Volume 3 Number 4
:rr
22
10
\.
2 Passing Through
5 Project Contributors
7 Letters
6 Calendar
10 Bead Buzz
NEWI
1 1 Up Close
39 Samplers
Lydia Borin
54 Special Beads
Marion Agnew
56 Bead Boy NEWI
Duslin Wedekind
58 Stitches
59 Abbreviations
62 Cool Stuff
63 Reviews
O n the Cover
72 Stringing Along
Judith Durant
, --
t;
tJ
fllll'QRIAI
I"RI A 11Vf OIRI ( . I'UR I.ind
A"I\TANT Wfl OR Amy C. Clarke
C. [ igun
Troxdt
l1UlUJSIIING
I'UULISiif.R C<ri
llll""r\A noN Jc:m Dmpbdl. Gaylc Ford. r\nn Swan<cm, Andy Wtbbcr. Ouscin Wookind
I'Hlll\X.RAI'HY Joe C<>c:l
l)~SI(;I'. Elizabeth R. Mrofka
I'ROUll( 11()1\ MANA(:I.R jell' I irrJtr
I'ROIWCriON rOOllOINArOR Andy Webl>er
I'Rl'< I txlORilii'.A I OR Nancy Amdt
['hi~tu m thiJ.
Ex.w r~pmlucttOII for tVflH!IMi,tJ ptl'fltn'l'J. h r1J11Muy ttJ t/}( spint ofgood tr11fom111ti!Jip.
if>
INTERWEAVE PRESS
11<'""""*
(ISS'< I SUI-IG.\4) u pubBhcd b"'ooonhty bytnc""c""' I~"' Inc., 201 I l'Ounh >.. '"'tl.md. CO 80537-5655. (970) 669-7(,?2. USPS o'O 1835 1.
PaMid1ah ~ugc I>Jid .u ll)\'t'l.~nd. C() 80,38 .md .l~ldu~t.al matling ufi'ioco. All content. of eh is ~.uc of &aJu'Urk art' ropyri&l11td hy lnrt'rwc-.t\'t' (llas; Ietc.. 2000. All ri~b~
m.cn~. RC'Jlroducrion in wl16l.e or in r;ln i.~ prohlhired. cuqn by perroi<siun of t.hc publhher. Sub-.cription lilt(' i.s .$24.95/unc }~Jf in the U.S., S3l.9'i/one )TJI u.s. }und\ in
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Vim cht' Jmcrwc:we i'l'C\\ Y.'th~i rc :u \VWW,inrerwc:;l\'1:',00111
GATHER INGS
May 13: Suond Amu111l IJMd
811.uwr ar rhe llandlcr) l lnrcl & Re
sort, San Diego. Californta. ( om.tc 1
llcarh<r lrimlcu .11 the lk1d \ml<l)' of
Sn Diego Counry. (61?) ~61 9168;
@
hrbcad~vrldnci.Jt.ncr.
@ Jun~
www.b<"tdshow.com.
@ June 2-4: G~o.,-posirions Lns V~gns
Mimrrnl, Fossil, Gem, jew,lry Show .11
the Tropicana Rc,on .mll Ca~ino. Lt>
Veg-.;. Comacr GcoFxposirions. (303)
278-1 218: gcoexpo@aol.cum.
@
June 2-4:
June 24-25: TIJird Annual 1/igblnnd f>ark Fmirnl of Finr Craft 111
dmmrown H1ghland I'Jrk. IllinOIS
Conr:l<'t tht Suburban hne Arh Cenrcr.
(847) 432-1888.
www.~mbellishmenr-show.wm.
www inlerweove. eo m
www.wholebcad.com.
August 4-6: Tlu \l?hol~ Bt11d Shoru
u rhe Doubl~rr"" '\lanJ \X'aikikt !lord,
Honolulu. Hawau. C<onucr rhe \lt:'hole
Bead Show. (800) 292-2577; f,. ('BOl
265-2776; inf~holcbc-;td.com: www.
wholchcad.com.
llCI
CLASSES
Ongoing: Glnss, jrwelry, 1111d l.nmp
working Counrs ar rhc Mendodno Arr
Ccnrcr, Mcndocino. C.tlifomiu. (707)
i\uguSl I0-13:
/ .11U
Summ.r bum-
nuncr.nct tc:-x.tilc:.t h.
1111d J.'oottv~ar
ill
th~
Indian Trmlition
at chc II.IIJ Shoe Mu,euru. 327 Bluor
St. W.. fi>ronw. Onc.~rio, .\155 IW7,
C.tnddd. (416)97\l ~799.
hontun\-JJt.urg
.Urt\
411 Deadline Scpcember 13: Tile EmbtlliJbed SbM juried rraveling ahibit.
Send SASE 10 'I he Embdli>hed Shoe,
Bcadwork M.oguine, Interweave l'ress,
20 I E. hnnrh St.. I ovcl:and, CO 80537
S6SS. (!lOll) 272-2193: bc:tdwork@
1ntcrwc.lH'.U)nt~ www.lnterwcavc.com.
EXHIBITS
.an.org
Thr~nds
juri~d
r.,
www.nfobase.com.
Whether )<>U'rc looking for ani~t pruhlc\. e<hibiu.
proje<l\, bead technology. or maybe you're jmt uri
ou .tbouc b.:.oding tips and faccoids-)<lu'll find it
here.
Cl~t~in R~ncti(Jrl
BEADWORK
July/AII(lu.t 2000
cominuously-running thre;~d or
requires the interaction of many
threads that carry beads. (,enerally. these networks have a struc
ture in which the thrc:adv, he.1d~.
or parrerns develop daagonally in
rdarionship ro one ;motlwr.
- j.m1k D. Alien
Sant.l
Ro~.1, lalilornin
Oops!
www. lntorweovo eo m
Sho
What's Popular in your Area?
''Our cusromcrs are srill wild for clastic ~nap
br.tccler~. fhq're using Austrian crystals or firepolished Czech gl.tss in feminine colors-pasrcl
pinks, greens, yellowb, .md purples."
~ l ~idi
Gree
10
-:: -~
--. !
I 0 grams Ddicas
~i~c "B" Nymo thread
I incn tank mp
I inen drawsrring pants
I rJnsfa paper or pencil
l'cncil
Size 12" beadmg nec:dlc
~cissor<;
Embroidery hoop
BEAOWORK
July/August 2000
11
7
[
Sculptural peyote
Knoxville, Tennessee.
Sculptural peyote. 6"
a X 3".
loomwork
Dragon Mat by Jelfrey Fishman, Middletown, New York. loomwork. 4' >< 6'.
12
www.inlerwoove corn
July/Augu~l 2000
13
DENISE PERREAULT
><
48", 2000.
8EADWORK
July/Augu112000
17
nation of how to hang the piece. If the curtain rings arc too
spars~. the r.1bric may eventually droop between them.
Bead weight seems to handle itself muth the way warps do
on a loom .1dd enough supporting clement~ and each one
helps to minimize stress ;tnd wcighr. This is wll\' my curtain
mbs are usually less than " ap.trt. lt'~ the one aspecr of my
gl.tss currains thar I'm nor yet willing to experiment wirh.
A CHANGE OF PLACE EASES THE PACE
BLINDED BY BEADS
After exclaiming over the ume invested, VIewers of my
gla~, cunains invari.tbly marvel that I haven't yet lost my
cye,ighr. lor the remrd, only ;tge diminishes the strength of
our eyesight, nor looking aJ things do~e up. !Icy! I'm only
4 I! I have plcnry of eyesight for beading glas:. wrra in~. And
when my eyes do start ro fJd, I'll invest 111 J magnifying
gl.1ss and bigger head., bccamc it's enormously ~atisfying to
have found the per feu arristic expression for my eye~ most
bn-;uhraking vision. I just can't get enough oft hat spectacular refracted light. @
R, .td\' ork. Shr utrlt'omrJ .rour
rommrms l1f btr muu! '"ldrm, dl>oult!. r~"f!rllrtlmt'l. rut.
lJcmH'' f'rrrrtlllltu a JTrtfllrltl tonrril111ror to
Leaf Me Alone,
18
BEill ABDU
friendly, ea~y-going woman, K.trtn l.t,, i~. <tka
Klew, is also a skilled polj mer clav .trust whose
work is well known in rhe bcadtng wmmunity.
She's been working with polymer clay fur .tbom twelve
years now .tnd her p.1ssion for rhc medium h.ts not ~ub
sidcd. Her bc:tds ;m: pan oF the pcrmantnt wllct:lion in
Arizona's Bead Mu~cum and her work h.1~ appcan:d in rhe
Smithsonian "Arurain". This year Klcw w.ts mmmissioned
ro create the 2St h Anniversary Bead for t ht l.os Angeles
Bc.~d Society.
Klcw got st.trted when she discovered
rh:u there was colored oven-baked clay.
Mostl} sclf:taught, she continued ro
experiment until she realized that she
could cre.m: wearable and functional
arr. She fiHmdcd Klcw Expressions in
1988 and sold polymer clay jcwclry at
local arr and era (( shows. When she juimd
a bead :-ociety and particip:ued as a wndor at
their biannual bt\td bazaars, Kh:w found she h.td bead
lovers seeking her out.
In 1996 she moved her home sLUdio tnro a tommerci<tl
location to cre.ne a studio and gallery. To .Kcommodat( the
constant stream of vtsttors asking for je\\clry-n1.1king .tdvit:e
and supplies, she opened a b~d store in an adj.lCelll space
I:ISt year. In audition to beads and supplic:,, the store offers
classes in rr;tditional beading techniques, wire work, polymer
clay, and Silver An Clay. Klew is certified w tc,Kh Silver
Art Clay classes and wa~ the first aut hori tcd
Silver Art Clay dealer in Ctliforni:t.
Kbv's work makes extemivt use of "can
ing," a technique borroweJ from Venctian
gla.\s bcadrnakers that d:ucs back hundreds
of year~. In caning, different colorcd chtp are
formed together like a thick puulc. Once the desired d~ign
is achieved, the cl.ly "cane" is compressed, rolled. stretlhed.
pulled, squecteJ, and smoothed. This process reduces rhc
diameter of the cane while preserving it~ dt:,\lgn. Result:
each cross section cut from the cane has rhe same pattern.
BEADWORK
19
MAKIN' MOVIES
WITH KLEW
Klc:11 worked with Bc:n.: ro make two
villco~ for bmot'fltiom: A Po(ymrr ("f,ly Videv
Sems. I lcn:'s a Stmpling of whar you'll Sl'C.
Order the videos from abba Jahb:t produl
tions for $29.95 each.
TEA CH IN G SC HEDULE
lul y !I <), 21100: .\ 1unrrcal Bead lmporiurn , Mon trtJI, C.macb
luly 1.\ l 'i, 21100: l'ol)'merCiay ll.ovcn l O()(l, IAJuiwillc, Kentucky
Au!\"'' <> 9.l000: R.JVcnsd:~lc Polymer Clay Cnnfcrcntc. Olympia,
W.l\h inl\tou
BEADWORK
July/AIJ9us12000
21
r
ra~onflies fascinate me.
now, so I fi~ured, "Hey,
22
MATERIALS
'
color LO irids
One: 6 mm bl:'dd in calor ro complement th e: ~cc.>d beads
One 1\ mm bead in color to complement the: seed beads
Size "[)'' Nymo thread in calor ro match beads
-
NOTIONS
sure the core bead~ and spiral beads are a good lit for each
other so rhe core b~"ads form a fairly srraight column and
the spiral bead~ he neady around them.
St(p 1: Using a yard of single thread, ming 4 opaqU<: and 3
irid~. 'lie intO a loose foundation circle.
Sup 2: P'L once again the 4 opaque just ~tntng, H;ming
from the: knot. Pw,h rhe irids ro the left.
Stl'p 3: String I opaque :tnd 3 irids.
Step 4: PT the la~L three opaqucs pi u~ the opaque just
strung. Push the ~p iral beads to rhe left.
Step 5 nnd on: Rep Steps 3 and 4 unril you reach the dc;ircd
length. I like to k!.!ep my dragonfly's body t I '" ro I ",
depending on the: wing width.
W I N GS
TAIL
Follow the main directions for the big wing and thl!
changes in parentheses fo r the small wing.
Row 1: Use 2 yards of thread and double ic. Leaving a 6"
tail, srring 48 (42) irids.
Row 2: String 3 irids, skip 3, PT 3. Rep fro m ' O end
working in 3-drop peyore srirch (sec "Stitches," page 58).
At end of the row, suing 3 irids and PB'I' the last 3
addt:d in rh is row.
Row 3. Work 3-drops ro the end of the row using irids.
Row 4 P'l the first 3-bead set of Row I, 'ming 3 irids, skip
3 beads, PT rhe nexr 3-bcad set. Rep from twice. 'PT
the next two 3-bead sers without adding beads. String 3
irids, PT 3. Rep from " !'\vice (once). PT the last 3-bead
set.
Row 5: PT rhe first 3-bead ser of Row 3, wing 3 irids, skip
3 beads, PT 3 beads. Rep from !'\vice. 'PT the next rwo
3-bl!ad sets withouc adding beads. String 3 irids, skip 3
bt"ads, PT 3. Rep from !'\vice (once). PT the l:tsr 3-head
set. (The small wing is finished.)
Row 6: p-J rhe first 1'\vo 3-bead sets (one ser is on Row I
and the other is on Row 4). String 3 irids, skip 3 beads,
P l 3. Rep from once. PT the next 4 sers of beads without adding any beads. *String 3 irid~. skip 3 beads, PT 3.
Rep from once. PT the last rwo 3-bead sets.
Row 7: PT rhe first two 3-bead sets: one set is on Row 3
and the other is on Row 5. 'String 3 irids, skip 3 beads,
PT 3. Rep from once. PT rhe next four 3-bead sers
wirhour add ing beads. srring 3 beads, skip :I beads. PT
3. Rep from ' once. PT rhe last two 3-bcad ~ecs.
Srabili1c the wings by weaving working and mil th reads
through all. Trim threads close to work.
BODY
A formno s.v>tmu .uwlyil, /Jrm-rr. Co/or.ulo midmt N.wq /rllrrs l111s brm
muring srulp11mtllmui11V>rlt rxhibit> for thr P"'' rhru )'r.tN. \hr filii l>r
rMrhd "' >pmou2 .,M 1<ml.wm.
BEAOWORK
July/Augusl 2000
23
hi~ vcr~arile
T
2.4
NOTIONS
Start
!-\ -
~ _r,
(;'")
~
' __,
..._)
-....
-r ,
Figure 1
BEAOWORK
July/Augu>t 2000
25
our
rea lVI
o or
MARY TAFOYA
C >L
OR
EXERCISES
2. Bead Soup
Divide
a
sheet
of
paper
into
four
column~.
Fill
1. Color list
..
26
www 'nlerweove.com
3. Daily Observation
Choose an outdoor view that you sec every dayperhaps the scenc from your patio door, the world outside your office window, the park
where you walk, or the vista beyond that long ~roplight on
thc way home from work.
l.ook carefully :u the colors the re and jot down
the main hues of rhcse
three things: the ~ky, the
ground, and something
in berween. I his excrcise
works best if you commit to a
year or more and write down the
colors at least once a month. Your
color perception will gradually improve as you observe
the seasonal shifts in your environment.
4. World Traditions
An inexpensive color wheel from an art supply house, hobby shop, or fabric store b a valuable aid for choming
colors. Here arc '>Qme basic terms associ.Lred with the color wheel.
Pl'imary: The three irreducible colors of pigment-red, yellow, and blue.
Secondary. The three colors made by combining two primaries--orange, green, and violet.
Intermediate: !'he six hues located halfway between each primary and secondary color. They are formed by
combining rwo primaries in unequal ;unounrs. On the color wheel, they arc called red-orange, yellow-orange,
yellow-green, blue green, blue-violet and red-violet.
Teniary: The~c colors are nor usually shown on a calor wheel. They are formed by combining rwo secondaries,
and they are ~omcrimes called rllSSCt, citrine and olive. They are b.lSically earthy, brownish hues containing mixed
amounts of all rhrcc primaries.
Tint: Pastel hue~. or colors ro which white has been added .
Shade: Colors to which black has been added. Maroon and midnight blue are examples.
Tone: Desaturated colots to which gray has been added.
Western ideas about harmonious color combinations are based pardy on science and partly on che inAucncc of
European paiming traditions. As you play with your beads, you'll find exciting combinations
nor explicitly illumaccd on your color wheel. Use them! But you can <tlso lean on the following favoritc combinations which arc guaranteed ro bring out rhc best of each color.
Complcmenrary.l\vo colors located at opposite sides of the c::olor wheel.
Analogous: Colors that are adjacem on the wheel.
Monochromatic: lints, shades and wnes of a single hue.
Triads: Any three colors located equal distances apan on rhc calor wheel.
Tetrads: Any four colors located equal distances apart on the wheel.
For more information on color harmony, consulr the boob in the resources lisr.
BEAOWORK
July/Augull 2000
27
they have a bead box of their 0\\11. l entered the swap because I thought it might
Ella Bentley. Alosko
be nice to have an orJngc lover joinwww 1nto1 weove .com
Mary litfoyu is u bMd 11rtiSI rtnd J(l'<lf'hit ilm.~n IIIJ/rttl'lor in Albuquuqut, Ntw Mt.~
tto. S/Jr ,t/so nutintams tht populttr btlltlu-orJ: rrlaui/ ut~bsitt, Aum Mollyi (Jr.lll \rrat
RESOURCES
\]be.,., Josd: f111rra<tio11 oJC~Ior. New I IJ, en, Conna.ticur. Yal~ Univcl'\ity I'""'' 1987.
lucn, Johannes and bhu 1\~rr~n. l11t Fltmmt ofColor. :-.lcw York: John \~'ilcr &
Sons, 1970.
28
P.S
..
.,.
SAND IE ABEL
Paintbrush
Si,,e 1r bc.tding nccdk
Tapestry needle
Scis~ors
30
unfonunatc tendency m
things. A few year\ ago I got .an ide.t. What if I
could capture the lovely, glowing hues of tut and leaded
glass with lx'<lds?
1 envisioned a stained gla~s Aphrodite and drew her on
needlepoint canvas. Bur it w;t~n't long before I realiLcd that
needlepoinr canvas ha~ serious drawbacks .1~ a light-catching medium. Aphrodite ended up lx-autiful anyway, bur I
put the idea of stained glm beading aside for a while.
Then two things happened together: One friend gave
me a long piece of libcrglass window ~creen .tnd another
!Tiend encouraged me to try more bcadwork. Success!
Fiberglass window scr<:cn allow\ light to shine through. lr
drapes like a medium-weight denim, ir's hard to fray, ir's
cheap and easily obrainablc at hardware stores, and it's versatile and srrong.
BEAOWORK
July/Augu>t2000
31
Cloud Bracelet.
LAR GE LEAVES
Sew a green leaf bead inro ~lch notch between the leaves.
Line rhe Iear beads with 2 rows of etched wnite. Alternate
rows of ctd1ed brown beads wirh copper beads ro fill in the
space.
Using a toothbrush and some soapy water, remove any
visible tempera paint.
Sandi~
yt~~rt
n1
20
32
www.lnterweove.com
BEADED SCREEN
- - -- - - - Genera/Information
Use white tempera paint to tra nsfer the outline to
the screen. If the paint is scill visible afrer rhc beading,
soak the piece for a few nours in warm water and dish
soap, then scrub gently wirh a toothbrush.
I do my embroidered ourlines using size 8 black perlc
cotton in streamlined rent
sritch (see Figure I ) . Tent
sdtch is usually worked with
all the stitches slanting in the
same direction, but this
leaves half the oudine looking cigh r and crisp while the
orher half looks sketchy. So
vary the clireccion of rhe
Figure I
stitching as needed ro mainrain a continuous line.
Sew on che beads with back srirch.
l don't like too much symmetry in my designs, so I
go our of my way ro be sure it never happens! T his
gives a lively, less "mechanical" quali ty ro the work. J
also cry ro employ "surprise" colors-rhose with a
pearly or iridescent surface rhac causes them ro appea r
one calor when lit from the front, and a whole new
calor when lie from behind.
h doesn't hurc rhe
result if beads encroach on the lines of
stitching, but you can
help prevent this by
couching rhe beads
(see Figure 2) after
you've sewn them
along rhe sti rching.
Couching keeps rhem
firmly in place.
Figure 2
lompworked bead by
Bernodelle Fuente,, polo de
verre beod by Moll Bezok
July/ Aogul2000
33
Rnd
1: Scb
d1 -chain
se single croche1
stb-single crochet with a bc.1d
tit. -double crochet
si slip sritch
BAG BODY
34
or
Rml 9: Scb in cacb of the next 7 m, sc;h twice Rnd 22: 'Scb in each of the next 2 srs, se in each
in rht: next \t, rep from . 54 st~ with a head in
of rhe next I 0 srs, rep from '.
Rnt/23: ~scb in the nexr sr, se in each of the next
this rnd.
Rnd /{}. ''-,eh 1n each of rhe next 8 srs, scb twice
I I srs, rep from .
10 the nt'Xt st, rep from . 60 s1s with a bead in
Rnds 24-27: Se four rounds plain.
Rnds 28-50: Using the diagram below, crochet in
tillS rnd.
1?7/fl /I: Sch in cach of the next 9 m. scb twice
the Aowcr partcrn.
in tl1t' nt:XI st, rep from . 66 sts with a hc;ld in Rnrls 51-58: Se 8 round~ pbin.
this rnd.
Rnt! 12: 'Sd> in each of the next 10 srs, sch twice
CORD CAS ING
in the mxr sr, rep from . 72 sts wirh .1 head in
this rnd.
SI 1 st ro join. Ch 3, de in each of the next 3
Rnt! /3: t\t 1his poinr, work your hag \lraight; no sts, eh 2, 'skip 2 sts, de in each of the next 4 sts,
'Scb in each of 1he eh 2; rep from '. SI sr into the rop of the eh 3 that
morl' inaea,es :tre necessary.
next 11 sh. se (without a bead) 111 the nexr sr, began this rnd.
rep from . 72 srs in this rnd. The pattern is 11
Se 3 rows plain.
m with a be;u.l followed by I st without a bead.
Rnd 11: 'Sch in each of1he next 10 sts, se in e<lCh
DECORATIVE EDGE
of rht next 2 sr~. rep from . 60 srs in this rnd.
'Se 1 st, eh with a b~.:ad 3 rimes; rcp from 1 SI
The ptnern is 8 srs with a bead fo llowed by 2
srs wirhotH a bead.
SI to )0111.
Rnd /5: Scb 1n each of the nt:xt 9 \ts, se in c;lch
Finish off and bury your rh read rails.
of till lli:Xt 3 srs, rep from .
Make or purchase cording eo thread through
Rnd 16: <.,,b in each of the next 8 sts, se in each rhc casing. This is the closure and handle for
of th~ next I si\, rep from .
your bag.
R11tl I"' ..,,b in t:ach of the next 7 sts, se in each
Embellish the bottom of your bag as )'OU like.
Add a decorative bead or burron, some fringe, or a
of the: next ) sr~. rep from .
Rnd 18: Sch 10 each of the next 6 srs, se in each beaded or fibcr tassel.
of the next 6 sts, rep from .
R11fl 19: Sch in each of d1e next 5 srs. se in each !Jo111zit Brooks is 11 bmtl 11rtw 1111d tmrhrr who ln'f'S in Rirhttrd
son, U.'<lli. SIJt is currmtly working 1111 tmtulnting pllltmll from
of the ncx1 7 sts, rep from '.
tl/ltiqt" books into works lhtu lflf cOI/fl'lllpnrnry componmts. Yon
Rnd 2(}. Scb in each of rhc ncxr 4 m, se in each ""'Y ronltlrt Bonmr Ill bomu'tbr<f1>1nnn~.llt't.
oft he llt'Xt 8 Ms, rep from '.
Rnrl 21: 'Scb in each of the next 3 HS, se; in each
of the next 9 sts, rep from '.
BEADWORK
Juty/Augut2000
35
36
got the idea for this fern frond after experimenting with various minianue Rowers. After
all, what's a bouquet of Rowers or a forest
floor without ferns?
T his scirch may best be described as a variation
on branched fringe. Once you get com1orrable
with the basic construction there are endless variations you can create depending upon rhc size and
fullness you wanr.
Nom: The Jark green beads are used for the
fern leaflets and rhe light green beads for the srem.
The color v:1riacion gives a narural look (and
makes i r easy ro keep track or where you are).
Don't ric off your rhread within the stem. You
won't be able ro ger your needle back through that
bead again.
LARGE LEAFLETS
Step 1: When you finish the progression from Figure l , string 6 dark green. PBT the fifrh bead
JUSt strung.
Step 2: String 3 dark green. PBT the first bcaJ in
rh is leaf. PT rhe last stem bead.
Step 3: Srring 1 light green. Rep Steps I and 2 to
create the matcning leafier.
Step 4: String S dark green. PBT the fourth bead
)liSt strung.
Step 5: String 2 dark green. PBT the first bead in
this leaf PT the lasr stem bead.
Step 6: Rep Steps 4 and 5 to create the marching
leafier.
Step 7: String 7 dark green. J>BT rhc six rh and fifth
beads just strung.
Step 8: String 3 dark green. PBT rhe hrsr bead in
this leaf. PBT all stem beads.
Number of Frond Beads
12 12 11 11 9
Figure 1
FINISHING
is a bmd tmist tmd uaclur m KaltmtnZI/11, /v/ulugmt whPr' shr livts nud plays wtdJ IJtr two !OilS. Hn WOI'N is
ort t'X!Jibit at Cristnll.o An n11d Glass Studio in Willimmburg.
Virginin.
BEADWORK
July/August 2000
37
Bea~,...
s~
~
"{;.
If we accept your proposal, we'll schc:dulc it imo our ednnrial calendar. But llt:
warned: \VIe schedule .1 year in .tdvance, \O you may have to wait a bn eo sec ynur
project or an icle in pl'inr.
~
~
L-----------------------------------------------------~ ~
Bead Crochet
HISTORY
eh-eh stitch
si st-slip sritch
se-single crochet
sr(s)-sritch(es)
yo-yarn over
rep- repear
bsc-bead single crochet
bsc (blp)-bead single crochet stitch with a
loop of beads
T-rurn
AO
LYDIA BORIN
Pre-~rring
12 m).
- '
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'
' -
...
.....
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;
'\.'".,:,
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r ...
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..
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.
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BEAOWORK
July/August2000
41
e.
DON PIERCE
July/Augu" 2000
43
de~ign
mm~. San\.:~
OR IGI N AL
BARD
28 Coast St.,
Newport,
Oregon;
(541) 265
5842.
44
(llllt'Ttt't<ll'~
lUll/
mto 11>
BEADWORK's
Professional
Development
Series
~ 7J;
J Statement
DIANE FITZGERALD
'
'
July/Augut 2000
45
fter five years of beadworking and copyrighting 125 mosrly brickstitched designs, I found thar second earring of each pair increasingly
difficult eo make. A friend dared me co try something differenr with my
beadwork. "I don't know," he said, "something like beaded lace coll ars." I scoffed,
thinking that no type ofbeadwork reaLly looked like lace. But his words haunted
me, and finally [ pulled out an old caning book and gave myself rhree months to
make something out of beads that looked like the ratted designs in the book.
What I stumbled on afrer much trial and error struck me as not only incredibly
simple bur extremely versatile. In fact, the technique 1 discovered has applications
far beyond lace collars. The key ro this technique, and its versatility, is the picot.
In earring, the picot is the loop that sirs up above the base of the lace. In picot
lace, rhe picor acts as a bridge between sections or elements of the lace.
The rhrce basic elemems of picot lace are the ring, the loop, and rhe chain. This
design will teach you the loop and the chain: the ring is simply a loop from which
no chain emerges.
SANDY FORRINGTON
MATERIALS
'i11e I I o Cte<.:h se~d beads in two colorson~ fur b;tsc .tnd one for picms
'iit~ "B 'lymo b.:.tding thread
NOTIONS
49
k))i)
~j0
}J
-- -~-Y
Figure 1
~~}l>:d
,. , .:. {. {} ~ tf
!t~~~
Figure 2
Figure 4
50
0
- ..
"j
/1 ~
I
I
Figure 3
Figure 5
BRENDA WHITEHEAD
51
PREPARATION
STRAP
MATERIALS
l.ighrcr or matches
Clipho.trd or fo,tmboard and T-pins
Sussors
ABBREVIATIONS
52
( t
FINISHING
Double
half.hitch.
\.
~~
Square knot.
8EADWORK
July/August2000
53
________________________________.......................
Hubbell Beads
cad trading has forged unlikely
connccrion~ be[\vcen different culwrc~. as the hiscory of Hubbcll
beads show~.
In the ~our.hwcsrern Unircd Scare\,
the early years of rh~: twentieth cemury
weren't too different from rhc Old Wc~t
thar movie\ haw made famous. At
tr.tding posts, NatiVl' Amcric.tn~ traded
their cr,tfts for manuf.-.crurcd goods,
including cooking urensils, food,
bl.tnkcts. and f.-.bric. As the population in the Wesr and Southwest grew,
these rrading posts became community meeung place~. often incorporating banks and post offices.
Juan I orcnzo llubbell was a
tr;tder who believed in treating the
native population fairly. Raised in
che late 1800s in New Mexico
Territory by his Yankec lather and
Spanish mother, he became inJignam ;tc the greed and corruption he saw ar some rr,tding
pe>sts. As a young m.m, he tr:tvcled rhc weMern United Statt:s on
horseb.tck and landed in the
Pueblo Colorado Wash (now called
G.tnado) in Arizona. ln 1878, he
openeJ his first rrading post .tnd became
\O successful that hl' eventually had a large
portion of the exclusive trading rights with the
Navajos. lksides encouraging rug makers, Hubbcll
csrablishtd a metalsmithing workshop on the
reservation, where arrisans from Mexico taughr the
Navajos to make \ilver jewclry.
Meanwhile, in post-World-War-1 Czechoslov:tkia, bead maker~ were facing incn:ascd compel ition from lraly Jnd France. Taking .tdvancagc of
their advJnccd technology Jnd long hiswq, the
Ctcch beadmakers branched our from their u~ual
~tylcs. From thcir cxpcriments came parrcrns,
shapes. and textures in glass thar closely resem54
MARION AGNEW
RESOURCES
Oci.JUcr, MJrjcl. "A Cenrury
DUSTtN WEDEKtND
bead~ .
"
Si nee science was
~ J
ttlca. I thought I
5
would look imo
~ ..
mythology. Odys\eu~ had a bag
~
gtven ro him by
~1!:.-~'"""---~-King At-olus, keeper
Dustin's design sketches.
of the winds. Inside
the hag were all the
\totm winds that cc>uld drive sailors off course.
But Odysscus' men rho ugiH rhe bag contained
gold, opened it, and unleashed a fury thar swept
them our eo sea.
A~ I cominucd my windy thoughts 1 thought,
~He~. Odysseus's hag of wind \till exists-What
.tbout whoopee cushions? And that wa.~ ir! Funny
how our first idL'lls tend 10 lx the one~ r:har work.
To make rhis kind of cu~l11on I cmulared the
l.ircul.tr shape and spiral motif of an ancienr
NJLive American Mimbres design for its circular
sh,tpc and spiral morif.s. The spiral points ro rhc
)
56
four-tltrecuom/
four winds, ;lnd creates
mowmcnt like a propeller. AJso within dm design
1\ something of a jester's cap and bells, \\ luch adds
ro the trickster clement of the gag-gift.
I bc.tdcd wirh site 11 o seed bt:ads on fJke suede
ro simulate an ancient bag. (A piece rh.u firs a
tcn-tnch embroidery hoop will cover .t whoopee
cushion.) After embroidering the design, I stwctl it
to a scwnd, slightl y larger piece of f.1bric, so thar
when rhc Lmhion is inAarcd the bcadnl picct
doesn't pucker. I left <In opening through whilh to
fir rhl.' rolled-up latex (I don't recommend be.tding
\\ith rht bl.tdder inside because it would no longer
hold the wind). Then J bkw ir up. \X'hoopcc:!
Dustm Wrdtlwu/, aim Br11d Boy, u UcJd"mk ; suprrhrm
Uudt
muri -l'.mi11g Illrough .. to find olfl ll'h,u IJmfTIIJ
llr.\1 dulllmgr will br. lfyou 'rr up for tht thilllm.(r. 1110, mu!
ltllpJhols oj .~our crr.uirm to Bmd 8~}' CIMIImgr, l11trrunwr
,,,,.J,
l<'lll/j IO
t
BEAD EMBROIDERY
Beg.n by pas~ing the needle through
th<" fabnc, from wrong 'ide to nglu \ide.
'nring ~ b<,ad, and pa." ha<k through
DAIS Y CHAIN
the f.1bric 10 the left of where the tlurd
bc.td lie,. Bring the needle hack through
the f.obrit to rhe right of the 1><.-:ad, P"'-'
bJck through the be;od. You c.m \CW up
to th'C beads per >titch by mingmg
thrtt be-ads and bat~tirching thmugh
the rhord as \hown.
v)3 :J___;
Q ':)~
~ \
l.,_py
BRICK STITCH
Begin by creating o found:niou row
in l:~dder scirch (sec below). Se ring one
hc.od and pass chrough 1he clo'c'c ex-
ffj
.
~~
Closed
001$)' cho.n
;\) '
&~o
0~
.fJ
;r
::.;)
-..,;
SQUARE STITCH
Begin by strongmg J row of b.:.al,.
lor che second row, \tring rwu bc.l<b,
P'"" through the secondw-l.m bc.1d uf
JS~~
~~
l..b
Open
dcusy chon
'/
..t ~~ a o a Q)
w~aa
iQ&l'&iit
f.ourd flitch.
Ouc-drop peyote begins by mingmg
.111 even number of bead' 10 crc.uc chc
first rwo rows. Begin chc third row by
58
~ritth.
cfUe.'t lijJe.gth
604 lranklin st
greenevllle, In 37745
(423) 6397919
order 1888-497-2665
1-888-497-2665
tlie
beg: begin, beginning
dec: decrease
. .
prev: previous
212-59 1- 1127
AT FASHION INSTIT\.ITEOFTECHNOLOGY
West 27"' Street Between 7 & 8" Avenues. New York City
me: 1ncrease
round(s)
TENSION BEAD
A tension bead {or stopper bead)
holds yo ur work in place. To make
one, string a bead larger than
those yo u o re working with, then
pass through the bead again,
making sure not to split your
th read. The bead w ill be able to
slide along, but will still provide
tension to work against when
you' re beading the first two rows.
Importing Japanee;e
Twie;ted Hex. Triangle.
Magata ma & Square
COLUMBINE
BEADS and CORDS
By Appointment. Retail. Wholesale LSASE for flyer
2713 Loch Haven Drive. IJamsville. MD 2 1754
(30 I) 865 5047 columbinebds@msn.c.om
BEADWORK
July/August 2000
59
AROMATHERAPY BEAD
Not only does Bronwen Heilman make beautifullampwork<"d bead\, she also ha.s
.L grea1 line of sterling silver bead posts, ~rirrups, and now ji'llmes. )uM open up rhe
bead frame, choose the beads you wan t to display, dose the pin, and wing the frame
onto your favorite chain or cord. The silver frame comes in 'piral, scroll, plain, 'hiny,
and brushed designs and retails for $50. Bromven also carries plain fr,lmes in 24k
gold pi are over sterling for $60. Couwct Ghosr Cow Glassworks, 603 N. 3rd Ave.,
11.1CSon, AZ 85705; (520) 622-7199; www.ghostcow.com.
CURATOR'S CHOICE
BEAD STANDS
Bloomm' Bt'ads caught my eye when I was visiting Gwenn Yapple's Copper Coyote offices in
Tucson. I had to have a copy because the book's
floral p.uterm are so fresh. colorful. and innovatiVe: that they make me smile. Valene starts our
with a very informative instructional section,
rhcn provides rhree variations of each of the
seven patterns- a necklace, bracelet, and amulet
bag. Buy Bloomin' Bends ar yo ur local bead ~hop;
rh rough Copper Coyote, www.coppercoyotc.com;
or check our Valeric's website www. valeric
hixson.com.
BLOOMIN' BEADS
Volerie Hixson
Gross Volley, California: Hixson
Studios, 1999. Paperback,
$19.95. 34 poges, color.
CONTEMPORARY INDIAN
AMERICAN BEADWORK:
The Exquisite Art
Jill Alden
ISBN: 0967004(}0-4
New York: Dolph Publishing,
1999. Paperback, $29.95.
1 12 poges, color.
,........
...........
'ot~~t~
"
....
..
llr...htvli.
\
--LET'S FACE IT
Dono Anderson
ISBN: 189298001 0
Los Vegos, Nevada: Buckoroo
Press, 2000. Paperback,
$22.00. 34 poges, color.
6.d
JUDITH DURANT
idea had indeed been a good one, I was disappointed with my~clf for not having acted on it as
soon as it was born.
This experience led me down a familiar philosophical path, the one that follows rhe question.
"Where do ideas come from?" I used eo rhi nk chat
since we're all influenced by what we sec, hear.
taste, and smell, it's only nJtural that contemporaries will have similar ideas and create similar art
and crafrwo rk. Now I know tl1.1t's not true. Now I
know chat these seemingly coincidental creations arc nor the effect of
influence or rime, bm the work of
idea gremlins. If only I could get to
know the gremlins' modus op~randi, I
though r, I cou Id rh wart their fu rure
raids and keep my ideas tO myself.
Then I learned the awful trmh.
While in Santt Fe for Bead Expo.
my buddy Don Pierce related a difficult experience he'd had. Don's wife is
a knitter, so Don spends a lot of rime hanging
around yarn srores while Janet shops. On one of
these outings Don discovered a basket full of roving-fibcr that's been washed and combed bur nor
yet spun. Fingering the fuzzy fibers, Don came up
with rhc brilliant idea of making beads out of the
stuff. If you rear ofT a small amoum of fiber and
roll it around in sweaty palms, it begins to srick together. Keep rolling and swearing and the sticky
mass begins ro harden. Roll and sweat with finesse
and you can control the shape. forming spheres,
ovals, or cylinders. Wow!
Excited abom his idea, Don immediately called
&adwork. \Vhcn Jean direcrcd him to the Summer 1998 issue tha t features Amy Cl:.trkc's article
about fclred beads, Don was first bewildered, rhen
genuinely annoyed that someone bad stolen his
idea before he'd even had it.
So what arc you waiting for? Take that brilliant
idea you're about eo have and act yesterday!
updated frequently!