look: two knitting projects. inside! create festive jewels for the holidays make fabulc photo-transfer beads build a jolly snowm: ele interview ™ Jovee Scott Ceo beading illBEADWORK | December 2003/ January 2004 Volume 7 Number 1 and Dinah lhle Tree Brown Hayes Gone Fishing Robert Pataki Still Kickin’ It Mary Tafoya f the North: The Inuit Beadwork nland Mary Elen Hartedepartments Passing Through 6 Project Contributors 8 Calendar p rojects 10 Letters 31 The Goddess Chris Ann Philips: 12 Bead Buzz 34 Dagger Bracelet Linda Gettings 96. Simply Strung Paulette Livers 36 Knitted Wire Wonder Necklace Nancie M. Wiseman 98 Glass Doctor Ginny Sycuro 39 Link Necklace kileem Amstein 100 Bead Boy Dustin Wedekind 40 Sectioned Wire Bracelet Doris Coghill 102 Cool Stuff di Knit Br | Faith Walmer 104 Stitches Cheryl Assemi 106 Reviews 10 Snowman Janet-Beth McGann Flynn 128 Stringing Along Jueith ourant 70 — Diamonds in the Brick Peggy wright 2 72 Pillow Beads Beckan Mashtare-Krahula Poinsettia Pin Arlene Baker 80 Dimensions in Netting Terese Suitvan pe~@-nead bu aan Quick Gifts Holiday Pillow Here's an idea for a cheery accent for your couch this season. I created my pillow out of old green and blue jeans accented by some crimson felt, but you could easily adapt the idea to a store- bought pillow. Simply enlarge the tree pattern below to fit your pillow, cut out four tree shapes, sew them tothe pillow as shown, and adorn the shapes with beads. After digging through my stash I found the simplicity of these bone beads and sequins gave the moder look 1 was going for. But you might like to use crystals, pearls, and ribbons for Vie torian look, create a funky />\, ttt ctw,” //"\ glass, or gosimple with / | big colorfl buttons 1 1 Resource y Bone beads: i Orr's Trading Post, t 1 1 Prayer Whee! I met Eleanor Wiley, coauthor of A String & A Prayer (Red Wheel, 2002), ‘hen I was in Northern California recently. One ofthis energetic woman's passions is teaching people to use beads for prayer. She does so through her book, classes, and a very unique finding she created called “The Sacred Wheel of Peace” The wheel, which features six archetypal symbols that represent paths of spirituality, can be used as a mandala to contemplate peace. Its also 4 natural finding on which to add prayer beads. A good project for the new year, don’t you think? Resource Prayer wheels: Contemporary Prayer Beads, 1402 Santa Clara Ave. ‘ameda, CA 94501; www prayertds.com.Hipster Belt I made this belt kind of big so it would fit through the belt loops of the hip-huggers I'd own if I wasn’t too chicken to wear them. I guess I'll eave the belt for Santa with his milk and cookies. Does Santa wear hip-huggers? 50-60 brown 8mm round wooden beads 25-30 brown and tan double-crilled 1 X 1" wooden beads Multi-looped sterling silver box clasp 2 sterling silver crimp tubes 019 Soft Flex beading wire Notions Measuring tape Wire cutters Hiat-nose or crimping pliers Resources Wooden beads: Star Mountain Trading Clasp: Jess imports Flectric Holiday Bracelet Wearing this bracelet will remind you not to get too serious about holiday pressures. Matertais 32-40 holiday bulb charms Size 6° gold seed beads Gold lobster clasp 2 gold crimp tubes 019 gold Soft Flex beading wire Notions ‘Tape measure Wire cutter Flat-nose or crimping pliers Resource Bulb charms: Jo-Ann Fabrics, ‘Step of wi ‘Step 2: Pass one end of the wire through a loop on one sie of the clasp from front to back. Adjust the wie so the clasp is at the center of the wire. Use the same / Measure your waist. Double the measurement, add 3°, and cut that length nd to pass back up through the last loop. ‘Step 3: String an 8mm on each wire and then an oval, Repeat for the length of your belt ‘Step 4: String an 8mm and respective loops on the other side of the clasp. Pass the wires back through their crimp tube on each wire, Pass each wire through the crimp tubes. Snug all the beads and crimp the tubes. Hide the tals in the beads already strung, Stop 1: Measure your wrist, Add 3" and cut that length of wire, ‘Step 2: String a crimp tube and one side of the clasp. Pass back through the crimp tube and snug it next to the clasp leaving, 1" tail, Squeeze the crimp tube with the pliers. ‘Step 3: String 1 seed bead and 1 bulb over the working and tail wires. Repeat until the bracelet is long enough to fit around your wrist. End with 1 seed bead and 1 crimp tube. Stop 4: Attach the other end of the wire to the other side of the clasp. Tuck the tail into as many beads as possible, then trim,Boogie Kitty inthe Bushes THE PEOPLE Susan began her artistic career as an oil painter, but her beading career began more colorfully. “I have a friend who's a beader and an archaeologist,” she says. “We went on a road trip together through the southwest. It ended up being a two- week odyssey of Anasazi ruins, bead stores, and too many margaritas.” After the southwestern odyssey, Susan experimented with her new beads. “I started embroidering on tapestry. It was really boring! So I started drawing my own pictures and col: cing them with beads.” The first bag was completed in 1997; sixteen others have followed. Susan is modest about her skills. “I don't feel like al imate beader. I couldn’t even tell you what size beads I use After about three bags, someone finally told me to use bead. ing thread instead of sewing thread.” Dinah describes her beginnings by reflecting, “I was @ knitter and astitcher. [thought you must work on something i ‘Susan Smith (ett) and Dina Il, Opposite: Three Lite Bears Luminous Convergence: he Art of Susan Smith and Dinah thle Tree Brown Hayes t'S about beads. And color. And movement. And magic. And definitely about two artists having fun together.The bags made by Dinah Ihle and Susan Smith have many aspects that come together into a splendid whole. These .embroidered bags with lampwork beaded straps are far more than the sum of their parts, for a year and a half for it to have value. Ha! My kids were coming home with these really cute pieces of jewelry from the bead store. I thought I should have as much fun, too. I took my four-year-old to the bead store and I have been bead ing ever since” Dinah’s daughter Aundie eventually suggested. ‘owning a bead store, and in 1994 Dinah and her husband Bob opened String Beads in Salt Lake City, Utah. Soon afterward, Dinah took her first torchwork class, “I can’t do anything simply. I couldn't just make jewelry; [had to own a bead store. I couldn't just own a bead store; I had to make beads. I used to get up at 4:00 A.M. to work on beads, and then go to work at the store. When the obsession hit, it hithard. “In 1999, Susan came into my store. She was just putting a rope on these phenomenal bags. I thought I could put a handle on them, instead of little rope, We entered three di ferent shows with three different pieces, and were accepted Susan and Dinah b the Society of Glass Beadmakers. into each one.” Since ther re partici pated in other shows wi THE PROCESS Even though Susan uses beads ina painterly fashion, two dimensional beading was not the path for her, “Bags seemed like a logical vehicle for what I was doing. Framing them wasn't attractive, because I wanted movement. They can be used asa purse or an art piece.” Each bag takes between three and six months for Susan to complete. “I usually have two or three going in various stages.” Once a bag is designed, “its hard to keep excited about it. But then they become form of meditation for me. I still paint. In fact, I've started beading my paintings. I've been sucked into the bead vortex!”‘ Dinah describes her completes the bag, she brings it to me. Some times Tcan look at it and say, ‘T'm just going to do this. But that’s not usually the ase. have to sit with it *and absorb the colors and the feeling of each piece before I can mak few beads trying to get it right. It the beads. I go through quite a doesn’t mean that the bead was bad, ic just wasnt right for this b PPit can take up to six months FPP before I get the feel of it. The handle is very important to the whole composition. Its the frame around the painting, so to speak. Itis the part that catches your eye, and directs it to the bag itself. Ifit isn’t right, the job wor't be done: (Once the bag and strap beads are completed, Susan and Dinah converge for the final assembly. Susan explains, “We put the bag together in her bead store when it’s closed—usu- ally at the last minute.” Dinah adds, “When we put the bags together, it’s magical. We have been known to literally start dancing. We're having a ball at the end” Susan continues,“The wonderful thing is 3 much fun, We're old enough that we don’t take ourselves all that THE PRAISE Susan and Dinah ave helped raise local fawareness of beadwork as fine art. Their show at the Salt Lake Art Center in the spring of 2003 was the Center's first beadwork-specific show. The gxibit featured eleven oftheir Pocaded bags, Dinah’s large BBS fused glass and lampworked pieces, and Susan’s Bad Hair Day jewelry series. Nancy Boskoff, Salt Lake Gity Arts Council director, commented, received show, but as soon as we saw the work, we knew that Te was a very well- would be the case. We had a group of fifth graders come into the gallery, and their eyes got rally big when they saw the work. One thing we learned about beads, isthat they really are universal” Other local acco lades include receiving the Fine Art Award (third place overall) at the American Freedom Festival in Provo, Utah, in 2002. Addit in an exhibit of Uah artists during the 2002 Winter Olympics lt Lake City Susan and Dinah see no end to their artistic partnership. Describing what she loves about collaborating with Susan, Dinah says “It's when you're working o: i lly, Smith and Ihle had two pieces something, and someone else understands. Both of us have been work ing on a project, so it’s double.” Is a dazzling under- standing that, not surprisingly, results in dazzling beadwork. Beads She sa beacer, wer, and the Beadworks, She weloomes feeda nor of ing Monkey MenkeyBeadwors.comCovered in brick stitch, this form Th (i (ld honors goddesses everywhere. ¢ 0 CSS Chris Ann Philips his goddess begins with a ring and wire covered with lightweight clay. | came up with ‘the idea when | became tired of beading around a wooden ball to make a beaded bead. Because these goddesses are each so different in shape, they provide their own chal- lenges. | have covered them using herringbone, brick stitch, and right-angle weave. They can be wom as pendants or placed wherever you need a litle goddess energy! You can do the beadwork on your goddess in one color BUILDING THE FORM and one size of beads or go wild. Ifyou plan to go wild, I rec- ‘ommend one neutral color and two complementary colors, _Stap 1: Bend the wire in half through the ‘When you're mixing sizes of beads, I recommend that you ring, Twist the wire loosely together mix them with a ratio of 1 size 8° seed bead to 2 size 11° seed _with your fingers or pliers (Figure 1). beads to 3 size 14° or size 15® seed beads. You can also sub- Step 2:Flatten a cherry-sized ball of clay stitute somewhat larger accent beads and crystals for size 8° to a diameter about "larger than the Fue 1 beads. ring, Lay the ring in the center of the For your first goddess, I suggest you start beading the bot-_clay and fold the outer edge of clay tom. That way, ifyou are new to doing increases and decreases _over the ring all around. Pokea hole in brick stitch, you will have some experience before you _through the center of the clay and attempt the possibly more shapely top part of the goddess. __wrap the inner clay to the ring, press- {ng it to the clay from the outer edge. ‘Smooth and press the clay with your thumb and index fin- {get If there is too much clay, pinch off small pieces and continue to rotate the ring between your fingers until the clay completely and smoothly covers the ring. ‘Step 3: Rolla golf ball-sized piece of clay into an oval about 2" long. Push the clay over the wire so that it meets the clay on the ring, Pinch—but do not remove—a small piece of the clay from the oval where it meets the ring and pull it over the ring to the front. Carefully smooth the two pieces of clay together with your fingers (Figure 2). i ‘Step 4: Roll, pinch, and shape the clay to form a body. The clay will begin to dry and form a sort of tough skin if you work at it for more than 5 min- utes. Remember, the more curvy the figure the more interesting your god- Figure 2 BEADWOR Docume ZONSLmary 2004 31dess, but she will also be more challenging to bead. Do not make the waist too narrow or the bottom can sepa~ rate from the top and fall off while itis drying, ‘Step 8: Loop the ring through a shower curtain ring to allow the clay to dry. The clay may develop cracks as it dries; you can spackle them with more clay or ignore them because they will not show once the figure is beaded. Allow to dry for 24-36 hours before you give her a coat of acrylic paint. ‘The paint color can either match or complement the color you intend to bead the surface. BEADING THE FORM ‘Stop 1: Using 1 yd of thread, string 4 size 11°. Pass through all these beads again. Pull the beads together so they line up two by two, and tie a square knot leaving a 6" tail ‘Step 2: Pass through 2 of the beads. String 2 size 11°s and pass through the 2 beads beside them, ing the set of beads on the opposite end from where the thread is exiting. Pass through the third set of beads again. You can start varying the beads now—2 size 8% or 3 size 15% to equal | size 11°. The colors you use in this row of beads will establish the start of the pattern that develops. Continue making this ladder of beads until it fits snug around the goddess's waist, then add one more set of beads nter to the chain, ‘Step 3: Wrap the ladder around the goddess's waist, making sure you do not twist the ladder. Where the ends meet, pass through the first two size 11%, then back into the last two size 11°. Tighten the thread so the ladder is a con- tinuous loop. ‘Siep 4: Thread the tail with another needle. The Model Magic. is tough, but you can easily pass your needle through it. Pass the tail through the form—you may need the needle~ nose pliers to help. Don't pull too hard or the thread will 32 waren com rip through the clay. Pass through the body again, and trim the thread close to the work ‘Step 5: Create the next round in double-stacked brick stitch, Work the brick stitch as you normally would (see “Stitches.” page 104), but instead begin with 4 size 11°s to make two stacks that are two beads high. Work toward the bottom of the form. Note: As you continue to work around the form you will need to increase or decrease as called for by the form. You can increase by adding two sets of beads on one thread bridge or using a bead that is larger than the beads of the previous round. To decrease, either skip a thread bridge ‘on the previous round or use a bead that is smaller than the previous round, ‘When you reach the bottom and no longer have space to add beads, pass through each thread bridge on the last row and pull the thread tight. Weave up through several beads and then pass through the form several times, Trim the thread close to the work. ‘Stop 6: Start a new thread to work the form from the middle to the top. You will need to work more pronounced increases and decreases in the breast area. Keep the bead- work tight to the form between the breasts by tacking it down through the form. Do the tacking when you bead across the back shoulders by passing through the form to the front between the breasts. Determine where the beads on the front are not conforming to the body, pass through cone set of beads, and pass back through the form to the back where you can continue your beadwork. You can do this as many times, and in as many places, as needed to ‘make the beads conform to the shape of the form. Step 7: Work the form until you reach the inside of one arm on the front. To cover the top of the form, work flat brick stitch to make a flap the width ofthe inside bottom of the arm. When the flap is long enough to meet the beadwork across the upper back shoulders, weave the needle between the last row of the flap and the last round of the shoulders so that it looks like one continuous piece of beadwork. ‘Step 8: When you finish attaching the flap, continue working. tubular brick stitch around the arm ring until you reach the other side, When the arm beadwork reaches the body beadwork, use the same technique you used to attach the flap to the back of the beadwork, weaving the needle between the last row of beads on the arms and those on the body. @ (hrs Ann Phils is Decor of Member Sonces fora national medical asso Caton, Baaing when she gets howe at night koaps her saneAn embellished row of right-angle weave. agger beads make a great embellishment. Used for the sides of a row of right-angle weave, they move like fringe, catching and reflecting light and adding motion to your wrist. ‘Adding the row of fire polished beads tothe right angle weave adds another subtle layer of glitz. ‘Stop 1: Using 6' of thread doubled and conditioned, string 8 size 8s and tie ina circle leaving a 6" tal. ass through the next 2 beads after the knot ‘Stop 2: String 2 daggers, 2 size 8°s, and 2 daggers. Pass through the last 2 size 8% you just passed through. Pass through this unit 2 ‘more times, exiting the second size 8° at the top (Figure 1). Repeat for the length of the bracelet, noting that the thread path is like a Figure 8. The dag- Figure 1 ger beads will lop around a bit as you add new cir- cles, but they will straighten up a bit when you do Step 4 Stop 3: Work the last unit with all size 8s. Add the button or one half ofthe clasp to the center ofthis, ‘unit by passing through it and the size 8°s several times to secure. 00 ‘Stop as Exit the frst 2 size 8°s in the next loop, string 1 $ = size 11°, 1 fie-polished, & and 1 size 11°. Pass through the next pair of size 8 (Figure 2). Repeat for the length of the bracelet. If the daggers still seem a little floppy, ‘weave through each unit every time you add the fire-polished set. >_> ‘Step 5: When you reach the end of the bracelet, add the other half of the clasp oralloop of sed beads to Rowe 2 fitaround the button, Ifyou want a slightly larger look, you can use bigger daggers, but string one dagger instead of two when, you're doing the right-angle weave units, Your cen- ter will be slightly larger as well, so you may need to use4 or Smm fire-polished beads. @ Uda Getings Ines n Centr Vale, Pennsyvena, and teaches| classes at My Fathers Beads in Coopersburg, and at national shows ‘trough 2004, Ste car be reached at iaybeating aol.com.Machine-knit jewelry! am a knitter by profession, but | love beading, sewing, and Weaving, too. I've been handkniting with wire for years and wrote the book Knitting with Wire for Interweave Press. When Bond America asked me to do some designs with their Wyr Knit, was thriled at the chance to work with this new tool. I've now added its use to my list of things | like to do. The tool is easy to ‘work with once you get the hang of it. Materials 1 spool each 30-gauge Artistic ‘Wire in silver, gold, and copper 3) each of 16-gauge Artistic Wire too, the Wyr Knit de per- he key is, working slowly and methodi fect sense to me, in silver, gold, and copper cally; you can't rush the machine or the wire. There are Notions several ways of working and Wyr Knittr holding the Knittr; some peo: Round-nose pliers ple put it in the left hand and ‘Chain-nose pliers crank with the right and some Wie cutters do the opposite. Most fe! that size 8 double-pointed knitting a finger is required to make ‘needle, 7” long sure the stitches fll below the Ballpen hammer latches properly. There is ‘Small anvil plenty of wire on a spool to Sewing needle practice with before you start this necklace, so don't be afraid to find the method that works for you. When I started work with the Wyr Knittr I felt a third hand was needed to make everything behave! Since I couldn't do that, [had my husband drill a hole at one end of al square. 1 glued the Wyr Knittr to the wood over the hole and then clamped the wood to a table so both my hands were free. I'm sure you'll find a method of using the Wyr ick piece of wood about 3” x Knitted Wire Wonder Necklace Nancie M. Wiseman “= Be careful that each stitch drops below the latch on the needle before you make a new stitch. “Do not turn the handle too fast. Work slowly to ‘prevent the wire from breaking or you from drop ping a stitch. “To keep the knitting from being crushed, do not {grab the knitting to pull it down through the cen ter of the machine. Pull on the weight at the end of the knitting until about 8” of knitting is completed, then use a double-pointed needle to pull down the knitting every 5 to 10 rounds. Knittr that works best for you, and when you do you'll love the results. Step 1: Using one of the 30-gauge wire colors, and following the Wyr Knittr directions, work about 24” of knitting. Cut the wire leaving a 12" tail, Gently thread the tail through the 4 remaining loops of knitting to bind off: Do not pull too tight Repeat for the other two colors of 30-gauge wire. Set asideBEAOWORK scent 2000)‘Step 2: The natural curve of the 16- gauge wire wll help the neck- lace fit around your neck. Gently coil one end of this wire into a loose spiral, starting the bend with the round- nose pliers and com- pleting it with the chain-nose pliers (Figure 1). Harden J the wire by pound- ing it with the hammer on the anvil. Do not flatten the wire completely. 4 Thread a tube of knitting over the wire and around the two outside loops of the ‘wire, Use the wie tal to secure the end of the tube with a few wraps to the end ofthe hammered wire, ‘Steps: Coil the opposite end of the wire (Figure 2). Pull the knitting down to that curve, slide it over the outside curve, and use the tail of the wire to secure the end where it meets the coil. Gently squeeze the knit- ting over the 16-gauge wire so it hugs the wire. Repeat Steps 2 and 3 for the silver and gold wires. ‘Stan Fit the 3 pieces of knitting together copper on ace, Weonan waco ing vatoray and onaonay the outside, gold in the middle, and silver on the gy heath of si iting bons, wth @ seventh book on inside. Holding all three pieces together, thread a octet qe ot net yar nd she sth edt of Cas On Maga Jong strand of 30-gauge copper wire om a sewing or ry Kring Gul Associaton, When thai tne, she loves needle and sew the three pieces together with @ 4 oa Zigzag stitch on the back. Manipulate the curve of the neckpieces so they all gently fit together and adjust them so the front matches the photograph on page 37. ‘Stop 6: Try on the necklace and gently bend the back so it lies flat against the back of your neck. The necklace should gently slip over your neck and lie flatall around. @ 50 levee com A eee EELink Necklace Eileen Arnstein ‘ome months ago, | had finished a spiral necklace that featured a right-angle ring of gold beads. When | was wearing it along with a gold link bracelet, | was inspired to create this necklace. For the most part, | wear this necklace for dress. However, if Step 1: Using 1 yd of thread, D string 4 gold and pass through all the beads again to form a circle. Tie knot. @ ‘Stop 2: Pass through the next S bead in the circle. * String 3 gold and pass through the top bead of the last unit and the first 2 beads just strung (Fig- ture 1). Repeat from * to work 22 units of right-angle weave Faw (see “Stitches,” page 104), ‘Stop 3:To begin the next row, exit a side bead of the last unit. String 3 gold and con- tinue right-angle weave, stringing 2 beads for each unit to the end of the row. ‘Stop 4: Exit the side bead of the last unit. String 1 gold and pass through the side bead of the adjoit ‘unit to begin forming a tube. Continue right-angle ‘weave to join the two rows, stringing | gold to fin ish each new unit between them. ‘Step 5: Join the ends of the tube when you reach your desired length. Do so by exiting the last end bead, string 1 gold, and pass through the corresponding, bead on the beginning end, making sure that the tube isn’t twisted. String 1 gold and pass through the exit bead of the last unit (Figure 2). Finish the tube by completing two more right-angle weave units Tie a knot between beads and weave through several more to secure, Trim close to the work. S22 % acatere *,° ‘Stop 6: Repeat Steps 1-4 to make more links, joining ‘each tube (Step 5) through the previous link before you closet. @ een Amsten's a bead artist and bead vendor who Ives inthe Chicago area, She canbe reachod at sarstein@comcast nt EADWORK —Decamber ZONa/amar 2004 30‘Twist this easy knotless bracelet for a cool garden, his bracelet is made by twisting beads with wire and sectoning them between larger aocent beads. Try using ‘flower beads on top of twisted stems and mixing them with an assortment of seed beads or crystals. A core of bead- ing wire keeps the wired flowers from stretching apart. rials ‘Step 1: String one half ofthe clasp to the center of the 26-gauge wire and fold the wire in half. String crimp tube with both ends of the wire and slide it up against the clasp. Pass one end of the bead- ing wire through the tube, the clasp, and back through the tube, Leave enough space so the clasp moves freely, and then squeeze the tube closed with crimping pliers. ‘Stop 2: Use all three wires to string 1 spacer bead. ‘Stop 3: With each strand of 26-gauge wire, twist four or five fringe and/or loop stems (see box at right), "spaces between each wrapped stem. As you work, randomly wrap the stem from one strand of wire around the stem from the other strand of wire. The total of twisted stems between each spacer bead should equal about %", ‘Stop 4: Repeat Step 2, arranging the stems so that they are at the top of the bracelet, Some beading wire may show underneath. Repeat Steps 3 and 4 until the bracelet reaches your desired length. Leave 14"- Sectioned Wire Bracelet Doris Coghill ‘Step 5: String both strands of wire and the beading wire through a crimp tube, the second half of the clasp, and. back through the tube. Squeeze the tube closed with crimp- ing pliers and trim the wires close to the work. Note: Ifall three pieces will not fit through the crimp tube, take off the last spacer bead and wrap the shortest piece of wire around that section of wire wraps. Put the spacer bead back on all three pieces and cut off the anchored wire so it’s covered by the spacer bead. © Dots Coghils a Jordan, Minnesota, beadwerker and traveling teacher who ‘sels beads and kis trough her mebste, wiv beadsbyee com. nth 26-gauge wire and slide them into Y ‘the beads, Fold the wire hold the beads in their final posi t bead pas back through the other 0 ire into aloop and twist the Be rg tardies ons fea to always use an odd number of will usually leave a bare spot of iearthsloon Bite Fee Kipking wil couse weak sak. Ifthe wire does break, wrap theefore bead magazines, beadwork conven- tions, online forums for beaders, or national bead art exhibitions, Joyce Scott was work ing twelve to fourteen hours a day in her Baltimore, Maryland, studio, making free-form peyate-stitched sculptures and neckpieces when she wasn't teach- ing at craft schools across the country Jovee J. Scott, Still Kickin’ It Mary Tafoya For over three decades, Scott has been creating objects of exceptional skill while offering her own dis- tinctive commentary on social isstes such as stereo- typing, violence, and racism—difficult subjects that she leavens with wry wit and masterful technique. In June 2004, a retrospective of sixty Scott works created since 1970 will open atthe California African American Museum in Los Angeles and tour the United States through 2006, The pieces in the exhibit, which consist of sculpture, jewelry, prints, textiles, and videos and photographs of Joyce's performances, were culled from her 2000 retrospective, Joyce J. Scott: Kickin’ It With the Old Masters, a collaboration between the Maryland Institute College of Art and the Baltimore Museum of Art. Joyce's work is in the permanent collections of the American Museum of Arts and Design (formerly the ‘American Craft Museum) and the Renwick Gallery cof the Smithsonian. She has been profiled in art mag azines as diverse as Fiber Arts, Ornament, and Sculp- ture, An artist of amazing versatility, Joyce isa jeweler, printmaker, sculptor, performance artist, and sea- soned educator. Her influences, from African and Native American beadwork to comic books and other venues of popular American culture are as wide-rang, ing as her media. Though she often mixes materals— ceramic, glas, paper, cloth, and metal—beads are the most prevalent medium in her work. spoke to Joyce recently about her techniques, influences, and advice for students ofthis still-emerg. ing craft, and found her responses to be articulate, deeply considered, and, as expected, peppered with straight talk. When Michight Meets Dawn. 14" x11. From a series about time. The circular compositions in ths neck- piece are connected by moments of light, transitory synapses Pictographs represent the nature of person's movements.DO SOMETHING STUPID Joyce Scot's Tips for Working Creatively and Efficient inthe Stutio The artist recommends challenging oneself with exercises for overcoming beader's block, expanding skills, and thinking like an artist: ‘Work toward your fears. For instance, it you find yourself using only certain colors, stop using them. you are afraid of a color, use it! Tum your weaknesses into strengths. you are uncom- {ortable with right angles, assign yourselt a project using only geometric shapes. Free yourself from the mysticism of beadwork’s rich ang ‘sometimes intimidating history. Remember, they are com- ‘mercial beads. You bought them. They are smaller than ‘you. They are in service to you. Uke painters, writers, and aerobics instructors, give your- ‘self warm-up and cool-down exercises. Thread lois of ‘needles at once. Arrange plates of beads for the next day's work. Tidy the studi. Greate “end of day” projects. Put unk beadwork in a box ‘ron table and periodically make something from what ‘is collected there. ‘When you're blocked, bead small objects. Make tassels, hair for figures, or cover big beads and save them for ‘future assemblages. lfitsounds stupid, do it! “T'm good,” she says, “I mean, I don't think I'm arrogant, and I do try to keep my ego in check, but if have been working at this for over thirty years and ’'m not good, shouldn't I be doing something else2” Scott has produced a staggering body of work, despite years of being on the road up to haf the time. “Even when my hands were hurting for awhile.” she says, “and I had to wear a hand brace, | still found, ways to do things.” She works only six to twelve hours a day now, whenever she can, taking frequent breaks to rest her eyes and hands, and to care for her mother, quilt artist Elizabeth Talford Scott, who had a stroke six, years ago. uitorks 85.19" x72" Infuenced by African American quits, such as those from Gee's Bend, Georgi, the werk flows personal impulse rater than the sual standardized quit paters “It's hard to take breaks.” she laughs, “the work is so driving when you're in the groove.” But fortunately, during Joyce's many years of double time in the stu- dio, she developed beading techniques that allow her to draw, increase and decrease very quickly, working, at top efficiency in limited hours. Joyce's glittering surfaces are constructed mainly of peyote-stitch vari- ations, using needle, thread, and seed beads manu- factured in Czechoslovakia and Japan, and her artis, deeply grounded in traditional craft, Joyce first learned beadwork at home from her ‘mother, who comes from a long line of African Amer- ican quilt makers. She learned to weave on a small, metal Loom and to sew beads onto cloth, a natural EADWORK Decne 2000/tansaty 2008Wet Nurse. 20” x 8°. (ight) ‘Amammy raises a young white boy who leans on her for support. He has come to an age where he is making decisions about where she wil fn his ite Family Matters. 15° x7. (Below) In this piece made of sheet copper, Afican clay head, and ambrotype, a woman holds up a photograph ofa white man, ‘and under her skirts brown baby. Sott acknowledges that there are multiple interpretations fortis piece, but ha for her the message is that “even a longtime ago, people made choices about being together,” whether it was publicly acknowledged orn extension of the family’s fiber arts traditions. In 1976, while a student at Haystack Mountain School of Crafts, she learned tubular peyote stitch from a Native American friend. She also studied mola making with the San Blas people of Panama and silversmithing ‘with traditional artisans in Mexico. Her commitment to African American artis exemplified by Stop Ask- ing/We Exist: 25 African American Craft Artists, @ 1999 exhibit that she guest curated for the Society of Contemporary Craft. Joyce has long been inspired by the beadwork of several African tribes: Yoruba, Masai, Ndebele, and Zulu, among others. From them, she says, she has earned to see jewelry as an integral part of garment and costume rather than a mere clothing accent. From, African beadwork, Joyce was inspired to create bead adornment that transforms the wearer. A graduate ofthe Maryland Institute College of Art and the Institute Allende, San Miguel de Allende, fexico, Joyce strives to instill in students her hope that the field of beadwork and its players will continue to mature, and that more beadwork will be seen as artwork, To that end, she encourages her students to push the envelope aesthetically to go beyond mere technique and any self-imposed limitations, “So much of what used to be folk art has been completely co-opted by the hobby industries” she maintains. “The work becomes systematized, Creative work becomes paint by number, fil-in-the-blank, a stenciled kind of activity?” “Beadworkers should stop being. mesmerized by the Japanese [Delica] beads,” she cautions. Because they are so uniform, so similar in appear nce and color,'she warns, “they lessen the possibility for an artistic voice. A lot of questions are answered for you.” Although she is quick to recognize and accept the beader who is content to work as a hobbyist, Joyce focuses her workshops on those who want to develop as artists. “Artists can start at very unsuspecting places,” she asserts. “When you're stymied,” she advises, “give your- self assignments in the studio (see box on page 53). You will become your own personal bead encyclope- di your brain to replay when you need it. Its more than just skills, it’s your internal reservoir; it’s a font, a place to go. It’s more direct than skill. It’s a place where creativity and dreams exist.” @ You will have an enormous file cabinet, a disk in Many thanks to ExhibitsUSA for source material onthe artist. Kickin’ with Joyce. Scotts toured by ExhibitsUSA, a national division of Mid-America Arts Alliance ‘Nooquerque bead ats Mary Taloya a frequent coniutorto Beadwork Visit May's website at wr fash. nitafoya, ‘New Git 14" x14". This pice consists of beadwork, lamp- worked beads, and wooden Afican sculpture, instead of manu facturing quasi-African elements, Joyce incorporates parts trom ‘an actual ican sculpture. Below, frontal view of New GiKnit an elegant and comfortable showpiece. his design came about after | placed a bag | was knitting on top of my wrist. | decided that the rich sensuality ofthe silk and beads was meant to be close to my skin. Materials Size 13° charlottes Size B silk thread or size 8 pearl cotton ba Notions ‘Size 0000 knitting needles ‘Sewing needle ‘Scissors. Terms k=knit ‘SIB=slide one bead “Always slip first stitch on each row. Bead Knit Bracelet Faith Walmer Step 1: Cast on 10 stitches. Rows 1~6:S11,k9, Rows 712: IL, kI, SUB, k2, SIB, K2, S1B, k2, SIB, K2 Rows 13-18: Same as above except S2B each time Rows 19-24: Repeat with S3B. 30: Repeat with S4B, Rows 31-36: Repeat with SSB, Rows 37-42: Repeat with S6B. Rows 43-48: Repeat with S7B. Rows 49-62: Repeat with S8B. Rows 63-68: Repeat with S7B. Rows 69-74: Repeat with S6B. Rows 75-80: Repeat with SSB. Rows 81-86: Repeat with S4B. Rows 87~92: Repeat with S3B. Rows 93-98: Repeat with S2B. Rows 99-104: Repeat with § Rows 105-110: SI, k9, Step 3: Bind off loosely Stop 4:0 theclasp. @ Rows e the sewing needle and tail threads to attach Faith Walmer desis contemporary pat ms toad @ touch of to evrycay if, She ca ly and eegencs fyfingers@aal com toFestive Jewels Chery! Assemi Create a beautiful beaded ensemble to ring in the New Year. ‘am often inspired by the beautiful costuming in movies with historic settings. | love designing jewelry, and am delighted that someone might like one of my designs enough to make it for a special gift, or occasion, oftheir own. jecklace mond AB 3-cut Czech seed nm fire-polished (A) r 31mm fire-polished (B) bi-cone crystals (C) String 6As, Pass through all again 3 times and pull tight. Tiea knot and pull it inside a bead. Trim the threads close to the work. Repeat to make 9 separate circles and set aside. Step 2:String | flat crystal, 1 teardrop, and 1 size 14°. Pass back through the teardrop and the flat crys~ tal. String 1 square, one 4mm, and 1 size 11°. Pass back through the 4mm and the square (Figure 1). Repeat the thread path again. Tie a knot, pull it into the beads, and trim the threads. Repeat to make 7 separate dangles and set aside. Stop 3: Center 3 size 11°s on 4 yd of thread with a nee- dle on each end. Pass through the left and center holes of one side of the clasp. ‘Stop 4: String 1 size 11° and 1C fon each thread. Cross through 1B. Note: To cross through a bead in these instructions means to string a bead with one needle and pass back through it with the other needle. ‘Step 5: String 1A on each thread and cross through 1B. String 1C, three 3-cut beads, and 1C on each thread. Cross through 1B (Figure 2). Repeat this step five times. ‘Step 6: String 1A on each thread and cross through 1B, String 1C and I size 11° on each thread. Pass through the left and center holes of a spacer. String 2 size L1°s on the left needle and | on the right. Pass both needles through 1 size 11°, the second center hole of the spacer, and | size 11° (Figure 3), ‘Step 7: String 1C with both threads. Pass each needle in the opposite direction through three beads in ‘one of the circles made in Step 1. String 1C and 1 size 11° with both needles. Fue 3‘Step 8 Pass both needles through the first center hole ofa spacer and string 2 size 11°s, the second cen- ter hole ofa spacer, and I size 11°. ‘Step 9: Repeat Step 7 seven times (Figure 4), then repeat Step 8 and then Step 7 again. ‘Step 10: Pass both needles through the first center hole ofa spacer and | size 11°, Use one thread to string 1 size 11° silver seed bead and pass through the second center hole of the spacer. Use the other nee- dle to string 2 size 11°s and pass through the left hole of the spacer. ‘Step 11: Repeat Steps 4 and 5, String 1A on each thread and cross through 1B. String 1C and 1 size 11° on each thread. ‘Step 12: Pass through the left and center holes of the other half of the clasp, Use one needle to string 2 size 11°, and the other to string 1 size 11°. Tie a knot. ‘Stop 13: Pass back through the seed beads and the clasp and weave back through the beads to the first spacer (Figure 5). ‘Stop 14 Use the left needle to pass through the left hole of the spacer and the first size 11°. String 1 size 11° and pass through the left hole. Use the right needle to pass through the center hole and the first seed bead. String 2 size 11°s and pass through the right hole. 60 wrminoeaecon ‘Step 18: Use the right needle to string | size 11°, two 3-cut beads, 1C, the top bead of the bead circle, 1G, two 3-cut beads, and I size 11°. ‘Step 16:Pass through the first right hole of the spacer. String 2 size 11°, the second right hole of the spacer, 1 size 11°, two 3-cut seed beads, and 1C. Step 17: Pass through the top bead of the next bead circle. String 1C, four 3-cut seed beads, and 1C. Repeat this step five times (Figure 6, blue thread). ‘Step 18:Pass through the top hole ofthe bead circle. String 1C, two 3-cut seed beads, and 1 size 11° Pass through the frst right hole ofthe spacer, string 2 size 11°, and pass through the second right hole of the spacer. ‘Step 19: Repeat Step 15. ‘Step 20: Pass through the first right hole of the spacer. String 2 size 11°s and pass through the center seed bead that leads to the center hole of the spacer. ADDING THE DANGLES ‘Step 21: Use the left needle to string 1 size 11°, three 3-cut seed beads, 1C, 3Bs, 1C, three 3-cut seed beads, and 1 size 11°, ‘Step 22: Pass through the fist left hole of the spacer. String 2 size 11°s and pass through the second left hole of the spacer and string | size 11°,Step 23: tring | size 11%, three 3-cut seed beads, 1C, 1B,a premade dangle, 1B, 1C, three 3-cut seed beads, | size 11°, and 1B, Pass through the silver seed bead between the bi-cone crystals and back through the B and seed bead (Figure 6, red thread), Repeat this step 6 times. ‘Step 24: String three 3-cut seed beads, 1C, 1B,a pre- ‘made dangle, 1B, 1C, three 3-cut seed beads, and 1 size 11°. ‘Step 28: Repeat Step 22. ‘Step 26: Repeat Step 21. Stop 27: Pass through the first left hole of the spacer, String I size 11° and pass through the seed bead that leads out of the left hole ofthe spacer. Reweave back up this side of the necklace and into the clasp. ass one thread through the silver seed beads and tie a knot. Hide the threads and trim close to the work. FINISHING Use the right needle to string 1 and 1 size 11°. Use the left needle to pass through the C and the Stop 28: Center 2 size 11°s0n 4 size 1°. yd of thread with a needle oon each end, Pass the left needle through the size 11° that leads out of the center hole of the clasp. Pass through the size 11° and the C. Pass the right needle through the right hole. String 1 size 11° and 1C. Cross through 1B. Step 29: Use the right needle to string 1A. Use the left nee~ dle to pass through the Aon the left. Cross through a B. Use the right needle to string 1G, three 3-cut beads, and IC. Use the left needle to ‘pass through the next C, the 3-cut beads, and the next C ‘Stop 31: Use the right needle to pass through the first right hole of the spacer and string 1 size 11°. Pass through the 2 size 11° that lead to the center hole. Use the left needle to pass through the center hole and the three beads that lead out of the left hole. ‘Step 32: Weave back up the left half (including the dangles) of the necklace between all the spacers. tthe two center spacers, pass each needle through, the first bead inside the spacer. Cross through a size 11° and pass each needle into the bead that leads out of the left and center holes. Stop 33: At the last spacer, use the left needle to pass through the 3 size 11°s in the spacer that lead to the center hole. Pass through this hol, the size 11°, and the C. Use the right needle to pass through the first size 11° and the center size 11° on the right, then string | size 11°. Pass through the hole on the right and string I size 11° and 1C. Cross through 1B. ‘on the left. Cross through 1B ‘Step 34: Repeat Steps 29 and 30. (Figure 7). Repeat this step ‘Stop 36: Pass the left needle into the center hole and. five times. the first size 11° in the clasp. Pass the right needle Step 30: Use the right needle to into the right hole, String 2size 11°5and tiea knot. string 1A. Use the left nee- Pass back through the size 11°s and the center and dleto passthrough the Aon right holes of the clasp. Weave back up this new theleft. Cross through IB. Figure section to the first spacer. BEAOWORK December ona/neary 200461Vv ag ‘Step 36: Weave back up the right half ofthe necklace between all the spacers. At the two center spacers, pass each needle through the first bead inside the spacer. Cross through a size 11° and pass each nee- dle into the bead that leads out of the left and cen- ter holes. Weave back up the other side of the necklace into the clasp. Tie a knot. Hide the threads and trim close to the work. EARRINGS + Make 2 separate circles (see Necklace Step 1). + String 1A, 1 square, 1 lat crystal, | teardrop, and 1 size 14°, Skipping the last bead, pass back through all the other beads, String IC and pass through 3 beads of a premade circle. String IC and t size 11° with a large hole. Pass back through the erystal and the other 3 beads of the circle and the next crys- tal, Repeat the thread path, tie a knot, and hide the threads. Repeat for another earring, + Make a small figure 8 by wraping sterling silver wire around round-nose pliers. Trim with wire cutters and hang from your own earring post. BRACELET + Make I circle (Necklace Step 1). + Using 2 yd of thread, follow necklace Steps 3 and 4 ‘once, String 1C, three 3-cut beads, and 1C on each thread. Cross through 1B. Work Step 5 two times. Work Steps 6, 7 10, and 4, Work Step 5 three times. String IC and 1 size 11° on each thread. + Work Steps 12, 13, 14,and 15. Repeat Step 15 with the left thread, Work Steps 20 and 27. + Using 2 yards of thread, work Step 28. Use the right needle to string IC, three 3-cut beads and 1C. Use the left thread to go through the 1C, the three 3- ‘cut beads and the 1C on the left. Cross through 18, Work Step 29 three times. Work Steps 30 and 31. + Weave back up the left half of the bracelet between, the spacers. + Work Step 33. Work Step 29 three times. String IC and | size 11° on each thread. * Work Step 35. Weave back up the other half of the bracelet between the spacers and the other half of the bracelet into the clasp. Tie a knot, hide the threads, and trim close to the work. ‘Chery Asse ives in central California. Shes the co-author of he Beaded Cdsesions series with er family and the autho of Beaded Elegance, and Beaded Elegance Too. You may contact through the Beadgang website at wen-beadgang.com or [email protected]. Seger gage 3-690 2 mmmeremeconRainbows of the North: The Inuit Beadwork of West Greenland Mary Ellen Harte Detail, beadworked cuff by lulisat nuit Mette Andersen, ‘As someone hopelessly in love with the vibrant col- ors and patterns of folk costumes and beadwork, [was awestruck by the first picture [ever saw of a west Greet Jand Inuit woman in festive dress. Falling over her shoul- ders and reaching to her elbows was a cascade of fractured rainbows, a netted beadwork cape of incred- ibly complex geometry and color. The story behind these rarely seen capes reflects the deep influence that beads have had on the culture of the Greenland Inuits. The Inuit word in Greenland for a bead is sapangag, and originally it probably referred to ornamental beads created of bone, tooth, wood, or stone. As the first glass beads were being manufactured in Egypt and Mesopotamia, Inuit Native Americans were crossing over the Whaling by the Dutch in west Greenland in the 1600s ¢ from Canada to become the first human inhabitants of _ changed the Inuit relationship with beads greatly. With the Greenland, The earliest found Greenland beads are two stone best glass bead manufacturers of the time based in Amster beads, flat and teardrop in shape, and they date from 1400 ‘dam and Venice, it was natural for the Dutch to start to 500 B.C., the time of the Sarqag culture, Before European exchanging glass beads with the Inuits for whale contact, the Inuits of west Greenland were known to wear a few beads as amulets, mostly made from bone, teeth from bear and other animals, bird heads, or animal hooves or claws. From A.D. 1200 to 1700, the Thule culture and those of other Inuit tribes reflected an increasing diversity of bead shapes and materials ‘Beadworked cape and cuts by luisa ult Matte Andersen, blubber and other local resources. This bead- based trade spread among the Inuits, for whom, over the next few centuries, beads became a form of hard currency. The first trade, were either deep blue or milky in color, and round or oval in shape. Not all the beads were made from glass, however: A visitor to Greenland in 172: ‘observed Inuit women wearing chains of edible bean beads! Given the newfound importance of beads as currency, western Inuits thoroughly incorporat. their use into both their clothing and culture. Inuit songs of the time mentioned whaler beads and trad- ing beads for the metal needles that allowed the Inuit to string the beads and put them on their clothing. But how did the spectacularly colorful beaded capes of today evolve? Theresa trail of cues. An 1850 woodcut depicts an Inuit woman festively dressed halet” beads, a : Inuit heads carved in narwhal wory—note the characteristic carved caribou twisted gain, ‘tupulak pendant, EADWORK Decor 2oUSinury 2004 63with a fringe of b from a central collar; an 1860 west Gree sports a similar collarlike fringe around the neck. As beads and needles became increasingly available to Inuits, their in beadwork grew. With the dawn of the twentieth cen- tury, west Greenland Inuit women began making netted col- aded loops around her shouldei suspended land sealskin suit lars which were not just frivolous ornamentation but hard currency, symbols of economic and social status. The larger the collar, the more personal wealth, In photos from 1910, west Greenland Inuit women wear collars ranging from two inches wide to fully developed cape size extending to the elbows. These long colla or capes, are omplex geo- metric patterns of triangles, zigzags, rhomboids, and dia monds combine the main colors of the rainbow with white and black to form a stunning collage of color and design. Twentieth-century Inuit designs can display the influence of not much different from present-day capes family, geographic region, and the creator's imagination. The cape is worn over a red blouse decorated at the waist with a horizontal band of brocade, and with match- ing bands of beadwork above the black cuffs; cro cheted beaded wrist warmers are often worn as wel ‘What was the inspiration of these beaded rain- bows? The capes originated with the west Green- land Inuits, and are worn nowhere else. Keld Hansen, in Beads of Greenland speculates that the bead source may be the clue. While tribes in other areas of Greenland traded beads with southern American tribes, the Inuits of west Greenland obtained their beads from Europe, where netted beaded collars were being made in the eighteenth century. The Inuit color patterns may have a Norwegian influ ‘The 2000 graduating high school class of young women and men from Gagorto, ence. Fighteenth-century Norwegian women's costumes mes included a beaded bib or breast cloth with color: n women would ful geometric patterns. But few Norwegi have lived in Greenland in the late ninet connection may just be coincidental nth century, so this However, unearthed an equally intriguing possibilty on a recent visit to the Indian Arts Research Center and the jan Arts and Cul Mexico. In both institutions I saw twentieth-century ceramic Mojave dolls draped with miniature, zigzag-patterned beaded capes; Lalso saw a 1971 netted beaded cape made by a Mojave Museum of re, both in Santa Fe, New woman, Mojave Native Americans in California, as well as Quechuan native Am beacled capes with zigzag lines in the 1880s; decades later, this, icans in western South America, made practice had spread to such native American tribes as the ‘Walapai, Paiute, Apache, and Cocopah, Like the west Green: land Inuits, these tribes wore and used beadwork asa sign of wealth, and a Captain Bourke in the 1880s mentioned a thriving industry in beaded necklaces among the Mojaves. Is it possible that one or more traders’ or whalers’ ships sailing from the west coast of the Americas traded these beaded inspi- rations to the west Greenland Inuits? They had roughly thirty years to do so, ‘A recent Greenland stamp shows Queen Margrethe Il, the Queen of Denmark, wearing an Inuit beaded collar, and the Inuit color designs have influenced the beaded doilies cre- ated by Danish beadworkers. The patterns ofthe famous knit- ted Icelandic lopi sweaters, a tradition only fifty years old, also show influences from these festive capes. AAs for the future of the capes themselves, that is uncer~ tain. Now that village communities have grown large and bu 1g number, are making them only for children. In Uum ‘mannag, I was told by my Inuit guide that women who want a cape place an order with one of the few women who can still make them. The Uummannag museum had a few capes for sale, a rare occurrence, and they were not cheap: $200 for a child’s cape and $550 for a woman's cape; in Iulissat, the ‘one cape available at a tourist shop was $800. Capes are still worn for special occasions such as baptisms, the first day of school, or high school graduation, especially in the peripheral hunting communities. In some local schools, the art of beading these capes is taught. And grandmothers and mothers still pass on their expertise—all hopeful signs for the continuation of this beautiful beadwork legacy of the north. women are not wearing capes or, in a steadily declin- Acknowledgments Mariane Petersen, Curator, Greenland National Museum, stions and supplied me with a generously answered my qi copy of Perler I Groeriland (Beads of Greenland) by Keld Hansen (1979, Greenland National Museum). Anna Blox ham translated it, and it supplied much of the material pre~ sented here. Valerie Verzuh, curator, Museum of Indian Arts and Culture, and Shannon Parker, Collections Manager, Indian Arts Research Center, both of Santa Fe, New Mexico, generously showed me relevant Mojave artifacts. Informa. tion on Native American beaded capes came from Mojave Pottery, Mojave People: The Dillingham Collection of Mojave Ceramics, by Jill Furst (2001, School of American Research Press). The Ilulissat tourist shops kindly let me photograph their capes and jewelry. @ How-to construction detail ‘Mary Even Harte isthe autor ot A Treasury of. Beaded Jewelry and is, compling 20D vesen of Beading Beauttul Costu Jewel, se alos projects can be-seenonher bit ‘wbeactel com, ester 2000anury 2008 68Beaded Snowman Janet-Beth McCann Flynn Peyote-stich covered forms for fun. fter | learned to bead lzard-shaped forms from Nancy Eha, | tumed my eyes and negdle to oe 1 nything else that didn’t mike Wheng found this Showman at my local cfaft shof{! naturally had to,bead it. The playful desigh\can je use on a. showdinan of any size Materials 5 g of white Delicas or size 11° seed beads, plus a few red, black, green, and orange ones 2 size 8° black seed beads black seed beads 2 size 14 Stuffed fabric snowman form White size D Nymo thread Beeswax 2" stick (optional) Notions Beading needles Scissors Lighter 6000 adhesiveStep 1: Remove any attachments (arms or legs or| clothing) from the base form by sniping the con- necting threads ‘Step 2: Using a doubled waxed thread, string enough white beads in sets of 3 to wrap around the widest segment of the snowman, Pass through all the beads again to form a circle leaving a4” til ‘Step 3: String 3 beads, skip 3 beads, and pass through the next three beads. This is three-drop peyote stitch (see “Stitches” page 104). Continue around the snowman, working up toward the head. ‘Step 4: Begin decreasing when the round you are working is no longer tight against the form. To make the decrease, simply string 2 beads instead of 3. Evenly space the decreases around the form, Continue to decrease up to the neck, eventually decreasing to 1 bead per stitch where needed. Fit the beads tightly around the neck to make a clear distinction between the body and the head. ‘Step 5: Increase the number of beads in the stitches as the head widens. Move from 1 bead to 2 beads to 3 beads per stitch. String either red or black beads where appropriate to create the mouth. Con- tinue to bead to the top ofthe head, decreasing the number of beads per stitch as the head narrows, Work peyote-stitch decreases to close the top. Step 6: Add the eyes by passing through the head to the location of an eye and up through the beads. String | size 8° and | size 14° black beads. Pass back through the size 8° and through the head to the location of the other eye and repeat. ‘Step 7: Pass through the head to the location of the nose, String 5 orange beads, pass back through the fourth bead and string 3 beads. Stitch into the hea and end the thread. ‘Step & Start a new thread to work tubular peyote stitch around the bottom of the snowman and decrease to close the bottom. Stitch around the feet if the form has them. ‘Step & Ifthe snowman form has arms, work two-bead tubular peyote to cover each one, decreasing toward the hands until closed. As a variation, glue a short stick on the back of the snowman and let it dry Stitch two straps of beads to wrap over the stick and help secure itto the body. .@ Ifyou cannot find a ready-made snowman, you ‘can make one by using an infant’s sock. Stuffit with batting, wrap thread around it to make a neck, and then stitch it closed. ‘Janet-Beth MoCann inn isa bead artist who teaches and axis work national, Her home base i Star's Beads in Vienna, Virginia, Contact her at janet @janetiyon corn, 2004here is an old Japanese prover that loosely translates, "Nothing is hard to a willing mind.” This is the perfect expression for Nobuyo Chiba, a beadworker who specializes in making Swarovski crystal animals. “Since I was a small kid, I liked to create something from, nothing,” says Nobuyo, "I started out making small animals, like dogs and cats from clay. L was inspired by my aunt who sculpted clay as a hobby, and my mom, who is one of the few in Japan who teaches about Panamanian molas.” Nobuyo spent her childhood in Kobe, Japan, the second largest port in a country with many international influences, «especially western countries, “I was delighted to see western dolls with pretty frilled dresses" Nobuyo recalls. “When I was in junior high [lived in a town near Osaka and joined a hand- craft society. made dolls and sewed quilts and even my own clothes.” Nobuyo also played in a brass band during this time and continued to do so through college. “I learned the importance of harmonies, cooperation, and especially perseverance. While playing at some of the school games, you have to wait for hours, even in bad weather. I real- ize that for beading I need perseverance, too!” she laughs. After graduating from Kwansei Gakuin University here she majored in law, she became a merchandiser fora large mail-order/website company. Nobuyo reflects, “Limproved my aesthetic sense while I was a buyer there. It also awakened a need to see other countries. So, to Nothing is Hard toa Willing Mind Yasukuni Chiba rake that happen, I took a state exam supervised by the Min istry of Transportation.” She landed a job at a travel agency coordinating and leading Japanese tour groups around the ‘world, “Pve traveled in nearly sixty countries” she says. “And. in that time I had many opportunities to visit famous gal- leries and museums. Antique beads made @ big impression on me, especially those from Eastern Europe. “L especially remember when I visited the Swarovski gal- Jeries in Innsbruck. There was a tiny crystal teddy bear in the showcase that looked exactly the same as the one that 1 was given by my grandfather when I was in junior high. I can still remember how excited I was at the time. It was then that L realized how beautiful and brilliant ‘Swarovski crystals are, That is why Tuse these beads for my work now: Nobuyo learned beading about three years ago, teaching herself techniques solely using how-to books. Her first piece was a Swarovski-crystal necklace with a star-shaped pendant, and she continued to make other jewelry and accessories, But it wasn't until a trip with her mother to Vietnam that she foundtrue inspiration. “We went shopping and I found a beaded animal in one of the stores. It was made using cheap plastic beads, but it was very cute, and it got me thinking—could I create this with crystals in a more realistic way? I knew then. that it could be art! “1 continued working on the idea, mostly observing the details of different creatures, at aquariums, pet shops, and in books. I even went snorkeling in the South Pacific to be inspired. At the beginning I made beaded prototypes, and improved them again and again. Now, once I bring one design to completion, I feel I can develop other animals.” Nobuyo has been living in Rolling Hi fornia since 2002. She set up her Japanese-only home page (www:thebeadsland.com) that year as well, and has already hhad 150,000 bits. Based on the strong demand of those visi- tors, Nobuyo started selling a line of very successful kits. The ‘website will support English-users soon, Nobuyo's work has. been featured in Japanese bead magazines, and she is cur- rently writing regular articles about United States bead trends in a Japanese magazine called Boutique Sha’s Beads de Beads. She had her first beadwork exhibition in Tokyo and Osaka in November 2003. states in Cali- b. Nobuyo shares, “I believe beading can join cultures. Even if you can't understand someone else’s language, this com- ‘mon interest will build relationships. For example, my crys tal beaded animals are not as well known in the United States as in Japan, but their brilliancy makes you happy, and that’s a universal language.” As Americans become familiar with het wonderful crystal creations, it’s also clear that Nobuyo herself will create bridges of understanding, You see, noth- ing is hard to a willing mind. @ ‘an apne, and now he cals Calorie writer Yasaka Chiba met Nobuo her is we EAOWORK” —Decomet Z008/anuay 2004 68feadig brick stitch with my eyes closed (s0 to speak) hasn't been a problem forthe last few years. After working with Diane Fitzgerald when she wrote her book Beading with Brick Stitch (Interweave Press, 2001), | can use the stitch without conscious effort. My comfort with the stitch was an important aspect of creating, this new design, because it allowed me to play without focus- ing on technique. use Diane's Double-Row Base for starting all my brick- stitch projects. If you turn the beads on their sides, you can see that the method is actually a 2-bead-wide peyote stitch, | find this method much easier than creating a ladder, which always seems to end up wobbly, especially when I'm using small seed beads. 70 olen com - —— ( — * Brick-stitched chandelier earrings. Diamonds in the Brick ‘Stop 1: String’1 hex and 2 fire-polished ‘Stop 2: While holding the tail to create tension, work peyote stitch with 4 ‘beads, beginning with a hex bead and ending with afire-polished bead. You should end up with 3 hex beads on the left side and four 3mm beads on the right side (Figure 2) ‘Stop 3: Turn your work to place the hex beads on top. String 2 hex beads, and Peggy Wright work a brick-stitch decrease using Fgure3 the thread between the second and third hex beads in the row below (Figure 3). Step 4: Turn your work, string 1 hex bead, and pass down through the sec- ond bead in the row below. This sin- gle bead sits horizontally at the figure 4 triangle’s top. End with the thread exiting from a bead at one end of the triangle’s widest side (Figure 4), ‘Stop §:Turn your work to place the fire- polished beads at the top. String 2 beads and decrease just as you dia in Step 3. In this case, pass under the thread between the second and third fire-polished beads in the row below. Brick stitch the next stitch normally ‘Then repeat Steps 3 and 4, ending with your thread exiting from the sin- gle hex bead (Figure 5). ‘Step 6: The outer dangle runs between the2 single hex beads. String ? seed beads and 1 fire-polished bead 3 9999 a0 ODNFioue 6 Figure7 seed beads, one 6mm bead, | fire polished bead, and 1 seed bead. Pass back through the fire-polished and 6mm beads. Repeat the bead sequence to mirror the first side, Pass through the e hex bead (Figure 6). Step 7: Weave through the hex beads to e edge of the bottom hex. String 5 seed beads, one 4mm bead, and 1 seed bead. Pass ba the 4mm bead and string 5 seed beads. Pass k through through the equivalent hex bead on the opposite side, moving toward the central fire-polished beads (Figure 7 Step 8: Weave through the base to exit the top fire- polished bead. String 4 seed beads, | fire-polished bead, and 1 seed bead. Pass back through the fire polished bead. String 4 seed beads and pass through the central row’s top fire-polished bead again and the first 4 seed beads, then through the fire-polished and seed bead at the top (Figure 8). seed beads. Pass through the top seed bead again, Pass through the loop 2 or 3 more times to strengthen. End the thread in the beadwork, tie a knot, and trim close to the work Step 10: Repeat Steps 1-9 to makea second earring. @ Peony Wright teaches beadwork locally and national, designs and sells kts, and wes ates about Paul eadina. She2 ving lived with the true conviction that one can never have too many beads, this project 's one of my favorites. Combining my love of polymer clay, transfer at, and beads, this is a very adaptable project for creating unique beads. The pillow beads begin as white polymer clay. Their charm comes about with the addition of images that are transferred onto the bead with gin. Yes, gin— the cheapest bottle, usually plastic, on the bottom shelfin the store. Besides being cost effective, itis less filtered than the expensive gin and will work better. Pillow Beads Beckah Mashtare-Krahula Use gin to transfer images to handmade beads. The samples here have the look of old Venetian glass beads, because the transfers came from eigh- teenth century clip art. The clip art that you choose will dictate the look and fee! of the finished beads. Fora kitschy look, try using black and white images from old photos, or text from old dictionaries. mod ern is your style, use Pop Art images. The choice of clip art is endless. Whether your images are black and white or color to star, it is important that you take them to the copy store and make color copies. Be sure that the copies are dry before you start. ‘Step 1: Condition the clay by rolling it out on the widest setting on the pasta machine. You can also use an acrylic roller to roll out the clay to about i" thick. Lay the clay on a piece of parchment paper. ‘Stop 2: Spray the clay with a light mist of water to pre vent sticking, Press a charm stamp deeply into the clay, once for each side of the bead. Cut out each shape and remove the excess clay. Step 3: Match the halves back to back. Pinch the edges together and smooth the seams. Step 4: Choose color copy images that are atleast /" larger than each side ofthe bead. Transfer one side of the bead at a time. Place the transfer so itis cen- tered image-side down on top of the bead. Let the image wrap around to the sides of the bead. Rub the back of the transfer to insure contact with the clay. Use your finger to coat the back and edges of the transfer with gin, Immediately blot the paper with a paper towel to absorb any excess liquid. It's better to apply a generous amount of transfer liq- uid (gin) and blot up any excess than not to use enough. If you don’t use enough transfer liquid, the toner won't activate to transfer the image onto the clay. But don't let it soak either—too much transfer liquid can break down the toner. Burnish the back of the transfer with a spoon, making sure to cover the whole surface to embed the toner in |m the clay. Be careful not to apply too much pres- sure—itis friction, not pressure, that transfers the image from the paper. ‘Stop 5: Carefully roll the paper off the clay with your finger. Below the layer of paper will be a layer of lint. Rub in circles with your finger to remove the lint. Darker transfers yield more lint. You don't need to remove all the lint at this point; you can clean the piece more vigorously after itis cured. Ifthe paper has become too dry, moisten your finger with alittle gin as you remove it. Ifthe toner gets sticky, hold the bead with parchment paper during the next steps to avoid smudging the transfer. ‘Stop 6: Repeat Steps 4-5 on the back of the bead, being sure to bring the image over the edge of the bead. If the images do not meet perfectly you can fix them after curing the beads. ‘Stop 7; Use the wipe-out tool to square the edges and, shape the bead, Use an awl to bore a hole through ‘one side of the bead. Twisting the awl as you push through the bead will help prevent distortion. Turn the bead over and bore through the other side. ‘Stop 8: Cure the beads on a piece of polyester batting, in a 265°F oven for 20 minutes per "thickness. Let cool. ‘Stop 8: Remove any leftover lint on your bead with. gin; you can rub hard now because there will be no distortion once the clay is cured. Use markers to correct any nicks or areas where the coloring does not meet or may need to be blended together. Let dry. ‘Step 10: Place the bead on the end of a toothpick stuck in Styrofoam. Coat each bead with 2-3 coats of sealer and let the bead dry between coats. Beck MastiarKrahula, originally from upstate New York, is mixed: ‘media ati, designer, develo, teaches, auther, and owner of Bearing Beads Stuto. Woking as an art for twenty-two years, Beckah currenty Ines in San Antonio, Texas, and teaches al ver the country. You can contact her ‘at wn bearingbeads com, You can also 98 her on the Carl Dual Show.ae Poinsettia Pin make this lovely holiday flower Arlene Baker un fact: This beautiful holiday flower is named for Joe! R. Poinsett (1779-1851), the United States minister to Mexico from 1825 to 1829. And one of the most interesting things about the poinsettia is that the flow ers are actually the tiny buds, Many beaded wire patterns use the standard Pointed Top, Pointed Bottom Basic “daisy petal” shape, and rely only on color (red and green) to represent the flower. For this poinsett pin [ wanted to be more realistic in capturing the look of the plant and used a technique that adds serrated edges to the leaves. ‘Note: The instructions presented here assume basic knowledge of French beaded-wire flower con- struction, For more detailed instruction, see Beads in Bloom by Alene Baker (Interweave Press, 2002). Materials Notions Size 10° or 11° seed beads: 1 hank of petal-colored Wire cutters yellow, 2 hanks red, 1 hank green Wire straighteners 1 spool of gold or silver 26-gauge beading wire Wire spool holder 1 spool of gold or silver 34-gauge beading wire Scissors 1 gold or silver 1%" pin back Bead spinner (optional) 1 skein green 6-ply cotton or silk floss or 5 yd Smooth-jaw needle-nose pliers nylon cording ‘Toothpicks or sewing stiletto Aleene’s Tacky Glue Ruler, tape measure, or seam gauge ‘Transparent tape BEADWORK December ZO0R/enumy2004 75 ee a ee eeef Wire knot Top basic wire Twisted wire wire Figure 1 Hold the Bottom Basic Loop between the thumb and forefinger of your left hand. Use your other hand to slide beads from the spool wire toward the Basic Loop. Bring the spool wire up so these beads ae parallel to the Basic Count. Make sure the beads are close together, filling the row completely. Push tis tow of beads against the Basic Count and let the remaining strung beads slide back toward the spool, Move your fingers so you are holding both rows of beads firmly, near the top, with your lefthand. Use your right hand to bring the spool wire across the front ofthe Top Basic Wire. Hold it up at 45® angle and wrap itaround the back of the Top Basie Wire. Use the tip of your finger to push the wrap close to the Top Basic Wire (Figure 2). Keep the wire in this position and let the beads fom the spool slide down toward the Top Basic Wire until they rest near the last bead on the second row (Figure 3). 76 moniomenncam Pointed Basics Excerpted from Beads in Bloom » Basic count g 8 S00! \ wire Figure 2 Hold these beads in place. Pull the spool wire down, across the front of the ‘Top Basic Wire, bringing the beads next to the Basic Count. This movement com= pletes the circle of spool wire around the ‘Top Basic Wire and begins the third row. Push the beads into the point and use your fingers to latten the spool wire against the ‘Top Basic Wire (Figure 4), If done correctly, the point should appear as ifthe first bead ofthe third row issitting on top ofthe lst bead of the sec- ‘ond row. Rotate the unit in a clockwise direc- tion until the Bottom Basic Loop is up and the Top Basic Wire is down. Do not turn the unit over; the right side should be facing you a all times, Hold the Top Basic Wire between the thumb and forefinger of your left hand. Bring the spool wire up so the beads you pulled down are parallel to the Basic Count. Make sure the beads are close Figure 3 together, filling the row completely, For a pointed bottom, add one more bead to the row than you would put there if you were rounding the unit. Let any cextra beads slide back toward the spool. Push this row of beads against the Basic Count. Mave your fingers so you are hold- ing the rows of beads firmly, near the top, with your let hand, Use your right hand to bring the spool wire across the front of the Bottom Basic Loop where the wires are twisted above the Basic Count. Hold it up at 45° angle and wrap it around the back ofthe Bottom Basic Loop. Use the tip of your finger to push the wrap close to the Bottom Basic Loop. Keep the wie in this positon and lt the beads from the spool slide down toward the Bottom. Basic Loop until they rest near the last bead com the third row. Hold these beads in place Pall the spool wire down, across the front of the Bottom Basic Loop, bringing the bbeads next tothe Basic Count. This move-