Fast & Fabulous Nature-Inspired Jewelry Designs p.

62

JUNE/JULY 2019

Weave a
Colorful
Cuff Bargello
Style

Create a
Statement
& Meet Artist
Wendy Ellsworth

Looming
with Beads
* 5 Things I wish I Knew Before p. 12
* Beach Blanket Bracelet p. 14
* Desert Sky Bracelet p. 18
* Garden Party Lariat p. 21
Desert Sky Bracelet
by Lindsay Burke
p.18

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

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join the fun at artbeads.com/rewards!
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24 Unique Recipes
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contents
JUNE/JULY 2019 VOLUME 22 NUMBER 4

Designer of the Year Projects

29 AGAVE CUFF
Wendy Ellsworth
This colorful cuff uses three-dimen-
sional geometric beading techniques.
34 LOUKA BRACELET
Vezsuzsi
Stitch a patchwork of color using
only seed beads.
38 BACK-TO-BACK SPIKES
NECKLACE
Susan Sassoon
Use seed beads to create unusual 29 38
spiked components.

Features
12 FIVE THINGS I WISH I KNEW WHEN
I STARTED BEAD LOOMING
24 WENDY ELLSWORTH: CREATIVE,
ARTISTIC, GENEROUS, SPIRITUAL

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

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

Dewdrop Earrings
by Evelína Palmontová
page 52

On the Cover
BARGello Bracelet
By Michelle Gowland
Page 44

2 WWW.INTERWEAVE.COM
 48 18 56

21 62 63

12 64 67

Project Rating Fast & Fabulous: Inspired by Nature

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

For Stitch Index, see page 85.

BEADWORK JUNE/JULY 2019 3

passing through

Translations EDITORIAL
EDITOR Tamara Honaman
TECHNICAL EDITOR Meredith Steele
The beautiful BARGello Bracelet design on the INTERIM MANAGING EDITOR Katie Hacker
COPY EDITOR Nancy Arndt
cover is Michelle Gowland’s translation of the tradi-
tional Bargello needlepoint embroidery technique. MARKETING & ADVERTISING
She executed the design so well using two-hole shaped beads and luscious ADVERTISING MANAGER Marilyn C. Koponen
Marilyn.Koponen@fwmedia.com, (877) 613-4613
color palettes. This may seem odd, but looking at Michelle’s designs trans-
CLASSIFIED ADVERTISING Stephanie Griess
ported me back to the early days of using polymer clay. Stephanie.Griess@fwmedia.com, (877) 613-4630
In the mid-1990s, Laura Liska devised a technique that translated her AD TRAFFICKER Cari Ullom
love of Bargello into polymer. She displayed some of her work during the MARKETING MANAGER Jessi Rodriguez

Masters Invitational Polymer Clay Exhibition and Sale (MIPCES), and it CREATIVE SERVICES
was wonderful to see her work up close. The details, colors, and the way SENIOR DESIGNER Connie Poole
PRODUCTION DESIGNER Mark Dobroth
she was able to create layers of color that transitioned seamlessly were
ILLUSTRATOR Laura Shell
mesmerizing. PHOTOGRAPHY George Boe
Other artists were also translating natural materials and patterns or
techniques into this new medium. City Zen Kane, the company run by
Steven Ford and David Forlano, created beautiful ikat designs in polymer.
Ikat is an Indonesian dyeing technique applied to fibers before weaving FOUNDER Linda Ligon
them into fabric. Tory Hughes was instrumental in creating faux recipes DIRECTOR OF CONTENT, CRAFT Tiffany Warble
DIRECTOR OF MEDIA SALES Julie Macdonald
that had our pasta machines busy night SENIOR DIRECTOR OF CRAFTS MARKETING AND ECOMMERCE
and day creating faux ivory, turquoise, OPERATIONS Kimberly Greenlee
and cinnabar, to name a few.
I still love seeing how artists translate
things they love using mediums they are
passionate about—it’s something we see
in beadwork all the time. Agave Cuff by
Wendy Ellsworth (page 29) is her interpre- F+W MEDIA, INC.
CHIEF EXECUTIVE OFFICER Gregory J. Osberg
tation of thorny plants found in the
SVP, GENERAL MANAGER F+W CRAFTS GROUP David Pyle
desert. MANAGING DIRECTOR F+W INTERNATIONAL James Woollam
Susan Pelligra brings us a taste of VP, CONSUMER MARKETING John Phelan
summer in her bead-loomed version of a VP, DIGITAL Jason Revzon
beach towel in Beach Blanket Bracelet (page 14). VP, PRODUCT MANAGEMENT Pat Fitzgerald

Next time you’re working with a piece of fabric or cutting flowers from
your garden, take a close look at what you see, then challenge yourself to
translate that into beads using traditional off-loom stitches or weaving
them on a loom!
Speaking of looming—this issue is filled with bead-looming resources.
Julianna Avelar, inventor of the Jewel Loom, shares five things she wishes
she knew before looming one of her iconic designs. Three favorite
Beadwork contributors show standout looming designs, and Katie Hacker
has a great article highlighting one of our favorite looms. If that’s not
enough to get you weaving, be sure to read Megan Lenhausen’s How to
Use a Bead Loom at interweave.com.
Wishing you happy summery days filled with beading and weaving.
Designs in this issue of Beadwork® are for inspiration and personal use only. Exact reproduc-
tion for commercial purposes is contrary to the spirit of good craftsmanship. Designs may
not be taught or sold without the expressed permission of the author. Beadwork does not
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.
Beadwork (ISSN 1528-5634) is published bimonthly by Interweave, a division of F+W Media,
Inc., 4868 Innovation Dr., Fort Collins, CO 80525-5576. USPS #018-351. Periodicals postage paid
at Fort Collins, CO 80525, and additional mailing offices. © 2019 F+W Media, Inc. All rights
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 433289, Palm Coast, FL 32143.
Retailers: If you are interested in carrying this magazine in your store, please contact us:
Email sales@fwmedia.com.

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cool stuff MEREDITH STEELE
1
1. Nina Designs is expanding their
popular mixed-metal collection,
and these celestial charms and ear
wires are out of this world! The mix
of sterling silver and bronze gives
these gorgeous little charms a really
nice heft. Get yours at www.nina
designs.com.
2. Cherry Tree beads has a great
selection of mala-making supplies,
including gemstones in strands of
108 beads, guru beads, and tons of
tassels. Summer vibes abound with
their verdigris charm collection that
includes sand dollars, honeybees,
dragonflies, and so many more.
Peruse www.cherrytreebeads.com
for your summer splurge.
THE STAFF OF BEADWORK INVITES YOU TO SEND YOUR NEW BEADWORKING PRODUCTS FOR CONSIDERATION IN COOL STUFF.
6 WWW.INTERWEAVE.COM
3. Golden Twin Clasps presents this
23k gold-plated magnetic clasp by
Claspgarten. It has cupped ends
with a hidden hole so that you can
finish your beaded strands
seamlessly. Prongs keep the clasp
secure so that it will only come
apart when you twist it. Measuring
27x16mm the clasp is also available
in rhodium. Check it out at
www.goldentwinclasps.com.
4. These cute fan tassels look great
with Goody Beads’ new sliding-
clasp necklaces. Just attach the
tassel with a jump ring, add a bead
for some flair, and you’re set. The
fan tassels come in eight colors and
two different sizes. The sliding-clasp
5
necklaces are 30" long and available
in rollo and wheat chain in silver-,
gold-, and rhodium-plated finishes.
Visit www.goodybeads.com.
5. New two-hole coin beads, etched
drops, and copper-splash finished
beads are available from The
BeadSmith. The two-hole coin
measures 14mm and is available in
55 different laser-tattoo and etched
offerings, including Pantone’s color
of the year: Living Coral. The new
copper-splash finish is shown here
on two-hole Kite and PaisleyDuo
beads. See www.beadsmith.com
(wholesale only) or ask your favorite
bead retailer.
3
6
6. Anne Potter features over 20
fabulous jewelry designs in each of
her new Travelogue eBooks.
Stringing and wireworking
techniques come together in these
projects, which were inspired by
various places around the globe.
The two issues we’re featuring are
Norway and Japan,, but there are
many more to see. Get your copies
at www.annepotter.com.
7. When Joan Babcock was doing
research on Margaretenspitze, or
Margaret’s Lace, a hybrid of
macramé and knotted lace, she
couldn’t find any books in English.
Now you don’t need a translator to

try your hand at this beautiful,
intricate knotwork. Get your copy
of Joan Babcock’s English-language
Margaretenspitze Designs for Jewelry,
Natural Forms in Macramé at
www.micro-macramejewelry.com.
8. Ranger Industries has an
awesome array of jewelry-making
supplies from ICE Resin by Susan
Lenart Kazmer. I had the oppor-
tunity to play with their new jewelry
mold, industrial bezels, findings,
and silk sari ribbon. I love the
faceted jewel-cut shape of the
molds. Everything you need for
all your ICE Resin creations is at
www.rangerink.com.
PLEASE SEND ALL SUBMISSIONS TO BEADWORK@INTERWEAVE.COM AND INCLUDE COMPLETE PRODUCT INFORMATION.
10
9. Lampwork artist Sheila Davis
presents these gorgeous cones
that any jewelry designer would
drool over. Kiln annealed, like all
of her beads, these cones will hold
up to wear. Check out her website
at www.stonedesignsbysheila
.etsy.com.
10. The BeadSmith earned a
second spot on the Cool Stuff list
with their new Ginko and Chevron
Duo beads and their amazing new
line of Cymbal metal fashion
elements. The new Ginko beads
measure 7.5mm and are designed
to fit with many of the multi-hole
HANDPICKED
FAVORITES IN THE
Explore
xplore Variations in Netting—
Bundle and Save!
Discover a variety of netting
techniques and beading projects
with the Explore Variations of
8
Netting, Bundle and Save
package! You’ll learn bead-netting
techniques such as tubular
netting, circular netting, and
basketweave! You’ll get to
combine netting techniques with
other beading techniques such as
picot, herringbone, ladder stitch,
peyote stitch, and more to create
stunning jewelry pieces!
Assemble your own bundle today
at www.interweave.com.
shaped beads on the market. The
Chevron Duo bead, similar to the
6x9mm EVA bead, is 10x4mm and
Fast & Fabulous
8mm from base to tip. The Cymbal
Tassels Pattern Pack
line consists of metal beads and
This pattern pack just screams
components designed especially to
summertime to me. From elegant
work with multi-holed shaped beads.
and demure to big and bold,
It includes bead substitutes, as well as
you’ll be sure to find something to
side beads that nestle into nooks and
love in the Fast & Fabulous Tassels
crannies, and specialized endings
Pattern Pack. This Fast & Fabulous
and clasps designed to fit and
Pattern Pack features nine tassel
complement the most popular multi-
projects such as necklaces and
holed shaped beads. See design
earrings, using leather, chain,
examples at www.beadsmith.com
cord, and fabric. Check it out at
(wholesale only) or ask your favorite
www.interweave.com.
bead retailer.
www.interweave.com
BEADWORK JUNE/JULY 2019 7
 Jewelry
always fits. Made In USA

Choose WildFire ® Cord

Ideal for Seed Beads, Stitching, & Loomwork

Designed by Shanna Steele Life is what you make it.

2018 Beadwork Magazine
Designer of the Year

8 WWW.INTERWEAVE.COM
‘Thistle’ Necklace & Earrings
by TrendSetter Renee Kovnesky
Visit www.ElegancebyRenee.etsy.com

Featuring CzechMates® Diamonds

and TOHO® Seed Beads

Ask Your Local Bead Store for Starman beads or order from:
TILE Artbeads Beyond Beadery Just Bead It
DAGGER www.Artbeads.com www.BeyondBeadery.com www.JustBeadItConcord.com
BRICK Aura Crystals Bobby Bead Lima Beads
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TRIANGLE
Beadaholique Design & Adorn Beading Studio Midwest Bead & Supply
BAR
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Bead & Glass Boutique Eclectica Potomac Bead Company
www.BeadAndGlass.com www.EclecticaBeads.com www.PotomacBeads.com
Bead Unique Eureka Crystal Beads Red Panda Beads
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 Do you love
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 ADVERTISEMENT
WEAVE A JEWELED TAPESTRY
Beading on a Loom
Katie Hacker
PHOTO COURTESY OF
FIRE MOUNTAIN GEMS AND BEADS
B EADING ON A LOOM IS A FAST WAY TO
weave a fabric of beads that can be turned
into a piece of jewelry. The effect looks similar to
square stitch and results in an even piece of
beadwork that can be used in a variety of ways.
Loomed beadwork is basically a small jeweled
tapestry that you can wear.
Claudia Chase invented the original Mirrix
Loom (shown here) when her children were
young, and she was shuttling them to all of their
various activities. A dedicated fiber artist and
weaver, she wanted a fully functional portable
loom that she could use on the go. The Mirrix
Loom includes everything she was looking for,
with a shedding device, adjustable tension,
variable spacing of the warps, and optional
accessories.
Claudia was my guest on episode 1410 of
Beads, Baubles & Jewels, where she showed us
how to mix fibers and beads to make a beautiful
cuff. Claudia freely admits that fibers are her
first love, but she learned how to weave with
beads because she could see that beads would
add a whole new dimension to looming.
USING A BEAD LOOM
It’s easy to get started beading on a loom.
You need just a few materials: C-Lon or your
favorite stringing material; a strong, flexible
beading needle; clasp; scissors; glue; and beads.
As with fabric, the vertical threads are the “warp”
threads, and the horizontal threads are the “weft”
threads. When you’re beading on a loom, the
beads are strung onto the weft threads.
Editor Tamara Honaman says, “Looming can
be a very meditative process. Once you have
your loom warped, it’s only a matter of adding
in your beads. You can do that by following a
pattern or making things up as you go along.”
Your bead choice will affect the finished
appearance of the woven design. Cylindrical
seed beads provide a very smooth, uniform
look, while round seed beads are a little
bumpier and can be used to create an artisanal
feel. Two-hole seed beads, small crystal beads,
and stone beads can all be used with varying
warp spacing to create beautiful woven
jewelry.
A trendy technique in beading on a loom is to
use leather cords as the outside warp strands.
This method gives the woven strap more heft, a
nice finished edge, and is particularly popular
for wrap bracelets. It’s also hot right now to
stitch a beaded strap that fits inside a channel
bangle bracelet or pendant. Even a small piece
of loomed beadwork can make a big impact!
There are a variety of ways to finish the ends of
loomed beadwork. Choose your favorite before
you start looming because it could dictate the
dimension of your design. For example, you can
keep it simple and stitch a bead-and-loop
closure, stitch a piece of soft leather over the
selvage edges and attach a clasp to the leather,
or use a ribbon clamp-style component for a
finished look.
Beading on a loom is a versatile technique
to add to your beading repertoire. The process
can be soothing, and the resulting loomed
beadwork can suit many styles. Whether you go
for a traditional look or use a more unconven-
tional approach, looming is a beautiful way to
take your beadwork in a new direction. The
Mirrix Loom and others are available at
www.firemountaingems.com.
KATIE HACKER is the interim managing
editor of Beadwork and the host of Beads,
Baubles & Jewels on PBS. She likes mixing
shaped beads with seed beads to make
loomed-beadwork bracelets.
ENTER THE SWEEPSTAKES
FOR A CHANCE TO WIN A MIRRIX LOOM
FROM FIRE MOUNTAIN GEMS AND BEADS
$264 value
www.interweave.com/
fire-mountain-gems-beadwork-giveaway/
APRIL 19 - MAY 19
BEADWORK JUNE/JULY 2019 11
 5 Things I Wish I Knew When I Started

Bead Looming AUTHOR: JULIANNA C. AVELAR

ORIGINALLY PUBLISHED ON INTERWEAVE.COM

I STARTED BEAD LOOMING OVER 20 YEARS AGO, and I still love the soothing back-and-
forth process. Once a few rows are complete, you can relax, and the technique becomes
very meditative. I especially enjoy working with a mix of beads and figuring out which
ones fit between the warp threads. I’m happy to share these five tips that I wish I’d
known when I started bead looming.
12 WWW.INTERWEAVE.COM
Here, I would use twelve size 8° seed beads and one size 11° seed bead in place of this particular bugle bead.
1
CHECK YOUR BUGLE BEADS
BEFORE YOU START WEAVING.
I am a huge fan of bugle beads and
work with numerous colors and sizes. I have
used bugles in my bead-weaving projects
since day one. When you work with bugles,
make sure the ends of the beads are not
sharp. If they are, use a fingernail file to
carefully file the ends smooth. If you skip
checking the ends of your bugles, you
might find the beads have cut your thread.
Another bugle-bead tip is to assess how
many seed beads you can pair up to equal
the length of your bugle beads. Once you
know the number, substitute seed beads
for the bugles every so often while
weaving, just to mix things up!
2
CHECK BEAD-HOLE SIZES
AHEAD OF TIME.
Check to make sure that your needle
and thread will fit through the beads
before weaving. It’s a good idea to test a
small sampling of each bead type, just to
be safe. Remember that you’ll need to
accommodate the smallest bead hole in
your selection. Some beads can be reamed
if necessary, but it would be tedious to
ream all of the beads in your design. If your
needle and thread don’t fit the bead holes,
experiment with different combinations
until you find ones that work.
3
BE CAREFUL NOT TO PULL
TOO TIGHTLY!
I had a surgical nurse in one of my
Mixed Beaded Boho Cuff classes, and she
pulled so hard that she literally ripped her
project right off the loom! We giggled and
she admitted that her time in the ER doing
stitches was to blame! Together, we were
Keep even tension as you loom for a nice, smooth weave.
able to get her restarted so she could
finish her cuff by the time the class was
finished. Although it’s important to
maintain consistent tension while bead
looming, be careful that you don’t pull so
tightly that you buckle or otherwise
damage your work.
4
FORGET WHAT YOU KNOW
ABOUT BEADING, ESPECIALLY IF
YOU ARE AN OFF-LOOM BEADER.
I have witnessed people use handstitching
Knotting the ends makes a clean finish that fits inside
techniques on the loom, which can really a slide clasp.
get you off track when creating your warps
and wefts. Bead looming is very linear. Just
take your time, read the instructions for
your project, and have faith that the project
will work out! When you’re ready to create
your own designs, you’ll have a sense of
how to plan and use the loom efficiently.
5
MAKE THINGS EASY AND USE
A SLIDE CLASP.
When I first started bead looming,
I learned how to loom a bracelet and sew
on a clasp. Back in those days, this was the
only option I knew about for finishing a
loomed bracelet. Now, there are many
different styles of clasps that you can use
to finish your beaded loomwork. Slide clasp with adjustable closure.
A slide clasp is my favorite way to finish
my loomed bracelets. After you tie all of
the warp threads together and trim JULIANNA “JEWELS” AVELAR GIA AJP,
them, add a small amount of white glue inventor and patent holder of the Jewel Loom
to the knots, then slide the clasp over products, is a well-known mover and shaker in
your end row of beads. I have found that the creative lifestyle community. As an
both size 8° and 11° seed beads work innovator, weaving expert, jewelry designer,
perfectly with slide clasps If your beads author, product developer, on-air talent and
don’t exactly fit, you can use chain-nose social media celebrity, Julianna has turned
pliers to open the slide clasp a bit to millions on to the joys of connecting creativity
accommodate the beads.  and self-love through artistic expression. ●
BEADWORK JUNE/JULY 2019 13
Beach Blanket Bracelet SUSAN PELLIGRA

Main
Colorway

14 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
 1 WARP. Following the manufacturer’s

L earn how to increase and decrease

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

Fig. 1: Forming Rows 1 and 2

Fig. 2: Chart

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 15
Beach Blanket Bracelet
Row 99: String 25D; pass under the warp
threads and pop 1 bead between each
thread. Hold the beads in place while
passing back through each bead, this
time over the top of the warp threads.
Pass back through the last D strung, exit-
ing under the warp thread 2 (Fig. 3,
green thread).
Row 100 (Decrease): Pass the needle over
warp 2, then back down to the bottom
to catch warp 2. String 23D; pass under
warp threads 3–25 and pop 1 bead
between each thread (Fig. 3, blue
thread). Note: Warp slots 1 and 25 will
be empty. Bring the needle up to the
top between warp threads 25 and 26.
Alternate
Colorway Materials
0.5 g white pearl AB size 15° seed
beads (A)
0.5 g black opaque size 15° seed beads (B)
2 g white pearl Ceylon size 11° seed
beads (C)
10 g white opaque size 11° cylinder
beads (D)
0.5 g matte light pewter galvanized size
11° cylinder beads (E)
3 g black opaque size 11° cylinder
beads (F, H)
2 g turquoise green luster opaque size 11°
Swarovski cylinder beads (G)
30 matte light teal 4mm sea glass rounds
2 silver-plated 35×6mm slide end tubes
2 pairs of silver 7×9mm round magnetic
clasps
4 silver 6mm jump rings
16 WWW.INTERWEAVE.COM
Hold the beads in place while passing
back through each bead, this time over
the top of the warp threads 25–2
(Fig. 3, red thread). Secure and trim
the weft threads.
3 EMBELLISH. Finish the ends of the
loomwork and embellish the edges:
Remove: Release the beadwork from the
loom. Allow piece to rest on a flat surface
before tying off threads. Add a short nee-
dle to 1 warp thread, then secure the
thread and trim; repeat twenty-five times
using the other warp threads.
Brick-stitched Edging: Begin 4' of new
thread with a short needle that exits from
the top D of Row 2 (see the start dot in
Fig. 4). String 2C; pass under the con-
necting thread between Rows 3 and 4,
then pass back up through the second C
just added (Fig. 4, blue thread). String
1C; pass under the connecting thread
between Rows 5 and 6, then pass back
up through the C just added (Fig. 4, red
thread). Note: Rows 1 and 100 will not
have a brick-stitch bead, these must be
clear to add slide end tubes. Continue in
brick stitch across the length of the bead-
work by stringing 1C, passing under the
nearest connecting thread between
rows, then passing up through the C just
added. Secure and trim the threads.
Repeat Brick-stitched Edging on the other
edge of the base. Flip the beadwork over.
Fringe Edging: Add a stop bead to 6' of
new thread with a short needle, leaving a
6" tail. Pass through the top 6D/1C of
Row 98 (Fig. 5, purple thread.) String
5A, 1B, 3A, 1B, 1A, and 4B; skip the last 3B
strung and pass back through the beads
OPTION
Use a picot edging
instead of the fringe to
create a simpler look.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
just strung and the last 1C/2D exited of
the base. Tie a half-hitch knot around the
threads of the loomwork where you have
just exited, taking care not to pull the
beadwork (Fig. 5, green thread). Pass up
through the next 2D/1C. String 5A, 1B,
3A, 1B, 1A, and 4B; skip the last 3B strung
and pass back through the beads just
strung and the last 1C/3D exited of the
base. Tie a half-hitch knot around the
threads of the loomwork where you
have just exited, taking care not to pull
the beadwork (Fig. 5, blue thread).
Pass up through the next 3D/1C (Fig. 5,
red thread). Continue fringe across the
length of the beadwork, tying half-
hitch knots at variable intervals in the
loomwork after each fringe is added.
Remove the stop bead; secure and trim
the threads.
Repeat Fringe Edging on the other edge of
the base.
4 CLASP. Add the clasp:
Clasp 1: Use the pliers to close one end of 1
end tube. Slide Row 1 of the beadwork
into the tube through the open end. Use
the pliers to close the second end of the
tube, securing Row 1 in the tube. Use 1
jump ring to attach one half of 1 clasp to
one of the loops on the end tube. Use 1
jump ring to attach one half of the sec-
ond clasp to the remaining loop on the
end tube.
Clasp 2: Repeat Clasp 1 on the other end of
the bracelet, using the second end tube
and the second halves of the clasps and
taking care to match the polarity of the
magnets.
 Fig. 3: Stitching Rows 99 and 100

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

SUSAN PELLIGRA teaches her beadwork

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

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

18 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
 1 WARP. Following the manufacturer's

C reate a gently wavy loomed bracelet

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

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

LINDSAY BURKE lives in the Seattle area with

her husband and two beautiful daughters. She
artist’s tips is the CMO for Fusion Beads and has been with
❯ Try creating your own pattern
them since 2000. You can find her work in
in other colors using graph paper several publications or in her book Make It
and colored pencils. Sparkle (Interweave 2016), or watch her
YouTube instructional videos. Contact Lindsay
❯ Substitute 2mm fire-polished
at support@fusionbeads.com.
rounds for the crystal beads.

RESOURCES Check your favorite bead

retailer or contact: Delica cylinder beads,
Swarovski crystals, Miyuki slide end tubes,
Jewel Loom beading loom, Tulip beading
needles, and all other materials: Fusion
Beads, (888) 781-3559, www.fusion
beads.com. ●

Explore stunning beading

projects with the
12 Designer of Year
Bead Weaving Patterns eBook!
Create beautiful jewelry designs using bead
embroidery, herringbone, netting, and more.
Discover projects by top experts including
a Dragonfly Pendant by Sherry Serafini, the
Stepping Stones Bracelet by Leslee Frumin and
the Ocean Lily Lariat by Agnieszka Watts.

Get Your Copy Today at Interweave.com

Available in Digital Edition.

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

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

1 PREPARE. Cut the silk lamé braid cord Row 2: String 1C, 1B, 1C, and 1B; repeat

U se loomwork with beads pre-strung on

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

Fig. 1: Looming Rows 1–6

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

22 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

4 FINISH. Release the beadwork from the
loom. Tie the end cords of one end into an
overhand knot and use the tweezers to
cinch it close to the beadwork. Use one tail
end to string 1–1 ¼" of bead soup and tie
several overlapping overhand knots secure
to the fringe beads; repeat four times
(Fig. 2). Apply a small amount of glue to
each knot; allow to cure, then trim the tails.
Repeat this entire step on the opposite end
of the beadwork.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
Fig 2: Finishing
the ends
CINDY KINERSON is a bead artist and Alternate
teacher specializing in bead-loom weaving. Colorway Materials
She teaches at national bead shows, and her
work has been published widely in both books
and magazines. She co-owns the Reno Bead PURPLE PATHWAY
Shop with her husband and can be reached 14 g milky light amethyst size 11° seed
at cindy@renobeadshop.com. beads (A)
21 g matte dark olive size 11° triangle
RESOURCES Check your favorite bead seed beads (B)
retailer or contact: Toho seed beads, triangle 21 g medium amethyst transparent size 8°
seed beads, bead soup, thread, Hypo cement, seed beads (C)
bead looms, and Bead Bug bead clamps: 1 g bead soup of 2–4mm mixed beads
(seed beads, metal, crystal, etc.)
Reno Bead Shop, (775) 322-2225, www.reno
28' of amethyst ruby 18 ct. silk lamé braid
beadshop.com. Silk lamé braid cord: Stitch in cord
Time, (775) 829-9222. ● Green 6 lb WildFire braided beading
thread
Jewelry cement
BEADWORK JUNE/JULY 2019 23
 Wendy Ellsworth:
Creative, Artistic, Generous, Spiritual
An interview with Wendy Ellsworth and excerpts
from her book Beading—the Creative Spirit
BY TAMARA HONAMAN

Wendy Ellsworth has been beading

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

BEADING TO INNER PEACE

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

24 WWW.INTERWEAVE.COM
The branch resembled a human torso with
arms but no legs, and as I studied it, I began to
see the potential for transforming it into a
beaded figure that could be mounted on a
base of wood.
“I started by beading around the surface of
the stick using the gourd stitch. I used this
bead-weaving technique to completely cover
the stick with seed beads, and the stick
became a fragile wooden armature for the
woven beads. I used the colors of the chakras
to indicate the different parts of the stick’s
“body.”
“Little did I know that I was about to plumb
the depths of my psyche and bring to the
surface parts of myself that needed to be
examined, processed, healed, and
transformed.”
An entire series grew from this first
beaded stick figure, and through each
figure Wendy found healing, sanity, and a
shining light into a journey of self-
discovery. “Because beading demanded that
I be fully present to process, it helped me give
birth to a new self that was able to trust and
love again.”
Samburu women of Unity Village
PHOTO: WILL DAVIS & MEREDITH GRADY
Resisting the Mirror Stick Figure 15" h x 15"w x 9" d,
glass seed beads, wooden stick, slate base,1994.
This figure represents the contortions one goes into
when resisting looking into the mirror of Truth.
PHOTO: GEORGE ERML
HELPING OTHERS
Wendy gives and does for others as part
of her ministry.
In 2003, Wendy applied for and was
awarded a grant from the Pennsylvania
Council on the Arts. The $5,000 award was
hers to use as she felt appropriate. She
meditated to find the right path for this
grant. The answers she received were a trip
and Kenya.
Around this same time, she discussed her
exploration of the physics of light with a
woodworker and friend. Through conversa-
tion he shared, “Unless it has a surface
upon which it can reflect, light is darkness.”
What a paradox! Wendy then met a
cameraman for the BBC, and his thought
resonated and catapulted her into action.
“The country that has the most dynamic
light is Kenya—you should go to Kenya.”
She factored this into her travel plans.
She began looking into Kenya and
beadwork, and she discovered the
elaborate beadwork of the Maasai and
Samburu women. Both tribes create
beadwork for adornment and income.
Tanjung Kandi SeaForm 3” h x 4”w x 4” d
Utilizing multiple increases to make my SeaForms ruffle, I inadvertently
discovered the secret to hyperbolic structures in Nature.
Wendy wanted to meet the women who
are carrying out their centuries-old
beadwork tradition. She found her purpose
and jetted off.
Once on the ground in Kenya, Wendy
realized she could make a difference in their
lives. Wendy partnered with Debby Rooney,
founder of Beads for Education, and
through this organization she was able to
share her beading knowledge, teaching the
Maasai women new techniques—primarily
finishing techniques—to improve their
beadwork.
Wendy has made many trips to Kenya over
the years. In addition to helping the Maasai,
she has also helped the Samburu women.
Through all of her time with the tribes, it
was clear, in addition to basic needs of food
and shelter, education was vital to the
women who needed to help their daugh-
ters be free.
In the Maasai and Samburu cultures,
education is almost nonexistent.
Continuing to help support these women
today, Wendy sponsors girls to help them
have a new way of life. One woman she
BEADWORK JUNE/JULY 2019 25
 sponsored attended Catholic University in
Nairobi, then continued on to the Kenya
School of Law. She is now the second
female Samburu attorney of Kenya and
Director of Legal Affairs in her county.

For more on Unity Village and the Samburu

women, please see the Beadwork February/
March 2019 issue or visit www.interweave.com.

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

Wendy and David have recently relocated

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

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

Geometric Necklace 21” l x 5”w x ¾” h Taos Cuff 2¼” h x 3” d

Repetition in geometric patterning results in a structure that can be manipulated into different shapes. This piece was inspired by the architecture
and colors of many buildings in Taos, NM.

Wave Necklace 1 24” l x 1½” h x 3”w Kaleidocycles 1” h x 2¼”w

My interest in hyperbolic curvature led me Joining four flat triangles into tetrahedrons that are
to explore how to use it to make free-form jewelry. hinged together, these kaleidocycles are turning toys
that are fun to make and play with.

BEADWORK JUNE/JULY 2019 27

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

Main
Colorway

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

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

Fig. 1: Working Row 8

30 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

20
18
16
14
12
10
Fig. 2: Chart: Rows 9–20
Row 13: Work 7 peyote stitches with 1E in
each stitch. Work 5 peyote stitches with
1D in each stitch. *Work 1 herringbone
stitch with 2F. Work 5 peyote stitches
with 1D in each stitch. Work 5 peyote
stitches with 1E in each stitch. Work 5
peyote stitches with 1D in each stitch.
Repeat from * three times. Work 1 her-
ringbone stitch with 2F. Work 5 peyote
stitches with 1D in each stitch. Work
6 peyote stitches with 1E in each stitch.
Row 14: Work 6 peyote stitches with 1F in
each stitch. Work 6 peyote stitches with
1D in each stitch. *String 1G; pass
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
through the next F. Work 6 peyote
stitches with 1D in each stitch. Work 4
peyote stitches with 1F in each stitch.
Work 6 peyote stitches with 1D in each
stitch. Repeat from * three times. String
1G; pass through the next F. Work 6 pey-
ote stitches with 1D in each stitch. Work
6 peyote stitches with 1F in each stitch.
Note: This row forms the point tips.
Row 15: Work 7 peyote stitches with 1E in
each stitch. Work 5 peyote stitches with
1D in each stitch. String 1F; pass through
the next G.*String 1F; pass through the
next D. Work 5 peyote stitches with 1D in
each stitch. Work 5 peyote stitches with
2019
designer
of the year
1E in each stitch. Work 5 peyote stitches
with 1D in each stitch. String 1F; pass
through the next G. Repeat from * three
times. String 1F; pass through the next D.
Work 5 peyote stitches with 1D in each
stitch. Work 6 peyote stitches with 1E in
each stitch.
Row 16: Note: Fold the beadwork in as you
work this row to help form the point
decreases. Work 7 peyote stitches with 1E
in each stitch. Work 4 peyote stitches
with 1D in each stitch. *String 1F; pass
up through the next F and down
through the following F. Work 1 peyote
stitch with 1F. Work 4 peyote stitches
with 1D in each stitch. Work 6 peyote
stitches with 1E in each stitch. Work 4
peyote stitches with 1D in each stitch.
Repeat from * three times. String 1F;
pass up through the next F and down
through the following F. Work 1 peyote
stitch with 1F. Work 4 peyote stitches
with 1D in each stitch. Work 7 peyote
stitches with 1E in each stitch.
BEADWORK JUNE/JULY 2019 31
2019
designer
of the year

19
17
15
13
11
9

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

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

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

Fig. 3: Adding the clasp

WENDY ELLSWORTH began beading

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

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

Main
Colorway

34 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

S titch a patchwork of color using only
seed beads.The result is a stunning
beaded tapestry you can wear!
1 END COMPONENTS. Use circular pey-
ote stitch to create the end components:
Round 1: Use 5' of thread to string 4D, leav-
ing a 4" tail. Pass through the beads again
to form a tight circle; use the working
and tail threads to tie a square knot. Pass
through the first D of this round (Fig. 1,
purple thread).
Round 2: String 1C and pass through the
next D; repeat three times. Pass through
the first C of this round (Fig. 1, blue
thread).
Round 3: String 4E and pass through the
next C; repeat three times. Pass through
the first 2E of this round (Fig. 1, red
thread).
Round 4: String 1E; pass through the next
2E. String 1F; pass through the next 2E.
Repeat from the beginning of this round
three times. Pass through the first E of
this round (Fig. 2, purple thread).
Round 5: String 2F; pass through the next
F. String 2F; pass through the next E.
Repeat from the beginning of this round
three times. Pass through the first 2F of
this round (Fig. 2, blue thread).
Fig. 1: Forming End
Components Rounds 1–3
Fig. 3: Stitching End Components
Rounds 7 and 8
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
Round 6: String 1G; pass through the next
2F. String 4F; pass through the next 2F.
Repeat from the beginning of this round
three times. Pass through the first G of
this round (Fig. 2, red thread).
Round 7: String 2G; pass through the next
2F. String 1F; pass through the next 2F. TECHNIQUE
String 2G; pass through the next G. Circular peyote stitch
Repeat from the beginning of this round
PROJECT LEVEL ££¡
three times. Pass through the first 2G of
this round (Fig. 3, blue thread). MATERIALS
Round 8: String 2G; pass through the next 0.5 g light caramel Ceylon size 15°
F. String 2G; pass through the next 5G. Japanese seed beads (A)
Repeat from the beginning of this round 1 g light caramel Ceylon size 11°
Japanese seed beads (B)
three times. Pass through the first 2G of
1 g matte turquoise luster size 11°
this round (Fig. 3, red thread). Japanese seed beads (C)
Round 9: String 3G; pass through the next 3 g chalk travertine size 8° Czech
2G. String 1A, 1B, 1D, 1B, and 1A; pass seed beads (D)
through the next 2G. Repeat from the 2 g delphinium Duracoat opaque
beginning of this round three times. Pass size 11° cylinder beads (E)
through the first G of this round (Fig. 4, 3 g pear opaque size 11° cylinder
beads (F)
blue thread).
4 g azure Duracoat opaque size 11°
Round 10: String 3B; skip the next 1G of cylinder beads (G)
the previous round and pass through the 4 light turquoise Picasso 5×3mm
following G. Weave through beads to exit faceted rondelles (H)
from 1G before the opposite point of this 1 antiqued brass 6×9mm magnetic
component. String 1B, one half of the clasp
clasp, and 1B; skip the next 1G of the pre- Smoke 6lb FireLine braided
vious round and pass through the follow- beading thread
ing G. Weave through beads to exit from TOOLS
the second B added in this round (Fig. 4, Scissors
red thread). Secure and trim the tail Size 10 beading needle
thread; don’t trim the working thread.
FINISHED SIZE
Repeat this entire step, swapping the E 6½"
and G beads to create a second end
component.
Vezsuzsi used the following Delica
colors for this project: DB2134, DB1131,
and DB2133.
Fig. 2: Weaving End
Components Rounds 4–6
artist’s tip
Play with the colors that make
you happy to come up with your
own creative colorway.
Fig. 4: Adding End Components
Rounds 9 and 10
BEADWORK JUNE/JULY 2019 35
2019
designer
of the year

Fig. 5: Weaving Fig. 6: Stitching

Row 1 Unit 2 Row 2 Unit 1

Alternate
Colorway Materials

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

36 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Fig. 8: Weaving End
Connection
through the nearest A of the top unit of the
band. Weave through beads to exit from
the corner G of the bottom unit (Fig. 8, red
thread). Repeat the thread path of this en-
tire connection to reinforce; secure and
trim the working thread.
Repeat this entire step on the opposite
end of the band with the second end
component.
5 CENTER CONNECTIONS. Connect
the units of the band:
Use the working thread of the leftmost bot-
tom unit of the band to string 1B; pass
through the next G of the following unit.
Weave through beads to exit from the top-
corner G of the same unit (Fig. 9, purple
thread). String 1B and pass through the
next corner G; repeat three times (Fig. 9,
blue thread). Weave through beads to exit
from the top-corner G of the topmost unit
of the band, toward the unit to the left.
String 1B; pass through the next G of the
Fig. 9: Stitching Center Connections previous unit (Fig. 9, red thread). Secure
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
OPTION
Create an even more
complex look by swapping
the colors of each unit of
the band as you work.
the working thread and trim.
Repeat this entire step four times with
the working threads of the bottom
components.
VEZSUZSI is a Hungarian bead-jewelry
designer and teacher who lives in Austria. She
started making jewelry in 2007 and is inspired
by mathematics, nature, colors, and texture.
Vezsuzsi is a member of the Starman TrendSet-
ters team. See her patterns at www.beadsby
vezsuzsi.etsy.com, read her blog at www
.vezsuzsigyongyei.blogspot.com, or email her
at vezsuzsi@gmail.com.
RESOURCES Check your favorite bead
retailer or contact: Miyuki size 15° and 11°
seed beads and Delica cylinder beads:
Caravan Beads, (800) 230-8941, www
.caravanbeads.com. Czech Matubo size 8°
seed beads, clasp, and thread: Beadaholique,
(866) 834-4618, www.beadaholique.com.
Faceted rondelles: Lima Beads, (734)
929-9208, www.limabeads.com. ●
BEADWORK JUNE/JULY 2019 37
 2019 Back-to-Back Spikes Necklace
designer
of the year

38 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
 SUSAN SASSOON
U se seed beads to create unusual
spiked components and connect
them in an unexpected way in this
1 COMPONENTS. Use flat and tubular
right-angle weave and a variation of tubular
peyote stitch to create the components:
dramatic statement necklace. Round 1: Use 4' of thread and A to form a
strip of right-angle weave 6 units long,
leaving a 4" tail (Fig. 1, green thread).
String 1A; pass down through the first A
of Unit 1. String 1A; pass up through the
last A exited in Unit 6 and through the
top A just added (Fig. 1, red thread).
Round 2: Insert 1D point down into the
ring of beadwork and hold it in place as
you stitch the following rounds. Working
off of the top beads in Round 1, work 7
peyote stitches with 1B in each stitch.
Pass through the first B of this round
(Fig. 2, only one side of beadwork
Fig. 1: Forming shown)
Components, Round 1 Round 3: String 3B; pass through the last B
exited and the nearest 1A/1B. String 2B
and pass down through the nearest B of
the previous unit, then pass through the
last B exited of this unit and the next
1A/1B; repeat four times. Pass up through
the nearest B of the first unit in this round
(Fig. 3, green thread). String 1B; pass
down through the nearest B of the previ-
ous unit and the following 1B/1A/3B
Fig. 2: Weaving (Fig. 3, blue thread).
Components, Round 2 Round 4: Work 7 peyote stitches with 1E in
each stitch. Align the hole of the D with
the B just exited; pass through the D
(Fig. 3, red thread). Pass through the
nearest E on the opposite side of the D
and back through the D just exited; pass
through the last B exited and the follow-
ing E. Note: This anchors the beadwork to
the D.
Fig. 3: Stitching
Components,
Rounds 3 and 4
Fig. 5: Weaving
Components,
Fig. 4: Adding Rounds 7–9
Components,
Rounds 5 and 6
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
TECHNIQUES
Flat and tubular right-angle weave
Tubular peyote stitch variation
PROJECT LEVEL ££¡
MATERIALS
2 g blue rainbow transparent size 15°
Japanese seed beads (A)
9 g dark metallic bronze size 11°
Japanese seed beads (B)
63 aquamarine 3mm fire-polished
rounds (C)
18 etched matte oro gold AB 7×17mm
spike beads (D)
126 cream 2mm glass pearl rounds (E)
1 gold 7×12mm lobster clasp
2 gold 5mm jump rings
Smoke 6 lb FireLine braided beading
thread
TOOLS
Scissors
Size 11 beading needle
2 pairs of chain- or flat-nose pliers
FINISHED SIZE
18½"
Round 5: String 1C, 1E, and 1C; pass
through the last E exited and the fol-
lowing 1B/1E. String 1C and 1E, then
pass down through the nearest C of the
previous unit and through the follow-
ing 1E/1B/1E; repeat four times. Pass up
through the nearest C of the first unit
of this round. String 1E; pass down
through the nearest C of the
previous unit and the following
1E/1B/1E/1C/1E (Fig. 4, blue thread).
Round 6: Work 7 peyote stitches with 1B in
each stitch. Pass through the first B of
this round (Fig. 4, red thread). String
1D and pass through 1E on the oppo-
site side of the beadwork. Pass back
through the D just exited and through
the first B exited.
Round 7: String 3B; pass through the last B
exited and the nearest 1E/1B. String 2B,
then pass down through the nearest B of
the previous unit and through the next
1B/1E/1B; repeat four times. Pass up
through the nearest B of the first unit in
this round. String 1B; pass down through
the nearest B of the previous unit and the
following 3B (Fig. 5, purple thread).
BEADWORK JUNE/JULY 2019 39
2019
designer
of the year
Alternate
Colorway
C l Materials
M t i l
EARRINGS
0.5 g blue rainbow transparent size 15°
Japanese seed beads (A)
1 g bright bronze size 11° Japanese
seed beads (B)
4 bronze iris 6mm bugle beads
16 aqua 3mm fire-polished rounds (C)
4 etched matte oro gold AB 7×17mm
spike beads (D)
28 ivory 2mm glass pearl rounds (E)
1 pair of gold 24×20mm ear wires
Smoke 6 lb FireLine braided
beading thread
COPPER NECKLACE
3 g blush galvanized permanent-finish
size 15° Japanese seed beads (A)
9 g silver galvanized permanent-finish
size 11° Japanese seed beads (B)
2 g light topaz AB transparent 6mm
bugle beads
114 old copper 3mm pressed-glass
rounds (C)
28 etched old copper 7×17mm spike
beads (D)
1 etched old copper 8mm 2-hole
pyramid stud bead
196 blush 2mm glass pearl rounds (E)
1 copper 9×14mm lobster clasp
2 antiqued copper 6mm jump rings
Smoke 6 lb FireLine braided
beading thread
40 WWW.INTERWEAVE.COM
Fig. 6: Connecting
the components
Round 8: Work 7 peyote stitches with 1A in
each stitch. Pass through the first A of this
round (Fig. 5, green thread).
Round 9: String 3A; pass through the last A
exited and the nearest 1B/1A. String 2A,
then pass down through the nearest A of
the previous unit and through the next
1A/1B/1A; repeat four times. Pass up
through the nearest A of the first unit in
this round. String 1A; pass down through
the nearest A of the previous unit and the
following 2A of this unit (Fig. 5, red
thread). Secure and trim the threads. Set
aside.
Repeat this entire step eight times for a
total of nine components. Lay the compo-
nents on your work surface side-by-side
with the points oriented vertically.
2 STRAPS. Use 6' of new thread and B to
create a strip of right-angle weave 46
units long; secure and trim the tail thread
but don’t trim the working thread. Repeat
this entire step using 4' of new thread,
but this time secure and trim the working
and tail threads.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
3 CONNECT. Use right-angle weave to
connect the straps and components:
Strap 1: Use the working thread of 1 strap
to string 1B; pass down through a hori-
zontal B on the top half of the first com-
ponent. String 1B; pass through the last
B exited of the strap. Repeat the thread
path to reinforce. Weave through beads
to exit from the mirror horizontal B on
the opposite side of the component (2
units from the last unit exited) (Fig. 6,
purple thread).
Top Connection: String 3B; pass through
the last B exited of the previous com-
ponent and the first 2B just added.
String 1B; pass through a horizontal B
on the top half of the next component.
String 1B; pass through the last B
exited of the connection. Weave
through beads to exit from the mirror
horizontal B on the opposite side of
the component (2 units from the last
unit exited) (Fig. 6, green thread).
Repeat from the beginning of this con-
nection seven times (Fig. 6, blue
thread).
 artist’s tips
❯ To save thread, don’t trim the working
thread of each component. Secure the
thread of each component and use it to
form the connection between the next
component.
OPTION
For a different look utilizing ❯ As you work, pass through the beads
the same components, attach an extra time, following the thread path
the components lengthwise you’ve created, to strengthen your work.
using 6mm bugle beads. This will ensure a longer lasting, more
durable piece that you can wear for years
to come.

Strap 2: String 1B; pass up through 1B at

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

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

‘Indian Summer’ Bead Crochet Necklace

by Candice Sexton www.candicesexton.com
Featuring TOHO ® PermaFinish Seed Beads

TOHO DISTRIBUTORS

TOHO PermaFinish is available in:

6/0, 8/0, 11/0 and 15/0 Rounds,
Bobby Bead as well as Aiko Cylinder Beads
www.BobbyBead.com
and Demi Round Beads

Starman Beads
www.CzechBeads.com See more at Facebook.com/TeamTOHO
BARGello Bracelet MICHELLE GOWLAND

Main
Colorway

44 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
 1 BAND. Use a variation of peyote stitch Row 2 and the first A just added (Fig. 2,

C reate a slinky bracelet that feels great

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

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

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

Alternate
Colorway Materials

HOT LAVA OPTION

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

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

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

MICHELLE GOWLAND has been beading

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

RESOURCES Check your favorite

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

OPTION
Use similar techniques to
create matching earrings.

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

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

48 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
 1 PENDANT FRONT CENTER. Use

W eave a reversible pendant that’s out

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

Fig. 1: Forming Pendant Front

Center, Rounds 1 and 2

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

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

2 PENDANT FRONT SPOKES. Use cir-

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

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

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

50 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.

Round 5: String 2B and pass through the
next 1B/2C/1B of the previous round;
repeat nine times (Fig. 3, green thread).
Round 6: String 2B; pass through the next
B of the previous round. String 1A, 1G,
and 1A; pass through the next B. Repeat
from the beginning of this round nine
times (Fig. 3, blue thread).
Round 7: String 1D; pass through the next
1B of the previous round. String 1B; pass
through the next G. String 1B; pass
through the next B. Repeat from the
beginning of this round nine times
(Fig. 3, red thread). Secure and trim the
threads. Set aside.
3 PENDANT BACK. Use circular netting
and circular herringbone to create the back
of the pendant:
Back Center: Use 6' of thread to
repeat Step 1.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
Make a lighter weight one-
sided pendant by stitching
only Pendant Front.
OPTION
Create matching earrings
using similar techniques
Back Spokes: Repeat Step 2, Rounds 1–6
using C for B, B for C, and H for G. Secure
and trim the tail thread; don’t trim the
working thread.
4 FINISH. Join the two sides of the pen-
dant and embellish the edge:
Join: Align the pendant front and back so
that the raised centers are facing outward
and the spokes are aligned. Use the
working thread of Pendant Back to pass
through the point D of Pendant Front
Spokes Round 7; pass through the next C
of Pendant Back. String 1B; pass through
the next H. String 1B; pass through the
next C. Repeat from the beginning of this
round nine times. Pass through the next
point D (Fig. 4, purple thread).
Embellish: Note: Use light tension for this
round. String 1C, 1B, 1C, 1D, 1C, 1B, and
1C, then pass through the next point D;
repeat nine times (Fig. 4, blue thread).
Reinforce: Repeat the thread path of the
embellishment, using a firmer tension
and skipping the D added to form points
(Fig. 4, red thread). Secure and trim the
working thread.
Attach jump rings through the D at 2 points
of the pendant and connect your choice of
chain.
KATHY SIMONDS is an Idaho native who has
been beading for almost twenty years. She is a
Starman TrendSetter, fascinated with all shapes
and sizes of beads and enjoys the challenge of
combining them in her designs and patterns.
Contact her at kbsimonds@gmail.com,
KathySimondsDesigns on Facebook and
www.kathysimondsdesigns.etsy.com.
RESOURCES Check your favorite bead
retailer or contact: Jump rings: Via Murano
www.viamurano.com. All other materials:
Artbeads.com, (866) 715-2323. ●
BEADWORK JUNE/JULY 2019 51
Dewdrop Earrings EVELÍNA PALMONTOVÁ

Main
Colorway

52 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
 1 BEZEL. Use flat and tubular right-angle beadwork over the front of the rivoli. Pass

S titch a sparkling dewdrop with a

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

Fig. 1: Forming Bezel, Rounds 1–3

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

Fig. 3: Weaving the teardrop

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

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

Alternate
Colorway Materials

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

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

Main
Colorway

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 55
Melon Delight Wrap Bracelet
T his fun and unique twist on today's
popular wrap bracelets incorporates
artistic handmade metal components and
stacked beads to create an easy-to-wear
piece. Simply switching out the bead
colors will give you a completely different
look and feel!
TECHNIQUE
Brick stitch variation
PROJECT LEVEL £¡¡
MATERIALS
4 g red Picasso opaque size 8° seed beads (A)
3 g bronze size 8° seed beads (B)
24 bronze 2mm cubes (C)
36 blue turquoise Picasso 4mm melon
rounds (D)
8 aqua Picasso 4mm fire-polished rounds (E)
26 bronze 1.5–2mm metal beads with 1mm
hole (F)
1 antiqued bronze 12×8mm 3-hole metal
component with 1mm holes
1 antiqued bronze 14×16mm shank button
1 antiqued bronze 18mm textured ring
1 antiqued bronze 18-gauge 8mm twisted
jump ring
55" of dark brown 1mm waxed cotton cord
Dark brown #1 Tuff-Cord nylon beading thread
TOOLS
2 pairs of chain- or flat-nose pliers
Scissors
Big-eye needle
FINISHED SIZE
7½"
Fig. 2: Stitching Rows 1–3
56 WWW.INTERWEAVE.COM
1 PREPARE. Use the jump ring to attach
the 18mm textured ring to the hole at the
end of the metal component with one hole.
Fold the cord in half and tie a lark’s head
knot through the remaining two holes at
the other end of the metal component. Lay
the cord on your work surface horizontally
with the 18mm textured ring to the left.
Add a needle to 6' of thread. Knot the end
of the thread onto the bottom cord near
the lark’s head knot, leaving a 4" tail; pass
the thread under the bottom cord (Fig. 1).
2 BODY. Use a variation of brick stitch to
weave the body of the bracelet:
Row 1: String 1A; arrange the bead
between both cords, then pass the needle
over the top cord. Pass under the top
cord and pass back through the A just
strung, exiting over the bottom cord. Pass
under the bottom cord and pass through
the A, exiting over the top cord. Pass
under the top cord (Fig. 2, green
thread).
Fig. 1: Preparing
the end
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
Row 2: String 2C; arrange the beads
between both cords, then pass the
needle over the bottom cord. Pass under
the bottom cord and pass back through
the 2C just strung, exiting over the top
cord. Pass under the top cord and pass
through the 2C, exiting over the bottom
cord. Pass under the bottom cord (Fig. 2,
blue thread).
Row 3: String 1C, 1A, and 1C; arrange the
beads between both cords, then pass the
needle over the top cord. Pass under the
top cord and pass back through the
1C/1A/1C just strung, exiting over the
bottom cord. Pass under the bottom cord
and pass through the 1C/1A/1C, exiting
over the top cord. Pass under the top
cord (Fig. 2, red thread).
Rows 4–13: Continue adding beads in the
same manner, following Fig. 3 for bead
placement.
Rows 14–92: Repeat Rows 4–13 seven
times. Repeat Rows 4–12.
Rows 93–95: Taper the ends as in
Rows 1–3, decreasing in size. Secure
the threads and trim..
 Fig. 3: Finishing the bracelet

Alternate 3 FINISH. Use the ends of the cords to

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

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

Main
Colorway

58 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
 1 PENDANT BACK. Use tubular peyote Round 5: String 2B; pass through the next

U se tubular peyote stitch to form this

mystical unisex pendant and hang it
from your choice of cord, chain, or ribbon.
and herringbone stitches to form the back
of the pendant:
Rounds 1 and 2: Use 12' of thread to string
A of the previous round. Work 13 peyote
stitches with 1B in each stitch. Repeat
from the beginning of this round twice
69A; pass through the first 24A to form (Fig. 1, purple thread).
a tight circle, leaving a 6' tail (Fig. 1, Round 6: String 2B; pass through the next
TECHNIQUES black thread). B of the previous round. Work 14 peyote
Tubular peyote stitch Round 3: String 2A; pass through the next stitches with 1B in each stitch. Repeat
Herringbone stitch A of the previous rounds. String 1A, skip from the beginning of this round twice
PROJECT LEVEL ££¡ 1A of the previous rounds, and pass (Fig. 1, turquoise thread).
through the next A; repeat ten times. Rounds 7–9: Repeat Round 6 three times,
MATERIALS
Repeat from the beginning of this round increasing by 1 peyote stitch on each side
2 g semi-matte champagne galvanized size 11°
cylinder beads (A) twice. Step up for the next and subse- in each round (Fig. 1, green thread).
4 g copper galvanized size 11° cylinder quent rounds by passing through the Round 10: String 1B; pass through the next
beads (B) first bead added in the current round B of the previous round. Work 18 peyote
1 copper 12×16mm Eye of Horus charm (Fig. 1, pink thread). stitches with 1B in each stitch. Repeat
1 antiqued copper-plated 6mm jump ring Round 4: String 2A; pass through the next from the beginning of this round twice
1 plastic cocktail straw; 1⁄8" diameter A of the previous round. Work 12 peyote (Fig. 1, blue thread). Secure and trim
Black 4 lb FireLine braided beading thread stitches with 1A in each stitch. Repeat the working thread.
TOOLS from the beginning of this round twice
Scissors (Fig. 1, dark green thread).
Size 11 beading needle
2 pairs of chain- or flat-nose pliers
FINISHED SIZE
2 × 1¾"

Marianna used the following Delica

numbers for this project: DB1152, DB046

Fig. 1: Forming Pendant Back

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION. BEADWORK JUNE/JULY 2019 59
Mystical Portal Pendant
artist’s tips
❯ Wind the long tail onto a bobbin
to keep it neat until you use it.
❯ Use even, medium tension for the
entire project.
❯ Take care that the straws are angled
toward each other for a snug fit inside
the beadwork.
2 PENDANT FRONT. Use tubular peyote
and herringbone stitches to form the front
of the pendant:
Round 1: Use the tail thread to string 2A;
pass through the next A of Pendant Back
Round 2. Work 10 peyote stitches with 1A
in each stitch. Repeat from the beginning
of this round twice (Fig. 2, pink thread).
Round 2: String 2A; pass through the next
A of the previous round. Work 11 peyote
stitches with 1A in each stitch. Repeat
from the beginning of this round twice
(Fig. 2, dark green thread).
Round 3: Repeat Round 2, increasing by 1
peyote stitch on each side (Fig. 2, purple
thread).
Round 4: String 2B; pass through the next
A of the previous round. Work 13 peyote
stitches with 1B in each stitch. Repeat
from the beginning of this round twice
60 WWW.INTERWEAVE.COM
(Fig. 2, turquoise thread).
Round 5: String 2B; pass through the next
B of the previous round. Work 14 peyote
stitches with 1B in each stitch. Repeat
from the beginning of this round twice
(Fig. 2, green thread).
Rounds 6–8: Repeat Round 5 three times,
increasing by 1 peyote stitch on each side
in each round (Fig. 2, blue thread).
3 FINISH. Use peyote stitch to finish the
pendant:
Straw: Cut the cocktail straw into three
pieces of 1 ¾" with 45-degree-angled
corners (Fig. 3). Insert the straws into the
beadwork.
Zip: Align the beads of Pendant Back
Round 10 and Pendant Front Round 8 so
they interlock; use the working thread to
weave through beads to form a seamless
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. SEE P. 3 FOR PROJECT-LEVEL INFORMATION.
connection. Secure and trim the thread.
Charm: Attach 1 jump ring to the charm.
Use a lark’s head knot through the jump
ring and pendant to attach your choice of
necklace cord.
MARIANNA ZUKOWSKY fell in love with
bead weaving after enjoying many types of
crafts and hobbies. She loves inspiring her
fans and adorning her friends and family with
her creations. Contact her at marushaz@
yahoo.com.
RESOURCES Check your favorite bead
retailer or contact: Delica cylinder beads,
TierraCast Eye of Horus charm, jump ring,
and thread: Fusion Beads, (888) 781-3559,
www.fusionbeads.com. Cocktail straw:
Check your local grocery store. ●
 Alternate
Colorway Materials

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

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

Fig. 2:: Weaving

Pendant Front

Fig. 3: Preparing the straws

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

Be inspired by nature with 7 fresh

ideas that draw from the beauty of
the world around us.
(Instructions follow on page 68.)

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

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

 fast & fabulous

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

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

fast & fabulous

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

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

 fast & fabulous

Use similar techniques

to make matching
earrings.

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

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

fast & fabulous

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

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

 fast & fabulous

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

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

fast & fabulous

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

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

fast & fabulous

the short cord, allowing enough room for the TECHNIQUES

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

70 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION.

ANNE PERRY is the director of a learning center in
Southern California. She has been beading in her
spare time ever since her best friend cleaned out her
craft closet and gave Anne all of her beads.
RESOURCES Check your favorite bead retailer or
contact: Faceted-glass cones and plastic bicones: Bead Bistro,
www.beadbistro.com, www.beadbistrocrafts.etsy.com. Leaf
pendant: Filigree and Me, (503) 779-9788, www.filigreeandme
.com. All other materials: A Place to Bead, (626) 219-6633,
www.aplace2bead.com. ●
you use in your own necklace face the same direc-
tion, you will need to use a small jump ring at the
top of each connector where it joins the strand of
beads (Step 4).
1. Use 1 head pin to string 1 faceted-glass round.
Form a wrapped loop that attaches to the bottom
of 1 copper oval connector. Repeat entire step four
times.
2. Use the beading wire to string 1 crimp tube and
one half of the clasp; pass back through the crimp
tube and crimp. String 1 copper flat round and 1
seed bead.
3. String {1 jasper nugget and 3 seed beads} six-
teen times.
4. String 1 jasper nugget, 1 seed bead, 1 copper
connector, and 1 seed bead. Repeat four times.
5. Repeat Step 3. String 1 jasper nugget, 1 seed
bead, 1 copper flat round, 1 crimp tube, and the
other half of the clasp. Pass back through the
crimp tube and crimp.

Sonoran Desert Necklace

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

SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION. BEADWORK JUNE/JULY 2019 71

fast & fabulous
TOOLS
1 small paint brush
Round-nose pliers
2 pairs of chain-or flat-nose pliers
Wire cutters
FINISHED SIZE
28½"
1. Use the paint brush to apply a small amount of
verdigris patina ink onto the belly of the owl bead;
let dry. Apply cinnabar patina ink to the remainder
of the front and back of the owl, including a light
coat on the feathers; let dry. Paint the eyes using
verdigris patina ink.
2. Use the head pin to string 1 wood round, the
owl, and the olive-green round; form a wrapped
loop that attaches to 1 large oval jump ring.
3. Use one 2" piece of wire to form a wrapped
loop that attaches to the brass leaf charm. String 1
wood round, the dark-green luster oval, and 1
wood round; form a wrapped loop that attaches to
1 large oval jump ring.
4. Use one 2 ½" piece of wire to form a wrapped
loop that attaches to the mushroom pendant.
String 1 wood round, the ceramic leaf oval, and 1
wood round; form a wrapped loop that attaches to
1 large oval jump ring.
5. Use 1 small oval jump ring to string the leaf
pendant. Use one 2" piece of wire to form a
wrapped loop that attaches to the previous jump
ring. String 1 wood round, the jasper puffed dia-
mond, and 1 wood round; form a wrapped loop
that attaches to 1 large oval jump ring.
6. Use 1 small oval jump ring to attach the copper
acorn to 1 large oval jump ring.
7. Using 2 pairs of pliers, attach the dangles just
formed to the resin horn shell ring in the following
order from left to right: owl, brass leaf, mushroom,
ceramic leaf, acorn.
8. Attach the copper jump ring to the top hole in
the shell ring. String the jump ring to the center of
the ribbon. Place 1 ribbon crimp end on one end
of the ribbon and use pliers to gently crimp shut;
repeat on the other end of the ribbon.
9. Attach 1 round jump ring to 1 ribbon crimp
end. Use the remaining round jump ring to attach
the clasp to the other ribbon crimp end.
72 WWW.INTERWEAVE.COM
DEBBIE BLAIR is a Colorado native who enjoys
cooking, gardening, and teaching others how to
make art and jewelry. Visit her website at www.pink
dahliacreative.com.
RESOURCES Check your favorite bead retailer or
contact: Similar green jasper diamonds: Fire Mountain Gems
and Beads, (800) 355-2137, www.firemountaingems.com.
4mm wood rounds: Beads & Honey, www.beadsandhoney.com.
Ceramic oval and mushroom: Gaea, www.gaea.indiemade.com.
Ceramic leaf pendant: Marla’s Mud, www.marlasmud.etsy.com.
Brass leaf charm: Vintaj, www.vintaj.com. Similar owl bead:
Beadaholique, (866) 834-4618, www.beadaholique.com.
Ribbon and Vintaj patina inks: JoAnn Fabric and Crafts, (888)
739-4120, www.joann.com. All other materials: FusionBeads,
(888) 781-3559, www.fusionbeads.com. ●
Monarch’s Destination Unknown
Sandra Lupo
TECHNIQUES
Stringing
Crimping
Simple wireworking
Cone-making (optional)
MATERIALS
3 topaz 6mm crystal bicones
6 topaz or crystal copper 8mm crystal rounds
8 crystal golden shadow or Colorado topaz 10mm
crystal rounds
2 jet black 2 ½" beaded tassels with 3mm
faceted-glass rounds
1 black onyx 11–23×14–34 fan focal (6-piece set)
1 antiqued gold 6×2mm large-hole rondelle
4 antiqued gold 7×12mm oval leaf beads
1 antiqued gold 7×35mm branch link
2 antiqued gold 10×4mm bead caps
2 gold 8×3mm hammered spacer bales with loop
1 gold 14×10mm hammered hook-and-eye
clasp set
5 gold 8mm twisted jump rings
2 gold 2mm crimp tubes
2 gold 4mm crimp covers
10" of brass-plated 18×21mm textured oval chain
6" of gold 22-gauge wire
1 gold 15×16mm cone or 20" of gold 20-gauge wire
(for use with cone mandrel tool)
16" of satin gold .025 beading wire
TOOLS
2 pairs of chain- or flat-nose pliers
Wire cutters
Crimping pliers
Cone mandrel tool (optional)
FINISHED SIZE
24" (with 4½" focal)
1. Use the beading wire to string 1 crimp tube and
the small ring on 1 spacer bale; pass back through
the crimp tube and crimp. Cover the crimp tube
with 1 crimp cover. String 1 bead cap, one 10mm
crystal, 1 leaf bead, one 8mm crystal, 1 small piece
of the fan focal, one 8mm crystal, 1 leaf bead, one
10mm crystal, 1 medium piece of the fan focal, one
10mm crystal, one 8mm crystal, one 10mm crystal,
1 large piece of the fan focal, and one 6mm crystal.
2. String the branch link. Repeat Step 1, reversing
the stringing sequence.
3. Divide the chain into two 5" pieces. Use 1 jump
ring to attach one end of one section of chain to
the large ring on the spacer bale; repeat using the
other chain.
4. Use 1 jump ring to attach one half of the clasp
to the free end of one chain; repeat.
5. Use the 22-gauge wire to form a loop large
enough to fit through the center of both tassels.
Use the straight-up wire to string the cone, the
large-hole rondelle, and one 6mm crystal; form
a wrapped loop.
6. Optional: To form a custom wire cone for the
tassels, attach the large cone mandrel to the base
of the cone mandrel tool. Insert one end of the
20-gauge wire into the hole in the base of the
mandrel. Holding the tool in one hand and the
wire in the other, wrap the wire around the man-
drel from the base to the tip, keeping each wrap
snug against the previous wrap. Use wire cutters
to cut the wire at the tip of the mandrel and from
the hole in the base of the mandrel. Trim the wire
at the tip of the cone mandrel. Remove from the
mandrel. Cut any excess wire rounds from the top
and/or bottom of the cone for a custom fit on the
tassels. Use pliers to tuck the wire ends in slightly.
7. Use 1 jump ring to attach the tassel component
to the bottom of the branch link.
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION.
SANDRA LUPO is a New Jersey artist who teaches at
bead shops, museums, and Bead Fest events. She also
creates instructional videos and contributes how-to
projects to various publications. As an inventor,
Sandra is excited to share her designs, instructions,
and demos based on her Conetastic Cone Mandrel
Tool Set and accessories. Watch some of her videos
and contact her at www.sandsstones.com.
RESOURCES Check your favorite bead retailer or
contact: Swarovski crystals, jump rings, and focal set: Fire
Mountain Gems and Beads, (800) 355-2137, www.firemoun
taingems.com. Tassels: Bead Dazzle, www.beaddazzlepoint
.com. Antiqued gold beads, link, clasp, and findings: TierraCast,
(wholesale only), (800) 222-9939, www.tierracast.com. All
other materials, including Conetastic cone mandrel tool:
Beadalon, www.beadalon.com. ●
Nature Walk Necklace
Michelle McEnroe
TECHNIQUES
Simple wireworking
Knotting
MATERIALS
46 amber Picasso 3×2mm faceted-glass rondelles
10 yellow opal 12–22×3–6mm rounded sticks
6 matte tiger iron 13×18mm flat ovals
7 yellow opal 15–18×11–13mm faceted nuggets
2 citrine 18×20–23mm tumbled nuggets
12 ebony 7×18mm side-drilled elongated
wood slices
SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION.
4 ebony 8×16mm twisted wood ovals iron oval link, 1 ebony wood slice link, 5 yellow
1 yellow/green/brown 42×65mm ceramic opal nugget links in consecutive order, 1 ebony
oak-leaf pendant wood slice link, 1 tiger iron oval link, and 1 tiger
1 pewter 34×18mm large-hole honey bee pendant iron oval link. Use one 5mm jump ring to connect
1 pewter 62×26mm moth link the previous tiger iron oval link to the 11mm jump
23 antiqued brass 21-gauge 1½" eye pins ring in Step 7.
2 antiqued brass 5mm jump rings 11. Cut the Irish waxed linen cord into three 12"
24 antiqued brass 7mm jump rings pieces. Use all 3 pieces of cord to form a lark’s head
2 antiqued brass 11mm rope jump rings knot on the pendant. Use all 3 cords to form a dou-
5 ½" of antiqued brass 11×15mm flat oval chain ble knot on the previous 11mm jump ring. *Use
36" of dark chocolate 3-ply Irish waxed-linen cord one cord end to string 1 ebony wood slice; form a
knot and trim the end, leaving a ¼" tail.** Repeat
TOOLS
from * to ** using the remaining cord ends and
Wire cutters
wood slices and varying the lengths of the tails.
2 pairs of chain- or flat-nose pliers
12. Use one 7mm jump ring to attach one end of
Round-nose pliers
the moth link to the beaded strand so it sits 2 links
Scissors above the focal; repeat.
FINISHED SIZE
28" (with 3" focal)
1. Use 1 eye pin to string 1 faceted-glass rondelle,
1 tiger iron oval, and 1 faceted-glass rondelle; form
a simple loop. Repeat five times.
2. Use 1 eye pin to string 1 faceted-glass rondelle,
1 citrine nugget, and 1 faceted-glass rondelle;
form a simple loop. Repeat.
3. Use 1 eye pin to string 1 faceted-glass rondelle,
5 yellow opal sticks, and 1 faceted-glass rondelle;
form a simple loop. Repeat.
4. Use 1 eye pin to string 1 faceted-glass rondelle,
1 yellow opal nugget, and 1 faceted-glass rondelle;
form a simple loop. Repeat six times.
5. Use 1 eye pin to string 1 faceted-glass rondelle,
1 ebony twisted oval, and 1 faceted-glass rondelle;
form a simple loop. Repeat three times.
6. Use 1 eye pin to string 1 faceted-glass rondelle,
3 ebony wood slices, and 1 faceted-glass rondelle;
form a simple loop. Repeat.
7. Use one 5mm jump ring to connect 1 tiger iron
oval link to one 11mm jump ring.
8. Use 7mm jump rings to connect the links
MICHELLE M C ENROE has been making jewelry and
formed in Steps 1 through 6 to one another in the
designing beadwork since 2008. Her work has been
following order, connecting the first link to the
published in numerous magazines, and she is a
previous tiger iron link in Step 7: 1 tiger iron oval
regular participant in the monthly challenge at
link, 1 citrine nugget link, 1 citrine nugget link, 1
www.artbeadscenestudio.com. Michelle enjoys the
opal stick link, and 1 opal stick link. Open one
sunshine in Plano, Texas, where she lives with her
11mm jump ring and string the free end of the
husband, a large collection of guinea pigs and
previous opal stick link. String the honey bee pen-
bunnies, and her three adult children when they
dant onto the same 11mm jump ring. String 1 yel-
are home. Find her on Etsy at www.mcenroe
low opal nugget link onto the same 11mm jump
moments.etsy.com.
ring so it is opposite the previous opal stick link.
Close the jump ring.
9. Use 7mm jump rings to continue connecting RESOURCES Check your favorite bead retailer
the following links to one another, starting with or contact: Glass rondelles: Arte Bella Surplus, www
the previous yellow opal nugget link: 1 yellow opal .artebellasurplus.etsy.com. Yellow opal and tiger iron: Dakota
nugget link, 1 tiger iron oval link, 1 ebony twisted Stones, (866) 871-1990, www.dakotastones.com. Citrine: Fire
oval link, and 1 ebony twisted oval link. Use one Mountain Gems and Beads, (800) 355-2137, www.firemoun
7mm jump ring to connect one end of the chain to taingems.com. Ebony slices: In the Clouds Beads, www.inthe
the previous ebony twisted oval link. Use one cloudsbeads.etsy.com. Twisted ebony ovals: Beads & Honey,
7mm jump ring to connect the free end of the www.beadsandhoney.etsy.com. Pendant: Mary Harding
chain to 1 ebony twisted oval link. Jewelry, www.maryhardingjewelry.etsy.com. Green Girl honey
10. Use 7mm jump rings to continue connecting bee pendant and moth link: Bead Lady, www.beadlady.etsy
links as before, starting with the previous ebony .com. All other materials: Lima Beads, (734) 929-9208,
twisted oval link: 1 ebony twisted oval link, 1 tiger www.limabeads.com. ●
BEADWORK JUNE/JULY 2019 73
fast & fabulous

TOOLS etc., in a random fashion, forming a knot before

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

74 WWW.INTERWEAVE.COM SEE P. 85 FOR HELPFUL TECHNIQUE INFORMATION.

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Join Us in Oaks, Pennsylvania
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 TECHNOLOGY SIMPLIFIED – BIGGER AND BETTER
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 BEADS BEADS BEADS
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949-456-0718 • www.lesleefrumin.com www.interweave.com

80 WWW.INTERWEAVE.COM
 The Beading Connection
BEADS & FINDINGS Fire Mountain Gems and Beads Stormcloud Trading
www.firemountaingems.com (Beadstorm)
A Bit of Stone Beads (800) 355-2137 www.beadstorm.com
www.abosbeads.etsy.com America's Favorite Beading (651) 645-0343
At A Bit of Stone Beads, you will find a wide and Jewelry Supply Company® Specialists in small beads and beading
selection of gemstone beads for your accessories for the contemporary and the
jewelry making projects. New beads are John Bead traditional beader.
added weekly, so please check back often. info@johnbead.com
(416) 757-3287 Toho Beads
We strive to offer competitive prices and
Master Importer of Beads, www.tohobeads.net
fast delivery!
Chrystals & Components Finest manufacturer of glass beads in
Artbeads.com Lima Beads Japan. We are proud to provide the best
www.artbeads.com www.limabeads.com quality and quick delivery.
(866) 715-2323 (734) 929-9208 Too Cute Beads
Bead World (IL) Get fresh jewelry components from around www.toocutebeads.com
www.beadworldbeads.com the world at Lima Beads. Huge selection of
contact@toocutebeads.com
Shop online! All new Website! gemstones, chain, Czech glass, seed beads,
design.create.inspire
(847) 776-2323 findings, supplies, and more. New addi-
tions every week!
Bobby Bead
www.TohoWholesale.com Red Panda Beads If you are reading this...
www.redpandabeads.com
Toho@bobbybead.com Specializing in CzechMates® 2-hole beads. SO ARE YOUR
(888) 900-2323 Free shipping on US $30+ orders. See our
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Custom charms and jewelry tags Manufacturing beads since 1948!

To be listed in “Stop to Shop” please contact Stephanie Griess at

Stephanie.Griess@fwmedia.com or (970) 613-4630

the market {stop to shop}

Alabama California Creative Castle—Newbury Park
www.creativecastle.com
Bead Harbor LLC — Daphne The Joy of Beading—Arroyo Grande
www.facebook.com/BeadHarbor Ventura County’s largest selection of beads. Seed, Delica,
www.joyofbeading.net Czech glass, and vintage glass beads; freshwater pearls;
Huge selection of charms, seed beads (TOHO, Miyuki),
gemstones; Swarovski crystals; charms; findings; sterling;
Swarovski, firepolished, gemstones, large hole pearls, Large selection of Japanese seed beads, Swarovski pearls
CzechMates, tools, findings and much more. Open Mon- and gold-filled. Over 450 book titles and visiting guest
and crystals, books, Vintaj™, Findings and tools, classes. teachers. Please visit our website for complete class listings
Sat 10-6, Sun 11 4. Free lessons with purchase.
27955 Hwy 98, Ste. M Closed Sunday & Monday. Tue–Sat 10–5. or call and current newsletter will be mailed.
(251) 210-6679 1054 E. Grand Ave., Ste. A. (805) 489-6544 2321 Michael Dr. (805) 499-1377

Arizona Just Bead It!—Concord A Place to Bead—San Marino

Creative Destination—Mesa www.aplace2bead.com
www.justbeaditconcord.com
www.2-old-beadies.com A cozy shop in a village setting, carrying a nice selection of
Beads to thread, wire and just admire. All for beading to beads of all kinds, buttons, findings, supplies, tools, and classes.
See our beautiful showroom on our website. We specialize
in Swarovski crystals, Delica beads, seed beads, interesting your heart’s desire. Family owned since 2003. Open Mon, 2566 Mission St. (626) 219-6633
lampwork, creative classes—and much, much more! Join Wed, Thu, and Fri 11–7, Sat 11–6, Sun 12–5.
us for our monthly Beadathon. We’re worth a visit!
Beadahs—Santa Monica
2051 Harrison St., Ste. C (925) 682-6493 www.beadahs.com
1660 S. Alma School Rd., #108 (480) 755-4367
Bead World Inc.—Phoenix and Scottsdale The Bouncing Bead—La Mesa Bead inspired in a 2,000 sq. ft. world of rare beads, unique
www.beadworldinc.com www.thebouncingbead.com findings and exotic treasures. Just steps from the famous
3rd Street Promenade. Open 7 days a week; call for hours.
Best selection of quality gemstones, Tierra Cast, seed We are your friendly neighborhood bead store! We have 203 Arizona Ave. (310) 395-0033
beads, chain, metals, SS, GF, Swarovski, pearls, leather,
jewelry making kits, and more. Classes daily. a huge inventory of beads - from seed to fire polish and Bead Dreams—Stockton
6068 N. 16th St., Phoenix (602) 240-BEAD everything in between. Tools, findings, chain, leather, beaddreams@att.net
10820 N. 71st Pl. Scottsdale (480) 948-2323 charms, and just about all the supplies you’ll need to You will love our huge Swarovski selection, stones, pearls,
The Bead Garden of Sedona—Sedona create fabulous jewelry. And, we are the Swarovski Flat pressed glass, and seed beads of all sizes and varieties. We
www.Sedonabeadgarden.com Back headquarters for San Diego! Check out our class have a wall of Czech hanks, tubes of Japanese seed beads, as
Tools and supplies for the bead artist! We carry a large selection well as all Delicas. Private and group instruction available.
schedule for metal, wire, and beading workshops. Our
of beads, tools, and supplies plus many items locally made. We On the Miracle Mile, between I–5 and Hwy. 99. Search for
offer classes and private lessons. Mon-Sat 10-6, Sun 11-4. friendly, knowledgeable staff is here to help you! us on Google for photos of the shop and directions!
3150 W. State Rte. 89A, Ste. 2 (928) 282-7334 8876 La Mesa Blvd. (619) 460-2323 2103 Pacific Ave. at Dorris Pl. (209) 464-BEAD

BEADWORK JUNE/JULY 2019 81

 Colorado
Ka-Gina Beads, Etc.—Arvada
www.ka-ginabeads.com
Welcome to a Beader’s Paradise! We offer a great selection
of Gemstones, Pearls, Coral, Shell, Seed Beads, Specialty
the market {stop to shop}
Czech Glass, Findings, Books, Tools, Stringing supplies and
so much more. Parties & Personal Classes offered.
7705 Wadsworth Blvd., Unit J
(303) 423-1720
South Park Pottery & Back
Room Beads—Fairplay
www.backroombeads.com
Bu nc hes of bead s—l a mpwork , ra k u, C zec h, Del ic a ,
gemstones, and more. Seven days 9–5. Don’t miss the
Fairplay Bead & Fiber Show during the 2nd weekend in
August. Vendors wanted!
417 Front St. (719) 836-2698
Alley Cat Beads—Northglenn
www.alleycatbeads.com
Exciting inventory of gemstones, Czech glass, seed beads,
pearls, lampwork, tools, Swarovski crystals, Bali silver,
findings, dichroic glass, handmade clay, and one of the
largest selections around of different pendants/focal
beads. We have wonderful bead-stringing and -weaving
supplies at great prices, plus we’re adding new items all the
time! Classes and parties available.
11928 N. Washington (303) 451-1900
Florida
Beaded Envisions—Cape Coral
www.beadedenvisions.com
Cape Coral’s only Bead Store offers not only an array of beads
but a place that’s warm, inv iting and nurturing to your
creativity. Spend a day with us and enjoy complimentary coffee
& soothing music while you browse and shop through our huge
selection of Czech glass, Miyuki Seed beads, Delicas, crystals,
Semi-Precious Stones, leather, tools, findings, pearls, wire,
books as well as unique handcrafted jewelry & gifts. We offer
classes in beading & wire wrapping and host parties. See our
website for a list of classes and upcoming events. STORE
HOURS: (CLOSED Sun & Mon) TUES, WED & FRI 10am-6pm,
THURS & SAT 10am-4pm. During SEASON (November- March)
OPEN on MONDAYS 10am-2pm as well as our regular hours.
130 Del Prado Blvd. S., Ste.7 (239) 673-6096
Beads Etc.—Maitland
www.beadstoreorlando.com
Beads Etc. is Orlando’s Premier Teaching Center & Full
Ser v ice Bead Store. Featur ing Japanese Seed Beads,
Swarovski, Gemstones, Pearls, Thunder Polished Crystals,
Fine metals & Mixed Metal Findings and Chain. Lots of
Kits and a Special order Catalog.
110 N. Orlando Ave. (407) 339-BEAD (2323)
The Bead Strand—Ocala
www.thebeadstrand.com
Come visit Ocala’s hidden treasure at an all new 4000 sq ft
loc at ion at Ma rket St. Of fer i ng a w ide select ion of
gemstones, Swarovski crystals, seed beads, findings, Czech
glass, and lampwork beads. A lso newly added is our
accessory boutique offering unique gifts and jewelry. Visit
ou r w eb s it e to pu rc h a s e b e a d i n g k it s or for more
information including class schedules.
4414 SW College Rd., #440 (352) 620-2323
Anderson’s Bead Room—Port Charlotte
www.beadthebeads.com
Largest selection of gemstones in Southwest Florida. More
than 3,000 colors of Miyuki seed beads. Over 600 colors of
Delicas. Czech glass, Swarovski, bone, shell, tools, sterling
silver, copper and gold-filled findings. Tues-Sat 10am-5pm.
24600 Sandhill Blvd., Unit 101 (941) 764-6222
Donna’s Beads—Sarasota
www.donnasbeads.com
Whether you are a beginner or advance bead weaver, come in for
inspiration or classes. Great selection of Swarovski crystals/
pearls, japanese seed beads, fire polish, preciosa and finds. Great
prices and the friendliest gals in town. come in and bead with us.
2717 Beneva Rd. (941) 444-7457
82 WWW.INTERWEAVE.COM
BEADS!—Tampa
www.eBeads.com
THE LARGEST SEED BEAD COLLECTION IN THE TAMPA BAY
AREA! We stock over 1,000 Delica colors, Tilas, Half Tilas,
Cubes, Magatamas, Rounds, Berry Beads, and more! Czech glass,
SuperDuos, Fire Polish, Tiles, and more! Gemstones, Freshwater
Pearls, base metal findings, Swarovski Crystals, and lampwork
beads. Classes by local and nationally known artists. Visit our
website for hours and class schedule. beads@ebeads.com
12807 W. Hillsborough Ave., Ste. H (813) 258-3900
Laura’s Beads—Trinity
www.laurasbeads.com
FI N D US NOW AT OU R N E W, L A RGER L OC AT ION I N
TRINITY! Laura’s Beads is more than just a bead shop, it is a
place to learn, create, relax and enjoy. With a warm and inviting
atmosphere, we’re here to assist you in finding what you need
for your latest project. Specializing in bead weaving, we offer a
range of classes for both beginners and experienced beaders.
Best of all, we are stocked with a gorgeous selection of beads,
findings and supplies at great prices. Can’t be here in person?
Order from our website and have our on-site personal shopper
assist with your final selections.
7813 Mitchell Blvd., Suite 102
(727) 495-0803
Georgia
Beadjoux—Braselton
www.beadjoux.com
The Absolute Best Bead Store Northeast of Atlanta! Great
products including Swarovski, Czech fire polish, seed
beads, all the new bead shapes and sizes, a great selection
of clasps and so much more! Check our website for class
schedule, national instructor calendar, directions and
hours. Shop Online at www.beadjoux.net.
6750 HWY 53, Ste. 103 (706) 658-0007
Idaho
Pandora’s Baubles and Beads—Idaho Falls
pandorasbaublesandbeads.com
T he area’s best and largest selection of high qua lit y
gemstones, German vintage beads, Tibetan, Bali, Thai, and
Turkish silver beads and findings, Czech glass, Japanese
and Czech seed beads, trade beads and much more. We also
specialize in extraordinary pearls, all of which are hand-
picked from all over the globe. Classes from beginner to
advanced. Monday thru Friday 11:00-5:30 and Saturday
12:00-5:30. Check out our Facebook, Twitter and LinkedIn.
440 Park Ave. (208) 529-3696
Illinois
City Beads—Chicago
www.citybeadschicago.com
Seed Bead and AIKO Specialists! Huge inventory of vintage
C zec h g l a ss bead s, new sh aped bead s, Ga r y Wi l son
cabochons, pearls and semiprecious stones. Nationally and
internationally renowned teachers! DISCOUNT PRICES!
Open Tuesdays 12-8, Saturdays 11-4 or by appointment.
For class schedules and more information, visit our website
or call to be added to our mailing list.
3928 N. Rockwell St. (312) 316-1910
Southpass Beads—Cobden
www.southpassbeads.etsy.com
For All Your Beading & Fiber Needs! Great selection & prices!
Best little bead shop in southern Illinois! Unique ceramic
beads, Czech glass, findings, Soft Flex wire, cord, silk ribbon,
Cascade yarn, seed beads, gemstones & more. Watch for our
trunk shows. Classes & Parties Available. Follow us on
Facebook & Twitter! Wed-Fri 12-6, Sat 10-5, or by appointment.
203 E. Ash St. (618) 893-6170
Rustic River Finds—Galena
www.rusticriverfinds.com
Rustic River is a collection of handcrafted jewelry, Vintaj
Natural Brass, specialty beads, & Unique finds. Our shop
is inspired by nature. Open 7 days a week.
109 N. Main St. (815) 776-0043
Bead In Hand—Oak Park
www.beadinhand.com
Friendly and knowledgeable staff, offering seed beads, semi-
precious, Czech glass beads and more. Beading supplies,
tools, findings and tips. Birthday parties, classes, repairs.
Space to “stay and play.” Open 7 days, visit website for hours.
145 Harrison St. (708) 848-1761
Bead World—Palatine
www.beadworldbeads.com
Jewelry and gift items from around the world, specializing
in ancient and new Indonesian glass beads, (Indonesian
glass beads available wholesale) and recycled glass beads.
Je we l r y re pa i r — book s — f i nd i ngs — body je we l r y—
piercings.
8 S. Brockway (847) 776-BEAD (2323)
Indiana
The Beaded Peacock—Winona Lake
www.thebeadedpeacock.com
Largest selection of stone beads in N. Indiana. Glass and
seed beads, findings and tools, custom jewelry and repair,
classes and parties year round. A hidden gem in a cozy
lakeside town. Find us on Facebook. Open Mon-Sat 10-6
805 East Canal St. (574) 371-2777
Maine
Caravan Beads—Portland
www.caravanbeads.com
Come see the complete line of Miyuki Delica beads in our
re t a i l b e a d s t ore w h i c h d ou b l e s a s ou r w ho l e s a l e
showroom. We carry an enormous selection of Miyuki seed
beads as well as Swarovski crystal, pearls, semi-precious,
Czech glass, findings and chain. Weekly workshops and
free help at our work tables.
915 Forest Ave. (207) 761-2503
Maryland
Atlantic Gems, Inc.—Silver Spring
www.atlanticgems.com
Best pricing on Swarovski Crystal. Factory distributor of
Findings/Chains in Sterling Silver, Gold-Filled, & 14K
Gold. Plated Chains/Findings in 6 finishes. Miyuki Delicas
– 650 colors. Fu l l selection of Semi-Precious Beads,
Freshwater and Akoya Pearls, & Tools.
8609 Second Ave., #103B (301) 565-8094
(888) 422-GEMS
Michigan
Bead Bohemia—Farmington
www.facebook.com/beadbohemia
Low prices *friendly service.* Unique selection. A wide
variety of beads and components including semi-precious
gems and Czech glass to artist pieces, seed beads, designer
brass lines, and more. Ask for your free “Bead Addiction”
card!
33321 Grand River Ave. (248) 474-9264
Bead Haven—Frankenmuth
www.beadhaven.com
5,000 sq. feet makes us Michigan’s largest bead store!
HUGE selection of Czech beads in new shapes. Chain,
antique silver & brass stampings. Seed beads, Delicas,
Swarovski, & pearls. Kits, patterns, FREE classes, tools,
suppl ies & book s. O pen 7 d ays! Second loc at ion i n
CASEVILLE MI!
925 S. Main St., E (989) 652-3566
The Creative Fringe LLC—Grand Haven
www.thecreativefringe.com
We moved! We’re a full-service bead and jewelry supply
s ho p o f f e r i n g a n e x t e n s i v e c o l l e c t io n o f b e a d s &
cabochons, findings, sterling silver wire, sheet & blanks,
gold-filled, base metals, beading and metalsmithing tools,
lampwork ing supplies, solder ing supplies and more.
Cultivate your creative side with classes from beginning to
advanced in metalworking, enameling, lampwork and
beading. Private classes, parties, & workstations available.
Come to the Fringe! Your creativity awaits you!
117 Washington Ave (616) 296-0020
Stony Creek Bead & Gallery—Ypsilanti Twp.
www.stonycreekbead.blogspot.com
Supporting the artist inside of you! Huge collection of Seed &
Czech Beads. Bali, pearls, and stones. Lampwork & Polymer
Clay by MI artists. Classes, kits, books & so much more! I-94
to exit 183. South 1 mile. Closed Sundays and Mondays. Tue–
Fri 10–6, Sat 10–5. www.StonyCreekBead.blogspot.com.
2060 Whittaker Rd. (734) 544-0904
 Minnesota
Bobby Bead—Minneapolis
www.bobbybead.com
Several thousand varieties of TOHO Japanese seed beads
including more than 1,000 colors of AIKO Precision Cylinder
beads. Wholesale and retail distributor of NEW, high-
Bead Dazzle—Point Pleasant
www.BeadDazzlePoint.com
Ocean County’s largest full-service bead store. Huge
selection of Swarovski, semi-precious, Czech crystal;
largest selection around of seed beads. All the new two-
hole beads, Delicas, Charlottes, and much more. Kits,
Oklahoma
SA Beads—Owasso
www.sabeads.com
Looking for the latest in beads? If you’ve seen it in a bead
magazine, chances are we have it available for purchase at
the store. Classes are twice a week with the schedule

the market {stop to shop}

quality TOHO beading needles and One-G thread. Largest
Full-Line Bead Store in Minnesota! info@bobbybead.com.
2831 Hennepin Ave. S. (888) 900-2323
Stormcloud Trading Co. (Beadstorm)—
St. Paul
www.beadstorm.com
30+ years of experience shows in our vast selection of seed
beads, pressed glass, Swarovski cr ystals, Bali silver,
sterling, and gold-filled beads. Shop in-store or online.
Mon–Fri 10–6, Sat 10–5. No print catalog.
725 Snelling Ave. N.
(651) 645-0343
Missouri
Springfield Leather & Touchstone Beads—
Springfield
www.springfieldleather.com
Come in and explore Springfield’s largest bead store, over
2,500 sq. ft. of high quality findings and an awesome selection
of semi-precious bead strands for your unique creations. We
have lots of tools for beading, metal stamping, leather crafts
and a wide array of seed beads. We offer a variety of classes
taught by our resident experts. Lots of classes. Open Mon-Sat
9-6.
1463 S. Glenstone (800) 668-8518
Nevada
Bead Jungle—Henderson (Las Vegas area)
www.beadjungle.com
Most complete bead shop in the Las Vegas area with the
largest variet y of beads and findings. Classes,
silversmithing, parties, workshops, and volume discounts.
Minutes from the Strip. Please visit website for shop hours.
1590 W. Horizon Ridge Pkwy., Ste. 160 (702) 432-2323
New Hampshire
Ladybead and Rook—Wilton
www.ladybeadandrook.com
Beautiful, quality beads to inspire your creativity and
accentuate your style. Emphasis on European beads: Czech
cr ystals, pressed glass, seed beads, pearls, and
semiprecious. Artisan-created jewelry for fine gift giving.
A mple pa rk i ng. Wed– Sat 9 – 5:30, Su n 11– 4. At t he
Riverview Mill Artist Shops.
29 Howard St. (603) 654-2805
New Jersey
Beads by Blanche—Bergenfield
www.beadsbyblanche.com
(Only miles from NYC.) Visit East Coast’s premier bead
shop. 3,000+ colors/styles of Japanese seed beads, glass,
crystal, semiprecious, lampwork, and more! Classes by
local and nationally known artists. Extensive inventory
for unlimited possibilities!
106 N. Washington Ave. (201) 385-6225
Lucy’s Bead Boutique—Brick
www.LUCYSBEADBOUTIQUE.com
We offer classes, kits, variety of Miyuki, Toho, Swarovski,
Czech, and much more. Also, Bead Club, Sunday Fundays,
Open Beading, all in a social, fun atmosphere!
1889 Route 88, Ste. 6 (848) 232-3690
Sojourner—Lambertville
www.sojourner.biz
Sojour ner stocks freshwater pearls, semiprecious
stones, Swarovski crystals, Czech glass and seed beads,
sterling beads, Chinese enamel beads, castings, charms,
ethnic beads, findings—including our ow n design
sterling silver box clasps bezel set with vintage and
semiprecious elements. Open daily 11-6.
26 Bridge St. (609) 397-8849
Artistic Touch Beads—Millville
www.artistictouchbeads.com
Minutes from Route 55! Come see our Toho, TierraCast,
Czech glass, lampwork, 2 hole beads, loose beads, wire,
Swarovski bicones. 20% off most books! Bead group,
classes, Girls’ Night Out, parties. Our annual sidewalk
sale is coming up!
501 N. High St., Cottage J (856) 500-1630
free classes, many specia l events, and g uest Bead
Artists. Many classes available in all techniques.
2319 Bridge Ave. (732) 295-6679
New York
Let’s Bead!—East Rochester
www.letsbead.com
Your destination bead shop! 3,200 sq. ft. bright full-service
bead store. Wide selection of quality beads, semi-precious
stones, Swarovski cr ystals, kumihimo, chain maille,
stringing materials, wire, findings and more! Featuring
unique beads and components by local and American
artisans. Friendly customer ser vice for beaders of all
levels.
349 W. Commercial St.
(585) 586-6550
Beads World Inc.—New York
www.beadsworldusa.com
From Beads to Chains to Glass Sew-On and much more.
Beads World is your one-stop shop. Quality selections
in the heart of NYC’s fashion district. Mon-Fri 9-7, Sat-
Sun 10-5.
57 W. 38th St. (between 5th & 6th Avenue) (212) 302-1199
North Carolina
Chevron Trading Post & Bead Co.—Asheville
www.chevronbeads.com
Asheville’s premier full-service bead store of 25+ years.
Largest selection of seed beads, Old World Trade Beads and
Vintage glass in the SE Region. Huge selection of pearls,
gemstones, cr ystals, Czech, ceramic & natural beads,
including all the supplies you need. WireLace® Distributor
– Open 7 day a week. Importer/Classes/Parties/Workspace
40 N. Lexington Ave. (Downtown) (828) 236-2323
Ain’t Miss Bead Haven—Mooresville
www.aintmissbeadhaven.com
Classes, Birthday Parties, Summer Camp, Socials (Bring
Your Own Beads). Design & Make Your Own Jewelry - or let
us make it for you. Mooresville’s best place for beads &
jewelry supply. Just 20 miles north of Charlotte NC. We offer
a large variety of vintage components, Seed beads, Two-Hole
beads, Swarovski, Preciosa, Czech, Gemstones, Crystals,
Pewter, Sterling Silver, Silver & Gold filled, and Vermeil
findings.
138 N. Main St. (704) 746-9278
Ohio
Beaded Bliss Designs—Cincinnati (Harrison)
www.followyourbeadedbliss.com
The tri-state’s best bead shop: create your own jewelry
from our ever-growing selection of Swarovski crystal,
semiprecious, glass, metals, pendants, lampwork, clay
beads, books, tools, and much more! Project assistance,
classes & parties, too. Always follow your bliss!
1151 Stone Dr., Ste. E (513) 202-1706
Bloomin’ Beads, Etc.—Columbus (Powell)
www.BloominBeadsEtc.com
We are a fun bead store with a 2,000 sq. ft. Event Center
where we host weekly classes. We have all types of beads
and supplies that you will need. Come join us!
4040 Presidential Parkway (740) 917-9008
Gahanna Bead Studio—Gahanna
www.gahannabeadstudio.com
Oldest bead store in Columbus, offering unique classes,
workshops, and parties. Huge selection of findings, vintage
porcelain, stone, wood, bone, Miyuki, Swarovski, Czech,
cords, leather, and more. Exemplary customer service from
friendly, knowledgeable staff.
1028 N. Hamilton Rd. (614) 933-8948
posted on our website at www.sabeads.com or on Facebook.
com/sabead1
11230 N. Garnett Rd., Unit A
(918) 576-8940
Pennsylvania
Buttercup Beads—Audubon
www.buttercupbeads.com
Let your creativity blossom in our cozy country setting.
Classes, Parties, oh-so-pretty sparkly things, and most of
a l l , f u n! O ne - sto p sho p pi n g i n a n o p e n work sho p
environment. Artisan/bead-addict owned and operated.
1123 Pawlings Rd. (484) 524-8231
Owl Be Beading—Bethlehem
www.owlbebeading.com
A cozy nest for beaders. Seed beads, crystals, Delicas and
shaped beads abound. Classes held almost everyday. Open
free beading Wednesday nights. A fun place to hang and
bead. O wl be h appy to help you i n a ny way. C losed
Tuesdays.
1278 B Birchwood Dr. (610) 216-5995
Blue Santa Beads—Media
www.bluesantabeads.net
An artistic venue that prides itself on a vast selection of
b e a d s a nd f i nd i n g s t o e nc ou r a ge y ou r c re at i v it y.
Customers always come first and always return.
1165 W. Baltimore Pike (610) 892-2740
Texas
Beads Unlimited Inc.—Dallas
Your one stop bead shop in Da l las: Huge col lection of
Gemstones, agates, pewter, findings, chain, Chinese crystal,
pave beads, rhinestone findings, wood beads, tools, ceramics
and sterling silver jewelr y studded w ith semi-precious
gemstones. Spend over $300 or more (wholesale) and receive
50% off on selected items. Call us to be included for weekly sales
at the shop. Email: indiagems@aol.com. Fax: (214) 749-0446
2454 Royal Ln. (214) 749-0444
Washington
Wonders of the World Beadshop—Spokane
www.wondersoftheworldinc.com
Best little bead shop in Spokane. Incredible gemstones,
crystals, charms, seed beads, chain, findings, and books
for your creative needs. Friendly staff and great prices.
Make us your first stop! In the historic Flour Mill.
621 W. Mallon, Ste. 412 (509) 325-2867
Wisconsin
Midwest Beads—Brookfield
www.midwestbeads.com
Our 2,000+ square foot store features beads made of glass,
crystal, bone, metal, ceramic, clay, shell & wood in many
d if ferent sizes & st yles. Not sure what you’ l l need?
Midwest Beads Staff is always on hand to offer advice,
recommendations and moral support to both beginning &
experienced beaders. So don’t worry, bead happy!
18915 W. Capitol Dr., Ste. 108 (262) 781-7670
Prairie Flower Beads—Portage
www.prairieflowerbeads.com
Friend ly store that offers classes, birthday/wedding
parties, and open beading. Great selection of seed beads
(Czech and Japanese), stone strands, pearl strands, Czech
glass embellishment strands, focal pieces, Swarovski
Crystals and findings. Our staff has combined experience
of 50 years of beading. Magazines, books, tools, cords,
leather cords and lots more. See website for hours.
210 W. Cook St. (608) 742-5900
Meant to Bead—Sun Prairie
www.Meant-to-Bead.com
Full-service bead shop. Featuring classes, large selection
o f b e a d s , b o o k s , t o o l s , e t c . S p e c i a l i z i n g i n PMC ,
semiprecious stone, and lampwork and Czech glass beads.
Mon–Fri 10–8, Sat 10–5, Sun 12–4.
110 Columbus St. (608) 837-5900

BEADWORK JUNE/JULY 2019 83

 Stoned & Wired, LLC Studio/Boutique— BEAD BROWSER
Wausau
ADVERTISERS’ INDEX
www.toocutebeads.com American Biosciences . . . . . . . . . . . . . . . . . . . . . . . . C3
What a lovely addiction! We carry Swarovski crystal, pendants, pearls, gold- Artbeads.com. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .C2
www.stonedandwiredllc.com filled beads, chain, sterling silver beads, cultured Arte Bella. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
pearls, Murano glass, artist glass, tools and wire, kits, Beadalon/Artistic Wire . . . . . . . . . . . . . . . . . . . . . . . . 8
Shop Online At: WWW.SHOPTIQUES.COM and much more. Visit our website for class schedule Beads & Honey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
the market {stop to shop}

Facebook: Stoned and Wired Bead Shop
Interesting selection of stones, gorgeous pearls, glass,
metals & findings, Swarovski crystals, seed beads,
kumihimo supplies, buttons & more. Unique jewelry
designs by Leocadia and local artists. Charming
atmosphere. Located in downtown Wausau in the
historic Landmark Building. Classes available. Tues,
Thurs: 11-6, Wed, Friday: 11-5. Summer Saturday
hours through Sept 11 are 11-3. Starting Sept 12,
Saturday hours are 11-5. Closed Sunday and Monday.
221 Scott St. (715) 210-3165
Canada
PoCo Inspired—Winnipeg, MB
www.pocoinspired.com
Winnipeg’s premiere full-service bead store with the
largest selection of high-qua lit y beads, stones,
crystals, wire, chain, metal, tools, delica’s, findings,
and for our sale of the week.
CLASSIFIED WORD
SCHOOLS & EDUCATION
WILLIAM HOLLAND SCHOOL OF LAPIDARY ARTS
PO Box 980, Young Harris, GA 30582. Call for infor-
mation (706) 379-2126; lapidary@windstream.net;
www.lapidaryschool.org. Week-long classes from
April–October.
Caravan Beads (ME). . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Craftoptics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Cynthia Rutledge . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Fire Mountain Gems . . . . . . . . . . . . . . . . . . . . . 11, C4
Firststreet . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75, 77, 79
Gem & Lapidary Wholesalers Inc. . . . . . . . . . . . . . 80
Helby Import/Beadsmith. . . . . . . . . . . . . . . . . . . . . 43
Interweave . . . . . . . . . . . . . . . . .10, 20, 76, 78, 80, 84
John Bead Corp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Leslee Frumin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
LimaBeads.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Preciosa Ornela . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Quilt-Pro Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Royalwood, LTD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Soft Flex Co. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Starman, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Team TOHO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Learn
Tulip Co., Ltd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
workshops, and more. Venetian Bead Shop . . . . . . . . . . . . . . . . . . . . . . . . . . 80
495 D Madison St. (Rear Entrance)

4 Sirius Beaders—Paris, ON
(204) 219-2528
Shop To be listed in the
www.4siriusbeaders.com
Over 400 colors of Miyuki delicas; Miyuki seeds sizes 6
Create classified section, contact
Stephanie Griess at
to 15; Swarovski Crystals and Pearls. Superduos, The new Interweave.com: your ultimate
Crescants, Crystals 2mm and up. Large assortment of source for the crafting community.
findings. Fringe & Decorative beads; Wire; Tools; Pattern Stephanie.Griess@fwmedia.com
books; Needles; Nymo thread; Classes. Central to
London, Hamilton, Kitchener, Brantford. Call for store
or
hours. See us on Facebook. (877) 613-4630
51 Ball St. (519) 442-7454

BEAD SOCIETIES

h o f
Maryland
Baltimore Bead Society

Ca n 't g e t e n o ug
j e we lry
Howard County Center for the Arts
8510 High Ridge Rd.
Ellicott City, MD 21043
info@baltimorebead.org
www.baltimorebead.org

making?
Monthly program on 2nd Tuesdays (September – June)
at the Howard County Community Center for the Arts,
8510 High Ridge Rd., Ellicott City, MD 21043. 2018
Winter Bead and Jewelry Show, Jan 20 -21, 2018 at
the Howard County Fairgrounds, 2210 Fairgrounds
Rd, West Friendship, MD 21794

New Jersey
South Jersey Bead Society Join our online community for anyone interested in
P.O. Box 1242
Bellmawr, NJ 08099-5242
creating handmade jewelry! Perfect for beginners
coprez2@southjerseybeadsociety.org RUDGYDQFHGPDNHUVWKLVLVWKHSODFHIRU\RXWRƬQG
www.southjerseybeadsociety.org
Meetings are held the first Thursday of the month inspiration and advice!
September-June from 6:30 to 9:00 pm. SJBS also offers
workshops taught by local and national teachers. For
locations and more info see the website.
Get started with a free eBook
download and sign up today:
Virginia
Northern Virginia Bead Society Interweave.com/free-jewelry-making-patterns
P.O. Box 2258
Vienna, VA 22182
info.nvbs@yahoo.com
www.nvbs.org
Meetings: 1st Thurs. of each month, 7pm-9pm,
Sept - June at Vienna Community Center, 120 Cherry
St. SE, Vienna, VA. 22180 We offer workshops; an
annual auction; and a year-end member party.
Connect on our website!

84 WWW.INTERWEAVE.COM

STITCH INDEX
Brick stitch: 14
Crimping: 60, 62, 64
Fringe: 14
Herringbone: 29, 46, 56
Knotting: 60, 65, 66
Loomwork: 14, 18, 21
Netting: 46
Peyote: 29, 34, 38, 42, 50, 56
Right-angle weave: 38, 50
Stringing: 60, 62, 64, 66
Wireworking: 61, 62, 63, 64, 65
PASS THROUGH
VS PASS BACK THROUGH
Pass through means to move the nee-
dle in the same direction that the
beads have been strung. Pass back
through means to move the needle in
the opposite direction.
FINISHING AND STARTING
NEW THREADS
Tie off the old thread when it’s about
4" long by making an overhand knot
around previous threads between
beads. Weave through a few beads to
hide the knot, and trim the thread
close to the work. Start the new thread
by tying an overhand knot around
previous threads between beads.
Weave through several beads to hide
the knot and to reach the place to
resume beading.
STRINGING
Stringing is a technique that uses
beading wire, needle and thread, or
other material to gather beads into a
strand.
LADDER STITCH
For one-needle ladder stitch, string
2 beads and pass through them again.
Manipulate the beads so their sides
touch. String 1 bead. Pass through the
last bead added and the bead just
strung. Repeat, adding 1 bead at a
time and working in a figure-eight
pattern.
VISIT WWW.INTERWEAVE.COM/BEADING FOR VALUABLE BEADING TIPS AND TECHNIQUES.
For two-needle ladder stitch, add a
needle to each end of the thread.
String 1 bead and slide it to the center
of the thread. String 1 bead with one
needle and pass the other needle back
through the bead just added; repeat
to form a strip.
STOP BEAD
A stop bead (or tension bead) holds
your work in place. To make one, string
a bead larger than those you are work-
ing with, then pass through the bead
one or more times, making sure not to
split the thread.
FRINGE
Exit from the foundation row of beads
or fabric. String a length of beads plus
1 bead. Skipping the last bead, pass
back through all the beads just strung
to form a fringe leg. Pass back into the
foundation row or fabric.
HERRINGBONE STITCH
Form a foundation row of one- or two-
needle even-count ladder stitch and
exit up through the final bead. String 2
beads, pass down through the next
bead in the ladder, and pass up
through the following bead; repeat to
the end of the row. Step up for the
next row by wrapping the thread
around previous threads to exit up
through the last bead strung. To form
the next row, string 2 beads and pass
down through the second-to-last
bead of the previous row and up
through the following bead. Repeat,
stringing 2 beads per stitch, passing
down then up through 2 beads of the
previous row and stepping up as
before. The 2-bead stitch will cause
the beads to angle in each column, like
a herringbone fabric.
Begin tubular herringbone stitch
with a foundation ring of one- or two-
needle even-count ladder stitch.
String 2 beads. Pass down through the
next bead and up through the follow-
ing bead in the ladder. Repeat around
the ring. At the end of the round, pass
through the first beads of the previous
and current rounds to step up to the
new round.
BRICK STITCH
Stitch a foundation row in one- or two-
needle ladder stitch. String 2 beads
and pass under the closest exposed
loop of the foundation row and back
through the second bead. String
1 bead and pass under the next
exposed loop and back through the
bead just strung; repeat.
To decrease within a row, string
1 bead and skip a loop of thread on
the previous row, passing under the
second loop and back through the
bead.
To increase within a row, work
2 stitches in the same loop on the pre-
vious row.
techniques
For tubular brick stitch, join a ladder-
stitched foundation row into a ring by
passing through the first and last
beads of the row, with the holes facing
up. *String 1 bead and pass under the
closest exposed loop of the founda-
tion ring. Pass back through the same
bead and repeat, adding 1 bead at a
time. Finish the round by passing
down through the first bead and up
through the last bead of the current
round, then string 2 beads to begin
the next round.
PEYOTE STITCH
For one-drop even-count flat peyote
stitch, string an even number of beads to
create the first two rows. Begin the third
row by stringing 1 bead and passing back
through the second-to-last bead of the
previous row. String another bead and
pass back through the fourth-to-last bead
of the previous row. Continue adding
1 bead at a time, passing over every other
bead of the previous row.
Two-drop peyote stitch is worked the
same as one-drop peyote stitch, but with
2 beads at a time instead of 1 bead.
For odd-count flat peyote stitch,
string an uneven number of beads to cre-
ate Rows 1 and 2. String 1 bead, skip the
last bead strung, and pass through the
next bead. Repeat across the row (this is
Row 3). To add the last bead, string 1 bead
and knot the tail and working threads,
clicking all beads into place. Start the next
row (Row 4) by passing back through the
last bead added. Continue in peyote
stitch, turning as for even-count at the
end of this and all even-numbered rows.
At the end of all odd-numbered rows, add
the last bead, pass under the thread loop
at the edge of the previous rows, and pass
back through the last bead added.
BEADWORK JUNE/JULY 2019 85
techniques (continued)
Begin a midproject peyote-stitch
increase by working a stitch with 2 beads
in one row. In the next row, work 1 bead in
each stitch, splitting the pair of beads in
the previous row. For a smooth increase,
use very narrow beads for both the two-
drop and the one-drop between.
To make a midproject peyote-stitch
decrease, simply pass the thread
through 2 beads without adding a bead in
the “gap.” In the next row, work regular
one-drop peyote stitch over the decrease.
Work with tight tension to avoid holes.
For circular peyote stitch, string
3 beads and knot the tail and working
threads to form the first round; pass
through the first bead strung. For the sec-
ond round, string
2 beads and pass through the next bead
of the previous round; repeat twice. To
step up to the third round, pass through
the first bead of the current round. For the
third round, string 1 bead and pass
through the next bead of the previous
round; repeat around, then step up at the
end of the round. Continue in this man-
ner, alternating the two previous rounds.
It may be necessary to adjust the bead
count, depending on the relative size of
the beads, to keep the circle flat.
For even-count tubular peyote stitch,
string an even number of beads and knot
the tail and working threads to form the
first 2 rounds; pass through the first
2 beads strung. To work Round 3, string
1 bead, skip 1 bead, and pass through the
next bead; repeat around until you have
added half the number of beads in the
first round. Step up through the first bead
added in this round. For the following
rounds, string 1 bead and pass through
the next bead of the previous round;
repeat, stepping up at the end of each
round.
86 WWW.INTERWEAVE.COM
Work odd-count tubular peyote stitch
the same as even-count tubular peyote
stitch; however, it isn’t necessary to step
up at the end of each round.
NETTING
String a base row of 13 beads. String
5 beads and pass back through the
fifth bead from the end of the base
row. String another 5 beads, skip
3 beads of the base row, and pass back
through the next bead; repeat to the
end of the row. To turn, pass back
through the last 3 beads (one leg of
the last net). String 5 beads, pass back
through the center bead of the next
net, and continue.
For circular netting, string {1A and 1B}
six times; pass through the beads
again to form a circle for the founda-
tion round and pass through the next
1A. *String 1A, 1B, and 1A; skip 1 bead
and pass through the following bead
in the previous round to form a “net.”
Repeat from * five times, then step up
for the next round by passing through
the first 2 beads of the first net. String
2A, 1B, and 2A; pass through the mid-
dle bead of the nearest net in the pre-
vious round. Repeat five times, then
step up for the next round by passing
through the first 3 beads of this round.
Work each round the same way,
increasing the number of A beads as
necessary to keep the work flat, and
stepping up by passing through the
first half of the first net.
For tubular netting, string {1A and 1B}
six times; pass through the beads
again to form the foundation round.
*String 1A, 1B, and 1A; skip 1B and pass
through the following 1B in the previ-
ous round to form a “net.” Repeat from
* twice, then step up for the next
round by passing through the first
2 beads of this round. **String 1A, 1B,
and 1A; pass through the middle bead
of the nearest net in the previous
VISIT WWW.INTERWEAVE.COM/BEADING FOR VALUABLE BEADING TIPS AND TECHNIQUES.
round. Repeat from ** twice, then step
up as before. Work each round the
same way.
RIGHT-ANGLE WEAVE
For one-needle right-angle weave,
string 4 beads and pass through the
first 3 beads again to form the first
unit. For the rest of the row, string
3 beads and pass through the last
bead exited in the previous unit and
the first 2 beads just strung; the
thread path will resemble a series of
figure eights, alternating direction
with each unit. To begin the next row,
pass through beads to exit from the
top bead of the last unit. String
3 beads and pass through the last
bead exited and the first bead just
strung. *String 2 beads; pass back
through the next top bead of the pre-
vious row, the last bead exited in the
previous unit, and the 2 beads just
strung. Pass through the next top
bead of the previous row. String
2 beads; pass through the last bead of
the previous unit, the top bead just
exited, and the first bead just strung.
Repeat from * to complete the row,
then begin a new row as before.
To begin two-needle right-angle
weave, add a needle to each end of
the thread. Use one needle to string
3 beads and slide them to the center
of the thread. *Use one needle to
string 1 bead, then pass the other nee-
dle back through it. String 1 bead on
each needle, then repeat from * to
form a chain of right-angle-weave
units. To turn at the end of the row,
use the left needle to string 3 beads,
then cross the right needle back
through the last bead strung. Use the
left needle to string 3 beads, then
cross the right needle back through
the last bead strung. To continue the
row, use the right needle to string
2 beads; pass the left needle through
the next bead on the previous row
and back through the last bead strung
For cubic right-angle weave, string
4 beads, leaving a 3" tail. Pass through
the beads again to form a tight circle;
use the working and tail threads to tie
a square knot and pass through the
first bead strung. For the first face of
the cube, string 3 beads and pass
through the last bead exited at the
bottom of the cube, then pass through
the first bead just added. For the sec-
ond face of the cube, string 2 beads
and pass back through the next bead
at the bottom of the cube, then pass
up through the nearest bead on the
side of the first face, pass through the
2 beads just added, and pass through
the next bead at the bottom of the
cube. For the third face of the cube,
string 2 beads; pass down through the
nearest side bead on face 2, pass
through the next bead at the bottom
of the cube, and pass up through the
first bead just added. For the fourth
face of the cube, string 1 bead; pass
down through the nearest side bead
on face 1, pass back through the
next bead at the bottom of the
cube, pass up through the nearest
side bead of face 3, and pass
through the first bead just added.
Pass through the 4 beads at the top
to complete the cube. For subse-
quent cubes, the beads at the top of
the previous cube will act as the
bottom of the new cube.
LARK’S HEAD KNOT
Lark’s head knots are
great for securing
stringing material to
another piece, such as a
ring or a donut. Fold the
stringing material in
half. Pass the fold
through a ring or donut,
then pull the ends through the loop
created and pull snug.
OVERHAND KNOT
This is the basic knot for tying off
thread. Make a loop with the stringing
material. Pass the cord that lies behind
the loop over the front cord and
through the loop; pull snug.
SQUARE KNOT
This knot is the classic sturdy knot suit-
able for most stringing materials.
Make an overhand knot, passing the
right end over the left end. Make
another overhand knot, this time pass-
ing the left end over the right end;
pull snug.
CRIMPING
Crimp tubes are seamless metal tubes
used to secure the end of a beading
wire. To use, string a crimp tube and
the connection finding (i.e., the loop
of the clasp). Pass back through the
tube, leaving a short tail. Place the
crimp tube in the front notch of the
crimping pliers and squeeze to shape
the tube into an oval. Use the back
notch of the crimping pliers to press
the length of the tube down between
the wires, enclosing them in separate
chambers of the crescent shape.
Rotate the tube 90° and use the front
notch of the pliers to fold the two
chambers onto themselves, forming a
clean cylinder. Trim the excess wire.
CRIMP BEADS
Crimp beads are serrated metal beads.
Twisted crimp tubes and crimp beads
can be secured by squeezing them flat
with chain- or flat-nose pliers.
VISIT WWW.INTERWEAVE.COM/BEADING FOR VALUABLE BEADING TIPS AND TECHNIQUES.
CRIMP/CORD ENDS LOOMWORK To form a wrapped loop, begin with a
Crimp/cord ends consist Follow the manufacturer’s instructions 90° bend at least 2" from the end of
of a loop attached to a for warping your bead loom. Note that the wire. Use round-nose pliers to
tube. Dab the leather, you will need one more warp thread form a simple loop with a tail overlap-
plastic, ribbon, or other than you have number of beads in a ping the bend. Wrap the tail tightly
cord with jewelry glue, row. Tie a thread to an outside warp down the neck of the wire two or
then place it in the (tie onto the left warp if you are right- three times. Trim the excess wire to
crimp/cord end. If you’re crimp/cord handed or the right warp if you are finish. Make a thicker, heavier-looking
using a crimp end, crimp end left-handed). Use a needle to string wrapped loop by wrapping the wire
it as you would a crimp the first row of beads and slide them back up over the coils, toward the
tube. down to the knot. Bring the beaded loop, and trimming at the loop.
weft thread under the warp threads
and push the beads up so that there is
DANGLES one bead between each two warp
Dangles can threads. Hold the beads in place and
be strung as pass back through all the beads, mak-
they are, ing sure that the needle passes over
attached the warp threads. End the threads by
using jump weaving back through the beadwork,
rings, or tying knots between beads. For a wrapped-loop bail, center a
linked to other bead on a 3" or longer piece of wire.
loops. Use a wrapped-loop dangle Bend both ends of the wire up the
head pin or sides and across the top of the bead.
eye pin to string the bead(s), then form Bend one end straight up at the center
a simple or wrapped loop. of the bead, then wrap the other wire
around it two
or three times.
HEAD PINS/EYE PINS
Form a
Head pins are straight wires with a
wrapped loop
flat disc, ball, or other shape at one
with the
end. Eye pins are straight wires that
straight-up
end in a loop.
WIREWORKING
wire, wrap-
To open a jump ring, grasp each side ping it back
of its opening with a pair of pliers. down over the
Don’t pull apart. Instead, twist in already-formed coils. Trim the
opposite directions so that you can excess wire.
open and close it without distorting
the ring’s shape.
For a coil, use one hand to hold the
end of the wire against a mandrel.
With the other hand, wrap the wire
around the mandrel
head pins eye pins in tight loops. To
remove the coil,
WIREGUARDS slide it off the man-
Wireguards provide a smooth metal drel and cut the
channel to protect the stringing mate- For a simple loop, use flat-nose
ose pliers wire from the spool.
rial from chafing to make a 90° bend at least ½" from Add vertical loops
against a connector. the end of the wire. Use on either end to use the coil as is, or
String a crimp tube, round-nose pliers to grasp cut the coil at certain intervals to make
then pass up the wire at the tip; roll the jump rings or split rings.
through one half of pliers toward the bend,
the guard and down but not past it, to preserve
For a spiral, form a small loop at the
the other half. Pass the 90° bend. Adjust the
end of a wire with round-nose pliers.
the guard and wire pliers as needed to continue the wrap
Enlarge the piece
through the loop of around the nose of the pliers. Trim the
the connector, pass wire next to the bend. Open a simple by holding onto
the wire back through the crimp tube, loop by grasping each side of its open- the spiral with
snug the tube up to the guard, then ing with a pair of pliers. Don’t pull chain-nose pliers
crimp. apart. Instead, twist in opposite direc- and pushing the
tions so that you can open and close it wire over the pre-
without distorting the loop’s shape. vious coil with your thumb.
JUMP RINGS To form a double simple loop, make
Jump rings
the 90º bend at least 1" from
connect holes
and loops.
the end of the wire. Make a
Open a jump simple loop and continue
ring by grasp- wrapping the wire around
ing each side of its opening with a pair of the round-nose pliers to
pliers; don’t pull apart. Instead, twist in form two complete loops.
opposite directions so that you can open
and close without distorting the shape.
BEADWORK JUNE/JULY 2019 87
bead buzz
BEAD ALL ABOUT IT
KATIE HACKER
Bead Fest Philadelphia
A JEWELRY ART EXPERIENCE
Susan Lenart Kazmer’s Caging Industrial class.
GET READY TO HONE YOUR SKILLS,
supply your stash, and connect with other
beadworkers and jewelry makers! Bead
Fest Philadelphia takes place August
14–18, 2019, at The Greater Philadelphia
Expo Center at Oaks. Classes begin August
14th, and the Expo Marketplace is open
August 16–18th for some of the best
shopping around. You won’t want to miss
it, whether you’re making jewelry for
yourself or for resale. It’s a creativity
workshop and giant pop-up shop all
rolled into one!
Almost 20 years old, Bead Fest is the
largest bead and jewelry event on the East
Coast. There were seven teachers offering
14 classes and exhibitors filling 100 booths
when the show began. Editor Tamara
Honaman remembers standing at the
front door in hopeful anticipation that
people would come. A half-hour before
the very first Bead Fest opened, people
were lined up to get inside, and a worth-
the-wait annual tradition was born.
Tamara says, “It’s amazing to see how it’s
grown. It really speaks to the passion of
beaders and jewelry makers and all of our
instructors and vendors who make it all
possible.”
88 WWW.INTERWEAVE.COM
This year, more than 35 instructors will
teach classes on bead weaving, kumihimo,
metal clay, polymer clay, metalsmithing,
and more. There are 150 classes over the
course of five days, so you can learn a new
skill or take your favorite technique to the
next level. Plus, all students receive a free
3-Day Expo Marketplace general admis-
sion pass when you register for at least
one 3-hour or longer workshop. You’ve
seen many of the instructors’ projects in
the pages of Beadwork. Their classes
present the unique opportunity to spend
time with and learn alongside them.
Instructor Susan Lenart Kazmer teaches
at Bead Fest every year. She says, “I have
very inquisitive, interesting people from
all walks of life in my classes there. I have
creators from movie sets to students who
are professionals in the field of jewelry
and just need to replenish their creative
juices. Also, I love that if a student forgets
to bring something, they have easy access
to cutting-edge tools and materials right
on the show floor.”
More than 200 vendors from across the
country typically exhibit at Bead Fest’s
Expo Marketplace. You can shop, meet the
artisans and exhibitors, and connect with
people who love the art and craft of
making jewelry. Many vendors provide
demonstrations of their products, such as
new tools or ideas for using their inven-
tions in creative ways. You’ll find
everything from handmade one-of-a-kind
beads and components to jewelry
supplies to expand your stash.
Artist Diane Hawkey says, “Bead Fest
was my first ‘big’ bead show about 15
years ago. It was exciting for me because a
brand-new audience on the East Coast got
to see my work, and I got to meet so many
bead artists. I was sort of starstruck that
first time. I think I’ve done Bead Fest every
year since then. My favorite part of the
show is Artisan Alley, where the artisan
bead makers are all grouped together.
There’s so much amazing creativity in one
place. It’s also where I meet my best
friends who are bead artists. It feels like
a bead party down our aisle.”
If you’re looking for a quick dose of
inspiration, you’ll find it in the inexpensive
and speedy Make-It Take-It projects in the
Expo Marketplace. A variety of vendors
will share their newest products in fun,
trendy jewelry designs that you can
complete on the spot. If you don’t have
time for a class or can’t commit to a
workshop, this alternative allows you to
try a new product or technique in a more
laid-back setting.
Whether you take a class, shop the Expo
Marketplace, or both, there are plenty of
opportunities to find inspiration at Bead
Fest. If you’re traveling from afar, there are
hotels and restaurants close to the event.
Connect with other beaders, supply your
studio, and add more techniques to your
skills at Bead Fest Philadelphia!
Nikki Thornberg, Marsha Neal, Diane Hawkey, and
Stacy Louise Smith at Bead Fest.
KATIE HACKER is the interim managing
editor of Beadwork and the host of Beads,
Baubles & Jewels on PBS. You might bump into
Katie shopping the aisles at the Bead Fest Expo
Marketplace. ●
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