2000-05+06_v3n3-jpgocr
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On the Cover
Fused
Gloss
1
0
1
18
by Stephanie Houston
16
Kickin lt with Joyce Scott • /no Golub
18 Connie
lehmon:
Bead Diva • Down Hamilton
May/June 2000
Volume 3
•
Number 3
27 Diane Fitzgerald: In Pursuit of Beads • Peggy Wright
42
listening to the Beads: Hearing Secrets That Wont to Be Shored
Morgie Deeb
52
Beadwork s
Professional Development Series:
Make
Bead
Graphs
and Handouts with PowerPoint •
Mory J. Tofoyo
21 Feather Stitch
Garland
Scarf
2 Passing Through
my C Clarke
5
Project Contributors
24
Clinging Vine Earrings
6
Calendar
Barbara
L
Grainger
Flat Peyote Banner Pin • udi Wood
8 letters
3
and Pins
for
Beodweoving
1
Stitches
Carol
Straus
1 1
Abbreviations
34 Suspended Admiration: Beaded
12 Up Close
Fan Pulls • Denise
Perreault
37
Special Beads
45
A Tantalizing Bead-looming Secret
Moria Chiaro
eanne Leffingwe/1
38
Samplers
5
All
Stuck
Up
•
Jean Campbe/1
Lydio Borin
55 Fused Glass 101 • Stephanie
Houston
62 Cool Stuff
58 Fired About
Wire
• Staff
Proiect
64 Reviews
72
Stringing Along
udith
Duront
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•
recently taught a class
of
pre-lcindergarrners
how
to
make beaded jewelry. Other than the
usual funny thi ngs that happen in a preK
class ("Teacher Teacher Haley just fed the
guinea pigs Playdough "), Twas excited to see
that eve n rhc
sc
r
ea
lly little people get the itch
for beads.
_
r started the class with noodles and string.
J The kids
were
bored. I got out
rhe
wire a
nd
•
:;:::;;..;:::.-::::- .,.
..
.
rools-that
was
a lirde more interesting.
- Bur then, 1 pulled
out
the big bucker-o-beads.
h t s cooking in the Beodwork office
•
Beodwork just went to press with The B e s ~
in
Contemporary Beadwork:
Bead
International 2000
eo-produced with The
Dairy
Born Cultural
Arts Center. If I do soy so myself (I got to edit i
t),
it's gorgeous
• Come one, come all to BASH Check our websi te or see page 68 to
find out more about this no-holds-barred beoderly retreat in May 2000.
• Coming next issue (foster than a rolling Delico .. able to
leap
embroi
dery hoops in o single bound .. o doa) BEAD BOY Every issue
we re going
to give our new superhero (aka Dustin Wedekind) a
challenge to
creole
a piece
of
beodwork
with a specific theme,
and
we invite you to take
port,
too. Send a snapshot
of your work and a short explanation of
the technique to Beodwork. The July/August
challenge? BEAD
THE
WIND.
"Ooooh. Now
we
can
make
REAL
jewelry " I
gave each child a length
of
wire for making little
rings, then
1
turned
th
em
loose on the bucke
t.
They dug right tn, just like
any beadworker at a bead show.
As I studied the chaos
J
came ro rhe determina
tion that the kids' bead-hungry behavior wasn't
just greed. It
was
narural. Innate. Single-celled
They
were
like crows or walleyes drawn ro the
glitter and sp
arkle. What the chaos
was
really
about was the iglu. "See my power ring? 1 have
blue power and that
's
the best kind."
Well/
have
red power and char's su·onger " "When l put on
my ring disappear and go
to
the beach." "Mine
has
a special bead you
LOuch
rhat makes you
go
to
ourer space.
"
Is thar what you do wbcn you open your
bucker-o-beads? Become p
owe
rful? Disappear to a
different place? Well, maybe
ir
doesn't fed that
dramatic, but as yo u stitch bead by bead
by
bead,
yo
u gotta know
th
ere's a kid in there somewhere
who is rraveling the astral planes.
Radiandy yours,
UliiORIAI
c R t . ~ 11\
1
lliRI'CTOR
Unda C. Ligon
lDIIORIAL
lliRECI
OR larilyn Murphy
1
liTOR
Jean CampbeU
A S ~ I l A : - 1 1 Hlii'OR Amy C. Cbrke COPY fOil
OR
Stc-phen
BeaJ £Dn'ORIAJ..AOMI:\:IHRATIVI
\ . \ \ I ~ T A \ J Robin Troxell
1H:H'IIUL n r r o ~ Marion Agnew. M u n ; ~ Pomptli PRODL'CTIOI'. Wln>R Mona Pompiti
l'lli1USHNG
l l l K L I ~ H t R Ceri
A n d e r ~ o n >VI
·RTISING Tiffany Ball. Maril}n Kuponcn
AllVJ'RTISIN\, eRill'IATOR Karhie Karbowski U IKl J IJ\TlO I \ IA lt\CFR)cnny f · i ~ h SL'IlS\ 1\II'I ION S I R V < . F . ~ Donna Mdwn
li
lt
I
& l' l
tO
I>UCTlO"'
l
lJS
I RATIO 'Je:Ul
Campbel
l.
Gay
e
Ford, Alln Swanso u. Andy Wcbbcr L'HO
I ()(,Jli\ I'
II
Y
Joe c ~ ) C 3
111
\lr r., r ) ·t.tbcc h R.
'v1
o ~ k a
PRODUC.I'Itlt>. Inc., 20 I f Founlt
Sr . l.o>eb.nJ.
CO 80H7· \6'\5.
66
pd
Jl l.ovtbnd,
CO
80538 and additional mailing nlfiu·, All
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•
•
•
•
Culindri
cal Shaped .
•
Pr
ecision
c
ut
•
,
1 800 447 1332
www.millhill.com
www.millhillbeads.com
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rlllllllll® Juntsvlllt, l US
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Coosisteot
io
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color .
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dle
ca
se Kit
alld
MAGNIFJCA Beads
available
fr
om
Mill Hill
®
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Divi
sionof
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y Bowl
es Sa
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nc. _.
Needl
ecasr
shovvn is actu
al
size
: \
•
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Do you
HAVE
any beads you
don't
know
what
TO DO
with ?
···- _
.
-..
AMY CLARKE "Yes-and
ir's a good
thing they're
patient. Tt rakes me months
to
complete
projccrs
with £h
e
beads
that 1 know whac to do with "
JEAN
CAMPBELL Four
lampworked oranges. Maybe
when l
retire
eo Florida I'll
know what to do with them."
BARBARA
GRAINGER
To
ns of
th
em Wonderful
beads for char 'special piece'
I'm going to do
some
day. Troubl e is,
they're
roo
pretty to use "
JEANNE LEFFINGWELL
"Several They mosrly preen
and display
themselves
on my
eye-level-perco lating shelf Bm since I
walk
pasr
them every
day,
they a
ll
know
rha( chey're just waiting their
turn "
DENISE PERREAULT "The
clear plasLic beads 1 bought
for fringing
a
lampshade
until I discovered Austrian crystals.
Placed
inside bottles, they will make
fine maracas for my
toddler "
CAROL STRAUSS "No, I
only
buy beads that 1 like.
Sometimes it
tal
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GATHERINGS
® April 1-2: BMrl Bmuwr 2000
at
the
lloliday Inn, I
. '5
,111d I20rh Ave.,
1'\orrhglenn. ( olor.tdo. (
:omact r.he
Rocky f\lountain Bead \octct\, Jcnnifer
Richard, (7 I9) i l6 2682. or Allison
lknjJmin (303) 2"' I I
676.
® April
14-16: 14th
AmwalAmerican
Crnfi Counril Show .-r the
Rivt:rCc.:ntrc
in
Se.
Paul, M i n n e ~ o t a Cumacr
rhc
American Craft Cound l,
2
I S. J:l.ILings
Corner
Rd.,
Highl.wd, NY
12528.
(91 4) 88.1-6 I00;
(ROO)
836 .1470;
fax
(914)
883-6
UO: ~ h o w ~ \ r ; t f t c o u n c i l o r g :
w,\.Cr;tftcou
ne
tl.org.
® April21-23: GroExpositionsSpring
Show in thl' Rockm .u the Holidav Inn
Oenvcr
Nnrrh .md
lk\t Western Cemral,
at the imc:rseuton
of
I 70 and I-25,
Denver, Cnlor.Hio. Con
ta
ct GeoExposi
riom, PO
Box
5 0 5 ~ . Culdcn, CO 80401.
(303) 278-1 218 ; gl·ocxpoQoao l.com.
® April 28-29: TIN•
6tb Amwal Beat
Bttznnr-The A1·t of
Adrwuing
:H t.hc
Bo\vers
Museum. C.,,lnt.t /\n.a, California.
Conracr l
h:
Bead \ o ~ i c r y of Orange
Counf)
-
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I I I I
, o I . il l ll<
l.uul.1 ()
1\o·o·(fo•
Are yo u excited about
Be
ad
·
work
magazine's come
s£
Beadwork
If:
The Embell
ished Shoe?
Her
· A
Ce
lrbration o l'umps.
S,m
.
daL< S/ippm.
and Morr by
lrncb O '
K.
ccfc,•. New \ork: Workman Publishing, J996. 507 pages,
·l"
X
6",
mw
I ,000 phorographs, paperback.
$12
.95. ISBN 0-7611-
0114- t.
CLA
SSES
® On going:
Gl
nss,
Jer
ve
ry
mul
l.nmp
working Cou
rses at
d tl' M ~ : n d o d n o
Art
Cenrer, 4'5200 Link:
L1kc.: KC
che
Suhmban fine
Ans Centt•r, 19 13 Shcric.l;ut Rd., l l igh
land Park,
IL
60035. ( H7)
4:12-
1888.
® Deadline May 2: Glea
ming
t ~ s u r e s
corrll st at
Embe
lli
s
hm
ent, Oregon Con
vcntion Center, Porrland, Oregon. Send
SASE
ro
Embel lishment, 7660 Wood
way. Sre.
550, Housron.
TX
77063.
Pax
(713) 781-8182: [email protected].
®
DeadlineJune I:
Uncommon Threads
}uried
Runway F
as
h
io
n
SIJo
rv
;tr the
Fine Line Creative Arrs Cemer, St.
Charles, Illinois. Send LSASE ro Denise
Kavanagh.
The
Fine Line, GN 158
Crane Rd., St. Charles.
TL
60175. (708)
584-9443; [email protected].
®
Deadline June 15:
l llcredibk
Clny-
Feats ofPolymn· at
the Bead Museum,
C.lendale, Arizona. Send SASE to The
Bead Museum, 5754
W.
Glenn Dr.,
C.lendalc, AZ 8530
I.
(623) 931-2737;
® Deadline September l3: TheEmbeU
isbed
Sb
oe
juried
rrav
cling exh ibir. Send
SASE to
The
Embe
ll
ished
Sho
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•
/
HOW
' D HE
DO
THAT?
r
enjoyed your article on
Marcus Amerman
in Lhe
March/
April 2000 issue
ol
Bertdw01·k
il is jusr [he kind
of
work l wanr
eo learn how to do. But
in
your
article you didn't share how
he
does
ir.
Is it loom
ed
and pieced?
ls it embroidered? I am especially
inreresred in
The
Mtm
With
No
Name
piece. What kind
of
fabric
does he work on? Does he use
a
deer-hide backing? l ap
pr
eciate
his views very much,
bu[
now
r
need to know how he does it.
C . Cascy
Minncapolis, Minnesom
For the cot'er
of Bcadwork,
Marws worker/ in lane stitch on
a "lentherette" kind
of
material
using
si
ze 14° Cz
ech seed beads.
Amazing. eb?
PUSHED OVER
WITH A FEATHER
[n the Mrtrc/;/April 2000 issue
ofBeadwork, jutlith Du
rant wrote
about IJer trip to
Lns lft gas
nd
her bead-huming adventures. This
is Me
rear/er's response to /m·
essay.
H
\
d'd
'
n e e e
. . . . . . . .
10u 1 n
t
W
.
.
( t:>fll
go to 1 1a ~ ,osrum e ....
They have Czech beads galore
lots of thar stuff- rh:u's where I
starred beading No one here
rakes Williams seriously 'cause
they don't have any
or
rhe rrend
sening stuff- bur if you like
Cz,ech beads this is
che
place
ro go. And you wi ll positively
drown in coslumc sruff- rhey
8 www interweove com
What happened to
th is letter?
Some of you have told
us
that
you get all fired up to bead
wh en
you receive
our
mag-
azine- but this is a little
extreme, don't you think?
(lt
was
actually burned when
I
•
•
•
•
I
the
U.S.
Postal truck was involved in on
accident and caught on fire. Postal employees carefully
sorted the salvageable mail and sent
it
along with
a
kind note.}
Thanks to the USPS for delivering our mail despite the extraordinary
circumstances
h
ave ir a
ll and Lhe ladies who
own the store h
ave
been working
in
this
busin
ess for
ages. 1 love ir
th
ere- feathers, sequins, and
gems, oh
my
And
th
ey have
trim, glitt
er,
and a
ll
the gaudy
fabri
cs.
And rhere always seems
to be
one designer or another
working on
a
project.
Yo
u just
didn't know wh ere to look. They
are not fa r off the Srrip-over
on So uth 3rd Sn·ect in an indus
trial district close to the Stratos
phere. Nexr rime yo u are here,
give me a holler, rhey know me
well.
I' ll
introduce you lO more
ostrich plum
es
than you call ever
handle, and
a
lew beads,
roo
-R:Linbow
Las Vegas.
Nevada
\\7r
lot
'
t' to hmr
jiwn _you Plrnsr
send
your
letters
In
Beadwork. 201 E.
Fourth St., Low
land, CO 80'5J7-
5655 or
berlllu•(Jrk
@lnterwettz•e . OIIl .
i'lrtlil
br
m re
Jo include
your
naml' 11 1(/
mt11ling ndtlrm.
Oops W0re
so
sorry we made
time
mistakes
Winter
2000
We mi ss
pelled the title
of
Ina
Co
lub
's
piece,
Adon Livyatan,
on page 12. She explai.ns "that ' li\'Yaran' is Hebrew for 'big
fis
h,'
and
'a
don' means 'mister,' making the ride
of
rhis
piece Mr. Big Fish. It sou nds beuer in Hebrew, don't you
h
. k)"
t •
In Cool Stuff" on page
62,
we listed the dimensions for
the
Bead
and String reference chnrt
in
correc
rl
y r
he chart
is 11 "
X 17".
Beaded Phoenix's c-mail address was also
wrong- it is [email protected].
March/
Ap ril
j
ln Sylvic Elise Lansdownc
's ad
on p
age
53, the phone
num
ber should
be
(877) 387-3281.
We misspelled Pictorico's name nnd websice on page 62.
Lt should be Picrorico Ink Jet Media ar (888) 879-8592 or
. .
www.p1ctonco.com.
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/
•
BEAD EMBROIDERY
Begin by p ~ ~ m g rhe needle through
me fabric, from wrong side [ right
side. String 3 beads ;md pass back
.
m rough the fabric to the left
of
where
the third bead lays. Bnng the needle
back through the fabric ro the right
of
the bead, pass back through the bead.
You can sew
up
to three beads per stitch
by Stringing three beads and backstirch
ing through the third
as
shown.
DECREASING IN PEYOTE
To make a hidden row-end decrease,
pass through the last bead on a row.
Weave
your
rhread between
two
beads
Figure 1
/
Figure
2
of the previous row, looping it
around
the thread rhat connects the beads.
Pass
back through the last bead of the row
just worked and continue across in reg
ular fiar peyote (Figure
l .
To make a mid-project decrease, sim
ply pass thread through two beads
without
adding a bead in rhe gap. In
rhe next row, work a regular one-drop
peyote over the decrease. Keep tension
raut to avoid holes (Figure 2).
10 ww w
. lnterweove com
These basic instructions
are
for stitches used in this
issue's
projects
and
are excerpted from The
Beadcr's
Companion, interweave Press, 1998. Don t have
one? Call (800) 645-3675, deptA Bl.
FL T PEYOTE STITCH
This stitch cnn also riferrrd to t1S
gourd stitch.
One-drop peyore begins by stringing
an even number
of
beads ro create the
first two rows. Begin the third row by
stringing one bead and passing through
the second-w-lasr bead
of
the p r e v i o u ~
rows. String another bead and pass
through the fourrh-ro- lasr bead
of
the
previous rows. Continue adding one
bead at a time. passing over every other
bead of the previous rows.
Two-drop peyote is worked the same
above, bur wirh rwo beads at a time
instead of one.
•
LOOMWOR K
After warping your loom, use a sepa
rate ducad ( weft ) ro suing the num
ber of beads needed for the first row.
Bring the weft thread under the warp
threads and push them
up
with your
finger so there is
one
bead between
each of two warp threads. Hold the
beads in place, bring the weft thread
over the warp threads, and pull back
through all the beads. Repeat rnese
steps for each row.
TUBULAR PEYOTE STITCH
Stnng an even number
of
beads to
fir
in a circle around a tube. Make a foun
dation circle by passing through all the
\
\
strung h e d ~
rwice more, exiting from
the first bead strung.
Suing
I bead and
pass rh rough the third bead of the
foundation circle. String 1 bead and
p ~ s through the fifth bead of the foun
dation circle.
Continue
adding I bead
at a rime, skipping over I bead of rhe
fim
round, umil you have added half
the
number
of
beads
of
the
first round.
I:.xit from rhe first bead of the second
round. Slide the work
omo
the form .
String I bead, pass through the second
bead added in the second round and
pull rhread right. String 1 bead and
pass
through
the third bead atklcd in
the second round.
Cominue
around,
filling in the
..
spacesn I bead at a mnc.
Exit from the first bead added in each
round.
WIREWORKING: SPIRAL
To srarr a spiral, make a $mall loop at
rhc end of a wire with round-nose p l i e r ~
Enlarge the piece by holding on
to
the
spiral with chain-nose pliers and p u ~ h
ing the wire over rhe previous coil with
your thumb.
@
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beg: begin,
beginning
dec: decrease
.
me:
ncrease
.
prev:
prevtous
PBT pass
back
cluough; pass needle
through in the
opposire direcrion
PT
pass through; pass needle
through
in the sa
me direcrion
.
rern:
remrun,
remammg
~ t p : repear
rnd s):
round s
RS:
right side
st s):
srirch, stitches
tog:
rogerher
WS: wrong side
TENSION BEAD
A tension bead
lor
stopper bead)
holds your work in place. To
make one, string a bead larger
than those you are working wi th.
pass through the bead aga in,
making sure not to
spl
it your
thread .
The
bead
wi
ll be able to
slide along, but it still provides
tension
to
work against when
you
re
beading the first two rows.
Week-long
summer
workshops with
nationally renowned bead and jewelry
artists.
Vi
rgina B
akelock/Carol
Perrenoud,
beadworking
Ken
B
ova col aged jewelry
David Chatt
,
beadworking
Pier Voulkos
, polymer
clay
Over 40 week-long intensive workshops in
beadworking
,
beadmaking, surface design, bookmaking ,
Navajo
weaving.
fabric
art,
stitchery, fiber
sculpture, and more. July 9 o
August
12,
2000. He ldon
the
University s
Duluth campus
overl
ooking
Lake
Superior.
No prerequisites are required.
You se lect the workshop that
is
most appropriate to your
interests . needs, and
level
of
experience. Optional University
of
Minnesota credit available. Registration opens March
27.
For compl
ete
catalog, call: 612-625-8
100
a-mail: [email protected]
visit
our
Web
site:
www.cce.umn.edu/splitrockarts
or write
:
Sp
l
it
Rock
Arts
Program BW),
Un
vers
i
ty
of M
nnesota
360 Coffey Hall,
1420
Eckles Avenue
St. Pau l,MN55108
Aprogram
of
College of Continuing
Education,
University ot
Minnesota,
an equal opportunity educator
and
employer
Design with Wire
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Over 140
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free designs, wire
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BEADWORK May June 2 11
-
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11/53
e
She
Becomes
the
Sea by Sally Lewis, Tampa, orida.
Pe
yot
e, tubula r peyote, and brick s
titches. 12
x 9 .
Brick
st
itch
Flat
peyote stitch
2 www interwe
ave
eom
Up
Clo
se
sho
wcases
your
wor
k nd vi
mll
l/y
describes the
techniques
employed. o be considered
for these pages, send slidts labeled with the title
of
tbe
piece,
your
name, address, techniques,
nnd
dimensions to Beadwork, nterweave
Press,
201
E
Fo
urth St.,
Love ftr
nd,
CO
80537-5655.
Power ie by Jen Clark, Fort Collins, Co lorado.
Bead embr
oi
de
ry
. l
8
x 4 W .
Bead embro idery
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/
Right-angle
we ve
{single-needle}
She
Has
Beads
to
Keep Her
Worm
by
Rebecca Starry, Anchorage, Alaska.
Right-angle we ve nd square stitch.
9 x 53 .
Detail
of
She
Has eads
to Keep
Her
Worm
Square stitch
BE
DWORK
May/June 2000 13
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•
•
wit
oyce
Scott
IN GOLU B
Buddha
uppor/s Shiva
Awakening the
Races
, 1993 .
From a
pr vot
e co llec tion.
'""•-'•••r'
Three
Oblivious
While Los Angeles Burns,
19
92.
Courtesy the Corning
Mu se
um
Gloss.
ong
at the forefrom
of
the comcmporary bead mov
e-
mcnr, Joyce Scon has inspired a generation of bead
..._.,
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Connie in her studio.
lifeboat
yogi warriors 1999
Backgrounds ore from Connie s sketchbook.
8
www interweave com
LEHM N
DAWN HAMILTON
nrcrviewing Connie Lehman is as much
fun
as anyone could ask,
but
getting
Connic
down
on
paper
is a little uicky. Called by many
the
"Bead Diva,"
she
is all rhat and much more. So it's difficult eo
know
where lO start. I'll tal
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Co
nnie has developed
h
er
ow n visual language
ov
er
time, a
nd
her seem
in
gly light-hearted images
belie an inrense response
o
li fe experiences. She's
affected by what she sees
ar
ou
nd h
er
whether
at
hom
e
or
craveJing, and
images of boats, moons,
and snakes gathered
fro m her many trips to
India and
Mexico con
tinue
LO
appear in
di f
ferent i n
ca
rnarions in
lifeboat: lody
o
labyrin t 1999.
her wo rk. Techniques
and materials of
diff
er-
em
cultures also inAu
cnce the way
Connie
works. She daily sees rwo
Haitian
voodoo
Aags
resplendent wirh sequins hanging over
her
stu
dio door, so it s no surprise chat she's integrated sequins
into
her work.
fa
ll from
grace/Fu/
199
5.
interwoven
with
hu
mo
r
and
a genuine interest in her stu
dents. This all
co
mes from someo ne who is very
outgo
ing
but
at
the same rime retains her privacy. She shares bur
keeps a sense of mystery,
and
you know char one day with
Co
nnie
Lehman
is
never enough.
Through her workshops,
Connie
encourages participanrs
tO move
beyond
patterns. "Patterns are vehicles to learn
technique, but eventually you'
ll
wanr
eo use rh e tech ni que to tell your own
story-m
make rhe work your own."
And
Co
nnie's workshops are
as
much
about sto
rytelling as they are about
technique.
Just how does she make a technique
and material her own? Nor
su
rpris
ing
ly, she says, "
Th
ere's a l
ot
of
fear
involved.
The work
may look bold
but it's very difficult; it's scary. But
I have
to get
out of the way of wha t 1
really want to do. Creative stuff is
scary
as
hell. It 's imporrant to ask
questions
about
rhe
work but not
while you're working "
Alrhough fiber has always been a
primary medium of ex
pr
ession,
Co
n
nie's
art
would
not
exist without her
drawings. And
she
draws on every
thing. Alrhough she
ca
rries a journal
everywhere,
not
hing is s fe n
ot
phone books, napkins, or minutes
from rhe t
ow
n meeting. For
Co
nni e,
the drawings are a form of visual
journaling
that allows her ro focus
and do diawings she wouldn't norm
ally do. These are nor mere doodlings
bur the foundation for everything
rhar follows.
They
compr
is
e a sign i
i-
canc parr of a series of images,
only
a
few of which will appear as work
in fibcrs
and
beads. Without the
drawings there wou ld be
no work
,
says
Co
nnie.
eve/snake: beheld
1997.
When nor reaching,
Co
nnie con
centrates o n her own arc. She begins
sometime after four in the aFternoon
Con
ni e is accessible
and
ge
nuin
ely excited about sh
ar
i
ng
ideas, so t
eac
hing comes naturally eo her.
Spendi
ng a day
in one of her workshops is
an
invita t ion ro become in
volved in a dialogue about beads,
art, and
life.
The
co nver
sation can
How
from sharing the most per
so
nal feelings, ro
phi losophical di
sc
ussions
on
the use of my thologica l i m
ages in
art,
all punc
tu
ated by a
Tarot
rea
din
g. Viewing her
stud
io as sacred space, she brin
gs
that feeling in to her
workshops where she fosters a safe environm
ent
for talking
abour whatever comes up, all the while, participants are
making
something
wonderful.
In
struction
is seamlessly
and works until
mid
nig
ht
so
th
an she
can
fo
cus
without int
erruptions
and phone calls. "Beadwork is
tedious," she says, "so it's a real
commitment when I start a piece."
Listening to NPR and books-on
tape allows her
eo
focus on creating
labo
r-im
ensive artwork that is lush
in beads, sequins, and igolochkoy.
Con
nie works intuitively. She
says, 1 want to do wo rk without
j
udgem
en
r.
I wa m rhe
im
ages to lifeboat:
crowns 3
1998.
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Recently Connie was accepted. t h ~ n eliminated from an
internacional miniature sh
ow
because her piece
was ove
rsized
by a few millimetcr
s.
She also feels th
well infom1ed by
and experience. as well as years of travel and
n. And,
of
cou rse, there is her
comm
itment to
t
ay
immersed in life,
10
be
pr
esem to
li
fe,
aod
ro
bring
that experience to her wo rk.
graceful about it. 1 birch ro rwo
or
three peopl
e,
and then ['m
ti
re
d of
li
slening
eo
m
yse
lf
so
r
get over it and go on.
T he important t
hi
ng is to
do my own work. That
can be difficult when
galleries
and
customers
wam
an ani st to keep
do
in
g the
s ~ u m :
rhing
over and over. The chal
lenge is to grow as an artist,
keep the work interesting,
and still make a living. @
nnwn
mnilton is tbe managing
rditorforHandwovcn
magttzine
beoutie zog,
1993.
hen Connic and
)efT
Lelnnan decided
t
huild a swdio
ei
g
ht
years ago.
they initially considered passive solar because Connie
was
just trying to
keep
warm,
whi
le
Jef[
likes temperatures
a
lirrle on the cool side.
It
turned out eo be a
win-win
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I ArJ
June
2 2
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e
warned the
beads on this scarf won't
keep it from walrz.ing away in Bights
of
tancy, and it
is
sti
ll
likely to catch the
brcc7.c
otT
he ocean
or
be caught on a thorn
in
a
rose gar
den . Chiffon won't hide a blush or absorb tears.
And when your granddaughter finds the
trunk
in
rhe attic
and
pulls the scarf from the tissue paper,
it
may reveal more about you chan rhe
Jeerers
ried
with red ribbon.
ROLLED HEM
You
may be able
ro
find a simple ch iffon scarf
that
is
already hemmed ac your local department
store.
If
not, making the scarf irsclf is pretty
straightforwa
rd
.
To make sure your edges are square,
by che
scarf on a cable
and
clip the fabric about ;. " inside
rhe selvedge edge. then cear che
Yl
suip
down the
whole length
of
rhe fabric. Chiffon tears naturally
along the warp or weft, so tearing makes a straight
line that
is
more accurate than cutting.
Hold the edge
of chc corn
fabric between your
forefinger and
thumb
and tighdy roll the fabric
under so char
yo
u rake up
about y _y o• ol
fabric.
Using one strand
of
sewing thread, whip stit
ch
the
rolled seam in place. Conrinue rolling and whip
stitching around all four sides
of
the scarf, raking
Care tO
roll me
l>ame amoum of
fabric
under
(see
page
32).
FEATHER STITCH
The
fetche r
s i
tch works well with ehi ion
b
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Roll the hem between
your
thumb
and
forefinger.
With a knotted length of thread, PT the
fabric from
WS
to
RS
. String 4 beads.
PT to the WS of the
fabric .
to the right
or left
of
the
original
knot. PT to the
RS
using your needle to cross the thread
between the second and third beads.
' ~ · · · ., ' .
Pull the rolled
fabric
over your thumbnail.
String 2 beads.
PT
to the
WS of
the fabric
1
/ . up and to the right of
the
place you
crossed the thread in
previous step. PT to the
RS
using
your needle to cross the thread
before the first bead just strung.
EM BR0 I D ERY Tl PS -
o : : : ; ; ;::;;:;;
• Wrap the inside hoop
of your embroidery
hoop with a
thin strip of
muslin cloth
the
way you wrap
the
handles or tennis rackets or
the end
bars
or
mountain
bikes.
Wrapping
means the chiffon will be
held more
securely; ir also provides a cushion for your beads when
you
fit
the
embroidery hoop over rhem.
• Chiffon is dclic.ue and tears easily. I recommend using a spring-
hoop
embroidery
hoop
because it 1 :1cilitates placing the l:'lbric in ilie
hoop
tighLly without having
to
pull on the fabric.
• Use lengths r embroidery
Aoss
no longer than the distance between
your
finger11 and
elbow any
longer
and
the thread tang
les easily.
You also risk poking rhe person next ro you with your needle.
•
Thread
Heaven· thread conditioner helps keep your em br
oidery
floss from tangling.
W I l l ~ ~ f i i ~ I ~ I N ~
\
Whip stitch the hem.
Alternate sides so that the stitch
feathers.
Thread path
(enlarge 2 percent).
BEADWORK
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•
•
4
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•
BARBARA
L
GR INGER
ike rhe mythological Sirens of old, leafy,
viney, fringey
things
eaU
to
me. T
am en-
...._.6
chanced by sinuous grapevines, flowing ivy
climbing morning glories, weeping willows, and
the elegance of Art Nouveau. 1 am mesmerized by
the charm
of
such tendrils and often pause in my
busy life ro
admire
rhem. For me, the
sweeping
grace
of
a leafy vine or me rhythmic dancing of
well-placed fringe
is
impossible to resist
That's
why beadwork is my chosen medium.
The
marriage
of
cold,
rigid glass and fine, pliable
fiber creates a Auidiry available
in
few orher art
forms. Fringe made from fiber alone, though fluid,
cannot
begin ro
compare
with the seductiveness of
light dancing rh
rough and
reflecting off
shimmer-
ing glass beads
Beaded fringe begs m be fondled, admired,
and
worn as
body
adornment. Who can resist it? Not f.
rr you love it as mud1 as I
do,
you'U really enjoy
MATERIALS
Sin:
11° seed beads in rwo colors (one
color
for
the leaf
and
one for me vine and branches)
Site
B
Nymo
or
Silamide
thread
in color
eo
march beads
I pair
earring wires
NOTIONS
Si1.c
12° beading
or
sharps needle
Scissors
Beeswax
or
Thread Heaven..,.
Jcwclry or neeJJenose pliers
•
making and wearing these elcganc, leafy fringe ear
rings.
You
can modify the look by making them
longer or shorter
or
adding more man one vine per
earring. Longer variations also make marvelous
fringe or u r f u embellishment for
pouch
necklaces
or
any
other piece char begs for vines and leaves.
VINE
Using a yard of single-strand waxed thread,
add
a tension bead (see "Abbreviations,"
page
l l)
and
string 39 vine beads. Leave
an
8 rail eo weave
back
through
lacer.
LEAF PATTERN
The rhread parh in this tedmique deviates from
that of normal flat peyote in chat it
is
worked
in
an
oval
pattern
insread of back
and
forrh.
FIRST LEAF
Rows 1 2: String 6
leaf
beads ar me
end
of chc
vine (Figure
1 .
(Ignore che vine for now.)
Row
3: String
and work
the
seventh and
eighth
beads as you would in peyote scirch (see"Scirches;'
page 10). String the ninth bead but
do
not PBT
the first
bead
as
you normally
would. Instead,
pass up
through
me second bead (Figure 2).
Row
:
Work
the tench
and
eleventh beads
(Figure
3).
Row
5:
Srring the rwelfrh bead and
PT
the seventh
bead. Work the thirreenth and
founeenth
beads. PBT rhe first bead and continue through
three
of
rhe
vine
beads (Figure 4).
BEADWORK Moy/June 2000 25
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j
••
)
Figure 1
Figure 2
26
ww w interweove com
Figure 3
SECOND
THROUGH ELEVENTH LE VES
S l·ing 2 branch beads same color as vine
beads) and 6 leaf beads.
Work
the leaf partern as
above. When finished, PBT
the
two branch beads
and
three
of
the vine beads, working toward the
tension bead Figure
5).
Make nine more leaves on
the vi ne this way.
FINISHING
PBT
the remaining vine beads, making a circle
with the last four. Reinforce rhe circle by PT
at
least twice. Remove the tension bead
on
the other
thread
attach
a needle, and
PT
rhe
4-bead
circle
at
least ooce. Finish
off
both threads by weaving
rhe ends down the vine and into a leaf.
ATTACHING
EARWIRE
Carefully bend the
loop
of
the
ean.vire sideways
with
a pair
of
jewelry pliers, slip the earring in,
and close the loop. @
Bm·b Gminger b11s hte11 beadittgjor more tl1an tbil·ty
years.
SI.Ji is
rmtht1r
of Peymc t
mltmd
Peyote D e ~ i g n
Techniques. Her
thi1·d
br)l)k, Dimensional Flowers, Leaves, and Vines
will be
avtJilable this srmmun: Bt11·b will
be
mrching f've Caughr a
Flower
in
MJ
Net at Embellishmm./ tbis
year. She
has also
umgiJt·at The Florida Cm{htrum s Beadworks workshop.
Figure 5
Figure 4
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ingkoLeaf Necklace
PEGGY WRIGHT
ince 1989,
in
pursuit or those little objects called
beads, Diane Fitzgerakl has opened her shop Bcau-
ti
ful Beads, become a reach er and author, and de
veloped her own artistic voice.
Prior
to
thar rime, Oiane worked in two other media,
quilring and needlepoint. During those years she kept a
foot-square box
of
beads rucked away in her closer. She
appreciated their transparency, reAecriviry and colors.
She also liked their
scak
''Ever since
1
was
young, l've always liked little things.
r
had a six-inch high dollhouse with tiny furniture
to go
wi rh i 1 just loved it.
Diane's inreresr
in
needlepoint
was
natural, with
irs
tiny stitching,
but
she found quilts were just too big.
The
scale
of
my work decreased when
l
worked
in
needlepoint.
I
worked rwenry-rwo stitches
to
the inch.
Once I copied a friend's Oriental rug srirch
by
stitch, and
it
came out 18
by
36 inches. Needlepoint and beadwork
are similar
in
their scale. I've just got the patience for il.
OPENING A BEAD STORE
Diane
was
frustrated, however, with the results
of
her
attempts
to
make jewclry from her beads. Finally, she and
a friend, Barb Hjorr, rook a class with Helen Banes in
Chicago and learned
to
create needlewoven necklaces.
After rhe class, Diane had trouble finding beads.
Con-
stantly alen for new sources, she found a woman through
her quilting contacts who was selling her inventory
of
beads.
The woman wanrcd to get
out o
her jewelry business
so 1 visited her and looked at the beads. We negotiated for
a while and then Alan [Diane's husband] finally said
'I
you wane them, ru lend you the money.' So we bough
chem
and brought them
all
home
in
the trunk
of
the car
11
,000 worth
of
beads in rhe
trunk of
the car. Can
y u
believe
it?
1 boughr rhc beads, but 1 had no idea how
I
would use them.
t
was the start
of
my shop.
BEADWORK
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BECOMING A TE CHER
Diane opened shop in
1989
in Minneapolis, Minnesota.
t
teach
if
she
was
going to sell
Other
people were just like
me.
They loved beads,
didn't know how
rouse
them."
Oianc asked Barb Hjorr, who
was ::m
art teacher, to eo
nccdlcwoven necklace with her. She acknowledges
Banes
as
her first mentors
in
reaching.
Dianc learned additional techniques and acquired
other
more classes herself. She
h r ~ l f techniques from Horace Goodhue's book,
Weaving Pattems. When she discovered he
St. Paul, she signed up for his classes.
Diane
also
a class from Virginia Blakelock and several from
in San Diego.
Dianc again used these experiences to develop her classes.
necessary to sustain her bead shop, she
so found how much she enjoyed instructing srudems.
"It's always been my philosophy to reach because I get new
I do. It's fun ro spend the day with a pleasam group
f
people, to
sec
what colors they choose. I always try ro orga
my classes by
giving people srrucmre, bur
I
also provide
personalization, such
as
picking their
IL s
inspiring
to
see the
varied
combinations."
English
Garden Bracelet
28 ww w. n terweove .com
FOUNDING THE UPPER MIDWEST BE D SOCIETY
Through reaching classes, Diane helped build the bead
ing community
in
the 1\vin Ci1ics.
As
it grew, rhe need for
an organization
tO
support the large number
of
beadworkers
emerged.
"Some swdcnrs asked
me to
starr a bead society. Horace
Goodhuc made one
of
d1e
first
prcscntarions, and the room
was
packed, giving
us
a really good
scare. I
published rhe
sociery's newsletter for
about five
years
and
organized rhc
meerings. At first, we met in my shop, but the beading
community just kept growing. We've been goingsuong for
ten years now.
BECOMING N
UTHOR
While
Dia11e
has inspired students rhrough her classes,
and rhe Twin Cities' beading community through the Bead
Society, she has also reached
a
larger audience through her
books. She co-authored her first book, Beads and
Threttds,
wirh Helen Banes
to
insure that Helen's needJeweaving tech
nique would be documented. "I thoughr a collaboration
with her would be a great way to
do
a book.
This
partner
ship worked out very
well. Bertds tmd
Tbrends has sold over
twcnry thousand copies
in five
years and is still on the
shelves
in
bookstores."
Counted nd C harted Pttttems for Flat Peyote
Stitrb
is
Dianc's first self-published book. I pubI shed it because I
could sec che satisfaction my mother receives from her
counred and charred cross-stitch. Every night she works on
her projects
and
follows the diagrams
t
a
T. 1
decided to
write a similar
book
on peyote-stilched beadwork with a
bead-line guide
eo
isolate each
row.
Diane wrote her
rh
i
rd
book,
Serr Anemom Beadwork,
to
document an unusual piece
of
Native American beadwork
owned by
Ho
race Goodhue. " 'm proud
of
this book be
cause the technique would have been losr
if
[ hadn't studied
Horacc's piece.
He
owned only one piece using the tech
nique, which
was
destroyed when his van
burnt
up, and
he
had seen only one other piece."
Oiane's fourrh and fifth
boob
provide instructions for
beadwork char use techniques pracriccd by rhe Zulus
of
South Africa. The fourth book, Zulu Bettded Chain
Tec/;
-
niques, covers eight Zulu chains, only one
of
which had
been documented previously. Oianc wrote the fifth book,
which gives instructions for eight more chains, after coming
back from South Africa, where she investigated more bead
work techniques.
''Zulu beadwork fascinates me more than any I've ever
seen. The work is intricate, and the Zulus often combine
their beads with a looping structure where one thread loops
around another thread instead
of
going through a bead. I've
never seen these stitches done
by
any Olher group
of
people."
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EMERGING
AS
AN
ARTIST
Recognized for borh her reaching and her books,
Oiane
has also emerged as a crearive
artist
in her own
rig
ht. Her
work
is known
nationally, appearing regularly in publica-
ti
ons and juried shows.
D i ~ n e
frequendy
works improvisar
ion
ally. She selects a
co
l
or
palette and builds many small
componenr
s, not
knowing how they will fir
imo
a larger work. Guided by
her
sense of design, Diane listens
to
these sma
ll
pieces as they
suggest how they wam ro be
co
mbined . le's often a m
aner
of serendipity.
"l made a piece rhat looks like
branching
coral because I
wanred
to imitate
the ivy char was crawlincr up rhc
brick
b
walltn
front of
our condom inium. 1got the effect for th e
ivy :tnd for the
brick
wall, hut J never put the rwo pieces
rogcrh
cr
in a necklace. One day,
1
ran across a beaded
cnbochon thar was lying o n my desk.
1wondered
how rhe
coral piece and rhe cabod1on would work rogether. I tried
it
and
liked che effect.
The
besr work comes quickly, and
the pieces go right together. All of a
sud
den, it's
just
rhere.
This piece, Coral
Reef
Necklace became a class D iane of-
fered last winter. When she creates a piece, she frequendy
develops a class around it and
chc
class reflects her philoso-
phy of
design.
"W
hen J teach,
J
tell students 1hat mal
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l a m i n ~ o e s
JUDI WOOD
l was inspired by a Nature Conservancy phorograph when
1 designed this motif I had originally placed the Ramingocs
on
an
amulet pouch, and I
loved
the
way rhese
beautiful
birds could be so elegantly rranslated inco peyote stitch. After
creating this banner
for
a pin, [ asked Carol Straus if she
would make a pin back to complimenr my design.
.
Carol came up with a pin that enhances the design
more than an ordinary pin back ever could.
M TERI LS
2.
5 grams each of
silver,
gold, light pink,
rose,
m ~ u - o o n
white, grass green, sky blue Dclicas
4
rnm
silver beads
2 4mm round freshwater pearls
3 4mm round coral beads
2 )mm round faceted blue crystab
2 3mm diruuond-shaped faceted blue crystals
NOTIONS
Silver or gray size D beading thread
Size
12° or 13° English beading needles
B e c ~ w a x
or Thread Heaven'
Scis::.ors
Rows
1 58: Follow
the flamingo graph
as
shown.
Rows
59-68:
Create a three-point banner by following the
graph
for
dec (see Stitches, page 10). Keep your thread
hidden within the
beads as you
weave
from poinc
eo poinc.
Flamigo graph
FRINGE
Exiting
from
rhe bead at the rip of the first point, string
I 3mm silver,
1
coral,
1
3mm
silver, 1
diamond-shaped
faceted blue crystal, and
1
gold Oelica. PBT the diamond
shaped faceted blue cryst::
d,
the silver, the coral, the silver,
and rhe gold Delica on the point.
Weave
rhread through
to
the middle point and exit from
che gold Delica at rhc tip. String
1
3mm silver, 1 coral, I
3mm silver,
l
4mm round faceted blue crystal, and l gold
Ddica. PBT the faceted blue crystal, the silver, the coral,
the silver, and the Delica.
Weave thread through to the last poinr and exit
from
the
gold Dclica tip. Use th< same fringe sequence as for the first
fringe leg.
Remove the tension bead and
weave
working and
tail
rh reads rh rough several beads to secure. Tie a knot i de
sired. Trim rhread dose to work.
The
rwisced
fringe can be added
to
the pin back at each
side of the banner. String 9 silver and create a foundation
circle around the pin back, PT
all
again
w
make a loop.
String 4 silver, 2
blue,
2 silver, 2
blue,
20 silver, I
pearl,
l silver,
1 round faceted blue crystal, and I silver. PBT the faceted blue
crystal, the silver, and the pearl. Allow Yt of rhread lag and
string 20 silver, 2 blue, 2
silver,
2 blue, and 4
silver.
Twist
about 100 times ar the lag. Hold the thread tightly and
sert the needle back
in eo
the
last
bead of foundation circle.
The force of the twist should make the fringe twist back on
itsel(
Rep
for the other side of the pin.
Note: I added dimemion to the beaks
of
rhe a m i n g o e ~
by placing three beads over rhe original beads.
ju i Woi ds cre11tivr urgl > ojim
rrmlt
in thr middlt: of ht: night, tm
11111king b ~ r up
rxcited to b(tJd.
Y
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igure 1
Figure 2
MATERIALS
16 or 18-g.mge copper wire
Chain-nose plicn,
Rou nd-nosc pliers
Diagonal wire
cuuer
Rough 1..lll hand file
Fine-cut hand
file
NOTIONS
Figure 3
igure 4
Pumice \ronc or jeweler's .sandpaper (fine)
R:t\\
hide mallet
tep
2: ' l
o
make the hook part
of
lhe clasp, hold the wire
with the chain-nose pliers. Ar rhc po1nt you wanr ro start
the hook, bend the wire so char it extends straight up
ar
a
right angle from the body of the pin (Figure 2).
trp 3: With rhe chain-nose pliers, bend the wire sharply
back roward rhe body of the pin parallel ro rhe wire from
Step 2. Pinch rhe bend closed with rhe chain-nose pliers
and hammer it to harden and straighten it (figure 3).
tep 4: L old lhis doubled wire at its midpoint with rhe
round-nose pliers and bend it over to form a hook. Curve
the rip our slightly for a professional look (Figure 4).
Step
5: Roll
out
rhe wire to about to
Y
below the hook.
With the chain-nose pliers, bend the wire ar a right angle
to a horizontal posirion to form the body
of rhe
pin. The
weaving will hang from this, so make this straight hori
zontal bar the desired length. Now make another right
angle bend so thar the wire goes srraighr up (Figure 5).
Hammer the body of the pin to harden the wire.
Step
6: About
Y,
above the horizontal bar, form a coil for
32 www .
•nlerweove com
igure 5
igure 6
the spring by holding the vcnical wire with your round
nose pliers and using your fingers to bring the wire
around the nose
of
the pliers and beyond the coil so that
rhc wire runs parallel to the body
of
the pin. To get the
spring necessary to keep the clasp closed, it is very im
ponalll that the coil is placed
so
tbat the wire comes over
the top. This spring res< :mbles the one on a
sa
fcry pin
( i g u r
6).
Step 7: Extend cl1e wire ." beyond the hook. ut it on an
angle to make the beginning
of
the point. This will be
rhc parr that pins, sometimes called the tong. Hammer
this bar until it is very hard, but do not
Oarren ic.
Step 8: File rhc point unril ir is very smooth and sharp
enough w go through fabric. Use a rough hand file first
to
shape the point, then
a
smoother hand file. Then use
pumice or jeweler's sandpaper for a smooth finish thar
will
not snag cloches.
NotP: The parts of the pin arc hammered
as
rhey arc
made. If you wish, you can add beads afrer a section is
hammered and before the next bend is made. I generally
sew rny weaving around the body
of
the pin once rhe pin is
completely finished. ®
Carol
Stl 'al l l
hrts
bad a bend biiSiiiNS >illr l 1969 and has been trtlchinj
lmrrl/ll )rk and wirewo1·k since 19
79.
Sbr
f llj()) S playing
with bi•rrds f/s ll IIth
as ever.
"he
teeth on files point away from the handle. They cur
on
che
pu >h stroke, so
file
awa} from your bod) and lift
chc file >lightly on the return srrokc.
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llol
l
g
>
4
i
l
Q
4
f )
l
q
G
Q
0
C
f
c
c
Q J
DE
NISE
PERREAULT
4 www in lorweovo com
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was inspired to make these fan pulls when I
cam e upon an
am
ique version
in
a Lecsburg,
Virginia, sto re. The Victorian pull was simply
embelLshed metallic black ribbon glued ro the
bead chain bell and fringed with a carnival seed
bead mix.
Working with the same bead chain componentS
as
the Victorians, I came
ro
und erstand why bead
(or ball) chains have remained unchanged
for
over
I 00 years: Bead chains are technically perfect.
They re e..'l:tremely srrong and durable, and they
can easily be trimmed ro any length; rhe clasps,
bells, and eyes thar connect parrs tOgether are
clever, versatile, and easy to u
se.
Moreover, bead
chains arc as amactive
as
they are utilitarian. They
co me in a gold - or silvcr-roned finish and in small,
medium, or large si1e beads. Best of all , bead
chains can handle a great deal of wcighr, a discov
ery I made as I became bolder and more compe
tenL, and
as
each fan pull became heavier and
more elaborate. This is an excellent project if you
have large lampworkcd beads chat you d like to dis
play, or extravagant beads rhar deserve sunlight
and attention. l have
six
beaded fan pu lls hanging
in my old house now, and it is a treat
ro
admire
the
love
ly beads that were previously hidden unno
ticed in y bead box.
8
bead chain; your choice ofsize and finish
BC ad
chain c l ~ p
Bead
chain bell
Bead
chain eye
I) cord or heavy twine (for wooden beads)
Size D Nymo thread in color to march beads
Crafr or fa bric glue
FrayCheck (for ribbon-covered fan pulls)
A variety
of
beads appropriate for main beaded
body and/or fringe
Si e l2° beading needle
Scissors
Small
pli
ers
PEYOTE/GO URD-STITCHED
BEADED FAN PULLS
up : Choose a large wooden bead or drapery tas
sel
for your base, and thread a bead chain
through the ccnter hole. Arcach a bead chain
SOME THINGS TO CONS
IDER
• Where will rhe pull hang from? lf
ir's
for a high ce iling
fan, consider using a chain with large-sized beads, a sim
ple beaded design on ribbon for the base, and long, ex
travagant fringe.
If
rhe fan pull hangs
in
rhe sun, incorpo
rate translucent, opaque, or crystal beads in rhe fringe to
catch the lighl. Conversely, if the
fan
pull bangs from a
low ceiling, don t make the fringe so long that
ic
grazes
people s heads.
• A large bead base
is
best, because it allows you
ro
grip the
base, not the fringe. Don t design a pull that makes you
grasp cl1e fringe because
ir will
eventually stretch and
break. If the fan pull is so high that it forces you ro pull
on the fringe, add extra bead chain to make it longer.
• The best design or pattern for a beaded fan pull is a
si
m
ple one:
Seen from a distance, a complex pattern looks
muddy, whi le a bold design appears clear and dean.
• Beaded fan pulls arc a perfect venue for experimenting
wich fringe techniques. Try stepping rheir lengths up
or
down symmetrically, fitting scalloped fringes inside in
creasingly larger scallops, or netting rhcm all together in a
novel
way.
Also experiment with different bead sizes and
finishes within the fringe.
The
eJTecc you create can
be
subdued, dramatic, elegant, or outrageous, largely depend
ing on the fringe you employ.
• Fan pulls don t have to be used just on ceiling fans. You can
also
use
them
as
shade pulls, luggage/bag pulls, bell pulls,
or suo catchers. To turn a beaded pull inro a
tassel
tharyou
can hang over 3 doorknob or drawer pull, use a pair
of pli
ers to
open up the bead-chain clasp wide enough ro
fit
over
the first bead of the chain and crimp closed.
• If
yo
ur base bead allows for che b
ead
chain bell eo fir securely
inside, then you ll ne
ed ro
bead your ccmcr fringe before you
b
eg
in the base beading. Because much of the cemer fringe is
hidden behind the outer fringe, you
ca
n utilize some of rhose
prcuy beads thar you only have one or two of, or other odd
lor
and Clller beads.
• If
yo
ur bead
hol
e b roo large for the bead chain bell
eo
hold
the chain securely inside rhe base, a pair of pliers to Aare
our the base of the bell.
BEADWORK Moy/June 2000 35
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In
homage
to inspiration:
lady
peyote-stitched
over a wooden
bead.
bdl
and eye
ro che
bottom
o
the bead chain
and a bead
< hai
n clasp.
Step
2:
(This ensures char the chain stays cemered
inside th
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Freshwater Pearls
reshwaccr pearls come
in
colors and shapes
chat evoke delicate spring buds and droplets
ofmisr. They are created by bivalve mollusks
belonging ro rhe UnioTiidae family, which live in
lakes and rivers in fuia, Europe, and North America.
A natural pearl starts ro develop when a parasite or
ochcr irritant becomes lodged in a mollusk's flesh.
The animal encases the intruder in a sac lined with
mantle tissue (the skin between the shell and body);
rhis tissue secretes nacre
r
coat the panicle. Over
rime, the nacreous deposits form a luminous gem.
Cenru ries ago, Native
Americans
of
the Midwest
and Southeast interred large
quantities of pearls and
marine-shell beads in their
temple shrines and burial
mounds. Pearl
fever
srruck
rhc United
Statel>
following
rhc discovery
of
a spectac
ular
pink
pearl
in
Notch
Brook, New Jersey, in
1857.'
Men, women, and
•
fv\ARIA CHIARA
•
Tennessee pearlli1rmer John Larcndresse is pio
neering American f r e ~ h w a r e r pearl cultivacion. His
shell-nucleated pearls include stick, bar,
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ead
Embroidery
c
found
so many
fun
facts about
bead
embroidery
rhar we
couldn't
fit
them aU
here Check out Lydia's site, www.bead
wrangler.com,
for
historical
information, directions
for other bead
embroidery
stitches, a listing
of
great
resource books,
and
a detailed
explanation
of the
Sampler
Project."
STITCH NOTES
> Bead
embroidery bulks up and
requires
you to
work
stitches
differently than
tl1read stitches.
Generally, beads are
not
tUliform and each stitch
will nor
line
up
exactly as thread stirches do.
' ) Fourteen-
count fabric works
weU
with
size I 1
seed beads
and
Delicas; however, bead size varia
tions require some adaptation eo the slirches.
J The edges of counted fabric
should
be whip
stitched
(see
instructions on
page
22); you
can
also apply Fray Srop®ro prevent raveling.
>
Stitch each
row of
bead
embroidery separately. Tf
there's a
mistake
in
one
row,
vou
can con·ecL
it
'
without redoing the
whole sample.
)
While
knots
are not
used
in mosr thread
embroi
dery,
bead stitching
requires
knots at
rhe
begin
ning and end of
each row to keep rhe beads
rom
pulling loose.
) I use the
term
"stitches" ro
dcnme
the
tiny
holes
thar run
the length
and width
of cow1red fabric
forming
a grid
of
small squares.
Counr one hole
to the next (one small square) as a stitch; this is
extremely
importanr when counting.
If
you hold
Lhc [abric
up to the
light, the
tiny
holes wiJl be
obvious.
www i nlerweav
e.c
om
liA
b
1
-1
BAP.B RA
t '
1'\D I
FOR
THESE SAMPLERS
Use rhe
smooth side of counted
fabric.
Plan for 29 rows
down
and
26
rows across
for the
embroidered
area. The
counred
fabric I use has 29 rows
down and 27
across, so leave one extra
blank
row
on one
side
of each sampler. Each piece of fabric
measures
approximately 2W long
by
2"
wide (not
including
the
whip
stitched
edges).
For every
row
in each sample, use 40
of beading
thread
and double
it. Make a
knot in the end and cut off rhe thread
ends.
When you
finish a row,
make
a
knot,
cut off the thread end
and
beg the next
row with a
new
thread.
Each
time
you
string
beads
onto
the fabric,
T
to theWS
and pull the thread taur.
By
alternating the
bead
colors, you can easily
idendiy
the
duead
path.
Size °Czech seed beads:
amethyst
S/L
rocaille (color 1); crystal tan
lined (color 2);
medium dark
green
matte iriJ (color 3)
Oelicas: lavender blue gold
lustre# 117
(color
1);
lined ivory
AB #064
(color
2); semi matteS/L light grey green
#689
(color
3)
Size "A" Sjlamide thread, #914 Ash
Gray
or equivalent
beading
thread
1 1-yard package
of 14-counr nawral or
off-wnite counted cross stirch trim,
2" wide
Size 12 sl1arps
or beading
needles
Scissors
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BE D CH IN STITCH
also called Loop, Tambour,
or
Point de
Choinette Stitch)
Beg in the LOp left corner of the fabric.
l:1ke the needle from
W ::J
to RS
in
rhe first
stitch below rhe whip stitching. String 20
color 1,
PT
the fabric
in
the ncxr adjacent
stitch.
Counr
down
5
stitches from
f i r ~ t
bead chain
and
bring the needle back
through the front inside the bead chain
just made. String 20 color 2. PT the fabric
in
the adjacenr stitch. Now the second
bead Lhain sticks our
of
rhc first one.
Count down
5
stitches from the last bead
chain and mnke
t.he
next chain with 20
color 3.
Cominue
alternating the bead colors for
each chain, couming down 5 stitches each
rime.
When
you ve made the last chain,
rake the needle from the back to the fl·om,
counting down 6 stitches for Dclicas and 7
stitches for Czech beads.
Pass the
needle
over che bottom
of
the bead chai11 between
the two middle
be-ads
and
PT
to rhe WS.
ror
the ncxr
row, PT
l rom WS Lo RS
•H the
third stitch to the right
of
rhe
first bead
duin
and
continue ahernating
bead colon;.
BEADED
CROSS
STITCH
also
called
Sampler,
Berlin,
or
Point
de Marque Stitch)
Beg at the rop left corner
of
rhe fabric.
Count
down 5 stitches from rhe top. PT
ro
the
RS.
String
7
color
I.
Colll1t up
5
srirches .md w the right 5 ~ t i t c h e s PT ro
rhe
WS. PT
ro the RS at the top left
of
rhe
first stiLch. String 8 color 2.
Count
down 5
sLi tches and to
rhc
right
5 sri
rches.
PT to
theWS.
Beg rhe
ne t
stitch
by
couming 6 stitch-
es
down
fi·om
the last bead stitched on the
left side. Rep rhc stirch beg with calor 3,
rhen cross with color I. Continue alternat-
ing bead colors. Beg the next row three
stitches
a c r o ~ s
and 5 ~ t i t c h e s down from
the last bead stiLched in the firsr row.
@
ydia B01·i11 h I
f a d w J i l l l , ~ l t • J :
lillram
morr about
r Jr Bradt·d
\amp/a Projur. check Lydia s momur
fibrr wrb,uc
u•u•u
•bmdwrangln.com.
•
Delicos
Czech seed beads
Delicas
Czech seed beads
•
I
Cross stitch
Chain stitch
BEADWORK Moy Juno 2000 39
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• •
MARGIE DEE
4 www tnlerwe ve c m
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r -
he
playfulness of a deep purple matte
bead can surprise me. Upon first glance
it seems so serious and steady. But when I move
aside my ideas about purple's role
in an and
lis
ten to what this t iny piece
of
glass has
to
say, I
hear it longing ro dance with gold,
or wanting
to take the center spotlight. It whispers
that
it
is
tired of
me
instructing it to sir quietly next
to
deep
blue
and
turquoise because I
know
the
three
of
them won't cause any trouble.
Beads are alive. Anyone who has tried ro force one omo
rhe tip
of
a needle has proof
of
this. Beads will not be domi
nated Bur I've learned rhal chey will cooperate wirh my cre
ative plans if J give them a say in what rhey are helping me
create. And if I try more rhan rwice lO get a seed bead on
my needle and it i n ~ i s t s on rolling away, I know it does not
wanr ro be there (maybe it had a tiff with the one I just
threaded?). OK rhcn, who's next?
Who
wanrs to spend the
rest
of their lives co7.ied up with duce demure mauve lus
LL'rs? l ask. There are many brave and willing volunteers.
I look for the life in art. Design, techniques, skill, and
craftsmanship
or
execution arc vital. They are inregral com
ponems working wgether ro create art that
i_nspires
and
ignites emotion. Bur rhey are not what moves me or speaks
to my soul I am more captivated
by
how beadwork feels on
an emotional
level.
To me, much art roday
is
interesting,
: lt-
tractive, and well execured, but it l::1cks life, feeling, depth,
and substance. As Lstand before a piece, dol feel inspired,
awestruck? Am 1exhilarated and filled with gratirudc? Do I
wanr eo rush home, pick up my pen, paintbrush, or beading
needle and get ro work?
That
is what I seck from arr and
treativicy, and 1hat
is
what
1
strive ro give duough my own
art and c r e : ~ r i v i t y .
I am enchanted
by
handcrafrcd art that
is
alive
and
suf
fused wid1 the energy of its creator as
well
as its own unique
energy. Many of my pieces have their own personality long
before I
give
binh
ro them. They speak t me in feelings
~ t n images. The more I listen and rrust my intuition, rhc
more the piece becomes imbued with life. Trusting whar I
sec, feel, and hear is, perhaps, the most difficult parr
of
my
process.
Tr is
this "listening" aspect of the creative process thm
fas
c.in:ues me mosr. lr acrually i_nvolves all my senses focused
m ward. I work wirh the parts
of
myself rhar are not as con
scious as
r
am,
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,
' 0
•
• 0
•
commissioned pieces, these steps
become
the visual presentation
of my ideas
to
my clients. I
spend lots
of time on
these
initial design stages (drawing,
coloring, mapping,
and
graph
ing) for several reasons. Thougb
tedious, they actually save me
rime in the long run. Because
I write om che count
of
every
row, I don't have to stop bead
ing to counr. Planning also frees
me to be more creative as I arn
beading. Sometimes wonderful
l am in that magical
rhythm
of stringing
and I always allow myself room
to
off
my charted course.
I began
The Heart
of
Her
wirh a series of
and
white pencil sketches. After
shaping
molding the basic form on paper, r made
of
the drawing. 1 then worked
pencils, making sev
wirh the colors I'd chosen.
With
design
in
hand, I used a light
to uace
the project s outline onto 1: l
graph
paper. 1 then colored each
on the paper and metietJously cut away
paper
that was nor
part
of the piece.
I had a paper template rhe exacr size
of
the
before l ever
sta
rted stringing the loom.
mounred this template to poster board. I began the
count
marking
off
sections of the graph in red pen
T
could
count
beads by fives.
l
counted
and
wrote our
of beads by color (i.e., Row 22: 3 crimson, 4 matte
so
that
T
would be counting
as
r
.......
• :.::..·:::: . ..
' r
-
•i
,
,. -..
.
'·'
www
. nterweove c om
lirrle
as
possible while
beading. When I made
mistakes, 1 didn't have
to
recount
every
bead
on
paper
and on
my
thread. I
worked
with
both the colored
graph
template
and
rhe hand
written counted doc
ument simultaneously,
cross-referencing when
necessary. lf 1 should
ever want to recreate
the piece again
in
dif
ferent colors, I have all
rhis information
on
file,
and
because 1 write the
bead cow lt in pencil, l can simply drop in new colo r-codes
without having eo
recoum
a single bead.
Since rhe release of BeadScapc software for rhe Macin
tosh, I'm now able to scan my color rendering
into
a digital
format, import it
into
the program, and the sofcware helps
me graph
and
count.
The art of
beadweaving
is
exploding,
and
it
is
amazing
to
watch
that
growth.
The
creative ideas, new techniques,
ingenuity,
and
innovation chat
abounds is
nothing short
of
marvelous. As more bead arriscs bravely venture out to
become visible, the climate
is
changing.
The
downside
is
that this expansive growth can sprout limitation of protocol,
rules,
and
competition.
My life
is my
art. 1 was trained
as
a fine arrist and musi
cian, and J make my living as a graphic designer and illus-
trator.
Inherent
in much of that formal training
was anificial prerenses, judgments, highbrow
elitism, and expectations. r've made very
conscious decisions to move away from chose
limitations because they suffocate che spirit,
joy,
and
authenticity that engenders true
creativiry.
When
I discovered beading, it was
as i l stumbled
upon a ripe, ferrite garden
of
color
and
light
with no
limitations.
No one
can tell me what 1 am supposed w do, and
what it
is
supposed to look like,'' I
thought,
and
I felt rhe limitless vista of the artistic free-
dom Tdidn't even know 1 had been seeking.
l began beading for rhe same reasons I paint and write
music-for
the joy. Piecing together tiny gli
rn
mers
of
cexmre, light, and color
imo
fluid, magical rapesuies gives
me indescribable joy.
For me,
authenticity
and honesty are the qualities chat
add
to
the
lHe
and magic of art. Creating
eo
please
an
audi
ence or cater
ro
trends usually becomes a hollow perfor
mance. Bur
when can listen
LO
my
own
voice,
to
the voices
of
the colors, shapes,
and
beads,
and
Lhe
inherent
magic
within creativiry itself, I embark
on
rhe enchanted journey
towards auchenriciry.
This
listening opens me ro the cre
ation of art chat speaks to the soul.
1
am
honOL·ed
to
be
pan
of
eh
is
expanding collective
of
bead artists. There is space for each person's unique, artistic
expression
ill
beadwork. It
is
my intention to keep my bead
work as fresh, alive, and authentic as the day l first invited a
rurquoise rocaille onto my needle. @
lvfargie
Deeb
is the
author ofOut On A Loom.
Her
work
appettrs
in
Do
Pierce's
book
Bead in.g
On
A Loom (1999,
lutmveave
Press).
She sell>
her
work ns private
commissions
nnd
througb
gaflerii S aud shows.
a
course 'it
Passion for Color:
Creatiue
Colorfor
Bead
Artists is inspiring
bender> rtcross
the c01mtry
to
expand the way they
su nd tllf)rk
with
cofo1: See mm •
of
A1argie's
work
nt
www.minoa.com.
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fall rhe beading techniques I'm familiar with,
beadweaving on a loom is my current fuvorire
for one reason: instam gratification Well, almost
instant, and I admit that's a relative rerm.
Several available books adeptly cover the funda
mentals
of
bead looming. Among the best
of
them
are Virginia Blakelock's Those Bad ad Bends and
Don
Pierce's Bertding on
a Loom.
But here
is an
inno
vation from a person who loves organization, com
fort, efficiency,
speed
and some social interaction
now and then.
A TWO PART PROCESS
Any prinred directions I've read describe a tradi
tional mer hod of first counting a row of beads, weav-
ing it, then counting anoilier
row,
weaving iliac, and
so
on.
Instead,
l
break the whole process into two
parrs rhe
.first
part involves loading
a
"bobbin" on
a
separate iliread, with all
of
the beads
in
a project (or
a good-sized
sccrion
of
ilie project) so that iliey arc
coumcd our and ready ro weave.
The
second parr
is
ilie actual weaving, row after delicious row, without
having to stop and coum Splitt ing Lhe procedure
inw
rwo
pans
has
the following advantages.
• le
can grearly decrease the chance
of
errors in
co unting. This
is
more
of
a factor che larger the
.
p1ece.
• Splitting the procedure keeps my body better
aligned. When I'm loading the bobbin, I have
only the beads and ilie
patLern in
front
of
me. I m
BEADWORK Moy/June 2000 45
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noL reaching around rhe loom or off
to
the side
to
pick
up or
put
down a bead dish (risking spills each rime).
also avoid rvvistiog, leaojog, or
sitting
crooked while
I'm
working because 1 have too
much
stuff spread our in
from of me.
• Splitting allows me to make a project ill
on e
- fourth
or
one-third less rime than the traditional method of
cOLmt-
ing
each
row and then weaving ir. That's because it tal
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With your dominant hand, insert the beading needle up
through the beads. Holding that
group
ofbettds on the needle,
pull the bobbin rhrend back
out
and set it down. Remove
the marker bead (which should
be
the closest one to the
poim
of rhe needle). Lc :t the row
of
beads sude omo
rhe
beading rh read. l f you are used ro working from a hank.
you probably do this auromatically.) Also. when you arc
weaving a piece wider than the project here, simply transfer
the first row in scctio.ns. An alternative method of transfe r is
to gather a group
of
beads
off
the bobbin thread while
holding ir fairly
fhu
against a tablecop.
Now slide this first
row
of beads
all
the way back to
the loom. Position the beads underneath and between the
warp threads, and weave in the traditional manner (sec
"Srirches," page
10).
Now you are on yo ur way. No sroppi ng eo co tmt. Just trans
fer the nex.t row of beads plus the marker. Remove rhe marker
bc:1d
off the end
of
the needle. Weave the row and car
ry
on.
In order to keep from wasrin g time pulling more and
more empty thread from rhe bobbin back through the
beads being transferred, either
rr m
the bobbin thread off at
regular intervals, or use rhe tape "behind" rhe current sec
tion of rows you arc transferring
ro
push rhem all closer
LO
rhc end
of
rhe bobbin thread.
WHEN
YOU M KE
A MI STAKE
Sin ce there
is
"" way you can have co
unt
ed everything
exactly right
if
you did, you're luckier than
1
ever am )
here
s
a painl
ess
way to fix boo-boos. We wish ro avoid at
all costs rhe Dump them all off, find where it was in the
pattt•m, nn
recount"
method.
When you're short two beads at the beginnin
g of the row
just counrcd,
or
you realize
rh
at three rows back you
put
che
wrong co lor in one parr: Pur several long chin sewing pins
(or bealung needles wirh a small Aag
of
rape over each eye)
on your beading plate.
Once you figure out exactly where the mistake is, slide all
the beads (up to and including any "wrong" ones), back to
ward rhe needl
e.
To save un tb reading and
rcch
reading your
need le, push
it
tempo
ra
ri ly up rhe thread so that the tai I
is
longer. Slide all the wayward beads over yo ur needle and
thread (baclnvard now) ro the end
of
the beading rhrcacl.
Now rake one
of
the pins and transfer all che beads that are
properly counred (bur
bervveen
the mistake and where you
sropped) onto it. Use more rhan one pin or needle if neces
sary; jusc remember in whic