Beadwork - February

All y
Delicas, our needs in

Toho Be M iyuk i,
ads® and Ming Tree™,
www.fir Cz
e m o u n t ech S eed Beads
aingem
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Showcasing
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Copyright
Fire Mountain Gems
and Beads© 2020
Swarovski®
Authorized Reseller
Quick Projects in Pearls & Leather p. 52
®
FEBRUARY/MARCH 2021 • AN INTERWEAVE PUBLICATION
Use
Traditional
Techniques
in New Ways
Stitch Sparkly
Beaded
Bezels
Preview the New
MUSEUM OF
BEADWORK
Spirit of
Dragonfly
Naomi Smith
p. 23
Liotrivi Path
by Leslie Pope
p. 44
over 1,500
FREE tutorials
(!!!)
+ all the supplies
you need
your NEW B(EAD) FF

contents
FEBRUARY/MARCH 2021 VOLUME 24 NUMBER 2
Feature
14 STORAGE FOR ANY SPACE
Melinda Barta
Bead Artist
20 NAOMI SMITH
23 SPIRIT OF DRAGONFLY
Projects 28 34
28 ISLAND BOUQUET
Edgar Lopez
34 SALADINE
Nicole Vogt
37 MERAKI
Jill Mackay
41 X MARKS THE SPOT
Amy Haftkowycz
44 LIOTRIVI PATH
Leslie Pope
48 CLEOPATRA EYES
Michelle Sepanski
37 41
Departments
4 PASSING THROUGH
6 COOL STUFF
8 SIMPLY SEEDS
10 CUSTOM COOL
51 KUMIHIMO 101
72 BEAD BUZZ
10
On the cover
Spirit of Dragonfly Simply Seeds
By Naomi Smith Page 8
Page 23
2 WWW.INTERWEAVE.COM
44 52 53
48 54 55
STITCH INDEX
Backstitch bead Picots: 44
embroidery: 37 Right-angle weave:
Brick: 23, 37 34, 37, 41, 44
Cold connections: 56 Stringing: 41, 52, 53,
Crimping: 41, 52, 58 56, 58
Gluing: 54, 58 Square stitch: 28
Knotting: 53, 54, 55, Two-needle appli-
56, 57, 58 qué flat beadwork:
Kumihimo: 48 23
Ladder: 28 Wireworking: 48, 52,
Netting: 10, 28 53, 55, 57
Peyote: 8, 10, 28 56 57
Project Rating Fast & Fabulous: Pearls & Leather

Our three-level project rating system is found
in the project instructions. 52 COWGIRL CHIC 56 MEDITATIVE MOMENTS
Debbie Blair Tracy Proctor
£¡¡
BEGINNER LEVEL 53 KNOTTED PEARLS & FRINGE 57 CASUAL ELEGANCE
Quick and easy Deb Floros Terry Ricioli
££¡ 54 TEARDROP PEARLS 58 DREAMY PEARL BIB

INTERMEDIATE LEVEL Michelle Owens Ron Rock & Katie Hacker
Moderate time commitment
55 CRYPTIC CICADA
£££ Anne Perry
ADVANCED LEVEL
Longer time commitment
BEADWORK FEBRUARY/MARCH 2021 3

passing through
EDITORIAL
DIRECTOR OF CONTENT Tamara Honaman
EDITOR Katie Hacker
Telling TECHNICAL EDITOR Meredith Steele

COPY EDITOR Nancy Arndt
Your Story MARKETING & ADVERTISING

ADVERTISING MANAGER Marilyn C. Koponen
[email protected], (877) 613-4613
The projects in this issue cover all of your favorite
AD TRAFFICKER Cari Ullom
techniques, from bead embroidery to beaded bezels SENIOR MARKETING MANAGER Jessi Rodriguez
and beyond. Each one offers the opportunity to
CREATIVE SERVICES
make it your own. Jill Mackay’s pendant is called
SENIOR DESIGNER Connie Poole
Meraki (page 37), a Greek word which means put- ILLUSTRATOR Laura Schoonmaker
ting yourself into whatever you’re doing. And Ellie PHOTOGRAPHY Molly Stevenson
Hamlett’s Rosette Pendants (page 10) are Custom Cool—change them to
suit your style.
Naomi Smith is the featured Bead Artist (page 20) in this issue. She’s
an Indigenous Canadian artisan who meticulously creates meaningful FOUNDER Linda Ligon
EXECUTIVE DIRECTOR OF CONTENT Tiffany Warble
jewelry that reflects her community. You’ll find her Spirit of Dragonfly GROUP ART DIRECTOR Emily Simpson
Earrings on page 23. When I asked her if there’s a defining characteristic DIRECTOR OF MEDIA SALES Julie Macdonald
of powwow jewelry, she said, “it’s big so you can see it from a distance.” It’s
easy to convert one of her earrings to a pendant if you prefer.
If you’re a storage and organization aficionado like me, you’ll love
Storage for Any Space on page 14. Melinda Barta asked a few of this
issue’s contributors to share their favorite tips and tricks for sorting and GOLDEN PEAK MEDIA
CHIEF EXECUTIVE OFFICER Gregory J. Osberg
stockpiling your beading treasures. I’m a big fan of card catalogs for stor-
SVP, CONSUMER MARKETING Paula Backer
ing tools and stringing materials and shallow trays and drawers for orga- VP, FINANCE Jordan Bohrer
nizing beads. VP, DIGITAL Melanie Darienzo
Bead Buzz (page 72) features the new Museum of Beadwork in NEWSSTAND SALES Scott T. Hill
[email protected]
Portland, Maine. We’re excited about this addition to the beading commu-
nity. The opening has been delayed due to COVID-19, but fundraising proj-
ects are in the works. The museum will be a repository of information
about the history of beadwork and an impressive collection of beaded Designs in this issue of Beadwork® are for inspiration and personal use only. Designs
may not be taught or sold without the expressed permission of the author. Beadwork
artwork. does not recommend, approve, or endorse any of the advertisers, products, services, or
There are seven Fast & Fabulous jewelry designs in this issue that are 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,
easy to make in an evening or a weekend. Pearls and leather are beautiful products, services, and views advertised in Beadwork. Exact reproduction for commercial
together and can mix and match in many different ways. From the roman- purposes is contrary to the spirit of good craftsmanship.
tic Dreamy Pearl Bib (page 58) to the yoga-inspired Meditative Moments Beadwork (ISSN 1528-5634) is published bimonthly by Interweave, a division of Peak Media
Properties, LLC, 4868 Innovation Dr., Fort Collins, CO 80525-5576. USPS #018-351. Periodicals
necklace (page 56), these designs will captivate you. postage paid at Fort Collins, CO 80525, and additional mailing offices. © 2019 Peak Media
We love to see what you’re making! Please share at beadworkmag@ Properties, LLC. 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
goldenpeakmedia.com. (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 37869, Boone,
IA 50037-0869
Retailers: If you are interested in carrying this magazine in your store, please contact us:
Email [email protected].
Katie Hacker For Beadwork SUBSCRIPTION questions or concerns, contact us:

Editor Email address: [email protected]
Beadwork (800) 849-8753
U.S. Mail: PO Box 37869, Boone, IA 50037-0869
facebook.com/ instagram.com www.interweave.com

BeadingDailyonFB #beadingdaily
twitter.com/ pinterest.com/
beadingdaily beadingdaily
Professional Quality Seed Beads
“Stars”
Designed by Franklin Martin Jr.
For more of his work, visit

https://www.facebook.com/FAMeJewelryDesign/
Aiko
Precision Cylinder Seed Beads
TOHO DISTRIBUTORS
See more at Facebook.com/TeamTOHO Starman Beads
www.CzechBeads.com Bobby Bead
www.BobbyBead.com
cool stuff MEREDITH STEELE
1
2
1. Caravan Beads celebrates the stars in our and visit www.tierracast.com (wholesale only) 5. These vinyl beads from Goody Beads are fun
night sky with their Orion’s Belt Necklace Kit. for more information. multicolored thin heishi beads that have great
Shown here in their Chapel colorway, each kit 3. These new enamel focals from Zola Elements texture and are perfect for color-blocking
contains all the items you need to make this are a beautiful combination of rustic and designs. These beads were originally made from
dainty and beautiful necklace at home. Three modern that are sure to catch your eye. vulcanized rubber, but recent testing shows that
other colorways are available. Designed and Available in silver or gold finish in five enamel many are made from other materials including
handmade in Maine. Visit www.caravanbeads colors. These and lots more from Zola Elements upcycled vinyl records. Hooray for recycling!
.com to get yours today. at Lima Beads, www.limabeads.com. Peruse the collection at www.goodybeads.com.
2. TierraCast’s recent additions are an 4. I know, I know. It’s not Halloween anymore. 6. These new electroplated hematite beads
assortment of wonderful parts to fill out I just couldn’t resist these cute Nightmare Before from Cherry Tree Beads are captivating. The
previous collections. You’ll see some of your Christmas licensed beads from Jesse James multi-tonal polychromatic shimmer of these
favorites here, such as the Mandala Button, Right Beads. If you’re a little spooky year-round, like beads just draws me right in, and the tactile
Angel Wing (when previously there were only me, I’m sure you won’t mind. See the eight feel of the heavy and cool-to-the-touch
left ones), Buddha Pendant, Lotus Teardrop, different bead sets in this collection at hematite seals the deal. I’m in love. Get yours
Lotus Spacer, Heart Leaf, Pumpkin, and Stitch-in www.jessejamesbeads.com. at www.cherrytreebeads.com.
Connector. Ask for them at your favorite retailer
THE STAFF OF BEADWORK INVITES YOU TO SEND YOUR NEW BEADWORKING PRODUCTS FOR CONSIDERATION IN COOL STUFF.
HANDPICKED
FAVORITES IN THE
6
Beadwork Favorites: Susan Sassoon

Crystal Beading Pattern Collection
Sparkle and shine with our new pattern
8 collection! Find five beading patterns
from Susan Sassoon to create vibrant
beaded jewelry. Each pattern uses crystal
beading to make necklaces, bracelets,
9 earrings, and a beautiful lariat. You’ll love
how elegant, chic, and intriguing each
pattern is! Make all five beaded patterns
with this digital collection.
10
7. Swarovski’s crystal baroque pearls are the 9. Carson’s Cove is a treasure trove filled
ultimate in elegance. Shown here in Dark Grey with Old World style mixed with modern
8 and 12mm rounds and Tahitian Look 12 and aesthetics. Here’s a small sampling of their
16mm drops, these durable and beautiful unique findings, beads, and charms. Shop
pearls are available in a wide variety of colors online and browse their jewelry-design
and sizes. Look for them at your favorite ideas at www.carsonscove.com.
bead retailer. 10. These hearts with rainbows from Fast & Fabulous Rough
8. It was really hard to select which beads Woman Shops World are so cheerful and Gemstones Pattern Pack
from Stephanie Sersich’s veggie family to show lovely. Life isn’t always rainbows and hearts, Combine rough-cut stones with ribbon,
you. I am completely geeking out about how but you can send that vibe out into the world leather, and chain to create stylish,
adorable these are. LOOK AT THEM! Each of with these vintage-inspired double-sided versatile jewelry! This Fast & Fabulous
the 13 different veggies have their own charms. Made from enamel, they have a nice Pattern Pack features nine projects using
individual personality. See them all at bit of weight to them and high-quality bling stringing and basic wire-wrapping
www.sssbeads.com. with a Swarovksi crystal. LOTS of colors to techniques.
choose from at www.shopwomanshops
world.com. www.interweave.com
PLEASE SEND ALL SUBMISSIONS TO [email protected] AND INCLUDE COMPLETE PRODUCT INFORMATION.

simply seeds SPOTLIGHT ON SEED BEADS
Kings & Crowns

Nicole Vogt
Y OU’LL FEEL LIKE ROYALTY

wearing this narrow cuff with
a crown motif stitched in odd-
count flat peyote.
artist’s tip
Add almost an inch to the
length of the bracelet by
repeating Rows 23–50
one more time.
1) BAND. Use odd-count flat peyote stitch Rows 11–22: Use odd-count peyote stitch
TECHNIQUE to form the band: to work 12 more rows, following Chart.
Peyote stitch Rows 8 and 9: Note: You may download Rows 23–50: Use odd-count peyote stitch
PROJECT LEVEL ££¡ the word chart for this pattern at www. to work 28 more rows, following Chart.
interweave.com/go/KingsCrowns. Note: Rows 51–162: Repeat Rows 23–50 four
MATERIALS
You’ll begin working at Row 8 (see the times, following Chart.
5 g gold galvanized permanent-finish
size 11° cylinder beads (A)
arrow on Chart), then come back and use Rows 163–188: Repeat Rows 23–48.
2 g dark bronze size 11° cylinder beads (B) the tail to decrease later. Add a stop bead Rows 189–190: Use odd-count peyote
4 g jet size 11° cylinder beads (C) to 6' of thread, leaving a 20" tail. String stitch to work 2 more rows, following
1 set of clear 5⁄16" nylon sew-on snaps 2A, 1C, 2A, 5C, 2A, 1C, and 2A (Fig. 1, Chart.
Smoke 4 lb FireLine braided beading blue thread). Note: See www.interweave.
thread com/go/beading-techniques for instruc- 2) END 1. Use decreases in odd-count pey-
tions on odd-count peyote stitch. ote stitch to form the first end:
TOOLS
Scissors Row 10: String 1A, then skip the previous A Rows 191–194: To work a decrease in odd-
Size 10 beading needle and pass back through the following A. count peyote stitch, pass under the near-
Work 1 stitch with 1A. Work 4 stitches est thread at the outside edge of the
FINISHED SIZE with 1C in each stitch. Work 2 stitches beadwork between the 2 previous rows,
6¾" with 1A in each stitch. Remove the stop then pass back through the last bead
bead and tie a square knot with the tail exited (Fig. 2, blue thread). Work 1 row
and working threads. Pass back through of peyote stitch according to Chart, then
the last A added (Fig. 1, red thread). pass under the nearest thread of the pre-
Fig. 1: Forming
Rows 8–10
8 WWW.INTERWEAVE.COM FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES

217
216
213
211
209 Chart
208
207
206
205
Fig. 2: Stitching Row 192
vious row and back through the last

2 beads exited (Fig. 2, red thread);
repeat twice, following Chart.
Rows 195–215: Continue in odd-count
peyote stitch without decreasing for
21 more rows, following Chart. Work
a decrease at the end of Row 215 to
step up for the next row.
Rows 216 and 217: Continue in odd-count
peyote stitch for 2 more rows, decreasing
until there is only 1 bead, following Chart.
Secure and trim the working thread.
3) END 2. Note: Take care that the tail

60 thread has been secured before forming
59
this end so that the beadwork won’t come
undone. Use the tail thread to pass through
the first bead strung in Row 8. Use odd-
count peyote stitch to work 7 rows, decreas-
ing until there is only 1 bead, following
Chart.
45
43 4) CLASP. Use 2' of new thread to sew
41 the one half of the snap to End 2, ¼" from
39
the edge. Repeat with the other half of the
37
clasp opposite side of the band on End 1,
35
33 taking care that it is positioned to close
31 properly.
29
27 NICOLE VOGT is a passionate
26
25 beader from Germany. Although
24
23 beading is her hobby, she spends
22
21 as much time as possible creating new designs.
20
19 She writes a beading blog with her two sisters
18
17
16 who are also beaders. Contact Nicole at
15
14 www.dreikleineperlen.blogspot.de.
13
12
11
9
10 RESOURCES Check your favorite bead
8 retailer or contact: Toho Aiko cylinder beads
7
6 and thread: Artbeads.com, (866) 715-2323.
5
4 Snaps: Jo-Ann Fabric and Craft Stores, (888)
3
1
2 739-4120, www.joann.com. ●
FOR HELPFUL TECHNIQUE INFORMATION SEE W

WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES BEADWORK FEBRUARY/MARCH 2021 9
custom cool PERSONALIZE YOUR JEWELRY COMPONENTS
Rosette
Beaded Bead
Ellie Hamlett
I nspired by the rose windows of Gothic cathedrals,

the Rosette Beaded Bead features shaped beads to
build a beautiful three-dimensional piece. Use this
versatile beaded bead in many ways.
TECHNIQUES
Circular peyote stitch
Circular netting
PROJECT LEVEL £¡¡
MATERIALS
1 g berry-lined light topaz AB
size 15° seed beads (A)
1 g matte dark mauve galvanized
Duracoat size 11° seed beads (B)
8 beige luster opaque 6×3mm
2-hole Kos par Puca beads (C)
8 copper polychrome 9×5mm
2-hole Kite beads (D)
16 blue hematite 6mm 2-hole 1) SIDE 1. Use circular peyote stitch and Round 3: Note: Take care to add the E
diamond Silky beads (E) circular netting to form the first side: faceup. String 1C (curved side first), 1A,
Smoke 8 lb FireLine braided Round 1: Use 6' of thread to string 4B, leav- 1E, and 1A, then pass through the second
beading thread ing a 6" tail; pass through the beads hole of the C (flat side first) and the next
TOOLS again to form a circle. Pass through all of B of the previous round; repeat three
Scissors again; use the working and tail
the beads agai times. Pass through the first 1C (first
Size 11 beading needle threads to tie a square knot. Pass through hole), 1A, 1E (first hole), and 1A of this
the first B (Fig. 1, blue thread). round (Fig. 2, blue thread).
FINISHED SIZE
Round 2: String 1B and pass through the Round 4: String 1B, 1D (narrow hole), and
1¼"
next B; repeat tthree times. Pass through 1B, then pass through the next 1A, 1E
the first B of th
this round (Fig. 1, red (first hole), and 1A of the previous round;
thread). repeat three times. Pass through the first
1B and 1D (narrow then wide holes) of
this round (Fig. 2, red thread). Note:
You’ll now begin working in the opposite
direction.
Round 5: Note: Take care to add the E
artist’s tip
faceup. String 1B, 1E, and 1B; pass
If you are having trouble through the next E (second hole) of
stringing chain or Round 3. String 1B, 1E, and 1B; pass
cording through the
through the next D (wide hole). Repeat
beaded bead, try
from the beginning of this round three
wrapping the cording
with thin wire and using times, then pass through the first 1B, 1E
the wire as a makeshift (first hole), and 1B of this round (Fig. 3,
needle. green thread).

Alternate
Colorway Materials
STAINED GLASS
1 g dark topaz gold luster size 15°
seed beads (A)
1 g blue steel size 11° seed beads (B)
8 dark bronze 6×3mm 2-hole
Kos par Puca beads (C)
8 sage polychrome 9×5mm 2-hole
Kite beads (D)
16 jet iris 6mm 2-hole diamond
Silky beads (E)
Smoke 8 lb FireLine braided
beading thread
ICICLE
1 g purple Ceylon size 15° seed beads (A)
1 g noir-lined crystal size 11° seed
beads (B)
8 blue-gray luster 6×3mm 2-hole
Kos par Puca beads (C)
8 black raspberry 9×5mm 2-hole
Kite beads (D)
Fig. 1: Forming Side 1, 16 twinkle silver 6mm 2-hole
Rounds 1 and 2 diamond Silky beads (E)
beading thread
Fig. 2: Stitching
Stitching Side 1,
Round
Roundsds 3 and
an
nd 4
Fig. 3: Weaving
eaving Side
1, Rounds
ds 5–7
FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES BEADWORK FEBRUARY/MARCH 2021 11

custom cool
Round 6: String 4A, then pass through the next D (wide hole) of Side 2, Round 4.
next 1B, 1E (first hole), and 1B; repeat Repeat from the beginning of this round
seven times. Pass through the first 2A of three times, then pass through the next
this round (Fig. 3, blue thread). 1B, 1E (second hole), and 1B (Fig. 4,
Round 7: String 1A, then pass through the green thread).
next 2A, 1B, 1E (first hole), 1B, and 2A; Rounds 6 and 7: Repeat Side 1, Rounds 6
repeat seven times (Fig. 3, red thread). and 7, passing through the second hole
Secure and trim the threads. of the E in Side 1, Round 5 (Fig, 4, red
thread). Secure and trim the threads.
2) SIDE 2. Use circular peyote stitch and
circular netting for the second side:
Rounds 1–4: Repeat Side 1, Rounds 1–4. ELLIE HAMLETT is an avid
Place the two sides together so that the beader, creating beaded designs
backs are touching, taking care that the E between working at a nonprofit
and D beads are aligned. Hold the sides in Washington, D.C., and pursuing a master’s
in place as you work the next round. degree in public policy. She spent five years
Note: The E of Side 1, Round 5 fold in to designing and teaching patterns at the Bead
become the edge of the beaded bead. Gallery in Buffalo, New York. Contact Ellie at
Round 5: String 1B; pass through the next [email protected].
E (second hole) of Side 1, Round 5. String
Fig. 4: Adding 1B; pass through the next E (second hole) RESOURCES Check your favorite bead
Side 2, Rounds 5–7 of Side 2, Round 3. String 1B; pass retailer or contact: Kits: The Buffalo
through the next E (second hole) of Side Bead Gallery, www.thebuffalobeadgallery
1, Round 5. String 1B; pass through the .com/kits. ●
Advance Your
Beading Skills
Enhance your bead weaving skills
and create stylish jewelry with
10 Quick & Easy Bead Weaving
Patterns Vol. II eBook! Explore 10
beginner-friendly bead weaving
designs, using techniques such as
peyote stitch, netting, right-angle
weave, picot, and so many more!
Download at Interweave.com
BEADWORK
PRESENTS
10
Quick & Easy
Bead Weaving
Patterns Vol. II

Storage for Any Space
How Four Beaders Stay Organized and Inspired
MELINDA BARTA
Inside Jill Mackay's personal design studio.
W
hether we bead for a living in a dedicated studio space or as
a hobby with beads tucked away in our bedrooms or clos- next to one another to develop color pal-
ets, all beaders appreciate seeing how others wrangle their ettes and textures.” She adds, “I know
hoards of beads. The variety of bead colors, sizes, and shapes can make how much trouble goes into the making
the process of sorting and storing a very daunting task. Follow along of every little bead. Beads have lives of
their own; they have history. The process
as four of this issue’s contributors share how they stay organized and, of creating beads is a whole big, fascinat-
most importantly, inspired in their beading spaces. ing journey that I like being a part of.”
Amy Haftkowycz
Jill MacKay element to Jill’s organization and design www.etsy.com/shop/TrixiesJewelBox
www.jillmackay.com process. “I work in jewelry trays, lined with www.trixiesjewelbox.com
Jill MacKay works in what many would con- bead mats. Since I have several proj- Although Amy Haftkowycz has a dedi-
sider a dream studio. Located in the small ects going on at once, they make it easy to cated studio space in her basement, she
town of Bellvue, Colorado, the charming switch back and forth. These trays get loves the flexibility of letting her projects
historic building that is both her home and stacked, and there are usually a few sitting wander into other places of her house—
workspace was built in 1911 and once around the studio, in various stages of whether that’s in front of the computer
served as the community store. “There’s a completion.” tracking Etsy orders or hanging out with
lot going on in my studio, from writing When it comes to storing beads, Jill says, her husband and cats. Vintage doors and
articles to developing kits, designing new “I have a good portion of my materials and door panels, reclaimed from her former
components and findings for manufactur- supplies out to be seen and touched. bead shop, are covered with beautiful
ing, making finished jewelry, photography, When I design a new project, the beads strands of beads that double as art and
video making, and live broadcasting.” speak to me visually with their shapes and inspiration. Amy says, “There is nothing
Trays are a very simple, yet important colors; I love to touch them and set them more stunning and inspiring than a wall
Amy Haftkowycz uses a spinning
rack for display and storage.
filled with gorgeous beads. Being able to

see everything really feeds my creative
spirit!”
Amy developed a three-part system to
keep her beads easy to find: “I prefer to
sort my beads first by type, then by style,
and finally by size. For example, all of my
Czech glass beads are grouped together as
one type, then melon bead styles are in
the same area, and finally those melons
are sorted by size. By organizing them this
way, it makes it easy for me to pick out
what I need for various projects.”
As for studio upkeep, she admits her
ALL PHOTOS COURTESY OF THE FEATURED DESIGNERS.
projects often accumulate into piles

because inspiration usually carries her
right into the next project without time to
stop and tidy up. However, Amy’s very
meticulous about keeping the inventory
she sells well organized and orderly: “I’m a
mix of ‘creatively free spirited’ and ‘keep it
in line’ when it comes to my organizing
routines!”
Nicole Vogt
https://dreikleineperlen.blogspot.com
Nicole Vogt’s beads are part of her every-
day life, stored right in her living room as
they are for many beaders. The German
artist explains, “Normally I create sitting on
the couch with my tray and ‘hearing’ TV or
music. I have all my beads in my living
room, and I put the bags with the beads I
actually need on the second couch, close
to me.” Although she runs a beading blog
with her sisters, she says, “Unfortunately,
I’m not able to share my space with my sis-
ters, because they live far away from me.”
“I need my supplies close to me. While
creating and trying new designs, there are
also a lot of different beads on my beading
board and the table in front of my couch.”
To stay organized, Nicole has small, clear
round and square containers that tuck
away neatly inside of soft-sided zip-up
bags. She says, “I store my beads by type,
Nicole Vogt's crystal storage.

Nicole Vogt tracks seed bead numbers and colors. Ellie Hamlett uses trays made from bead mats and steering wheel covers.
Amy Haftkowycz stores strands of beads on a vintage wood panel. Jill Mackay's DIY bead tube holder.
Jill Mackay outside her home and studio in Bellvue, Colorado.
size, and color, and I keep a list of each beads neatly tucked away, otherwise I risk Storage Solutions
bag’s contents. Then, I mark the bags getting distracted.” under $20
with colored ribbons.” Extra supplies, However, Ellie doesn’t always feel glued
including magazines, books, refill beads, to her desk. She shares, “For the rare times One of my favorite ways to store beads is on
Ultrasuede, etc., are stored in a closet. I want to bead in another location, I have wall panels with coffee-cup hooks. I’ve used
Having her beading space right in her mobile beading trays that a very sweet vintage door panels, but you can use scrap
main living space provides great motiva- customer of the Buffalo Bead Gallery made lumber that is painted or stained to match
tion to clean up and organize after each for me by cutting cardboard and beading your workspace. Not only are these panels fun
project. “I sort my beads back into the mats into a circle and fitting them into and attractive, but they are also very budget-
friendly! —Amy Haftkowycz
storage bags/containers when I’ve fin- steering-wheel covers. They are perfect for
ished a project and when I clean my beading on the go!”
I bought most of my storage solutions on EBay
home or someone visits me.” Those of us As for her favorite storage methods, Ellie or from China. When shopping online, search
who don’t have a dedicated studio or keeps her beads in small baggies and sorts for these terms: bead storage, bead box,
craft room enjoy hearing how others them by type in clear plastic photo boxes. diamond painting storage, diamond painting
keep materials accessible yet tidy. Seed beads stay in the little tubes that box, nail art box. Also you can buy an
they come in. She shares, “I find that photo assortment of affordable boxes at your
boxes are the perfect way to organize my local home improvement store. —Nicole Vogt
Ellie Hamlett beads. Lots of shelf space has also been a
www.thebuffalobeadgallery.com lifesaver!” When I get new seed beads and don’t want to
spend the money on fancy plastic trays, I grab
Like Nicole Vogt, Ellie Hamlett does most
a piece of 2x4" wood and use a drill to make
of her beading in a multiuse space. “I MELINDA BARTA is a former editor of Beadwork
rows of holes that are the same size as my
live in a very small studio apartment, so I magazine and the author of six books bead tubes. They become inexpensive bead
had to come up with a very space-sensi- published by Interweave. She has filmed many holders. It’s a quick and inexpensive way to
tive way to store the inordinate amount instructional DVDs on bead-weaving tech- store your seed beads. Plus, I like the smell and
of beads I have, while still keeping them niques, taught at craft schools and bead shows feel of wood. —Jill MacKay
handy. I work at a desk that doubles as a nationwide, and shared her love of crafting on
home office (and oftentimes a dinner DIY, PBS, HGTV, Style, and local television I am a big advocate for photo box containers!
table), so I have to keep it neat.” Finding networks. Melinda is a craft industry consultant You can find them online for less than $20. The
creative ways to make the most of her and a 2016–2020 StarmanTrendSetter. Visit type I use can be purchased at craft stores and
are a great buy when you catch a 50% off
surroundings became especially impor- www.melindabarta.com and www.melinda
coupon! —Ellie Hamlett
tant after needing to work from home bartastudio.etsy.com.
due to COVID-19. “I need to keep my

Katie Hacker
Listen to Our Brand-New

Jewelry
po d c a s t !
Jewelry Artist is a series of conversations about the art and
business of making jewelry. Host Katie Hacker talks with top
jewelry experts, whose insights will inspire you at the bench
and beyond. Listen in for tips, trends, tool reviews, and more.
LEARN MORE AT Interweave.com/Jewelry-Artist-Podcast

Made with NEW
Artistic Wire Mu
MultiColor Wire.
Life is what you make it.

bead artist BY KATIE HACKER
Naomi
Smith:
Modern
Traditions
NAOMI SMITH is a member of
the Chippewas of Nawash nation
and her community is located
in Neyaashiinigmiing, Ontario.
Adopted at a very young age by
a non-native family, Naomi feels
grateful that her adoptive parents
encouraged her to learn about
her heritage as an Indigenous
Canadian. She remembers
teaching herself how to do bead
looming when she was just seven
years old, saying “Somehow I
knew I should be creating art-
work with tiny glass beads.”
When she eventually met her
birth mother, who was also an
artist, Naomi discovered that
Art mask decorated with strawberries.
they shared a love of beadwork.
They were both drawn to the
magical quality of seed beads. The Naomi’s passion for beading has devel-
Indigenous name for seed beads is oped over the past three decades. She
"manidoominens," which trans- shares, “It’s such a joy for me to handle a
piece of beadwork and run my fingers
lates as "little spirits." Before her
ALL PHOTOS COURTESY OF THE ARTIST.
over the design and feel the beads.

mother passed on, Naomi prom- Creating beadwork is a relaxing pursuit for
ised her that she would not keep me, and it can be a healing process that
precious Indigenous knowledge to has a sense of sacredness to it. I love how
beading connects me to my Ancestors’
herself, but that she would con- voices and my own.” She enjoys using tra-
tinue learning and teaching others ditional techniques to create contempo-
about traditional arts. rary designs.
Bead Artist Naomi Smith
KNOWLEDGE KEEPER respect for native culture. She teaches her
As a Knowledge Keeper, Naomi is responsi- students that “the creation of art is not
ble for sharing traditions appropriately so separate from our teachings, roles, and
they’ll live on. Naomi explains, “Our ances- responsibilities. Everything is intended to
tors used beading as a way to connect to work together.”
each other spiritually and provide a way to “The role of a Knowledge Keeper goes
tell our stories in a meaningful way through beyond showing people how to create
the creation of elaborately embellished beadwork or any other art form, it can be
objects. Everything we create has a story quite involved. When we use materials
and meaning and every community has its that come from the natural world, there
own beading traditions, styles, and history.” are protocols surrounding the use of those
In most of her classes, Naomi teaches materials and what to do with any materi-
native people who have a strong interest als that can’t be used. One thing I always
Trillium Bag recalls happy forest walks in their culture or those who are from dif- impress on others is the importance of
in early summer.
ferent backgrounds but have a great having due regard for all the teachings
and lessons during the workshop.” Naomi
focuses on teaching the traditions of the
Woodlands people.
BEAUTIFULLY PRACTICAL
Naomi collects antique and vintage bead-
work. Finding examples of traditional
beadwork is more difficult than it has been
in the past, and this scarcity inspires Naomi
to collect and preserve them. Some of Nao-
mi’s favorite beaded objects are strawberry
pincushions. She says, “I taught myself how
to make them through the study of antique
examples I had seen. This particular form is
infinite in how they can be made when
considering the fabric choices, type of
beads, size, and style of the berry body
itself. A lifetime could be spent just creating
strawberry pincushions with no two the
same; it’s this path of discovery and learn-
ing that make creating beadwork such an
engrossing art form.”
“The European ideal of artwork just
being on display is not our perspective—
in fact, it is a foreign concept. Everything
we decorate or embellish is meant to be
used. I do my best to live this example by
allowing my art to be handled and experi-
enced even by my young elementary-
school students. I love seeing the joy in
people’s eyes when they touch and hold
Dragonfly cuff with

handmade tassels.

bead artist
Ode to Leila bag (back) includes

beaded tulips, which is a way that
Naomi signs her work.
my pieces.” Jewelry, key fobs, and card

cases are just a few of the practical objects
that she embellishes with beadwork.
Naomi creates Woodlands designs and
traditional objects using natural or glass
beads, sweetgrass, birch bark, porcupine
quill, hair, and hide, always valuing these
sacred materials throughout her creative
process. Her meticulously fashioned work
has been exhibited at many museums and
is included in the collection of the
Smithsonian National Museum of the
American Indian and the Boston Museum
of Fine Art.
BEADWORK AS A BUSINESS
Naomi uses her collection of vintage seed
beads for special projects or restoration
work in addition to selling them through
her company, Black Tulip Designs. She
caters to beaders who use and collect
Czech seed beads.
“Beading at the kitchen table has been a
time-honored tradition for families who
produce beadwork made for sale outside
the community. Up until recently, I was
using space all over the house to work on
my beadwork. I now have a dedicated
room for my studio.”
When asked about her favorite tools education provided me with extra cre- are intertwined. We embellish our every-
for beading, Naomi admits, “My laptop is ative and technical skills I can extend into day objects as a way of preserving what
one tool I use that I am not sure other my Indigenous art.” has meaning in our lives.” This has been
bead artists utilize. I use my Mac to draft Another favorite outside-the-box tool especially important during the
beading patterns and create templates she uses is grasping a beading needle with pandemic.
that I can print out for my own use or for flat-nose pliers, then pushing the needle As a response to COVID-19, Naomi cre-
my workshops. I have a background in through bulky areas in the beadwork. ated a fully beaded art mask that features
fashion design, textile printing, and Naomi also uses a paper punch to cut pat- a strawberry motif. She frequently uses
graphic design. The various facets of my terns for circular medallions, then sticks strawberries in her beadwork, but for this
them to the beading foundation using design she used them because they are a
double-sided adhesive tape. medicine plant for the Woodlands and
Contact Naomi Haudenosaunee (Iroquois) people. She
Naomi is grateful for the opportunity BEADING WITH MEANING says they are a sign of hope because
to share her story and the story of her Naomi’s beadwork and classes include “strawberries are the first fruit that nour-
community, saying “If I can inspire anyone, symbolism and narratives. She observes, ishes us after a long winter. Our ancestors
then I feel what I do is a success.” “Beadwork tells stories of who we are as knew that when the strawberries appear
Visit www.blacktulipdesigns.ca. individuals and the communities we come in the meadows, the long difficult days of
from. For Indigenous people, art and life winter were over.” ●
Spirit of Dragonfly NAOMI SMITH

DOWNLOAD
TEMPLATE AT:
www.interweave.com/go/
C REATE A BEAUTIFUL PAIR of dragonfly earrings using two-needle appliqué flat

beadwork techniques that find their roots within Indigenous beading traditions.
This project provides the opportunity to create your own pair of dragonfly earrings
spirit-of-dragonfly
done in the powwow style of beadwork.

appliqué flat beadwork to form the dragon-
fly, stitching through the paper and the
TECHNIQUES 2 black-and-gold 5×30mm silk tassels foundation. Note: Bead quantities indicated
Two-needle appliqué flat beadwork 2 sterling silver 4×13mm hook clasps may vary; adjust the number as needed to
Brick stitch 2 sterling silver 18-gauge 6mm soldered avoid gaps:
jump rings (small) Center: Stitch 1 crystal scarab bead in the
PROJECT LEVEL ££¡
2 sterling silver 18-gauge 8mm soldered center, taking care to line it up with the
MATERIALS jump rings (large)
template; repeat the thread path of this
3 g white pearl AB size 15° 2 sterling silver 12mm ear wires with ball ends
stitch three times to reinforce. Use two-
Japanese seed beads (A) 2 black 4 × 4" pieces of beading foundation
2 teal 4 × 4” pieces of Ultrasuede backing
needle appliqué flat beadwork to add
1 g 24k gold-plated size 15°
Japanese seed beads (B) 4 printouts of the dragonfly template 1 row of F around the scarab.
2 g Tiffany blue size 15° White size D Nymo nylon beading thread Outline Wing Segments: Use two-needle
Japanese seed beads (C) 5" of sterling or silver-plated 22-gauge appliqué flat beadwork to add 1 row of D
8 g green AB transparent size 11° craft wire around the outlines of the wings, starting
true-cut Czech seed beads (D) Scrapbooking double-sided tape with the lower wings.
2 g matte Vermillion opaque size 11° Hercules double-sided tape Decorative Rows: Continue in two-needle
Japanese seed beads (E)
TOOLS
appliqué flat beadwork, working from
10 g dark red transparent size 11°
Czech seed beads (F) Scissors the center out, to add 1 row of {3D, 1E, 1F,
4 g white pearl AB size 11° White or gray gel pen and 1E} three times, and 6D at the top of
Japanese seed beads (G) 2 size 11 sharp (short) beading needles each wing segment.
2 azuro pearl shine 8×5mm 2-hole Binder clip Wing Detail Crosslines: Continue in two-
GemDuos (H) Wire cutters needle appliqué flat beadwork to add the
2 jet AB2X 6mm Swarovski crystal bicones (J) Round-nose pliers wing detail crosslines using D in each
2 scarabaeus green 7×12mm Swarovski wing segment.
crystal scarab beads FINISHED SIZE
Fill Wings: Working from the center out,
8 gold-plated 4mm fire-polished rounds (K) 3½ × 4½"
use two-needle appliqué flat beadwork
4 jade 5×7mm pressed-glass bell flowers (L)
to add 1K in the top wing segments on
either side of Center, then fill in each
wing segment with repeats of 2A and 1B,
1) PREPARE. Print out 2 copies of the following the upper contours of the wing
Alternate Dragonfly Template (see link above). Cut shapes.
Colorway Materials out the templates and use the scrapbook- Outside Border: Use two-needle appliqué
ing double-stick tape to apply 1 template to flat beadwork to add 1 round of C around
each side of 1 piece of beading foundation. the outside border of the wings.
PINK TASSEL
Trace around the edge of the paper cutout Large Ring: Stitch the large ring to the
4 rose AB 6mm Swarovski
crystal rounds (J) with a white or gray gel pen. Remove the foundation near the edge at the head of
4 lava red 3mm fire-polished template from one side and trim the bead- the dragonfly.
rounds (K, tassels only) ing foundation around the outline, taking Head: Note: Repeat the thread paths of
2 pink-and-silver 4×16mm silk tassels care that the template on the back is cen- each stitch in Head three times to rein-
2 sterling silver 4×13mm hook clasps tered. Trim off the black border and the force. Stitch 1H to the foundation at the
5" of sterling or silver-plated dragonfly head you removed from the tem- head of the dragonfly, covering the bot-
22-gauge craft wire plate and reaffix it to the front of the bead- tom of the large ring. Stitch 1L to the
ing foundation. Note: The templates will be foundation on either side of the H; add
your guide for where to stitch the beads in 1E to the center of each L.
Step 2. Tie a knot at the end of 4' of nylon Small Ring: Stitch the small ring to the
thread; pass up through the paper and the foundation at the bottom of the
foundation from back to front, exiting at the dragonfly.
top-center edge of the scarab on the
template. 3) BACKING. Carefully trim 1 piece of
backing to match the back of the beading
2) DRAGONFLY. Note: See www.inter- foundation. Use the Hercules tape to attach
weave.com/go/beading-techniques for the backing to the foundation. Use the
instructions on two-needle appliqué flat binder clip to hold the backing in place
beadwork. Following Fig. 1, use two-needle as you add the edging.

Fig. 1: Bead
embroidery chart
artist’s tips
❯ Don’t use a long beading needle;
it needs to be strong enough to
pass through the templates and
beading foundation.
❯ Print the templates out on
cardstock for a stiffer foundation.
❯ If you’re not into big earrings, use
one earring as a pendant instead.
FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES

DING-TECHNIQUES BEADWORK FEBRUARY/MARCH 2021 25
Fig. 2: Stitching
Edging
4) EDGING. Use single bead and double- 6) FINISH. Attach 1 ear wire to the large Artist’s Statement:
bead brick stitch edging around the entire ring; attach Tassels to the small ring. “Honouring our traditions is my voice within and
dragonfly: Repeat Steps 1–6 for a second earring; beyond my Culture and Community. Traditionally
Prepare: Use 4' of thread to pass down take care that the tassels are mirror image there is no word for “art” in Native languages
through the foundation and backing for earrings. yet artistry and visual expression are critical in
from front to back, near the edge at the defining who we are as Indigenous people.
dragonfly’s head, leaving a 6" tail. NAOMI SMITH is an Indig- It is this path I wish to exemplify through
Single Bead: String 2G; pass up through enous Artist and Educator. She my teachings and my work."
the foundation from back to front, 1 is actively involved in sharing
bead’s width from where the working traditional art and teachings with others. Contact Naomi at blacktulipdesigns@
thread last exited. Pass back through the She focuses on the Indigenous people of the yahoo.com or visit her website at
second G strung (Fig. 2, green thread, Woodlands and Northeastern region from www.blacktulipdesigns.ca
large ring removed for clarity). String 1G; a historical and contemporary perspective
pass through the foundation from back often through the story of beads. RESOURCES Check your favorite
to front, 1 bead’s width from the last Her art embraces ancestral designs in the bead retailer or contact: Miyuki and Czech
stitch, then pass back through the G form of bags, and adornment, using natural or seed beads, bell flowers, hook clasps, ear
just added; repeat three times (Fig. 2, glass beads, quillwork and other indigenous wires, beading foundation, Ultrasuede,
blue thread). materials and techniques. Naomi's work has and double-sided tape: Black Tulip Designs,
Double Bead: String 2G; pass through the been exhibited across Canada and internation- www.blacktulipdesigns.ca. GemDuos and
foundation from back to front, 1 bead’s ally. She has shown at the National Museum of Swarovski crystal bicones, rounds, and scarab
width from the last stitch, then pass back the American Indian (NMAI) in Washington DC, bead, fire-polished rounds, and silk tassels:
through the second G just added; repeat New York City, the Vancouver 2010 Olympics, That Bead Lady, www.thatbeadlady.com.
until you reach the corner of the top and the PanAm Games, and participates in Sharps (short) beading needles: John
bottom wing (Fig. 2, red thread). numerous events throughout the year. Bead, www.johnbead.com (wholesale
Repeat Single Bead and Double Bead edg- Naomi’s work is in private and public collections only). ●
ings around the entire dragonfly, using Sin- including the Boston Museum of Fine Art,
gle Bead in the corners and the head. Art Gallery of Guelph, and Schneider
Secure and trim the threads. Haus Historical Site.
Read more about
5) TASSELS. Use 2½" of craft wire to form
Bead Artist Naomi Smith
a wrapped loop around 1 hook closure. on page 20.
String 1K, 2J, and 1K; form a wrapped loop
around the black-and-gold tassel. Attach
the hook closure to the small jump ring.

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1) COMPONENTS. Use square stitch and Embellishment Round 2: Note: Take care
S TITCH TOGETHER SIX components to

cover a 30mm foundation bead, then
go all out embellishing this glamorous
circular netting to create the components:
Bottom Ring: Use 3' of thread to string
16B, leaving a 4" tail. Tie a square knot
to add the D faceup. String 1D, 1B, and
1D, then pass through the next 2C of
Embellishment Round 1; repeat three
necklace with 24-karat gold seed beads with the working and tail threads to form times. Pass through the first D (first,
and Swarovski crystals. a circle; pass through the next 5B (Fig. 1, inside then second, outside hole) added
blue thread). in this round (Fig. 3, red thread). Note:
Center: String 1N; pass through 2B on the You’ll now begin working in the opposite
TECHNIQUES
opposite side of Bottom Ring, back direction.
Square stitch
through the N just strung, and through Embellishment Round 3: String 1B, 1J,
Circular netting
the last 2B exited on the first side of and 1B; pass through the next D (outside
Tubular peyote stitch
Ladder stitch
Bottom Ring (Fig. 1, red thread). hole). String 1A, 1K, and 1A; pass through
Top Ring: String 2C, then pass through the the next D (outside hole). Repeat from
PROJECT LEVEL £££ last 2B exited and the following 2B of the beginning of this round three times,
MATERIALS Bottom Ring (Fig. 2, green thread); then pass through the first 1B/1J just
5 g 24k gold-plated size 15° repeat seven times. Pass through the first added (Fig. 4, purple thread).
Japanese seed beads (A) 2C added in Top Ring (Fig. 2, blue Embellishment, Round 4: String 2A, 1E,
3 g 24k gold-plated size 11° thread). Note: You’ll now begin working and 2A; pass through the nearest 2C of
Japanese seed beads (B) in the opposite direction. Pass through all Round 1. String 2A; pass back through
5 g 24k gold-plated size 11° of the C in Top Ring to cinch into a tight the last E strung. String 2A; pass through
Japanese cylinder beads (C)
circle (Fig. 2, red thread). Pass through the last J exited, then weave through
84 backlit utopia 8×5mm 2-hole GemDuos (D)
the last 2B exited of Bottom Ring (see the beads to exit from the next K (Fig. 4,
24 emerald 2XAB 3mm Swarovski crystal
bicones (E) start dot in Fig. 3). green thread). String 2A, 1F, and 1A; pass
26 peridot shimmer 2X 3mm Swarovski crystal Embellishment Round 1: String 2C, then through the nearest B of Round 2. String
bicones (F) pass through the last 2B exited and the 1A; pass back through the last F strung.
12 rose peach shimmer 2X 3mm Swarovski next 4B of Bottom Ring; repeat three String 2A; pass through the last K exited,
crystal bicones (G) times. Pass through the first 2C added in then weave through beads to exit from
12 siam 2XAB 3mm Swarovski this round (Fig. 3, blue thread). Note: the next J (Fig. 4, blue thread). Repeat
crystal bicones (H)
You’ll now begin working in the opposite from the beginning of this round three
34 fuchsia 2XAB 4mm Swarovski
crystal bicones (J)
direction. times (Fig. 4, red thread). Don’t trim the
32 white opal simmer 2X 4mm Swarovski threads; set aside.
crystal bicones (K) Repeat this entire step twice for a total of
24 mint alabaster AB 4mm Swarovski three components with N.
crystal bicones (L) Fig. 1: Forming Repeat this entire step three times, using O
24 turquoise 2XAB 4mm Swarovski Components,
in place of N, for a total of three compo-
crystal bicones (M) Bottom Ring and
Center nents with O.
1 crystal laguna delite 20×30mm Swarovski
crystal large pear fancy stone
14 pink agate 6mm faceted
gemstone rounds (N)
11 amethyst 6mm faceted Fig. 2: Stitching
gemstone rounds (O) Components,
Top Ring
1 tan 30mm resin or wood round
56" of gold textured 6×9mm open link
oval chain
Crystal 8 lb FireLine braided beading thread
24" of gold 24-gauge craft wire
TOOLS
Scissors Fig. 3: Weaving
Size 12 beading needle Components,
2 pairs of chain- or flat-nose pliers Embellishment
Rounds 1 and 2
Wire cutters
Round-nose pliers
FINISHED SIZE
34" with a 3½" focal
Fig. 4: Forming
Components,
Embellishment
Rounds 3 and 4

artist’s tips
❯ You can use 6mm Swarovski
round crystals instead of
faceted gemstones.
❯ If you want a shorter pendant,
use a 18×13mm pear fancy stone
instead of the 30×20mm.
Fig. 5: Stitching Ball,
❯ Further embellish the chain Connection 1
with extra bowties.
❯ You may use jump rings for
the assembly if your chain links
do not open.
Fig. 6: Weaving Ball,

Top Connection
Fig. 7: Joining
Embellishment, Pass 1

2) BALL. Join the components into a ball: wood or acrylic bead into the beadwork. 4) BOWTIE. Use square stitch and circu-
Connection 1: Use the working thread Use the working thread from 1 new com- lar netting for the bowtie:
from 1 component with N to string 1A, ponent with O to repeat Connection 1 Bottom Ring, Center, and Top Ring:
1B, and 1A; pass through 1K of 1 new four times to connect all four sides to the Repeat Bottom Ring, Center, and Top
component with O. String 1A, 1B, and 1A; bottom of the ring of components. Don’t Ring of Step 1.
pass through the last J exited, then trim the working thread. Embellishment, Pass 1: Note: Take care
weave through beads to exit from the to add the D faceup. String 1B, 1D, 1B,
next K of this component (Fig 5, blue 3) EMBELLISHMENT. Use embellish- 1D, and 1B; pass through the previous
thread). String 1A, 1B, and 1A; pass ments to cover holes in the beadwork: 4B of Bottom Ring, then pass through
through the next J of the new compo- Pass 1: Use the working thread of the last the first B just added (Fig. 9, green
nent. String 1A, 1B, and 1A; pass through component connected to weave through thread).
the last K exited (Fig. 5, red thread). beads to exit from 1B in the nearest Embellishment, Pass 2: String 5A; pass
Repeat the thread path of this connec- 1A/1B/1A connection. String 4A and pass through the second (outside) hole of
tion to reinforce. Secure and trim the tail through the next 1B in the nearest the nearest D. String 1B, 1J, and 1B;
thread, don’t trim the working thread. 1A/1B/1A connection; repeat twice pass through the next D (outside hole).
Connections 2 and 3: Repeat Connection (Fig. 7). String 5A; pass through the next B of
1 twice, connecting 1 new component Pass 2: String 1L, 1A, and 1L, then Pass 1 and the following 12B of Bottom
with N to the last component connected, pass through the next B; repeat twice. Ring (Fig. 9, blue thread).
opposite the last connection to form a Pass through the first 1L/1A (Fig. 8, Embellishment, Passes 3 and 4: Repeat
straight line. Then connect another new blue thread). Embellishment, Passes 1 and 2, passing
component with O to the one just added Pass 3: String 1G and pass through the next through the following 7B of Bottom
in the same manner. Don’t trim the work- A of the previous pass; repeat twice Ring and back through the nearest 4C
ing thread. (Fig. 8, red thread). Repeat the thread of Top Ring (Fig. 9, red thread).
Connection 4: Repeat Connection 1, con- path of this pass to reinforce. Join: String 1B, 1A, 1F, 1A, and 1B; pass
necting the last component to the first Repeat this entire step three times to em- through 1D (inside hole) of a compo-
component to form a ring of compo- bellish a total of four holes in the beadwork nent on the bottom-back of the ball.
nents. Don’t trim the working thread. on opposite corners of a component. String 1B, 1A, 1F, 1A, and 1B; pass
Top Connection: Use the working thread Repeat this entire step four times to embel- through the last 4C of Top Ring exited
from 1 new component with N to repeat lish a total of four holes in the beadwork, (Fig. 10). Note: This will become the
Connection 1 four times to connect all filling the opposite corners left uncovered bottom of the focal.
four sides to the top of the ring of com- by the previous embellishments, using M in
ponents (Fig. 6, beadwork flattened for place of L and H in place of G.
clarity). Don’t trim the working thread.
Bottom Connection: Insert the 30mm
Fig. 8: Adding
Embellishment,
Passes 2 and 3
Fig. 9: Stitching Bowtie,

Embellishment Passes 1–4
Fig. 10: Joining

Bowtie

5) TEARDROP. Use tubular peyote stitch Back: Use the tail thread to work 2 rounds
for the teardrop: of peyote stitch using 1A in each stitch.
Rounds 1 and 2: Use 6' of thread to string Secure and trim the tail thread; don’t
61C, leaving a 12" tail; use the working trim the working thread. Flip the
and tail threads to tie a square knot. Pass beadwork over.
through the first 2C (Fig. 11, purple Join: String 2A; pass through the bottom
thread). 2B of Bowtie, Bottom Ring. String 2A;
Round 3: String 2C; pass through the next pass through the last C exited of Teardrop
C. String 1C, skip the next C, then pass (Fig. 13). Repeat the thread path to rein-
through the following C; repeat 29 times. force; secure and trim the thread.
Note: Step up for this and subsequent
rounds by passing through the first bead 6) BAILS. Use square stitch, circular net-
added in the current round (Fig. 11, ting, and ladder stitch to create the bails:
green thread). Bottom Ring, Center, and Top Ring:
Round 4: String 1C; pass through the next Repeat Bottom Ring, Center, and Top
C. Work 1 round of peyote stitch with 1C Ring of Step 1.
in each stitch (Fig. 11 blue thread). Strap: String 2B, then pass through the last
Round 5: Work 1 round of peyote stitch 2B exited and the 2B just added; repeat
with 1C in each stitch. Don’t step up ten times (Fig. 14, blue thread). Pass
at the end of this round. (Fig. 11, through the 2B opposite the first 2B
red thread). exited of Bottom Ring; pass through the
Rounds 6–8: Insert the fancy stone into the last 2B added and the last 2B exited of
beadwork faceup and so the 2C of Bottom Ring (Fig. 14, red thread).
Round 3 are at the point. Hold it in place Repeat this entire step for a second bail.
as you work these rounds. Work 3 more
rounds of peyote stitch using 1A in each
stitch (Fig. 12). Weave through beads to
exit the top C of Round 4 (see the start
dot in Fig 13). Flip the beadwork over.
Fig. 11: Forming

Teardrop, Rounds 1–5
Fig. 12: Stitching

Teardrop, Rounds 6–8
Fig. 13: Joining

Teardrop

Fig. 14:
Weaving Bails,
Strap
Fig. 15: Joining
Bails
Fig. 16: Stitching

Links, Pink Bowtie
Join: Note: Locate the N or O opposite the loop. Repeat three times for a total of Bowtie to 1 Purple Link. Use 10" of
bowtie and teardrop. This is the compo- 4 Purple Links. chain to join the previous Purple Link to
nent that you join the bails to. Use the Pink Link: Repeat Purple Link, using N in 1 Purple Link. Use 7 links of chain to join
working thread from 1 bail to string 1B; place of O. Repeat three times for a total the previous Purple Link to 1 Purple
pass through 1F on the top-front of the of 4 Pink Links. Bowtie. Use 7 links of chain to join the
ball. String 1B; pass through the last 2B previous Purple Bowtie to 1 Pink Link.
exited of Bottom Ring (Fig. 15, blue 8) ASSEMBLY. Assemble the necklace: Use 7 links of chain to join the previous
thread). Secure and trim the thread. Chain 1: Note: Use the end links of the Pink Link to 1 Pink Bowtie. Use 12 links
Repeat with the second bail, joining to 1E open-link chain as if they were jump of chain to join the previous Pink Bowtie
on the ball (Fig. 15, red thread). rings. Use 5 links of chain to join 1 bail to to the link of chain that’s joined to the
1 Pink Bowtie. Use 7 links of chain to join other bail.
7) LINKS. Use square stitch and circular the previous Pink Bowtie to 1 Purple Link.
netting for the links: Use 7 links of chain to join the previous
Purple Bowtie: Repeat Bottom Ring, Purple Link to 1 Purple Bowtie. Use 7 links EDGAR LOPEZ is a beadwork
Center, Top Ring, and Embellishment of chain to join the previous Purple designer and teacher from the
Passes 1–4 of Step 4. Weave through Bowtie to 1 Pink Link. Use 14" of chain to Dominican Republic. He initially
beads to pass through the last K added. join the previous Pink Link to 1 Pink Link. studied architecture, then turned to jewelry
String 8A; pass through the last J exited. Use 7 links of chain to join the previous design and finally bead weaving. Find Edgar on
Repeat the thread path to reinforce, then Pink Link to 1 Purple Bowtie. Use 7 links Facebook at Edgar Lopez Designs or follow him
weave through beads to exit from the of chain to join the previous Purple on Instagram @edgarlopez14.
opposite J. String 8A; pass through the Bowtie to 1 Purple Link. Use 7 links of
last J exited (Fig. 16). Repeat the thread chain to join the previous Purple Link to RESOURCES Check your favorite bead
path to reinforce, then secure and trim 1 Pink Bowtie. Use 5 links of chain to retailer or contact: Miyuki seed beads and
the thread. join the previous Pink Bowtie to the Swarovski crystal bicones: Aura Crystals,
Repeat Purple Bowtie three times for a total other bail. www.auracrystals.com. GemDuos: Potomac
of 4 Purple Bowties. Chain 2: Use 12 links of chain to join the Bead Company, www.potomacbeads.com.
Pink Bowtie: Repeat Purple Bowtie, using K link of chain that’s joined to 1 bail to Swarovski crystal large pear fancy stone:
in place of J. 1 Pink Bowtie. Use 7 links of chain to join Dreamtime Creations, (866) 874-6748,
Repeat Pink Bowtie three times for a total the previous Pink Bowtie to 1 Pink Link. www.dreamtimecreations.com. Thread and
of 4 Pink Bowties. Use 7 links of chain to join the previous similar 30mm resin or wood bead: Fire
Purple Links: Use 3" of wire to form a Pink Link to 1 Purple Bowtie. Use 7 links Mountain Gems and Beads, (800) 355-2137,
wrapped loop. String 1O; form a wrapped of chain to join the previous Purple www.firemountaingems.com. ●

Saladine NICOLE VOGT

1) UNIT 1. Use a variation of right-angle Pass 4: String 1C, 1D, 1E, 1D, and 3C; pass
U SE A COMBINATION OF SEED
beads and shaped beads to create
an edgy collar-style necklace that’s
weave to form the first unit:
Pass 1: Note: Lay the L on your work surface
faceup with the holes oriented vertically.
through the next 1F/1K/1F. String 3C, 1D,
1E, 1D, and 1C; pass through the next
1C/1J (bottom hole)/1C. Repeat the
quick to work up. Lay the J on your work surface with the thread path to reinforce, then weave
holes oriented horizontally. Use 6' of through beads to exit from the rightmost
TECHNIQUE thread to string 1L (right hole, bottom to L (left then right holes) in this unit, with
Right-angle weave variation top), 2E, 1G, 2E, 1L (left hole, top to bot- the thread exiting up (Fig. 2, red thread).
tom), 1M, 1J (top hole, right to left), and
PROJECT LEVEL ££¡ 1M, leaving an 8" tail. Pass through the 2) UNIT 2. Continue in right-angle weave
MATERIALS beads again to form a circle; use the for the second unit:
0.5 g black opaque AB size 15° working and tail threads to tie a square Pass 1: String 2E, 1G, 2E, 1L (left hole, top to
Japanese seed beads (A) knot, then pass through the first 1L (right bottom) 1M, 1J (top hole, right to left),
0.5 g black opaque AB size 11° hole)/2E (Fig. 1). and 1M; pass through the last L (right
Japanese seed beads (B) Pass 2: String 4C, 1D, and 4C; pass through hole, bottom to top) exited and the first
4 g black opaque size 11°
the next 2E, then weave through beads 2E (Fig. 3).
Demi round seed beads (C)
2 g metallic abalone iris size 8°
to exit from the top then bottom holes of Passes 2–4: Repeat Unit 1, Passes 2–4.
Demi round seed beads (D) the J in the previous pass (Fig. 2, green
3 g jet AB 3.8×1mm O beads (E) thread). 3) UNITS 3–25. Repeat Unit 2 twenty-
50 aqua transparent 2.5×6mm Rizos (F) Pass 3: String 1C, 1H, 1F, 1K, 1F, 1H, and 1C; three times.
25 aqua transparent 4×6mm pressed-glass pass through the J (bottom hole). Repeat
pellet beads (G) the thread path to reinforce, then pass
50 jet ab 4×6mm pressed-glass through the first C in this pass (Fig. 2,
pellet beads (H)
blue thread).
25 jet 6mm 2-hole cabochons (J)
25 jet AB 3×10mm pressed-glass daggers (K)
26 jet AB 8×5mm 2-hole DiamonDuos (L)
50 black diamond 2XAB 4mm Swarovski
crystal bicones (M)
4 silver 6mm split rings
1 silver 15×10mm 2-strand magnetic
tube clasp
Smoke 4 lb FireLine braided beading thread
TOOLS
Scissors
Size 10 beading needle
FINISHED SIZE
16¾"
Fig. 1: Forming Fig. 2: Stitching
Unit 1, Pass 1 Unit 1, Passes
2–4
artist’s tips
Have fun playing with colors!
Use two different colors of size 11°
Demi Round seed beads and/or two
different colors of pellet beads.
The possibilities are endless!
Fig. 3: Weaving
Unit 2, Pass 1

Saladine NICOLE VOGT
OPTION
Omit the Rizos and Alternate
daggers for the back part
of the necklace for extra
Colorway Materials
comfort, opting to fill that
space with another pellet
bead instead. VIOLET/TURQUOISE
0.5 g silver-lined milky amethyst size 15°
Japanese seed beads (A)
0.5 g silver-lined milky amethyst size 11°
Japanese seed beads (B)
4 g higher metallic violet iris size 11°
Demi round seed beads (C)
2 g higher metallic violet iris size 8°
Demi round seed beads (D)
3 g chalk white lilac vega luster
3.8×1mm O beads (E)
50 turquoise 2.5×6mm Rizos (F)
75 turquoise 4×6mm pressed-glass
pellet beads (G, H)
25 turquoise full light AB 6mm 2-hole
cabochons (J)
25 Tanzanite transparent 3×10mm
pressed-glass daggers (K)
26 lumi amethyst AB 8×5mm 2-hole
DiamonDuos (L)
50 aquamarine 4mm Preciosa
crystal bicones (M)
4 silver 6mm split rings
1 silver 15×10mm 2-strand
magnetic tube clasp
beading thread
ROSE
0.5 g silver-lined pink size 15°
Japanese seed beads (A)
0.5 g black opaque size 11°
Japanese seed beads (B)
3 g dark amethyst gold transparent
Fig. 4: Adding the size 11° Demi round seed beads
clasp loops (C, first and last 3C strung in Pass 2)
1 g black opaque size 11° Demi round
seed beads (C, fourth and fifth C
strung in Pass 2)
2 g black opaque size 8° Demi round
CLASP LOOPS. Use the working
4) CLA NICOLE VOGT is a passionate beader from seed beads (D)
thread of Unit 25 to string 3B, 1 split ring, Germany. Although beading is her hobby, she 3 g jet 3.8×1mm O beads (E)
and 3B, then pass back through the first spends as much time as possible creating new 50 pearlescent pink 2.5×6mm Rizos (F)
B strung and the last L (right hole) exited designs. She runs a beading blog with her two 25 crystal Labrador 4×6mm
(Fig. 4, green thread); repeat. Pass sisters who are also beaders. Contact Nicole at pressed-glass pellet beads (G)
through the first 2B in this step (Fig. 4, www.dreikleineperlen.blogspot.de. 50 jet 4×6mm pressed-glass
blue thread). *String 1A and pass pellet beads (G)
25 crystal full Labrador 6mm
through the next B; repeat three times. RESOURCES Check your favorite bead
2-hole cabochons (J)
Pass through the next 1B, 1L (right hole), retailer or contact: Toho seed beads, Demi 25 pearl fuchsia pink transparent
and 2B. Repeat from * (Fig. 4, red round seed beads, O beads, Rizos, Swarovski 3×10mm pressed-glass daggers (K)
thread). Secure and trim the working crystal bicones, and similar clasp: Aura 26 pink airy pearl 8×5mm 2-hole
thread. Attach one half of the clasp to Crystals, www.auracrystals.com. Aqua pellet DiamonDuos (L)
the split rings. beads: Red Panda Beads, www.redpanda 50 jet 4mm Swarovski crystal bicones (M)
Use the tail thread to exit up from the beads.com. Jet pellet beads, cabochons, split 4 silver 6mm split rings
leftmost L (left hole) in Unit 1 and repeat rings, and thread: Potomac Bead Company, 1 silver 15×10mm 2-strand
magnetic tube clasp
this step, using the second half of the www.potomacbeads.com. Daggers: John
clasp and taking care that the clasp is po- Bead, www.johnbead.com. DiamonDuos: beading thread
sitioned to close properly. Artbeads.com, (866) 715-2323. ●

Meraki JILL MACK AY
Main
Colorway

Meraki JILL MACK AY
T HIS SPARKLING NECKLACE is a great

bite-sized bead-embroidery project.
The modern Greek word meraki means the
1) PENDANT TOP LAYER. Following
Fig. 1, use backstitch bead embroidery
to form the middle layer of the pendant:
the previous round, punching holes one
at a time as you add each stitch. Secure
and trim the thread.
soul, creativity, and love you put into some- Prepare: Use the embossing stylus tool to Round 3: Use the smallest setting on the
thing–the essence of yourself. apply a 3⁄8" long thin vertical line of leather hole punch to punch a hole
superglue gel in the center of the front through the leather teardrop at the point
side of the small leather teardrop. Use of the crystal raindrop, outside of
TECHNIQUES the crystal placement tool to apply the Round 2. Tie a knot at the end of 15" of
Backstitch bead embroidery blush rose crystal raindrop to the glue, nylon thread; pass up through the hole
Brick stitch
centered vertically and horizontally on just punched in the leather from back to
Right-angle weave
the small leather teardrop. Use the front. Use 2-drop backstitch bead
PROJECT LEVEL ££¡ smallest setting on the leather hole embroidery and A to add 1 round next to
punch to punch a hole through the the previous round, punching holes one
MATERIALS
1 g metallic bronze size 15° Japanese
leather teardrop 1⁄16" above the point of at a time as you add each stitch. Secure
seed beads (A) the crystal raindrop. Tie a knot at the and trim the thread.
0.5 g pink transparent gold luster end of 15" of nylon thread; pass up Embellishment: Use the embossing stylus
size 11° Japanese seed beads (B) through the hole just punched in the tool to apply a tiny dot of superglue gel
1 g red brick size 11° Japanese seed beads (C) leather from back to front. at the top-center of the leather teardrop,
3 g metallic bronze size 11° Japanese Round 1: Use 2-drop backstitch bead just above Round 3. Use the crystal place-
seed beads (D) embroidery and B to add 1 round around ment tool to apply 1 crystal flat- back
1 g smoky topaz translucent size 8°
the crystal raindrop, punching holes one rhinestone to the glue. Repeat to place
Japanese seed beads (E)
7 topaz AB 2.2mm (SS7) Swarovski
at a time as you add each stitch. Secure 1 new crystal rhinestone above the previ-
crystal flat-back rhinestones and trim the thread. ous crystal rhinestone. Repeat to place
1 blush rose 10×2.8mm Swarovski Round 2: Use the smallest setting on the 5 crystal rhinestones within the bottom
crystal flat-back raindrop leather hole punch to punch a hole edge scallops of the leather teardrop. Let
476 copper-plated crystal 2mm through the leather teardrop at the point cure for 10 minutes.
fire-polished rounds (F) of the crystal raindrop, outside of
112 metallic copper etched 4mm Round 1. Tie a knot at the end of 15" of
fire-polished rounds (G)
nylon thread; pass up through the hole le
e
1 metallic silver ¾ × 1½" leather teardrop
shape with scalloped edge (small) just punched in the leather from backk to t
1 metallic bronze 1 × 17⁄8" leather teardrop front. Use 2-drop backstitch bead
shape with zigzag edge (medium) embroidery and C to add 1 round next xtt tto
o
2 metallic rose gold 1½ × 21⁄8" leather teardrop
shapes with smooth edges (large)
Mauve One-G nylon beading thread
Black 10 lb WildFire thermally bonded
beading thread
Superglue gel
Leather cement
TOOLS
Small double-ball embossing stylus tool
Crystal placement tool
Rotary handsewing leather punch
Scissors
Basic flat #1 paintbrush
FINISHED SIZE
37" (with a 3" focal)
Fig. 1: Forming Pendant Fig. 2: Stitching Pendant

Top Layer Middle Layer

2) PENDANT MIDDLE LAYER. Following 4) EDGING. Tie a knot at the end of 3' of
Fig. 2, use backstitch bead embroidery to nylon thread; pass down through the large
form the middle layer of the pendant: leather teardrop from front to back, near
Prepare: Lay the small leather teardrop the edge at the top point. String 3D; pass
facedown on your work surface. Use the up through the large leather teardrop from
paintbrush to apply an even layer of back to front, 1 bead’s width from where
leather cement to the back of the small the working thread last exited. Pass back
leather teardrop, taking care to coat the through the third D strung (Fig. 3, green
entire surface. While the cement is still thread). String 2D, pass through the large
wet, press the back of the small leather leather teardrop from back to front, 1 bead’s
teardrop onto the front of the medium width from the last stitch, then pass back
leather teardrop, centered vertically and through the second D added; repeat
horizontally. Let cure for at least 15 min- around the entire pendant (Fig. 3, blue
utes before handling again. Tie a knot at thread). On the last stitch, string 1D and
the end of 2' of nylon thread; pass up pass down through the first D added in this
through the medium leather teardrop step, pass through the large leather tear-
from back to front, near the edge of the drop from back to front, and pass back
small leather teardrop. through the first D added in this step
Round 1: Note: It is not necessary to pre- (Fig. 3, red thread). Secure and trim
punch holes in the medium leather tear- the threads.
drop. Use 2-drop backstitch bead
embroidery and E to add 1 round next to 5) BAIL. Use right-angle weave to form
the small leather teardrop. Secure and the bail:
trim the thread. Connector Bead: Start 12" of WildFire
thread that exits up from the top-right D
3) PENDANT BOTTOM LAYER. Lay the in the edging (see the start dot in Fig. 4).
small/medium leather teardrop facedown String 1D; pass through the top-left D in
on your work surface. Use the paintbrush to the edging, then weave through beads to
apply an even layer of leather cement to the reinforce the thread path, exiting from
back of the medium leather teardrop, tak- the D just added (Fig. 4, purple thread).
ing care to coat the entire surface. While the
cement is still wet, press the back of the
medium leather teardrop onto the frontt o off
1 large leather teardrop, centered vertically
ally
and horizontally. Let cure for at least 15
minutes before handling again.
Units 1–10: String 3D, pass through the last
D exited and the first 2D just added;
repeat nine times (Fig. 4, blue thread).
Unit 11 (Join): String 1D; pass through the
connector D. String 1D; pass through the
last D exited in Unit 10 (Fig. 4, red
thread). Repeat the thread path of this
unit to reinforce; secure and trim the
thread.
6) PENDANT BACK. Lay the pendant

facedown on your work surface. Use the
Fig. 3: Adding the edging paintbrush to apply an even layer of leather
cement to the back of the large leather tear-
drop, taking care to coat the entire surface.
While the cement is still wet, press the back
artist’s tips of the large leather teardrop to the back of
❯ Always anchor old and new the remaining large leather teardrop, taking
threads to the back of the leather Fig. 4: Weaving the bail care the edges are perfectly aligned. Let
to hide all the knots. cure for at least 15 minutes before handling
❯ Use firm tension for the strap. again. Set aside.

Meraki JILL MACK AY
Back
Fig. 5: Forming
Strap, Unit 1
Fig. 6: Stitching Strap, Units 2–8 Fig. 7: Joining the strap
7) STRAP. Use right-angle weave for JILL MACKAY has been design-
Alternate the strap:
Unit 1: Use 6' of nylon thread to string 4G;
ing and licensing product lines
for the jewelry-making industry,
Colorway Materials pass through the beads again to form a its manufacturers, chain stores, and television
circle. Use the working and tail threads to retailers for more than 20 years. She is known
1 g white-lined purple size 15° tie a square knot; pass through the first G for her product design innovation in jewelry
Japanese seed beads (A) (Fig. 5, blue thread). String 1D and pass findings, components, and tools. Jill also writes
0.5 g metallic light purple size 11° through the next G; repeat three times, books, regularly contributes magazine content,
Japanese seed beads (B) then pass through the next 1D/1G/1D/1G creates educational video content, and teaches
1 g silver size 11° Japanese
(Fig. 5, red thread). internationally.
seed beads (C, D in Strap)
3 g white-lined purple size 11°
Units 2–6: String 3F and pass through the
Japanese seed beads (D) last bead exited in the previous unit, then RESOURCES Check your favorite bead
7 topaz AB 2.2mm (SS7) Swarovski pass through the first 2F just added; retailer or contact: Seed beads, Swarovski
crystal flat-back rhinestones repeat four times (Fig. 6, green thread). crystals, fire-polished rounds, leather
1 blush rose 10×2.8mm Swarovski Unit 7: String 1F, 1G, and 1F; pass through teardrop shapes, and kits: Jill MacKay, www
crystal flat-back raindrop the last F exited in the previous unit, then .jillmackay.com. WildFire thread: Beadalon,
504 full etch vitrail green 2mm fire- pass through the first 1F/1G just added (866) 423-2325, www.beadalon.com. Loctite
polished
rounds (E, F) (Fig. 6, blue thread). superglue gel: Home Depot, www.home
112 full etch metallic orchid 4mm fire- Unit 8: String 3G; pass through the last G depot.com. Leather cement: Fiebing’s
polished rounds (G) exited in the previous unit. String 1D and Leathercraft, (800) 558-1033, www.fiebing.
1 metallic silver ¾ × 1½" leather teardrop pass through the next G; repeat three com. Rotary leather punch: The BeadSmith
shape with scalloped edge (small) times, then pass through the next (wholesale only), (732) 969-5300, www
1 metallic purple 1 × 17⁄8" leather teardrop 1D/1G/1D/1G (Fig. 6, red thread). .beadsmith.com. Double-ball embossing
shape with zigzag edge (medium)
Units 9–195: Repeat Units 2–8 twenty-six stylus: Dick Blick, www.dickblick.com.
2 dark silver 1½ × 21⁄8" leather teardrop
shapes with smooth edges (large)
times. Repeat Units 2–6. Thread the bail Paintbrush: Jerry’s Art-a-Rama,
Brown One-G nylon beading thread of the pendant onto the strap. www.jerrysartarama.com. ●
Black 10 lb WildFire thermally bonded Unit 196 (Join): String 1F; pass through
beading thread the first G in Unit 1 of the strap. String 1F;
Superglue gel pass through the last F exited in Unit 195
Leather cement (Fig. 7). Repeat the thread path to rein-
force; secure and trim the threads.

X Marks the Spot AMY HAFTKOW YCZ

X Marks the Spot AMY HAFTKOW YCZ
S TITCH SEED BEADS, SuperDuos, and

rounds into a band that’s bursting with
Bohemian flair and finished with metal con-
1) BAND. Use a variation of right-angle
weave to form the band:
Unit 1, Pass 1: Use 5' of thread to string 1C,
Unit 2, Center: Repeat Unit 1, Center
(Fig. 3, red thread).
Units 3–7: Repeat Unit 2, Passes 1 and 2
nectors and short strung sections. Match- 1B, 1E, and 1B; repeat three times, leaving and Center five times. On the last repeat,
ing earrings are the finishing touch! a 12" tail. Pass through the beads (same weave through beads to exit from the
holes) again to form a circle; use the bottom-right C (outside hole), toward the
working and tail threads to tie a square beadwork.
TECHNIQUES knot. Pass through the first (outside) then End 1: Note: When reinforcing the thread
Right-angle weave variation second (inside) holes of the first C strung paths, loop through the connector sev-
Stringing
(Fig. 1, blue thread). Note: You’ll now eral times for extra strength. String 1D,
Crimping
begin working in the opposite direction. 2B, and the bottom hole of 1 connector;
PROJECT LEVEL £¡¡ Unit 1, Pass 2: String 1B and pass through pass back through the last B strung.
the next C (inside hole); repeat three String 1B; pass back through the D and
MATERIALS
times (Fig. 1, red thread). Repeat the pass through the last C (outside hole)
0.5 g antique bronze size 15° seed beads (A)
2 g antique bronze size 11° seed beads (B) thread path to reinforce. exited. Repeat the thread path to rein-
3 g turquoise Picasso 5×2.5mm 2-hole Unit 1, Center: String 1D; pass through the force, then pass through the next 1B/1E
SuperDuos (C) opposite C (inside hole) of this unit. Pass of this unit (Fig. 4, purple thread). String
17 pumpkin Picasso 3mm melon rounds (D) back through the D and the first C (inside 3B and the middle hole of the connector;
32 etched amber with purple wash 4mm hole) exited. Repeat the thread path to pass back through the last B strung.
pressed-glass round druks (E) reinforce. Weave through beads to exit String 2B; pass through the last E exited.
2 etched amber with purple wash 6mm from the rightmost E of this unit (Fig. 2). Repeat the thread path to reinforce, then
pressed-glass round druks (F)
Unit 2, Pass 1: String 1B, 1C, 1B, and 1E; pass through the next 1B/1C (outside
2 ivory mercury luster 5×7mm
pressed-glass drops (G)
repeat twice. String 1B, 1C, and 1B; pass hole) of this unit (Fig. 4, blue thread).
4 antiqued bronze 3mm fluted through the last E exited in the previous String 1D, 2B, and the top hole of the
bead caps (small) unit. Repeat the thread path to reinforce. connector; pass back through the last B
4 antiqued bronze 6mm fluted Pass through the first 1B and 1C (outside strung. String 1B; pass back through the
bead caps (large) then inside holes) of this unit (Fig. 3, pur- D and pass through the last C (outside
4 antiqued bronze 15×10mm 4-hole ple thread). Note: You’ll now begin work- hole) exited (Fig. 4, red thread). Repeat
connector components ing in the opposite direction. the thread path to reinforce, then secure
1 antiqued bronze 14×17mm shank button
Unit 2, Pass 2: Repeat Unit 1, Pass 2 (Fig. 3, and trim the working thread. Don’t trim
4 gold-filled 2×3mm twisted crimp tubes
blue thread). the tail.
2 antiqued bronze 4mm jump rings
2 antiqued bronze 8mm twisted jump rings
1 pair of antiqued bronze 9×13mm ear wires
10" of antiqued bronze .014 beading wire
Smoke 6 lb FireLine braided beading thread
TOOLS
Scissors
Wire cutters
1 pair of chain- or flat-nose pliers
Finished size
7½" Fig. 1: Forming Unit 1, Fig. 2: Stitching Unit 1,
Passes 1 and 2 of the band Center of the band
Fig. 3: Weaving Fig. 4: Stitching

Band, Unit 2 End 1

OPTION
For a different look, you can
use 4mm melon rounds in
place of the 4mm druks.
artist’s tips
❯ The length of this bracelet can be
easily adapted by adjusting the
number of 4mm and/or 6mm beads
used at either end of the bracelet.
❯ I like to use twisted crimp tubes
because they don’t need a special
crimping tool and can be flattened
with chain-nose pliers, plus I find
them to be extremely reliable.
❯ Be sure to check that both holes of
each SuperDuo are open before
picking them up. Discard any beads
with blocked holes.
Fig. 5: Forming
the earrings
Alternate
Colorway Materials
End 2: Rotate the beadwork 180 degrees. the tail thread to weave through beads to
TURQUOISE
Weave the tail thread through beads to exit from the E, opposite End 1 (see the start
0.5 g antique bronze size 15°
exit from the bottom-right C (outside dot in Fig. 5). String 3B, 2A, 1G, and 2A; pass seed beads (A)
hole) of the current unit, toward the back through the last B strung. String 2B; 2 g antique bronze size 11°
beadwork. Repeat End 1. Secure and trim pass through the last E exited (Fig. 5). seed beads (B)
the tail thread. Repeat the thread path to reinforce; secure 3 g rusty copper 5×2.5mm 2-hole
and trim the thread. Attach 1 twisted jump SuperDuos (C)
2) BRACELET ASSEMBLY. Use 4" of ring to the top hole of the connector. Use 17 blue turquoise Picasso 3mm
melon rounds (D)
beading wire to string 1 crimp tube; pass one 4mm jump ring to attach 1 ear wire to
32 etched sea green 4mm
through the end hole of the left connector. the twisted jump ring. pressed-glass round druks (E)
Pass back through the crimp tube and flat- Repeat this entire step for a second earring. 2 etched sea green 6mm
ten. *String 1 large bead cap (convex side pressed-glass round druks (F)
first), 1F, 1 large bead cap (concave side AMY HAFTKOWYCZ has 2 turquoise Picasso 5×7mm
first), 1B, 1 small bead cap (convex side first), been immersed in the world pressed-glass drops (G)
1E, 1 small bead cap (concave side first), of beads since 1994, specializ- 4 antiqued bronze 3mm fluted
1 crimp tube,** and the button; pass back ing in lampworking, metalsmithing, metal bead caps (small)
through the crimp tube and flatten. Trim clay, and bead weaving. Amy was a Bead- 4 antiqued bronze 6mm fluted
bead caps (large)
the excess wire. Use 6" of new beading wire work Designer of the Year in 2015, and she 4 antiqued bronze 15×10mm 4-hole
to string 1 crimp tube; pass through the also co-owned a bead store in New Jersey connector components
end hole of the right connector. Pass back called Artful Beads for 10 years. Amy now 1 antiqued bronze 14×17mm
through the crimp tube and flatten. Repeat enjoys working full time out of her home, shank button
from * to **. String 1B and 35A; pass back designing projects and selling beads, kits, 4 gold-filled 2×3mm twisted crimp tubes
through the B, the crimp tube, and the and her metal-clay creations online and 2 antiqued bronze 4mm jump rings
1 small bead cap/1E/1 small bead cap. at bead shows. Contact Amy at www.trixies 2 antiqued bronze 8mm twisted
Flatten the crimp tube; trim the excess wire. jewelbox.etsy.com or trixiesjewelbox@ jump rings
1 pair of antiqued bronze 9×13mm
Set aside. gmail.com.
ear wires
10" of antiqued bronze .014 beading wire
3) EARRINGS. Repeat Band, Unit 1, exiting RESOURCES Check your favorite bead Smoke 6 lb FireLine braided
from the bottom-right C (outside hole), retailer or contact: All materials: Trixie’s Jewel beading thread
toward the beadwork. Repeat End 1. Use Box, www.trixiesjewelbox.etsy.com. ●

Liotrivi Path LESLIE A. POPE
Main
Colorway

1) BAND. Use two-needle right-angle
weave with picots for the band:
M ULTICOLOR METALLIC PAISLEY-

Duos gracefully meander around
the soft curves of the Liotrivi Cymbal
Start: Note: Take care to add the E faceup.
Place a needle on each end of 3' of
thread. Use 1 needle to string 1E (right
beads in this elegant bracelet. hole); center it on the thread.
Unit 1, Pass 1: Use the top needle to string
1D (wide hole, concave side first), 1D
TECHNIQUES (narrow hole, concave side first), 3A, 1B,
Two-needle right-angle weave and 3A; pass through the last D (wide
Picots hole) strung and the center-right hole of
the E (Fig. 1, blue thread). Use the bot-
tom needle to repeat from the beginning
MATERIALS of this pass (Fig. 1, red thread).
0.5 g champagne galvanized Duracoat Unit 1, Pass 2: Note: Take care to add the C
size 15° seed beads (A)
faceup. Use the top needle to weave
0.5 g metallic dark raspberry size 11°
seed beads (B)
through beads to exit up through the
10 backlit pink citrine 8×5mm 2-hole rightmost top D (narrow hole), skipping
GemDuos (C) the B to encourage the picot to form a
32 violet rainbow 8×5mm 2-hole point (Fig. 2, purple thread). Use the
Paisley Duos (D) same needle to string 1B; pass back
3 rose gold–plated 10×15mm 4-hole down through the last D (narrow hole)
Liotrivi Cymbal beads (E) exited. String 1A and 1C (left hole, top to
2 rose gold–plated 10×15mm Aosa bottom); pass up through the right hole
Cymbal bead endings (F)
3 rose gold 5mm jump rings
of the C just strung (Fig. 2, green thread).
ad). Use the bottom needle to weave
1 rose gold 7×12mm lobster clasp through beads to exit down through the
Black satin 6 lb Fireline braided rightmost bottom D (narrow hole), skip-
beading thread ping the B (Fig. 2, blue thread). Use the
same needle to string 1B; pass back up
TOOLS
through the last D (narrow hole) exited.
Scissors
String 1A; pass through the next C (left
2 size 12 beading needles
2 pairs of chain- or flat-nose pliers
then right holes) (Fig. 2, red thread).
Unit 2, Pass 1: Use the top needle to string
FINISHED SIZE 1C (left hole, bottom to top), 3A, 1B, and
6¾" 3A; pass down through the right hole of
the last C strung. String 1C (left hole, top
to bottom) (Fig. 3, blue thread). Use the
bottom needle to string 1C (left hole, top
artist’s tip to bottom), 3A, 1B, and 3A; pass up
through the right hole of the last C
Always check to make sure strung and the next C (left hole) (Fig. 3,
the holes of any multi-hole
red thread).
beads are open before you
begin stitching. Fig. 1: Forming
Unit 1, Pass 1
Fig. 2: Stitching Fig. 3: Weaving

Unit 1, Pass 2 Unit 2, Pass 1

Liotrivi Path LESLIE A. POPE
Fig. 4: Forming
Formiing
Unit 2, Pass 2
Alternate
Colorway Materials
Unit 2, Pass 2: Use the top needle to pass 2) END 1. Form the first end:
SILVER through the right hole of the last C exited Passes 1 and 2: Place a needle on each
0.5 g blue-lined aqua AB size 15° (Fig. 4, blue thread). Use the bottom end of 3' of new thread. Use 1 needle to
seed beads (A) needle to weave through beads to repeat pass through the last 1E (right hole) in
0.5 g silver galvanized Duracoat the thread path, skipping the B and exit- Unit 6; center it on the thread. Repeat
size 11° seed beads (B)
ing up through the rightmost C (right Unit 1, Passes 1 and 2.
10 matte backlit petroleum 8×5mm
2-hole GemDuos (C)
hole) (Fig. 4, red thread). Pass 3: Use the top needle to string 1A, 1D
26 jet azuro 8×5mm 2-hole Unit 3, Pass 1: Use the top needle to string (narrow hole, concave side first), and 1B;
Paisley Duos (D) 1A, 1D (narrow hole, concave side first), pass back through the last D (narrow
3 antiqued silver-plated 10×15mm 4-hole and 1B; pass back through the last D (nar- hole) strung, then pass through the wide
Liotrivi Cymbal beads (E) row hole) strung, then pass through the hole of the last D exited (Fig. 7, green
2 antiqued silver-plated 10×15mm wide hole of the last D exited (Fig. 5, thread). String 1D (narrow hole, concave
Aosa Cymbal bead endings (F) green thread). String 1D (narrow hole, side first), 3A, 1B, and 3A; pass through
2 silver 5mm jump rings concave side first), 3A, 1B, and 3A; pass the last D (wide hole) strung. String 1F
1 silver 8mm ball-and-socket clasp
through the last D (wide hole) strung. (center-top hole) and 1A; pass back
Black satin 6 lb Fireline braided
beading thread
String 1E (center-left hole) (Fig. 5, blue through the F (center-top hole) just
thread). Use the bottom needle to repeat strung and the next D (wide hole) (Fig. 7,
ANTIQUE BRASS from the beginning of this pass, passing blue thread). Use the bottom needle to
0.5 g turquoise blue Picasso opaque up through the last E (center-left hole) repeat from the beginning of this pass,
size 15° seed beads (A) strung (Fig. 5, red thread). passing through the center-bottom hole
0.5 g gunmetal iris size 11° seed beads (B)
Unit 3, Pass 2: Use the top needle to pass of the F (Fig. 7, red thread).
10 matte backlit petroleum 8×5mm
2-hole GemDuos (C)
through the nearest D (wide hole) and Pass 4: Use the top needle to pass back
26 chalk green luster 8×5mm 2-hole 3A, skip the next B, pass through the next through the next 3A, skip the next B, and
Paisley Duos (D) 3A, 1D (narrow hole), 1D (wide hole), 1E pass back through the next 3A, 1D (nar-
3 antiqued brass-plated 10×15mm 4-hole (left hole), 1D, (wide hole), and 1D (narrow hole), 2D (wide holes), and 1D (nar-
Liotrivi Cymbal beads (E) row hole) (Fig. 6, blue thread). Use the row hole) (Fig. 8, blue thread). Use the
2 antiqued brass-plated 10×15mm Aosa bottom needle to repeat from the begin- bottom needle to repeat from the begin-
Cymbal bead endings (F) ning of this pass (Fig. 6, red thread). ning of this pass (Fig. 8, red thread).
2 antiqued brass 5mm jump rings
Secure and trim the threads. Pass 5: Use the top needle to pass through
1 antiqued brass 8mm
Units 4–6: Place a needle on each end of 3' the next 3A, skip the next B, and pass
ball-and-socket clasp
Crystal 6 lb Fireline braided of new thread. Use 1 needle to pass through the next 3A. String 3A; pass
beading thread through the last 1E (right hole) in Unit 3; through the next F (top hole). String 1A;
center it on the thread. Repeat Units 1–3. pass back through the last F (top hole)

Fig. 6: Adding
Unit 3, Pass 2
Fig. 5: Stitching
Unit 3, Pass 1
exited (Fig. 9, blue thread). Use the

bottom needle to repeat from the
beginning of this pass, passing through
the bottom hole of the F (Fig. 9, red
thread). Secure and trim the threads.
Fig. 7: Forming
3) END 2. Rotate the beadwork 180 End 1, Pass 3
degrees. Repeat End 1.
4) FINISH. Use 1 jump ring to attach the

lobster claw to the loop of 1F. Use 1 jump
ring to attach 1 jump ring to the loop of
the other F.
LESLIE A. POPE is a designer

and teacher who loves
creating and teaching off-loom
bead-weaving projects. She is currently the
senior designer at The Beadsmith as well as
the owner of Twisted Sistah Beads, a retail
company dedicated to all things seed beads,
which she began in 2002. Contact Leslie at
www.twistedsistahbeads.com.
Fig. 8: Weaving
RESOURCES Check your favorite bead End 1, Pass 4
retailer or contact: All materials: Twisted
Sistah Beads, (267) 254-4845, www.twisted
sistahbeads.com. ● Fig. 9: Stitching
End 1, Pass 5

Cleopatra Eyes MICHELLE SEPANSKI
Main
Colorway

G O BEYOND THE AVERAGE rope with
this beautiful crystal-encrusted dia-
mond-motif kumihimo braid formed in sec-
tions to create a teardrop focal.
1) PREPARING THE NECKLACE
TECHNIQUES
CORDS. Cut 4 lengths of cord, each 110"
Kumihimo long. Fold the cords in half to make eight
Simple wireworking 55" cords and tie an overhand knot in the
middle (Cords 1–8).
MATERIALS 2) PLACING THE NECKLACE CORDS.

30 g Ceylon gray transparent size 8° Clip the weight onto the knot. Hang the
Japanese seed beads (A) weight down through the center hole of
10 g matte metallic Mediterranean blue the disk and arrange the cords so there is
size 8° Japanese seed beads (B) 1 cord on each side of the 4 numbered dots.
1 g crystal full Labrador size 8°
Japanese seed beads (C)
3) STRINGING THE BEADS FOR SIDE
7 crystal 4mm silver cup chain
rhinestones or rose montées (D) 1. String each cord as follows, then place
1 crystal 10mm silver large-hole each cord onto a bobbin and wind it up.
pavé rhinestone bead Cord 1: String 4A. String {1B and 3A} four-
1 clear 20×10mm top-drilled crystal briolette teen times. String 1B and 1A.
1 set of silver glue-in end caps with S-hook Cord 2: String 62A.
clasp (3.6mm inner diameter) Cord 3: String {3A and 1B} fifteen times.
1 silver 4mm jump ring String 2A.
4" of silver 24-gauge craft wire
Cord 4: String {2A and 2B} fifteen times.
¾" of silver 3mm cable chain
String 2A.
Silver S-Lon twisted nylon cord
Cord 5: Repeat Cord 4.
Brush-on superglue
Cord 6: String 2A. String {1C and 3A} fifteen
TOOLS times.
Scissors Cord 7: String 2A. String {1B and 3A} fifteen
Kumihimo weight (45 g) times.
8 2½" weighted kumihimo bobbins Cord 8: String 1A. String {1B and 3A} fifteen Cord 1: String 4A. String {1B and 3A}
6" round kumihimo disk times. String 1A. six times. String 1B and 1A.
Big-eye needle
Cord 2: String 30A.
Fine collapsible-eye needle
4) SIDE 1. Braid the rope: Cord 3: String {3A and 1B} seven times.
Wire cutters
Begin: Note: Stretch braided-cord sections String 2A.
before measuring them. Work 3⁄8" of Cord 4: String {2A and 2B} seven times.
Round-nose pliers
braiding (see “Kumihimo 101,” page 51) String 2A.
FINISHED SIZE without beads. Cord 5: Repeat Cord 4.
24" Braid Beads: Braid all of the beads as in Cord 6: String 2A. String {1D and 3A}
“Kumihimo 101,” keeping your tension seven times.
taut and even. Cord 7: String 2A. String {1B and 3A}
Braid Cords 1: Continue braiding without seven times.
beads for 16 moves. Remove the bobbins Cord 8: String 1A. String {1B and 3A}
from the cords. seven times. String 1A.
Add Pavé Rhinestone Bead: Working
with 2 strands at a time, string the pavé 6) FOCAL. Continue braiding:
rhinestone bead on all 8 cords, taking Braid Beads: Braid all of the beads as in
care to place them back in the correct “Kumihimo 101,” keeping your tension
slots. taut and even. Take care that the D are
Braid Cords 2: Continue braiding without facing out from the rope.
beads for as many moves as it takes to Braid Cords 1: Continue braiding without
ensure the diamond pattern of the beads for 16 moves. Remove the bobbins
beaded rope is facing away from you. from the cords.
Rhinestone Spacer and Chain: Use cord
5) STRINGING THE BEADS FOR 1 to pass through the pavé rhinestone
FOCAL. String each cord as follows, then bead and place it back into its slot. Use
place each cord onto a bobbin and wind cords 2 and 3 to string one end of the
it up. chain, then pass through the pavé

Cleopatra Eyes MICHELLE SEPANSKI
artist’s tips
a 8) SIDE 2. BRAID THE ROPE:
❯ After you’ve braided a few inches of Braid Beads: Braid all of the beads as in
the rope, make sure the diamond
th “Kumihimo 101,” keeping your tension
motif is forming. If it’s not, you have
m taut and even.
made a mistake in the loading
m End: Note: Work 3⁄8" of braiding without
pattern.
pa beads. Remove the weight from the braid
❯ Pulling through your cords in the and the bobbins from the cords. Carefully
final section is tricky. Make sure to
fi remove the braid from the disk. Use 2
keep all the cords on one side and not
ke opposing cords to tie an overhand knot;
to pull through a bead on your repeat with all of the cords.
previously braided rope.
pr
9) PENDANT. Use the craft wire to form a
wrapped-loop bail on the briolette. Use the
jump ring to attach the pendant to the free
rhin
rhinestone bead and place them back end of the chain.
into their slots. Working with 2 strands
at a time, pass through the rhinestone 10) FINISH. Apply a thin layer of glue to
spacer with the remaining cords, taking
spac both ends of the necklace at the knots; let
care to place them back into the correct cure. Trim the cords to fit in the end caps.
slots.
slot Glue the end caps to the ends; let cure.
Braid Cords 2: Continue braiding without
beads for as many moves as it takes to
bea MICHELLE SEPANSKi is
ensure the diamond pattern of the
ensu passionate about all forms of
beaded rope is facing away from you.
bea beading, but her great love is
kumihimo. She recently expanded her bead
7) STR
STRINGING THE BEADS FOR SIDE offerings with a retail/online shop in New York
2. Strin
String each cord as follows, then place called Beadutopia. Find her kumihimo kits,
each ccord onto a bobbin and wind it up. tutorials, and supplies at www.michelle
Cord 1 1: String 4A. String {1B and 3A} four- moderne.etsy.com.
teen times. String 1B and 1A.
Cord 2 2: String 62A. RESOURCES Check your favorite bead
Cord 3 3: String {3A and 1B} fifteen times. retailer or contact: Toho seed beads, cup
String 2A.
Strin chain rhinestones/rose montées, and similar
Cord 4 4: String {2A and 2B} fifteen times. clasp: Fire Mountain Gems and Beads, (800)
String 2A. 355-2137, www.firemountaingems.com.
Alternate Cord 5: Repeat Cord 4. Miyuki seed beads: Caravan Beads, (800)
Colorway Materials Cord 6: String 2A. String {1C and 3A}
fifteen times.
230-8941, www.caravanbeads.com. Crystal
briolette: Smart Parts, www.smartparts.etsy
Cord 7: String 2A. String {1B and 3A} .com. Pavé rhinestone bead: Beadutopia,
fifteen times. www.beadutopiashop.etsy.com. Jump ring,
30 g gold galvanized permanent-finish
size 8° Japanese seed beads (A) Cord 8: String 1A. String {1B and 3A} wire, chain, and cord: Beadaholique, (866)
10 g matte pewter galvanized Duracoat fifteen times. String 1A. 834-4618, www.beadaholique.com. ●
size 8° Japanese seed beads (B)
1 g crystal full Labrador size 8°
Japanese seed beads (C)
7 crystal 4mm silver cup chain
rhinestones or rose montées (D)
1 light topaz 10mm silver large-hole
pavé rhinestone bead
1 champagne 20×10mm top-drilled
crystal briolette
2 gold crimp ends (3.6mm inner diameter)
1 gold 4mm jump ring
4" of gold 24-gauge craft wire
¾" of gold 3mm cable chain
Wheat S-Lon twisted nylon cord
Brush-on superglue

Kumihimo 101
❯ If your nylon cords are curly, lightly steam them to straighten. Doing so ❯ If you get interrupted while braiding, move the bottom-left cord to the
will make stringing your beads much easier. top position and leave it there. You’ll have three cords at the top position
and you’ll always know exactly where to begin again when you resume
❯ Cut a ½" slit in the back side of each bobbin to anchor your cord ends.
your project. When you start again, pull the top right cord down, turn the
❯ Using a kumihimo stand allows you to use both hands for braiding disk a quarter turn, and continue.
instead of using one hand to hold your disk while stringing beads and
❯ Keep your point of braiding centered in the hole of the disk as you work.
braiding with the other hand. Your tension will be more uniform, and your
project will look more professional. In addition, using a kumihimo stand
gives you a tangle-free way to store your project if you are interrupted.
1. Hold the disk parallel to the floor

with number 32 held away from
The numbers of most kumihimo disks
you. Tuck the cords into the slots refer to the slot on the left. The slot
32
around the disk and place the 31 1
2
between the numbers 31 and 32 is
30
wire/knot/button through the 3 considered “slot 32.” Some kumihimo
29
disks have the numbers directly in line
center hole (Fig. a). Add a weight 28
4
with the slot.
to the wire/knot/button below
27
5
the disk to maintain correct
26
6
tension. The braid will form at the
25
7
center hole, extending below the
Fig. a: Load 1 cord into each of
24
8
disk as you work. Do not allow these slots: 32, 1, 8, 9 (blue thread),
the cords to tangle, and keep the 16, 17, 24, and 25 (red thread).
23
9
weight suspended.
22
10
2. Move the bottom left cord from
21
11
slot 17 up to slot 31. Move the top
20
13 12
right cord from slot 1 down to 19
18 14
15
slot 15 (Fig. b). Rotate the disk 17 16
one-quarter turn clockwise so

31 32 1
number 24 is now at the farthest 30 2
29 3
(top) position where number 32
28
4
used to be (shown at the top of Fig. b: Moving the first two cords. The
27
5
Fig. c). dotted green line shows the cord’s
movement from its starting point to
26
6
3. Move the bottom left cord from its new position. New positions also
25
7
slot 9 up to slot 23. Move the top marked by black arrows.
right cord from slot 25 down to
24
8
slot 7 (Fig. c). Rotate the disk
23
9
one-quarter turn clockwise.
22
10
23 24 25
4. Using the cords that are now the 22 26
21
11
27
farthest and closest to you after 21
20
12
the turn, repeat Steps 2 and 3

20
28
13
19
14
until the braid is the desired 18
19
29
17 16 15
length.
18
30
5. When making beaded braids,

17
31
slide each bead to the center hole

16
32
and tuck it firmly under the cord

that crosses to the right or left to
15
Fig. c: Moving the second two cords after

lock the bead in place. Do not making the quarter turn. The dotted
14
allow the bead to pop up. green line shows the cord’s movement
from its starting point to its new position.
13
After the next quarter turn, number 16

12
5 will be at the farthest (top) position.

11
10 6
9 8 7

fast & fabulous
Leather & Pearls

Create an endless array of styles,
from sleek and modern to classic
or boho, when you combine two
of our favorite design elements—
leather and pearls.
(Instructions follow on page 60.)
Cowgirl Chic
Debbie Blair
Rustic meets refined when you combine
textured leather and copper elements with
matte pearls in a subtle ombré pattern.

Knotted
Pearls & Fringe
Deb Floros
Whether you love pearls or leather, this
easy technique celebrates the harmony of
both of these great design elements in a
necklace that’s fun to make and wear.

fast & fabulous
Teardrop
Pearls
Michelle Owens
Whether paired with a little black
dress or a comfy tee, this quick-
and-easy leather and pearl
teardrop set is guaranteed to wow!
Use similar techniques

to make matching
earrings.

Cryptic Cicada
Anne Perry
Who says leather and pearls are just for
beachy looks? This necklace is decidedly
earthy, like cicadas emerging from their
mulchy forest floor.

fast & fabulous
Meditative
Moments
Tracy Proctor
Pearl knotting and eyelet setting are an
unexpected technique pairing in this updated
mala-style necklace. Leather, gemstones, and
pearls create a beautiful setting for the pretty
lotus teardrop pendant and guru bead.

Casual Elegance
Terry Ricioli
Intertwine elegant pearls on leather lace with
hemp twine, carved soapstone, and coco
wood to create a natural boho-style necklace.

fast & fabulous
Dreamy Pearl Bib

Ron Rock and Katie Hacker
Combine layers of iridescent Swarovski
crystal pearls and rosewater opal crystals
with flat braided suede and metallic
leather cord for a dreamy, romantic effect.

fast & fabulous
Cowgirl
Cowgirl Chic Chic
Debbie Blair
TECHNIQUES
Stringing
Crimping
Simple wireworking
MATERIALS
12 white 4mm pearls
12 crystal light gold 6mm crystal
pearls (small)
4 crystal rose gold 6mm crystal pearls
12 crystal bronze 6mm crystal pearls
1 crystal brown 8×10mm crystal pearl drop
12 crystal light gold 12mm crystal
pearls (large)
1 rustic iron 42×51mm spiral pendant
1 brass 14×27mm lobster clasp with
heart detail
1 brass 20-gauge 2" head pin
4 brass 5mm jump rings
2 antiqued copper-plated 15×20mm
hammered loop connectors the crimp tube and crimp. String {1 small
2 brass 2mm crimp tubes crystal light gold pearl and 1 white pearl}
2 antiqued copper-plated 10×11mm twice. String 3 large crystal light gold pearls,
hammered cord crimp ends 4 crystal bronze pearls, and 3 large crystal
Repeat from * to ** using the other piece light gold pearls. String {1 white pearl and
2 brass 12×7mm ribbon crimp ends
of leather. 1 small crystal light gold pearl} twice.
1 antiqued copper 9×16mm hammered
2. If desired, apply 1–2 coats of brown acrylic String 1 crimp tube and 1 copper loop
pinch bail
paint to each ribbon crimp end. Let dry, then connector; pass back through the crimp
4" (6 links) of brass 12×18mm oval chain apply a coat of decoupage to each. Set aside tube and crimp.
10” of brown ½" wide textured leather to dry. 6. Repeat Step 5 to add a second beaded
15" of brass 26-gauge wire 3. Create a wire-wrapped focal as follows: strand below the first strand, but use 4 large
20" of brass .014 beading wire Use the head pin to string the pearl drop; crystal light gold pearls on each side of the
Superglue gel form a wrapped loop that attaches to the crystal bronze pearls instead of 3.
Brown acrylic paint (optional) bottom center of the spiral pendant. Use one 7. Use nylon-jaw pliers to attach 1 ribbon
Decoupage (optional) 3" piece of 26-gauge wire to string 1 crystal crimp end to the free end of 1 piece of
bronze pearl, then position the pearl on the leather; repeat.
TOOLS top face of the pendant directly to the right 8. Separate the chain into 2 equal pieces.
2 pairs of chain- or flat-nose pliers of the pearl drop and continue wrapping the Attach the clasp to 1 piece of chain by
Crimping pliers wire around the pendant. Continue in this opening and closing the chain link as you
Wire cutters manner to wire-wrap 1 additional crystal would a jump ring. Use 1 jump ring to
Scissors bronze pearl, 2 crystal rose gold pearls, attach the free end of the chain to 1 ribbon
Paintbrush 2 small crystal light gold pearls, and 2 white crimp end on 1 piece of leather. Use 1 jump
pearls. (Note: When you run out of wire after ring to attach the copper cord crimp end on
Nylon-jaw pliers
wrapping a few pearls, you will need to tuck the other end of the leather to the copper
FINISHED SIZE in the tail and then cut additional wire to fin- loop connector on the left side of the
22½" ish wrapping the pearls.) necklace.
4. Repeat Step 3 to wire-wrap the same 9. Use 1 jump ring to attach the remaining
1. Cut the leather in half. *Use scissors to color of pearls to the pendant on the left side piece of chain to the ribbon crimp end on
taper one end of 1 piece of leather so it fits of the pearl drop. the second piece of leather. Use 1 jump ring
inside 1 copper cord crimp end. Apply a 5. Use one 10" piece of beading wire to to attach the copper cord crimp end on the
small amount of superglue gel to the leather string 1 crimp tube and the large ring of other end of the leather to the copper loop
tip and insert it inside the cord end; let dry.** 1 copper loop connector. Pass back through connector on the right side of the necklace.

DEBBIE BLAIR is a Colorado native who 45" of natural 1mm leather cord 3. String 3 seed beads, 1 crimp tube,
enjoys cooking, gardening, and teaching 20½" of natural 1.5mm leather cord and 19 seed beads; pass back through the
others how to make art and jewelry. Follow 15" of antiqued brass 22-gauge wire crimp tube, forming a loop as before, and
her on Instagram @pinkdahliacreative. 12" of bronze .018 beading wire crimp the crimp tube.
RESOURCES Check your favorite bead retailer
4. Cut the 1mm leather cord into nine
TOOLS 5" pieces.
or contact: Swarovski crystal pearls, TierraCast
Scissors 5. Form an overhand knot on one end of
Hammertone loop connectors and pinch bail, head pin,
Crimping pliers 1 piece of 1mm leather. String 1 pearl and
jump rings, crimp tubes, ribbon crimp ends, similar
leather, wire, and superglue gel: Artbeads.com, (253) Wire cutters form an overhand knot, snug against the
857-3433. Spiral pendant, clasp, and chain: The Lipstick Flat-nose pliers pearl. Repeat entire step eight times.
Ranch, www.thelipstickranch.com. Hammertone cord 6. Group 3 leather/pearl strands together
FINISHED SIZE
crimp ends: TierraCast (wholesale only), (800) 222-9939, and adjust them so the middle strand is
25"
www.tierracast.com. Paint and ModPodge: Michaels, longer than the other two. Use all 3
(800) 642-4235, www.michaels.com. strands to form an overhand knot, about
Artist’s Tip:
1½" from the end. Repeat entire step
This necklace was made to slip over the head.
twice.
Knotted Pearls & Fringe A variation of this project could include a clasp.
7. Place one group of 3 pearls in the center
Deb Floros of the beaded strand, folding the leather
TECHNIQUES 1. Use the beading wire to string 1 crimp tails over the center section of 6 seed
Stringing tube and 19 seed beads. Pass back through beads. Use one 3" piece of 22-gauge wire
Simple wireworking the crimp tube, forming a seed-bead loop, to wrap around the leather strands, secur-
Knotting and crimp the crimp tube. ing them below the beaded strand. Use
2. String {3 seed beads and 1 pearl} four flat-nose pliers to secure the wire ends.
MATERIALS times. String {6 seed beads and 1 pearl} 8. Repeat Step 7, once on the left side of
80 metallic bronze size 15° seed beads three times. String {3 seed beads and the center pearl strand and again on the
19 white 10mm cotton pearls 1 pearl} three times. right side of the center strand. (Note:
2 brass 2mm crimp tubes Attach the side strands so they hang a bit
shorter than the center strand.)
9. Trim excess tails from all groups of 3
pearls, leaving long tails for added “fringe.”
10. Use one end of the 1.5mm leather
cord to string one of the seed-bead loops
at the end of the beaded strand. Leave a
¼–3⁄8" tail, then wrap one 3" piece of
22-gauge wire around both cords to
secure. Repeat entire step on the other
half of the necklace.
DEB FLOROS is a passionate jewelry

designer who enjoys using a variety of
techniques and materials. She lives in
Cave Creek, Arizona, with her husband
and three crazy kitties. You can find
Deb’s designs under the brand name
Deb Luvs Jewelry Designs on Etsy,
Amazon Handmade, Facebook,
Instagram, and Pinterest.
RESOURCES: Check your favorite bead
retailer or contact: Seed beads: Off the Beaded
Path, www.offthebeadedpathbeadstore.com.
Cotton pearls: DragonflyBeadsStudio, (307) 247-1592,
www.Dragonfly-Beads.com. Crimp tubes: Michaels,
(800) 642-4235, www.michaels.com. Leather cord:
Knotted Pearls Artbeads.com, (253) 857-3433. Artistic Wire: Lima
& Fringe Beads, (734) 929-9208, www.limabeads.com.

fast & fabulous
1. Fold the 9" piece of 1.5mm black leather

cord in half. Use one tail to string 1 pearl and
form an overhand knot as close to the end as
possible; repeat.
2. Fold the 4mm black leather cord in half,
forming a loop. Wrap the 1.5mm black cord
around the folded 4mm cord about 2½" up
from the center of the loop, letting the tails
with the pearls at each end hang unevenly in
the center of the loop. If desired, place a drop
of superglue gel at the back of the 1.5mm
cord to secure.
3. Use the 0.5mm metallic pearl cord to wrap
around where the 1.5mm cord meets the
4mm cord, using a spiral knot as follows:
Hold one tail end of the 0.5mm cord in place,
facing either up or down, and wrap the cord
in the opposite direction five times. Feed the
loose tail through all five loops and pull, gen-
tly adjusting as needed until all strands are
secure and in the desired position. Pull both
tails evenly and cut off any excess.
4. Check the length of the necklace and cut
the 4mm cord to shorten, if desired.
5. Apply a small amount of superglue gel to
the inside of 1 end cap and insert one end of
Teardrop Pearls the 4mm black cord; repeat. Use 1 jump ring
to attach the clasp to 1 end cap. Use 1 jump
ring to attach the remaining jump ring to the
Teardrop Pearls 12" of metallic pearl 0.5mm round other end cap.
Michelle Owens leather cord
MICHELLE OWENS is the lead designer
TECHNIQUES 9" of natural black 1.5mm round
and COO of Leather Cord USA. She finds
Knotting leather cord
inspiration for her designs by spending
Gluing 26" of natural black 4mm round time outdoors in both the north Georgia
leather cord mountains and her home state of Colorado.
MATERIALS
Superglue gel Her designs reflect a free spirit that is one
2 white 7×5mm large-hole irregular
TOOLS with nature yet speaks to a fashion-forward
pearl rounds
Cutters or scissors functional look.
1 silver 6×10mm lobster clasp
3 silver 5×6mm oval jump rings 2 pairs of chain- or flat-nose pliers RESOURCES Check your favorite bead retailer
FINISHED SIZE or contact: Pearls: Beadshop.com, (650) 474-0101.
2 stainless steel 4mm glue-one
All other materials: Leather Cord USA, (770) 928-3993,
end caps 19"
www.leathercordusa.com.

2 silver 2mm crimp cord ends 2. Cut the 1.5mm leather cord in half. Use
Cryptic Cicada 10" of olive green 1.5mm round 1 piece to form a lark’s head knot on one
Anne Perry leather cord hole of the jade pendant. Use the cord tails
TECHNIQUES 18" of dark green 2mm leather cord to form 1–2 overhand knots around the
Simple wireworking 2mm leather cord and above the lark’s
TOOLS
Knotting head knot, positioning the pendant in the
Round-nose pliers center of the 2mm cord before tightening
MATERIALS 2 pairs of chain- or flat-nose pliers the knots.
4 olive green 8×7mm pearls (small) Wire cutters 3. Use the remaining piece of 1.5mm cord to
6 patina green 10×9mm pearls (large) Scissors form a lark’s head knot on the other hole of
1 green 30×38mm dyed jade 2-hole flat FINISHED SIZE the jade pendant. Use one cord tail to string
oval pendant the cicada pendant, then use both tails to
18½"
12 silver-plated 7×6mm stamped form 1–2 overhand knots.
large-hole rounds 4. Use one end of the 2mm cord to string
1. Use 1 head pin to string 1 small pearl and {1 stamped round, 1 large pearl dangle,
1 silver 20×55mm cicada pendant form a wrapped loop that is large enough to 1 stamped round, and 1 small pearl dangle}
1 silver 18×5mm leaf toggle clasp fit the 2mm leather cord through. Repeat three times, omitting the final small pearl
10 silver 2" head pins entire step using all of the remaining small dangle. Repeat entire step on the other half
2 silver 5mm jump rings and large pearls. of the necklace.
5. Attach 1 crimp cord end to one end of the
2mm cord; repeat. Use 1 jump ring to attach
one half of the clasp to one crimp cord end;
repeat.
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: Pearls, head pins, jump rings, and 1.5mm
olive cord: A Place to Bead, (626) 219-6633, www.
aplace2bead.com. Jade pendant: The Main Trading Post,
www.maintradingpost.com. Cicada pendant: Sadco,
(213) 489-6605, www.sadco.us. Clasp: Anna Bronze,
www.annabronze.etsy.com. Crimp cord ends: Michaels,
www.michaels.com. 2mm dark green cord: Garden of
Beadin’, (800) 232-3588, www.gardenofbeadin.com.
Meditative Moments
Tracy Proctor
TECHNIQUES
Stringing
Pearl knotting
Cold-connections (eyelet setting)
MATERIALS
18 white 8mm pearl rounds
6 brown snowflake jasper 8mm rounds
2 antiqued brass 6mm daisy spacers
2 antiqued brass 6mm daisy bead aligners
(or 6 brass size 11° seed beads)
1 antiqued brass 9×15mm lotus guru bead
Cryptic Cicada 1 antiqued brass 17×26mm lotus teardrop
pendant

fast & fabulous
1 antiqued brass 6×12mm vine hook-

and-eye clasp
5 brass 4mm jump rings
4 brass eyelets with 3.7mm stem
Nutmeg brown 1mm C-Lon or
preferred cord
10" of bronze ½" wide leather
Brush-on superglue or fabric glue
TOOLS
Pencil or pen
Scissors
Rotary cutter and cutting mat (optional)
Ruler (preferably clear acrylic quilting ruler)
Rotary hole-punch pliers
Eyelet setter
Eyelet setting anvil
Ball-peen hammer
Needle-nose tweezers
VARIATION:
Substitute silver-plated components, silver
leather, and turquoise .5mm C-Lon cord.
FINISHED SIZE
30"
Meditative Moments
Artist’s tips:
• Be sure that your cord will fit twice through the gently tap center of eyelet tube with ball- 9. Form a second overhand knot over the
hole of the daisy spacers. Pre-stretch cord be- peen side of hammer until set). first. Add a small drop of glue to the knot,
fore stringing and knotting so your necklace allow to dry, then trim tail close to the knot.
5. Repeat Steps 2–4 on the free end of the
doesn’t stretch out later.
previous piece of leather. Repeat Steps 2–4 10. String 1 pearl onto the same cord and
• When forming knots, be sure to tie them so
on both ends of the second piece of leather. slide it up to the knot. Use the pearl-knotting
they don’t slip through the bead holes. If they
6. Attach 1 jump ring to 1 eyelet on the end technique described above to form a knot
are too small, tie a second knot on top of the
of 1 piece of leather; repeat using one end of next to the pearl (Note: If you are using a thin-
first to add bulk.
the other piece of leather. ner cord, you can form a second knot over
7. Cut 3' of cord. Brush a small amount the first to add bulk.) Repeat entire step eight
1. Cut the leather into two ¼×10" pieces by of glue onto ½" of each end of cord, allow times.
using the pen or pencil to make a series of to dry, then use scissors to trim ends at 11. String 1 jasper round, slide it up to previ-
marks down the center on the back side of an angle. ous bead, and repeat knotting technique.
the leather. Use a rotary cutter, ruler, and cut- 8. Use the cord to string 1 daisy spacer and Repeat twice.
ting mat or scissors to carefully cut in half 1 jump ring from Step 6. Pass back through 12. String 1 bead aligner, peg side out, the
lengthwise. (Note: If using a ruler, hold with the spacer, leaving a 3–4" tail, then slide the guru bead, and the second bead aligner, peg
firm pressure to prevent the leather from spacer close to the jump ring. Use a pearl- side in. (Or string 5–6 seed beads in place of
shifting while cutting.) knotting technique to secure the short end the bead aligners, positioning the guru bead
2. On 1 piece of leather, make a centered of the cord to the longer piece of cord over the seed beads.) Form a knot using the
mark 1⁄8" from one end. Using the smallest directly below the daisy spacer by knotting bead-knotting technique as before.
setting on the hole-punch pliers (2mm), as follows: After stringing the spacer, begin 13. Repeat Step 11. Repeat Step 10.
punch a hole on the mark. an overhand knot. Before tightening, slip 14. String 1 daisy spacer and the jump ring
3. Insert 1 eyelet into the hole, from top to tips of tweezers through the loop and grasp attached to the second leather strap. Pass
bottom. Turn the leather and eyelet upside cord right next to spacer. Maintaining grip, back through the jump ring as before. Pull
down and place the eyelet flange onto the pull the end of the cord to tighten knot. cord to take up slack, allowing a small
eyelet setting anvil (or place flange-side Remove tweezers and tighten knot securely, amount of space between pearl and spacer.
down onto bench block). using sides of tweezers to push the knot Use the knotting technique to secure the tail
4. Position the setter into the end of the eye- close to the spacer and tightening with firm to the longer cord, taking up all excess slack.
let and tap with the hammer until set (or pressure. Add a second knot over the first.

15. Use 1 jump ring to attach one half of the 2. Cut the hemp twine into four 27" pieces. each piece. Use the jump ring on the chain
clasp to 1 eyelet on the free end of 1 leather Set aside 2 coco wood rondelles, then string to attach one end of the chain to one
strap; repeat on the other half of the the remaining wood rondelles in random wrapped loop from Step 5; repeat on the
necklace. order on the 4 pieces of twine, adding an other half of the necklace.
16. Use 1 jump ring to attach the lotus pen- overhand knot before and after each ron- 7. Use one 8mm jump ring to attach the
dant to the bottom of the guru bead. delle to hold it in place. clasp to the free end of 1 chain. Attach the
3. Intersperse the strands and check the dis- remaining 8mm jump ring to the other
TRACY PROCTOR is the jewelry designer tribution of the beads. Rearrange beads if free chain.
and content marketer for TierraCast, Inc. desired. Align the ends of the strands.
She’s been beading since 2006 and is always 4. Cut the 18-gauge wire in half.
inspired by new materials and techniques. TERRY RICIOLI enjoys designing jewelry,
5. Hold all strands of leather lace and twine
needlepoint, and other arts and crafts for
RESOURCES Check your favorite bead retailer together at one end and wrap 1 piece of wire
publication in magazines, in kits, and on her
or contact: Pearls, jasper, and C-Lon cord: Artbeads. in a tight coil around the strands, about 1"
blog. Visit her blog at www.terryriciolide
com, (253) 857-3433. Antiqued brass-plated pewter from the ends, leaving a long wire tail along-
signs.blogspot.com to see her latest designs.
components, jump rings, eyelets, and leather strap: side the strands. The coil must be done tight
TierraCast (wholesale only), (800) 222-9939, enough to fit inside the hole of 1 large soap- RESOURCES Check your favorite bead retailer
www.tierracast.com. stone oval. Trim the ends of the strands. Slide or contact: Pearls: Fire Mountain Gems and Beads,
the wrapped wire end into 1 large soapstone (800) 355-2137, www.firemountaingems.com.
oval. Use the wire tail to string 1 soapstone Soapstone round, coco wood rondelles, chain, hemp
Casual Elegance round and 1 rondelle. Form a wrapped loop. twine, and leather lace: Joann Fabric and Crafts,
Terry Ricioli Repeat entire step on the other half of the (888) 739-4120, www.joann.com. Bead Gallery by
TECHNIQUES necklace. Halcraft soapstone ovals: Michaels, (800) 642-4235,
Simple wireworking 6. Separate the chain at a jump ring, leaving www.michaels.com. Clasp, jump rings, and wire:
Knotting 2 pieces with 2 oval links and 2 knot links on Artbeads.com, (253) 857-3433.
MATERIALS
31 white 9–10mm large-hole freshwater
potato pearls
12 mottled pink-and-tan 13mm carved
soapstone rounds
2 tan 23×46mm carved soapstone large-
hole ovals
28 coco wood 9×6mm rondelles
1 antiqued brass-plated 17×27mm
lobster clasp
2 antiqued brass-plated 8mm jump rings
11” of antiqued brass-plated 15×39mm
twisted oval/8×24mm knot link
decorative chain
108" of natural hemp twine
125" of buckskin 4mm leather lace
14" of bronze 18-gauge wire
TOOLS
Scissors
Wire cutters
Round-nose pliers
FINISHED SIZE
36"
1. Cut the leather lace into five 25" pieces.

Set aside 2 soapstone rounds, then string
the pearls and the remaining soapstone
rounds in random order on the five pieces
Casual Elegance
of leather lace.

fast & fabulous
Dreamy Pearl Bib

Ron Rock and Katie Hacker
TECHNIQUES
Stringing
Crimping
Knotting
Gluing
MATERIALS
67 rosewater opal 4mm
Swarovski crystal bicones
46 rosewater opal shimmer 6mm
Swarovski crystal rounds
35 rosewater opal 8mm faceted
crystal rounds
38 iridescent dreamy rose 8mm
Swarovski crystal pearl rounds
34 iridescent dreamy rose 10mm
Swarovski crystal pearl rounds
1 silver 20×16mm glue-in end cap clasp
10 silver 2mm crimp tubes
2 pewter 20mm textured rings
24" of metallic mystique pink 1mm
round leather cord
17" of gray ½" wide flat braided suede
76" of silver .018 beading wire, left on
the spool
Superglue gel Dreamy Pearl Bib
TOOLS
Scissors
3. Repeat Step 1 using all of the 8mm fac- 8. Make sure that both sides of the clasp are
Crimping pliers
eted crystal rounds, adjusting the strand as right side up. Spread a thin line of glue on
Wire cutters before. one end of the braided suede and press it
FINISHED SIZE 4. Repeat Step 1 using all of the 6mm fac- into one half of the end cap clasp. Repeat
27" eted crystal rounds, adjusting the strand as on the other side of the necklace.
before.
1. Without cutting the beading wire from 5. Repeat Step 1 using all of the 4mm crystal
RON ROCK is the head of sales for the DIY
the spool, string all of the 10mm crystal bicones, adjusting the strand as before.
Market of Swarovski. He has been surround-
pearls onto the wire. Following the last bead, 6. Cut the braided suede in half. Fold one
ed by sparkly beads and components for
string 1 crimp tube and 1 pewter ring: pass end of the braided suede through 1 pewter
more than 18 years. Katie Hacker loves
back through the crimp tube and crimp. Cut ring, leaving a 1" tail, then use a few drops of
combining crystals and pearls with leather.
the wire from the spool, leaving a 1½" tail. glue to secure the braided tail to the long
String 1 crimp tube and the remaining pew- braided strand just above the pewter ring; RESOURCES Check your favorite bead retailer
ter ring; pass back through the crimp tube repeat on the other side of the necklace. or contact: Swarovski crystal rounds and crystal pearls:
and crimp. Bend the beaded strand into a 7. Cut the round leather cord in half. Coil the Fire Mountain Gems & Beads, (800) 355-2137, www
soft U-shape; this will aid in attaching future leather cord around the folded suede above .firemountaingems.com. Beading wire: Beadalon,
strands so they sit nestled inside one 1 pewter ring and place the cord ends in (866) 423-2335, www.beadalon.com. Glue-N-Go end
another. opposite directions on the back of the coil. cap clasps, leather cord, flat braided suede, and Loctite
2. Repeat Step 1 using all of the 8mm crystal Gently pull both ends to tighten the knot. super glue gel: LeatherCord USA, (770) 928-3993,
pearls, adjusting the strand as necessary so Add a drop of glue to each cord end. Repeat www.leathercordusa.com. Pewter rings: TierraCast,
that it nestles inside the previous strand. this step on the other side of the necklace. (707) 545-5787, www.tierracast.com. ●

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27955 Hwy 98, Ste. M (251) 210-6679
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listings or call and current newsletter will be mailed.
Florida
2321 Michael Dr. (805) 499-1377 Anderson’s Bead Room—Port Charlotte
Arizona A Place to Bead—San Marino www.beadthebeads.com
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3150 W. State Rte. 89A, Ste. 2 (928) 282-7334 7705 Wadsworth Blvd., Unit J (303) 423-1720 12807 W. Hillsborough Ave., Ste. H (813) 258-3900

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The area’s best and largest selection of high quality www.atlanticgems.com Sojourner—Lambertville
gemstones, German vintage beads, Tibetan, Bali, Thai, Best pricing on Swarovski Crystal. Factory distributor of www.sojourner.biz
and Turkish silver beads and findings, Czech glass, Findings/Chains in Sterling Silver, Gold-Filled, & 14K Sojourner stocks freshwater pearls, semiprecious
Japanese and Czech seed beads, trade beads and much Gold. Plated Chains/Findings in 6 finishes. Miyuki Delicas stones, Swarovski crystals, Czech glass and seed beads,
more. We also specialize in extraordinary pearls, all of – 650 colors. Full selection of Semi-Precious Beads, sterling beads, Chinese enamel beads, castings, charms,
which are hand-picked from all over the globe. Classes Freshwater and Akoya Pearls, & Tools. ethnic beads, findings—including our own design
from beginner to advanced. Monday thru Friday 11:00- 8609 Second Ave., #103B (301) 565-8094 sterling silver box clasps bezel set with vintage and
5:30 and Saturday 12:00-5:30. Check out our Facebook, (888) 422-GEMS semiprecious elements. Open daily 11-6.
Twitter and LinkedIn. 26 Bridge St. (609) 397-8849
440 Park Ave. (208) 529-3696 Michigan Artistic Touch Beads—Millville
Bead Haven—Frankenmuth www.artistictouchbeads.com
Illinois www.beadhaven.com Minutes from Route 55! Come see our Toho, TierraCast,
City Beads—Chicago 5,000 sq. feet makes us Michigan’s largest bead store! Czech glass, lampwork, 2 hole beads, loose beads, wire,
Swarovski bicones. 20% off most books! Bead group,
www.citybeadschicago.com HUGE selection of Czech beads in new shapes. Chain,
classes, Girls’ Night Out, parties. Our annual sidewalk
Seed Bead and AIKO Specialists! Huge inventory of antique silver & brass stampings. Seed beads, Delicas, sale is coming up!
vintage Czech glass beads, new shaped beads, Gary Wilson Swarovski, & pearls. Kits, patterns, FREE classes, tools,
501 N. High St., Cottage J (856) 500-1630
cabochons, pearls and semiprecious stones. Nationally and supplies & books. Open 7 days! Second location in
internationally renowned teachers! DISCOUNT PRICES! CASEVILLE MI! Bead Dazzle—Point Pleasant
Open Tuesdays 12-8, Saturdays 11-4 or by appointment. 925 S. Main St., E (989) 652-3566 www.BeadDazzlePoint.com
For class schedules and more information, visit our Ocean County’s largest full-service bead store. Huge
The Creative Fringe LLC—Grand Haven selection of Swarovski, semi-precious, Czech crystal;
website or call to be added to our mailing list.
3928 N. Rockwell St. (312) 316-1910
www.thecreativefringe.com largest selection around of seed beads. All the new two-
We moved! We’re a full-service bead and jewelry supply hole beads, Delicas, Charlottes, and much more. Kits,
Southpass Beads—Cobden shop offering an extensive collection of beads & free classes, many special events, and guest Bead
www.southpassbeads.etsy.com cabochons, findings, sterling silver wire, sheet & blanks, Artists. Many classes available in all techniques.
For All Your Beading & Fiber Needs! Great selection & gold-filled, base metals, beading and metalsmithing tools, 2319 Bridge Ave. (732) 295-6679
prices! Best little bead shop in southern Illinois! Unique lampworking supplies, soldering supplies and more.
ceramic beads, Czech glass, findings, Soft Flex wire, cord, Cultivate your creative side with classes from beginning New York
silk ribbon, Cascade yarn, seed beads, gemstones & more. to advanced in metalworking, enameling, lampwork and
beading. Private classes, parties, & workstations available. Bead Everything—White Plains
Watch for our trunk shows. Classes & Parties Available.
Come to the Fringe! Your creativity awaits you! www.beadeverything.com
Follow us on Facebook & Twitter! Wed-Fri 12-6, Sat 10-5, Westchester County’s largest full-service bead store!
or by appointment. 117 Washington Ave (616) 296-0020
Knowledgeable staff, classes, repairs, free workspace,
203 E. Ash St. (618) 893-6170 wholesale discounts & easy parking. A haven for stringers,
Minnesota wireworkers, AND weavers! Open 7 days a week. Find us
Rustic River Finds—Galena on Facebook & Instagram.
Bobby Bead—Minneapolis
www.rusticriverfinds.com 175 E. Post Rd. (914) 644-8191
Rustic River is a collection of handcrafted jewelry, Vintaj www.bobbybead.com
Natural Brass, specialty beads, & Unique finds. Our shop Several thousand varieties of TOHO Japanese seed beads Let’s Bead!—East Rochester
is inspired by nature. Open 7 days a week. including more than 1,000 colors of AIKO Precision www.letsbead.com
Cylinder beads. Wholesale and retail distributor of NEW, Your destination bead shop! 3,200 sq. ft. bright full-
109 N. Main St. (815) 776-0043
high-quality TOHO beading needles and One-G thread. service bead store. Wide selection of quality beads, semi-
Bead In Hand—Oak Park Largest Full-Line Bead Store in Minnesota! info@ precious stones, Swarovski crystals, kumihimo, chain
www.beadinhand.com bobbybead.com. maille, stringing materials, wire, findings and more!
Friendly and knowledgeable staff, offering seed beads, 2831 Hennepin Ave. S. (888) 900-2323 Featuring unique beads and components by local and
semi-precious, Czech glass beads and more. Beading American artisans. Friendly customer service for beaders
supplies, tools, findings and tips. Birthday parties, classes, Missouri of all levels.
349 W. Commercial St.
repairs. Space to “stay and play.” Open 7 days, visit website Springfield Leather & Touchstone Beads— (585) 586-6550
for hours.
Springfield
145 Harrison St. (708) 848-1761
www.springfieldleather.com North Carolina
Bead World—Palatine Come in and explore Springfield’s largest bead store, over Chevron Trading Post & Bead Co.—Asheville
www.beadworldbeads.com 2,500 sq. ft. of high quality findings and an awesome www.chevronbeads.com
Jewelry and gift items from around the world, specializing selection of semi-precious bead strands for your unique Asheville’s premier full-service bead store of 25+ years.
in ancient and new Indonesian glass beads, (Indonesian creations. We have lots of tools for beading, metal Largest selection of seed beads, Old World Trade Beads and
glass beads available wholesale) and recycled glass beads. stamping, leather crafts and a wide array of seed beads. Vintage glass in the SE Region. Huge selection of pearls,
Jewelry repair—books—findings—body jewelry— We offer a variety of classes taught by our resident gemstones, crystals, Czech, ceramic & natural beads,
piercings. experts. Lots of classes. Open Mon-Sat 9-6. including all the supplies you need. WireLace® Distributor
7 N. Bothwell St. (847) 776-BEAD (2323) 1463 S. Glenstone (800) 668-8518 – Open 7 day a week. Importer/Classes/Parties/
Workspace
Indiana New Hampshire 40 N. Lexington Ave. (Downtown) (828) 236-2323
The Beaded Peacock—Winona Lake Bella Beads—New Hampton Cherry Tree Beads—East Asheville
www.bellabeadsnh.com www.cherrytreebeads.com
www.thebeadedpeacock.com Direct importer of beads and jewelry making supplies,
Largest selection of stone beads in N. Indiana. Glass and [email protected] specializing in gemstones. We offer retail and wholesale
seed beads, findings and tools, custom jewelry and repair, Open table Thursday 11:00-5:30.Shop hours Wednesday pricing. You can shop online or visit our showroom, which
classes and parties year round. A hidden gem in a cozy thru Friday 10:00–5:00. Featuring sterling and Miyuki includes exclusive items such as specimens, art, gifts,
lakeside town. Find us on Facebook. Open Mon-Sat 10-6 beads. finished jewelry and more!
805 East Canal St. (574) 371-2777 5 Firehouse Ln 202 Railroad St. Swannanoa, NC 28778 (828) 581-0500
Ain’t Miss Bead Haven—Mooresville Texas New Jersey
www.aintmissbeadhaven.com Beads Unlimited Inc.—Dallas
Classes, Birthday Parties, Summer Camp, Socials (Bring
South Jersey Bead Society
Your one stop bead shop in Dallas: Huge collection of
Your Own Beads). Design & Make Your Own Jewelry - or Gemstones, agates, pewter, findings, chain, Chinese P.O. Box 1242
crystal, pave beads, rhinestone findings, wood beads, Bellmawr, NJ 08099-5242

let us make it for you. Mooresville’s best place for beads
tools, ceramics and sterling silver jewelry studded with [email protected]
& jewelry supply. Just 20 miles north of Charlotte NC.
semi-precious gemstones. Spend over $300 or more www.southjerseybeadsociety.org
We offer a large variety of vintage components, Seed (wholesale) and receive 50% off on selected items. Call us Meetings are held the first Thursday of the month
beads, Two-Hole beads, Swarovski, Preciosa, Czech, to be included for weekly sales at the shop. Email: September-June from 6:30 to 9:00 pm. SJBS also offers
Gemstones, Crystals, Pewter, Sterling Silver, Silver & [email protected]. Fax: (214) 749-0446
workshops taught by local and national teachers. For lo-
Gold filled, and Vermeil findings. 2454 Royal Ln. (214) 749-0444
cations and more info see the website.
138 N. Main St. (704) 746-9278 Washington
Wonders of the World Beadshop—Spokane BEAD BROWSER
Ohio www.wondersoftheworldinc.com
www.toocutebeads.com
We carry Swarovski crystal, pendants, pearls, gold-filled beads,
Bloomin’ Beads, Etc.—Columbus (Powell) Best little bead shop in Spokane. Incredible gemstones,
crystals, charms, seed beads, chain, findings, and books chain, sterling silver beads, cultured pearls, Murano glass, artist
www.BloominBeadsEtc.com glass, tools and wire, kits, and much more. Visit our website for
for your creative needs. Friendly staff and great prices.
We are a fun bead store with a 2,000 sq. ft. Event Center Make us your first stop! In the historic Flour Mill. class schedule and for our sale of the week.
where we host weekly classes. We have all types of beads 621 W. Mallon, Ste. 412 (509) 325-2867
and supplies that you will need. Come join us!
Wisconsin CLASSIFIED WORD
4040 Presidential Parkway (740) 917-9008
Meant to Bead—Sun Prairie
Oklahoma www.Meant-to-Bead.com TOOLS
Full-service bead shop. Featuring classes, large selection
SA Beads—Owasso of beads, books, tools, etc. Specializing in PMC,
JP DIAMOND DRILL BITS Specially selected mini
www.sabeads.com semiprecious stone, and lampwork and Czech glass beads. diamond drill bits for Creative Jewelry Designer, 1mm-
Mon–Fri 10–8, Sat 10–5, Sun 12–4. 3mm. Recommended for drilling sea glass, semi-precious
Looking for the latest in beads? If you’ve seen it in a bead
110 Columbus St. (608) 837-5900 stone, etc. Microcore hollow core bits available. Five star
magazine, chances are we have it available for purchase at
reviews. www.jpdiamonddrillbits.etsy.com
the store. Classes are twice a week with the schedule Stoned & Wired, LLC Studio/Boutique—
posted on our website at www.sabeads.com or on Wausau
Facebook.com/sabead1 What a lovely addiction!
11230 N. Garnett Rd., Unit A (918) 576-8940 www.stonedandwiredllc.com
Shop Online At: viralbeads.com and use code STONED
Pennsylvania WIRED at checkout.
Facebook: Stoned and Wired Bead Shop
Allegory Gallery—Ligonier COLOR YOUR WORLD. A quaint nostalgic Bead Store. A
www.allegorygallery.com lovely vintage atmosphere brimming with gorgeous pearls,
Allegory Gallery specializes in art beads, Czech glass, fine crystals and unique stones. You will find thousands of
quality seed beads...many exclusive signature mixes. And a
gemstones, and Ethnographic components. We also offer
menagerie of exquisite jewelry will entice and delight you.
fine art, finished jewelry, mineral specimens, home decor, COME FEED YOUR SOUL! Located in the heart of downtown
and unique gifts. Not local? Check out our Facebook page Wausau’s River District, in the Historic Landmark Building.
or online store; we ship all over! Tue.: 11-6, Wed. by appt., Thu.-Sat.: 11-3 or by appt.
220 West Main St., Suite A (724) 610-3770 221 Scott St. (715) 298-6666
Owl Be Beading—Bethlehem
www.owlbebeading.com BEAD SOCIETIES
A cozy nest for beaders. Seed beads, crystals, Delicas and
shaped beads abound. Classes held almost everyday. Open Maryland
free beading Wednesday nights. A fun place to hang and
bead. Owl be happy to help you in any way. Closed
Baltimore Bead Society
Tuesdays. Howard County Center for the Arts
8510 High Ridge Rd.
1278 B Birchwood Dr. (610) 216-5995
Ellicott City, MD 21043
Blue Santa Beads—Media [email protected]
www.baltimorebead.org
www.bluesantabeads.net Monthly program on 2nd Tuesdays (September – June)
An artistic venue that prides itself on a vast selection of at the Howard County Community Center for the Arts,
beads and findings to encourage your creativity. 8510 High Ridge Rd., Ellicott City, MD 21043. 2018
Customers always come first and always return. Winter Bead and Jewelry Show, Jan 20 -21, 2018 at the
1165 W. Baltimore Pike (610) 892-2740 Howard County Fairgrounds, 2210 Fairgrounds Rd, West
Friendship, MD 21794
Rhode Island
Barrel of Beads—Woonsocket To be listed in the classified section,
www.barrelofbeads.com
Your seed bead specialist. We offer all the colors of Miyuki
contact
Delica Size 11 as well as a huge selection of Miyuki and
Toho Beads including sizes 11, 8, 6 and 15, Tilas, triangles,
Marilyn Koponen at
cubes, and Toho Aikos. Also, Czech SuperDuos, GemDuos, [email protected]
Tiles, Bricks, Daggers, Crescents and more. Visit our or
website for directions and hours. (970) 613-4613
508 Diamond Hill Rd. (877) 93-BEADS (23237)

bead buzz D EBBIE B LAIR
Museum of Beadwork
Celebrating the Art of Beading
beautiful beaded art. Until the

physical space is completed, the
museum is offering Master Classes
featuring guest artists at Caravan
Beads. Part of the educational
Conconnity Quilt Square by Phyllis Dintenfass for the
component of the museum will Museum of Beadwork Beaded Square Project.
also be the Young Artist program, PHOTO COURTESY OF THE ARTIST.
which will allow for hands-on

experience for students new to and purses representing people and
the art of beadwork. cultures across the globe; and tapestries,
In addition to workshops, which showcase bead embroidery and
classes, and other community bead-weaving techniques by diverse
events, the Museum of Beadwork artists from around the world.
will include an exhibit space that How can you get involved? First,
shows how beads are made and contribute to the Beaded Square Project, a
explores the art form throughout community endeavor to connect people
human history. The space will also from around the globe during this time of
house displays of artistically separation. The combining of individual
significant and unique examples squares to build something larger shows
of beaded jewelry, from prehistory the interconnection of humans, despite
to the present; clothing, including the global distance and the isolation we
bead embroidery, beaded are all facing. “One of the best aspects of
lacework, and fabric woven with this project has been hearing how
fiber and beads; sculpture, which important it has been to the participants.
encompasses figurines, furniture, Many people have used their squares to
Affinity Gown by Jan Huling. and home decor items; acces- mourn a loved one, to express hope, or as
PHOTO COURTESY OF THE ARTIST.
sories, such as hats, gloves, shoes, a cathartic process to manage their stress
and anxiety. We love hearing all their
THE MUSEUM OF BEADWORK STARTED stories,” says Kristina Skillin, director of the
with a dream. Heather Kahn and Kristina museum. The individual squares and the
Skillin envisioned creating a space that final installation will be one of the
would house a spectacular collection of museum’s first exhibitions and will be part
beaded items from around the world, of the permanent collection.
allow for guest artists to hold workshops, Another way to get involved is to enter
and inspire a new generation of students the museum’s beadwork challenge, Wings
to learn the art of beadwork. Their dream & Stings: Exploring the World of Beaded
is set to come to fruition in 2022, with the Bugs. The challenge is cosponsored with
grand opening of the Museum of Caravan Beads and Miyuki, with submis-
Beadwork in Portland, Maine. sions due April 30, 2021, and select entries
Construction on the interior space, will be exhibited in the museum’s
which is located inside the building grand-opening gala. ●
owned by Caravan Beads, is still in
progress. Caravan Beads has been
Heather’s family business for around 30 Find more information about the museum, the
years, and throughout that time, she has Beaded Square Project, and the Wings & Stings
been immersed in beadwork and has challenge by visiting the museum’s website at
developed relationships with many www.museumofbeadwork.org.
Deer Head Sconce by Nancy Josephson.
different artists who make stunningly PHOTO COURTESY OF THE ARTIST.
Never
miss an
issue!
Subscribe to
Beadwork magazine
Designed by: Penny Dixon and become a master
beading artist today!
Designed by: Cathy Andrews
Subscribe at
Designed by: Leslie Venturoso Interweave.com

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All y

Delicas, our needs in

You supply the creativity,

Go online to see over 100,000 HOT

FEBRUARY/MARCH 2021 • AN INTERWEAVE PUBLICATION

your NEW B(EAD) FF

Project Rating Fast & Fabulous: Pearls & Leather

££¡ 54 TEARDROP PEARLS 58 DREAMY PEARL BIB

BEADWORK FEBRUARY/MARCH 2021 3

Telling TECHNICAL EDITOR Meredith Steele

Your Story MARKETING & ADVERTISING

Katie Hacker For Beadwork SUBSCRIPTION questions or concerns, contact us:

facebook.com/ instagram.com www.interweave.com

For more of his work, visit

Beadwork Favorites: Susan Sassoon

BEADWORK FEBRUARY/MARCH 2021 7

Kings & Crowns

Y OU’LL FEEL LIKE ROYALTY

8 WWW.INTERWEAVE.COM FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES

Fig. 2: Stitching Row 192

vious row and back through the last

3) END 2. Note: Take care that the tail

FOR HELPFUL TECHNIQUE INFORMATION SEE W

I nspired by the rose windows of Gothic cathedrals,

PROJECT LEVEL £¡¡

10 WWW.INTERWEAVE.COM FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES

FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES BEADWORK FEBRUARY/MARCH 2021 11

12 WWW.INTERWEAVE.COM FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES

Inside Jill Mackay's personal design studio.

filled with gorgeous beads. Being able to

projects often accumulate into piles

Nicole Vogt's crystal storage.

BEADWORK FEBRUARY/MARCH 2021 15

BEADWORK FEBRUARY/MARCH 2021 17

Listen to Our Brand-New

LEARN MORE AT Interweave.com/Jewelry-Artist-Podcast

Life is what you make it.

over the design and feel the beads.

Dragonfly cuff with

BEADWORK FEBRUARY/MARCH 2021 21

Ode to Leila bag (back) includes

my pieces.” Jewelry, key fobs, and card

FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES BEADWORK FEBRUARY/MARCH 2021 23

C REATE A BEAUTIFUL PAIR of dragonfly earrings using two-needle appliqué flat

done in the powwow style of beadwork.

24 WWW.INTERWEAVE.COM FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES

FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES

26 WWW.INTERWEAVE.COM FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES

Czech pressed glass beads

barrelofbeads.com/pages/les-perles-par-puca-paris barrelofbeads.com • 877-93-BEADS

28 WWW.INTERWEAVE.COM FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES

S TITCH TOGETHER SIX components to

FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES BEADWORK FEBRUARY/MARCH 2021 29

Fig. 6: Weaving Ball,

30 WWW.INTERWEAVE.COM FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES

Fig. 9: Stitching Bowtie,

Fig. 10: Joining

FOR HELPFUL TECHNIQUE INFORMATION SEE WWW.INTERWEAVE.COM/GO/BEADING-TECHNIQUES BEADWORK FEBRUARY/MARCH 2021 31

Fig. 11: Forming