Beadwork 2013 06

INSPIRED DESIGNS FOR THE PASSIONATE BEADER

make these

DIAMONDBACK

PEYOTE

BRACELETS

20

all-new

jewelry

designs

YOUR #1 B E ADWE AV I N G SOURCE SI N CE 1996

plus!

• create fun bracelets with peanut beads

• learn to make a Russian spiral rope

• bead tubes for a leather bracelet

STITCH THIS

STUNNING

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necklace

p. 38

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INNOVATIONS SPRING/SUMMER 2014

CREATE YOUR STYLE with SWAROVSKI ELEMENTS presents the exciting

Designer of the Year Projects

This easier-than-it-looks, avant-garde piece offers a rewarding way to learn cubic right-angle weave

26 RADIANT WHEEL PENDANT Sabine Lippert

Bezel sixteen chatons around a ring to create this spinning, sparkling pendant

30 BARCELONA TILE EARRINGS Maggie Meister

Conjure the majolica tiles of Barcelona with these colorful, peyote-stitch earrings

34 TIBETAN SUNSET NECKLACE Smadar Grossman

Light-casting crystal bicones, briolettes, and rivolis converge in this brilliant necklace

Projects

38 AURORA PENDANT NECKLACE Miriam Shimon 42 BOHO BANGLE Pamela Kearns

46 JEWELS OF ATLANTIS BRACELET Yasmin Sarfati 50 CROSS PENDANT Alice Coelho

54 PEANUT PINWHEELS BRACELET Carole Rodgers 56 MOROCCAN ESSENCE BRACELET

Barbara Falkowitz and Amy Haftkowycz 60 PAISLEY PARADE NECKLACE

Jayashree Paramesh

66 BELLA CORDA BRACELET Michelle Heim 70 FLOWER BASKET EARRINGS Barbara Falkowitz 72 DOUBLE DIAMONDBACK BRACELET Alice Coelho 76 ABBINGTON BRACELET Sandie Bachand

J U N E / J U L Y 2 0 1 3 V O L U M E 1 6 N U M B E R 4

contents

STITCH INDEX

BACKSTITCH BEAD EMBROIDERY 38 CRIMPING 22 FRINGE 38 HERRINGBONE STITCH 60 LADDER STITCH 76 NETTING 46, 76, 80 PEYOTE STITCH 22, 26, 30, 34, 38, 42, 50, 60, 70, 72 PICOT 26, 34, 38, 50, 60 RIGHT-ANGLE WEAVE 22, 26, 34, 46, 54, 56, 66, 76 RUSSIAN SPIRAL 14 SOUTACHE EMBROIDERY 38 SPIRAL ROPE 38 SQUARE STITCH 30, 34, 60 ST. PETERSBURG CHAIN 80 STRINGING 22, 54, 56 WIREWORKING 34, 42, 60, 70

Tibetan Sunset Necklace by Smadar Grossman

22 76 38 50 80 46 26

Departments

8 W.O.R.D. (What Our Readers Did) 10 Contributors

12 The Challenge

14 Stitch Pro: Russian Spiral 20 Cool Stuff

80 Simply Seeds Samx Kilgore 92 Techniques

95 Bead Buzz

96 Bead Artist: Paul Medeiros Chloe Chatenever

contents

Double Diamondback Bracelet by Alice Coelho, page 72

on

the

cover

Projects suited to those new to seed beading or to experienced beaders looking for a quick project

Designs for an intermediate beader, a beginner ready to expand his/her skills, or an advanced beader looking for a project that won’t take weeks to complete

Start here if you are up for a challenge or looking for a detailed project that requires a longer time commitment Our three-level project

rating system, found on the opening page of each project, is your guide to deciding which projects to make first:

PROJECT RATING

14

6 beadworkmagazine.com

EDITORIAL DIRECTOR Danielle Fox EDITOR Melinda Barta SENIOR EDITOR Jean Campbell ASSOCIATE EDITOR Linda Harty ASSISTANT EDITOR Chloe Chatenever

PROJECT EDITOR Kate Wilson CONTRIBUTING EDITOR Mindy Brooks

COPY EDITOR Liz McGehee BEADING DAILY EDITOR Jennifer VanBenschoten

SENIOR DESIGNER Connie Poole PRODUCTION COORDINATOR Mark Dobroth PROJECT PHOTOGRAPHY Joe Coca, Ann Swanson

ILLUSTRATION Bonnie Brooks

ADVERTISING TEAM LEADER, BEAD & JEWELRY Marilyn C. Koponen [email protected], (877) 613-4613 ADVERTISING REPRESENTATIVE Jennifer McIntosh [email protected], (877) 613-4634 AD TRAFFICKERS Melissa Marie Brown, Kathy Depperschmidt

CLASSIFIED ADVERTISING Monica Turner MARKETING MANAGER Jessi Zilk

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F+W MEDIA, INC.

CHAIRMAN & CEO David Nussbaum CHIEF FINANCIAL OFFICER James Ogle

PRESIDENT Sara Domville CHIEF DIGITAL OFFICER Chad Phelps SENIOR VICE PRESIDENT, OPERATIONS Phil Graham

VICE PRESIDENT, ECOMMERCE Lucas Hilbert COMMUNICATIONS DIRECTOR Stacie Berger

Designs in this issue of Beadwork® are for inspiration and personal use only. Beadwork does not recommend, approve, or endorse any of the advertisers, products, services, or views advertised in Beadwork . Nor does Beadwork evaluate the advertisers’ claims in any way. You should, therefore, use your own judgment in evaluating the advertisers, products, services, and views advertised in Beadwork. Exact reproduction for commercial purposes is contrary to the spirit of good craftsmanship.

Beadwork (ISSN 1528-5634) is published bimonthly by Interweave, a division of F+W Media,

Inc., 201 E. Fourth St., Loveland, CO 80537-5655. (970) 669-7672. USPS #018-351. Periodicals postage paid at Loveland, CO 80538, and additional mailing offices. © 2013 F+W Media, Inc. All rights reserved. Reproduction in whole or in part is prohibited, except by permission of the publisher. Subscription rate is $29.95/one year in the U.S., $34.95/one year (U.S. funds) in Canada and $39.95 (U.S. funds) in other countries (surface delivery). Printed in the U.S.A. POSTMASTER: Please send address changes to Beadwork, PO Box 6338-1838, Harlan, IA 51537. Retailers: If you are interested in carrying this magazine in your store, please call (866) 949-1646, email [email protected], or visit www.interweaveretailer.com.

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passing through

Lately there’s been a lot of excitement in the bead community about the great new bead shapes on the market. New bead fin-ishes, sizes, and shapes certainly keep beading interesting. But one of the most important aspects of beading that keeps my work fresh is the wide array of stitch techniques available for putting beads together.

The extensive range of techniques featured in this issue proves we beaders are always innovating with the wide range of stitches available to us. Turn back to our Stitch Index on page 3 for a complete listing of the sixteen different techniques we have in store. Which technique will you try first? For me, I have yet to try soutache but have already ordered materials to make Miriam Shimon’s beautiful Aurora Pendant Necklace (page 38). Perhaps you’ve never tried your hand at Russian spiral stitch. Fall in love with it—or gain a new appreciation—after reading this issue’s Stitch Pro lesson from Jean Campbell (page 14). Have yet to try cubic right-angle weave? Don’t be intimidated! Jill Wiseman’s Pick Up Sticks project (page 22) is the perfect introduction to CRAW.

Pamela Kearns paired a simple wireworking technique with much-loved peyote stitch in her trendy Boho Bangle (page 42). First she beaded two patterned, flat pey-ote bands, then she wrapped the bands—plus a few coils of wire—around licorice leather cord to create a quick-and-easy bracelet. I’ve always been intrigued by the unique construction of St. Petersburg chain. Samx Kilgore’s necklace chain (page 80) uses this fun stitch, plus her two extra embellishment rows turn the seemingly plain band into an exciting spiral.

Dive into this issue and choose a technique that’s new to you—or one that you’ve long forgotten about—and share your experience with us by email (beadwork@inter weave.com), on our Inside Beadwork Magazine blog (click the Blogs tab on beading daily.com), or on Facebook (beadworkmagazine.com/facebook).

Have fun,

[email protected]

New Shaped Beads DVD. Join Editor Melinda Barta in her newest video workshop—Beading with Shaped Beads: Tilas, Superduos, Peanuts, and More—as she discusses today’s most popular shaped beads and how to use them successfully in beadweaving projects. Visit interweave.com to download a digital copy or pur-chase the DVD.

And the Winners Are . . . Stay tuned for our October/November issue (on newsstands September 17) for a showcase of the jewelry that won big in this year’s Bead Star contest. For more details, visit beadstar.com.

Quick and Easy Beadwork. Don’t miss our supersized collection of all-new, easy-to-bead, and quick-to-make beadwoven designs: Quick and Easy

Beadwork. This special issue will be available on newsstands October 8.

Something for Everyone

HAPPENINGS

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BEADWORK june/july 2013 7

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We want to hear from you! If you’ve been inspired by projects in our magazine or have tips to share, email us at [email protected]. Check our website, beadworkmagazine.com, for corrections, announcements, and free projects.

8

READER’S TIP

I opted to use fi re-polished glass beads in place of the bicones, using

shades of blue and green in varying fi nishes to create a softer feel to

the bracelet.

READER’S TIP

I altered the shape, added fi ve bicone crystals,

and joined them in the middle to make a

three-dimensional eff ect.

ROSE RUSHBROOKE of Safety Harbor, Florida, was so fi red up by Jean Power’s work as one of Beadwork’s 2012 Designers of the Year that she took a class with Jean in England. Jean taught her how to make triangles and pentagons. Afterward, Rose made this bangle.

SYLVIE CAMPS of Fort Myers, Florida, says that Sára Zsadon’s Simple Star earrings in the October/

November 2012 issue inspired her to make this necklace. KRISTEN HO of Ashburn, Virginia, created this

project based on Kelli Rae Burns’s Pearlvescent bracelet in the October/November 2011 issue. The star is from Jean Campbell’s Stitch Pro article in the August/September 2012 issue.

KRISTA QUANTRILL of Kanata, Ontario, Canada, off ers her version of Callie Mitchell’s Industrial Chic bracelet from the June/July 2012 issue.

Go Inside

JEAN CAMPBELL’S

CLASSROOM!

Learn step by step how to stitch 4 favorite floral projects

JEAN CAMPBELL’S

BEST BEADING

WORKSHOPS

Floral Designs

Join Jean Campbell, senior editor of Beadwork magazine,

as she takes you inside four of her most popular beading

classes. Enjoy 181 minutes of beading bliss in this 2-disc

DVD set you won’t want to be without! Whether you’re

new to bead stitching, or a seasoned pro there’s

something for you in this dynamic video.

Order your copy of this bead workshop DVD today to:

Learn how to stitch Jean’s popular projects.

Enjoy printable step-by-step instructions

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Start stitching Jean’s beautiful designs at

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Jo

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2 - DISC

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10

contributors

_{your favorite}

What’s

shaped bead?

Want to become a

Beadwork

contributor?

See our submissions guidelines at

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I love the drop beads of varying sizes. They are perfect for my design aesthetic, and I often find myself reaching for my box of drop beads to add finishing touches to my jewelry. Drop beads look pretty when grouped together in little clusters or stitched

along the edges. I have even stitched them along the neckline of my blouses to add some glamour! —JAYASHREE PARAMESH

I’ve always been addicted to glass beads from the Czech Republic, and my newest, latest addiction is Czech-glass druks! The newest druks come in such stunning colors and finishes that make them so versatile; they look fabulous whether you dress them up

with fancy filigree and crystals or dress them down with cord and rustic elements. I can’t get enough of ’em!

—AMY HAFTKOWYCZ

One of my favorite new bead shapes is the double-drilled dagger. I love the look they add to a piece, and they can be used in a variety of ways. They can be hard to find, but I’m hoping that they become more popular.

—SAMX KILGORE The most exciting part of

beading is the thrill of discov-ery! Any brand-new bead shape is my favorite, teasing me to think “outside the bead.” I love a good challenge and am always jazzed by the surprises that take shape on my beading table as the latest and greatest is paired with the tried and true. —SANDIE BACHAND

I’ve really been hooked on peanuts and Superduos lately! I love the uniformity of the Superduos, but I love peanuts for the irregularity. I like working with drops, especially the 2.8mm ones. I just love the possibilities these little bits of glass offer. And who could forget the scrumptious colors? —MICHELLE HEIM

I am addicted to Superduos! I love the way they look in circu-lar patterns, and I love their versatility in forming connec-tions between beaded sections. I think their slightly rounded shape in the middle adds interest and dimension to projects. It’s fun to be chal-lenged by those little cuties! —BARBARA FALKOWITZ

Great question! I have to admit, though, because peyote was the first stitch I learned, Delicas are my first go-to bead, with seed beads coming in a close second. I’ve lately started creating peyote beads to wrap around braids and ropes and am using drops as accents.

—PAMELA KEARNS I get really excited every time I

see a new kind of bead, and then I go right back to Delicas. They are so uniform and fit to-gether very well when used with peyote stitch or brick stitch. I like to show as little thread as possible, and for that they are perfect. They come in

so many different color finishes that you can achieve almost any look.

—ALICE COELHO

Of all the new shaped beads, the Czech two-hole tile beads would get my vote for favorite because of their silky finish. I’ve been collecting multiple-hole and unusual beads for years, so I have really enjoyed designing with all the new shapes.

—CAROLE RODGERS

My favorite beads these days are the Superduo beads. The color range and the possibili-ties are endless, and I can incorporate them in almost any design, with seed beads, fancy stones, and sparkly crystals.

—YASMIN SARFATI

I love all the new beads out there, but my current favorite is definitely the tile beads. They are so versatile and can be used in so many ways. I’m also in love with the Superduos for that same reason. —MIRIAM SHIMON

BEADWORK june/july 2013 11

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Northeast. Tel. 845.352.9735 [email protected] www.IBExpos.com January 11, 12 & 13: January 26 & 27: February 16 & 17: February 23 & 24: March 9 & 10: March 16 & 17: April 6 & 7: April 20 & 21: April 27 & 28: May 3 to 5: May 18 & 19: June 1 & 2: June 8 & 9: June 22 & 23: July 13 & 14: July 20 & 21: July 27 & 28: August 3 & 4: September 14 & 15: September 21 & 22: September 27 to 29: October 5 & 6: October 12 & 13: October 19 & 20: October 26 & 27: November 2 & 3: November 8 to 10: November 16 & 17: November 23 & 24: December 7 & 8: Marlborough, MA Fredericksburg, VA Harrisburg, PA Clarksville, MD Rochester, NY Fishkill, NY Egg Harbor, NJ Cromwell, CT Edison, NJ Marlborough, MA Allentown, PA Pittsburgh, PA Wilmington, DE Doylestown, PA Edison, NJ Clarksville, MD Fishkill, NY Concord, NH Syracuse, NY Allentown, PA Marlborough, MA Oaks, PA Edison, NJ Clarksville, MD Albany, NY Norfolk, VA Marlborough, MA Secaucus, NJ Mt Laurel, NJ Fishkill, NY

The

Innovative Bead

Expos 2013

s

12 beadworkmagazine.com

melinda barta

To incorporate the deep ocean-blue shades of the glass swirl beads into my beaded ropes, I added dark blue iris size 11°s from my stash between columns of tubular herringbone. When the flared bead caps didn’t quite work for the beaded rope ends, I turned them around and quickly found how nice they look with the chains. The aqua leather cord is woven through many links in the large chain and helps give the piece a more casual look.

the challenge

What happens when you give two editors and two lucky readers matching sets of materials to play with? We work with products we might not have consid-ered using, and our creative sides get stretched one more notch.

Attention bead artists, retailers, and wholesalers: If you would like to contribute materials and supplies to The Challenge, please contact Linda Harty at [email protected].

kate wilson

The material colors and shapes in this kit remind me of photos I’ve seen from Greece—the blues, golds, and whites remind me of the fabulous architecture of cities surrounded by brilliant ocean waters. So I created this Grecian-inspired piece with bead-dangle columns and a bead-embroidered Greek key crescent. The chains and leaf clasp add more metallic elements without excessive bling for a bit of old-world charm. I can’t wait to wear the piece this summer!

name this necklace!

For details, visit beadingdaily.com/ beadingchallenge.

Melinda Barta, Katie Litchfield, Christina Neit, Kate Wilson

BEADWORK june/july 2013 13

THE RULES: We use our favor-ites from the materials provided and, where necessary, round out projects with our own supplies.

THE STASH: This sea-and-sand– colored kit from Goody Beads included ocean-blue lampwork beads, peridot crystal beads, turquoise and green cords, and

antiqued brass flower and leaf findings. Seed beads in sunlit, sandy shades rounded out this summery collection.

THE SOURCE: Goody Beads, (952) 938-2324, www.goody beads.com.

christina neit

I used bead embroidery for this necklace and based the theme on the wide range of color options from the lampwork beads. I used mountain jade and river-stone cabochons, vintage cabochons/crystals/chatons, metal studs, vintage brass stampings, fire-polished beads, and bunches of different-sized seed beads in the embroidery.

katie litchfield

When I opened the kit, an asymmetrical design immediately came to mind. The idea of a beaded rope hanging between the chains was there from the first. After much debate, I settled for a six-strand queen’s crown knot woven from single strands, having no idea if it was even possible. Soon after, I was inspired by the golden color scheme to create the midsummer leaves and flowers, and I used the blue pieces to add drops of color throughout the necklace.

READER PARTICIPANTS

For your chance to play, see beadworkmagazine.com/

go/challenge

stitch pro

{ RUSSIAN SPIRAL }

Jean Campbell

MATERIALS & TOOLS

Size 11° seed beads (A) Size 8° seed beads (B)

Size D nylon or 6 lb braided beading thread Scissors

Beading needle

In the late 1990s, a handful of

Russian-language beadwork books hit the United

States. Beaders here went wild,

decipher-ing the instructions despite the language

barrier, because they were so excited to

try techniques they had never seen before.

The leaves, fringes, chains, and ropes that

graced the pages of these books would

forever be known as “Russian” to beaders

here, including the lovely spiral rope I’d like

to show you in this installment of Stitch Pro.

Russian spiral is one of the easiest spiral

ropes to do, but I also like it because it’s so

versatile. You can interchange bead color,

size, and type fairly easily for dramatically

different results. And because you add

several beads at a time when you stitch,

it works up fairly quickly.

Round 1: Place the needle on the thread and string {1B and 3A} three times, leav-ing a short tail to weave in later. Tie a knot with the working and tail threads to form a tight circle. Pass through the first B strung (Fig. 1). Note: In this example, the A beads are purple and B beads are green.

Round 2: String 3A and 1B, then pass through the next B of Round 1; repeat twice (Fig. 2).

Fig. 1

Fig. 2

14 beadworkmagazine.com BEADWORK june/july 2013 15

Try this!

• I’ve used size 11° and size 8° beads in my sample to accentuate the spiral in this rope, but you may use just about any combination of bead sizes for nice results. Just be careful one size of bead isn’t so small that it slips inside the holes of the other beads.

• Slowly increase the number of size 11° beads between the

size 8° beads to form a cone, as I've done in the black/silver sample on page 14. For extra interest, pepper in long magatamas to make a spiky cone, as in the purple/gold sample.

• For a very boxy chain, use bugle beads instead of the 3A in each net.

JEAN CAMPBELL is senior editor of Beadwork magazine and a jewelry-design artist and teacher. She is the author of several beading books and appears as “Stitch Pro” on Beads, Baubles, and Jewels. Visit her at www.jeancampbellink.blogspot.com. Fig. 3

Rounds 3 and on: String 3A and 1B, skip the nearest 3A, then pass through the next B of the previous round; repeat to the desired length (Fig. 3). Note: There is no step-up with this technique, as the nets created with each stitch just con-tinue to spiral up like a staircase. ✦

14 beadworkmagazine.com BEADWORK june/july 2013 15

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Mastering Peyote Stitch: 15 Inspiring Projects Melinda Barta • 160 pages, paperback, 8½ × 9 $24.95 • ISBN: 978-1-59668-633-5

Take a master class in peyote stitch with Beadwork Editor Melinda Barta, PLUS seven Beadwork Designers of the Year. With 15 styles in all, this

fundamental guide to peyote stitch contains everything you need to know—including every

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Projects by Cynthia Rutledge and Jean Power

peyote

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BEADWORK june/july 2013 17

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Impression

Make an

Jewelry designed by Katie H

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www.beadalon.com/carouselnecklace.asp

cool stuff

Chloe Chatenever and Linda Harty

4

1

2

3

20

1. These new Rizo drop beads are taking the beading world by storm! Designed by Sabine Lippert (one of our Designers of the Year), these rice-shaped beads (about 2.5×6mm) have a hole drilled in one end, making them perfect for adding beaded fringe or design accents. Browse through the 80+ color and finish options at www.whimbeads.com, (707) 664-8343.

2. Lark Books continues its new I Can series of instructional beading books with Mabeline Gidez’s I Can Right Angle Weave. With 25 projects and 475 illustrations, this book offers a complete course in right-angle weave. Each chapter covers the basics of a single skill—such as increases and decreases, embellishing, and making curves—followed by several jewelry projects that use the technique. Lark Books, $24.95 3. Indulge your sweet tooth without gaining an ounce! Sweet Treats: A Collection of Designs for Beaded Jewellery and Gifts to Make Your Mouth Water by Katie Dean features 15 designs to make beaded delicacies, such as chocolate-dipped straw-berries, cupcakes, and Swiss rolls. Each design gives ideas and instructions for multiple projects, including necklaces, bracelets, earrings, key rings, magnets, and ornaments. www.beadflowers.co.uk, £16.95 (about $27)

4. This new line of findings from TierraCast are intended for use with leather, but they also lend themselves to interesting stitched designs. Start experimenting with a new tri-buckle, Z hook, 3-hole bar, 2-hole bar, distressed oval, or distressed slide with a loop in antique pewter, antique copper, bright gold, or brass oxide (Z hook also available in black). (866) 715-2323, www.artbeads.com

5. Magnetic clasps can be bulky and heavy, but these beauties from Ezel Findings would be an asset to any jewelry design. Low profile and lightweight, these magnetic clasps come in gold, rose gold, bronze, and rhodium. Choose one with rhine-stone accents for a touch of sparkle, or opt for a more classic motif. (800) 977-9904, www.ezelfindings.com

6. A silver, gold, black, or copper flexible wire necklace from S & S Lapidary is the perfect way to show off a dramatic focal. These durable wire necklaces will hold their shape and close securely with a silver screw-barrel clasp. Mix and match your favorite focals and wide-hole beads to match any outfit or accessory! (865) 278-3548, www.sandslapidary.com 7. With BeadSmith’s foam macramé board, knotting and braiding have never been easier! Avoid tangled cords by using the notches around the outside of the board to secure long tails and threads. This board is self-healing, so you can secure your work with pins without damaging the material. Pick yours up for just $16.99 at www.beadaholique.com. 8. Lillypilly Designs has introduced a new line of patterned suede. Decorative patterns are embossed onto pieces of suede in a variety of colors. Use them in your next mixed-media project or as a pretty backing for your bead embroidery. (303) 543-8673, www.lillypillydesigns.com

9. Miyuki’s new long drop beads measure 3×5.5mm and are made in matte, metallic, shiny, and iridescent finishes. The holes in these drops are large enough to accommodate wire or jump rings as well as beading thread, so they can be stitched into structured designs, hung from chain links, or turned into mini dangles with wrapped-loop bails. Look for all 37 colors, expected in stores this summer.

10. Alacarte Clasps is now carrying WireLuxe knit wire. Pictured here in Sprig and Laguna, the line includes 14 different color options. The striated open-weave center panel and tight-knit edge make these knit wires a perfect base to embellish. The self-locking knit will keep the wires from unraveling after they are cut. (707) 887-2825, www.alacarteclasps.com

THE STAFF OF BEADWORK INVITES YOU TO SEND YOUR NEW BEADWORKING PRODUCTS FOR CONSIDERATION IN COOL STUFF. PLEASE SEND ALL SUBMISSIONS TO [email protected] TOGETHER WITH COMPLETE PRODUCT INFORMATION.

6

7

9

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8

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22 beadworkmagazine.com TECHNIQUES

cubic right-angle weave peyote stitch

stringing crimping

See p. 92 for helpful technique information.

PROJECT LEVEL

See p. 4 for project-level information.

BEADWORK june/july 2013 23

DESIGNER

of the Year

1) BAR 1. Stitch an embellished cubic right-angle weave bar, then finish the edges with peyote stitch:

Cube 1, bottom: Use 4' of thread to string 4A, leaving an 8" tail. Tie the working and tail threads together to form a tight circle. Pass through the first 3A strung (Fig. 1, black thread).

Cube 1, Face 1: String 1A, 1C, and 1A; pass through the last bottom A exited and the first A just added (Fig. 1, orange thread).

Cube 1, Face 2: String 2A; pass back through the next bottom A, up through the nearest side A of Face 1, through the 2A just added, and the next bottom A (Fig. 1, purple thread).

Cube 1, Face 3: String 2A; pass down through the nearest side A of Face 2, through the last bottom A exited, and up through the first A just added (Fig. 1, green thread).

Cube 1, Face 4: String 1A; pass down through the nearest side A of Face 1, back through the next bottom A, up through the nearest side A of Face 3, and through the A just added (Fig. 1, blue thread).

Cube 1, top: Pass through the 4 top beads of the cube faces, exiting from the C (Fig. 1, red thread). Pull the thread tight to complete the first cube. Note: The top of this cube is the bottom of the next cube.

Cubes 2–9: Repeat Cube 1, Faces 1–4 and top, eight times to form a bar 9 cubes long, using the top of the previous cube as the bottom of the new cube and mak-ing sure the C align.

Cube 10: Repeat Cube 1, this time using A in place of C.

First corner: Pass through the top 4 beads of Cube 10 (Fig. 2, blue thread). String 1A and pass through the next bead at the top of Cube 10; repeat three times to add 4 corners to the top of Cube 10 (Fig. 2, red thread).

Jill Wiseman

THE BARS OF THIS

fashion-forward bracelet are

made individually and then strung together with

beading wire, resulting in an easy introduction to

cubic right-angle weave.

pick up sticks

bracelet

DESIGNER

of the Year

MATERIALS

20 g metallic nickel size 11° seed beads (A) 2 g metallic nickel size 8° seed beads (B) 38 Montana blue AB2X 3mm crystal

bicones (C)

38 aquamarine AB 3mm crystal bicones (D)

49 padparadscha AB 3mm crystal bicones (E)

23 crystal AB 3mm crystal bicones (F) 31 bright gold 3mm crystal pearl rounds (G) 33 light gray 3mm crystal pearl rounds (H) 26 midnight-blue 3mm crystal pearl rounds (I) 4 sterling silver 2mm crimp tubes

1 sterling silver 12mm square 2-strand box clasp with crystal inlay

Smoke 6 lb braided beading thread 18" of .019 beading wire

TOOLS

Scissors

Size 11 beading needle Wire cutters

Crimping pliers Bead stop

FINISHED SIZE: 7½" Jill Wiseman fell in love with beading in 2001 and now works full-time as a national beading teacher. She is the author of Jill Wiseman’s Beautiful Beaded Ropes (Lark, 2012). Jill is known for

writing clear and detailed instructions for all experience levels, and her kits and patterns are sold online at www.tapestry beads.com. Contact Jill at jill@

tapestrybeads.com.

Fig. 1: Forming Cube 1 and the bottom of Cube 2

Fig. 2: Adding the corners to the top of Cube 10

24 beadworkmagazine.com

adding 1B to each wire, then stringing the bars in the order in which they were made. Note: Center each bar on the wires, continuing to leave 2 open cubes between wires. Ensure the embellish-ment bicones and pearls face up.

Clasp: Place the bead stop on one of the wires. Use the other wire to *string 1B, 1 crimp tube, and the corresponding loop on the other half of the clasp; pass back through the tube and crimp. Remove the bead stop and repeat from *.

Note: Take care that the clasp is

posi-tioned correctly so that it will close. ✦

RESOURCES Check your local bead shop or contact: Seed beads, Swarovski crystal bicones and pearls, FireLine braided beading thread, and SoftFlex beading wire: Beyond Beadery, (800) 840-5548, www.beyondbeadery.com. Crimp tubes and clasp: Beadaholique, (866) 834-4618, www.beadaholique .com. Kits: Tapestry Beads, www.tapestrybeads.com.

Back edges: Weave through beads to exit the side A of Face 3 in Cube 10, toward the work. String 1A and pass through the nearest side A of the next unit along the long edge of the bar; repeat eight times for a total of 9A. Weave through beads to exit the oppo-site side A of Cube 1, Face 3. String 1A and pass through the nearest side A of the next unit; repeat to add 1A between the side A of each unit along the other long edge of the bar. Note: These peyote-stitch beads are placed along the edges of the bar opposite the side with the bicones. Secure the working thread and trim.

Second corner: Use the tail thread to add 1A to each corner at the bottom of Cube 1 in a similar manner to the cor-ners of Cube 10. Secure the tail thread and trim. Set the bar aside.

2) BARS 2–24. Repeat Step 1 twenty-three times for a total of 24 bars with the follow-ing number of cubes; use the colors indi-cated in place of C and continue to use A for all other stitches:

Bar 2 with D and 8 cubes. Bar 3 with E and 14 cubes. Bar 4 with G and 12 cubes. Bar 5 with C and 8 cubes. Bar 6 with H and 14 cubes. Bar 7 with F and 10 cubes. Bar 8 with D and 12 cubes. Bar 9 with E and 8 cubes. Bar 10 with I and 14 cubes. Bar 11 with G and 10 cubes. Bar 12 with D and 8 cubes. Bar 13 with H and 12 cubes. Bar 14 with C and 14 cubes. Bar 15 with E and

12 cubes. Bar 16 with F and 8 cubes. Bar 17 with C and 10 cubes. Bar 18 with D and 14 cubes. Bar 19 with G and 12 cubes. Bar 20 with E and 8 cubes. Bar 21 with I and 14 cubes. Bar 22 with H and 10 cubes. Bar 23 with E and 12 cubes. Bar 24 with F and 8 cubes.

3) ASSEMBLY. String the bars to form the bracelet:

Wires: *Use one 9" piece of wire to string 1 crimp tube and 1 clasp loop; pass back through the tube and crimp. Repeat from * using the second loop of the same clasp half.

Bars: Use each wire to string 1B. Pass 1 wire through the fourth cube of Bar 1; pass the second wire through the sev-enth cube. Use each wire to string 1B. Pass the top wire through the third cube of Bar 2; pass the bottom wire through the sixth cube, making sure the bicones of Bars 1 and 2 face up (Fig. 3). Continue

Fig. 3: Attaching the clasp and stringing Bars 1 and 2

Option

Create a simple necklace by working several bars and stringing them with seed beads onto beading wire.

Artist’s Tips

• When stringing the bars on the beading wire, hold the bracelet up and shake it a little to let the bars settle into place before adding the second half of the clasp. This action will help eliminate any extra beading wire that might show otherwise.

• As you are making and arranging the bars, play with the

placement. When you find an arrangement you like, take a photo to ensure that you string them together in the same way.

DESIGNER

BEADWORK june/july 2013 25

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TECHNIQUES cubic right-angle weave tubular peyote stitch picot

See p. 92 for helpful technique information. PROJECT LEVEL

See p. 4 for project-level information.

BEADWORK june/july 2013 27

DESIGNER

of the Year

1) BASE RING. Use cubic right-angle

weave to form a base ring:

Cube 1, bottom: Use 6' of thread to string 4D, leaving a 12" tail; pass through the beads again to form a tight circle and tie a square knot to secure. Pass through the first D strung (Fig. 1, black thread).

Cube 1, Face 1: String 3D; pass through the last bottom D exited and the first D just added (Fig. 1, orange thread).

Cube 1, Face 2: String 2D; pass back through the next bottom D, up through the nearest side D of Face 1, through the 2D just added, and the next bottom D (Fig. 1, purple thread).

Cube 1, Face 3: String 2D; pass down through the nearest side D of Face 2, through the last bottom D exited, and up through the first D just added (Fig. 1, green thread).

Cube 1, Face 4: String 1D; pass down through the nearest side D of Face 1, back through the next bottom D, up through the nearest side D of Face 3, and through the D just added (Fig. 1, blue thread).

Cube 1, top: Pass through the 4 top D of the cube faces; pull the thread tight to complete the first cube (Fig. 1, red thread). Note: The top of this cube is the bottom of the next cube.

Cubes 2–15: Repeat Cube 1, Faces 1–4 and the top, fourteen times, using the top of the previous cube as the bottom of the new cube to form a cubic-right-angle-weave rope. Don’t trim the threads.

Sabine Lippert

FESTOON A CUBIC-RIGHT-ANGLE-WEAVE RING

with bezeled chatons to create this spinning,

sparkling pendant.

radiant wheel

pendant

DESIGNER

of the Year

MATERIALS

3 g light bronze size 15° Japanese seed beads (A)

9 g permanent galvanized light rose size 11° Japanese seed beads (B) 6 g chalk luster 5×3mm 2-hole seed

beads (C)

128 purple iris 3mm fire-polished rounds (D)

64 rosaline 3mm crystal bicones (E) 16 foil-back rosewater opal SS39 (about

8mm) crystal chatons (F) Crystal 6 lb braided beading thread TOOLS

Scissors

Size 12 beading needle FINISHED SIZE: 2" Originally a physi-cian, Sabine Lippert is a crafter by passion. In 2007 she started beading and hasn’t looked back. She is the author of Sabine Lippert’s Beaded Fantasies (Lark

Books, 2012) and teaches beading classes internationally. Visit Sabine at www.try tobead.com.

Fig. 1: Forming the first cube of the rope

Fig. 2: Joining the rope ends to form a base ring and tightening the ring

Cube 16: Match the ends of the rope so the bottom of Cube 1 touches the top of Cube 15. Use the tail thread, D, and cubic right-angle weave to connect the 2 cubes into a ring. Exit from a D along the inside edge of the ring just formed (Fig. 2, blue thread).

Tighten: Pass through the vertical D along the inside edge of the ring to tighten it. Weave through beads to exit from a hor-izontal D on the top of the ring, toward the center (Fig. 2, red thread).

28 beadworkmagazine.com

(Fig. 5, red thread). Note: You will now begin working in the opposite direc-tion.

Round 3: Use loose tension to string 1B, 1E, and 1B, then pass through the cen-ter A of the next Round 2 picot; repeat three times. Don’t pull tight (Fig. 6). Place 1F, faceup, into the beadwork. Weave through the beads of this round again, pulling tight, to snug them around the F. Weave through beads to exit from the center B of a Round 1 picot (Fig. 7). Note: You will now switch stitching direction again.

Round 4: String 2A, 1B, and 2A, then pass through the center B of the next Round 1 picot; repeat three times. Step up for the next round by passing through the first 2A/1B/2A added in this round (Fig. 8, blue thread).

Round 5: String 3B and pass through the next 2A/1B/2A of Round 4; repeat three times (Fig. 8, red thread). Repeat the thread path again to reinforce.

2) INNER EDGES. Add rounds of B to

the top and bottom inside edges of the base ring:

Top edge, Round 1: String 1B and pass back through the last D exited, then weave through beads to exit from the horizontal D of the same face in the next cube; repeat for a total of 16B. Step up through the first B added in this round (Fig. 3, blue thread).

Top edge, Round 2: String 1B and pass through the next B added in Round 1; repeat for a total of 16B (Fig. 3, red thread). Weave through beads to exit toward the center of the ring from a horizontal D on the opposite side of the base ring from which you worked the top inner edge. Note: The B just added and the following B for the bottom edge form rings that sit alongside the D tightened at the end of Step 1.

Bottom edge: Repeat Rounds 1 and 2 on the other side of the base ring, adding

a bottom inside edge. Secure the thread and trim.

3) BEZELS. Stitch bezels for the chatons:

Round 1: Start 6' of new thread that exits from 1D at the outer edge of the base ring. *String 1B, 1C, and 3B; pass back through the second hole of the C just added to form a picot. String 1B and pass through the next D of the same base-ring unit. Repeat from * three times. Weave through beads to exit from the fourth B added in this round (the third B of the picot) (Fig. 4).

Round 2: **String 2A; pass through the first 2B of the next Round 1 picot (Fig. 5, orange thread). String 3A; pass through the last B exited and the fol-lowing B to form a picot (Fig. 5, green thread). Repeat from ** twice (Fig. 5, blue thread). String 2A; pass through the first 2B of the next Round 1 picot. String 3A; pass through the last B exited and the first 2A just added

Fig. 3: Forming the top inner

edge of the base ring Fig. 4:(base ring removed for clarity) Adding Round 1 of the bezel Fig. 5:of the bezel Stitching Round 2

Fig. 6: Forming

Round 3 of the bezel Fig. 7:and tightening Round 3 Placing the chaton Fig. 8:and 5 of the bezel Stitching Rounds 4

DESIGNER

BEADWORK june/july 2013 29

RESOURCES Check your local bead shop

or contact: Miyuki seed beads: Caravan Beads, (800) 230-8941, www.caravanbeads.net. FireLine braided beading thread and Swarovski crystal bicones and chatons: FusionBeads.com, (888) 781-3559. Fire-polished rounds: Fire Mountain Gems and Beads, (800) 355-2137, www.fi remountaingems.com. Superduo 2-hole seed beads: Out On A Whim, (800) 232-3111, www.whimbeads.com. Kits: Sabine Lippert, www.trytobead.com.

Weave through beads to exit from the base-ring unit nearest the center. Repeat this entire step fifteen times using the working thread to form 16 bezels that alternate between the top and bottom outer units of the base ring (noted with red circles on Fig. 9). Secure the thread and trim.

Fig. 9: Placing the bezels on the base ring (shown flat for clarity)

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Sabine Lippert

30 beadworkmagazine.com

TECHNIQUES

circular peyote stitch square stitch See p. 92 for helpful technique information.

PROJECT LEVEL

See p. 4 for project-level information.

BEADWORK june/july 2013 31

DESIGNER

of the Year

1) COMPONENT. Use circular peyote

stitch to form a double-sided component:

Round 1: Use 3' of thread to string 6C, leaving a 4" tail. Pass through the beads again to form a tight circle. Pass through the first bead (Fig. 1, blue thread).

Center: String 1A, one 2mm round, and 1A; pass through 1C on the other side of Round 1, then pass back through the 1A/round/1A just strung and through the last C exited on the other side of Round 1 (Fig. 1, red thread).

Round 2: String 1C and pass through the next C of Round 1; repeat five times for a total of 6C. Step up through the first C added in this round (Fig. 2, green thread).

Maggie Meister

THESE STUNNING POST EARRINGS

were inspired by

the majolica tiles found throughout Western Europe,

especially Barcelona.

barcelona tile

earrings

DESIGNER

of the Year

MATERIALS

1 g gold size 15° seed beads (A)

5 g silver-lined blue size 15° seed beads (B) 7 g metallic gold size 11° cylinder beads (C) 5 g metallic blue iris size 11° cylinder beads (D) 5 g matte terra-cotta size 11° cylinder beads (E) 10 lapis lazuli 2mm rounds

2 lapis lazuli 10×10mm flat briolettes 1 pair of silver earring posts with 10mm pads

and ear nuts

Gold size D nylon beading thread Double-sided craft tape

TOOLS

Scissors

Size 10 or 12 English beading needle Size 12 sharp beading needle

FINISHED SIZE: 2½" The rich culture of the Neapolitan people and the ancient mosaics, frescoes, and jew-elry designs from the Vesuvius area are a major source of inspiration for Maggie Meister’s designs. She loves

teaching and traveling with her small groups through Beadventure Travel. Maggie’s book, Classical Elegance (Lark, 2012), is part of the Beadweaving Master Class series. Visit www.mmmbeads.com.

Fig. 1: Forming Round 1 and the center embellish-ment of the component

Fig. 2: Adding Rounds 2–4 of the component

Fig. 3: Stitching Rounds 5–7 of the component

Round 3: Work 6 stitches with 1D in each stitch. Step up through the first D added in this round (Fig. 2, blue thread).

Round 4: Work 6 stitches with 2E in each stitch. Step up through the first 2E added in this round (Fig. 2, red thread).

Round 5: Work 6 stitches with 1E in each stitch, treating the 2E sets added in the previous round as 1 bead. Step up through the first E added in this round (Fig. 3, green thread).

Round 6: Work 6 stitches with 3C in each stitch. Step up through the first 3C added in this round (Fig. 3, blue thread).

Round 7: Work 6 stitches with 2C in each stitch, treating the 3C sets added in the previous round as 1 bead (Fig. 3, red thread).

32 beadworkmagazine.com

Fig. 5: Stitching Round 12 of the component

Fig. 6: Adding the earring post

Fig. 7: Connecting the post component

to a blue component Fig. 8:of the earring Assembling the body Fig. 9:lette and edging Adding the

brio-Fig. 4: Adding Rounds 8–11 of the component

Round 8: String 1C and pass through the next 3C of Round 6; repeat five times. Step up through the first C added in this round (Fig. 4, orange thread).

Note: You’ll now be forming the back

of the component.

Round 9: Work 6 stitches with 2C in each stitch. Step up through the first 2C added in this round (Fig. 4, green thread).

Round 10: Work 6 stitches with 1C in each stitch, treating the 2C sets added in the previous round as 1 bead. Step up through the first C added in this round (Fig. 4, blue thread).

BEADWORK june/july 2013 33

Round 11: Work 6 stitches with 1C in each stitch. Step up through the first C added in this round (Fig. 4, red thread).

Round 12: String 1C and pass through the next C of Round 11, the nearest C of Round 10, and the following C of Round 11; repeat twice for a total of 3C. Step up through the first C added in this round (Fig. 5, blue thread). Pass through the 3C just added to tighten the center (Fig. 5, red thread). Secure the thread and trim. Set the component aside. Repeat this entire step for a second terra-cotta component. Repeat this entire step twice more, substituting D for E and E for D, to form 2 blue components.

2) POST COMPONENT. Use 5' of thread

to repeat Step 1 to form a terra-cotta com-ponent, but after completing Round 9, place a small piece of double-sided tape on the front of 1 earring pad and adhere it to the beadwork as shown (Fig. 6). Continue working Rounds 10–12, firmly securing

the earring finding within the beadwork. Exit from 2C at the edge of the component (Round 7). Don’t trim the thread.

3) ASSEMBLY. Use square stitch to

con-nect Round 7 of the components:

Post: Use the working thread on the post to string 1C; pass through 2C at the cor-ner edge of 1 blue component, vertically aligning each 1A/round/1A center embellishment. String 1C; pass through the last 2C exited on the post compo-nent to connect (Fig. 7).

Body: Arrange the components as shown in Fig. 8, vertically aligning each 1A/ round/1A center embellishment. Weave the working thread through beads to square-stitch 1C to 1C at the points indi-cated, completely connecting the com-ponents and repeating each connection to secure.

Briolette: Weave through beads to exit from 2C at the bottom point of the bot-tom component. String 2C, 1 briolette,

and 2C, then pass through the last 2C exited from the component to form a loop; repeat the thread path to reinforce and exit from 1C of the bottom point (Fig. 9, blue thread).

Edge: String 1B; pass through the next C at the bottom point. *Weave through beads to exit from the first of the next 2C at the edge of the component. String 1B; pass through the next C at the edge. Repeat from * around the entire edge of the earring to embellish the edge (Fig. 9, red thread). Secure the thread and trim.

4) Repeat Steps 1–3 for a second earring. ✦

RESOURCES Check your local bead shop or

contact: Seed beads, Aiko or Delica cylinder beads, and lapis lazuli rounds and briolettes: City Beads Chicago, (312) 316-1910, www.citybeadschicago .com. Delica cylinder beads, earring posts, and Nymo or One G beading thread: Creative Castle,

(805) 499-1377, www.creativecastle.com.

Maggie Meister

34 beadworkmagazine.com

TECHNIQUES

tubular peyote stitch picot

square stitch right-angle weave wireworking See p. 92 for helpful technique information.

PROJECT LEVEL

See p. 4 for project-level information.

BEADWORK june/july 2013 35

DESIGNER

of the Year

1) BEZEL. Use tubular peyote stitch and square stitch to bezel the rivoli:

Rounds 1 and 2: Use 6' of thread to string 36B, leaving a 4" tail; pass through the first B to form a tight circle (Fig. 1, black thread).

Round 3: String 1A, skip 1B of the previ-ous round, and pass through the follow-ing 2B; repeat eleven times. Step up through the nearest B (the first B skipped in this round) (Fig. 1, orange thread).

Round 4: Work 12 stitches with 2B in each stitch. Step up through the first 2B added in this round (Fig. 1, purple thread).

Round 5: Work 12 stitches with 1D in each stitch, treating each 2B set of the previ-ous round as 1 bead. Step up through the first D added in this round (Fig. 1, green thread).

Round 6: Work 12 stitches with 2D in each stitch. Step up through the first D added in this round (Fig. 1, blue thread).

Round 7: String 1B and weave through beads to exit from the first D of the next 2D set added in the previous round; repeat eleven times to add 12D. Weave through beads to exit from Round 5 (Fig. 1, red thread).

Smadar Grossman

USE TWO-HOLE SEED BEADS

and crystals to form

beautifully versatile triangular motifs that embellish

a bezeled rivoli, form a bail, and decorate chains.

tibetan sunset

necklace

DESIGNER

of the Year

MATERIALS

1 g gold size 15° Japanese seed beads (A) 5 g gold size 11° Japanese seed beads (B) 1 g fuchsia-lined clear size 11° Japanese

seed beads (C)

4 g gold size 8° Japanese seed beads (D) 6 g dark purple terra pearl 5×3mm 2-hole

seed beads (E)

22 red magma 4mm crystal bicones (F) 2 tanzanite 6mm crystal bicones (G) 1 tanzanite 6.5×13mm crystal briolette 1 gold foil–back volcano 18mm

crystal rivoli

1 gold-plated 8×14mm lobster clasp 1 gold-plated 5mm jump ring 4 gold-plated 6.5mm jump rings 18½" of gold-plated 3.5×5mm textured

oval chain

8" of gold-filled 20-gauge wire Smoke 6 lb braided beading thread

TOOLS

Size 10 and 12 beading needles Scissors

2 pairs of chain- or flat-nose pliers Round-nose pliers

Wire cutters

FINISHED SIZE: 23¾" (necklace); 2 × 3¼" (pendant)

Smadar Grossman is a jewelry designer who lives in Israel. Her work is often influenced by Far East ethnic patterns, which she likes to give an updated twist to by using modern materials. Smadar

sells tutorials for her designs online at www.smadarstreasure.etsy.com. Contact her at [email protected].

Fig. 1: Stitching Rounds 1–7 of the bezel

Artist’s Tips

• Work with tight thread tension throughout the project.

• Substitute any other top-drilled drop or large dagger bead for the crystal briolette.

• Shorten or lengthen the long chain to reach the desired necklace length.

36 beadworkmagazine.com

Stitches 7 and 8: Repeat Step 2, Stitches 6 and 7 (Fig. 4, red thread). Weave through beads to exit from the B at the tip of the first fringe formed in Step 2. 4) PICOTS AND CENTER DROP. Connect the fringes and add the center drop:

Picot: String 1D, 1B, and 1D; pass through the last Step 2 B exited and continue through the next 1C/1F/1E (Fig. 5, purple thread).

Connect: String 1A; pass down through the nearest E of the next fringe, then weave through beads as before to exit the B at the tip of that fringe (Fig. 5, orange thread).

Repeat the picot/connect sequence (Fig. 5, green thread).

Center briolette: String 1D, 1B, and 1D; pass through the last B exited and the first D/B just added. Repeat Step 2, Stitches 2–7, off of the last B just added, but in Stitch 5, add 1C, 1B, the briolette, 1B, and 1C; reinforce this stitch to secure. Weave through beads to exit up through the outside hole of the center fringe’s next E (Fig. 5, blue thread). Repeat the connect/picot sequence twice (Fig. 5, red thread). Secure the thread and trim. Set the pendant aside.

Round 8: Work 12 stitches with 2B in each stitch. Step up through the first 2B added in this round (Fig. 2, orange thread).

Round 9: Work 12 stitches with 1B in each stitch, treating each 2B set of the previ-ous round as 1 bead. Step up through the first B added in this round (Fig. 2, green thread).

Round 10: Place the rivoli facedown in the center of the beadwork. Work 12 stitches with 2B in each stitch. Step up through the first 2B added in this round (Fig. 2, blue thread).

Round 11: String 2A, pass through the 2B of Round 10 just exited, and through the 2A just strung to form a square stitch.

Note: You will now be working in the

opposite direction. *String 2A, pass through the next 2B of Round 10, and the 2A just added. Repeat from * ten times. Pass through the first 2A to com-plete the round. Pass through all the A added in this round again to reinforce. Weave through beads to exit from 1B of Round 7 (Fig. 2, red thread).

2) BEZEL FRINGE. Use right-angle weave to form embellishments off the bezel:

Stitch 1: String 1C, 1D, and 1C; pass through the last B exited and the next C and D to form a circle.

Stitch 2: String 3E; pass though the last D exited.

Stitch 3: String 2B; pass through the open hole of the first E added in Stitch 2.

Stitch 4: String 1F; pass through the open hole of the second E added in Stitch 2.

Stitch 5: String 1C, 1B, and 1C; pass through the last E exited.

Stitch 6: String 1F; pass through the open hole of the third E added in Stitch 2.

Stitch 7: String 2B; pass through the near-est D of Stitch 1. Weave through beads to exit from the B of the next Round 7 picot (Fig. 3).

Repeat Stitches 1–7 four times for a total of 5 fringes, reinforcing the stitches as needed. Weave through beads to exit from the B of Round 7 opposite the center fringe.

3) BAIL. Stitch the pendant’s bail:

Stitches 1–4: Repeat Step 2, Stitches 1–4 (Fig. 4, orange thread).

Stitch 5: String 1C, 1B, and 1C; pass through the last E exited and the C/B just added (Fig. 4, green thread).

Stitch 6: String 1D, 4B, and 1D; pass through the last B exited in Stitch 5. Repeat the thread path to reinforce, then weave through beads to exit the nearest hole of the nearest E (Fig. 4, blue thread).

Fig. 3: Stitching the first

bezel fringe Fig. 4: Adding the bail

Fig. 2: Forming Rounds 8–11 at the back of the bezel

DESIGNER

BEADWORK june/july 2013 37 5) CONNECTORS. Stitch double-ended

fringes to use as connectors for the necklace:

Connector top, Stitch 1: Use 3' of thread to string 1D, 1C, 1D, and 1C, leaving an 18" tail. Pass through the first

1D/1C/1D (Fig. 6, green thread).

Connector top, Stitches 2–8: Form a fringe that looks like the bail: Repeat Step 2, Stitches 2–4. Repeat Step 3, Stitches 5 and 6. Repeat Step 2, Stitches 6 and 7. Weave through beads to exit the first D strung (Fig. 6, blue thread). Secure the working thread only and trim.

Connector bottom, Stitches 2–9: Use the tail to repeat the connector top to form another fringe that looks like the bail (Fig. 6, red thread). Secure the tail thread and trim. Set aside.

Repeat this entire step to form a second connector.

Fig. 5: Forming the picots and adding the center briolette

Fig. 6: Stitching a connector

6) ASSEMBLY. Use the 5mm jump ring to attach the clasp to one end of one 8¼" piece of chain. *Use one 6.5mm jump ring to attach the other end of the chain to one end of 1 connector. Use one 4" piece of wire to form a wrapped loop that attaches to the other end of the connector. String 1G; form a wrapped loop that attaches to one end of one 1½" (11-link) piece of chain. Attach one 6.5mm jump ring to one end of one 8¼" piece of chain. Repeat from *, attaching the final wrapped loop to the other end of the 1½" piece of chain. Use one 6.5mm jump ring to attach the pen-dant to the center link of the 1½" piece of chain. ✦

RESOURCES Check your local bead shop or contact: Seed beads, Twin 2-hole seed beads, Swarovski crystal bicones and briolette, FireLine braided beading thread, clasp, jump rings, chain, and wire: Artbeads.com, (866) 715-2323. Swarovski crystal rivoli (article #1122): Fire Mountain Gems and Beads, (800) 355-2137, www.fi remountaingems.com.

Smadar Grossman

TECHNIQUES

backstitch bead embroidery soutache embroidery spiral rope

fringe picot

flat and tubular peyote stitch See p. 92 for helpful

technique information.

PROJECT LEVEL

See p. 4 for project-level information.

Learn how to combine soutache embroidery with

beadwork to create a beautiful necklace. It’s a fun way

to merge two great techniques.

aurora pendant

necklace