 1 teardrop jump ring, 1 silver
spacer. 1 rondelle, 1 silver spacer. 1 tear-
drop jump ring, and I boro drop. Tie
an overhand loop as before close to the
beads and trim any excess cord.
6)	LEFT SECTION. Cut a 12” length of
cord and tie an overhand knot at one
end. String 1 silver spacer, 1 porcelain
bead, and 1 silver spacer; tie an overhand
knot close to the beads. String 1 rondelle,
1 silver spacer, and 1 rondelle; tie an
overhand knot ’Л" after the beads. String
{1 teardrop/nugget jump ring. 1 teardrop
jump ring, and 1 boro drop} twice.
String 1 teardrop/nugget jump ring.
Join: String the remaining plain jump
ring and the end nearest the dangles on
the right knotted section; pass back
through the jump ring and tie an over-
hand knot that incorporates the accent
jump ring; trim any excess cord (Fig. 7).
Set the beaded cord aside.
Fig. 7:
7)	ASSEMBLY. Cut 12” of thread and
string 20 size ll°s. leaving a 3" tail. Pass
through an end loop of the beaded cord.
Pass through the seed beads again to form
a loop and tie a square knot to secure.
String 1l/t" of assorted accent beads.
String 20 size 1 l°s and pass through an
end loop of the center section. Pass back
through the seed beads again to make a
loop and tie a square knot to secure.
Weave through all the seed and accent
beads one or two more times to reinforce.
Secure the thread and trim close to the
work. Repeat to join the other end of the
beaded cord and the center section, mak
ing the accent bead sequence 3” long. ♦
RESOURCES
Check your local bead shop or contact:
Charlottes and FireLine braided beading
thread: QuiltWorks Northwest, (425) 468-
8992. Turquoise slice and nuggets: Kameyab
Imports, (505) 821 -6217, www.kibeads.com
Seed beads, jump rings, and leather cord
Baubles and Beads, (510) 644-2323, www
.baublesandbeads.com. Porcelain spatter
beads. Cocopah, (928) 282-4928, www.beadofthemonthclub.com. Turquoise teardrops.
The Garden of Beadin', (707) 923-9120,
www.gardenofbeadin.com Borosilicate beads
Unicome Beads, (800) 833-2095, www
.unicornebeads.com.
38 beadworkmagazine.com
See pull-out stitch guide
between pp. -18-49
for helpful technique
information.
TECHNIQUES
:: square stitch
:: st. Petersburg
chain
sea
necklace
of grass necklace
HATSUMI OSHITANI
This flowing neckpiece is woven using
modified Russian herringbone stitch
and St. Petersburg chain. It’s cleverly
secured at the center with a beaded
flower motif shaped like a belt buckle.
1) STRAP. Work a chain of modified
Russian herringbone stitch for each half
of the necklace; cut 8' of thread and
string on a tension bead, leaving a 6" tail:
Unit 1: String I triangle. 8A, and I bugle;
pass back through the triangle to form
a narrow loop (Fig. 1).
Fig. 1: Working Unit I
Unit 2: String I triangle, 4A, I triangle,
8Л, and I bugle; pass back through the
second triangle to form a loop (Fig. 2).
Fig. 2: Adding Unit 2
Weave through beads to exit up
through the bugle in Unit I ; string
I triangle (Fig. 3a) and pass down
through the 8A and up through the
bugle again (Fig. 3b).
Fig. 3: Adding a triangle and stepping up for Unit 3
Unit 3: String I triangle, 8A, and I bugle;
pass back through the triangle just
strung to form a loop (Fig. 4).
40 beadworkmagazine.com
Ftg. 4: Completing Unit 3
Unit 4: String 4A and pass up through
the opposite bugle in Unit 2; string
I triangle (Fig. 5a) and pass down
through the 8A and up through the
bugle again (Fig. 5b).
Fig. 5: Working Unit 4
Repeat Units 3 and 4 for IO", working
I white marble druk at random in place
of the triangle at the outer edge of
Unit 4.
Druks and daggers: Continue stitching for
another 6”, working a bronze or white
druk or a dagger at random in place of
the outer triangle bead. As you work
down the strip, incorporate more
daggers. Secure the thread and trim;
set aside.
Repeat entire step to make a second
chain, working the section with druks
and daggers for 6’A”.
2	) RING CLOSURE. Work Petersburg
chain to make a bucklelike closure:
Unit 1: Use 8’ of thread to string a tension
bead, leaving a 6" tail. String 6B. Pass
through the third and fourth beads
MATERIALS
15g peacock blue-lined sue 11 - seed beads (A)
3	g ivory lustre size 11 seed beads (B)
5	g cornflower blue-hned dear size 10е
triangle beads
8	g peacock AB sue 3 12mm) twisted
bugle beads
50 white marble 3mm oruxs
15 bronze 3mm druks
30 striped corm* owe* Ьйэе 4 «6mm
dagger beads
1 silver 18m— -du-c тс» Gasp
Clear 6 b beaded seac. thread or KO
thread
TOOLS
Scissors
Sue 12 beaor^ -«de
FINISHED SIZE; 20”
(WITH ’
just	> ~	1 triangle
anc pasd. Тдач	3 oeads in the
first гош S-rag Tzorrle druk and
pass Ьлтх - rucr 2 otads in the
seeorkT го» =* t
through the 2B just strung. String
1 triangle and pass back through 3B.
String 1 white marble druk (Fig. 8) and
pass up through the first 4A in Unit 1.
Exit from a druk.
Fig. 8: Connecting the ends of the ring
between beads. Don’t trim the thread.
Ring back: Repeat Units 1-17 in the same
manner as the front of die ring, but
instead of stringing 1 triangle or 1 druk
at the end of a seed bead sequence,
share the beads of the front to make a
double layer. Exit from a triangle in the
inner round. Pass through all the trian
gle beads in the inner round several
Back strip: Working directly off the inside
triangles of the ring, square-stitch a
strip 2B wide and 8 beads long.
Connect the strip to 2 adjacent beads
on the opposite side of the ring,
making a bucklelike shape. Weave
through all the beads again to rein-
force. Secure the thread and trim.
Pass the beginning ends of each strap
through the closure until the daggers
touch the ring (Fig. 9).
Fig. 9: The bach of the ring closure
3) CLASP. Thread the needle on the tail
at the beginning of one of the straps.
String 7A and half of the clasp. Pass back
through the 1 triangle and I bugle of
Unit 1. Weave dirough the beads at the
end of the strip, following the thread
path. Weave through the clasp connec-
tion beads several times to reinforce,
making knots between beads. Secure the
thread and trim close to the work.
Repeat entire step for the other half of
the clasp. ♦
RESOURCES
Check your local bead shop or contact:
Seed beads. FtreLine braided beading thread,
KO nylon beading thread, and similar bugles.
Beadcats, (503) 625-2323, www. bead cats
com.
, I < . к 4 ti 4 4 I ( 1 . . I I III i . .  * < Ml M « - 4*4*   > -	 n,«II,
EDITOR'S TIP:
If the holes in your bugles
are sharp and cause thread
breakage, string one seed
bead before and after each
bugle, treating the three
beads as if they were one
bugle. Note that you may
also need to add additional
seed beads to the loops
that surround the bugles to
account for the change in
size. Alternatively, use
shorter bugles to avoid
having to adjust the loops.
41 Favorite Jewelry Designs
41
TECHNIQUES
:: ladder stitch
:: brick stitch
:: right-angle weave
:: picot
Have fun creating lacy bead caps using a variety of seed
beads, crystals, and pearls; then join two together over a
larger bead. The result is a beaded bead dressed up with
sparkle and color. Wear one alone for a solo daxzler or
string with several others for a stunning necklace.
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
42 beadworkmagazine.com
1) BEAD CAPS. Work each bead cap
separately and join 2 together around a
larger bead:
Round 1: Use 3 of thread and one color
of C to work a strip of ladder stitch
12 beads long. Stitch the first and last
beads together to form a ring.
Round 2: String 3C; pass down through
the next bead in the previous round
and up through the following bead.
Repeat around for a total of 6 picots.
Weave through beads to exit from the
first bead added in this round (Fig. l).
Fig. 3:
Fig. 1:
Round 3: *String 3C and pass down
through the third bead of the picot
you’re exiting. String ID and pass up
through the first bead of the next
picot. Repeat from * around for a total
of 6 additional picots with ID between
each. Weave through beads to exit
from the second bead added in this
round (Fig. 2).
Fig. 2:	•
Round 4: *String ЗА (or 3B). Pass through
the Round 3 bead just exited to work
another picot. Weave through beads to
exit from the tip of the next picot of
the previous round. Repeat around,
using either A or В consistently, for a
total of 6 additional picots. Exit from
the second bead added in this round
(Fig. 3). Don’t cut the thread.
Note: If your 16mm beads have wide
holes, use В to work I or 2 rounds of
decreasing brick stitch inside Round I
of each cap (Fig. 4).
Fig. 4:	Rt?i
Repeat Rounds 1-4 thirteen times for a
total of 7 pairs of matching bead caps,
using different bead colors in each
round so each final beaded bead is
unique. Set aside.
Round 5: Position 2 matching bead caps
on each end of one 16mm bead so they
mirror one another. *Use one work-
ing thread to string 1 accent bead. Pass
through the tip of the matching picot
on the opposite cap. Pass back through
the accent bead and into the tip of the
picot you originally exited. Weave
through the beads to exit from the tip
of the next picot (Fig. 5). Repeat from *
around until the caps are connected.
Secure the thread and trim.
MATERIALS
3 g turquoise shiny size 15° seed beads (A)
5 g bronze metallic size 15° charlottes (B)
7 g each size 11° seed beads in turquoise-
lined clear, turquoise matte, gold metallic,
and brown luster (C)
3 g gold metallic size 8° seed beads (D)
42 total 3-4mm cube, crystal bicone, and
fire-polished round accent beads in bronze
and turquoise
14 dark brown 11 x9mm glass bicones
1 sapphire 14mm crystal rivoli
6 chalcedony or amazonite 13-19x18-25mm
faceted nuggets
7 dark brown 16mm ceramic rounds
26 gold-filled or brass 6mm daisy spacers
2 gold-filled 2mm crimp tubes
Smoke 6 lb braided beading thread
24" of .018 beading wire
TOOLS
Size 12 beading needles
Wire cutters
Crimping pliers
Scissors
FINISHED SIZE: 171/2”
Fig. 5: '	.   : л  ..'.г.
Optional: For extra embellishment, use A
or В to work 5-unit-long strips of
right-angle weave between the strips of
picots. attaching them to the D beads
of Round 3.
2) BEZEL. Use 3’ of thread to work 1 row
of right-angle weave 19 units long, using
В for the top and bottom and C for the
sides of each unit. Check to see that it fits
snugly around the rivoli, leaving a
1-bead-wide gap for finishing. Weave a
second row using В and C as before. Use
41 Favorite Jewelry Designs
43
В to work 1 more round. Use В and fol-
low a right-angle-weave thread path to
join the row ends ( Fig. 6).
Fig. 6:
Weave through all the top В and pull
tight to form a cup (Fig. 7). Place the bezel
face down into the cup.
Fig. 7:
Weave through beads to exit from IB on
the opposite edge of the ring. Use В to
work 1 round of right-angle weave.
Weave through all the top В as before
and pull tight to enclose the rivoli.
Weave through the beads to exit from IB
on the top of the initial row. String 1A
and pass through the next B. Repeat
around to embellish the edge of the bezel
(Fig. 8). Set aside.
a
3) ASSEMBLY. Use the beading wire to
string 1 crimp tube and 8C. Pass back
through the tube and crimp, leaving a
1” tail. String {1 bicone, 1 spacer.
1 beaded bead. 1 spacer. 1 bicone,
1 spacer. 1 nugget, and 1 spacer)
six times. String 1 bicone.
1 spacer, 1 beaded bead,
1 spacer. 1 bicone, 1 crimp
tube, and 30C or enough C
to fit snugly around the
bezel. Pass back through
the tube, snug the beads,
and crimp.
Use Г of thread to
secure the strand’s
8-bead loop to the
back of the bezel.
Secure the thread
and trim close to
Fig. 8:
RESOURCES
Check your local bead shop or contact:
Swarovski crystal beads and rivoli, seed beads,
spacers, and wire: Out on a Whim, (800)
232-3111, www.whimbeads.com. FireUne
braided beading thread: FusionBeads.com,
(888) 781-3559.
44 beadworkmagazine.com
Tips from Top
Beadwork Designers
Who wouldyou most like to have sitting elbow to elbow with you at your
beading table asjou puzzle through the intricacies of learning neu. stitches,
choosing color and materials, translating inspiration to design, and adding
finishing touches? Well just bet that many ofiyou would feel 'ikeyou'd
achieved Nirvana if one or more ofyour favorite well-кпои. n bead
designers arrived on the scene, ready to spill their hard-won secrets.
r We had far more tips than we could fit into this special issue (all
of our contributors teach and have oodles to share). Due into this
LJf	great collection of beadworking tips generously contributed by
’	fourteen of our favorite experts and find the tips that set you free!
OUR I HaNKS GOTO TH! I AHI LOUS ! OU Rf tt'»‘ - N t 4	< M’- iN<J J ' CAM	| >.
CARO! HUBER CYPHER (CHC), LYNN DAVY (ID). MARCIA DECOSTER <4DCk MARGIE DEER
(MD), DUNE FlT/GFRAl П (DF). LISA KAN (LK), TINA КСПАМЛСГК1 Kate MCKjxnON <KM).
RaCHE.L. NELSON-SMITH (RNS). CAROLE OHL (CO), CYNTHIA RlTlTDCl <CBL AND
JENNIFER VANBENSCHOTEN (JVB).
Earth 2/ Sky
by Marcia
DeCoster—
instructions
□n p. 42
itches
I) While learning right-angle weave, its easier to see	_	use two
contrasting colors—one color for the side beads and a sec эпа . . . г *. - ir: p and bottom.
When working а Па! piece, pass a needle through all the bone —	1 previous row.
This will help to keep the units straight so you can easilv	- <* 	MDC
2) Pinch the beads you string for the first two ГОНЗ of pe^te -n:r.	ie thumb
and forefinger of your nondominant hand. Keep them pincr.e	- rk rhe third row,
only allowing the bead you need to pass through exposed T“.	- -	. . jni start on
your first few rows.—JC
All photographs by
Ann Swanson and
3) When working with patterns in peyote stitch, create a “Bead Lu>t <_ки<4е" to help identify
the row you are working on. To make it, photocopy your pattern ar.--	row with a
black marker. Photocopy the last 2 to 3 rows on a transparency shee: _	. and tape it to a
magnetic strip. Place your pattern on a metal stand, such as those nsec ' — t * derers, and place
the Bead Line Guide over your pattern. With the up' and down be*ds cn the г-ude. it is easy to
keep track of the row on which you are working.—DE
Jim Lawson.
46 beadworkmagazine.com
♦J Learn how to transition from one bead stitch to
another. This allows more flexibility in the type of design you
can execute and will make a design more voluminous, fluid,
and less one-dimensional. Two of my favorite stitches are
right-angle weave and herringbone. I also utilize the picot
stitch to add a lacy feel to my work or to connect one compo-
nent to the next. 1 recommend Carol Wilcox Wells's book
Creative Beading as a guide to how to switch from one bead stitch
to another.—LK
5 ) When learning a new bead stitch, use larger E beads
and yarn so you can better visualize the thread path. Jump-
ing right into size 15° beads is not for everyone and most de-
signs can be modified to the beader’s style or technique.—LK
О/ Each beadweaving stitch has attributes that make it ideal
for certain effects and other characteristics that make it less
suitable for other effects. Combining stitches will give you
the greatest agility of all. Currently, my favorite beadweaving
technique is combining peyote (for stiffness and sculpting)
with right-angle weave (for drape and access to working on
every side).—TK
r J Right-angle weave is a wonderful stitch but. when done
in a 2X2 lattice, doesn'i allow for really sturdy finished ends. J
love to finish lattice RAW with a segment of 2X2 square
stitch. Mv favorite finish for this is to sew
the square-stitched section into a
tube and connect the ends with a
clasp that I call the Ram’s
Hom. This is a fabulous
finish for a piece: it’s strong,
Heavenly
Hibiscus
by Scarlett
Lanson—
instructions
on p. 82
bound for long wear, and
if used with a removable
clasp, protects the bead-
work from a sewn
clasp attachment. I
fully in my Modem
Art bracelet, which
will be featured in the
December 2009/January
2010 issue of Beadivork.—KM
[Editors Note: The Ram s Hom clasp и available m two sizes from www.katemcktnnon.com.]
I 8) When working in any stitch, tension is key and depends
upon the final function of the beadwork. Use high tension
for short embellishments and headwork that wall not move;
medium tension for flat or tubular beadwork over a form;
f
HI
Drop by
Nancy
Cain—
instructions
on p. 26
and finally, low’ tension
for long, hanging fringe.
When stitching in a bead
or series of beads, pull up
the thread slack in the
same trajectory as it extends
off the beadwork. Tucking
the index finger of the non-
needle hand near the point
where the thread exits the
beads can help wath this—
similar to the function of the
thread guide or tension control
as it interacts with the thread
take-up of a sewing machine.
When working in tubular and
circular peyote stitch, maintain
an even tension so that when you
come around for the following
round, the beads of the previous
round are laid neatly in their posi-
If the tension is low. beads of a previ-
ous round will flop around, and it
will be easy to lose the correct spot in
the stitch and/or pattern.—RNS
9)	When 1 am stitching with bead
to breathe” between rows. I make
sure there is a little bit of space be-
tween each row instead of stitching
the beads tight up against each other.
If there is any beading foundation
showing after I am finished. I'll
color it using fabric inks or dyes
or permanent markers.—JVB
10)	Sampling is the best way to
learn, as we beaders are very visual
learners. Start a sampler notebook,
reminiscent of the early fabric samplers,
which were used as a stitching dictionary. My sampler has
beadwork attached to fabric, but yours could be in a note-
book or a file. I work in highly contrasting beads so that I
can see what is happening. Size 8°, ll°, and 15° Delicas are
used for most of my samples. I make notes on what I did to
make each of the samples so that I can refer to them as
needed.—CR
41 Favorite Jewelry Designs 47
11)	Foolproof method of adding a new thread: Stop bead-
ing when the thread becomes 6 to 8 inches short. Place a needle
on a newr thread. Use a stop bead, marking an 8-inch tail. Pass
through the same bead that has the abandoned thread dangling
from it and in the same direction. You may want to tie a knot
joining the two threads. Work a couple rows/rounds with the
new thread. Weave the abandoned thread into the new bead-
work. Remove the stop bead and weave the new tail into the
previous beadwork. (Old into new. new into old.)—CHC
1 2) I find it's easiest to work spiral stitches such as spiral
rope (particularly double or triple) by stringing the core beads
first, then adding the outer stitches to form the spiral, if
you’re using beading wire to string the core, don't secure the
crimps at either end until all the stitching is done: It's very easy
to under- or over-estimate how much space the extra thread
passes will take. To achieve a flexible spiral with no bare wire
showing between the core beads, use a bead stop at either end
until all the spiral stitches are in place, then snug the core
beads and put the crimps in place.—LD
jump start on your own beading color
^signing with Color
13) Color inspiration is everywhere. Notice the colors
that are mixed and blended in many things readily
available in your home, such as cloth napkins, table-
cloths, a favorite printed shirt or dress, or even mail-
order catalogs with clothing and home
furnishings.—MDC
sketchbooks with me at all times to record
color combinations (and other inspira-
tions). When noting combinations you
like, be sure to record the relative pro-
portions of each color. Proportions can
make or break a color scheme. Don’t
ust color a swatch of mustard, a swatch
of olive, and a swatch of aqua in your
sketchbook. How' much mustard?
W'hat is the dominant color?
Which is the accent? And which
colors touch one another? These
minute details are critical to
great color schemes.—MD
1 6) When design-

stitch together small
swatches of the beads I
am going to use. No
matter how much we
know about color, glass is
tricky when it comes to
reflection, refraction, and
absorption of light (therefore
color). You never know’ how the
beads will influence each other once
they are stitched together. I tape these
swatches to white cardboard, along with
handwritten notes and observations, slide each into hole-
punched plastic sleeves, and store them in a three-ring
binder.—MD
Waves of Pearls
►/Jl variation by
R MiwakoNaia-
ИР instructions
on p. 22
17)	Begin by selecting your favorite color that is appropriate
for the project. Then determine what its opposite would be on
the color wheel. For your third color, add lime green to your
18)	The more I look at beadwork, the more I realize the
importance of contrast, including both contrast • : texture and
contrast of hue. Contrast of texture is created bv mixing
cylinder beads or even large seed beads with small seed
beads. If a large focal bead is textured, set r ff -cth smooth
beads on either side. Without contrast to define shapes or
create lines, beadw'ork can become a mudd r : beads that lack
interest.—DF
19)	1 think any more than three accent colors makes a
piece look too busy. Within each accen: c .: - • here are
varying hues that one can use for blending and .те .ring visual
textures. The following are some fail-safe co.: - . - mbinations:
green and aqua, green and cranberry, purr -	: green, pur-
ple and teal, purple and cranberry, purpie and b: topaz and
purple, green and topaz, cranberrv and topa.-. and urquoise
and topaz.—LK
20)	When selecting accent colors. I twist strar. together to
see how’ thev blend. I try not to choose beads of the same
the beads, wonderful texture can he achieved u can add
volume and dimension to your work bv utihnag this concept.
Besides using different shapes and size? I c-r - - - lect beads
of varying hues in the same color famii- for .texture.
For instance, if you are working with purple — ~ * main
color, use lavender, lilac, amethyst, plum, magenta, or
maroon as well.—LK
48 beadworkmagazine.com
21)	Look through home decor and fashion magazines and
catalogs—designers have been paid to create beautiful color-
ways for these photos, so take advantage of them. I cut out
photos of inspiring colorways and paste them into a notebook
for easy reference. I also love to use fabrics and variegated
yarns for color inspiration.—TK
22)	Designing with color is generally just a matter of finding
tones that work together—whether you are trying for a comple-
mentary color pop (in that case, look for colors that are on the
opposite side of the color wheel from each other) or tones that
blend—and look different in different lights. I usually swatch
when I am unsure about how colors work together: you can
easily be fooled by beads that have a colored clearcoat or a
special finish because they may behave much differently than
expected when seated next to other beads in a finished piece.
Swat chi ng is always vour best bet. and if you are consistent with
your swatch sizes, you can save your samples and make patch-
worked pieces with them.—KM
23)	Rich, deep colors accented with metallic finishes convey
sophistication. Bright and light colors convey frivolity and
call for attention. Tones in browns and greens suggest an
earthy and relaxed nature. White is for purity and freshness
and possessing clantv.—RNS
24)	When you find a palette that works for you. make a note
of it. Then on another project, try to expand the palette or
change the palette bs adding a new “spark” color or contrast-
ing color. Sample it'—CR
25)	I love to collect the paint-chip samples in hardware
stores. The colors are so .ibrant and they are usually
grouped by family and hue. I punch holes in them and
attach them to a ring so that I can carry my little color
sample book with me whenever I am bead shopping
or trying to match colors for a new project.—JVB
©jading Materials
26)	If you’ve ever spent time looking to re-
place a bead used years ago vou’U value hav-
ing a repair kit in place. At the end of each
project, I put together a repair kit with a few of
each bead used.—M DC
27)	Japanese seed beads have great uniformity for bead-
weaving, but don’t underestimate the Czech seed bead. They
aren't as uniform, bu: provide prea: texture for beadwoven
projects and are a less expensive alternative for strung
projects.—JC
28) The time you put into your beadwork deserves the best
you can afford. This applies especially to scissors: Buv high-
quality scissors and hide them from everyone—unless you
are using FireLine. Then get the cheapest “child's'* scissors
from a dollar store.—DF
29)	Don’t feel that you have to buy the most expensive stone
strand. Some great accent beads can be found in bargain
bins. Slight imperfections and blemishes to the beads can add
to your overall design. Just don't make these beads the main
focus but rather accents. The main highlight should be quality
beads, which will bring additional value to the finished design.
Vintage beads and beads scavenged from old necklaces can also
add allure and offer a neat history behind the design. -LK
30)	Pick beads for their shape and color first and findings
for their uniqueness.—LK
31 ) Unless you want maximum glitz, don't select
all faceted beads. I like to mix faceted and
unfaceted, shiny and matte, polished and
unpolished beads in the same design.
Matte, unpolished, and unfaceted beads
balance the highlights.—LK
32) I ’m always tempted to buy all
my favorite colors that a bead
comes in. But for the purpose
of designing, it’s more useful to
have a variety of sizes and shapes
than it is to have a wide color range.
go for lots of different sizes and shapes tn
a particular type of bead. Then I add more
colors later as my budget allows.—TK
33) Through experience. I've learned that pieces designed
for reproduction must be planned with cost and sourcing in
mind. In planning a repeatable piece. I ask three questions: Is
Continued on page 140
41 Favorite Jewelry Desijrns 49
necklace
rivolis in bloom
LAURA MCCABE
A- Л
Laura strives to meld beadweaving
techniques for a multicultural
approach to bead art. This particular
piece incorporates peyote stitch
(which is both Native American
and ancient Egyptian in
origin) with herringbone
stitch (which originated
with the Ndebele tribe
of South Africa). The
necklace uses ancient
techniques and vintage
crystal stone to create a
historically inspired piece with a
modern fare and color sense.

TECHNIQUES
:: tubular and fiat
peyote stitch
bone stitch
:: picot
See pull-out stitch guide
between pp 48-49
for helpful technique
inforrnaTion.











50 beiidworkniagaztnc.com

BEZELS
1)	RED BEZEL. Use red gold cylinder
beads, size 15°s. and charlottes to make
a tubular peyote-stitched bezel that
surrounds the rivolis:
Rounds 1 and 2: Use 5 of waxed thread to
string 28 red gold cylinders, leaving an
18" tail. Tie the beads into a loose
circle with 1 bead's width of thread
showing; pass through the first few'
beads to hide the knot.
Round 3: Work 1 cylinder in each stitch.
Step up by passing through the first
bead in this round.
Round 4: Work 1 root beer size 15° in each
stitch, pulling the thread tight to create
a cupped shape; step up (Fig. l).
Note: Work an additional round, if
necessary, to ensure the rivoli is
securely surrounded with beads.
Rg. 1: IVoHingRoiinj 
Round 5: Work I charlotte in each stitch,
pulling the thread very tight to cinch
the beads.
Front side: Weave through the beads to exit
from Round I. Place the rivoli right
side up inside the beadw'ork and hold
it in place with your thumb as you
repeat Rounds 4 and 5 to close up the
front of the bezel (Fig. 2). Weave
through beads to exit from the last
round of cylinders on the back of the
bezel and set aside.
Fig. 2:f -	it'.: :h. .
Repeat entire step to bezel the remaining
red rivolis.
2)	GREEN BEZEL. Repeat Step I to work
the green bezels much like the red bezels,
with the following differences:
Rounds 1 and 2: String 36 green gold
cylinders; tie a loose circle, leaving a
15-20" tail.
Round 3: Work I green cylinder in each
stitch.
Round4: Work I root beer size 15° in
each stitch.
Rounds: Work I olivine size 15° in each
stitch.
Round6: Work I charlotte in each stitch;
pull snug and exit from the first
round.
Front: Repeat Rounds 4—6 to dose up the
front of the bezel, secure the thread,
and set aside.
Repeat entire step for each of the
remaining 14mm green rivolis.
3)	BLUE BEZEL. Repeat Step I with the
following differences:
Rounds 1 and 2: String 46 blue gold
cylinders; tie into a loose circle.
leavinga I5-20” tail.
Round 3: Work I blue gold cylinder in
each stitch.
Rounds 4 and S: Work I root beer size 15°
in each stitch.
Round 6: Work I charlotte in each stitch;
pull snug and exit from the first
round.
Front: Work 3 rounds of root beer size
I5°s. then I round of charlottes;
secure the thread and set aside.
Repeat entire step for the remaining
18mm blue rivoli.
PENDANTS
4)	SIDEWALL. Connect each pair of be-
zeled rivolis with a peyote-stitched tube:
With the tail exiting from the last round
of cylinders at the back of a red bezel,
string I red gold cylinder bead and pass
through the next bead in the same
round. Repeat around and step up
through the first bead added in this step
so you have a circle of beads sticking out
around the bezel (Fig. 3). Continue with
MATERIALS
3 g root beer gold luster size 15° seed beads
3 g silver-lined apple green size 15 ‘ seed
beads
1 g blue purple gold luster size 15 seed
beads
1 g silver-lined olivine size 15° seed beads
6 g gold 24k size 15a charlotte seed beads
3 g red gold iris 24k size 11 ° cylinder beads
5 g green gold iris 24k size 11 ® cylinder beads
3 g blue gold iris 24k size 11° cylinder beads
20 g root beer gold luster size 11 seed beads
144 crystal AB 2mm crystal rounds
4 volcano red 12mm crystal rivolis
4 Sahara green 14mm crystal rivolis
2 Saturn blue 18mm crystal rivolis
8 burgundy 6mm round pearls
6 chartreuse 6mm round pearls
4 abalone blue 8mm round pearls
60 chartreuse green 8-10mm keishi pearls
30 burgundy 8-10mm keishi pearls
20 abalone blue 10-12mm keishi pearls
Smoke 6 lb braided beading thread
Natural or synthetic beeswax
TOOLS
Size 12 and 13 English beading needles
Scissors
FINISHED SIZE: 18”
Fig. 3: Starting :iu- nd-, ivn"
red gold cylinders to work 3 more
rounds of peyote stitch (work 5 rounds
for the green rivolis and 7 rounds for
blue), forming a tube (Fig. 4). Connect
the last round of this tube to the last
round of cylinders at die back of a
matching bezel, zipping them together
back-to-back.
Fig. 4: Working the sidewall
41 Favorite Jewelry Designs
51
5)	BAIL. Exit from the middle round of
the sidewall’s connecting tube; use red
gold cylinders to peyote-stitch a strip
2 beads wide by 24 rows long (2X24 for
green and 4x24 for blue). Zip the first
and last rows together to create the bail
loop. For a picot edging, exit from one
edge of the bail strip and string 3 char-
lottes, pass through the next edge bead
and to the other side of the strip; repeat
for the entire bail loop (Fig. 5).
Fig. 5: Adding picot
6)	PEARL WREATH. Exit from the next
bead in the middle round of the sidewall
next to the bail. String 1 root beer size
11°. 1 burgundy keishi pearl, and 1 char-
lotte; pass back through the pearl and size
11° and through the next bead in the
same round (Fig. 6). Repeat around to the
other side of the bail, placing a pearl
fringe between each bead in the middle
round of the sidewall (13 red. 17 green,
and 21 blue with 2 size ll°s under each
blue pearl). Secure the thread and trim.
Fig. 6: Attncnu:v; I pc:;i ’
NECKLACE
7)	TOGGLE RING. Use 5' of thread to
string 48 red gold cylinders, leaving a
15" tail. Tie a square knot to form a loose
circle of beads, leaving 2-3 beads' width
of thread showing. Use red gold
cylinders to work 1 round of peyote
stitch, work 2 rounds of apple green size
15°s, and 2 rounds of charlottes. Pull the
thread tight to snug the beads. Weave
through beads to exit from the first
round and work 2 rounds of apple green
size 15°s and 1 round of charlottes. Zip
the first and last rounds of charlottes
together to form a solid ring.
Ring ball: Weave through beads to exit
from the middle outer round of the
ring. Use red gold cylinders to repeat
Step 5, peyote-stitching a strip 2 beads
wide by 20 rows long. Add green
keishi pearl fringe around the ring as
in Step 6. Secure the thread and trim.
8)	TOGGLE BAR. Use 3’ of thread to
string 12 green gold cylinders, leaving a
6" tail. Work a strip of flat peyote stitch
12 beads wide by 12 rows long. Zip the
first and last rows to form a tube. Exit
from a bead at one end of the tube.
End cap: String 1 apple green size 15°,
1 burgundy 4mm pearl, and 3 blue
purple size 15°s; pass back dirough the
pearl and pull snug to form a picot
with the blue purple size 15°s. ’String
1 apple green size 15°; pass down
through the next bead and up through
the following bead at the end of the
tube. String 1 apple green size 15°; pass
through the pearl, the picot beads, and
back through the pearl. Repeat from *
for a total of 6 size 15°s around the end
of the tube (Fig. 7). Repeat for the other
end of the tube.
Fig. 7: Capping ont ind of r/ь toggle ba>
Bar bail: Exit from the fifth bead near
the center of the tube. Use green gold
cylinders to peyote-stitch a bail 2 beads
wide by 20 rows long. Embellish the
edges as before, secure the thread,
and trim.
9)	ROPE. Use sizell°s (A) and
2mm rounds to work a tubular hernng-
bone-stitched rope:
Round 1: Use 5' of thread to string 8A
(Beads 1-8), leaving a 6" tail. Pass
through the first bead strung to form
a circle.
Round 2: String 2A and pass through
Bead 2. Skip over Beads 3 and 4 and
pass through Bead 5. String 2A
and pass through Bead 6. Skip over
Beads 7 and 8 and pass through
Bead 1. Pass through the first bead
added in this step (Fig. 8).
Rounds 3-57: Work tubular herringbone
stitch for 334”. To add some sparkle,
randomly incorporate a 2mm round
in place of a size 11° seed bead, about
one every 3-6 rows.
First pendant: String 1 burgundy round
pearl, ЗА. a red pendant (the bail will
cover the seed beads), and 1 burgundy
round pearl. String2A and continue
with herringbone stitch, passing back
through the bail beads to stitch through
2 tube beads before the pearl, then
through the bail beads again to string
the next 2A. and repeat (Fig. 9). Once
Fig. 9; <
you have 4 beads on top of the last
pearl, continue tubular herringbone
stitch, passing through the beads so
that they are centered with the pearl.
52 beadworkmagazine.com
Second pendant: Work 15 rounds of
tubular herringbone. Add a 14mm
green pendant in the same manner,
using chartreuse round pearls. Use
size U°s and 2mm rounds to work
15 rounds of tubular herringbone
stitch as before.
Middle pendant: Work 15 rounds of
tubular herringbone, then add the
18mm blue pendant, using crystal
abalone pearls and stringing 7A
between the pearls to accommodate
the blue pendant s wider bail.
Work the second half of the necklace
in reverse sequence.
10)	CLASP. Start a new' thread at
one end of the rope. String I abalone,
I chartreuse, and I burgundy round
pearl. String 17 blue purple size I5°s and
the toggle bar bail. Pass back through the
3 pearls and into the end of the rope.
Following the herringbone thread path,
weave through all the beads several times
to reinforce, making sure the beads are
centered with the pearls. Secure the
thread and trim. Repeat at the other end
of the rope to secure the toggle ring. ♦
RESOURCES
Check your local bead shop or contact:
Seed beads and Swarovski aysta! rivofc:
Laura McCabe Jewelry, www iauramccabe
jewelry.com. FireLine bnvded beading thread:
FusionBeads com. (888' 781-3559
41 Favorite Jewelry Designs
53
necklace

BARBARA CLAYTOR
color-play necklace
TECHNIQUES
right-angle-weave
variation
See pull-out stitch guide
between pp. 48—49
for helpful technique
information.
The intricate-looking knots are actually quite
simple: stitch a longstrip of beadwork and tie
it into knots. Experiment with seed-bead
color, type, and size to alter the design and
developjiour own unique look.
54 beadworkmagazine.com
1) STRIP. Use the colors outlined below
to work a strip of beadwork 3 rows wide
and 51” long:
Row 1 top: Use 6' of thread to string 4L.
leaving a 6” tail. Tie a knot to form a
circle (and the first unit) and pass
through the first bead strung. *String
ЗА and 4L; pass through the first L just
strung to form the second unit (Fig. 1).
Repeat from *
eleven times.	—у *:“© X
Working in the
same stitch.
work 10 units of
L with 3B be- R8 1:S«ertlnj«ow 1
tween each:
9 units of L with ЗА between each; 10
units of M with 3C between each: 6 units
of L with ЗА between each; 3 units of \
with 3D between each; 10 units of О with
3D between each; 6 units of N with 3D
between each; 3 units of P with 3E be-
tween each; 10 units of Qwith 3E be-
tween each; 6 units of P with 3E between
each; 3 units of R with ЗА between each:
and 10 units of S with 3B between each.
Work 6 units of R with 4A between each.
Work 10 units of T with 3K between each
for the center of the strip.
Repeat entire step in reverse order for
the other half of the strip.
Row 1 bottom: Weave through the beads to
exit from the bottom L of the last unit.
String ЗА and pass through the bottom
L of the next unit (Fig. 2). Repeat,
adding size
ll°s across the
row in the	4
following
sequence:
31 stitches	Rg-2:	the
. . _ .	bottom of Row T
with ЗА;
9 stitches with 3F; 7 stitches with ЗА;
3 stitches with 3D; 9 stitches with 3H;
7 stitches with 3D; 3 stitches with 3E:
9 stitches with 3G: 7 stitches with 3E;
3 stitches with 3J; 9 stitches with 31.
6 stitches with 3J; 2 stitches with 4J.
Continue working in this manner for
the second half of the strip, reversing
the color sequence.
Row 2 top: String 3L; pass through the
bead just exited to form a circle (and
the first unit of this row'). Tie a knot
between beads of the first row to make
the turnaround (Fig. 3). Pass back
bead just
exited, *the
Fig. 3: Starting the
top of Row 2
through the
next 3 size
IPs. and the
next size 8°.
String 3L.
Pass through the bead just exited and
repeat from * down the length of the
strip, always stringing the same type of
bead you last exited for each unit (fig. 4).
Fig. 4: Working the top of Row 2
Row 2 bottom: Repeat Row* 1 bottom.
Row 3 top: Repeat Row 2 top.
Row 3 bottom: Work as for Row 1 bottom,
but match the size 11° color sequence
used in Row 1 top.
Ends: Square the strip’s end by stitching
LA between the Ls at the corners and
2A between the rows (fig. 5). Repeat at
the opposite end. Secure the thread
and trim.
Fig. 5: St r thing the ends
2) KNOTS. Tie an overhand knot with
the center of the beadwork. Tie 6 more
knots up each side of the strip, taking
care to keep the beaded strip flat between
knots. Make adjustments as necessary to
keep the knots evenly spaced and point-
ing in the same direction.
MATERIALS
20 g transparent periwinkle AB size 11 seed
beads(A)
5 g white-lined periwinkle size 11' seed
beads(B)
5 g transparent light sapphire AB size 1T
seed beads (C)
10 g light blue-lined topaz size 11* seed
beads(D)
10g transparent topaz AB size 11 seed
beads(E)
5 g aqua-lined light blue size 11 “ seed beads (F)
5 g peach-lined dear size 1T seed beads (G)
5 g lime green-lined aqua size 11 ° seed
beads(H)
5 g pink-lined light blue size 11” seed beads (I)
5 g opaque periwinkle size 11е seed beads (J)
5 g silver-lined red matte size 11 ° seed beads (K)
20 g transparent teal AB size 8° seed beads (L)
5 g aqua-lined light blue size 8" seed beads (M)
5 g bright teal-lined dear size 8° seed beads (N)
5 g mint-lined jonquil size 8° seed beads (O)
5 g transparent topaz AB size 8° seed beads (P)
5 g orange-lined jonquil size 80 seed beads (Q)
5 g pink-lined purple size 8° seed beads (R)
5 g silver-lined Ceylon iris size 8° seed beads (S)
7 g silver-lined red AB size 6° seed beads (T)
1 brass 14x32mm sew-on hook-and-eye clasp
Crystal 10 lb braided beading thread
TOOLS
Size 10 beading needle
Scissors
FINISHED SIZE: 21”
3) CLASP. Start Г of thread at one end
of the necklace. Securely sew on one half
of the clasp to the end units in each row.
Secure the thread and trim. Repeat for
the other side of the necklace, taking care
to keep the clasp halves on the same side
of the strip. ♦
RESOURCES
Check your local bead shop or contact:
FireLine braided beading thread and all beads
and findings: Bead Haven, (757) 262-0162,
www.beadhavenva.com.
41 Favorite Jewelry Designs
55
necklace
chocolate and %
roses pendant
RENELDE NAPOLI


•. э -ч
г* Jj*
Learn two-
needle right-angle
weave (without the
needles!) while making a
crystal open-back bezel
embellished with several layers
of beads to create a beautiful
antique-looking circular
pendant. Just change the colors
andjou can make them to Jit
any event, big or small!
TECHNIQUE
two-needle ri
angle weave
See pull-out stitch guide
between pp. 43-49
for helpful technique
information
#.АЙл%';:Л W '• />'Ж<
. . ’ .	' • ’/j * *	. ’	r,< 1 * .j у -t Л*Ъ
a	»*<I *v e ’Vzs/ifX
56 beadworkmaganne
corn
1)	BEZEL FRONT. Frame the front of
the rivoli crystal with cylinder beads (A),
light rose 4mm bicones (D). and alabas-
ter 4mm bicones (C). using two-needle
right-angle weave, one thread at a time:
Unit 1: Use 8’ of thread to string ID. IC,
I A. and IC: slide the beads to the
center of the thread and pass through
the ID. IC. and IA again, leaving a
4’ tail (Fig. 1).
Fig. 1: Working Unit 1
Units 2-12: String 1A. IC. and ID; pass
back through the nearest IC of the
previous unit and through the 1A just
strung (Fig. 2); repeat around for a total
of 12 units.
Fig. 2: Completing Unit 2
Unit 13: String lA and pass up through
the nearest IC of Unit I: string ID and
pass down through the IC of Unit 12
and through the lAjust strung (Fig. 3);
set this thread aside.
Fig. 3: Finishing the front of the bezel
2)	BEZEL BACK. Flip the work over and
place the rivoli facedown in the center;
use the tail thread to work a layer on top
of the previous round, using cylinder (A)
and fire-polished (E) beads, sharing
bicones of the previous round for each
unit, and enclosing the rivoli between
the rounds:
Unit 1: Using the 4' tail thread exiting
from the first ID. string IE. 1A. and
IE; pass through the same bicone again
and the IE and 1A.
Unit» 2-12: String 1A and IE; pass back
through the next ID of the previous
round, the IE of the previous unit,
and the lAjust strung (Fig. 4). Repeat
for a total of 12 units.
Fig. 4: Working the back of the bezel
Unit 13: String 1A and pass through the
nearest IE of Unit 1, through the ID
of the previous round, the IE of the
previous unit, and the lAjust strung.
Centers: Pass through all the cylinder
beads in the center to snug the work
around the rivoli (Fig. 5); repeat with
the other end of the thread on the
front of the bezel. Weave each thread
through beads to exit from the
opposite side of an edge bicone.
Fig. 5: Reinforcing the center
3)	OUTER PEARLS. Work pearl units
around the previous round using two
threads at a time:
Unit 1: With the beadwork faceup, use the
left thread to string I pearl; use the
other thread to string 2 pearls and pass
back through the other pearl and
through the next outer bicone (Fig. 6).
MATERIALS
2 g bronze matte size 11’ cylinder beads (A)
26 rose 3mm bicones (B)
17 rose alabaster 4mm bicones (C)
19 light rose AB 4mm bicones (D)
13 light rose AB 4mm fire-polished rounds (E)
26 bronze 6mm crystal pearls
1 rose 14mm crystal foil-back rivoli
Clear 0-24mm nylon thread
1 brown 15-strand necklace
TOOLS
Scissors
Knotting tweezers
Bead reamer (optional)
FINISHED SIZE: PA X 2 ”
(PENDANT)
Fig. 6: Adding the first unit of pearib
Units 2-13: Use the left thread to string
I pearl; use the right thread to string
I pearl and pass back through die other
pearl and through the next outer bicone;
repeat around (Fig. 7) . Work the last unit
by stringing I pearl and crossing the
threads through the first pearl.
Fig. 7: Completing Unit 2 with pearls
4) EMBELLISHMENTS. Work through
the inner pearls to add seed bead crosses,
then add crystals along the edge, between
the outer pearls:
41 Favorite jewelry Designs
57
Seed-bead crosses: Use the left/inner
thread (the end exiting toward the
center) to string2A. IB. and 4A; pass
through the next pearl, exiting toward
the center (if needed, use the tweezers
to pull the thread through the pearl).
Use the right/outer thread to string 4 A
and pass back through the last IB;
string 2A and pass through the next
pearl, exiting toward the outside
(Fig. 8,). Repeat around, then weave
through beads to exit from opposite
sides of an edge pearl.
Fig. 8: Working the seed-beaded crosses (indicated in
blue and red) and crystal edge (indicated in purple)
Crystal edge: Use one thread to string IB
and pass through the nearest pearl;
repeat around, pulling the beads snug
to dome the pendant (Fig. 8). Use
the other thread to pass back through
all the edge beads, exiting so that
the threads are crossed through the
5) BAIL. Work a strip of right-angle
weave for the bail: String 4A on each
thread: use one thread to string 1C and
pass the other thread back through it.
*String IA. ID. and IAon each thread
use one thread to string 1C and pass the
other end back through it. Repeat from *
twice. String 4A on each thread and pass
each thread through opposite sides of the
same edge pearl (Fig. 9).
Fig. 9: Attaching the end of the bail
Weave each thread through the bail twice
again to reinforce or until you can no
longer fit the threads through the beadb
and trim close. Use the necklace to
string the bail. ♦
RESOURCES
Check your local bead shop or contact:
Necklace and Swarovski rivoli cabochon:
Bncol'Art, info@bricc4art.be.. www.bricolart.be.
Seed beads, Swarovski crystal bicones and
pearls, fire-polished rounds, and thread: Fire
Mountain Gems and Beads, (800) 355-2137,
www.firemountaingems.com.
The back of the pendant.
58 beadworkmagazine.com
necklace
-** в -Л • A
egyptian collar
SHELLEY NYBAKKE
This might)/ necklace’s multilayer
right-angle-weave rectangles are
woven separately and then
connected with loops of beads, i
TECHNIQUE
:: right-angle weave
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
60	beadworkmagazine.com
(the loop halves will begin to stack).
Weave through beads to exit from the
rectangle s third side bead.
Loops 3 and 4: Connect the 2 rectangles as
before, stringing*! seed beads. 2 cubes,
and 4 seed beads for the front and
back halves of the loop. Weave
through beads to exit from the first
rectangle s next side bead.
Loops 5 and 6: Repeat as before, stringing
4 seed beads, 3 cubes, and 4 seed
beads for each half of the loop.
Loops 7 and 8: Repeat as before, stringing
4 seed beads. 4 cubes, and 4 seed
beads for each half of the loop.
Loop 9: Repeat as before, stringing 4 seed
beads. 5 cubes, and 4 seed beads for
each half of the loop.
Repeal entire step five times to connect
a total of 7 rectangles.
Connect 3 rectangles to one end of the
necklace, replacing the 4 seed bead/
cube/4 seed bead sequences with 6 seed
bead/cube/6 seed bead sequences;
repeat to add 3 rectangles at the other
end of the necklace in the same manner.
3) END LOOPS. Form seed-bead loops
to connect the ends of the necklace to
die square links: Start 6’ of thread so it
exits up through the middle Layer 1
horizontal bead on the long side of one
end of the necklace. String 14 seed beads
and 1 square link and pass through the
last rectangle bead exited. Weave
through beads to exit down through the
next Layer 1 horizontal side bead (Fig. б).
Fig. 6: .-hrnj one end n> J Unit
String 14 seed beads; pass through the
square link in the same direction as
before and down through the rectangle
bead last exited. Weave through beads to
exit up through the next Layer 1 hori-
zontal side bead. Repeat entire step
down the side using 16-18 seed beads
instead of 14 for the last 2 loops.
Weave through beads to repeat the loop
sequence on the other half of the same
rectangle, making sure all the loops lie
in the same direction. Secure the thread
and trim.
Repeat entire step on the other end of
the necklace to attach the remaining
square link.
4) CLASP. Add an embellished
extender chain and clasp to the links:
Extender: Use 1 jump ring to connect
2МГ of chain to 1 of the square links.
Chain embellishment: Use the eye pin to
string the rondelle and 5mm round:
form a wrapped loop that attaches to
the free end of the previous chain.
Open die eye-pin loop as you would a
jump ring and string the head end of
the dragonfly link: close the loop. Use
the head pin to string 1 seed bead: form
a simple loop that connects to the tail
end of the dragonfly link (fig. 7).
Fig. 7: Embellishing the clasp chain
Clasp: Use a jump ring to connect the
clasp to one end of Va” of chain.
Use the remaining jump ring to
connect the free end of the previous
chain to the remaining square link. ♦
... A RUSIIS _
I For added sparse, replace the
i cornerless cubes with 3 mm crystal
i bicones or rounds. To avoid thread
: breakage when working with
i crystals switch to a double strand
of 101b braided beading thread
| and a size 12 needle.
nun ——_ —      
RESOURCES
Check eta bead shop or contact:
firebne beating ""'ead and all
beads anc "he Bead Parlor, (309)
827-7"08 «v* i^ebeadpador.com.
62 beadworkmagazine.com

MAGGIE
MEISTER
an ancient
time.


Inspired £
by an ancient
Greek necklace,
this piece was
designed for Silvia, Л
the daughter of W
Maggie’s friend and
teacher, Luciana
Notturni. Coin pearls
and stones are inlaid
within circular peyote
stitch, and a tubular
herringbone chain
evokes the
meshlike
TECHNIQUES
:: circular peyote
stitch
bone stitch
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
wedding
necklace
1)	BEZELS. Work circular flat peyote
stitch to fit the back of a coin pearl,
then work tubular peyote stitch to form
a bezel:
Round 1: String ЗА and pass through
them again to form a circle: tie a
square knot with the tail thread. Pass
through the first I A.
Round2: Work IA in each stitch; step up
by passing through the first bead of
each round.
Round 3: Work 2A in each stitch; step
up (Fig. l).
Fig. 1: Working Rounds 1-3
Round 4: Repeat Round 2.
Round 5: Repeat Round 3.
Round 6: Repeat Round 2. The work
should be slightly wider than a coin
pearl (Fig. 2).
Fig. 2: Rounds 1-6
Round?: String 1 coin pearl; pass through
an “up” bead on the opposite side of
the circle, back through the pearl, and
through the last bead passed through
(Fig. 3). Continue working IA in each
stitch.
Fig. 3: Adding a pearl
41 Favorite Jewelry Designs 63
Round 8: Alternate working 2A. then 1A
in each stitch; step up. Note: Work
increases or decreases as necessary to
f
accommodate the shape of the pearl.
Round9: Work IA in each stitch; step up.
Round 10: Repeat Round 8.
Round 11: Work IB in every other stitch.
Pull tight to snug the beads around the
pearl. Pass through the round again to
reinforce, then secure the thread and
trim.
Repeat for each of the coin pearls.
2)	DANGLE. Choose the center pearl
and anchor a new thread to exit at the
bottom of the bezel. String ЗА. the
round white pearl. ЗА. the briolette, and
2A; pull snug and
pass back through
the fifth-to-last I A,
the pearl, and the
next IA. String 2A
and pass through
2 beads of the bezel:
pass through all the
beads again to rein-
force. Pass through
the bezel beads to
exit near the lop, at
a two o’clock posi-
tion (Fig. 4).
Fig. 4: Creating the
dangle
3)	CONNECTING. String I ruby; pass
through a side bead on a second bezel,
back through the ruby, and through the
same bead on the first bezel. Pull snug
and repeat the same thread path to
reinforce. String enough beads to reach
around the side of the ruby, pass
through the second bezel, and string
beads to reach around the other side
of the ruby, back to the first bezel. Work
I round of peyote stitch along the side
beads. Pass through beads to exit the
opposite side of the second bezel (Fig. 5)
and repeat to attach a third bezel; secure
the thread and trim. Secure a new thread
in the center pearl and repeat entire step
to attach the remaining rubies and
bezeled pearls.
4)	CHAIN.
Ladder-stitch 6B,
leaving a 9" tail.
Pass through the
first and last beads
to use as a founda-
tion round to work
a herringbone tube
that is 6 beads
around and
7’/2” long. Ladder-
stitch through the
last round to close
up the end of the
tube, then string
2A and pass
Fig. 5: Connecting the
bezels
through the opposite side of the tube to
cover the end and serve as a foundation
for the clasp; do not trim the threads
(Fig. 6a).
Use a tail thread to string I vermeil
6mm bead and pass through an edge
bead at the top of the last bezeled pearl.
Pass through the beads several times to
secure, then trim. Repeat with the other
tail thread.
Fig. 6: Working the clasp loop
5) CLASP. Repeat Step 1 using the
faceted pearl, repeating Round 6 twice to
form a taller bezel. Exit the center back
of the bezel and work a 2-bead ladder to
attach one of the herringbone tubes;
weave through the beads several times to
secure, then trim.
6) LOOP. At the end of the second tube,
string 25-30A to form a loop to fit the
clasp bead. Pass through the 2A at the end
of the tube and the first 2A just strung.
String IB. skip IA. and pass through the
following IA; repeat around, then secure
the thread and trim (Fig. 6b). ♦
MATERIALS
14 g 24ч goki-plated cylinder beads (A)
5 g gold scze 15' seed beads (B)
2 gold verme'l 6mm rounds
4 ruby 8mт faceted rounds
1 ivory 8mm faceted pearl
1 white 8rr.m pearl
5 tvory 12 mm com pearls
1 green 10mm bnoiette
Nylon sze D oeadmg thread
TOOLS
Sue 10 teiz-ng needle
Scissors
RESOURCES
Cheo row коса: bead shop or contact:
’yon hoc.~•£	seed beads
and smiar тег-.- ;.s<-E-eacscorn, (888)
781-3SS9
64 beadworkmagazine.com
necklace
ice princess
LISA KAN
TECHNIQUES
:: tubular herring-
bone stitch
:: peyote stitch
:: ladder stitch

Inspired by Victorian lace, Lisa created graceful
peyote loops to adorn a herringbone necklace.
Crystal quartz briolette beads cluster like frozen
droplets. A hidden wire armature provides
support for this romantic and regal creation.
•	Close any open loops in the connectors before
stitching.
•	Roll excess working thread onto a No-Tangle
bobbin to prevent tangling and unroll as needed.
See pull-out stitch guide
between pp, 48-49
for helpful technique
information
41 Favorite Jewelry Designs
65
1)	HERRINGBONE TUBE. Use 7’ of
conditioned nylon thread, the size 12
needle, and charlottes to ladder-stitch
12 beads (6 stacks with 2 beads each).
Pass through the 2 beads in both the first
and last columns to form a tube, exiting
from the top of the first column. Work
tubular herringbone stitch for 17".
Secure the thread and trim.
2)	PICOTS. Add 3-bead picots along
one column (Stack 1) of the tube:
Stack 1 will be your base column from
which your work will develop: Use the
size 13 needle and 7* of braided beading
thread to pass through the first 3 beads
of Stack 1. String 3 beads and pass
through the third Stack 1 bead again,
forming a 3-bead picot; pass through 6
beads of Stack 1. String 3 beads; pass
through the sixth Stack I bead again,
forming another picot loop; continue
through 6 beads (Fig. l). Repeat for a
total of sixty-two 3-bead picots, leaving
only 2 beads remaining at the end of the
row.
Fig. 1: Adding picots to the tube
3)	CLOSURE. Work both sides of the
closure:
Clasp: Exit one end of Stack I. Referring
to Fig. 2 (numbers indicate Stack num-
bers) , pass back down through I bead
Fig. 2: Starting the strip that attaches to the clasp
in Stack 2 and up through I bead in
Stack 3. String 3 beads (these form the
first end picot), pass down through
I bead in Stack I, and up I bead in
Stack 6. String 3 beads (second end
picot beads) and pass down I bead in
Stack 4. Pass back
up Stack 3 and con-
tinue through the
first 2 beads strung
to exit the tip (mid-
dle bead) of the first
end picot. String
I bead, pass through
the tip of the second
end picot. string
I bead, and pass
through the tip of
Fig. 3: Attaching the
clasp
the first end picot to form a circle
(Fig. 3a). String 3 beads, one half of the
clasp, and 3 beads (Fig. 3b), then pass
through the tip on the second picot
and through the last 6 beads strung to
anchor and center the clasp. Pass
through all picot and clasp beads again
to secure. Weave ends into beadwork
and trim.
Loop: Begin 7‘ of braided beading thread
on the other end of the tube. Repeat
Step 3. omitting the clasp and exiting
from the tip of an end picot. String 11
beads and pass through the tip of the
other end picot to form a loop. Pass
through the
first bead of
the loop and
work I round
of peyote stitch
with I bead in
each stitch
(Fig. 4). Pass
through beads
again to rein-
force and cen-
Fig. 4: Working the clasp
loop
ter the loop: secure thread but do not
trim.
4)	SHAPING. Weave through beads to
Stack 4. Pass down through 5-10 beads
in Stack 4; pull gently but firmly to
adjust the tension. Tie a half hitch knot
between beads. Repeat every 5-10 beads
in Stack 4. With slight adjustments, the
necklace will gradually curve; too much
tension will create a kink rather than a
curve. Check your tension before tying
each half-hitch knot.
MATERIALS
7 g geid size 13 charlottes
21 clear 6 5 <7mm crystal quartz top-drilled
briolettes
11 gold-tilled 7mm 4-ring connectors with
inset cubic zirconia
1 gold-? l ied 13x18mm hinged clasp with
inset cubic zirconia
Nylon beading thread to match beads
Clear 6 lb braided beading thread
7^" of sterling silver 20-gauge wire
Beeswax
TOOLS
Size 12 and 13 beading needles
Chain- or flat-nose pliers
Round-nose pliers
Wire cutters
Scissors
FINISHED SIZE: 18"
5)	BRIOLETTE LOOPS. Create
five 3-briolette peyote-stitched loops
and 6 single-briolette pevote stitched
loops. Work from left to right with the
clasp end on your left. All briolette loops
are worked off of the tips of the previ-
ously formed picots:
Using 9’ of braided beading thread (with
2' wrapped on the bobbin and the size
13 needle, exit through the twentieth picot
from the clasp. String 5 beads and pass
through the middle bead on Picot 21.
Single-briolette loop: String the top left ring
of the connector. 3 beads, and the top
right ring; pass through the tip of
Picot 22. String 3 beads, the bottom
right ring. 1 bead 1 briolette. 1 bead,
the bottom left ring, and 3 beads: pass
through the tip of Picc t 21 and the top
left ring. Continue through 2 beads
above the connector to exit the middle
bead between the 2 t p rings. String
3 beads and form a picot counter-
clockwise through the middle bead
above the connector Fig. 5a). Continue
through the third bead. Picot 22. the
top right ring. and down through
2 beads or. the right side of the con-
nector. Form another 3-bead picot.
moving counterclockwise through the
center bead again < Fig 5bI. Pass
66 beadworkmagazine.com
through the next bead, bottom right
ring, next 3 beads, bottom left ring,
and next 2 beads; form a picot on die
left side of the connector (Fig. 5c).
Weave through beads to exit the tip of
Picot 22. String 5 beads and pass
through the tip of Picot 23 (Fig. 5d).
Picot 21	Picot 22
Fig. 5: Working the jingle-briolette loop
Small 3-blolette ioop: Exiting Picot 23,
string 29 beads and pass clockwise
through the fourth bead str.r.j-
form a circle. String 3 beads and pass
through the tip of Picot 2 4 Wea. e
through the picot to pass back through
the 3 beads just strung and tntc the top
center bead of the loop. There should
be 25 beads in the loop.) Work pevote
stitch around the loop, working bead
in each stitch. Pass through the toy
center bead in the loop, string ’ beads,
and pass through the opposite end to
form a picot (Fig. 6a). Pass down
through the left side of the pevote
loop (counterclockwise? to ev.* fr —
the sixth high bead. Exit the se-.er. <-
high bead.
Fig. 6: A small 3-briolette loop
String 1 bead, the top right ring of a
connector, 1 bead, 1 briolette, 1 bead,
the bottom right ring. 1 bead, 1 brio-
lette (Fig. 6b), 1 bead, the bottom left
ring, 1 bead, 1 briolette, and 1 bead;
pass through the sixth high bead and
the top left ring. Note: You passed
through the peyote loop counterclock-
wise but moved in a clockwise motion
when connecting the briolettes.
Continue counterclockwise around the
peyote loop, working 1 bead in each
stitch. Pass through the last 2 beads in
the loop, through the 3 beads strung
before Picot 24. and through the tip of
Picot 24. String 5 beads and pass
through Picot 25 (Fig. 6c).
Work a Single-briolette Loop between
Picots 25 and 26. String 5 beads and
pass through Picot 27.
Medium 3-briolette loop: Repeat as for the
Small 3-briolette Loop, but string
33 beads for the peyote loop instead of
29 and work between Picots 27 and
28. String 5 beads and pass through
Picot 29. Work a Single-briolette Loop
between Picots 29 and 30. String
5 beads and pass through Picot 31.
Large 3-briolette loop: Repeat as for the
Medium 3-briolette Loop, stringing
37 beads for the loop instead of 33 and
working between Picots 31 and 32.
String 5 beads and pass through
Picot 33.
< 'ontinue adding briolette loops in the
following order; after each loop is com-
pleted. prepare for the next by stringing
' beads and passing through the next
p•:. • Work a Single-briolette Loop
between Picots 33 and 34. Work a
Medium 3-briolette Loop between Pi-
c .’s 35 and 36. Work a Single-briolette
Lo эр between Picots 37 and 38. Work a
?>mall 3 briolette Loop between Picots
39 and 40. Work a Single-briolette Loop
between Picots 41 and 42. String
5 beads: pass through Picot 43.
6)	FINISHING. Add additional picots to
each side of the 3-briolette loops:
ith the clasp to your left, secure 5' of
braided beading thread in the herring-
bone tube, exiting between the first Sin
gle-briolette and Small 3-briolette
Loops. *String 3 beads and pass through
the first up bead on the left side of the
peyote loop. Pass back through the third
and second beads just strung, exiting the
middle bead. String 3 beads and pass
through the tip again, forming another
picot (Fig. 7a). Weave through beads to
exit the middle bead of the picot cen-
tered above the Small 3-briolette Loop.
Pass around through a bead in Stack 1
(between two of the picots formed in
Step 2) to secure the loop s picot (Fig. 7b).
Weave through beads to exit between the
next two picots (Fig. 7c) and repeat to
form a second picot on the right side of
the first Small 3-briolette Loop. Repeat
for each remaining 3-briolette loop.
Fig. 7: Adding the final picots
7)	WIRE. Curve the wire slightly and
insert it gently into the herringbone tube
near the eighteenth picot, into the hollow
inside the tube. Take care not to catch it
on any threads; reshape the wire. ♦
RESOURCES
Check your local bead shop or contact:
Crystal briolettes; Taj Co., (212) 944-6330,
www.tajcompany.com. Clasp and connectors:
Ezel Jewels, (800) 977-9904, www.ezeljewels
com. Beads and Nymo nylon and FireLine
braided beading threads; Garden of Beadin',
(707) 923-9120, www.gardenofbeadin.com.
Wire: Rio Grande, (800) 545-6566, www
riogTande.com.
41 Favorite Jewelry Designs
67
necklace
purple anemone
LESLEE FRUMIN
a
v
TECHNIQUES
:: ladder stitch
flat and tubular
herringbone stitch
:: picot
See pulbout stitch guide
between pp. 48—19
for helpful technique
information.

Leslee created this flower with free-form herringbone stitch.
She then made a herringbone ribbon necklace based on Leslie
Frazier's in the book The Art & Elegance of Beadweaving
by Carol Wilcox Wells (Lark Books, 2002). Once attached,
her showy flower is a stunning centerpiece.
70 beadworkmagazine.com
1) TWISTED RIBBON. Work tubular
herringbone stitch without stepping up
at the end of each round; this, combined
with the larger size 8C seed beads, will
cause the tube to spiral. Keep your ten-
sion tight for a more pronounced twist.
Ladder base: Use 4 of conditioned single
thread to string a tension bead, leaving
a 4" tail. Work a 2-bead ladder, stitch-
ing 2E. 2A. 2A. 2A 2E. 2B. 2B. and
2B (Fig. l). Pass through the first and
last columns to connect the ends,
forming a tube and exiting from the
top of the 2E.
Fig. 1: Working the ladae - •	?
Round 1: String IE and I A; pass down
through the next 2A and up through
the following 2A. String 2A; pass
down through the next 2A and up
through the following 2E String IE
and IB; pass down through the next
2В and up through the following 2B.
String 2B: pass down through the next
2 В and up through the following 2E
(one bead from the previous round
and the first bead strung in this
round).
Rounds 2 and on: Repeat Round I for a
total of 15". stringing 2 beads and
passing down through 2 then up
through 2 beads for each stitch. Work
with a tight tension alter a few
rounds, collapse the tube so that the
size 8°s become the edges of the
double-faced ribbon.
Clasp loop: Stitch a strip that is 2 beads
uade for 22 rows (or long enough to fit
around the button Pass through the
strip and the end oi the ribbon several
times to secure the loop 1 Fig. 2). 2
2) FLOWER BACK. Work tubular her-
ringbone stitch with increases and vari-
ous bead sizes to free-form the num
petals of the flower, then embellish with
Fig. 2: Forming the dasp loop
fringe and picots. Secure 4' of thread at
the start of the twisted ribbon.
Rounds 1-6: Work IOC around, passing
down through I bead, then up through
the following bead for each stitch; step
up by passing through the first bead in
each round.
Rounds 7-10: Work 6C and 6E; keep a
tight thread tension so the smaller
beads begin to fold down while the
larger beads fan out toward the top.
Round 11: Begin increasing by stringing
1 bead between each stitch (Fig. 3).
Round 12: String 2 beads between each of
the increase stitches in the previous
round. Continue increasing by string-
ing 2 beads between each stitch above
each increase bead of the previous
round (Fig. 4).
Rounds 13-18: Continue with tubular her-
ringbone, stitching 2 beads into each
pair of increase beads. Work more
increases and change beads as desired,
with size ll°s in the front of the tube
and 3mm hex beads in the back.
Round 19: Form a picot at the tip of each
pair of columns by stringing 3D and
passing down through 2 beads and up
MATERIALS
12g bronze size 11“ seed beads for twist (A)
10 g clear AB size 11е seed beads for twist
(B)
5 g total matte size 11 ‘ seed beads in blue
and purple for flower (C)
5 g total size 11 ° seed beads, 2mm hex
beads, and 2mm fire-polished rounds in
blue and purple for flower (D)
8 g gilt-lined lavender size 8‘ seed beads for
twisted edge (E)
5 g purple AB 3mm hex beads
10-12 bronze 4mm rounds
4-5 amber/purple 4-5mm fire-polished and
pressed-glass accent beads
1 brass 8x1 Omm button with shank
Beading thread in colors to match beads
Beeswax
TOOLS
Size 10 or 12 beading needle
Scissors
FINISHED SIZE: 173/4”
through the following 2 beads for each
stitch (Fig. 5). Pass through the round
again to reinforce.
Fig. 5: Forming the Round 19 picots
41 Favorite Jewelry Designs
71
3)	CENTER PETALS. Weave through
beads to exit from Round 11 on the in-
side of the tube.
Rounds 20-21: Using size 8°s and stitching
through the beads in Round 11. begin
a second tube on the inside of the
larger tube. Work an increase between
each stitch using size ll°s, for a total of
20 herringbone pairs (Fig. 6).
Fig. 6: Starting the center petals
Rounds 22-28: String 2 beads and pass
down to Round 23 for each stitch, creat-
ing separate columns of petals; string
1 bead per stitch in the final round (Fig. 7).
Fig. 7: Working the petals
Eye picots: Exit from the base of the center
petal tube. String 3 seed or other
accent beads; pass down through one
bead and up through the following
bead to form a picot. Repeat around
the inside of the flower, then repeat
again using different beads.
4)	ACCENT PETALS. Exit from the back
side of the flower, about 3 rounds from
the outer edge. String 10-20 size ll°s and
pass through the flower to secure them in
a line even with the edge. Use these beads
as the foundation for more petals, work-
ing them until they extend beyond the
flower s edge (Fig. 8).
Fig. 8: Stitching the accent petals
5)	CLASP. Secure the button to the back
of the flower near Round 6. ♦
RESOURCES
Check your local bead shop or contact:
Seed and hex beads: Beyond Beadery, www
.beyondbeadery.com. Glass accent beads:
FusionBeads.com.
72 beadworkmagazine.com
necklace
ellipse necklace
MARCIA DECOSTER
This elegant necklace
draws visual power from
the strong geometry in
its curved and layered
right-angle-weave
pendant.
TECHNIQUES
:: right-angle
weave
:: peyote stitch
:: picot
:: ladder stitch
See pull-out stitch guide
between pp 48-49
for helpful technique
information.
MAKE A
PROJECT
WITH A 3-D
EFFECT!
41 Favorite Jewelry Designs 73
PENDANT
1)	SQUARE. Use E to work a right-
angle-weave square (Fig. 1a) that will later
be turned and used as the pendant s
central diamond:
Side 1: Use 5' of thread to stitch a strip
of right-angle weave 9 units long and
3 rows wide.
Side 2: Work 3 units and turn. Work back
and forth on these 3 units for a total
of 6 short row's (you will now have an
L-shaped 9-by-9 unit).
Side 3: Weave through beads to exit the
inside edge of the final row of Side 2
and work a new row of 3 units. Work
back and forth on these 3 units for a
total of 6 short rows (you will now have
a U-shaped 9-by-9 unit).
Side 4: Weave through beads to exit the
inside edge of the final row of Side 3 and
work 3 units. Work one more 3-unit
row. Join the last row' of Side 4 to the
beads of Side I to complete the square.
2)	ELLIPSES. Working off opposite
corners of the square, use E and A to
work 2 right angle-weave ellipses:
Side 1, Row 1: Weave through beads to exit
the third edge bead from a comer. Use
3E to work the first unit. Moving toward
the corner, weave a second unit using
1E for the bottom bead and IA for the
side bead. On the third unit, use IA for
both the bottom and side beads (Fig. 1 b).
Side 1, Rows 2-11: Work 3 units across in
the same bead-size pattern as Row I.
The work will curve.
Side 1, Rows 12 and 13: Work 3 units across
using all E. Weave through beads to
exit the inside edge bead of Row 13.
Side 2, Row 1: Work 1 unit of 3E. Moving
toward the center of the curve, stitch a
second unit using IE for the top bead
and IA for the side bead. On the third
unit, use IA for both the top and side
beads (Fig. 1c).
Side 2, Rows 2-9: Work 3 units across in
the same bead-size pattern as Side 2,
Row I. Join the final row to the corre-
sponding 3 edge beads of the adjacent
side of the square.
Fig. 1: Working the central square and first ellipse
Repeat entire step on the opposite
corner of the square to create an upper
ellipse. Secure the thread and trim.
Set the blue pendant layer aside.
Repeat Steps 1 and 2. this time using C
instead of A. and F instead of E to make
the bronze pendant layer.
3)	LAYERS AND EDGES. Use Gand
right-angle weave to join the layers along
their outside edges (each unit will consist
of IE, 1G. IF, and 1G). Work 1 row of
right-angle weave using E along the entire
outside edge of the blue layer. Note: To
work the corners, add an additional unit
of right-angle weave using 3E (Fig. 2).
Fig. 2: Working the extra row of E and
the point increase
MATERIALS
12 metalc	soe 15 ’ seed beads
1	g bi-e metai c sere 15 seed beads (A)
2	g dan bronze see 15: seed beads (B)
1 g bronze see * 5 “ex-cut beads (C)
1 g sJver-' ^ec orange size 15 seed
beam D
5 g Nue met=Jhc see 11 ’ seed beads (E)
3 g darx ororee 1 ’ seed beads (F)
i g i p' brew- A3 sue ’' seed beads (G)
1 g redetsf’ onze size 11 cylinder
beads -
12 tope AS crysrz sequins
Srro«e- : т ь-oed beading thread
TOOLS
FINISHED SIZE: 25”
WITH I < 5’ FOCAL)
4)	BAIL S_ir-	:bread that exits
from the . ie eoge :f the third unit
left of the	blue layer’s upper
ellipse. Repeat r _	.-.1 f Step 2, using
E along the oeade as before and C (in-
stead _•	•** -7_v.de edge (Fig. 3).
Fig. 3 r ’xr i---c
Fold the =rrx -X.	~~. :  the last row
to the sa.— - r.	- <7 beads that are
attached to jne “nr • Repeat on the
other s’.or	' upper ellipse
to make t. secocc : mirror the first.
5)	EMBEL>SMMENT LINE. Weave
throusr. -	m an inside C at
the tip cf th* --	- -r.er StnnglD:
74 beadworkmagazine.com
ARTIST'S.TIP.........
To increase your speed, choose
: a manageable thread length no
j longer than about 5’. Thread
\ longer than this will actually slow
; you down. The time it takes to
i weave in a new thread is minimal
j compared to the extra pulls
| of thread, plus the time spent
: to overcome possible tangles.
pass through the side 1C of the next
row’s adjacent unit. Repeat to create an
orange line along the inside edge of the
ellipse (Fig. 4a). continuing through the
outside edge of the square (Fig. 4b). into
the corresponding В of the next ehipse.
and up the other side of the square.
Secure the thread and trim.
Fig. 4: Embellishing r -	—:
NECKLACE
6)	BEADED BEADS. Use sequins,
cylinder beads, and seed beads to
peyote-stitch a beaded bead Fig. 5):
Tube: Use 4 of thread : pey ote-stitch a
rectangle 9H wide and 28 rows long.
Zip the ends together • form a tube.
Weave through beads to exit 1H at the
tube’s edge.
Picots: String 3E; pass down through the
next edge bead and up through the
following. Repeat around to add a
Fig. 5: Beaded bead
eiteieaaeae
aaeaeeaeeae
аамар^аам
AaAkMkal1
№№№№№
9	< «.f.l
total of 7 picots.
Repeat to add picots
along the other edge
of the tube. Weave
through beads to exit
1H at the midpoint of
the tube.
Sequins: String 1 sequin and
1 metallic gold size 15°; pass back
through the sequin and through the
next 1H. Weave through beads to exit
1H four rows away; repeat to add a
total of 6 sequins. Weave through
beads to exit from an H edge bead.
Rim: Ladder-stitch a strip of 20D.
Position the strip along the edge
around the tube and stitch the first
and last beads together to form a ring.
Sew through the strip and the tube
edge every few beads to tack the strip
in place. Repeat on the other end of
the tube. Do not cut the thread.
Repeat entire step for a second beaded
bead.
7)	ROPE. Work a tubular right-angle-
weave rope 5 units around and
25” long, using IE for both the top and
bottom and IB for the sides of each unit.
Before joining the ends together, use
the rope to string 1 beaded bead, the
bail, and 1 beaded bead. Use the working
thread from the beaded beads to sew
them into place on the rope. 1 ’/2" from
each side of the bail. ♦
ARTIST'S TIPS
•	Although it is never our intent,
occasionally a favorite piece
may require repair. In prepara-
tion for this possibility, Marcia
always fills a ziplock bag with a
few of each bead used in the de-
sign and labels it with the proj-
ect name. These bags live in her
'"to repair" drawer should she
ever need to utilize their
contents.
•	Marcia finds she is often in-
spired to create a palette for a
design before she's ready to
bead it. She fills a small
pencil box with the chosen
beads, labels the intended
project, and places it in her
"to be beaded" pile.
RESOURCES
Check your local bead store or contact:
FireUne braided beading thread and all other
beads and findings; The Beading Frenzy, (650)
347-2323, www.thebeadingfrenzy.corn.
+ 1 Favorite Jewelry Designs
75
necklace
back to byzantium
JENNIFER VanBENSCHOTEN
TECHNIQUES
:: tubular herring-
bone stitch
:: peyote stitch
:: brick stitch
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
Jennifer loves ancient jewelry and the challenge c • usmgojf-loom
beading techniques to re-create jewelry made a:raditional metal
techniques. This particular piece was inspired by c Byzantine-style
gold necklace she saw at a museum exhibit severe hears ago.
76 beadworkmagazme.com
1) TRIANGLE BASE. Use 5* of
conditioned thread to work a 7" strip
of odd-count peyote stitch, following
Fig. 1; work 20 bronze -riangles with half
of a steel triangle at each end of the strip.
Vote: To make the odd-count turn on
everyr other row. pas у under the thread
that connects the presious rows along the
bronze edge, pulling the ’bread tight so
that the beadwork will curse slightly
along the top edge Fig 1
Fig. 1: Start  :
2) DIAMONDS ork '-nek stitch along
the bottom edge the trungies. decreas-
ing for each steel diamond and increas-
ing, then decrees. r.£ * ~ each bronze
diamond:
Bronze diamond: Exiting the up of a
bronze triangle. work ? rows. increas-
ing up to 5 bead.- across rk 3 rows,
decreasing down 2 At the tip,
string I bronze 8mm . -ronze 4mm,
and I galvanize: w pass back
through the 4mm xr.d 5 mm beads and
weave back thr: _£- n- roadwork to
work the net* iii—	2a
Steel diamond: W< r к - -y decreasing
down to 2 beads.. A h- tip string
4 galvanized pass back through
the first bead and w-aw through the
beadwork to work the - ci- diamond
(Fig. 2b). Repea: - — a1 . -a_ ::
39 diamond- r	:oiors.
2 beads so that you exit the edge 2 beads
away from the previous edge bead
(Fig. 2c). Repeat for a total of 39 fringes.
Set aside.
Fig. 2: Embellishing the base
4) STRAPS. Use bronze hex-cut beads
to work an 8" herringbone tube that is
4 beads around. To connect the ends,
exit the first bead of the last round and
string 7 beads and one half of the clasp.
Pass up through the first bead and down
through the second bead of the first
round. String 7 beads; pass back through
the clasp and down through the second
bead of the last round. Weave through
the tube and clasp beads several times to
reinforce, secure the thread, and trim.
Repeat entire step to make a second
strap, using the other half of the clasp.
MATERIALS
5 g galvanized silver size 15° seed beads
15g steel size 110 cylinder beads
15g bronze size 1Г hex cylinder beads
60 bronze 4mm rounds
20 bronze 8mm rounds
40 Bali silver 2.5mm daisy spacers
1 sterling silver 9x20mm hook-and-
eye clasp
Nylon size D beading thread
Thread conditioner
TOOLS
Size 10 beading needle
Scissors
FINISHED SIZE: 15”
and w’rap the strip around the strap.
Connect the ends of the strip to form a
ring, pass through both rows of beads to
reinforce, then trim. Slide the ring up
toward the clasp, then make a second
ring, and slide it down to about ’/?" from
the other end of the folded strap. Repeat
entire step with the second strap.
6) FINISHING. Secure a thread at one
end of the triangle base. Use steel beads
to peyote-st itch a strip that is 4 beads
w4de and 29 rows long. Pass th» end of
the strip through the folded end of a tube
and to the back of the base. Weave
through the first and last rows of the strip
several times to secure, then trim close to
the work. Repeat to attach the second
tube at the other end of the necklace. ♦
RESOURCES
Check your local bead shop or contact:
Nymo nylon beading thread, rounds, spacers,
and clasp: Fire Mountain Gems and Beads,
(800) 355-2137, www.firemountaingems
.com.
3) TOP EDGE Em- — m tW top edge
of the triangle base ? tea da from
one end. String	1 * • me 4mm,
and I galvanu- d sjw- -	*
the 4mm and er c.-: ~ •- rough
the next edge --eat i--x me next bead in
the previous - - 3 * * * 7 c  ~ tr_- oagh
5) STRAP SLIDERS. Use 4’ of thread
to string 2 galvanized silver: pass through
the beads again and pull snug, leaving a
4" tail. Pass through die first bead again.
♦String 2 beads; pass dirough the previ-
ous 2 beads and the first bead just strung.
Repeat from ♦ for a strip of twenty-two
2-bead stitches. Fold one strap in half
41 Favorite Jewelry Designs 77
necklace
crystal brilliance
DAENG WEAVER
J
j
ж
*
SD
TECHNIQUES
:: ladder stitch
:: tubular herring-
bone stitch
:: peyote stitch
л
See pull-out stitch guidc
between pp. 48-49
for helpful technique
information.
The chain for this regal-looking necklace -tar- - ; a
humble herringbone-stitched rope. The cnsvzl~
seed-bead embellishments add brilliant spare. e
complement the crystal focal perfectly.
78 beadworkmagazine.com
ROPE
1)	BASE. Use 6’ of thread and В to work
a ladder-stitched strip 6 beads long,
leaving a 6" tail. Stitch the first and last
beads together to form a ring. Use В to
work tubular herringbone stitch off the
ring for 18Ve". Don t cut the thread.
2)	CLASP. Make a button-and-loop
clasp at the ends of the rope:
Button: String 7A. the button, and 7A.
Pass down through the В on the
opposite side of the tube. Repeat the
thread path several times to reinforce.
Loop: Place a needle on the base’s tail
thread. String 26A or enough to fit
snugly around the button. Pass down
through the В on the opposite side
of the tube. Repeat the thread path
several times to reinforce. Secure
the thread and trim.
3)	EMBELLISHMENT. Start 6' of thread
that exits the base up through IB in
Round 4- and add embellishment,
working in a zigzag pattern down the
length of the base:
Row 1: String I A. IE. and LA; count 2B
to the right and IB up and pass
through that B. String I A. 1G. and I A;
count 2B to the right and IB down
and pass through that В (Fig. 1).
Repeat both stitches thirty'-three times
(about 8*/2" down the rope or
*/2" from center), forming zigzag
embellishments that attaches to every
other round and ending with the I A.
IE. and 1A pattern.
Fig. ItEmbellnhtr . •
Note: Fig. 2 show\ how the beads will align
once all four rows have been worked;
Fig. 3 shows the turnarounds at the end
of each row.
Fig. 2: The embellishment pattern
Row 2: Weave through beads to pass back
through the IB to the right of the last
one exited and head back toward the
end of the rope (Fig. 3a). String 1A. IE.
and 1A; count 2B to the left and IB up
and pass through that B. String 1A.
1G, and 1 A; count 2B to the left and IB
down and pass through that B. Repeat
both stitches for the length of the rope,
working a second zigzag.
Row 3: Weave through beads to exit IB to
the right and 1В up from the last one
exited (Fig. 3b). Zigzag down the length
of the base as before, beginning with
1A. IE. and 1A
Fig. 3: Wbrhing the turnarounds
Row 4: Repeat Row 2. Secure the thread
and trim.
Repeat entire step for the other half of
the rope, leaving the center 1" of rope
bare. Set aside.
PENDANT
4)	BEZEL. Use cylinder and seed beads
to form a tubular peyote-stitched bezel
for the rivoli:
Rounds 1 and 2: Use 4' of thread to string
an even number (about 64) of C to fit
snugly around the edge of the rivoli.
Tie a knot to form a circle.
Rounds 3-5: Work IC in each stitch; step
up through the first bead of each
round.
Rounds 6 and 7: Work LA in each stitch.
Round 8: Work IA in every other stitch.
Round 9: Work one 3mm garnet between
each IA in the previous round (Fig. 4).
MATERIALS
10g metallic gold size 14 seed beads (A)
15 g olive luster AB size 11 cylinder
beads(B)
5 g metallic gold size 11° cylinder beads (C)
2 g bronze size 11 cylinder beads (D)
290 garnet 2mm rounds (E)
16 garnet 3mm rounds
16 onyx 2.5mm faceted rounds (F)
274 light rose AB 3mm crystal bicones (G)
22 light rose AB 4mm crystal bicones (H)
1 volcano 4mm crystal sequin
1 crystal-foiled 23mm crystal triangle rivoli
1 cream 12x15mm antique glass burton
with metal shank
Smoke 6 lb beading thread
TOOLS
Size 13 and 15 beading needles
Scissors
FINISHED SIZE: 19”
(WITH IVt" FOCAL)
Weave through the round again to
reinforce: the beadwork should cup
slightly.
Fig. 4: Adding the garnets
Back: Weave through beads to exit IC in
Round 1. Place the rivoli facedown in
the center of the beadwork. Repeat
Rounds 6-8 (Fig. 5).
Fig. 5: Peyote-stitching the bach
Weave through the last two rounds again,
pulling very tight to snug the beaded
bezel over the rivoli. Secure the thread
and trim.
5) PENDANT PICOTS. Exit from LA
of Round 6. String ЗА and pass through
the next 1A of Round 6: string 1F and
pass through the next 1A of Round 6
(Fig. 6). Repeat around the bezel, adding
41 Favorite Jewelry Designs
79
picots to the front of the pendant. Secure
the thread and trim. Set aside.

Fig. 6: Adding the picots
6) PENDANT FRINGE. Start 6’of thread
that exits from IC on the bezel’s Round
4 at one tip of the triangle. String IB.
1H. and ЗА; skip the last ЗА and pass
back through the rest of the beads just
strung to make a fringe. Pass through the
next IC in Round 4 (Fig. 7). Repeat to
add a total of 22 fringes along two-thirds
of the bezel.
Fig. 7: Adding fringe
7) BAIL. Use 4' of thread to work a strip
of odd-count peyote stitch 7D wide and
30 rows long, leaving an 8” tail.
Picots: Weave through beads to exit from
a Row 27 edge bead. String ЗА; pass
down through the adjacent ID and up
through the following ID (Fig. 8).
Repeat six times. Weave through the
first row to work 7 picots along the
other edge of the strip.
□□□□□□□аасз
□□□□□□□□□a
□□aaaaaaaa
Fig. 8: Working the picots
Sequin: Exit the center of Row 27.
String the sequin and LA Pass back
through the sequin to form 1 fringe.
Pendant: Stitch the last row of the strip to
Round 3 of the bezel's bare section,
centering the strip between the fringe
added in Step 6; secure the thread and
trim. Place a needle on the bail strip’s
tail thread. Fold the strip over the bare
center section of the embellished rope,
and stitch the first row of the strip to the
bezel. Secure the thread and trim. ♦
The Crystal Bril Нанесnecklace
к-as inspired by Daeng's lovely
Prince ssa Aecklacc. ir/i/c/i irns a
2007 finalist in A*. Gottfried Inc. 's
H orldivide Design Contest, (io to
i г i r i r. kgottfriedie w.com/coi i le st_
gallery I.asp tn view this and
many otlu r impressive winners
and finalists. Срок for more
information on other contests at
i c i v\v.kge)ttfrieclh tc.coi /1.
RESOURCES
Check your local bead shop or contact:
Crystals К Gorrfned (wholesale only), (800)
879-2323, www kgottfriedinc.com. FireLine
braided beading thread and all other beads
and findings QiritWorks Northwest, (425)
462-8992
80 beadworkmagazine.com
bracelet
heavenly hibiscus bangle
SCARLETT LANSON
Woven around a malleable copper-wire
core with a beaded hibiscus bloom poised
at each end, this innovative bangle bracelet
allows the wearer to adjust the fit while
keeping the solid structure.
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
TECHNIQUES
:! tubular right-
angle weave
:: tubular peyote
stitch
82	beadworkmagazi nc.com
MATERIALS
1) BEADED-BEAD PETALS. Use 2' of
thread to cover a crystal round with
cylinder beads:
Base: String IC. I crystal round, and IC,
leaving a 4" tail. Pass back through the
crystal and first C. Tie a knot with the
working and tail threads. Pass through
the crystal and second C again (Fig. 1).
Fig. 1: Working the base of the beaded beads
Round 1: Working off of the last C strung,
use C to work 4 units of right-angle
weave. String IC: pass through the
base C at the other side of the crystal.
String IC; pass through the last C
exited on the fourth unit and the next
2 beads (Fig. 2). Repeat to work a total
of 5 units on the other side of the
Fig. 2: Completing the first half of Round 1
crystal using C and D. following the
color pattern in Fig. 3. Weave through
the beads to exit from a bead on the
bottom of the first unit.
0-C
• = D
Fig. 3: The second side of Round 1
1 g matte 24k gold-plated iris size 15®
seed beads (A)
5 g 24k gold-plated size 15° seed beads (B)
3 g frosted matte pink size 11° cylinder
beads (C)
3 g metallic berry size 11 cylinder beads (D)
1 g 24k gold-plated size 11° hex-cut
cylinder beads (E)
1 g 24k gold-plated size 11° seed beads (F)
10 Siam 8mm crystal rounds
Smoke 6 lb braided beading thread
12" of 3mm copper wire
TOOLS
Size 12 beading needles
Scissors
Heavy-duty wire cutters
Bracelet mandrel or other solid,
round form
Metal file
FINISHED SIZE:
ADJUSTABLE
Round 2 (bottom): Use cylinder beads to
work a round of right-angle weave as
before, following the color pattern in
Fig. 4 when working the second side.
Fig. 4: The second side of Round 2
Round3 (bottom): Stitching into the top
bead of every other unit, work tubular
peyote stitch with 1 bead in each stitch
in this order: IC. IC. IC. ID. and ID.
Pass through all the beads in this
round and pull the thread tight to join
them into a ring.
Bottom point: Stitch IF so it's centered
within the circle of Round 3 beads
(Ag-5).
Petal top: Weave titrough beads to exit
from an edge bead in Round I. Repeat
Rounds 2 and 3 using all C. Repeat
41 Favorite Jewelry Designs
83
Fig. 5: Adding the bottom point
instructions for the bottom point to
create a top point. Secure the thread
and trim. Set aside.
Repeat entire step four times for a total
of 5 beaded-bead petals; do not cut the
thread on the fifth beaded bead.
2) CONNECTING THE PETALS. Weave
the tail of the fifth beaded bead through
beads to exit the bottom point and use it
to connect all of the beaded beads:
Round 1: Holding the beaded bead so that
the D beads are facedown, string IA
and the bottom point of the next
beaded bead, again holding the second
beaded bead with the D beads face-
down. Repeat to connect all 5 beaded
beads. String IA and pass through the
first beaded bead's bottom point to
form a circle and tie a knot (Fig. 6).
Flower center: Stitch IF so it s centered
within the circle of Round 2 beads.
Secure the thread and trim.
Stabilizers: Work right-angle-weave units
between adjacent beaded-bead petals
to stabilize them and help hold them
in place: Start 2' of thread that exits
from Round 3 at the bottom of the
first petal, through a bead that sits
between this and the second petal.
String IA; pass through the adjacent
Round 3 cylinder bead that sits at the
bottom of the second petal from front
to back. String LA; pass through the
last cylinder bead exited from the first
petal (Fig. 8). Pull tight and repeat the
thread path to secure. Repeat around
to connect and stabilize all the petals.
Fig. 8: Stabilizing the flower by Joining the petals
4) SECOND FLOWER. Repeat Steps l-3
for a i  с* * г making the follow-
ing шшсккжа
> »•- :tch the colors when
*g '•* т-rals using D in place of
C C 2=. «dace of D.
_ ir оlace of C when work-
ing ----- * r.e stamen.
Fig. 6: Joining the beaded-bead petals
Round 2: Work a round of circular peyote
stitch using IA in each stitch (Fig. 7).
Repeat the thread path to reinforce.
Fig. 7: Working the center of the flower
3) STAMEN. Weave through beads to
exit from the F at the center of the
flower. String 11C, IE. and IA creating
the core of the stamen ; pass back through
the E and last C strung.
Fringe: String IE and IA and pass back
through the E and next C. toward the
Hower center; repeat four times.
String 2E and IA and pass back
through the 2E and next C. toward the
flower center; repeat four times. Pass
through the F at the center of the
flower. String 2E and LA and pass bacc
through the 2E; pass through the ner.
cylinder bead of the fringe (Fig. 9
Repeat fringe instructions to work
second pass, working in reverse so tha
the longer fringes are near the bor ~
of the stamen; omit the last 2 fnng- ?
create a natural tapered look. Weave
through beads to the center of the
flower; secure the thread and trim.
5 ~ -.4 2 _£ a * right-angle weave
.	- st • rr to form the bangle:
a. w i	r ur wrist and add
. rar m-?	-_o this measurement.
«e Twrirwi-reL to manipulate the
• re *	 _r circle. Open the
—Г2 ~ opening a jump
Ш zr-' «гт 3 ♦ ’ apart.
- = • £ * S TIPS.............
• •’чрт -reshape of the
•	ft -n.—. : keep in mind that
r • > •y- cker, and there-
in ж the wrist, when you
ж dk 'ч^Е-erg/e-tveave cover.
•	rr fr г- :ne armature before
Гт. leaf rg and be sure to
iT th smooth, as they
84 beadworkmagazine.com
,..AR.T..I.S.T.'..S.....T1PS..........
i • The inside of metal size 11° seed
beads can be very sharp, so be
careful not to force the stitches
when joining the 5 gold-plated
size 11°s of the petals into the
flower shape. To avoid cutting
the thread against the edges,
carefully nudge the beads
into position while reinforcing
the join.
i • You may find it easier to remove
the tubular-right-angle-weave
armature cover while stitching.
However, be sure to occasionally
test its fit by slipping it over the
armature.
Armature cover: Usc 4 of thread and В to
work a strip of right - angle weave
4 units long and 1 unit high. Exiting
down through the final unit's end
bead, string IB and pass up through
the end bead the first unit. String
IB: pass down	the first end
bead exited to о in the strip into a
ring, creating a fifth unit. Pass
through the nearest top bead. Slip
the ring over one end of the arma-
ture. Work tubular right-angle weave
with 5 units in each round for the
length of the arir.^-	until it is cov-
ered, using firm tnsion to prevent
the wire from >h : -*tn£ through.
Note: Do not force the beadwork to
stretch; it is best t ? have additional
rows that are sc run: bed up than to
be short a few row $ Finish each end
of the wire b\ passing лrough the
5 end beads tu-.-, nulling tightlv as
you go. Secure the thread and trim.
6) ASSEMBLY. Sew 1 flower to the top
of each end of the bangle by tacking
down the underside of each petal that
comes in contact with the armature
cover; be sure to follow previous thread
paths to prevent new threads from show-
ing. Note: It is normal for the flowers to
move around the cuff with the armature
cover; this allows for easy on and off
when donning the bracelet. ♦
RESOURCES
Check your local bead shop or contact:
Kits: Scarlett Lanson, scarlatte424@yahoo
.com, www.thebeadersmuse.com.
41 Favorite Jewelry Designs
85
brooch
love knot brooch
ARLENE BAKER
Sparkling rings of fire-polished beads are entwined with ropes
of lustrous glass pearls and wired to a filigree base to make this
dazzling Miriam Haskell—style brooch. The luxurious textures
and fabulous dimension created as the pearls weave in and out
make this accessory simply irresistible.
TECHNIQUES
:: stringing
:: wireworking
:: two-needle
right-angle weave
See pull-out stitch guide
between pp. -18-49
for helpful technique
information.


86 beadworkmagazine.com
1)	OUTER RING BASE. Cut 24" of
28-gauge wire and use the 4mm fire-
polished beads to work a two-needle
right-angle woven ring:
Unit 1: String 7 beads to the center of the
wire: pass through the first bead again
and pull the wire ends evenly in
opposite directions to form a circle
of beads.
Units 2-11: String 3 beads on each end
of the wire; pass the right end back
through the last bead on the left end.
Pull snug to form a circle with 2 beads
on the left inner curve and 3 beads on
the right outer curve (Fig. 1). Con-
tinue, stringing 3 beads on each wire
and passing the outer wire back
through the last bead on the inner
wire, for a total of 11 bead circles.
Fig. 1: Units I rind 2
Unit 12: To close the ring, string 2 beads
on the inner wire and 3 beads on the
outer wire; pass each wire in opposite
directions through the fourth bead of
Unit 1 (Fig. 2). Pull snug behind the last
bead and twist the wires tighdy
together for '/a". Trim to %" and press
the ends close to the bead. Smooth
each unit and round out the shape of
the ring.
Fig. 2: i .
2)	PEARL ROPE. Cut 16" of 34-gauge
wire and tie a knot at one end. String
76 white 2mm pearls and tie a knot to
secure the beads loosely on the wire;
repeat for a total of 3 pearl strands.
Hold all 3 strands together with the
pearls slid down to the bottom knots.
Hold the exposed wires 2l/2" from the
ends and twist the wires together for %".
Turn the bundle upside down and slide
the pearls down to the twisted section.
Position the pearl strands side by side.
Twist the wires together for leaving
1 pearl’s length of bare wire between the
pearls and the twist. Trim the knots at
the ends of each wire, keeping the wire
ends long. Gently twist each end of the
bundle in opposite directions to form a
smooth rope of pearls (Fig.3); don’t twist
too tight or the pearl rope will be too
short to fit around the base.
Fig. 3:
3)	WEAVING. With the ring base right
side up. pass one end of the pearl rope up
through the second bead circle (Unit 2).
leaving a W tail of pearls underneath.
Hold the tail in place and weave through
the remaining circles, adjusting the pearl
rope as needed if it untwists. The pearl
rope ends meet between the first and sec-
ond circles (Units 1 and 2). Tightly twist
the twisted sections of each end together
for V2" (Fig.4a); trim to W' and press the
wire ends close to the beads.
MATERIALS
108 dear AB 4mm fire-polished rounds
342 white 2mm glass pearls
1 white 10mm glass pearl
2 brass 1 %" diameter filigree discs
1 gold-tone ГА" pin back
78" of brass 34-gauge wire
154" of brass 28-gauge wire
TOOLS
Wire cutters
Chain-nose pliers
2 round toothpicks
Dapping block
Ruler or tape measure
FINISHED SIZE: IV*"
Shaping: As the pearls weave in and out of
the bead circles, 6 fire-polished “Xs"
will be visible on each side of the ring.
Position your fingers on both sides of
each X and gently push the sides
together to raise the center of the X.
Repeat to evenly raise all 6 fire-polished
Xs on the top of the ring (Fig. 4b).
4)	INNER RING. Repeat Step 1. using
14" of 28-gauge wire to work 36 fire-
polished rounds into a ring of 6 right -
angle weave units. Repeat Step 2. using
three 10" pieces of 34-gauge wire with
38 white 2mm pearls on each ware.
Repeat the weaving and shaping steps to
complete the inner ring (Fig. 5).
Fig. 5: The inner ring
5)	ASSEMBLY. Use a dapping block to
gendy dome one of the filigrees, then
attach the components as follows using
28-gauge wire:
Outer ring: Cut six 6" pieces of wire; pass 1
wire through each of the 6 fire-
polished Xs on the back of the ring,
41 Favorite Jewelry’Designs
87
bending the wire around each bead so
the ends are even and point down
from the ring. Center the outer ring
on the domed side of the curved fili-
gree (beads will overhang the edges).
Pass the ends of the wire down
through two adjacent spaces in the
filigree. Hold the ring snug against the
filigree and twist the wire ends tightly
together. Repeat with a second wire on
the opposite side of the ring, then with
the other 4 wires evenly spaced around
the ring (Fig. б). Trim the ends to ’4"
and flatten the wire against the filigree.
Fig. 6: A;- I, f  ihe I
Inner ring: Use three 6” pieces of wire to
attach the inner ring, positioning all
3 wires before twisting the wire
ends together; the loops of the inner
ring’s pearl rope should be centered
between two of the outer ring’s pearl
loops (see photo).
Center pearl: Cut 10 of wire and string
the white 10mm glass pearl. Bend the
wire ends to point down and pass each
end through either side of the filigree’s
center. Hold the pearl snug against the
filigree and twist the wire ends tightly
together. Trim the ends to ,4” and
flatten the wire against the filigree.
6)	PIN BACK. Cut two 10” pieces of
28-gauge wire and fold each in half.
Open the pin back. Pass the ends of one
wire through adjacent openings on the
back of the flat filigree and through one
hole of the pin. Repeat with the second
wire so that the pin is above the center of
the filigree. Bend the wire ends away
from each other (Fig. 7). Pass each end
through to the back of the filigree and
pull tight so that the clasp doesn’t slip.
Twist each pair of ends tightly together,
securing the pin to the filigree. Trim to
l4" and press flat.
Fig. 7: Arruc/'/nif t/»c hoc1
7) FINISHING. Cut four 8" pieces of
28-gauge wire and fold each wire in half.
Stack the filigrees so that the edges
match. Pass the ends of one wire up
through matching openings of
both filigrees near the edge,
from back to front. Twist the
wire ends tightly together;
trim to *4” and press close	.
to the domed filigree.	* .4
hiding wire ends under	i
the beads. Repeat.	—
spacing the wires evenly	4	j
around the edge. ♦
RESOURCES
Check your local bead shop or contact:
Pearls, fire-polished beads, and wire:
Shipwreck Beads, (800) 950-4232, www
.shipwreckbeads.com or Fire Mountain Gems
and Beads, (800) 423-2319, www.firemountaingems.com. Similar filigrees: Omamentea,
(919) 834-6260, www.omamentea.com. Kits.
Arlene Baker, (562) 928-3583,
arlenebkr@aol.com.
88 beadworkmagazine.com
racelet
moonlight windows
bracelet
MELANIE L. DOERMAN
Window bracelets were
inspired by a dream and
are one of Melanie's all-time
favorite bracelets to make. Creating
windows in peyote stitch is a very handy
thing to know: They ’re perfect showcases
for special accent beads and work as a template
for pattern or color explorations as in this project.
Melanie also shares her trick to closing the window
properly so the top of the window matches the bottom.
Г TECHNIQUE
:: peyote stitch
See pull-out stitch guide
between pp. 48-49
for helpful technique
information
41 Favorite Jewelry Designs
89
3) ASSEMBLY, Lay strips side by side, so
that the outer strips’ brown size 15°s pair
up parallel with those on the center strip.
Start a new thread that exits from the
middle bead of the first picot on the
center strip. *String 1 bicone and pass
through the parallel picot on the edge of
the matched outer strip. Pass back
through the beads in a figure eight to
secure the bicone properly. Weave
through the beads along the edge of the
center strip, skipping one picot and exit-
ing from the center bead of the next
picot (Fig. 5). Repeat from * to connect
the center strip to the first outer strip.
Repeat entire step to attach the second
outer strip.
Fig. 5: Connecting the strips
4) FINISHING. Complete the bracelet:
Snaps: Cut a piece of Ultrasuede a bit
larger than the snap. Cut a hole in the
center for the protrusion of the female
side of the snap and sew the snap to the
LUtrasuede. Trim, leaving a slight edge
around the snap. Sew the snap to the
middle of the center strip, ’/s" from
the end. Keep stitches discrete as you
work around the snap. Repeat to add
the female side of snaps to the outer
strips. Turn the beadwork over and
sew the male side of the snaps directly
to the beadwork on the other end of
the bracelet.
Edging: Fora scalloped edge, start a new
thread at the end of the bracelet. Use
brown cylinder beads to work another
row of odd-count peyote stitch at the
end of each of the strips, but only add
a bead between every other up bead.
Be sure to weave through the down
bead at those places where you aren’t
adding beads to hide the thread (Fig, б).
Repeat at the other end of the bracelet. ♦
Fig. 6: Working the scalloped edge
RESOURCES
Check your local bead shop or contact:
Glass beads. The San Gabriel Bead Co., (626)
447-7753, www.beadcompany.com.
Cylinder and seed beads: Caravan Beads,
(207) 761-2503, www.caravanbeads.com.
Ultrasuede Beyond Beadery, (800)
840-5548, www.beyondbeadery.com
41 Favorite Jewelry Designs
91
earrings
aztec sunbursts
NANCY ROCKNICH
A perfect balance of matte and shiny copper-hued cubes, triangles, and three
different sizes of seed beads are joined using several stitches, resulting in a pair
of earrings striking enough for an Aztec queen.
X perfect Jor
D GIFT
Giving
TECHNIQUES
ladder stitch
brick stitch
peyote stitch
See pull-out stitch guide
between pp. 48-49
for helpful technique
information,
beadworkmagazine.com
1) STEM. Use cube and seed beads to
brick-stitch the earring’s stem:
Row 1: Use 6' of thread to ladder-stitch
a strip 3E long. Weave through the
beads again to reinforce.
Row 2: String 2C; pass under the exposed
thread loop between the next 2E of
Row I and back through the last IC
strung to make a brick stitch. String
IC; pass under the thread loop of the
next 2E and back through the IC to
make another brick stitch.
Row 3: Repeal Row 2 using E.
Rows4 and 5: Repeat Rows 2 and 3 (Fig. 1).
Fig. 1: Rows 1-5 of the stem
2) SUNBURST. Use seed and triangle
beads to peyote-stitch the earring’s
sunburst shape:
Round 1: String (IB and IC) ten times.
String IB; pass through the IE at the
opposite end of Row 5 to form a loop.
Weave through beads to pass back
through the IE.
Round2: String IB and pass through the
next IC of Round 1; repeat around to
add a total of 10B. String IB; pass
through the nearest IE from Row 5.
Weave through beads to pass back
through the last IB added (Fig. 2).
Fig. 2: Rounds 1 and 2
Round3: Work 10 peyote stitches with IC
in each stitch (Fig. 3). Weave through
beads to exit from an end Row 5 bead.
Round4: String IB and pass through the
next IC from Round 3. String 2B and
pass through the next IC (Rg.4);
Fig. 3: Starting Round 3
Fig. 4: Adding Round 4
repeat eight times to add a total of
9 pairs of Bs. String IB: pass through
the nearest end Row 5 bead. Weave
through beads to pass back through the
last IB added.
Picots: String2B. ID, and IB: pass back
through the ID. String 2B; pass
through the next 2B from Round 4
(Fig. 5). Repeat around for a total of
10 picots.
Fig. 5: Adding the picots
... A.R T..I..S T...'..S... TIPS.
•	Keep the tension relatively loose on i
the peyote-stitched loop and tight
on the picots so the piece will lie
flat. It's helpful to work these
earrings on a flat surface so you
can gauge and adjust the tension
as you go along.
•	For variety, change the triangle
bead on the picot to a size 8° or
11 ° seed bead or make the sun-
burst's peyote loop longer and
experiment with the size of the
teardrop.
MATERIALS
12 hematite size 15° seed beads (A)
5 g copper size 11 seed beads (B)
5 g bronze matte iris size 8° seed beads (C)
5 g bronze matte size 11 ° triangle beads (D)
18 metallic dark gold 3mm cube beads (E)
2 amber 5x1 Omm teardrops
1	pair of silver ear wires with 3mm gold balls
Gold size D nylon beading thread
TOOLS
Scissors
Size 11 beading needle
2	pairs of chain- or flat-nose pliers
FINISHED SIZE: 2 V* ”
3)	LOOPS. Add loops to the middle of
the sunburst and top of the stem:
Middle loop: Weave through beads to exit
the middle Row 5 bead. String ЗА.
1 teardrop, and ЗА; pass back through
the Row 5 bead just exited to form a
loop (Fig. 6a).
Top loop: Weave through beads to exit
from the middle Row 1 bead. String
8B; pass back through the Row 5 bead
just exited to form a loop (Fig. 6b).
Fig. 6: Forming the middle and top loops
Repeat the thread path several times to
reinforce. Secure the thread and trim.
Open the loop of 1 ear wire as you
would a jump ring, string the top
loop, and close the ear-wire loop.
4)	Repeat Steps 1-3 for a second earring. ♦
RESOURCES
Check your local bead shop or contact:
Nymo nylon beading thread and all beads and
findings: Bead Cache, (970) 224-4322
41 Favorite Jewelry Designs
93
bracelet
antique
connections
cuff
MELINDA BARTA
With a nod to art deco, this attention -
grabbing cuff boldly mixes unique brass
findings with lustrous seed beads and pearls
using circular square stitch and ladder
stitch. Snaps are hidden inside a custom
clasp for a clean finish.
a». .stun,,.
Rc
Rc
1:
w
se
Rc
TECHNIQUES
:: ladder stitch
:: circular square
stitch
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
ARTIST'S TIPS
•	Уои may find it helpful to use a short needle
when attaching the caps and snaps.
•	If the ladder-stitched strip won't fit in the
openwork of the filigree, use chain-nose pliers
to gently manipulate the brass.
94 beadworkmagazine.com
1) SEED-BEAD CONNECTOR BASE.
Work the base of the connectors using
seed beads and circular square stitch:
Round 1: Use 18 of conditioned size В
thread to string 8A. Tie a knot to form a
tight circle. Pass through the first bead
Round 2: String 2A; pass through the last
bead exited and the 2 just strung.
String 2 beads and pass through the
next bead in the previous round and
the 2 beads just strung <Fig. 1). repeat
around for a total of 16A. Pass through
all of the beads in this round.
Fig. 1: Beginning
Round 3: Work 2 stitches u uh IA in each,
then work I stitch uith 2A. Repeat four
times for a total of 20A. Work the last
stitch with 2A (Rg. 2 Pa<> through all
Fig. 2: Working Rou 	 r*
the beads and check that a bead cap will
fit inside of this round before pulling
too tight. The beadu c rk %*ill shghtlv
cup. Secure the th:-.-. i • u do no:
trim; set aside.
Repeat entire step twice for a total of
3 circles.
Joining: Use the thread of one circle to
square-stitch 2A of Round 3 to 2A of
a second circle's Round 3 (Fig. 3a):
secure the thread and trim. Weave the
thread of the circle just added through
beads to exit the bottom center A of
Round 3. Square-stitch the bottom 2A
of this circle to 2A of the final circle’s
Round 3 (Fig. 3b). Secure and trim the
working thread and the thread of the
final circle.
Fig. 3: Connecting the circles
2) ROUND 4 (OUTLINE). Sq uare-
stitch contrasting seed beads (B) around
the 3 circles of the connector base:
Top: Secure 3’ of thread that exits the
right side of the middle circle’s 2A that
connect to the top circle. String IB;
pass through the next IA of the top
MATERIALS
12 g white-lined dark green teal size 11
seed beads (A)
5 g transparent dark amber gold luster size
1V seed beads (B)
12 gold-lined teal size 6° seed beads (C)
240 bronze 2mm seed pearls
5 antique brass 13x48mm filigree
connectors
15 antique brass 9mm bead caps
Brown sizes О and В nylon and smoke 6 lb
braided beading threads
3 metal 8mm snap sets
Thread conditioner
TOOLS
Size 12 beading needles
Scissors
FINISHED SIZE: ТА” X 67.”
circle and the IB just strung. Repeat
around the edge of the top circle,
stitching IВ or 2 В as necessary to keep
the work flat (Fig. 4 and Fig 5a).
Fig. 4: Sfuuing rhi outline
Middle (first half): Pass through the 4A that
join the top and middle circles in a
counterclockwise direction to set up
for the next outline. Square-stitch the
last IB added to the nearest IA of the
middle circle. Repeat around as before
41 Favorite Jewelry Designs
95
(Fig. 5b) until you reach the connection
of the middle and bottom circles.
Fig. 5: Starting to outline the middle circle
Bottom: Repeat as for the first half of the
middle, but this time continue stitch-
ing all the way around the circle. When
you reach the next connection point,
pass through the 4A that join the bot-
tom 2 circles, once again in a counter-
clockwise direction (fig.6). Square-stitch
the last IB added to the nearest 1A of
the middle circle.
Fig. 6: Completing the bottom circle's outline
Middle (second half): Continue stitching
around to complete the outline, passing
through the 4A that join the top 2 circles
as before to secure the connection.
3)	BEAD CAPS. Embellish each circle of
the seed-bead connector base with bead
caps and seed beads:
Caps: Use 2' of braided beading thread to
string IC; tie several knots to secure.
Pass up through the center of a circle.
String 1 bead cap (back side first) and
IB: pass back through the bead cap,
circle, and the IC (Fig. 7). Pull the
thread tight so that the bead cap fits
snugly in the circle (Round 3 will cup
96 beadworkmagazine.com
Fig. 7: Attaching a bead cap
around the cap’s edges). Holding the
cap in place, repeat the thread path
several times. Secure the thread and
trim.
Repeat entire step twice to embellish the
2 remaining circles.
Repeat Steps 1-3 three times for a total
of 4 bead-cap embellished seed-bead
connectors.
4)	CLASP. Make additional seed-bead
connectors for a concealed clasp:
Top half: Repeat Steps 1 and 2. Repeat
Step 3 using size В thread and omit-
ting the IC. stitching into Round 1
when securing the bead caps. Stitch the
male half of 1 snap to the back of each
circle, passing through Round 2 when
securing the 4 holes of the snaps.
Repeat the thread paths several times.
Bottom half: Repeat Steps 1 and 2. Repeat
Step 3 using size В thread and the
female half of the snaps instead of the
bead caps, omitting the C and stitching
into Rounds 2 and 3 when securing
the 4 holes of the snap. Repeat the
thread paths several times.
5)	ASSEMBLY. Join the seed-bead and
brass filigree connectors using strips of
embellished ladder stitch:
Ladder*stitched loop: Start 2 of condi-
tioned size В thread that exits near the
up from the 2A that join the top and
middle circles. Ladder-stitch a strip IB
high and 6B long (Fig. 8). Pass the
needle and beads through the top-left
opening in 1 filigree connector.
Ladder-stitch the last IB of the strip to
the last IB exited on the seed-bead
connector to form a loop.
Fig. 8: Forming the ladder stitched loop
Pearl embellishment: Exit IB of the
connection; string 1 pearl and pass
through the next IB from the same
side of the strip. Repeat around the
loop twice in a zigzag pattern to add a
total of 12 pearls (Fig. 9).
Fig. 9:nbelhshing the loop .<• ith pearls
Use the same method to attach the bot-
tom right of the seed-bead connector to
the bottom left of the filigree connector.
Repeat entire step to join the remaining
seed-bead and filigree connectors,
attaching one half of the clasp at each end
and making sure the clasp snaps face each
other. Secure the threads and trim. ♦
RESOURCES
Check your local bead shop or contact:
Teal seed beads: Luna's Beads Ст Glass, (970)
668-8001, www.lunasbeads.com. Gold seed
beads and FireLine braided beading thread:
FusionBeads.com, (888) 781 -3559.
Connectors and bead caps: Kabela Design,
(610) 459-5816, www.kabeladesign.com
Snaps: Jo-Ann Fabric and Craft, (888)
739-4120, www.joann.com. Seed pearls: TA
Pearlstone, (415) 505-9148, www. tapearl
stone.com.
,A RT.I..S.T'.S..T.1P............
i Switch to the size О thread and a
i size 13 needle if you find it hard to
i pass through beads at anytime.
s Otherwise, you may accidentally
:: force the beads to breah.
earrings
serengeti earrings PHYLLIS DINTENFASS
technique used in domino knitting.
TECHNIQUE
:: peyote stitch
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
1’^
- I
ч :• 'r;
•4R
*- * 1 <
- K ► w® i • t

У ...-Л*! -
Two peyote-stitched diamonds combine to make this
convex-shaped earring design with a theme and color
palette inspired by Africa and a clever decrease method
inspired by a

j
I



ant, make a larger earring by simply increasing
strung for Rows 1 and 2, but be sure to start
with an odd number.
for a different texture, try size 11° Czech or Japanese seed beads-
the pattern will work for both cylinder and rounder seed beads.

98 beadworkmagazine.com

1)	DIAMONDS. Use 3’ of thread and
cylinder beads to peyote-stitch a modi-
fied diamond shape:
Rows 1 and 2: String 29B. leaving a 4” tail.
Row 3: Work 7 stitches, using IA in each
stitch. Pass through the next 2B.
Work 6 stitches using IA in each stitch.
String LA; tie a knot with the tail and
working threads to place the bead at
the end of the row. Step up by passing
back through the IA just strung (Fig. l).
Fig. 1: Rows < -3
Row 4: Work 6 stitches, using LA in each
stitch. String IB (a “divide” bead);
pass through the next LA and work
6 stitches using LA in each stitch (Fig.2).
Fig. 2: V<jr«.-.-i:i; Ku- R . 4
"divide" bead
Pull tight to snug the beads and adjust
the beadwork to form a slight V shape
and so the middle В of Row 1 pro-
trudes from the rest of the beadwork.
Row 5: Work 6 stitches, using LA in each
stitch. Weave through the next 4 beads,
exiting the nearest A bead of Row 4 on
the other side of the divide. Work
5 stitches using IA in each stitch. .Note:
Since this is odd-count peyote stitch,
you’ll need to work a turnaround to add
die last bead in everv other rowr: string
the last bead of the row (LA). loop
around the outside thread that joins
Rows 1 and 3. and pass back through
the last bead added to step up (Fig. 3).
Fig. 3: E/id-row turnaround
Rows 6-15: Repeat Rows 4 and 5. decreas-
ing by IA on each side of the divide
and adding IB (divide bead) as before
in every even row. Row 15 will consist
of 2 stitches with IA in each.
Final B: String IB and exit the A bead of
Row 15 on the other side of the divide
(Fig. 4). Do not trim the thread. Set aside.
Repeat entire step for a second diamond.
Fig. 4: Al'>:ing tin Rov. 15 tu< iHinunii! .Uhl tUiiiiiig
rhe final В
2)	FINISHING. Join the 2 diamonds and
create the hangingloop:
Connection: Use the working thread of
one of the diamonds to string 1B. Pass
down through the mirror A on the
second diamond and up through the
next A, pulling very tight. String 2B;
pass up through the mirror A on the
first diamond and down through the
next A. Repeat to connect the straight
edges of the beadwork, increasing 1В
in each strand. The last strand will
connect Row 1 of each diamond and
will include 8B (Fig. 5). Secure the
thread and trim.
Fig. 5: Con th< .iiarnonif'
Use the working thread of the other
diamond to repeat this step to connect
the other side of the diamonds. Keep
die thread very tight so the earring forms
MATERIALS
2 g matte khaki size 11 ° cylinder beads (A)
2 g matte black size 11° cylinder beads (B)
1 pair of gold-filled ear wires
Black size D nylon beading thread
Thread conditioner (optional)
TOOLS
Scissors
Size 12 beading needles
FINISHED SIZE: 2 1/4”
a curve. Before cutting the thread, weave
through beads to exit up through Row 1,
IB to left of the tip of the diamond.
Loop: String 3B. 1A. IB, 1 ear wire. IB,
1A, and 3B: pass through the mirror
IB in Row 1 at the tip of the diamond
(Fig. 6), Repeat the thread path to
reinforce. Secure the thread and trim.
Fig. 6: Earring '. op
3)	Repeat Steps 1 and 2 for a second
earring. 4
RESOURCES
Check your local bead shop or contact:
Cylinder beads: Painter Art Beads, (360)
569-2644, www.painterartbeads.coni
Findings: Rings Things (wholesale only),
(800) 366-2156, www.rings-things.com.

41 Favorite Jewelry Designs
99
bracelet
biker bracelet
KATE MCKINNON
TECHNIQUES
:: square stitch
:: wireworking
See pull-out stitch guide
between pp. 48—49
for helpful technique
information.
This bracelet is a simple and elegant variation on the
square stitch, with seed beads and pearls worked in
between as spacers. The title of the project comes from
a belt that Kate made in this stitch. It was thirty-four
inches long and backed with black Ultrasuede—the
perfect thing to wear on a Harley!
100 beadworkmagazine.com
1)	SQUARE STITCH. Use 3* of thread to
string a tension bead, leaving a 4" tail.
Row 1: String I cube. ЗВ. I cube, 3B,
I cube, 3B. and I cube.
Row 2: String 1 cube: pass through the
previous cube and the cube just strung
to work a single square stitch. Work a
second stitch to reinforce (Fig. 1).
*String 3B and I cube: pass through
the next cube of the previous row and
the cube just strung (Fig. 2).
Fig. 1:Sr<jrt rr<	Fig. 2:	. low 2
Pull snug and work a second stitch.
Repeat from * twice, then pass through
the previous row and the current row
(Fig. З).
Row 3: Repeat Row 2 Fig. 4 .
Fig. 3: Fiuisniti. f, Ftg -	3
Row 4: Repeat Row 2, using rectangles in
place of the cubes and I pearl in place
of the first 3B (Fig. s).
Fig. 5: Wo/ wng Rotv 4
Row 5: Repeat Row 2, stringing I pearl
in place of the second 3B.
Row 6: Repeat Row' 2, stringing I pearl
in place of the third 3B.
Rows 7 and on: Repeat from Row 4 until
you are about 1" from the desired
finished length.
2)	CLASP. Attach the ring-half of a
toggle to one end of the bracelet using
loops of B. Pass through the beads and
toggle as many times as the bead holes
will allow, then stitch into the bracelet
and trim close.
Use wire to form a wrapped loop that
includes the bar-half of the toggle.
Check the bracelet for size and form a
loop in the wire accordingly, then wrap
the loop to include the first 2 rows at the
other end of the bracelet (Fig. 6a).
3)	BINDING. Secure a new thread at one
end of the bracelet, then exit an edge
bead. Pass under the loop of thread
along the edge between the next 2 rows.
Repeat this whipstitch to the other end of
the bracelet, making sure to pass under
each loop in the same direction. Work
whipstitch back up the same edge, cross-
ing over the previous stitches for a cabled
MATERIALS
3 g maroon size 15° seed beads (A)
20 g bronze size 11 seed beads (B)
54 red/bronze 6mm pearls
148 Thai silver 4mm comerless cubes
92 Thai silver 4x6mm rectangles
Toggle clasp
4“ of sterling silver 18-gauge half-hard wire
Size D nylon beading thread
TOOLS
Size 12 or 13 beading needles
Chain- or flat-nose pliers
Round-nose pliers
Wire cutters
Scissors
FINISHED SIZE: 8”
look. or. for a protective bead edging,
string IA before passing under each loop
(Fig. 6b). ♦
Fig. 6: Mito” «<	nnri ' 
RESOURCES
Check your local bead shop or contact:
Toggle clasp: Kate McKinnon, www.katemckinnon.com Similar Thai silver spacer beads:
Somerset silver, www.somerset-silver.com
41 Favorite Jewelry Designs
101
crystal dewdrop bracelet
MIWAKO NARA
This rich and sparkling bracelet was made with a unique
technique Miwako discovered while she was stitching a
chevron chain using bicone crystals.
TECHNIQUE
:: chevron chain
variation
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
102 beadworkmagazine.com
CHEVRON STRIP
1)	Work the full width of the bracelet
up and down, creating 3 row's of bicones
that are connected by picots along the
top and bottom edges:
Middle start: Use 6 of conditioned thread
to string IB, 1 jon-
quil bicone, and
3B. leaving a
10" tail. Pass back
through the bicone
and the first IB to
form a picot on top
of the bicone.
String 2В (Fig. la);
Fig. 1: Swrirng the
chevron strip
pass through the
bicone again and back through the
rightmost IB of the picot.
Top start: String I topaz bicone and
3B; pass back through the bicone and
the last IB (Fig. 1b). String iAand IB;
pass through the
bicone and top
picot again, then
back through
beads to exit from
the rightmost IB
of the lower picot
(Fig. 2).
Bottom start: String
I topaz bicone
and 3B; pass back
through the
bicone and the last
IB. String LA and
IB; pass through
the bicone and 3B.
then back through
the bicone and the
last IB (Fig. з).
Fig. 2: /at king the
tap
2)	Repeat the follow- *8 3:11
ing sequence of
middle, top, and bottom bicones to work
the length of the bracelet about 62":
Middle bicone: String I jonquil bicone and
pass through the nearest IB. String LA
and IB; pass back through the bicone
and the nearest IB String LA and IB;
pass back through the bicone and the
last IB (Fig. 4).
Top bicone: String
I topaz bicone
and 3B; pass back
through the
bicone and the
last IB. String LA
and IB; pass
through the
Fig. 4; Adding the next
middle bicone and picots
bicone, first IB, and the rightmost IB
of the previous picot. String LA and
pass through the last top picot. then
back through
beads to exit from
the rightmost IВ
below the middle
bicone (Fig. 5).
Bottom bicone: String
I topaz bicone and
3B; pass back
through the
bicone and the last
IB. String IAand
Fig. 5: Working the
next set of top beads
IB: pass through the bicone. first IB.
and the rightmost IB of the previous
picot. String 1A; pass through the last
bottom picot
and back
through the
bicone and the
rightmost IB
(Fig. 6).
3)	To match the
start of the brace-
let. work I middle
bicone sequence
Fig. 6: Working the next
set of bottm beads
using В in place of A.
CLASP
4)	Exit from the rightmost IB above the
last jonquil bicone. String I bead cap,
one 8mm crystal, and ЗА; pass back
through the 8mm crystal and bead cap to
form a picot. Pass through the middle
IB, the next IB, the bicone, and the
rightmost IB below the bicone (Fig. 7).
Repeat to attach the second 8mm crystal.
Pass through the beads several times to
reinforce, weave through the work to
secure the thread, and trim.
MATERIALS
1	g gold-lined topaz size 15° seed beads (A)
4 g gold-luster topaz size 11 ° seed beads (B)
39 jonquil satin 4mm crystal bicones
76 ceylon topaz 4mm crystal bicones
2	golden shadow 8mm crystal rounds
2	gold 8x4mm bead caps
Ecru size D nylon beading thread
Thread conditioner
TOOLS
Size 12 beading needle
Scissors
FINISHED SIZE: з/4 x 7"
5) Use the start-
ing tail thread to
string I OB and
ЗА; snug the
beads and pass
back through the
last IB. String
9 В and pass
through the
middle IB
below the first
bicone, the
next IB. the
bicone, right-
most IВ above
the bicone,
and the next
IB (Fig.8).
Repeat for a
second loop.
Fig. 7: Adding the  ; съър
bead
Fig. 8: Adding the •  lasp
loop
Pass through the beads several times to
reinforce, weave through the work to
secure the thread, and trim. ♦
RESOURCES
Check your local bead shop or contact:
Seed beads and Swarovski crystals: Beyond
Beadery, (800) 840-5548, www.beyondbeadery.com. Similar bead caps: Fire Mountain
Gems and Beads, (800) 423-2319, www
.firemountaingems.com.
4-1 Favorite Jewelry Design>
103
brooch
crystal radiance brooch
TINA KOYAMA

TECHNIQUES
t: brick stitch
This brooch of concentric circles of brick stitch
requires making gradual increases from round
to round by changing bead sizes as well as
changing the number of beads in each round.
:: picot
See pull-out stitch guide
between pp. 48-49
for helpful technique
information
104 beadworkmagazine.com
1	) FOUNDATION. Use 6' of thread to
string the 10mm crystal, leaving a 6’ tail.
Pass through the crystal again, wrapping
the thread along the side of the crystal;
repeat, wrapping the thread along the
opposite side of the crystal. Pass through
twice more so that two strands of thread
are on each side of the crystal. Pull tight
and tie a half-hitch knot to stabilize the
threads around the crystal.
2	) BRICK STITCH. Work brick stitch
around the crystal, anchoring the first
round to the foundation thread, and
switching bead size for each round.
Round 1: String 2 size 11° cylinder beads
and pass under the foundation thread
and back through the last bead strung.
String 1 size 11° cylinder and pass
under the thread and back through the
bead just strung; repeat all around for
a total of 19 beads (Fig. 1). Step up at the
end of each round bv passing down
through the first bead and up through
the last bead.

Round 6: Use size 11° seed beads with
12 increases (40 total).
Round 7: Use size 11° seed beads with
4 increases (44 total).
Round 8: Use size 11° cylinder hex beads
with 15 increases (59 total).
Round 9: Use size 8° hex beads with
15 decreases (44 total).
3	) CRYSTAL PICOTS. Tie a knot to
secure the thread, then exit the top of a
hex bead in the last round. *String 1 size
11° seed bead, one 4mm bicone, and
3 size 15°s. Snug the beads close to the
work, then pass back through the crystal.
String 1 size 11° seed bead and pass down
through the next hex bead. Pass up
through the following hex bead and
repeat from ♦. alternating 6mm and
4mm bicones. Tie a knot to secure the
thread, then pass back through the beads
to exit the sixth round.
4	) PIN BACK. Open the pin and center
it on the back of the work above the
center crystal. Weave through the beads
to exit near a hole at one end of the pin
back. String 3 size 11° seed beads and
pass through the pin and to the right side
of the beadwork. Pass through 1 or 2
beads and to the back of the work to exit
the opposite side of the same pinhole.
String 3 size 11° seed beads and pass
through the same pinhole to the front of
the work (Fig. 2). Repeat to secure each
MATERIALS
5	g green bronze size 15° seed beads
5	g bronze size 11 ° cylinder beads
5	g metallic green size 11 cylinder hex beads
5	g bronze size 11е seed beads
5	g gold size 8 hex seed beads
11 erinite satin AB 4mm crystal bicones
11 jet nut 2x6mm crystal bicones
1 smoky quartz dorado 10mm crystal round
1-1 Vt" pin back
Smoke 6 lb braided beading thread
TOOLS
Size 10 beading needle
Scissors
FINISHED SIZE: 2”

Fig. 1::
Round 2: String 2 size IIе seed beads; *pass
under the loop between the next
2 beads of the previous round and
back through the last bead just strung.
String I size ll° seed bead and repeat
from * around, working I increase
halfway around the circle (20 beads
total).
Roud 3: Use size 11 ° cylinder hex beads
z
with ll increases (31 total).
Round 4: Use size 11 ° seed beads with
1 decrease (30 total).
Round 5: Use size 8° hex beads with
2 decreases (28 total).
Fig. 2:	• г» ••
hole of the pin back, passing through
beads as needed to avoid exposing any
bare thread. If the pin back feels wob-
bly. weave through the beads again to
reinforce. ♦
RESOURCES
Check with your local bead shop or con-
tact: Swarovski crystal bicones and round.
FireLine braided beading thread, and all other
beads: FusionBeads.com, (888) 781-3559.
41 Favorite Jewelry Designs 105
earrings
little black dress earrings
MARCIA DECOSTI perfect for GIFT Giving ' ♦ Л I г	ш 1 fi * i s 85	;R These cross-shaped earrings made with three different stitches and dramatic cubic Zirconia drops might be the only accessory jou needforjour little black dress. 11*	^№***~r* ЕЛ*
TECHNIQUES
:: ladder stitch
:: right-angle weave
:: picot
See pull-out stitch guide
l>etween pp. 48-49
for helpful technique
information.
106 beadworkmagazine.com
1)	BASE. Use 3’ of doubled thread to
make a cross-shaped base:
Round 1: Ladder-stitch a strip of 8 size
ll°s. Stitch the first and last beads
together to form a circle with the holes
facing out.
Round 2: String 3 size I l°s; pass down
through the next Round I bead and up
through the following bead to form a
picot. Repeat around for a total of
4 picots. Weave through beads to exit
from the first bead added in this
Fig. 1: Rounds 1 and 2,
\ladder-stitch base with
picots
Round 3: String 5 size ll°s, skip the middle
bead of the first Round 2 picot and pass
through the third bead: string 1 size 8°
(Ag. 2a) and pass through the first bead
of the second Round 2 picot. Repeat
around for a total of 4 picots. Weave
through beads to exit from the third
bead added in this round (Rg.2b).
fig. 2: Round 3,
luiiding the arms
if the cross
fop picot and loop: String 3 size U°s; pass
through the bead just exited again to
form a loop and the first 2 beads just
added. String 7 size I5°s. pass through
the size 11° last exited 1 Fig. 3a). Repeat
the thread path again to reinforce.
.eft picot: Weave through beads to exit
from the middle bead of the next
Round 3 picot. String 3 size 11 °s: pass
through the bead just exited again to
form a loop. Weave through beads to
exit from the middle bead of the next
Round 3 picot.
ARTIST'S..!.1 PS............
•	Consider working with matte
black seed beads in Rounds 1-3
and shiny black for the top loop,
briolette loop, and picots-the
contrast will add another layer of
dimension.
•	For a casual look, use small brio-
lettes or omit them altogether.
Bottom plcot and briolette: String 3 size ll°s;
pass through the bead just exited again
to form a loop and pass through the
first 2 beads just added. String 3 size
I5°s. 1 briolette, and 3 size 15°s; pass
through the size 11° last exited (Ag.3b).
Repeat the thread path again to
reinforce. Weave through beads to
exit from the middle bead of the final
Round 3 picot.
Right picot: String 3 size ll°s; pass through
the bead just exited again to form a
loop (Fig. 3c).

2)	EMBELLISHING. Weave through
beads to exit from the first bead in
Round 1. at the base of the top arm,
and work the second layer:
Arms: String 1 size 15°, one 4mm bicone,
and 1 size 15°; pass through the middle
bead of the Round 3 top picot. String
1 size 15°, one 4mm bicone, and 1 size
MATERIALS
58 black size 15° seed beads
1 g black size 11° seed beads
16 peacock iris size 8° seed beads
16 Capri blue AB 4mm crystal bicones
8 jet 3mm crystal bicones
2 jet 7x27mm cubic zirconia (cz) faceted
briolettes
1 pair of sterling silver ear wires
Smoke 6 lb braided beading thread
TOOLS
Scissors
Size 12 beading needle
FINISHED SIZE: 2’A “
15°; pass down through the next
Round I bead, at the base of the arm.
String I size 8° and pass up through
the next Round I bead (Fig. 4). Repeat
around for a total of 8 crystals and
4 size 8°s. Weave through beads to exit
a size 8° added in this step.
Center: String one 3mm bicone; pass
through the next size 8°. Repeat
around for a total of four 3mm
bicones. Secure the thread and trim.
3) FINISHING. Attach I ear wire to the
7-bead loop at the top of the earring.
Repeat Steps l-3 for a second earring. ♦
RESOURCES
Check your local bead shop or contact: Seed
beads and crystals: Out on a Whim, www.whimbeads.com. CZ drops: Africa Stones, www
. africastones.com. FtreLine braided beading
thread: FusionBeads.com, (888) 781-3559
41 Favorite Jewelry Designs
107
bracelet
black magic
LIZ SMITH
St
li
p
TECHNIQUE
spiral-stitch
variation
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
is interwoven structure oj
crystal bicones and charlotte
seed beads is a variation
of the spiral rope
stitch. Worked with
too few stitches to
left flat and worked with
shared beads, creating a
mysterious undulating texture.
Beware what these shadows hide.
Liz thanks her friend and master
beader Corinne Loomerfor
helping her master the stitches
108 beadworkmagazine.com
1)	FIRST ROW. Use 5’ of thread to
string 2 core beads (4mm bicones),
leaving a 12" tail.
Loops 1 and 2: String one set of side beads
(5 size I5°s, one 3mm bicone, and
5 size I5°s); pass through the
2 core beads to form a loop. Repeat
once to form a loop on the opposite
side of the core (Fig. 1).
Fig. 1: Working the first two >oops
Loops 3 and on: String I core bead and one
set of side beads; slide the beads down
to the work and pass through the top
2 core beads. String a second set of
side beads and pass through the same
top 2 core beads to form a loop on the
opposite side of the core, on top of the
previous loops (Fig. 2).
Fig. 2: Continuing the ocps Ro* '
Repeat for 61/: stringing 1 new core
bead for each pair of loops and flipping
one loop to each side of the core beads
before starting the next loop.
2)	SECOND ROW. Use 5' of thread to
string 2 core beads 4 mm bicones) and
line them up with the hrs’ loop of the
previous row, leasing a 12" tail.
Loop 1: String 4 size 15°s and pass back
through the 3 middle beads (I size 15°,
one 3mm bicone, and I size 15°) of
the corresponding loop in the
previous row (Fig. з). String 4 size I5°s
and pass up through the 2 core beads
of this row.
Fig. 3: Starting Row 2
Loop 2: String I set of side beads (5 size
I5°s, one 3mm bicone, and 5 size I5°s)
and pass up through the 2 core beads
again to form a loop on the opposite
side of the core (Fig. 4).
Fig. 4: Working Loop 2 of Row 2
Loops 3 and on: String I core bead (4mm
bicone) and repeat Loops I and 2,
passing through the top 2 core beads
for the length of the row (Fig. s).
3)	THIRD ROW. Repeat Step 2 to work
a third row, passing through beads of the
second row.
4)	CLASP. String 2 size I3°s, ll size I5°s,
and the first loop of one half of the clasp;
pass back through the size I3°s to form a
MATERIALS
15 g matte black size 15° charlottes
12 matte black size 13° charlottes
180 jet 3mm crystal bicones
135 jet 4mm crystal bicones
1 silver 20mm 3-loop slide clasp
9' of 4 lb braided beading thread
TOOLS
Size 12 or 13 needles
Scissors
FINISHED SIZE: 7W
Fig. 5: Continuing the loops of Row 2
loop. Pass through a set of side and
core beads to exit the size I3°s and pass
through the loop of beads again to
reinforce. Pass through a few beads of
the bracelet, knot, and trim. Repeat for
each of the remaining tail threads,
passing through the corresponding
loops of the clasp. ♦
RESOURCES
Check your local bead shop or contact:
FireLine braided beading thread and all beads:
The San Gabriel Bead Co, (626) 447-7753 or
Creative Castle, (805) 499-1377. Kit for this
project: www.lizsmithdesigns.com
41 Favorite Jewelry Designs 109
R<
TECHNIQUE
:: circular peyote
stitch
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
This unique purse is created by stitching twelve individual
beaded triangles and then zipping them together to form a
pentagonal shape. This large project works up quicker than
traditional purses by using medium-size 10° cylinder beads
and cleverly connecting them with 2mm crystal rounds.
110 beadworkmagazine.com
1) TRIANGLES. Stitch beaded triangles
to form the front and back panels of the
purse:
Rounds 1 and 2: Use 6’ of thread to string
2Aand IB. leaving a 3" tail. Pass
through beads again and tie a knot to
form a tight circle. Exit from the first
A strung.
Round 3: Work circular peyote stitch using
2A in the first stitch, LA and IB in the
second stitch, and IB and LA in the
third stitch. Step up by passing
through the first bead added in this
round (Fig. 1).
Fig. 1: Working Round 3
Round 4: Work circular peyote stitch
between each bead of the previous
round in this order: 2A. IE. lAand
IB, ID. IB and 1A. and IC. Step up
through the first bead of this round
(Fig. 2).
Fig. 2: Stepping up for Rot. .
Round S: Work circular peyote stitch in
this order: 2A. IE. IE. LAand IB, ID,
ID, IB and LA. IC. and IC: step up
through the first bead of this round
(Fig. З). You will begin to see the
triangle pattern established.
Rounds 6-18: Work circular pevote stitch,
increasing in each round and main-
taining the colorw'ay established in
Round 5. Secure the thread, but don’t
trim. Set aside.
Fig. 3: Completing Round 5
Repeat entire step six times for a total
of 7 matching triangles for the front
and flaps of the bag.
Repeat entire step five times for a total
of 5 triangles, substituting F for C,
G for D, and H for E.
2) ZIPPING. Use the tail threads to zip
the triangles together with crystals:
Front panel: Pick up the first triangle
made in Step I. Weave through beads
to exit from the first A in the last
round, between the E and D sides
(Fig. 4a). String I crystal and pass
through the nearest E. Use crystals to
work peyote stitch along the E side.
String I crystal: pass through the A
in the last round of a matching tri-
Fig. 4: Zipping triangles together
MATERIALS
10 g each size 10Q cylinder beads in galva-
nized silver (A), transparent maroon (C),
matte black (D), and riickel-plated (E)
5 g light transparent bluish gray size
10° cylinder beads (B)
7 g each size 10° cylinder beads in galvanized
maroon (F), matte gray (G), and black (H)
270 clear AB 2mm crystal rounds
2 sterling silver 5mm jump rings
2 silver 8mm snaps
48" of gunmetal 2-3x3-4mm oval/peanut
chain
Smoke 6 lb braided beading thread
TOOLS
Size 11 beading needle
Scissors
Chain-nose pliers
Flat-nose pliers
FINISHED SIZE: 4”
angle’s C side (Fig. 4b). Pass through
the second-to-last crystal added to
the first triangle and the nearest C.
Weave through the last-round C
beads, crystals, and the last A to zip
the triangles together (Fig. 4c). String
1 crystal and pass through the first A
exited in this step. Weave through
the beads again to reinforce.
Repeat entire step to connect the first
5 triangles into a pentagon (Fig. 5) Weave
through the 5 central crystals several
times to reinforce. Secure the thread
and trim.
Fig. 5: Triangle and snap placement
Back panel: Follow Fig. 5 to arrange
5 triangles; stitch them into a pentagon
as you did for the back panel.
41 Favorite lewelrv Desiems
Panel join: Match the back and front
panels together. Use the same
zipping method to stitch the bottom
3 sets of triangles together, creating
an envelope. Weave through the
4 crystals at each corner several times
to reinforce.
Flaps: Use the remaining 2 triangles to
create purse flaps (Fig. б). Zip the D
side of the first flap to the G side of
one of the top triangles on the back
panel; repeat with the second flap.
The flaps should match the front -
panel triangles beneath them.
Fig. 6: Purse flap placement
3) SNAPS. Start a 12" thread that exits
from the front panel's top-right triangle,
W' from the center crystal connection.
Securely sew on the hole side of a snap.
Start a 12" thread on the back of the
top-right flap. Sew on the tab side of the
snap so it corresponds to the panel snap
and is completely hidden when closed.
Repeat for the front panel’s top-left
triangle and top-left flap (see Fig. 5 and
Fig. 6 for placement).
4) STRAP. Use 1 jump ring to connect
one end of the chain to the beadwork
right below 1 flap. Repeat entire step on
the other side. ♦
RESOURCES
Check your local bead shop or contact:
Kits including Swarovski crystals and Firelme
braided beading thread: Scarlett Lanson,
scarlatte424@yahoo.com, www.thebeadersmuse.com.
112 beadworkmapazine.com
THE VINE
1)	FLOWER BASE. Work tubular peyote
stitch to form the base of the flowers,
then use netting stitch to add the petals
and simple wireworked loops to add the
centers:
Rounds 1 and 2: Use 2’ of thread to string
IA and 1C five times, for a total of
10 beads: pass through them again to
form a circle and tie a knot with the tail
thread. Pass through the first IA.
Round 3: String 1C. pass through the next
LA of the previous round: repeat
around, then pass through the first 1C
of this round.
Round 4: String IA and pass through the
next 1C of the previous round: repeat
around, then pass through the first IA
of this round.
2)	PETALS. Make small, medium, and
large flowers by varying the quantity of
seed beads that make up the petals; the
number of petal beads for a small flower
is listed first, with numbers for medium
and large flowers listed in parentheses:
Outer petals: String 4A (5A, 6A) and IB:
pass back through the last 1A just
strung; string ЗА (4A, 5A) and pass
through next IA of the last base round
(Fig. l); repeat four times for a total of
Oncejou make one of these flowers,
Fig. 1: Working the first outer petal
5 petals, securing the last petal in the
same bead where the first petal began
TECHNIQUES
:: right-angle weave
:: tubular peyote
stitch
:: netting
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
jou'Il understand the inspiration for
this piece. They are so fun to make
and wear,jiou won’t want to stop.
Woven onto hand-dyed silk with a
right-angle-woven vine, these blos-
soms are a wreath forjour wrist.
Fig. 2: Finishing the out. > petals
114 beadworkmagazine.com
Inner petals: Pass through the next IC of
the base to get into position for the
second round of petah. String ЗА (4A.
5A) and IB: pass back through the last
lAjust strung; string 2A (ЗА. 4A) and
pass through the next IC of the base;
repeat four times for a total of 5 petals,
securing the last petal in the same bead
where the first petal began (Fig. 3).
Secure the threads and trim.
3)	FLOWER CENTER. Use a head pin to
string 1 bicone and 1 disc: form a simple
loop large enough for the silk cord to
pass through, about Ve” diameter. Push
the loop down through the center of a
flower and set aside.
4)	FLOWER DOZEN Repeat Steps 1-3
for a total of 9 color A flowers (2 small,
3 medium, and 4 large): make one
flower of each size, switching color A
and color В (12 flowers in all).
BRACELET
5)	TRELLIS. Create a right-angle-weave
strip with 12 beads per unit that is 2 units
wide and P/2" longer than your wrist (the
base will condense when you weave your
silk cords through). Use C beads inter-
spersed with accent beads in green hues
to give your base texture.
Unit 1: Use 6’ of conditioned thread to
string 12 beads: pass through them again
to form the first unit. Tie a knot with the
tail and working threads to secure.
Units 2 and on: String 9 beads; pass
through the last 3 beads passed
through and the ftrst 6 just strung.
Continue in this manner until base is
1W longer than your wrist (Fig. 4).
Note that your thread will alternate
clockwise and counterclockwise for
each unit.
Fig. 4: Units I -3
Second row: Pass through beads to exit the
side of the last unit. String 9 beads;
pass through the last 3 beads passed
through (the last unit in the previous
row), and the first 3 beads just strung
(Fig. 5). Continue stringing 6 beads for
Fig. 5: Starting the second row
each new unit, weaving through beads
of the previous row and units, for
the length of the strip (Fig. б).
Secure the thread and trim.
Fig. 6: Unit 2 of the second row
6)	VINE. Lay the flowers out on your
work surface alongside the beaded trellis;
vary small, medium, and large flowers in
MATERIALS
12g ruby-lined lime size 11 seed beads (A)
8 g orange-lined amber size 11° seed
beads(B)
8 g green-lined green size 11L seed beads (C)
4 g assorted green/bronze size 11 ’-8°
accent beads (seed, hex, triangle, etc.)
12 fire opal 6mm crystal bicones
1 brass 7A" shank button
12 sterling silver 2.5mm discs
12 sterling silver 20-gauge 1 " head pins with
ball ends
2 hand-dyed 10" silk cords in orange and
green
Size D beading thread
Thread conditioner
TOOLS
Beading needle
Scissors
Wire cutters
Chain-nose pliers
Round-nose pliers
FINISHED SIZE: 8"
both the main and alternate colors.
Weave a silk cord through the units of
each row of the trellis, adding flowers by
passing through the wire loop as you go.
Note: You may need to whipstitch the
ends of the ribbon with thread to keep it
from fraying as you weave through the
beadwork.
7) CLASP. At one end of the trellis,
use one ribbon to string the button, then
tie a square knot with both ribbons. Tie
the other ends together in an overhand
knot to create a loop, leaving room for
the button to slip through. Trim excess
ribbon. ♦
RESOURCES
Check your local bead shop or contact: Kits
including Swarovski crystals and Nymo nylon
beading thread: Glass Garden Beads, (507)
645-0301, www.glassgardenbeads.com.
41 Favorite Jewelry Designs
115
earrings
pagoda earrings
JANICE BERKEBILE
TECHNIQUES
:: wireworking
:: oxidizing
See pull-out stitch guide
between pp. -18-49
(or helpful technique
information.
Janice is inspired by the graceful contours found in traditional
Japanese motifs. The wire-wrapped framework of these jeweled
earrings is based on the graceful curves oj a pagoda. She likes to
Jbcus on form when teaching and has found that subtle movements
of the pliers will dramatically change the appearance of the wire.
116 beadworkmagazine.com
Note: Perform each step for both earring
pieces before moving on to the next step.
1)	FRAME. Cut ¥4" of 14-gauge wire.
Use the chasing hammer, pounding pad.
and block to hammer each end of the
wire into a paddle shape, don’t flatten
the entire wire. Use ring-bending pliers
to shape the center of the wire into a
boomerang-shaped curve. Lighth
texture the flat front of the curve with rhe
embossing hammer ( or the ball-peen
side of the chasing hammer .. Use a
permanent marker to designate the
center and Vie” awav from the center on
both sides to indicate the position of the
3 wire eyes (Fig. 11.
Fig. 1: Marking zr.-: 
2)	WRAPPING. Hold the frame ihceup
with the paddle ends pc t wn.
Leaving а Г tail pointing place the
22-gauge wire on top *: nght side of
the frame and make 3 *тар< toward
the center, stopping ^tth the --.re extend-
ing up behind the frame r - nrst mark.
Eyes: Hold the round-n-t - phers behind
the wrapping wire.	and par-
allel to the frame «'• nz *rre over
and around the .: -er л-- : th* pliers,
stopping with the v»"-	: trward
between the frame 2- z th* t cers <Fg,2).
Fig. 2: Alaltmg
the first eye
the round-nose
pliers in the curve
of the frame.
Bend the wire up
in front of the
frame, around
Fig. 3: Forming the arch
the base of the
pliers, and down in front of the frame
next to the wraps already in place (fig. 3).
Make 2 wraps, bend the tail wire to the
back of the frame, and trim.
3)	BEAD CAPS. Use 4" of 28-gauge wire
to string 1 briolette, leaving а IW tail.
Fold both ends of the wire up to meet at
the top of the briolette. Use the short
end to form a wrapped loop that attaches
to the center eye on the earring frame
(Fig. 4a). Wrap the longer wire around the
existing wire wraps at the top of the brio-
lette and continue to smoothly coil the
wire down over the top of the briolette to
form a bead cap. Use the end of the wire
to form a decorative spiral at the front of
the briolette (Fig. 4b).
Fig. 4: Attaching the briolette
Dangles: Use a head pin to string 1 silver
spacer and 1 citrine round: form a
wrapped loop that attaches to a side
eye of the frame. Repeat for the
remaining eye.
MATERIALS
2 ametrine 12.5x14mm briolettes
4 citrine 4-5mm faceted rounds
4 sterling silver 3mm daisy spacers
4 sterling silver 24-gauge 1 ” ball-end head
pins
8" of fine silver 28-gauge wire
2’ of fine silver 22-gauge wire
4" of sterling silver 20-gauge dead-soft wire
1 %" of sterling silver 14-gauge dead-soft
wire
Liver of sulfur
TOOLS
Flush cutters
Chasing hammer
Pounding pad and block
Fretz embossing hammer
Ring-bending pliers
Regular and long round-nose pliers
Chain-nose pliers
Burr cup
File
Permanent marker
Pro-Polish pad, fine steel wool (0000),
or soft brass brush
FINISHED SIZE: 7/в X U/u"
nose pliers to make a slight
upward bend at the other
end of the wire
(Fig.5). Smooth the ends
of the wire with a burr
cup. Use round-nose
pliers to slightly open the
small spiral, attach the
Fig. 5: Making the
ear wire
arch of the earring frame, and close the
spiral to secure.
5) PATINA. Follow the manufacturer’s
instructions to patina the metal with liver
of sulfur. When dry, polish with a
Pro-Polish pad. fine steel wool (0000),
or a soft brass brush. ♦
Remove the pliers Make wraps
around the fra rr. * - rracz the center
mark and form a >*.-:t -• - Make
3 wraps arounc the — <r-	reach ’he
third mark anc :>r—. a r -t e*e.
Arch: Make 2 wraps after tze t*..ri eve.
stopping with th* exrer. z.zz up.
behind the frame “ the raddle
ends pointing up • - - — e zase of
4) EAR WIRES. Use the chasing hammer
to form a flat paddle at one end of
2” of 20-gauge wire. Use the tip of the
round-nose pliers to roll the paddle one
and one half times into a small spiral.
Hold the widest point of the round-nose
pliers behind the spiral and curve the
wire back over the pliers to form a shep-
herd's hook. Use the chasing hammer to
slightly flatten the hook area. Use chain-
RESOURCES
Check your local bead shop or contact:
Gemstones: QuiltWorks Northwest, (425)
462-8992. Fretz hammers: Wired Arts,
www.wiredarts.net Pliers: Rio Grande, (800)
545-6566, www.riogrande.com
41 Favorite Jewelry Designs 117
terracita
bracelet
iw
MARCIA DECOSTER
TECHNIQUE
:: right-angle weave
between pp. 48-49
for helpful technique
information.

V ' Every year, Marcia travels to
the quiet coastal town of
I Manzanillo, Mexico, loaded
down with design inspiration
and beads. In December
2004, she brought with her a
book containing Frank Hess-
designed costume jewelry from
the 1950s. A bracelet designed
with rose montei-studded
medallions caught her eye and
O	-Z
inspired her to create similar
shapes encrusted with crystals
and fire-polished beads and
I


1	) MEDALLION BASE.
Round 1: Use 4’ of thread to string 16B;
tie a knot with the tail thread to form a
circle. Pass through the first 2 beads to
begin the first round of circular
right-angle weave:
Unit 1: String 8B: pass through the last
2	beads passed through and the first
2B	just strung (Fig. l).
Fig. 2:
Unit 3: String 6B and pas $ through the
last 2 beads of the prevto u> unit,
the last 2 beads of the circle and the
first 2 beads just .strung Rg 3
Fig. 3:
Units 4-7: Repeat Unit- 2 and 3
stringing6B and alterr. rir.£
thread direction for each unit
Unit8: String 4B; pass down through the
first 2 beads of the first unit, back
through 2 beads of the circle, through
the last 2 beads of the previous unit
and the first 2 beads just strung (Fig. 4).
Fig. 4:
Round 2: String 7B and pass through the
last 2 beads passed through and the
first 2 beads just strung (Fig. 5).
Fig. 1:
Unit 2: String 6B: pass back through the
next 2 beads of the circle up through
the last 2 beads of the previous unit,
through the 6 beads just strung and the
next 2 beads of the ircle Fig. 2).
Fig. 6: Finishing Round 2
MATERIALS
10 g bronze luster size 15 seed beads (A)
15 g olivine gold luster size 11 ° seed beads (B)
5 g green luster size 11° seed beads (C)
24 olivine AB 4mm crystal bicones
72 black 4mm fire-polished rounds
96 green mottled 4x2mm nailheads
1 gold 6x8mm magnetic clasp*
Beading thread in color to match beads
TOOLS
Scissors
Size 12 beading needle
*Do not use a magnetic clasp if you wear a pace-
maker, magnets interfere with the electrical
impulses that make a pacemaker perform.
FINISHED SIZE: 8 «A”
2)	EMBELLISHMENT Cover the
base net with accent and seed beads:
Filling: Pass through a pair of beads
between 2 units in the second round.
String I nailhead and pass through the
next pair of beads (Fig, 7). Continue
around to add a nailhead to each unit
in Round 2, then repeat to add a 4mm
bead to each unit in Round I.
Fig. 5:
Continue working right-angle weave,
stringing 5B and passing through
2 beads of the previous round in
alternating directions for each unit;
string 3B to complete the sixteenth
unit (Fig. 6).
Fig. 7:
Picots: Exit from a bead between Rounds I
and 2. String ЗА and pass through the
next 2 beads; continue around for a
total of 16 picots (Fig. 8).
Center: Exit from a bead in the founda-
tion circle. String I bicone, skip
2 beads, and pass through the follow-
ing 2 beads; repeat three times to add
4 bicones to the center of the medal-
lion. Pass through the first bicone,
string IA. and pass through the next
41 Favorite lewelrv Designs
119
Fig. 8:
bicone; continue around (Fig. 9). Pass
through the bicones and seed beads
several times to reinforce. Weave
through beads to exit from the outer
edge of the last round. Pass through all
the edge beads, pulling the thread tight
to snug the beads together and shape
the medallion; pass through the beads
again to reinforce, then set aside.
Fig. 9:
Repeat Steps 1—2 for a total of 6 medal-
lions.
3) CONNECTIONS Work 2 right-angle-
weave units along the edge of a medal-
lion. using 2 of the edge beads and 6C to
form the first unit. Work 2 more units
using C beads, passing through edge
beads of a second medallion, to make a
4-unit connection (Fig. 10). Embellish
each unit with a nailhead as before, then
weave through all the beads to reinforce
the connection. Pass through beads to
the opposite edge, and repeat to connect
the next medallion.
Fig. 10:
4) CLASP. Using C beads work a 4-unit
strip at the end of the bracelet, opposite
from the last connection. Work a fifth
unit, and attach one half of the clasp
(Fig. 1l). Weave through beads several
times to reinforce, secure the thread,
and trim. Attach the other half of the
clasp to the underside of the first
medallion near the center of beads. ♦
Fig. 11:
RESOURCES
Check your local bead shop or contact:
Swarovski crystals and seed beads: Out on a
Whim, (800) 232-3111, whimbeads.com.
Nailheads: Creative Castle, (805) 499-1377,
www.creativecastle.com.

120 beadworkmagazine.com
bracelet
к ' - ! s
See pull out stitch guide
between pp. 4 8 “49
for helpful technique
information.
TECHNIQUES
:: square stitch
Kathleen loves color and color
blending. Randomly mixing
colors together didn’t make
her happy because it often
produced uneven blocks of
* color. So, she developed
a simple pattern that
subtly integrates new
colors. The formula ч
is very simple and
can be adapted to
monet’s garden bracelet
KATHLEEN LYNAM
Perfect for
GIFT
Giving
122 beadworkmagazine.com

1)	BASE. Use 3’ of thread and light
green size 8°s to make a j aare-stitched
strip that is 6 beads wide and ion^
enough to fit comfortable around the
wrist, minus Vs” for the clasp ' about
54 rows).
2)	CLASP BUTTON. Anchor a new
thread to the center oi the second row
of the bracelet base, exiting between the
third and fourth beads. String the but-
ton. pass into the beach n the base
again, and through the button. Pass
through the button and beads several
times to reinforce. Weave through the
beads to either end of the third row.
passing through the edge bead toward
the center of the base.
3)	FLOWERS. String 3 dark green size
ll°s, 2 medium green size 1 l°s. 2 light
green size ll°s. ’ flower-bloom size 8°.
and the flower-bloom bead's coordinat-
ing size 15°. Skipping the Last bead
strung, pass back through the beads just
strung and through the next base bead
of the same row. Repeat across to work
5 fringe legs (Fig. 1). Pass through the
closest end bead of the next row. from
the outside to the inside of the base.

Fig. 1: Working u- -
4)	TRANSITIONS. Divide the number
of base rows by the number of flower
bloom colors to determine how' many
rows to work for each color section. If
you have fifty-two rows fiftv-four rows
minus the first two rows with the but-
ton), divided by ten colors, vou will work
five rows in each color section; two sec-
tions will have six rows. The last two rows
of each section are transition row's.
Repeat Step 3 to work the determined
number of solid-color rows. For the first
transition row, work one new color of
bloom on every-other fringe leg. For the
second transition row, work all new
color beads, with one old color in the
center of the row (Fig. 2). Continue with
rows of solid color, followed by two tran-
sition rows, for the length of the base.
Ftg. 2: Transitioning colors
5)	CLASP LOOP. When you reach the
last row of the bracelet base, string
enough seed beads to fit around the
button to act as the clasp loop. Pass
through the base and half of the loop
again. *String I flower-bloom size 8° and
1 size 15°; pass back through the size 8°
and the next bead of the loop. Repeat
from * to add another bloom to the end
of the loop (Fig. 3a). Pass through the
loop several times to reinforce; secure
the thread and trim.
6)	EDGING. Anchor 3’ of thread to exit
from an edge bead of the first row.
String 3 size 15°s and pass under the
loop that connects the first and second
rows. String 1 drop bead and pass under
the loop that connects the next two rows.
Repeat down the side of the bracelet,
alternating 3 size 15°s and I drop bead
(Fig. 3b). When you reach the end of the
bracelet, pass through the end-row beads
and repeat for the other side of the
bracelet. Secure the thread and trim. ♦
Fig. 3: Adding the clasp loop and edging
MATERIALS
2 g each size 8° seed beads in 10-14 differ-
ent colors, for the flower blooms
10 g light green size 8° seed beads, for the
base
8 g each size 1T seed beads in dark,
medium, and light green, for flower stalks
2 g size 15° seed beads in same colors as
flower blooms
2 g dark green size 15® seed beads, for
edging
8 g clear 3x4mm drops
1 glass 10mm shank button
Green beading thread
TOOLS
Beading needle
Scissors
FINISHED SIZE: 6‘Л ”
RESOURCES
Check your local bead shop or contact:
Miyuki fringe drops and all other beads and
findings: Land of Odds, www.landofodds
.com.
41 Favorite lewelrv Desicms
173


earr



turquoise couture
JENNIFER VANBENSCHOTEN

Inspired by high-end
earrings found on the pages
of a fashion magazine,
these eagy-to-make
right-angle-weave earrings
are the perfect addition to
any fash ion -forward
wardrobe.

Perfect for
GIFT
Giving
TECHNIQUES
:: one- and two-
needle right-angle
weave
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
ARTIST'S TIPS
•	To strengthen and stabilize the earrings, weave as much
of the extra working thread as possible into the beadwork
before trimming. Be careful not to break any beads-if it feels
tight when you insert the needle into a bead, don't force it.
•	When working with two needles, stash the extra needle
to prevent tangling the thread or losing the needle. If using
a padded work surface, weave the needle into the padding;
if working on a hard surface, use a small piece of clear tape
to secure the needle.
•	This pattern is extremely versatile. Try replacing the turquoise
rounds with 3mm gemstone, fire-polished, or crystal rounds, or
size 8° seed beads.
124 beadworkmagazine.com
1)	CENTER. Use 5’ of conditioned
thread and two-needle right-angle weave
to work the center strip ot the earring:
Row 1, Unit 1: Place one needle on each
end of the thread Use the right needle
to string {I size 15° and I turquoise
round} four times. Slide the beads to
the middle of the thread and pass the
left needle through the last turquoise
round strung to fcrm a circle.
Row 1, Units 2-8: Use each needle to string
I size 15°, I turquoise г and. and I size
15°. Use the left needle to string I tur-
quoise round pass the right needle back
through it to complete the unit. Repeat
to make a strip S units .:	Ag. 1).
Fig. 1:
2)	SIDE 1. With the tead*•: rk horizontal
and the working thrnicj ’ i the right, use
single-needle ngh: -r.g * - -.e to create
one half of the ear-ing
flow 2, Unit 1: L sing  r e nee die that is
currently pointing ~*ave through
beads to exit the rch* side of the top
turquoise round of the seventh uni t
in Row I. String ’ size 15’ and 1 tur-
quoise round) three times and 1 size
15°; pass thro ugr. _-.r	turquoise
round exited and the hrs-t 6 beads just
added to forrr. ' _ -	2
I
Fig. 2: Siib -	« - • '
fow 2, Unit 2: St ring	- - *: and pass
through the top turquocse round of
the sixth unit in Re*» . String 1 size
15°, 1 turquoise round. 1 size 15°,
I turquoise round, and! size 15°; pas
t h t'o ugh the adjacent side bead of the
previous Row 2 unit and the first
4 beads of’ _nn. 3
Fig. 3: Side ?, Row 2. Unit 2
Row 2, Unit 3: String 1 size 15°, I turquoise
round, 1 size 15°, 1 turquoise round,
and 1 size 15°; pass through the top
bead of the fifth unit in Row 1. String
1 size 15° and pass through the adjacent
side bead of the previous Row 2 unit;
weave through beads to exit from the
top bead of Row 2, Unit 2 (Fig. 4).
Fig. 4: Side 1, Rc-'.v 2, Unit
Points: String (1 size 15° and I turquoise
round) three times and 1 size 15°; pass
through the last bead exited to form
1 unit (Fig. 5a). Weave through beads to
exit from the top bead of the third unit
in Row 1. Work 1 unit as before (Fig. 5b).
Set the needle aside.
Fig. 5: Adding the points
3)	SIDE 2. Flip the work over and repeat
Side 1 using the other needle.
4)	LOOP. Weave both needles through
beads to exit from opposite ends of the
side bead at the start of Row 1. Use each
needle to string 5 size 15°s. Use both nee-
dles to string 1 turquoise round. Use the
left needle to string 11 size 15°s; pass back
through the beads just strung with the
right needle to form a loop. Weave
each needle through the headwork*
to reinforce (Fig. 6). Secure the
thread and trim.
MATERIALS
1 g metallic silver size 15° seed beads
104 turquoise 3mm rounds
1 pair of sterling silver ear wires
White size В nylon beading thread
Thread conditioner (optional)
TOOLS
Scissors
2 size 10 beading needles
2 pairs of chain- or flat-nose pliers
FINISHED SIZE: 3”
Fig. 6: Completing the loop
Open the loop of 1 ear wire as you would
a jump ring, attach it to the seed-bead
loop, and close the ear-wire loop.
5)	Repeat Steps 1—4 for a second earring. ♦
RESOURCES
Check your local bead shop or contact:
Turquoise: Beads World, (212) 302-1199,
www.beadsworldusa.com. Ear wires and
Nymo nylon beading thread: Fire Mountain
Gems and Beads, (800) 355-2137, www
.firemountaingems.com. Seed beads: Out On
A Whim, (707) 664-8343, wwwwhimbeads
.com.
I
I
4) Favorite Jewelry Design* 125
disco squares bracelet
MARCIA DECOSTER
Layered right-angle weave is the secret
behind the square links in this exuberant
bracelet strung on stretch cord.
TECHNIQUES
:: right-angle
weave
:: stringing
See pulbout stitch guide
between pp, 48-49
for helpful technique
rnformation.
126 beadvvorkmagazinr.com
1) LAYERED SQUARE. Use doubled
thread and right-angie weave to make a
layered square:
Layer 1: Use frosted lavender size ll°s to
work 1 square. 7 units wide and 7 rows
long.
Layer 2: Exit the left horizontal1 side
bead of the bottom-right unit, toward
the center of the be - •: work. String
1 matte aqua size 11° and pass up
through the next horizontal bead in
the column of right angie-weave units.
Work 5 more stitches with 1 matte aqua
size 11° in each to complete Column 1.
adding a total or 6 matte aqua size ll°s.
Weave through beads tc exit down
through the horizontal bead at the top
of the next column •: 1 units. String 1
matte aqua size . I‘ and p«ass down
through the next horizontal bead in the
column. Repeat as before to complete
Column 2. adding a total ot 6 matte
aqua size ll°s Repeat this step to add 4
more columns of matte aqua size ll°s
(Fig. l). Use tuchsia-kned dear AB size
fig. 1:4ddr»-i _
Note: Each unit consists of matte aqua
side beads and fuchsia-lined dear AB
top and bottom beads.
Layer 3: Following the method used in
Layer 2 and excluding the first and last
rows, stitch white-lined lime size 1 l°s
between the vertical fuchsia-lined clear
AB beads to work five 4-bead-wide
rows on top of Layer 2. Use turquoise
bicones to complete the right-angle-
weave units (Fig. з).
Fig. 3: Working the Layer 3 rows (blue thread) and
completing the units with bicones (red thread)
Embellishment: Stitch 1 gold size 15°
between each bicone (Fig. 4).
Weave through beads to exit an edge
bead of Layer 1. Do not cut the thread;
set aside.
MATERIALS
1 g each of matte aqua, white-lined lime,
fuchsia-lined clear AB, hot pink, frosted
lavender, and frosted lime size 11 seed
beads
1 g each of silver-lined lime and gold
size 15° seed beads
20 each of amethyst AB2X, light amethyst
AB2X, blue zircon AB, turquoise AB2X, and
dark red coral AB2X 3mm crystal bicones
44 light Siam AB 3mm crystal bicones
12 mottled turquoise 6x4mm fire-polished
rondelles
White 4 lb braided beading thread
20" of clear 1 mm stretch elastic cord
Jewelry cement
TOOLS
Scissors
Size 12 sharp needle
Wide-eye needle
Pointed tweezers
FINISHED SIZE: 6”
Base connections: Match the layered square
and the matte aqua base: use the
working thread of the layered square
to string 1 white-lined lime size 11°;
pass through the matching edge bead
of the matte aqua square. String
1 white-lined lime size 11°; pass
through the last bead exited on the
layered square to form a right-angle-
weave unit. Pass through the next
3 beads in the unit and the next edge
bead on the layered square. Continue
around the square, using size ll°s to
complete right-angle-weave units that
connect the layered square and matte
aqua base (Fig. 5).
11 °s to create right -angle-weave un it s
that incorp: r.. - -r - eads added in
Columns 1-6 Ag 1
Fig. 2: Compact ”£	er’	ts
Fig. 4: Embellishing Layer 3
2) BASES. Use right-angle weave and
matte aqua size ll°s to work 1 square.
7 units wide and 7 rows long. Secure
the thread and trim; set aside. Repeat
using hot pink size ll°s for a second
base.
3) SQUARE ASSEMBLY. Join the
layered square, matte aqua base, and hot
pink base using right-angle weave:

Fig. 5: Connecting the layered square
to the matte aqua base
Use the same method and white-lined
lime size ll°s to join the edges of the hot
pink base to the matte aqua base.
Embellishment: Weave through beads to
exit an edge bead of the layered square.
String 1 gold size 15° and pass through
41 Favorite Jewelry Designs 127
the next edge bead. Repeat around the
layered square. Use the same method
and lime size 15°s to embellish the
edges of the hot pink base. Secure the
thread and trim. This completes
Square 1.
4) SQUARES. Repeat Steps 1-3 five
times for a total of 6 squares using the
following colors of size ll°s and bicones
in Step 1; continue to embellish Layer 3
and the edge of the layered square with
gold size 15°s as before:
Square 2: Work Layer 1 with matte aqua.
For Layer 2. work Columns 1 and
6 with frosted lavender and Columns
2-5 with white-lined lime; complete
the right-angle-weave units with
frosted lavender. Work the Layer 3
rows with fuchsia-lined clear AB and
complete the right-angle-weave units
with dark red coral bicones. Note: For
this square, use frosted lavender size
1 l°s instead of matte aqua for the base
between the layered square and hot
pink base.
Square 3: Work Layer 1 with fuchsia-lined
clear AB. For Layer 2, work Columns
1 and 6 with white-lined lime and
Columns 2—5 with frosted lavender:
complete the right-angle-weave units
with white-lined lime. Work the
Layer 3 rows with matte aqua and the
right-angle-weave units with light
Siam bicones.
Square 4: Work Layer 1 with frosted
lavender. For Layer 2, work Columns
1 and 6 with fuchsia-lined clear AB
and Columns 2-5 with matte aqua;
complete the right-angle-weave units
with fuchsia-lined clear .AB. Work the
Layer 3 rows with frosted lime and the
right-angle-weave units with amethyst
bicones.
Square 5: Work Layer 1 with fuchsia-lined
clear AB. For Layer 2, work Columns
1 and 6 with hot pink and Columns
2-5 with frosted lime; complete the
right-angle-weave units with hot pink.
Work Layer 3 rows with frosted laven-
der and the right-angle-weave units
with zircon bicones.
Square 6: Work Layer 1 with matte aqua.
For Laver 2, work Columns 1 and 6
I
with fuchsia-lined clear AB and
Columns 2-5 with frosted lavender;
complete the right-angle-weave units
with fuchsia-lined clear AB. Work
Layer 3 rows with frosted lime and the
right-angle-weave units with light
amethyst bicones. Note: For this square,
use frosted lavender size ll°s instead of
matte aqua for the base between the
layered square and hot pink base.
5) BRACELET ASSEMBLY. Use 10” of
elastic cord to string 1 light Siam bicone.
1 rondelle. and 1 light Siam bicone. Place
a wide-eye needle at the end of the elastic
and pass through the side of one square
in the space between the second and
third white-fined lime size ll°s that join
the bases. Exit between the correspond-
ing beads on the opposite side. Remove
the wide-eye needle. Repeat entire step
five times to connect all 6 squares.
Repeat entire step, passing through the
square between the sixth and seventh
white-lined lime size ll°s that join the
bases.
Tie the ends of the first cord together
using a tight overhand knot as close to
lite beads as possible; repeat using the
second elastic. Secure the knot with a
drop of cement and allow to dry. Use
tweezers to push the knots into the
squares' interiors. ♦
EDITOR'S TIP
Instead of finishing the
bracelet with elastic cord, use
.018 or .019 beading wire,
crimping pliers, and 2mm crimp
tubes, to secure the beads to a
2-strand clasp.
, A R T I S T'..S....T I P S...........
! • You may find it helpful to use a
short (also called a sharp) needle
when working the top layers of the ;
squares.
j • As conf igured here, this bracelet fits \
a small wrist You can adjust the
size by changing the size and/or
quantity of the accent beads strung i
between the squares. For a large
wrist, you might also want to make i
a seventh square.
RESOURCES
Check your local bead shop or contact:
Seed beads and Swarovski crystals: Out On
A Whim, (800) 232-3111, www.whimbeads
.com. Rondelles: York Novelty Imports, (800)
223-6676, www.yorkbeads.com. Stretch
Magic elastic cord and G-S Hypo jewelry
cement: Michaels, (800) 642-4235,
www.michaels.com.
128 beadworkmagazine.com
bracelet
ring around the rosie
LAURA MCCABE
TECHNIQUES
:: peyote stitch
:: picot
See pull-out stitch guide
between pp 48-49
for helpful technique
information.
This piece, inspired by a
Victorian beaded-flower form created
with "lacy stitch " (or netting), celebrates
form, dimension, and beadwork history.
130 beadworkmagazine.com
1) FLOWER BASE. Use cylinder and
size 15° seed beads to work a netted base:
Base Round 1: Use 6’ of conditioned thread
to string 4E. leaving a 6" tail. Tie a knot
to form a tight circle; pass through the
first bead strung.
Base Round 2: String 3E; pass through the
next IE from Round I. Repeat around
to add a total of 12E. Weave through
beads to exit from the second bead
added in this round.
Base Round 3: String 5E; pass through the
middle bead at the tip of the next
Round 2 net. Repeat around to add a
total of 20E. Weave through beads to exit
from the third bead added in this round.
Base Round 4: String 7E; pass through the
middle bead at the tip of the next
Round 3 net. Repeat around to add a
total of 28E. Weave through beads to exit
from the third bead added in this round.
Base Round 5: String ЗА; pass through the
fifth bead of the same Round 4 net just
exited and weave through beads to exit
from the third
bead of the next
Round 4 net.
Repeat around to
add a total of
12A. Weave
through beads to
exit from Round I
J, 1: Bose Rounds 1-5	,	4
'	(Fig. 1).
Fig. 2: Adding a montee
2) PETALS. Use a montee and size 15°
seed beads to embellish the flower base:
Center: String 1 montee: check that the
montee is faceup, and pass through IE
on the opposite side
of Base Round 1 and
the next IE. Pass
through the mon-
tee s second channel
and the opposite IE
(Fig. 2).
Petal Round 1: String
5D: pass through
the next IE from Base Round 1. Repeat
around to add a total of 20D. Weave
through beads to exit from the first
bead in the next Base Round 2 net.
Petal Round 2: String 5D; pass through
the third bead in the same net and
weave through beads to exit from the
first bead in
Fig. 3: Petal Rounds 1 and 2
the next Base
Round 2 net
(Fig. з). Repeat
around to add
a total of 20D.
Weave through
beads to exit
from the mid-
dle bead at the
tip of the next Base Round 2 net.
Petal Round 3: String 5A; pass through the
middle bead at the tip of the next
Base Round 2 net. Repeat around to
add a total of 20A. Weave through
beads to exit from the first bead of the
next Base Round 3 net.
Petal Round 4: String 7B; pass through the
fifth bead in the same net and weave
through beads to exit from the first
bead of the next Base Round 3 net
Fig. 4: Petal Rounds 3 and 4
(Fig. 4). Repeat
around to add
a total of 28 В.
Weave through
beads to exit
from the mid-
dle bead at the
tip of the next
Base Round 3
net.
Petal Round 5: String 9C; pass through the
middle bead at the tip of the next
Base Round 3 net. Repeat around to
add a total of 36C. Weave through
beads to exit from the first bead of the
next Base Round 4 net.
Petal Round 6: String ПС; pass through
the seventh bead in the same net
and weave
through beads
to exit from
the first bead
of the next
Base Round 4
net (Fig. 5).
Fig. 5: Petal Rounds 5 (blue thread) and 6 (red thread)
MATERIALS
7 g metallic 24k gold size 15° Japanese
seed beads (A)
2 g opaline 24k gilt-lined size 15° Japanese
seed beads (B)
4 g matte metallic sterling silver size 15°
Japanese seed beads (C)
2 g metallic 24k gold size 15° Czech
charlottes (D)
4 g matte metallic 24k gold size 11е
cylinder beads (E)
10 g metallic 24k gold size 110 cylinder
beads(F)
3 g blue-green 24k gold-lined size 11е
Japanese seed beads (G)
6 emerald 3mm crystal roses montees
2 opaline 4x2.5mm pressed-glass rondelles
Clear 6 lb braided beading thread
Microcrystalline wax
TOOLS
Size 13 English beading needle
Scissors
FINISHED SIZE: 7 1/2 ”
around to add a total of 44C. Weave
through beads to exit from the
middle bead at the tip of the next
Base Round 5 net.
3) RINGS. Use cylinder and seed beads
to work a tubular peyote-stitched ring off
the flower:
Ring Rounds 1 and 2: String HA; pass
through the middle bead at the tip of
the next Base Round 5 net. Repeat
around to add a total of 44A.
Ring Round 3: Work 24 tubular peyote
stitches using IA in each stitch (Fig. б).
Fig. 6: Rounds 1 and 2 (blue thread); Round 3
(red thread)
Л. 1	t A	a • —
Ring Rounds 4-7, top: Work 4 rounds of
peyote stitch, using IF in each stitch.
Weave through beads to exit from Ring
Round 1.
Ring Rounds 4-6, bottom: Work 3 rounds of
peyote stitch, using IF in each stitch.
Zip the last rows of each side together to
form a solid ring.
Embellishment: Exit from IF of Round 7.
String 1G; pass through the next IF in
the same round. Repeat around to add
a total of 10G. Weave through beads to
skip the next 2 stitches; continue work-
ing 10 peyote stitches with 1G in each
stitch (Fig. 7). Do not trim the thread.
Set aside.
Repeat Steps 1—3 five times for a total of
6 flowers.
Fig. 7: Embellishing the ring
4) CONNECTORS. Use cylinder and
seed beads to join the flowers:
Row 1: Use the working thread on one of
the flowers to string IF; pass through
the next IF on the ring. Repeat to add
another IF.
Rows 2-4: Use 1F in each stitch to work
3 additional rows of peyote stitch. Zip
the final row to one side of a second
flower, stitching into the empty space
between the G (Fig. 8). Weave through
beads to exit the Row 4 edge bead.
Fig. 8: Connecting 2 flowers
Picots: String 3D; pass down through the
connector s next edge bead. Weave
through beads to exit from the opposite
edge bead. String ЗА; pass down
through the connector’s next edge bead
(Fig. 9).
Secure the thread; trim.
©□So
□ 9 □
о о
Fig. 9: Adding picots to the connector
Repeat entire step four times to join all
flowers into a band.
5) TOGGLE RING. Use tubular peyote
stitch to work a clasp ring slightly smaller
than one of the flower rings:
Rounds 1 and 2: Use 2’ of conditioned
thread to string 36A, leaving a 6” tail.
Tie a knot to form a circle: pass through
the first 2 beads strung.
Round 3: Work 18 peyote stitches using IA
in each stitch.
Rounds 4-6, top: Work IF in each stitch.
Weave through beads to exit from
Round 1.
Rounds 4 and 5, bottom: Work IF in each
stitch. Zip the last rows of each first side
together to form a solid ring. Exit from
IF on the Ring Round 6. top.
Embellishment round: String 1G; pass
through the next IF in the same round.
Repeat to add a total of I7G. String IF;
pass through the next 1F in the same
round.
Ring attachment: Use IF in each stitch to
work a 2-bead-wide and 8-row-long
strip of peyote stitch off the toggle
ring, between the first and last G. Zip
the end of the strip, as you did in
Step 4, to the open space at one end
of the bracelet. Add 1G to the end
flower’s ring to fill the space near the
end of the strip. Work two sets of 3D
picots along each edge of the toggle
connector as you did for the connectors
in Step 4. Secure the thread and trim.
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9OC30
Fig. 10: Embellishing
the tube
6) TOGGLE BAR. Use cylinder and seed
beads and pressed-glass rondelles to
create the bar side of the toggle clasp;
Tube: Use 4’ of conditioned thread and IF
in each stitch to work a 14-bead-wide
and 12-row-long strip of peyote stitch.
Zip the first and last rows together to
form a tube. Exit from an edge bead.
Tube edging: String IB, 1 rondelle. and ЗА;
pass back through the rondelle. String
IB; pass down
through the next
IF at the edge of
the tube and up
through the fol-
lowing IF (Fig. 10).
*String IB; pass
through the ron-
delle, ЗА, and
back through the
rondelle. Repeat from * three times to
add a total of 6B. centering the rondelle
over the opening in the tube. Pass
through die center of the tube to exit
from an edge bead at the other end.
Repeat entire step to add a matching
edging. Weave through beads to exit
from the seventh bead from one edge of
the tube.
Bar attachment: Use IF in each stitch to
work a 2-bead-wide and 11-row-long
strip of peyote stitch off die center of
the tube. Zip the end of the strip to the
open space at the open end of the
bracelet. Add 1G to the flower s ring to
fill the space near the end of the strip.
Work drree sets of 3D picots along each
edge of the bar as you did for the
connectors in Step 4 and clasp-ring
attachment in Step 5.
Secure all threads and trim. ♦
RESOURCES
Check your local bead shop or contact: Kit
containing Aiko cylinder beads, Fire Line
braided beading thread, Swarovski crystal
montees, and all other materials: Laura
McCabe Jewelry, (860) 245-0455, www
.lauramccabejewelry.com
127
workmaFazine.com
TINA KOYAMA
Learn an innovative variation of herringbone stitch to
create a fabulous zigzag pattern. Inspired by the pattern
m the floor of the National Museum of the Bargello in
Florence. Italy, this bracelet uses bugle and seed beads.
The completed bracelet is as light and flexible as fabric.
beautiful
bargello
/
TECHNIQUES
:: ladder stitch
:: herringbone
stitch
See pull-out Mitch guide
between pp. 48-49
for helpful technique
information.
41 Favorite Jewelry Designs 133
I) BASE. Use 3’ of conditioned thread
b string a tension bead, leaving a
j5” tail.
tow 1: Work a strip of ladder stitch 12B
long. Remove the tension bead: do not
trim the tail (Fig. 1).
Fig. 1: U'piJ. uig How 1
the 2B placed in the previous row to
maintain the slant. Use IC as the
turnaround bead (Fig. s).
Fig. 5: War king Row 5
MATERIALS
2 g silver metallic size 14 or 15° seed
beads (A)
7 g silver metallic size 11 seed or cylindei
beads(B)
4 g peacock AB 3mm bugle beads (C)
1 sterling silver 4x20mm 3-loop slide clasp
Size D nylon or 4 lb braided beading thread
Thread conditioner or beeswax
TOOLS
Size 10 beading needles
Scissors
Row 2: Use В to work I row of herring-
bone stitch off the ladder-stitched
strip. To make the turnaround, pass
through the loop of thread at the
bottom of the last 2 Row I beads, pas;
up through the last Row I bead, and
through the final bead from this row
(Fig. 2).
Fig. 2: Stitching Row 2
Row 3: Work the row in herringbone
stitch using IB and IC in each stitch.
After completing the last stitch, string
IB (the turnaround bead) and passing
up through die last C added (Fig. 3).
.Vote.- The difference in bead size will
cause the row to slant.
Fig. 3: Working Row 3 with В and C
Row 4: Work the row with IC and 2В in
each stitch, treating the 2B as a single
bead. Use IB as the turnaround
bead (Fig. 4).
the thread and trim.
Fig. 4: Stitching Row 4
Row 5: Work the row with 2B and IC in
each stitch. When securing each stitch,
pass down through only the top В of
1	“ЗД kparlwnrkmacrazine.coTn
Row 6: Repeat Row 4.
Row 7: Repeat Row 5.
Rows 8 and on: Repeat Rows 3—7 until the
base is W shorter than the desired size.
The work will zigzag every fifth row,
starting with die Row 3 repeat (Fig. 6).
Fig. 6: Fanning the zigzag
Finishing: Use В to work 2 or 3 rows of
herringbone stitch. Work a ladder-
stitch thread path on the final row to
mimic Row 1. Note: If necessary for fit.
add rows of herringbone stitch, keep-
ing in mind the clasp length.
Secure the thread and trim.
2	) CLASP. Use the tail thread to weave
through Row 1 and exit down through
the second bead from the left. String ЗА.
the first loop of the clasp, and ЗА. Pass
up through the third bead of Row 1 and
exit the fourth. Attach the second loop as
you did the first loop. Repeat for the
third clasp loop. Repeat the thread path
several times to reinforce (Fig. 7). Secure
Fig. 7: Attaching one half of the clasp
FINISHED SIZE: 5V4"
At the other end of the bracelet, secure
3’ of new thread that exits the third bead
from either side of the last row. Attach
the other half of the clasp as you did the
first. ♦
RESOURCES
Check your local bead shop or contact:
Nymo nylon and FireLine braided beading
threads and all beads and findings: Fusion
Beads.com, (888) 781-3559.
bracelet
Createjiour own fiesta using vivid,
bold colors in a spiral, where simply
changing bead sizes in tubular
peyote creates a dynamic twist
effect. Oncejwu get the hang of the
spiraling stitches,_you'll have a
samba onjiour wrist in no time!
confetti spiral
MARILYN T. ARONSON
TECHNIQUES
:: tubular and
circular peyote
stitch
See pull-out stitch guide
between pp. 48-49
for helpful technique
information.
41 Favorite Jewelry Designs
135
) S ? IR AL BO D Y Work rounds of
ubular p"vUtr stitch with different-size
leads to form a spiral
Rounds 1 and 2: Use 5’ of thread to string
2E. 2F. 2G. 2B. 2D, 2C. and 9A,
leaving an 18” tail. Pass through all
beads again to make a circle, exit from
the first E.
Round 3: Work peyote stitch around with
I bead in each stitch: IE. IE. IG. IB, ID.
IC. and 4A. Exit the first E to step up for
the next round (Fig. 1).
Fig. 1: Working Round 3
Rounds 4 and on: Repeat Round 3 until you
reach the desired length; continue the
pattern by always adding the same bead
from which you exited.
2)	END DECREASE. Use A to work
decrease rounds in circular peyote stitch
(Fig. 2):
Fig. 2: Decreasing at the end
End Rounds 1 and 2: Exit the final rounds
E; work IA in each stitch.
End Round 3 (decrease): Work the round,
making a decrease in every other stitch.
End Round 4: Work IA in each stitch.
End Round 5 (decrease): Work the round,
making a decrease in every other stitch.
End Round 6: Work IA in each stitch.
Weave through the beads of this
round again to tighten. If there is a
gap in the middle, string IB and
weave through beads on the other
side of the gap.
3)	BUTTON. Weave through beads to
exit from a bead of End Round 5. String
7A. ID, the button. ID. and 7A. Pass
through the A in Round 5 opposite the
one you last exited (Fig. з). Repeat the
thread path several times to reinforce.
Secure the thread and trim.
Fig. 3: Attaching the button
4)	END DECREASE AND LOOP.
Thread the needle with the tail thread.
Repeat Step 2 to decrease the end. Weave
through beads to exit from a bead of
End Round 5.
Rounds 1 and 2: String 19A or enough to
make a loop that fits snugly over the
button. Pass through the A in Round 5
opposite the one last exited. Weave
through beads to exit from the first
bead of the loop.
Round 3: Work 4 stitches using IA in each.
Work 1 stitch using IB. Complete the
round using IA in each stitch (Fig. 4).
Repeat the thread path to reinforce.
Secure the thread and trim. ♦
Fig. 4: Forming the clasp loop
MATERIALS
10 g lime green opaque size 11 ° Japanese
seed beads (A)
10 g turquoise opaque size 8” Japanese seed
beads (B)
10 g salmon opaque size 8° Czech seed beads
(C)
10 g lavender luster size 8 seed beads (D)
15g amethyst translucent size 6° Japanese
seed beads (E)
15g lavender milky size 6° Czech or
Japanese seed beads (F)
15g silver-lined orange transparent size 6
Japanese seed beads (G)
1 lime green 17mm plastic shank button
Smoke 6 lb braided beading thread
TOOLS
Size 11 or 12 beading needle
Scissors
FINISHED SIZE: 10”
RESOURCES
Check your local bead shop or contact:
Seed beads San Francisco Arts Cz Crafts,
(707) 935-6756, www.sanfranciscoartscrafts
.com and The San Gabriel Bead Co., (626)
447-7753, www.beadcompany.com. Fireline
braided beading thread: FusionBeads.com.
(888)781-3559.
I- —гвгггэ-у i nr mm