Beadweaving
Patterns:
Herringbone Stitch
and Right-Angle Weave
6 Free Beadweaving Patterns:
Herringbone Stitch and Right-Angle Weave
1 Wild Ruffle
TINA KOYAMA
4 Silver Comet
LESLIE ROGALSKI
3 Plum Blossom
LISA KAN
6 Egyptian Cuff
SHELLEY NYBAKKE
6 Free Beadweaving Patterns:
Herringbone Stitch and Right-Angle Weave
If you love beads (and who doesn’t?), Silver Comet by Leslie Rogalski
then today is your lucky day! We’re These dramatic earrings are actually just 90° turns of basic
happy to present six beautiful flat right-angle weave; they hang askew on the ear wire like
beadweaving projects for you zigzags of the night sky!
FREE, my beady peeps! The three
herringbone-stitch projects have Triple Quatrefoil by Tina Koyama
four or more different stitches in each When Tina chose to work with this pretty pattern, she
piece. What a great way to explore a immediately saw right-angle-weave stitches. The quatrefoil
variety of stitches in a single project. shape can be seen in the bracelet base, in the three-
dimensional embellishments, and even in the clasp
Wild Ruffle by Tina Koyama attachment (thus, the project name).
This bracelet was inspired by a variation of the Zulu-spearhead
peyote stitch that Tina learned from a class taught by Val Egyptian Cuff by Shelley Nybakke
Thorson. Unlike most herringbone bracelets, it is worked This metal-bead cuff has just the right amount of crystal
lengthwise instead of widthwise, which creates the spiky fringe sparkle, worthy of an Egyptian princess. Worked in segments,
on the edges that is characteristic of the Zulu-spearhead design. the multilayer right-angle-weave rectangles are first woven,
then connected with loops of beads.
Café Society Bracelet by Cary Bruner
This jewel of a bracelet was created by chance. Cary originally Good luck deciding which beauty to start with! I know I’m
wanted to do something with seed beads and crystals in having a tough time myself. No matter which one floats your
peyote, but instead ended up using brick and herringbone beady boat, have fun!
stitches with wonderful results.
1 Wild Ruffle
TINA KOYAMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PAGE 4
6 Free Beadweaving Patterns:
3 Plum Blossom
LISA KAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PAGE 9
designer JANICE TAPIA
photography JOE COCA,
ANN SWANSON, JIM LAWSON
4 Silver Comet
LESLIE ROGALSKI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAGE 13
Projects and information are for inspiration
and personal use only. BeadingDaily, Bead-
work, and Stringing do not recommend,
5 Triple Quatrefoil
TINA KOYAMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAGE 15
approve, or endorse any of the advertisers,
products, services, or views advertised in
this publication. Nor do BeadingDaily, Bead-
work, or Stringing evaluate the advertisers’
claims in any way. You should, therefore,
6 Egyptian Cuff
SHELLEY NYBAKKE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAGE 17
use your own judgment in evaluating the
advertisers, products, services, and views
advertised in BeadingDaily, Beadwork, and
Stringing.
Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAGE 19
Contents 3
project
wild ruffle
T I N A K O YA M A
café society
bracelet
C A RY B R U N E R
TECHNIQUES
l
:: ladder stitch
:: brick stitch
i
:: herringbone stitch
:: fringe
See pp. 19–21 for helpful
technique information.
TOOLS
Fig. 3: Connecting the sides Scissors
Size 12 beading needle
Fig. 1: Working the ladder-stitch base row and trim. Repeat to connect all the
trapezoids into a square shape. FINISHED SIZE: 6 1 ⁄ 2 "
decreasing brick stitch off of the lad- Embellishment: Make fringes with 3-bead
der-stitched strip for 5 more rows; the picots: Use 4' of thread to exit from an 2) STRAPS. Work edged herringbone
last row will have 5A (Fig. 2). Secure end A at the top of one of the trape- stitch off of the focal piece to make a
zoids; the needle should point toward strap. Each row is made using A beads;
the bottom of the shape. String 1D, the turnaround for each row is made
1C, 1 bicone, and 3C. Pass back with D beads:
through the bicone, C, D, and A, form- Rows 1–5: Start a new thread that exits
ing a picot with the 3C. Exit the next an end B of the ladder base of one
A (Fig. 4). Make a longer fringe this of the trapezoids. Use A to work
one row of herringbone stitch. To
make the turnaround and add edge
beads, pass down through the adja-
cent end bead of the previous row,
Fig. 2: Working decreasing brick stitch string 2D, and pass up through the
last A added in the row (Fig. 5).
the working thread and trim; do not Repeat to make 4 more rows.
cut the tail thread. Set aside. Repeat Fig. 4: Embellishing with fringe
three times for a total of 4 trapezoids.
Connection: Use one of the trapezoid’s time with 2D, 1C, 1 bicone, and 3C.
tail threads to weave through the Repeat, adding alternating-length
beads in the ladder to exit an edge fringe across the row. Weave through
A ladder bead. String 4C. Loop the beads to exit from the end A at the
needle around the first exposed top of the next trapezoid. Repeat to
thread of a second trapezoid add fringe to each of the trapezoids. Fig. 5: Forming the straps
between the ladder-stitched row Center: Weave through the beads in
and the first brick-stitched row. the top row of one of the trapezoids Row 6: Work 2 herringbone stitches;
Pass back through the beads just and exit from the center A. String skip the third stitch by weaving
strung. Exit from the edge A of the 1D, 1 round, and 1D. Pass through through the beads and work the
first brick-stitched row. Repeat, the center A on the opposite trape- fourth and fifth stitches.
adding another row of 4C between zoid to seat the crystal in the center Row 7: Work 2 stitches. After the sec-
the first and second brick-stitched of the square. Weave through all the ond stitch, string 4D and pass up
rows, 3C between the second and beads again to reinforce. Secure the through the first bead of the next
third, 2C between the third and thread and trim. stitch of the previous row (Fig. 6).
plum
blossom
LISA KAN
TECHNIQUES
:: flat and tubular
peyote stitch
:: circular and tubular
herringbone stitch
:: ladder stitch
:: picot
:: fringe
See pp. 19–21 for helpful
technique information.
Repeat entire step at the other end wrapped loop. ) .beadcompany.com. Brass findings (whole-
sale source): Vintaj Natural Brass Co., www
of the ropes and cord, using the C-
LISA KAN is a bead and lampwork artist .vintaj.com. Brass findings (retail source):
colored rope’s working thread and who channels her creative energy into a Galena Beads “serving creativity,” (815)
adding the remaining 2 blossoms. wide variety of mediums that challenge her. 777-4080, www.galenabeads.com. Italian
The Japanese see the plum-blossom tree, Spun Silver mesh-ribbon-covered cord:
5) BEAD CAPS. Use 3" of wire to form or ume, that inspired this design as a pro- SpecialtyBeads.com, (530) 582-4464.
a wrapped loop that attaches to one tective charm against evil; the Chinese view
the plum blossom as a symbol of winter and
of the 5B loops formed in Step 4, but
a harbinger of spring symbolizing resilience
make only one wrap for the loop so as well as perseverance. The necklace is
the cord ends don’t protrude from designed so that no matter how it swings
the bead cap. Use the wire to string and moves with the wearer, it looks equally
1 bead cap (wide end first) and use pleasing symmetrically or asymmetrically.
your fingers to squeeze the four sides Continuing in her distinct design style, Lisa
utilizes subdued bead colors to evoke a
of the bead cap onto the cord ends, sense of vintage in the contemporary. Lisa is
securing them into place. Form a the author of #FBE3PNBOUJRVF&MFHBOU
wrapped loop to secure the bead cap
(Fig. 11). Repeat entire step at the
other end of the cords.
6) FINISHING. Stitch the blossoms in
place and assemble the necklace:
silver
comet
LESLIE ROGALSKI
These dramatic
earrings are
actually just 90˚
turns of basic flat
right-angle weave;
they hang askew
on the ear wire
like zigzags of the
night sky!
ARTIST’S TIP
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DIBOHJOHGSPNDMPDLXJTFUPDPVOUFSDMPDLXJTFXJUIFBDISPVOE
&BDISPVOEJODMVEFTCFBETCVUXJMMTIBSFCFBETXJUIUIF
QSFWJPVTSPVOE:PVBDUVBMMZQJDLVQOFXCFBET
OPU
XJUI
FBDISPVOEJOUIJTQSPKFDU/PUJDFJO4UFQTBOEXIFOUIF
DPMPSUVSOTUIFDPSOFSTUPLFFQUIFNJSSPSTUSJQFPGDPNFU
TECHNIQUES BSHFOUMJHIUJOUIFNJEEMFPGZPVS[JH[BH
:: right-angle weave
See pp. 19–21 for helpful
technique information.
TOOLS
Step 2: Working counterclockwise Scissors
around this circle, pass through Size 12 bead needle
beads 1, 2, and 3. Pick up 1 jet, 1
light, and 1 jet (beads 5, 6, and 7) FINISHED SIZE: 1 3 ⁄ 4 "
and pass clockwise through beads
3, 5, and 6. Step 7:In this last round, you attach
the closed jump ring for your ear
Step 3: Pick up 1 light and 2 jet (beads wire. Pick up 1 jet, 1 light, 1 jump
8, 9, and 10) so your colors turn the ring, and 1 jet. Pass twice clockwise
corner, and pass counterclockwise through beads 21, 23, 24, the jump
through beads 6 and 8. ring, and 25. Knot the thread dis-
cretely but securely between beads
25 and 21 and weave the end
through existing thread paths, in a
circular motion. Trim carefully.
triple quatrefoil
T I N A K O YA M A
TECHNIQUES
:: right-angle weave
:: picot
See pp. 19–21 for helpful
technique information.
TECHNIQUES
:: right-angle weave
See pp. 19–21 for helpful Fig. 2: Layer 2 horizontal beads indicated in
technique information. green
A B
Right-Angle Weave
(Double Needle) Start
Using one needle on each end of the
thread, string 3 beads to the center the first round, until you have added
of the thread.*Use one needle to half the number of beads of the first
string 1 bead, then pass the other round. Exit from the first bead of the
needle back through it. String 1 second round. String 1 bead, pass
bead on each needle, then repeat through the second bead added in the
from * to form a chain of right-angle second round, and pull thread tight.
units (A). A B String 1 bead and pass through the
To turn at the end of the row, use third bead added in the second round.
the left needle to string 3 beads, Continue around, filling in the “spaces”
then cross the right needle back 1 bead at a time. Exit from the first
through the last bead strung (B). bead added in each round.
Use the right needle to string 3
beads, then cross the left needle
back through the last bead strung D
(C). To continue the row, use the Crimping
right needle to string 2 beads; pass C
String a crimp tube and pass through the
the left needle through the next connection finding. Pass back through
bead on the previous row and back the tube, leaving a short tail. Use the
through the last bead strung (D). back notch of a crimping pliers to pinch
the tube into a U, leaving a wire on
each side of the bend. Rotate the tube
90° and use the
front notch to
form the pinched
tube into a clean
cylinder.