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4 NEW PROJECTS TO FUEL YOUR CREATIVE FIREArco arabesque bracelet p.4
Decadent daggers kumihimo necklace p.7
Chilli flowers bracelet p.14
A DIGITALSUPPLEMENT TO BEAD&BUTTON
MAGAZINE
BBextraSUBSCRIBER EXCLUSIVE • FEBRUARY 2017
NEW YEAR,NEW LOOK!
QUICK & EASYBEADED BEADS SPECIAL
PULL-OUTBOOKLET:BeadingBasics
PLUS! Faux cloisonné with resin p. 78
Beads + leather: Recipes for success p. 20
NEW! Diane Fitzgerald answers your beading questions p. 14FacetJewelry.com/BeadAndButton
FEBRUARY 2017 • Issue 137
Stitch this stunning herringbone necklace
BEAD GEOMETRY
Make a layered peyote pendant Two-hole beads:One design,many looks p. 74
DOUBLE SPIRAL ROPE WITH A TWIST p. 40
creativity
Go glam!
in 2017
Nourish your
p. 67
p. 31
TRIANGULUM PENDANTp.10
welcome
Arco arabesque bracelet............................................... p. 4
Decadent daggers kumihimo necklace ........................ p. 7
Triangulum pendant .....................................................p. 10
Chilli flowers bracelet ...................................................p. 14
✽
Fanning the flames ofcreativity
Editor, Bead&[email protected]
Beaders, as a whole, are a creative bunch, and most seem to be positively driven by the urge to make beautiful things, to express an inner vision, to produce something that did not exist before. But creativity is a fickle mistress, sometimes at your side, whispering words of encouragement, other times unresponsive and distant. You can’t own creativity. It is a practice and a journey, not a statement on a resumé or an item on your dresser. So how do you tap into it? A hundred different people will give you a hundred dif-ferent ways, and the key is to find the right path for you. But the first step, in my opinion, is to act. For beaders, it means taking thread and needle in hand (or wire, cord, or the like) and getting started on a project. Get it underway, and then ride the wave of accomplishment. Step back from time to time to enjoy the process, appre-ciate your success, and watch your creativity bloom.
Let 2017 be a year
of joyful creation.
We’ll be with you
all the way!
Contents
ADVERTISING
Corporate Advertising Director Ann E. Smith
Advertising Sales Lori Schneider
Ad Services Representatives Melissa Valuch, Nanette Hackbarth
B&B Extra is published bimonthly by Kalmbach Publishing Co., 21027 Crossroads Circle, P.O. Box 1612, Waukesha, WI 53187-1612
Editor Julia Gerlach
Senior Art Director Lisa A. Bergman
Associate Editors Cassie Donlen, Connie Whittaker
Contributing Editor Stacy Werkheiser
Editorial Assistant Lora Groszkiewicz
Graphic Designer Lisa M. Schroeder
Photographer Bill Zuback
Illustrator Kellie Jaeger
Editorial Director Diane M. Bacha
© 2017 Kalmbach Publishing Co. All rights reserved. This publication may not be reproduced in part or in whole without written permission from the publisher. The designs in B&B Extra are for your personal enjoyment. They may not be taught or sold without permission.
Visit www.BeadAndButton.com
for access to more projects from
Bead&Button magazine.
Please support our fine sponsor!
PLUSLook for links throughout the pages that will connect you to more great content and resources on the Web.
Then click on the ad to visit their website. Ask for their products at your favorite bead shop!
Simply Click on their logo above!
This logo is for use on masthead only. Do not use less than 100% of full size.
PRECIOSAFBE (Bead&Button Extra) • 02/01/2017 • 4C • 1 PG
Click here for instructions to make the bracelet
DESIGN BY MICHAL PAPEŽ
PRECIOSA HillTM
new firepolished bead
PRECIOSA Traditional Czech BeadsTM
PRECIOSA ORNELA, a.s. | Zásada 317, 468 25 Czech RepublicP +420 488 117 711, F +420 483 312 292, E [email protected]
preciosa-ornela.com
traditional-czech-beads.com
TO DISCOVER MORE ABOUTPRECIOSA traditional Czech beadstM
VISIT
MANUFACTURERPRECIOSA ORNELACzech Republic
AgENTS FOR USA AND CANADA
Bead & Trim, Inc. | 212-725-9845 | traditional-czech-beads.comJablonex Canada Inc. | 416-675-1326 | [email protected]
DISTRIBUTORS OF PRECIOSA traditional Czech beadstM
Traditional Czech Beads
Art No.: 151 01 375SIZE: 8 mm
PRECIOSA HilltM
John Bead Corp., Ltd. | 888-755-9055 | www.johnbead.comShipwreck Beads | 800-950-4232 | www.shipwreckbeads.comJohn F. Allen & Son, Inc. | 800-334-9971 | www.jfallen.comFire Mountain Gems and Beads | 800-355-2137 | www.firemountaingems.comBeadsmith / Helby Import | 732-969-5300 | www.beadsmith.comFrabels Inc. | 514-842-8561 | www.frabels.comHar-Man Importing Co. | 1-800-232-3769 | www.harmanbeads.com
ARCO ARABESQUE BRACELETdesigned by Margherita Fusco
DIFFICULTY
bead weaving
February 2017 4© 2017 Kalmbach Publishing Co. This material may not be reproduced in any form without permission from the publisher.
outsideedge
insideedge
top hole(TH)
centerhole (CH)
bottomhole (BH)
ab
c
d
e
f
g
a
b
c
d
5 x 10 mmArcos bead, color A
2.5 x 3 mmMinos bead, color B
150 seed bead
4 mm crystalrose montée
5 x 10 mm Arcos bead, color C
2.5 x 3 mmMinos bead, color D
Arrange the Arcos beads on your work surface as shown in figure 1. The Arcos have an outside edge and an inside edge, and the instruc-tions will state which edge to sew through. In addition, the holes will be referred to as the top hole (TH), the center hole (CH), and the bot-tom hole (BH).
COMPONENTS1) On 1 yd. (.9 m) of thread, pick up a color A Arcos bead (outside edge, TH) and three color B Minos beads, and sew through the inside edge (BH) of the same Arcos (figure 2).
Pick up this pattern three more times. Tie the beads into a ring with a square knot, leaving a 6-in. (15 cm) tail and making sure the Minos stay to the outside of the ring. Continue through the first Arcos in the ring (outside edge, TH) (figure 3, point a).2) Pick up two 150 seed beads, and sew through the same Arcos (inside edge, CH) (a–b). Pick up a 4 mm rose montée, and sew through the opposite Arcos (outside edge, CH) (b–c). Pick up two 150s, sew through the same Arcos (inside edge, BH), and continue
through the adjacent Arcos (c–d). 3) Pick up two 150s, and sew through the same Arcos (inside edge, CH) (d–e). Cross through the open hole of the rose montée, and sew through the opposite Arcos (CH) (e–f). Pick up two 150s, sew through the same Arcos (inside edge, right hole), continue through the next Arcos, and exit the adjacent Minos (f–g). 4) Pick up five 150s, skip the next Minos, and sew through the follow-ing Minos (figure 4, a–b). Pick up a color C Arcos (outside edge, TH) and three color D Minos, sew
Adorn your wrist with the soft curves of crescent-shaped Arcos beads and cylindrical Minos.
FIGURE 3
FIGURE 1 FIGURE 2
FIGURE 4
FacetJewelry.com/BeadAndButton 5
materialsbracelet 7½ in. (19.1 cm)
• 5 x 10 mm Arcos par Puca
beads
- 30 color A (opaque mix
violet/gold luster)
- 20 color C (opaque mix
rose/gold ceramic)
• 5 4 mm crystal rose montées
(Swarovski #53102, light
Colorado topaz)
• 2.5 x 3 mm Minos par Puca
beads
- 84 color B (flax metallic
matte)
- 64 color D (antique gold
metallic matte)
• 2 g 150 seed beads (Toho
221, bronze)
• 2 4 mm jump rings
• 1 clasp
• Fireline 6 lb. test
• beading needles, #12
• 2 pairs of chainnose, flat-
nose, and/or bentnose pliers
online beading basicsFacetJewelry.com/basics
• square knot
• ending thread
• opening and closing
jump rings
a
b
c
d
e
fg
double join
single join (to be completed later)
February 2017 6
through the same Arcos (inside edge, BH), and continue through the adjacent Minos (b–c). Repeat these stitches three times to complete the round (c–d), and end the working thread and tail.5) Make three more components for a total of four. Make a fifth component, but begin with 2 yd. (1.8 m) of thread in step 1, and do not end the working thread at the end of step 4.
CLASP CONNECTIONS AND JOINS1) Arrange the five components in a row on your work surface, placing the one with the working thread on one end.
NOTE The pairs of 150s around the color A Arcos lie at an angle. You may want to orient the components so that their 150s are all angled in the same direction.
With the working thread from the last component, sew through the
beadwork to exit the lower-left color C Arcos (figure 5, point a). 2) Pick up a B Minos, a D Minos, a B Minos, and an A Arcos (inside edge, BH). Pick up 11 150s, and sew through the same Arcos (outside edge, TH). Pick up a B Minos, a D Minos, and a B Minos, and sew through the upper-left Arcos (inside edge) (figure 5, a–b). Sew through the beadwork as shown, and retrace the thread path of the clasp connection, but this time, exit the three Minos around the upper-left Arcos (b–c).
NOTE The clasp connec-tion attaches to the end component at the lower-left and upper-left. Notice that at the upper-left, the thread path passes first through the Arcos and then through the Minos around the Arcos. This double join gives the bracelet added durability. At the lower-left, the thread path passes only through the Arcos, a single join. You can add the double join
through the Minos when you complete the bracelet, just before ending the thread.
Sew through the beadwork to exit the three Minos around the upper-right Arcos of the same component (c–d).3) Pick up a 150, a B Minos, and a 150, and sew through the first two Minos around the upper-left Arcos of the next component (d–e). Pick up an A Arcos (inside edge, TH), two 150s, a B Minos, and two 150s, sew through the other outer hole of the same Arcos (outside edge), and continue through the last two Minos around the upper-right Arcos of the previous unit (e–f). Sew through the beadwork to exit the three Minos around the upper-right Arcos of the new component (f–g).4) Repeat step 3 three times, and sew through the beadwork to exit the three Minos around the upper-right Arcos of the last unit.5) Work as in step 2 to create another clasp connection, making
sure to work a double join where it connects to each edge.6) Rotate your beadwork so that the unfinished edge is at the top. Repeat step 3 along this edge, and then complete the double join of the first clasp connection. End the working thread. 7) Open a 4 mm jump ring, and attach half of the clasp to the loop of 150s at one end of the bracelet. Repeat on the other end. B&B
Margherita Fusco lives in Cremona, Italy, and started beading about nine years ago just for fun. Now she knows she has found her true passion in bead weaving. Contact her at [email protected], or visit 75marghe75.etsy.com or 75marghe75.blogspot.it.
FIGURE 5
© 2017 Kalmbach Publishing Co. This material may not be reproduced in any form without permission from the publisher.
February 2017 7
DECADENT DAGGERS NECKLACEdesigned by Deborah Shipp
DIFFICULTY
kumihimo / bead weaving
2
3
4
56
7
8
1
kumihimodisk
2
3
4
56
7
8
1
2
3
4
56
7
8
1
2
34
5
6
7 8
1
60 seed bead
80 seed bead,color B
5 x 16 mmdagger bead
February 2017 8
For those familiar with kumihimo, this project is made as an eight- cord beaded kongoh gumi braid. If you’re new to kumihimo, this braid is actually one of the simplest to make! You can work on either a marudai or a foam kumihimo disk. The instructions below are for the disk.
SETUP1) Cut four cords to 100 in. (2.8 m) each. Center them on a 10 mm or larger split ring, and tie an over-hand knot to secure the cords to the ring. This creates the eight cords you need for the kongoh gumi braid.2) Align the kumihimo disk so you have a dot at the top, the bottom, and each side.3) Feed the ring through the center
hole in the disk from front to back. Arrange the cords around the disk, placing two at the top, two at the bottom, and two on each side so you have two cords flanking each dot. Slide the cords into the appro-priate slots.4) Trim the ends of the cords at an angle, dot the ends with Fray Check, and allow to dry.
tip Stiffening and trim-ming the cord will help with stringing the beads. Alternatively, use a Big Eye needle to string them.
String each cord with beads as indi-cated in the Bead & cord layout. Each cord should end with a total of 134 beads. After stringing each cord, attach a stop bead, and wind the end of the cord around a bob-
bin. Label the bobbins 1 through 8.5) Attach a counterweight to the split ring.
BRAIDING1) Work a braid with no beads using the following two move-ments:Movement 1: Bring the top-right cord down, and place it to the right of the bottom-right cord (figure 1). Bring the bottom-left cord up, and place it to the left of the top-left cord (figure 2). Rotate the disk 90 degrees (figure 3).Movement 2: Repeat “Movement 1” with the two cords that are now in the top-right and bottom-left positions.
Repeat these two movements a total of 16 times (about 1 ⁄2 in./ 1.3 cm of braid) until all eight cords are in their original positions, as shown in figure 1.2) Continue braiding as before, but add beads as you work: With each
Braid a lush Mardi Gras-inspired kumihimo rope with dagger beads, and then add supple seed bead embellishments.
Cord 1:• 3 color A 80s• String the following five times: 1 60, 12 As, 1 dagger, 12 As • End with 1 ACord 2:• 3 As• String the following five times: 7 As, 1 60, 12 As, 1 dagger, 5 As• End with 1 ACord 3:• 3 As• String the following five times: 3 As, 1 60, 12 As, 1 dagger, 9 As• End with 1 ACord 4:• 3 As• String the following five times: 10 As, 1 60, 12 As, 1 dagger, 2 As• End with 1 ACord 5:• 3 As• String the following five times: 1 dagger, 12 As, 1 60, 12 As • End with 1 ACord 6:• 3 As• String the following five times: 7 As, 1 dagger, 12 As, 1 60, 5 As• End with 1 ACord 7:• 3 As• String the following five times: 3 As, 1 dagger, 12 As, 1 60, 9 As• End with 1 ACord 8:• 3 As• String the following five times: 10 As, 1 dagger, 12 As, 1 60, 2 As • End with 1 A
bead & cord layout
FIGURE 1
FIGURE 2 FIGURE 3
a
b
c
de
February 2017 9
cord movement, slide a bead up to the braid before you move the cord. Tuck the bead under the cord that crosses the cord you are working with (photo), and then cross the cord as usual.
tip Make sure each 80 stays under its crossing cord, and position each dagger so that the wide end points away from the inside of the braid.
Release more thread and beads from the bobbins as needed. As the braid progresses, move the counterweight up the braid to maintain even tension.3) When you run out of beads, work as in step 1 to end with 1 ⁄2 in. (1.3 cm) of unbeaded braid.
ENDING THE BRAIDRemove the braid from the disk, and tie the loose ends with an over-hand knot. Grasp the unbeaded end of the braid, just beyond the beaded portion, with crimping pliers.
tip You can use any kind of pliers, or even a hemostat if you have one, but crimping pliers help you keep the end of your braid round.
Allow the cord burner to heat up, and then apply the tip where you want to end the braid. Make sure you leave enough unbeaded braid to fit inside your magnetic clasp. Once the braid is separated from the working cords, take a moment to continue applying the thread burner to the end of the braid to melt and seal the cords.
note Don’t have a cord burner? You can also bind and glue the ends of the braid. Cut a 6-in. (15 cm) piece of thread or cord, wrap it tightly around the unbeaded braid end, and tie it with a square knot. Place a drop or two of Fray Check or super glue onto the binding cord, let-ting it seep into the unbead-ed braid. Allow the braid to dry, and then cut the braid to the desired length. Trim the tails of the binding cord.
BEADED FRINGE1) On 60 in. (1.7 m) of thread, attach a stop bead, leaving a 6-in. (15 cm) tail. Sew straight through one end of the braid next to the first 60, and exit the 60.2) Pick up six color B 80 seed beads. Skip the first two Bs, and sew through the last four Bs again, forming these beads into two side-by-side stacks of two beads each (figure 4, a–b). Pick up two Bs, and sew through the next 60 in the braid (b–c).3) Repeat step 2 for the length of the braid.4) Sew straight through the braid, exiting the first dagger. Work as in step 2 again, sewing through each dagger instead of each 60 (d–e).5) Sew straight through the end of the braid to exit near the tail thread. Remove the stop bead from the tail, and tie the threads together with a surgeon’s knot. End the threads.
CLASP1) On a small piece of aluminum foil, dispense equal portions of two-part epoxy. Mix together the two elements with a toothpick until the epoxy has a milky appearance.2) Using the toothpick, apply epoxy to the inside of half of the clasp, making sure all surfaces are well coated. Now fill the clasp two-thirds of the way full of epoxy. Spread additional epoxy on one of the unbeaded ends of the braid, being careful not to get any epoxy on the beads.3) Insert the braid into the clasp, centering it, and push down into the clasp for several minutes. 4) Allow the piece to sit for one hour before repeating steps 1–3 with the other half of the clasp. Let the entire piece cure for 24 hours before wearing. B&B
Deborah Shipp’s love of jewelry making began more than 30 years ago when she inherited her mother’s and great aunt’s costume jewelry, most of which was in need of loving care. As each piece was restored to its original beauty, Deborah learned various jewelry-making techniques. One day, Deborah saw a beaded kumihimo necklace and fell in love. Since then, she has made a study of the art of kumihimo and has utilized her skills to create innovative beaded kumihimo jewelry designs. Contact Deborah at [email protected], or visit dmkartisanjewelry.etsy.com.
FIGURE 4
materialsnecklace 221⁄2 in. (57.2 cm)
• 40 5 x 16 mm dagger beads
(Czech, magic blueberry)
• 4 g 60 seed beads (Toho
PF557, permanent finish
galvanized starlight)
• 80 seed beads
- 25 g color A (Toho 7BDF,
transparent frosted teal)
- 16 g color B (Toho 461,
deep purple metallic)
• 1 18 x 10 mm magnetic
clasp, 6 mm opening (gold)
• 1 10 mm or larger split ring
• S-Lon thread, size D, or
Fireline 6 lb. test
• S-Lon/C-Lon Tex 210 nylon
cord (black)
• beading needles, #10
• Big Eye needle (optional)
• kumihimo disk with 8 plastic
bobbins and 40 g counter-
weight; or marudai with 8
70 g tama and 168 g
counterweight
• crimping pliers
• cord burner (optional)
• Fray Check
• super glue (optional)
• aluminum foil
• 5-Minute two-part epoxy
• toothpicks
basicsFacetJewelry.com/basics
• overhand knot
• attaching a stop bead
• square knot
• surgeon’s knot
• ending thread
knot
a b
c
d e
© 2017 Kalmbach Publishing Co. This material may not be reproduced in any form without permission from the publisher.
February 2017 10
TRIANGULUMPENDANTdesigned by Justyna Szlezak
DIFFICULTY
bead weaving
materialspendant 2 in. (5 cm)
• 1 14 mm crystal pearl
(Swarovski, iridescent purple)
• 4 g 2.5 x 5 mm SuperDuo
beads (opaque Bordeaux
alabaster pastel)
• 9 4 mm round fire-polished
beads (metallic suede light
green)
• 2 g 110 seed beads (Toho
221, bronze)
• 1 g 150 seed beads (Toho
221, bronze)
• 1 bail with closed loop
(antique brass-plated pewter;
artbeads.com)
• Nymo B nylon beading
thread
• beading needles, #12 or #13
basicsFacetJewelry.com/basics
• ending thread
• square knot
Weave SuperDuos, fire-polished beads, and seed beads into a geometric sculpture centered on a large pearl.
Use medium tension throughout this project, as you will be turning it partially inside out in step 14 and want your beadwork to be flexible. Tension that is too tight may result in broken beads or thread in step 14.1) On 3 yd. (2.7 m) of thread, pick up a repeating pattern of an 110 seed bead and a SuperDuo 12 times. Tie the beads into a ring with a
square knot, leaving a 30-in. (76 cm) tail. Sew through the first 110 and SuperDuo in the ring, and continue through the open hole of the same SuperDuo (figure 1).2) Pick up two SuperDuos, and sew through the open hole of the next SuperDuo (figure 2, a–b). Pick up an 110, and sew through the open hole of the following SuperDuo (b–c). Repeat these
FIGURE 1
FIGURE 2
a
bc
d
e
f
110 seed bead
2.5 x 5 mmSuperDuo bead
4 mmfire-polished bead
150 seed bead
14 mm crystal pearl
ab
c
d
e
a
b
c
d
e
February 2017 11
FIGURE 3
FIGURE 4
stitches five times to complete the round (c–d). Sew through the first two SuperDuos added in this round, and continue through the open hole of the second SuperDuo (d–e).
note Your work will begin to cup. If necessary, flex your work to turn the cup inside out so that you are stitching with the convex side facing up toward you.
3) Pick up two SuperDuos, and sew through the open hole of the next SuperDuo (figure 3, a–b). Pick up a 4 mm fire-polished bead, and sew through the open hole of the following SuperDuo (b–c). Repeat these stitches five times to complete the round, and sew through the first two SuperDuos added in this round (c–d).4) Pick up five 110s, and sew through the inside hole of the next two SuperDuos (d–e). Repeat this stitch five times to complete the round, and continue through the open hole of the last SuperDuo (e–f). Pull gently so that the 110s are posi-tioned just slightly under the 4 mms.
5) Pick up an 110, and sew through the open hole of the next SuperDuo (figure 4, a–b). Pick up three 110s, and sew through the center 110 in the adjacent group of five 110s added in the previous step (b–c). Pick up three 110s, and sew through the open hole of the next SuperDuo (c–d). Repeat these stitches five times to complete the round, and sew the first 110 added in this round (d–e).6) Pick up three SuperDuos, skip the next SuperDuo and two 110s, and sew through the following two 110s in the previous round (figure 5, a–b). Pick up three SuperDuos, skip the next two 110s and SuperDuo, and continue through the following 110 (b–c). Without adding any new beads, sew through the next SuperDuo, six 110s, SuperDuo, and 110 (c–d). Repeat these stitches twice to com-plete the round (d–e).
note You now have the start of the three vertices of the triangle. In the next few figures, you will only see one of the vertices.
FIGURE 5
a
b c
d
e
f
a
b
c
d
e a
b
c
d
February 2017 12
FIGURE 6
FIGURE 7
FIGURE 8
7) Pick up two 150 seed beads, and sew through the open hole of the next SuperDuo (figure 6,
a–b). Pick up an 110, and sew through the open hole of the fol-lowing SuperDuo (b–c). Pick up a SuperDuo, and sew through the open holes of the next two SuperDuos (c–d). Add another SuperDuo, 110, and two 150s as a mirror image of the first half of this step (d–e), and sew through the next SuperDuo, six 110s, SuperDuo, and 110 (e–f).8) Repeat step 7 twice to complete the round, but in the final repeat, end with your thread exiting the last six 110s.9) Pick up six 150s, and sew through the next 110 in the previ-ous round (figure 7, a–b). Pick up three 110s, and sew through the open hole of the following Super-Duo (b–c). Pick up a 4 mm, and sew through the open hole of the next SuperDuo (c–d). Add three 110s and six 150s as a mirror image of the first half of this step, and sew through the next six 110s (d–e).10) Repeat step 9 twice to com-
plete the round, and continue through the beadwork to exit the first three 110s added in this round.11) Pick up six 110s, and sew through the next four 110s and six 150s (figure 8, a–b). Pick up five 110s, and sew through the fol-lowing six 150s and four 110s (b–c). Repeat these stitches twice to com-plete the round, and continue through the first three 110s added in this round (c–d).12) Pick up an 110, and sew through all the beads along this edge of the triangle until you exit the first three 110s of the next ver-tex. Repeat this stitch twice to com-plete the round. Do not end the working thread.13) With the tail, sew through the beadwork to exit a 4 mm in the inner round that is aligned with one of the vertices of the triangle (not with one of the straight edges). Turn your work over so that the concave side is facing up. Pick up a 14 mm pearl, and sew through the center 110 above the opposite 4 mm. Sew back through the 14 mm and the 4 mm
4 mm aligned with a vertex
4 mm alignedwith a straight edge
X of 110s
a
b
c
d
divot of space around the 14 mm
a
b
c
a
b
cd
e a b
c a b
c
d
February 2017 13
FIGURE 13
FIGURE 10
FIGURE 12
BACK
FIGURE 9
FIGURE 14
FIGURE 11
your thread exited at the start of the step (figure 9).14) Take care with the following step; do not force the beadwork, or else your beads or thread may break. With the concave side of your work still facing up, gently curve the vertices of the triangle down and outward, away from the 14 mm. Ease the edge 110s and 150s around and under the outermost SuperDuos. Identify the X of 110s near the 4 mms aligned with the straight edges of the triangle (labeled in figure 9). Gently press the Xs up and over, so that these 4 mms are no longer visible behind the 110s; only the 4 mms aligned with the vertices will be seen from what is now the front of your work.
At this point, the triangle should resemble a basket, with a divot of space surrounding the 14 mm. The original ring of beads from step 1 should be cradling the back of the 14 mm. Gently pull on the tail to secure the 14 mm in the beadwork.15) With your tail thread still exit-ing a visible 4 mm on the front side, pick up three 110s, and sew through the four 110s between the nearest SuperDuos, skipping the 110 at the middle of the X (figure 10, a–b). Pick up three 110s, and sew through the following visible 4 mm (b–c). Repeat these stitches twice to com-plete the round, and sew through the first three 110s added in this round (c–d).
This is perhaps the most difficult part of this project. If you have trouble getting your needle into the tight spaces in the round, switch to a #13 needle if you aren’t already using one.16) Pick up two 110s, and sew through the next three 110s in the previous round (figure 11, a–b). Repeat this stitch five times to com-plete the round, and sew through
the first two 110s added in this round (b–c).
note Notice that the shape of the opening around the 14 mm is triangular. Make sure your thread is exiting the two 110s at one corner of the opening.
17) Pick up four 150s, and sew through the next 110 in the previous round (figure 12, a–b). Pick up an 110, and sew through the following 110 in the previous round (b–c). Pick up four 150s, and sew through the two 110s in the next corner of the triangular opening (c–d). Re-peat these stitches twice to complete the round, and sew through the beadwork to exit the first 110 added in this round (d–e).18) Pick up 10 150s, and sew through the next 110 in the previ-ous round (figure 13, a–b). Repeat this stitch twice to complete the round, and exit the first five 150s added in this round (b–c).19) Pick up an 110, and sew through the two 110s below the 110 just added (figure 14, a–b). Sew
back through the 110 just added, and continue through the next five 150s, 110, and five 150s (b–c). Repeat these stitches twice to com-plete the round (c–d). End the tail.20) With the working thread, sew through the beadwork to exit the center 110 along one straight edge of the triangle. Pick up the bail and five 110s, and sew through the opposite 110 in the original ring of beads on the back of the pendant (see photo, below left). Sew back through the five 110s just added, the bail, and the 110 along the straight edge of the triangle. Retrace the thread path of the connection several times, and end the working thread. String the pendant as desired. B&B
Justyna Szlezak was a talented bead artist from Poland. She passed away in 2015 after a battle with cancer. Her family is generously allowing us to publish this pattern. Find more of her patterns online at inmemoryoferidhan.etsy.com.
100 Preciosa Rocaille
Preciosa Twin
Preciosa Chilli
8 mm Preciosafire-polished bead
© 2017 Kalmbach Publishing Co. This material may not be reproduced in any form without permission from the publisher.
February 2017 14
CHILLI FLOWERS1) On 5 ft. (1.5 m) of thread, pick up four 100 rocailles. Leaving a 20-in. (51 cm) tail, sew through the first 100 again to form a ring (figure 1, a–b). This is round 1.2) Work in rounds as follows.Round 2: Pick up a 100, and sew through the next 100. Repeat this stitch three times to complete the round, and step up through
the first 100 added in this round (b–c).Round 3: Pick up two 100s, and sew through the next 100 in the previous round. Repeat this stitch three times to complete the round, and step up through the first 100 added in this round (c–d). These pairs of rocailles represent the first four spines.Round 4: Begin an increase that will ultimately result in four more spines: Work a herringbone
Beaded flowers are one of my favorite things to make and although there are many way to make flowers, I often start with a herringbone tube as not only does it provide a realistic look, it also gives a good base from which to “grow” a variety of petals.
CHILLIFLOWERS BRACELETdesigned by Kerrie Slade
DIFFICULTY
herringbone stitch
a b
cd
FIGURE 1
a
b
c
d
a
b
c
d
a
b
ca
b
c
d
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materialsbracelet 7 in. (18 cm)
• Preciosa Traditional
Czech Beads
- 15 g 100 Preciosa Rocailles
(331 19 001, silver;
shipwreckbeads.com)
- 2 60 Preciosa Rocailles
(331 19 001, silver;
shipwreckbeads.com)
- 24 2.5 x 5 mm Preciosa
Twin beads (metallic silver)
- 16 color A 4 x 11 mm
Preciosa Chilli beads
(blue lustered)
- 8 color B 4 x 11 mm
Preciosa Chilli beads
(purple lustered)
- 3 8 mm Preciosa fire-
polished beads (crystal AB)
• beading needles, #11 or #12
• Fireline, 6 lb. test, or nylon
beading thread, size D
online beading basicsFacetJewelry.com/basics
• tubular herringbone
• ladder stitch: making a
ladder, forming a ring
• ending thread
stitch with two 100s, sewing through the next 100 in the pair (figure 2, a–b). Pick up a 100, and sew through the first 100 in the next pair (b–c). Repeat these stitches three times to com-plete the round, and step up through the first 100 added in this round (c–d).Round 5: Complete the increase: Work a her-ringbone stitch with two 100s (figure 3, a–b). Pick up two 100s, skip the next increase 100, and sew through the first 100 in the next pair (b–c). Repeat these stitches three times to complete the round, and step up through the first 100 added in this round (c–d).Rounds 6–7: Work two rounds of herringbone stitch, treating the increase rocailles added in round 5 as new spines. Complete each round by stepping up through the first 100 added in that round (figure 4). Pull your thread firmly as you stitch so that your work begins to cup and the thread showing between spines is minimized.Round 8: Pick up a Twin bead, and sew down through the top two 100s in the adjacent column
and up through the top two 100s in the next spine (figure 5, a–b). Repeat this stitch seven times to complete the round, and step up through the same hole of the first Twin you added in this step (b–c).Round 9: Pick up a color A Chilli bead (through the end hole), and sew through the next Twin bead, sewing through the same hole you already sewed through (figure 6, a–b). Repeat this stitch seven times to complete the round (b–c), making sure all the Chilli beads face the same direction. Retrace the thread path to snug up the beads, and then sew through the open hole of the last Twin your thread exited (c–d). Round 10: Working in the opposite direction, pick up a 100, and sew through the open hole of the next Chilli (figure 7, a–b). Pick up a 100, and sew through the open hole of the following Twin (b–c). Repeat these stitches seven times to complete the round (c–d), and step up through the first 100, Chilli, and 100 (d–e).Round 11: Pick up three 100s, and sew through
FIGURE 2 FIGURE 4FIGURE 3
FIGURE 5 FIGURE 6
a
b
c
d
e
FIGURE 7
a
b
c
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the next 100 added in the previous round, the next Chilli, and the following 100 (figure 8,
a–b). Repeat this stitch seven times to complete the round (b–c). Retrace the thread path through this round, and end the working thread but not the tail.3) Thread a needle on the tail, and pass the needle through a 100 in the center ring to exit
the inside of the flower. Pick up an 8 mm fire-polished bead and a 100. Skip the 100, and sew back through the 8 mm and the opposite 100 in the center ring (figure 9). Retrace the thread path a few times but don’t end the thread.4) Sew through the beadwork to exit a 100 in round 2, with the needle exiting the outside of the flower. Pick up two 100s, and sew through
the next 100 in round 2 (figure 10, a–b). Sew through the beadwork to exit the following 100 in round 2 (b–c). Pick up two 100s, sew through the next 100 in round 2 (c–d), and then sew through the beadwork to exit the first 100 added in this step (d–e).5) Create a strip of 100s: Pick up two 100s, and sew down through the adjacent 100 and up
This bracelet project is excerpted from Kerrie’s new book, Playful Perfection, published by Preciosa Ornela. Featuring 30 projects in a beautiful hardcover format, Playful Perfection is available directly from Kerrie (at kerrieslade.co.uk) or from distributors of Preciosa Traditional Czech Beads.
PLAYFUL PERFECTION
FIGURE 9FIGURE 8
ab
cd
e
FIGURE 10
a
b
c
February 2017 17
through the 100 your thread just exited and the first 100 added in this step (figure 11, a–b). Repeat this step 10 times (b–c).6) Join the end of the strip to the other pair of 100s added in step 4 (figure 12). Retrace the thread path several times, and end the thread.7) Repeat steps 1–6 twice, once using color A and once using color B Chilli beads.
BRACELET ROPE1) On 3 yd. (2. 7 m) of thread, make a ladder of four 100s, leaving a 12-in. (30 cm) tail (figure 13). Join the ladder into a ring by sewing through the first and last 100s.2) Using 100s, work in tubular herringbone stitch, working two stitches per round, until the rope is the desired length, less about ½ in. (1.3 cm) for the clasp. Do not end the working thread or tail.
TOGGLE CLASP1) On a 30-in. (76 cm) length of thread, leave an 8-in. (20 cm) tail, and work as in steps 1–2 of “Bracelet rope” to make a short herringbone tube that is 14 rounds long.2) At the end of the tube, work a stitch with a single 60 instead of two 100s. Sew through the 60 again, connecting it to the other pair of 100s at the end of the tube. End the working thread.3) With the tail, work as in step 2 to add a 60 at the other end of the tube.
ASSEMBLY1) Using the tail from the bracelet rope, carefully attach the middle two rows of the toggle clasp to the end of the rope (as seen in the photo below). Retrace the thread path a couple of times, and end the thread.2) Using the working thread from the bracelet rope and working from a pair of 100s at the end of the rope, work as in step 5 of “Chilli flowers”
to form a strip of 100s that is two beads wide and approximately 25 rows long.3) Working as in step 6 of “Chilli flowers,” connect the end of the strip to the remaining pair of 100s at the end of the bracelet rope to form a toggle loop. Check that the toggle bar will pass through your loop, adding or removing rows if necessary. Retrace the thread path through the connection a couple of times, and end the thread.4) String the flowers onto the rope. B&B
Kerrie Slade is a beadwork designer living in Mansfield, England. She has had her work published in numerous books and magazines around the world. Kerrie now teaches internationally and sells patterns through her website kerrieslade.co.uk and blogs at kerrieslade.blogspot.co.uk.
FIGURE 12 FIGURE 13FIGURE 11
