1 sil iPThe rush of the festive s 500s beginning as te Christmas spirit starts to make its preset felt, Christmas lunch plans aren tie making, decorations adorn public places and homes, and the race to fing the perfect gifts fot family and friends begins to take hald. My favourite part of rhe season is giving somecne a gift that is just ight for them. We all knows how wonderful its to receive @ handmade gift from a loved cne and what we often overlook isour creative talents and how they can be the solution to all our ait-aiving woes, Whether you ate an advanced beader, oF a beginner justeiscovering te joys of the be are plenty of options inthis ssue you could cons ‘Anoter important par‘ of ths season fs keeping an eye on the household budged Making ‘your gifts, with suppiles purchased in bulk. can save you sore hard earned cash, Maye you ‘eencreate 2 buncr of beaded goodies that your loved ones will adore. Consider neck! bracelets or eerrings Fora more tracitional jewellery piece cr get creative with alternative beaded projects such as tree deco embellished utensils, You willbe amazed what possibilities you will discover with alittle forethought anda dash of ‘courage to attempt the task of multiple ceation, It may take some time, but the look on your loved ones faces will definizely be worth che effort. There are alenty of Gesigns ins! 1d word, there of as heartfelt gitideas, ions, mobile phone dangles. ‘wit litle thought andl 2 smart approach, can be created in muitipes for eryone to.enioy. This issue, we have some great ideas to get your Christmas git: giving inspiration flowing ~ don't forget yourself; you deserve something pretty in your stocking too! Try your hand at a stunning thread work ring, create a marvellous lampwork pate set. fashion polymer clay wil, style dimensional roses or even makea gargeaus chain male decoration, ‘So what are you waiting for? Peruse these pages for the inspiration yourneed. then get creating for a fabulous Christmas gift-giving feast chat your family will simply aceret PS, Remember, | would love to hear about your toughis, ideas and designs, You can ‘contact mie via phone on 02 9555 9322 oF email Cesey@creativelivingrieciaxcorn.au 2 0 iter yom beadsetemagazine.com.au | 3CONTENTS REGULAR FEATURES PROJECTS Message from the Editor 3 stylish simplicity 14 Bits and beads Lecnne Goran, Inca gold 18 Art challenge 8 Michelle Gray Style it 32 Cultured collection 22 Beader’s Digest ao Semco Crafts Pty Ltd Finding your way Candy cane swirls 26 Designer profile 63 SEieese Vaima Spencer-Sun, Curvy copper 34 Trade Beads 72 Rachael Zischke Bead ring 44 Book Reviews 86 Chanel Gidfela Bead Basics 8B Sparkling dangles 52 What's New 91 Beads Venue 5 Copper roses 56 Stockists oa Penny Famer Nexeissue a7 Heirloom ornament 66 Terms and Conditions 98 ‘Yalma Spencersin Basic boho 78 READER COMPETITIONS Somoo Ciafis Py Lid SaPreTED o2 Swarovski and velvet 82 Staedtler 1 Beads Venue Bade co doable (you hove pasa md dais, and a aru at paonee, et ke tur oe nota ce rein seas oe 2S ie to fac Let contol Sut ve or er un nanie coeee gempeagrmstprer Se send a aceesiocepeins 4 | womw.beadse temagazine.com.aubeads eteece ISSUE 20, NOVEMBER 2008 ue bo Front Gover Chant Oldteta wrwbeadschemagazine.com.au | 5BITS AND BEADS ‘beads et... 15. contributor based magazine and the range and types of projects featured are a manifestation of what is submitted. if you would ike to See mare lampwerk or polymer clay, more earrings ar non-jewellery iterns-it starts with yeu, We know you are all talented ang creative and iis nays 2 pleasure to receive beaut fully crafted work. For the opportunity co showcase your skis and sce your name in print, simply emall a picture of your original creations to naciagecreatlvelingmedia.com au or post the completed project (along with your name and contact cetalls) to Heads etc... Submissions, POBox 645, Rozelle NSW 2039, Although we would love to da soit s nat possible to include every project rece'ved. Do not be disheartened if your work fs nat instant'y accepted, as cur final decision is often bases fn fitting the projects we receive with tie teme ar overall direction of te issue, Persistence and diligence will ensure that almost everyone who submits their works eventually published, Plus, don’t forget to check out our Art Challenge every issue, for fresh inspiration and your very own design challenge. IF you have ary questions about your submission, or want to have a chat about what we are currently looking for, eval nadia@creesivelivingmedia.com.au or phone 02 9555 2322. FUNDRAISERS AND CRAFT EVENTS What better way to announce special events, conventions or important news than an inclusion Iintsand Beads in Beads et... Tole readers know avout an upcoming even, email the deals (including dates and cantact information) to nadla@icrestivavingmedia.com au With Bits and Beads’ in she subject line, atleast four months before the event Preference willbe given to fundraising and nov for-prort events, but we welcome all news and wil indude iternsifspace permits, GOING DIGITAL! Did you kiow that you can now read Beads et... {nan electronic format? Notanly can you View all ofthe magezine projects and inspiration on your computer, there's also a range of exciting features for extra convenience and enjoyment! Search by subject, send arccles to friends or ad links to your favourite blag, ‘You can zoom in an out en your Favourite project or use the contents page to click to any project automatically Plus. you have immediate access to product supoliers and. ther online rescurces, simply by clicking on any active email or web addeess, Lisi wn erentiuelivingmedia com au tos\gn up today! © | wnw.beadse temagazine.com.au STOCKISTS It You would like more information oF to purchase a kit for some of the projects ‘featured in this issue, check out the Stockists on page 94. Another valuable resource fs Bead Rasies on page 88. Whether youare abeginneror simply need torefresh your memory, you can master the basic techniques, from opening and closing jump rings w Natening crimps. GLASS BEAD MAKERS www. glassbeadmakers. info This online community hasan extensive Torum dedicated to the art of aiass beading, From basic techniques tothe more advanced, thisrescurce Is sure to have something for lass beacers of all levels. Topics range from general Information on beads and besdmaking toutes, rips and projects. includes a gallery for members to share their fished projects and ideas, as well asa section on on-bead glassart, such as ewe leryand homewares. Also includes resources essenitlal to the raft Including a comprehensive isting of supplies, a tracing gost for selling, buying and exchanging, as wel as infoxrration on lasses ard workshopsTHE BEAD AND GEM SHOW The 2009 Bead and Gem Shows willbe in full swing before we know it—and they area ‘must-see: Featuring Informative free lemonstrations new products atea |a must Ityou're looking for unique items to add to your jewellery designs) as wellas workshops featuring nationally and internaticnally recognised teachers, you are sure to getinspired and find something perfect for your nextcteation, Everyone is ‘catered for, from beginners to advanced and, ‘everywhere in-between — the only dilemma Is choosing what you'd like to learnt You willalso fin the Limited Feition Commemorative Glass Bead atthe Sydney Bead and Gem Show on sateat the Desigrer Sheavcase, en ares tat showcases he tated Designers of Ausra, Aliteme in the Designer Showcase are on sale for thase who prefer all the gumour without the hare work: For more information on the Beed and Gem Shows, visit www. beadandgemshov.comau Put some notes in your diary for next year’s Bead and Gem Shows 2009 Show Dates: Melbourne: 15 ~17 May 2009 brisbane: 3~$ jay 2009 sydney: 25~ 27 september 2009 COMPETITION WINNERS simple Enchanted treading comperaian . Anderson, Vic: Lorraine Tunnet Oi; J. Johnson, WA: 5 Prillps, Olé P: Munro, Old: K Byme, NSW: C. Edy, Wie}. Blundell, NSW: M, Brow, NSW: V. Rahrlach, SA Clay sruato Kit compertion K. winch, NSW BUSINESS FOR SALE The Rock Shop isa Gold Coast-based wholesale supplier of semi-precious beads, The ‘eam pride themsoives on providing a diverse range ot top quality beads at reascnable prices, as well as offering friendly, courteous service getting orders to customers ‘sfely overnight. The owners of the company have decided that the time has come to sell thelr business to someone who wil 10: have co start of from scratclvas they uid, but wil be a ‘earn a good living and take The Rock Shop 10a new level, This I afantastic opportunity fora keen, dedicated businessperson, ready to take on a challenging new avenue in the bead industry, For more details please contact Ress and Rev Robirson on 07 5592 0099, 0418 182795 or ‘email gems@therockshop.net BEAD EXPO The Sth Anual Bead Society of Victoria Bead Expo 's on again'~anditisnot to be missed! This year sees a bigger show with more exhibitors, more cisplays, more ciasses and more to seeand do than ever before: Showcasing allof the atest ideasand products, itis alsoa fantastic scurce of inspication. [vicars from around the country will be showcasing beads, ems and findings and because they know thatthe dedicated readers who,Wsit the show are looking For ‘something different there is sute tobe something to suisany Leader's teste, There are alsa tia exhibitions with suing works Toy sale, solcisa great place to buy a unique featu'e piece too. us, don't miss the 2008 edd Challenge. There Is more prize money t0 tewon and the inaugural Elly Feldman Perpetual Anard wilde presented! to the Challenge winner at the ‘how. The challenge is open toll headers The show will be held 12— 16 November 2008 Far moré information on the show or the 2008 Bead Challenge. visit wwu.besdsociety.com.su The Society welcomes new members so check out the website for details ofthe Society's activities anal meeting places. www beadsetemagazine.com.au | 7Showcase your fabulous creativity in the Art Challenge and ART. win a FREE subscription to beads etc... (Fi the challenge: ALTERNATIVE CHRISTMAS AN VERA DINIC + \ndoo'ooDilly OLD ‘Sugarplum fairy ‘ay mum's pink carrings were the inspiration for this necklace,’ writes Vera. "The pink shell ‘and erystals remind me of sugar and spice, and all the Christmas treats thd as 2 chil," FINALISTS LORRAINE PERRY® Laclchawk Vic Hot Aussie Christmas Inspired by the colours of atypical Australian summer, the heads are made trom m9 polymer clay witha gloss gaze, with the ‘wreath dressed up with seed! bee ‘tinsel’ 8 | wwmuibeadsetemagazine.com.auANNE CAMPBELL + Merimbula NSW Clstna party glamour —_ “ns pecacesymbotses pany sro. < Se ‘wire, and itis held together with tiger al 4 wh ” t me MICHELLE CRASSWELI-PLUCKE a aiid + ast kurajong NSW 2 Burnt offerings Made from free-form wire work. this piece ‘was inspired by the bistering Australian summer bushtires, dry hot vegetation and drought. The longer tendrils represent long dry branches, the biack seed beeds the reninants of the last bushfive MARIA CAMPBELL + Hlealesulle VIC Star of Bethlehem Purple isa royal colour, anc was used by Matia to represent the king born that right as wellas the night sky, ROBYN HALLIWELL + Inverioch VIC LUCY MCNAUGHTON-PERRY Christmas bling wreath bracelet + Eagiehewk VIC Robyn loves tinsel, sparkles and all things Holly and berries, Christmas, and has made the band on che This brooch from Lucy, aged, symbolises bracelet to represent tinsel ang the buckle traditional Cheistmas wreath to eflect the lightson the Christmas wreath. yew beadsetcmagazine.com.au | 9LINDA WIRTH * Ioooyay WA Outback Christmas Inspired by the colours in the donut pendant. the red represents the soil en . * greens of the bush and the gold the er f } cals raye dom ~* Ye \ ‘, LORRAINE PERRY + EaclekVIC - ‘teins crs Thess cham sas rev ta ston tobutsof red ren ons whe. he beads Feta ae eB ORB ‘together with gold chain, ERICA LONG * tatons Will OLD Mooloolaban: The spit, rolling surt Asa child, 11a's Christmas on the Sunshine CCosst was about going to the beach. This, design started with the g'stening teal glass, heads. and Frica red to caprure all he shades of blue found in the sky and see, JODY BLAIR + Merewerher NSW zach spend thelr Christmas, Summer Sunrise represents the warm North (Fire & ice) and south (summer Sunrise) summer siles with a blue and pink sunrse, while the pestis in Fire & ‘The inspitation for these two pieces comes from Jody's friend Ice represent the winter snow, with the warm glow ofa fire captured Who lives in Germany, and the marked contrast between haw they intheamber crystal 10 | www:beadsetemagazine.com.auLORRAINE PERRY * Faglehawk Vic Bags of lollies, This wreath is in the traditional Christmas colours of green and red, ands handmade from fimo polymer clay BARBARA BUTLER * South Grafton NSW summer sunset This plece reminds Garbara of the hot Cnristmas ays that are often experienced in Australia with the gold of the gtistening sun and the purple haze thatean be seen in the distance KEYRA PETERS + Burnett Heat OLD Memory wire bracelet Kyraenjoys beading so much she corverted her cubby house intoa bead cottage, and this s one of her first projects sine. nica LoMa «rast oD hin ble ingles Ditiaianonnimataaysciaa Mbp igs ee Ss eG a ees CNS ee vrmnbeadsetomagazinecomean | 1MICHELLE STOCK + strothpine OLD ‘There's no snow JUDITH BLACK + NrRiverviewNSWv CChristmas pudding and cream The brow, red and cream Swarovski pearls used inthis piece represents the cream flowing over the Christmas pudding, highlighting the small dark raisins, the almost translucent sultanas. and a hint Michelle drew inspiration from a Deltore’s song, and mikes Christmas decorations and wreath with a thong, seahorse and cross to capturea wide variety of the Christmas experience, of cherry. "TRUDIE ONIONS + fiurnett Heads 10 Ice angels Trudie’s pink and gold ange! charms are symbolic toner of Christmas, and the gold {TIFFANY CLARE + Noorcolbark Vi bbeads represent Christmas balls, ot Christmas cluster Tiffany writes: “Crristmas for meas. child was about colours, bright shapes, presents anc people. This pendane represents the cluttered colours and shapes of Christmastime. 12 | www.beadse temagazine.com.auCHRIS RYDER + Mount Beauly VIC Festive star For Chris, Christmas is symbolises bya beautifully decorated tree, topped with star. and was the in ration for this rystal: covered wirework pendant ee ees Prorat red mimi Sonu See eh eer porta etn) c ri ors LINDA WIRTH + Toodyay WA Bow baubles “The colours and inspiration came from the accent bead’ writes Linda. "have reproduced the baw the bead has in aqua seed beads." The ‘bow’ represents bows on presents and the ‘boubles' we hang on our Christmas trees, Sen eee at SRT oe yr beadsetiemagazine.com.au | 13eee Ee = rf " er This stunning necklace makes a perfect gift, as its effective design is so easy and completely adaptable. Simply follow the basic bead pattern and mix up the colours, shapes and styles of the beads, to achieve myriad looks in next to no time! [ DESIGNER LEANNE GORMAN TOOLS Crimp too) Round-nose pliers ite cutters : ceca Continue this pattern until you have threaced on allot the caralian rondelies, MATERIALS then continue to th‘ead on one Tom, round came'ian anc one spacer, until all oF the rouncicarnelians have been threaded. 4,2mmecimos 38, 1omnm dark carnelian round 2, 10mm x 15mm carnellan faceted rondelies ‘44, Smm gols tone round spacers Bing ani ie se necklace and crimp tin place. Cutaway the 2 A5mmlensthsof O3ammtigerwire | Oxces wre rea the ctimps, [3] Attach the toggle to the other end of tne THE NECKLACE METHOD {8} Loop one length of tiger wire through the toggle end and crimp it closed. Cut away ‘the excess wite near the crimp. Thread on ‘one yomm raune carnelian, one spacer. ane 10mm round carnelian, one specer and one tomm round carnelian. Following this patter, thread on arotalof 16. 1omm round carnelians, separated by gold spacers, [2] Thread on one carnelian rondelle, one spacer, one 10mm carnelian round and one spacer. 14 | wwwbeadse temagazine.com.auEARRINGS © 2, 40mm looped head pins earring wires 2, 10mm faceted roncelles 2, 1omm dark carnelian round 2, 8mm ark carmelian foun 2.6mm cark carnelian roune 8 gole tone spacers © 2wite wrapped hearts 16 | veww:beadsetemagazine.com.au a) Picea spacer atthe bottom of the heas pin, Thread on one facetted rareelle, one soacer, one10mm carnelian, one spacer, ‘one fmm camelian, one spacer and one ‘mm carnelian [2] Loop the head pin over ana close it over theear wire. [3] Open the bottom loop ofthe head pin, thread the heart entoit, then elose the loop.VARIATION Follow this simple pattern anc vary the shape and * colour of tne beads for a completely ditterent ook. You could also experiment with ane! without spacers for even more varation, © 2 = Strands §3- $4 per strand Lampwork Strands $3 per strand Tiger Tail 2 per rol ” www.elingdesign.com yw beadseticmagazine.com.au | 1718 | veww:beadsetemagazine.com.au Inspired by the ancient Incan ‘City of Gold’, these stunning designs have a rich yellow base, silver highlights and gorgeous orange and gold hues representing this cultural icon, while the surface texture reflects the hundreds of steps on the Inca Tr: DESIGNER MICHELLE GRAY TOOLS Lampworking torch with appropriate fuel Protective eyewear 2, 2.4mm stainless steel mandrels © Graphite marver Graphite workpad (or other heat resistant workpad) ‘Annealing Kiln Bead core scraper Pipe cleaner Fine-nose pliers MATERIALS effetre/ moretti Lemon transparent Glass rod ffetre/Morett Light Amber transparent lass rod Effetre/soretti Medium Amber transparent giass tod Effetre/Moretti Grange strike transparent glass rod Effetse/Moretti Dark Yellow opaque lass rod Effexre/ worent clear lass tod 1 sheet fine iver lest Stainless steei pare knife with threaded end fiting Stainless stee| cocktail fork with threaded end iting PREPARATION Due ta the sizeof these beads, a kilns highiy recommended for this project. The beads shaule be placed directly intoa Klin for annealing, fron the fame, ‘Depending on your level af experience, each of these beads may take upto 20 rinutesto form in the fame “This project assurmes that ou have the basic ‘echnical and safecy skills fo working with alas in the fame to form awell shaped bead, andthe aality to poy stinger, “This project also assumes that you have an appropriately fitted out work area with the necessary safety equipment. “The bead in the demonstration has been photographed ateach stage duting the process of making tat the flame, so the colours and appearance represent how it will look while heated Startup the iin and set ito annealing wenperature. lean ail glass rovsreacy for use. Propare five 30cm lengths of 1.Smm thick stringer. Hest the end of 3 clear odin the flame untila sizeable gather forms on the lend labout 12mm dlaneterh, Remove from the flame and graspa small amounc of the melted glass in zhe pliers. Allow t0 6001 slightly and slowly pull the pliers away to about 30cm. When the glass as set flame cut the stringer from the end of the roc and set aside to cao!Carefully place the ser leaf between two sheets of paper then cut out one strip 4cm x 3.5em andone 3cmx3.5am. Lay these out ‘an your heat resistant workpad within easy reach of your torch. METHOD £2) For the majority ofthis process you will esd touse avery hot, wide flame, Using the dark yellow, ay down a lang, narrow 44cm base bead on one of the prepa 20 | womw.beadse temagazine.com.au mandrels, Using your marver, shape the base bead so that itis a straighe-sided ylinder shape. [2] Remove trom the fame and immediately line the besd up along the long edge of the largest prepared siver leaf strip, on your reat resistant work pad, so that when you roll the bead, t wil roll straight and cover ‘the whole length. Roll the bead over the ‘ier leaf unt the whole stip of siver leat rreatly wragped around the bead. [3] Using the graphite marver, quickly smooth down the fol on the bead to remove any air bubbles. if there ae alt bubbles under the Foul Irwillburn away in patches. ‘Da pot fou te verte wh Your Ringe ‘ag ity alnegrato ant brake eay “Teel om youskx mar alsemuseit to Aisin Ue a primirush o menemivre the ‘lve ef ono four werk sul [4] Return the silver leaf covered bead 10 the flame. keeping the lame very high and ensuring thet the flame does not touch the silver keaf—Ie will butn off very quickly in direct Mame. Heat the deer rod by rotating the head high in the flame, Move the head below the fame and gentiy cover the length of the bead with aleyer of clear. This layer ee Rd ts)allows the final colours to"floet’ together over thesilves leaf fora transitional effect. 18] Put the bead back inno the fullame ithe silver leaf is fully covered with glass, so it will ot burn off), Heat tne besd unt itaecomes, smooth then gently marver intoa long cylinder bead, with flat ends, [6] While Keeping the bead warm, introduce the orange strike rod into the flame and ace a band of ito each end of the bead, (7) With the mecium amber rod. adda bang Inside and toucning) each ofthe orange strike bands, 18] Follow the same process to add two bands of ght amiber glass inside the ‘medium amber bands. [9] Adda single bana ct transparent lemon glass round the middle ofthe bead {10} Heat rmarver if necessary, to once again form 3 smoath cylindrical bead. if you fina you have dents or divets in tre surtace of the bead at this stage, you can fl them in using theclear glass ne bead in the flame and gently [14] Reduce the rame to a smaller point and introduce the prepared cles stringer to the flame. Apply right angle stepped design Conta the surface of me bead, beginning at fone end and moving to the other end and around the bead, Repeat this ac even Interva's trom the nist ine so mat there are three or four steps inger ces-ans. around the bead, At this point, keep the ry warm but do rot allow the surface design to sink nto the main bead the ‘smaller lame helas with this) [12] once the bead i fully covered with the stepped stringer designs, e-introduce slightly larger end hotter flare again and work the bead evenly through the flame to reheat all the way through to begin melting the stinger designs conte the surface, The stringer designs eed to be partly melted into the surface Tocensure sufMclent fusion, however Go nat melt it tos far or it wil ose the defined texture, ro) ¢ ¢ 113] Flare anneal tie bead by bringing it to fed-hor then gradually moving ie upwards in the flame, Place immediately ita a ein set to annealing temperature, Anneal the beac by ‘soaking’ atthe annealing terperature for 30 minutes, hen allow the kn ro came to room temperature Repeat these steps for the second bead, but thistimelay cown a 3em dark yellow base, and \wrap it inthe smaller piece of fine siver at [24] once the beads have cooled, remove them from tre mandrels, clean the holes with a bead core scraper Followed bya fina brush with a pipe Cleaner, th soapy water and allow to dry, [1] Remove the threaded end iting on the pate knife, add the longer bead and replace the threaded fitting tFdesired, you may adel ‘small drop of sutable glue tothe thread before winding on Wve end fitting, Repeat this step with the cocktall fork and che smaller bead. © ©} yew beadsetiemagazine.com.au | 21LEVEL OF DIFFICULTY 22 | womw.beadse temagazine.com.au One of the aldest known gems, pearls were once reserved for the wealthy and nobility. Now you can spoil yourself every day, with this elegant glass pearl jewellery. Save the entire set for special occasions or wear individual pieces day after day. SEMCO CRAFTS PTY LTD TOOLS Wire cutters Round or needle-nose pllers Ruler MATERIALS 3mm siver 7strand wire Precious Accents steing plate togglerope Precious Accents sin iver eye pin Precious Accents 1/21 siNer head pin Precious Accents 2mm silver crimp beads 12 Peatl Elegance bea caps Pear Elegance 1amm x 20mm oval peatl celery Pear Elegance gass flower crystal 6, 10mm Pearl Elegance round pearls pink 12. 6mm Pearl Elegance round pearls clery 24.4 Touch Of Glass twisted sivertined bouale beads NECKLACE METHOD [1] Take one head pin and thread en one ‘inn x 20mm celery oval pearl, Then, ‘lollowing the instructions on page 25, use the pliers to bend the end of the pin into.an eye loop, [21 Thread one crystal glass fower onto an eye in, then bend te end into an eye loop. [3] Use the plersto slightly cpen the eye loop tothe side and insert it through one of the loops on the flower pizce [4] Use the pliers to close the toop, This wll be the centre dang, [5] Following the instructions on page 25, arrach one end of the toggle clasp toa lornm length of beading wire, using a crimp besa, [6] Thread on three twisted siver lined bugle beads one beadi cap, ane green Gimm round pear one pink 10mm round pear! tone green 6mm round peatland one bead cap. 71 Repeat step 6 three times, then thread ‘on another three twisted siver-lined bugle beads [8] Thread on the centre fearure dangle then repeat steps six and seven, [9] Attach the other end of the toggle dasp tothe wire, using a crime headBRACELET TOOLS © Wire cutters © Round or needle: nose pliers © Ruler MATERIALS = 3mm silver 7-strand wire ‘© Preclous Accones sterling plate toggle rope. © 2mm crimp beads «21, 11/Ain Precious Accents siver head pins © 7, 10min Pearl Eegance round pearls pink © 7.6mm Peat Elegance round peariscelery © 2.8mm Pear Elegance glass ‘faceted beads © 8, 8inm Peart Elegence round pearls ecru + 16 Pearl Elegance rice pears ecru 24 | veww:beadsetemagazine.com.au METHOD [1] Thread one tomm pink pear onto a beac pin then bend the end Intoan eye loop. Repeat this sixmore pmes ard setasice, [2] Thread one 6mm celery pearl onto ahead pin. Then, berd the end into.an eye loop, Repeat this sic more times and set aside, {3} Thread one mm glass faceted bead ‘onto.a head pin, then bend the end intoan eye loop. Repeat this six more times ana set aside. There will now be seven each ofthe pink, green and crystal dangles. a “scum the comb nation end number of heads on the angles for more eciecticlook [a) artach one end of the toggle clasp toa 255mm length of wire using a crimp bead. [5] Thread on one ecru peat lrice bead, one ecu 8mm round peat, ove ecru pearl rice bead, one pink cangle, one green dangle and one crystal dangle. kepeat this sequnce sever times, [6] Thread on one rice pearl beed, one 8mm. round pearl anc one ecru rice bead. [7] Attach the other end of the togale dasp tothe wireusing acrimp bead, EARRINGS TOOLS © wire cutters © Round or needle-nose pliers © Ruler MATERIALS © Craft jewel 0.smmsver strand wire ‘iver fish hook with all and spring 2, 31 Precious Accents sver eye pins 2.1¥/2in silver ead pins 24 twisted siver-lined busle beads 2, Grom Peel Ekyance eystalrondlies «© 2, 14mm x20mm Pel Elegance oval pearis celery « 2.3mm siver round beeesMETHOD [2] Thread one 3mm silver bead one silver crystal rondelle, then one t4mm x 2mm celery oval pearl onto ahead pin. Bend the end of the head pin nto an eye loop, Repeat cocreate a second dangle [2} Take one, 3in silver eye pin and thread 1 five twisted siver-lined bugle beads, Bend the end into an eye loop. Repeat 10 create a second dangle. [3] Use the pliers to slightly open the eye lonp on the celery plec® to the side ane) Insert ic twough ong of the loops on the bugle pieve, then use the pers to dose the loop. [4] Take one fish hook and open the bottam Joop, by twiscing it slighty o ue side using the pliers. [6] Slide on the loop just azove the bugle beads and clase the loop of the earring, [6] Repeat steps 1 to5 to creste the second earring to complete the pair. To make an eye loop TO MAKE AN EYE LOOP [1 Using the vite cutters, cucthe beading, ‘wire Smm beyond the last besd. Then, use thepliersto bend the end of the wire to formarighcanale. [2) Grasp the end of the wire withthe tip oF the pliers. Usea rolling motion to tend the wile intoa circle shape. [3] Irmay be necessary to release the wire and continue the rolling motion further down w complete the cicle, TO ATTACH A TOGGLE CLASP [1] Thread one crimp bead onto the beading wire, Push the wire through the ‘sallloop on one half oF the clesp anc ‘the end of the wire back chrough the crimping bead, ing [2} Leaves Smm tall of wire and pull the ‘crimp bead up next te the metal loop. ‘Squeeze the crimp bead flat using the pliers. 44 j j \ | \ \ \ \ y q \ \ bo [3] Ensure the crim is completely pressec so the wire cannar sip our then trim or hide any excess wire by threading it back through the beads. © Le To attach a toggle clasp ye worwbeadsetcmagazine.com.au | 2526 LEVEL OF DIFFICULTY /weww-beadsttemagazine.com.au Make a lasting impression with these fabulous polymer clay beads. With a charming swirl design, subtle gold highlights and a sweet boiled-lolly appeal, these delightful pieces are sure to attract comment. DESIGNER TONI RANSFIELD TOOLS © Claybiade © 101mm lucite square Pasta machine or rolling pi ler © Pin toot © Crimping pliers Smooth ceramic tileto worken Finger cots (or latex aloves) © Polymer chy template for measuring bead dameters Dedicated polymer clay over, with thermometer « Index card © Buffing wheelor denim © Square acrylic block Sandpaper: 600, 800, 1,900, 1,500 grit Electric dri edn MATERIALS ¢ Promo day: Red Peat, White, Gold © 9, 3mm goid beads © Gold glass seed beads 2, 2mm qoid crimp beads © 384mm 018 .46me) wire PREPARATION Conditioning the clay allows it te soften as Well as remove ar bubbles, Unwrap all three blocks of clay and coneition them hy hand for using the pasta machine, Once the clay is Conditioned, sec the gold clay aside to use later in the project. METHOD Making the beads [1] To make the shaded blended roll known as the skinner blend’, run the Red Pearland white clays through the pasta machine on the number one setting. Fold both clays in half, Forming cwo equal rectangles [2] Curesch rectangle in hal diagonally to Form triangles. Offset each triangle so that the tps of each colour hang down, Cut off each tp. togive a blend with a solid covour ateach end, Fold this piece in half, by bringing the boctom edge up tothe top, then run the clay through the past machine again on the thickest setting. EF ‘When you fold the plece in elf sake ste thee lig to he fed aoe ie with wie{3} Continue toleing the sheet of clay in half and running it through the pasta ‘machine about 25 times or until the desired blond is achieved. [4 Fold the blend in half, matching red to red and white to white, vith the white end ‘touching the rollers en the number one ‘setting on the pasta machine, tun the blend through at progressively thinner settings, sopping at setting 5. Roll up the skinner blend, starting atthe white end. You wil pow have a blended bull's eye plu, [5] Using the blade, cut the u's eye plugin half. Run the red clay through the pasta machine at setting 1, then progressively decrease the setting, ending on setting 5, Lay the red clay fot onto the rile 28 | www:beadsetemagazine.com.au {6} Lay one halt of the plug on te red clay, covering about two thitds of the half, Cut the red cay to then smooth it flat [71 Place both halves together then cut two equal parts off the sides of the plug, Puc the ‘nwo pleces half way up, om top ofthe gold sheet, then cutaround the shape. [8] Join these halves back together, forming the plug again. this croates the veins in the cane. [9] kun the gota cay ser asise eater, through the pasta machine on setting 1, then progressively increase the serting Finishing with 6, Wrap the plug with the {gold clay, leaving a small gap where the veins are joined. Roll thin snake of redclay and place t between the gold, This will bbe the registration mark for forming a consistent petal. (20) Reduce the cane ta 19mm, by rolling the plug on the ceramic tle Cuca 1somm length from the cane. kell the cane again to reduce it to 16mm diameter, then cut a Samm piece. Continue this process, reducing te 13mm diameter and cutting a 50mm length then reducing to W0mmdiamerer and cutting a 6mm length, [21] To form apetal cane, pinch along the registration mars, co make a paint. Lay one Side of the clay on tie te and smooth cut the side. Flip the care overand da me same with the other side. Form petal canes with each of the canes lengths from step 10. [22] Using the red clay, ro outone 22mm ball, wo 9mm balls, two 16mm bal's and three 13mm balls. [13] slice the 1977 potal cane piece into eight 2mm thick slices, Cover the ‘22mm ball with the pointed ends rouching ‘each other. Smoath the petals an the ball,so the seams cannot be scen. Roll the bead around'in your hands uns the edges.are all smooth and searnless. for a nice finish, [24] Continue sicing the rolled cane pieces as follows: cut the 16mm cane into 20 slices and caver the 19mm beads; cut the 13mm cane into 20 slices and cover the 16min beads: cut the 1omm cane into 30 sices and cover thetamm beads, Rolleach of the covered beads in your hands. as you did with the 22mm bead in cep 13. wrebeadsebcmagazine.com.au | 2930| www.owadsetemagazine.com.au [25] Using niger cots (er latex gloves), lace ‘the 22mm bead on a frm surface and place the square acrylic block on top ofthe bead, \with the petal points centred cn the top. [16] Holding the square acrytic block with both hands roiate|tinacoular motion, ‘continue rotating ithe same direction (whether clockwase of counterclockwise) ‘nt you havea swin youare nappy With, Press down lightly with the aryl square ant remove the bead. Roll the bead on its side for a smooth edge. Repeat thispracesswith each of the beads, Let the beads rest overnight before continuing to the nextsiep. “Letting the boos not wl allow them to ecore His. This snakes toaster to niake les without Stang the bea [17] ising Finger cots or latex gloves, hid ‘each bead between your fingers. Using the pleicing tool, carefully ake ¢ holv on one sideof the bead, stopping about half way through, Reneat ths process on the oppocite side ofthe bead, joining up with the hole made from the other side, Create = holeinseven of the beads, leaving one 13mm bead unpietced. [18] bake al eight beacs on an index card, ‘on atl, Bake in the oven at 130°C275"F for 50 minutes. Sand the beads using 600 grit, ‘800 grit. 1.000 gritand then 1.500 gut then buff them on 2 buffing wheel or on denim, toshine the beads, [19] Using a0.8 drill bt, dl through the ‘top of the non-pierced ‘3mm bead. Using the 1/16sizeduil bt, cell half ray through, the sarme bead. Continue using the dal bits, 2768, 3/22, /s4 To make the hole large, cencing with the 1/8 dil bit Making the necklace [20 Thread me 22mm lentil bead onto the '384mrm length of wire, thenadd one 3mm. {old bead on each side of the font Beas, Thread on one 19mm lenti bead on each side of the gold beads then thread cn one 16mm lentil bead on each side of the gold beads. Threadone 13mm lentil bead on ‘e:ch side ofthe gold beads, follomed by a gold bead on each side of the lentil Keads, [21] string the gold seed beads onto the ‘wire on one sige, stopping when younave about 26mm cf wire left, lacea gold crimp bead then continue threading the gcld seed beads to 533mm Put the wire through the ‘crimp bead, making 2 loop, ard through the next fev beads, Secure the crimp with Ccimping plors ane cuc off ary excess vite, [22] String the goid saed beads on the other side, stopping when you have 38mm of wire lett Placea gold crimp bead, then string {through thelenti head from step 19and a gold bead, Thread the wire back through the lent bead, then through the crimp bead and the next fow beads and pull to ughton, Secure the crimp with crimping pliers and cutotrany excess wire, Variation Change the cojoursuse inthe necklace for 4 complotly ifforent lak. Use striking black wath metalic h ghights fora sophisticated edge. &This season, be adventurous as we mix the bold colours of pink, orange, melon and ruby reds - all with a backdrop of the sun setting on a golden hue of yellow. cand match the coloursand shapes of your jewellery with Malt and carnival fun, Think: llons andi ngers, cartwheels and the crcus as we mimic the mystique of safari and the fun ef the carnival Leather and knotted tinea and silk threads and cords ae all partof the wonderful textures, Mix your favourite and interesting bead and charms to make exciting tassels and acd them tochain and long owing necklaces, This s 2 great way fo use up beads in your stash and a ‘rear excuse to buy new season coloursand shapes. (F course, for evening wea it's black Black and sparkles are the necessary accessory, ‘Chunde ier earringsare begin ng to masc an appearance, beng eye pinned and looped Together to swing and sway fora Gramatic leek Gold wile afiosh nthe pan accessory highlight asawarm base cclour this season. fut don't sink twill be cut affashion again as ‘son as summers over‘The beaten tal effecc mimicking African tribal jewellery is everywhere, so antique siNer, antique brass and antique copper are all the essential metal additives for this summer recine of fun and ethnic flavour, Hancags, eartings andi chain willarry off thisimprinc of indigenous atmosphere. © ‘Colours|to) wear, Trai] Hot yellow atest) Grey ios} Pui yew. beadset.cmagazine.com.au 334 LEVEL OF DIFFICULTY yomw.beadst temagazine.com.au ai Add swirling sop! ication to your jewellery collection with this chic wire work design. Showcasing flowing copper wire loops, with silver wire highlights and fabulous lapis beads, the coordinating necklace and earrings, make a stunning set. DESIGNER RACHAEL ZISCHKE, TOOLS «© Large sidecutrers «© Small fle or end de-burting tool «© Nyfon jaw pliers 6 wire, with atleast arge rout © medium pegs «© Small amm=5mm peg © 2 pairs of cain-pose pliers «© Round-nose aliens MATERIALS © 2m Y6-gauge coated copperwire © Im. 24-gauge non-tarnish silver wire © 18,8mmround apis beads © 207mm x 10mm apis nugget «18. 4mm coated copper oF non tarnish silver jump rings METHOD CENTREPIECE [1 Sec up the jg with one large peg and at least four medium sized pegs. Note that ‘when the loops are farmed for the ‘centrepiece they should step up’ for each loop. Cura 7oem length of copper wie, find the midpoint and, starting with this point st the hase ofthe large peg, start farming the ite into an'S' pattern around the pegs. You will lee wo use a frm hard with Ue large gauge wire. Depencing on haw many pegs you have you may necd ta reposition the wite So that the last loops fo-rned sit oxer the fist two medium pegs, ellowing you te form more loops. [2] Tum the wire over and sit the large oop cover thearge peg, then form loops on the ther side, mirroring the loops on the frst side, Once complete, the wire for the centrepiece should have one large downward hanging loop sng three each of the medium loops in both the upwards and downwards orientation on bath sides, [3] Instead of another ‘up loop at each lend, use the round-nase piles to form a citele then trim the wite, You may want te de-burr the ends before flattening and hneatening the dice, Using your fingers and the nyfon Jaw piers, atten and neaten the entire wire centrepiece. [4] Cuta length ofsiver wite 35m long, Starting atone end of the cappercentrepiece wind the silver wire around the copper wire as if you are trying to keep the {op oops from being pulled apart. [8] Threac one of the round beads onto the wie befare winding * around the cooper Wires at tie other side of tie frstloop, Use the chaln-nese pliers to compress and neaten the winding. Connnue in tnistashion unt you have three beads adsed, but do not wind around the centre copper wite just yet, [6] Wind a 13cm length oF silver wire tightly three times around the bottom ef the large copper loop. then thread on the nugget bead and hold the tail so hati es between the two copper wires atthe top of themain loop, [7] While hoieing the vertical sver wine in place, wrap the lateral silver wire once around all three wires (two copper and ane ‘s'ver) Then, holding this winding in place, wind the vertical silver wire around the loos formed by the lateral one once. Thm and tuck the end ofthe vertical wire, ensuring no sharp bits proude, {8} Continue wrapping lateral wie twice more, before adding the next three beads to the 'up'loopsion the other side 19] Cut two more pieces of silver wite 20cm long, Beginning a the side of the main ‘down loop, wind the wire around, 2s n step 4, Remember to have the silver wire coming ‘over’ the copper wire at the front. [10] Add a bead 1o each ofthe three dowr! loops on ane side of the matn foop, using the same techniques asin stops 5 and 6, Regeat for the three town Ioopson the other side. Your centrepiece should now becomplete. SIDE ACCENTS [14] Reposition the pegs onthe ji. so there isno large peg and the mecium pegs form the loops at the same level, not ‘stepped up as with the centrepiece, Work two 20cm lengths of copper wire around tie pegs to form the side accent pieces, with two down loops and one un’ lop. 36 | www:beadsetemagazine.com.au[12] Form ciicles at each end of the accent pleces (the sarne as for the ventrepiacey, then trim and de-burr the wire, [23] Cut four, 10cm lonaths cf siver wire. Using the wire wrapping techniques described in the steps above, add three ‘1omm beads to each of the copper side assembles, two in the down’ loops and one inthe up’ loop. CHAIN LINKS [14] Cut 12, Gem kengths of copper wire, Marka line around the round nose piers anc when forming inks, curl the wire around this line to keep the tnks consistent. starting atthe very end of each wite, grip itwith the round: nose pliers and curt around to create asingle circle, Do not let go a this, pot. but keep curling the wire around the ther nose on the pliers, until touches the Fist circle formed. Repeat this procedure from the ether end ofthe wire, but collin Uve opposite direction so. curly lnk’ formed, Repeat this sequence unt you ave 12 links, = ‘Ba adifcretonking Tink ty toring he eval ol he we, . [18] Assemble the necklace using ether ‘copper or siver 16 or 18-aauge jump rings, ‘Ad one link erween the centrepiece and side acconts, then simply join the copper links together using the jump rings, so there are five links after the side accents om each ‘se. Take note of the orientation ofthe links. Using a 7am lenguh of copper wire create an elongated ink but de net curl ne fend eround fully. Join this ea one end of your chain using a jump ring wo forma Inidden’ clasp. add ajump ring co the other fend for your clasp and link cin, a “Take note ofthe rsmtatin of your ks ‘when joining them. Alters them so each liokiaminnete en amines ihe “preceding it or have aillof the links curing the wornibeadsctemagazine.com.au | 37EARRINGS 116] Cut two pieces of copper wire 13cm long. Arange the pegs on your igs that € sere cre =a 5 et 320.03 medium one. ising a 15em length ot copper wnte and staring with a small wap the wnite etound the small pea and down arourd the medium peg ina igure eight pattern [27] Yap the all chat has formed the larve lop around the shaft’ once, then trim and {e-burr the wire, Use chain nase pliers to press the tll in and neaten the wrap. Trim the other end of the wise sos small, neat citele fs formed atthe rop. [1a] Acca tomm bead to eech earring using tthe wire wrapping techniques used in the main piece. © 38 | www.beadse temagazine.com.auFindings — it’s one of those ‘jewellery’ words that seems like it was designed to confuse — however, it is really quite simple. ‘Findings’ is the collective noun, used to caver the many and varied components and tools used to put jewellery together. Here we share some of the uses, methods, quality aspects and descriptions for these essential components so that you can expand your creativity with confidence and try something new with fin USES Te list of findings is virtually endless, but their use can be broadly divided into three areas: 1 Joining Many Finings are used ro join pieces together. Chain, card, wite, Jump rings, split rings, head pins, eye pins, swivels, caps, bails and stone Settings ae all used to join jewellery elements together, Some of the wide variety of stampings available 40 | wemw.beadse temagazine.com.au igs that you may not even know existed. ‘Thereare some findings which are used t join pieces together, usually so thac they will stay in place when worn, These inéude clasps, crimps,jners, pins, springs, belt huckles and hooks of various types, 2 Fastening ‘The final category covers those tems thatare used to attach Jewellery fo the human body, These Find ings Include items such as ear wires, cufflink shanks, tie bat clips and hair clips. HOW TO USE THEM Mettiocs employed ro use findings ae ako varied. hewever most are designed to be used with pliers such asjump simply slipped into place manually (such as spi Sometimes gluing isan option, although care mu the pital of excess plue, Pleces thatn 2500 crimps) oF lings oF springs) taken to avoid sider soldering: ater a litte practice, this can bea useful method, for getting the best our af your findings. ‘QUALITY CONTROL quick wore about quaity - wherever possile, buy quality aings. Noudon't want to finish a special piece, ony to discover thatthe findirg doesa¢ work properly. Don t compromise your creation by tring to ‘avo afew cents, only to find that you have to remake the whole thing,WHAT TO LOOK FOR © Make sure the item is wellfnished with no sharp ecies. © Check several pieces to ensue quality is consistent. ¢ IFche item hes moving parts, ensure that ic does so smoothly andetfecively. €¢ Chock the plating to make sure tis good quality, and isn't kely to ake or peel « IFuying raw components withthe intention of plating later, be aware thatany fingings with moving parts (such as spring rings or snap-clasps) need! special care to ensure that al ‘maving parts work properly after plating. They havea tendency to stick if over plated, ectra- plating’ plating isthe technique used to colour ‘metal items texcept aluminum). Usual finishes inclce gold, siver, nickel, black, rhodium or copper ane specialty colours ike rose gold, black nickel or antique silver. Plating is a messy process involving lots of chemicals and electriciy, so you wil need t find yourself a goad reliable pleter and embrace them (i's abit like Fincing a goed dentist or accountant) Make sure you and your plater fully lnderstand what results you are locking for, Settings come ina wide variety of shapes and sizes FINDINGS GLOSSARY Following isa short collection of commonly used components, written from a enstume jewellery perspective talthough most of the information applies to precious metal findings as we Balls: ususlly a curved piece of metal used to Join pendants to chain, Bead caps: A metal cap witha centre hale, used tn cover ar enhance beads and the spaces between them. Bell caps: Similar to bead caps, but with rings to enable addition of Jump-tings and clasps. Brooch backs: ready-made back-plate complete with pin and catch, usually glue or soldered to an item, to complete a bxooch, Cabochons: 4 domed, usually opaque Tat back stone with no facets, (Casting: Anyshing made from casting ligule! metal in a mou. ‘Chain: Ready-made ray chain, available in 2 multitude of sizes and sty/es. If casts allimportant, copper-coated steel chal fs Uie way 19 0, otherwise brass chain's preferred. Boch types are usualy ‘assembled (with ends, rings and clasps) and then plated, as require, wre beadsetemagazine.com.au | 41Clasps: There ate a variety of clasp styles including: Snap clasps: usually used on bracelets and are the type that fold over and snap! shut, (© Magnetic clasps: asthe name implies, these clasps use strong ‘magnets to ensure clasure. (© Fob clasps: sometimes called Bar ane Toggle Clasp —are a traditional way of finishing a design, fe Parrot clasps: (also known as lobster claws area useful and decorative way of finishing anecklace or bracelet. «Slide clasps: a’e a useful way ons adesigh with muldpestands, Earrings: these mainly fallinto swo categories: those For people With pierced ears and the rest for people with non-plerced ears. E2¢ ites, studs, and continental clips are for those with piercing while scremback, leverback, screw/ leverback and clip ate for those that do NOL Many styles ae available; t's just simply « matter of choosing 4 style thac sus your design. Hooks: commonly usec method of joining items. Sster hooks are twa hooks joinec at the base, but slide apart to admic ring, providing extra security Jump rings: The most cammon item used ta join jewellery pleces. Usually available in stee! or brass anc! sol by size and wire diameter For example, a 6mm x 1mm brassis aring with an outside diameter ‘of Gin, made from Tin bress wire, They are readily availabe in the various plated finishes, Pins: The most common pins are head pins, which are shaped like a normal pin, and eye pins, which have an eye-hole on ane end, Both ate avilable in various lengths and thicknesses (gauges). These pins have a multitude of uses in jewellery design anc constiuction, ‘Theyare particularly useful for earring construction. ore pin Vatletes includes «© Single coll pins: pins with a single coll ke 2 pig's tal at the rnon-sharp end, used primarily on brooch backs. €# Stick pins: are long, thin pins capable of holding a design on. surfaces sich 2s coat lapels 42 | weww.oeadse emagazine.com.au There a great variety of chain styles available ‘eKilt pins: were, 2s their name suggests, criginaly designed for use on kilts, but can be adapted for brooches andl other docerative items. They ate also available with extrarings for acing ornamentation. ‘© Hat pins: sre particularly useful for threading things onto, Settings: Also known as cups, settings can be divided into two main styles: those for fat back stones and those for shaped: back stenes, Flat back stones are usually glued inte settings while shaped! stones require four-claw sertings, which are available for most of the various sizes and shapes. They also come with anything from ene to four rings, which make them easy 10 Integrate Inte designs; or without ring, for gluing or solcering. ‘Shaped back crystal stones: Ihese are the best way to geta gemlike Finish, You need depth and a geod cut facets) to get the light wo reflect stongly and it is eficult to get this from lat back ‘stones. Luckily, shaped back stones deliver great results, They are avaliable n many shapes Including: ‘© Chatons (round © Ovals # octagons. 8 Scuates ‘eo neguettes © Peats (ako called Tear-Drop) ‘9 Navetue (aka Marquise), ‘Chatons: these round stanes with pointy backs are sold either in peat plate (PPI or stone size (35), Most retalerscan supply achart 0° advise what size you requite ‘Spring rings: Abo known as bolt sings’, these area commonly used Joining item. ‘stampings: These findings gain their name trom the methed ot production ~of stamping the item out ofa sheet of metal using a huge metal press, They are an ideal item to add siyle an design to your masterpiece, They are usually thinner lighter and have mare attention ro detail than castings. All ofthe popular designs areSome of the many findings available available including but not limited to: hearts, dragonflies. butterfles, « Tiger tailthe ever-popular nylon coated wite (usually stainless), birds, crosses, stars, fans, feathers, leaves, bay's and many others, Ideal for beading, toonumerous to list. (© Omega wires: som rigid neck wires that are astylish way 10 presentand finish neck creatiors. @ Wire: One of the staple supplies a jewellery making. this iter comes in numerous varieties ‘Most of the findings menvioned in rhs article can be viewed en © Memory wire:hasabuitin memoryinthat. tretumstothe srapeit the website: pagesewelley.com.au or contact Page Wholesale was mde in. Its isually avalablein theestyles; mecilace, bracelet —_jewellery Supplies on 02 9317 3222 for more inrormation. and ring its handy for geting your creations co maintain shape. wr beadsetemagazine.com.au | 43LEVEL OF DIFFICULTY ©O©O 44| yoww.oeadse temagazine.com.au Adda stylish highlight to your ring collection with this stunt design. Featuring a striking red focal bead encompassed by tonal layers of threaded Miyuki seed beads and an interesting pointed edge, it can be adapted to suit any colourway. DESIGNER CHANEL OLDFIELD TOOLS Size 13 beading needle © Scissors, MATERIALS 10mm round gemstone cabochon Adjustable ring blank with mesh dome © Vinx Tin square of sti felt © Vinx tin square of uitrasuede ‘ize 1) Miyuki seed beads, colour A Sze 11 Miyuki seed beeds, colour 8 15 Miyuk’ seed beads ze D Nymo thread £600 gue or any fenible glu PREPARATION You mustuse good quality sees beads that are uniform in size for this project otherwi they won't st perfectly and the beads will tend tobe bubbly and wavy. METHOD [1] Apply an even layer of elie to the fat Se ofthe cabochon and attach feto the centre of a Tin x in square of felt Set aside ody for about 15 minutes. [2] Thread the needie with Im or Nymo threas. Bring che needle up through the felt, from the back tothe front, leaving 2 10cm loose tall inserted as close ta the ecge of the cabochem as possible, Pick up Four colour A, Size 1! seed beads, then pass the Needle back down through the fet, ensuring the beads st flar and! snug against the edge lof the cabochon. Bring theneecie back two beads and push it through to the top of the Fett, passing the needle through the rwo beads to the right. [3] Pickup four moze colour A beads, then stitch down Into the felt ta the back, as close as possible to the cabochon, From the bckside. bring the needle two beads back and push itthrough ta the top of the tlt, Passthe needle through the two bearis to the right [4] Repeat this process, adding four beads. and stitching back twe beads around the cabochon, until you have Four or less beads todd to complete the beading around the Cabochon, Add the amount of beacs needed totilin the remaining gap lett, then pass the needle down through tothe back, go back ‘x0 beads and push the needle through to the front of rhe felPass the needle and thread through the entire round of beads, without stitching down thrcugh the felt. Repeat this pracessa second time then cull tightly on the Uiread to pull the beadworkin, soit straighten up the beads. When you have Fin shed this, stiteh the threac'dawn through the fot, thea knot with the othar tend and trim the ends to about Sram inlength. 18) Thread your needle with 1m of threed, Bring the needle up from the back af the felt tothe front, with she needle inserted between the cabochon and the base row of beads and a tailoftnead about 10cm long, Thread an four size 15 seed beads then bring the needle down through the fet, ‘ensuring the beac stat and snug on top cf the base row of seed beads and also snug, against the cabochon, 16] Bring tne needle back two beads and push fc ug through to the topof the felt and pass throug” the two beads tothe Fight, Repeac this process around the ‘cabochon, until you have four or less beads ro.add to complete the heading round the cabochon. Add the amount of beads needed tofilin theremaining gap, pass the needle through tothe back. go back two beads andi push the needle through tothe front of the felt [71 Pass the needle through the ence round of beads, without stitching cewn through the felt. Do this twice and pull tightly on the thread to pull the beadwork In soitstraightens up the beads. When you have Finisnes this, stiten the thread down through the felt to the buck, tle knot with the other end ard trim tillthe ends are about Smm long, Repeat this whole step again to secure the beads. 8] Apply athin ayer of gtue to me back ofthe feltenc attach it to the Ultrasuede, trying to avoid applying the Uulue too closely o the edge, Set aside {dry for 15 minutes. Using the sckssors, trim the excess ultrasuede so that it isthe same shape and size as the rest of the work. 46 | weww:beadsetemagazine.com.auTHE INNER EDGE {91 Thread the needle with 1m of thread, Pick up one colour A size 11 seed bead chen thread the needle down through the two materials, from frontto back about 2mm inside the edge, Now thread the needle Utough the added bead (you need co enter tough the beads side thats resting on the ede of te work). [10] Using the technique instep 9, ade beads all the way around the edging of the plece until you have adsed! the last bead, ensuring thar there arean even number ct beads around the edge, then thread the need'e back through the first ‘bead. Bring tie needle back through to zhe back ofthe piece, through the frst beac. Te the nwa threads together then weave them into the backing ta hide them and trim the ends, y i THE OUTER EDGE [11] Thread the neecte with 1m of thread and oring irthrough one of the edge beac from the inner ta the outer edge. Thread on three colour B, size 11 seed beads. Working in an anti-clockwise rection, push the needle through the ext bead. The three beads should form a smal poinc. ‘Thread the needle through the next bead (the third bead of the edging row) from the inner co the outer edge, then add three mare beads and thread ‘through thenext bead of the edging. peat this sequence all the way around theedge. then tle aknot wich the two (ends of the thread and weave them back into your work, hiding the theeads Trim off the excess thread using Sharp scissors, ATTACHING THE RING [23] Thread your needle with 3ocm of thread. Thread your needle through one of the inner edge beads, From the outer ty the Inner edge and thread the needie through (one of the outer ho'es of the mesh dome on the ring blank. Bring the needle back towatcls the inner edge beads and thread it through ane ofthe inner edge beads again, this time working from the innor to outer edge of the bead, Thread the needle throwin Lie nexc bead the ogposite way and through the next hole on the mesh dome. Reveat this process until you have worked your thread around the entire edge ofthe beaded cabochon and the ring blank. Te the ‘wo ends ofthe thread and weave them. back rheough your work, hiding the thread as you go, Trim off the excess threads. © yew beadseticmagazine.com.au | 47[a] Pass both ends of the tiger tal through [5] Pull the tiger tal toclose the gas ‘thesplitring on te phone attachment, then andl leave aloop of 2mm-3mm, squeeze backthrough the crimp. the smm peridot the ctimp tightly and trim the ends of the bi-cone and the crystal flower spacer tiger cal, I] Keeping hoth ends of the tiger rll together, thread on one 19mm pericot rysta ower spacer, fone 8mm peridot b-cone ane one crimp. bbi-cone, one 10mm Unique Selection Unrivalled Quality Unbeatable Pric 54| wmw.beadse temagazine.com.auLEVEL OF DIFFICULTY ©O¢€ 58 | www.beadsé temagazine.com.au Cale) dds aA) Add elegance and sop! ication to your outfits with this delightful design, Mix distressed clay hues for a flowing colour effect, then create gorgeous dimensional rose clusters and add copper chain highlights for a str DESIGNER PENNY EAMER TOOLS Necklace bust Rolling pin Pasta machine cutting blade Needle nase pliers © Wire cutters © Awl © Ball pointor blunt ended too! © Cuwing boar e craftkaife MATERIALS © Premo day: burnt umber, white, black copper, gold, see green, yellow, alizarin crimson © 580mm length copper chain © & Summ copper eye pins «Small copper lobster clasp © 3.6mm copper splitrings © 50mm, 20-gauge copper wire PREPARATION [1) Condition the clay colours and set them aside. To create the base copper. take one part cogper, one parc gol and two parts burnt umber and mix well, Cucthe mie’ piece in half and roll both preces out using the thickest setting on the pasta machine and set them aside. ing vintage look. i) Cee [2] To create the verdigns colour, mix fou parts sea zreen, one part yellow, one part alizarincrimson and 14 parts white then set aside Take 2 small piece of the base copper ftom step 1 and add two parts black, ox welland set aside. This fs your dark Copper. You should now have four mixed colours: base coaper, dark copper, veraigis andl black [3] Take che dark copper from step 2 and roll outon the thinrese setting on the pasta machine, Irshould be very fragile ane casi, Roll again using 2roling pin ifitis too thick. Distress the sheet using a bluntenided too), so that ithasholesand small tears int. Do not worry iFirbeaks [4] Using one o” ure base copper pieces from stop 1, lay the thin, distressed sheet (or pieces) on top, leaving holes ane’ spaces in it Pressdown firmly onto the base sheet and, using the ball point tool, smooth all the ledges into the base. Use a rolling pin to flatten the surface then set Itaside. [8] Koll me black cay out on the thinnest setting, then rollout the verciaris clay'on the same setting. Lay the verdigrs sheet on top of the black sheet anc roll them lightly with the ralling pin. Trl ofany blackedges, Distress ths sheetas instep 4, Lay Using tie ling pin roll out Uieday MAKING THE ROSES this on top ofthe copper sheet from step 3. pleces untlthe verd gris has the desired - eitaiaandscecrper seit oka aareeniva, tious, NiTetTapeesor eagle hg J your fingers. Keeping the veidiaris sie step 1, and lay the vercgts sheet from itis better toleave the day to chick eee aie ee step2, on top, Run this through the pasta rather than too thin, as youcan use Your then gently mix the cay with ger ‘machine on the thickest setting, You should fingers to further thin it 9 achiave the iSREk a alc Gal LAHAETE ow have one thick sheet with the bottom desired result when you formeach petal. ner until the vercigris reaches the desired layer being base cooper, distessed dark you rake the verdigels clay coo thin twill appearance, For the centre of theroee, pper, then black and finally, verdigis. be ineffective. pincha thin strip of day about 350mm long, 58 | www.beadse temagazine.com.auand 13mm wide, Roll this and shape the beginning of the petal 171 Using your finge's, ‘pinch the czy into petal shapes as showin. Shape foursmal petals and four large petals. The petals should have vercignis cn both sices from ‘umning the day under as you work the perals, sa select the most artractive side for the toa, GF “Yaka make ceasoeaby ick peta fora ‘joer nockiaee or thn pots fo: a r-o10 daloate ceodsce, 18) Taktng the stem of the rose centre, da the small petals, one at atime, scueezing their bases Inco the cere stem securely Then, add the larger petals by placing them be:ween each of the smaller getals, Secure the petals at the stem, Hold the end of ear petal together tightly as you build the rose, should have afaitly ong and thick stem ‘nd should be squeezed togerer right up close tothe petals themselves, h [9] When the petals are Mrmily joineo, place the rose on its side so thatthe petals hang Just over the edge of the cutting board and ga ‘To mate a oud poh a thin stap aboct 350mm ‘ong ard ite wade Roll ths yerdizna ‘ade cutwarde, and shape the beginning of She eras ns shovm n sep 6H shank! en sami tose sense the tose the stem ison the hoard. Using the cutting blade, slice off the excess stem as close 10 the rose as possible, ensuring thatthe siced areal a fat, clean cutand at 90 degrees to the rose. Thisis importants the rose will ot sit wel iFcut roughly or at an ane. Make a total of six roses (four large about 300mm diameter and two small about 200mm diameter). set all ofthe roses aside, Make three leaves by pinching the shape between your fingers and thumb, Mark the veins, IF required, with the point oF an awl and serrate the edges. Set aside THE PENDANT 110} Take one large rose, two smal roses, ‘one bud and three leaves, Arrange them Ina pleasing position, You co nat have to attach them toesch ather at this stage. You ean fire all Uie components nowifyou would tke co aNoig any damage wren attaching fo che base, but you must lay tie pendant design ‘out and shape the places tofit neatly togetier so that they wil interlock well ‘ogetier when fired. Key the backs with a rmatk ta help place them after firing although you may chink you will remember how they ft, chances are you wen't when the time comes! £24] Rollout the remaining snect of copper verdigris to approx 4mm thick. Lay the sheet loutand cuta recrangie sight larger than your‘pendant arrangement, Place te flowers, bud and leaves inthe recuited pouitign on the base, Try 10 get cac piece in contact with anogher and adhere at points of contact for added strenath, Use gentle pressure iquid clay, or PVA glue, to secure the pieces into position. Anau, pressed fiery down between the petals where it wil notshow), can be used to help secure the Flowers tothe backing. Tur the Fower side ‘aver gentty nto the palm of yourhand and using sharp cratknife, wim the base into the shape formed by the flowers and leaves, ensuring that ts not vibe from the front, 112] Push along head pin up through the centre bottom of backing and up wrrough the 1op, ensuring thatthe pendant hangs level and shat there is enough of the pin atthe top to make sloop after fring. Set aside to ft. yew beadseticmagazine.com.au | 59[2] Roll he remaining clay into 2mm thick slabs. Cuta rectangle twice as ong and the same width 2s one tose, Lay the wire across the short sid@ of this rectangleso that Ics protruding on both sides, Fold the rectangle Inhalf over the wire and press to adhere Make sure the wire sa loose fit in the cy ang then remove the wie. [14] Place the flower lightly onto this, backing and matk a rectangle smaller than the rose, ensuring that it does not show from the frontonce the rose isin place, Remove the rose and trim the rectangle to this mark. Secure the rose to the hase and set it aside for firing, Repeat this process to make backings for each of the two remaining single roses. Make sure that the backings are small enough that they are hidden by the roses and that all of the 60 | www-beadsetemagazine.com.au holes are open, Set all oF these pieces aside for fring, Using small pieces of the remaining vere ris sheet, rol four round beads about 130mm in diameter. Wake a hole in the centre using the awl, Bake all ofthe cay pleces according to the manufacturer's Instructions then set them aside to coo. THE NECKLACE 115} Cucewo, 20mm lengths, four, 35mm lengths, two, 45mm lengths and two 0mm lengths of copper chain. Using the needie-nose piers, make aloop atthe too at the pendant, then place asplit ring onto the loop. Actach one 20mm length of copper chain tothe ring, attach an eye pinto the tend of this chain. Repeat on the other side. Thread around bead onto the eye gin then cut the end of the eye pin using wire cutters leaving 2 12mm tal. Using neecle-nose pliers, make aloop with the tal. Attach one 35mm length of chain to this loop, Repeat con the other side [16] attach an eye pin totheend ot ene chain aztached in step 15 then thread arose onto the eve pin. If required, cut the end of theeye pin using wire cutters, leaving a 12m tall Create loop From the til, using eeale-nose piers. Attach one 35mm sength Of chain ta the loop andone end of anew 45mm length of chain to the same open loop. Leave the 45mm length af chain to hang, Repeat on the other side [27] Open tne loop and attach the free ena lf the 35mm chain from step 16 to an eye pin then close the cop, Repeat on the other side. Place around bead onto the eye pin, Cut the eye pin to 12mm, using the Wite cutters. Using needie-nase pliers, make a loop andiattach one of the 120mm lengths of chain to this loop. Attach a split ring to the end of this chain, Repeat on the other side. Attach a lobster clasp tothe split ring on the right hand side of the necklace. Do the necklace up and hang ton a necklace bust Using the necklace bust to help position it take the last rose and thread an eye pin through the hole. Using needle-nose pliers, make aloop and atcach the free end of the 445mm piece of chain from step 16. Repeat fn the other sice, Make adjustments to the final postion ofthis centre rose by shortening this chain. ©valma SPencev—sin eee Ud eer ek evolved naturally into a way of life for chain maille and wire Pre es Ce ue CeCe Rea Red RUE ue re Ur eT ce created from wire and beads, and this was her first introduction to the craft, Later, as a drought-stricken cattle SOR Ce uaa aid eeu tes te pn a SAN cag ea Rc g a wwwbeadsebcmagazine.com.au | 63Sea eee eat rere ereren cen Peet) Care eee ele ee \while a more intricate piece such asa necklace can take two to thee days. While she daese work toa theme, Valma Gos like her workSeed oer eet aring a piece of jewellery they have made.” To those new ot tt Se eae tee ae x fee Seno tr Ley05 | ww.beadse temagazine.com.au Dress up your own Christmas tree or spoil loved ones with these stunning heirloom ornaments. With delightful silver trimmings and subtle colour highlights, they will add elegance and charm to your celebrations. DESIGNER VALMA SPENCER-SUN TOOLS Round: nose pliers ite cutters MATERIALS 65mm glass cmmament 20.grams, 0.8mm x3.25enm sterling sliver rings © 12,0.8mm x6mm sterling sver rings 18, Smm Swarovsk crystal bl cones 6, 6mm Swarovski crystal b-cones 50cm sterling sive curb chain, W2Iinks to Scm 18.020-gauge %in sterling siver head pins 15cm, 0.8mm sterting siner round wine PREPARATION ‘Cut the folowing eng from the silver curb chain 1, Tem or 18!ink lengths 6, 3cm or 7 linklengthss 6,1. 7emor 4 link lengths 6.1.3em or 3 lnk lengths METHOD [4] Starting wth six 3.25mm jump rings, lose four af the rings and apen twa [2] Plzce tne two open rings inthe centre, then join ovo of the closed rings to either side ofthese central ings, 2s shown, [3] Link another two pairs of rings together, ‘making atwo in two section, then open two more rings. To make i easier to hokd the rings, thread a piece of wire through the pair of ings on helen. [4] Fold back the third pair ot rings one to teach side, then hold them with a finger on ech side and squeeze gently: The two rings You have rolded back will move forward, Passa‘T’ pin through the space formed as shown inthe photo. with an open ring, follow the path of the "pin, through the ‘wo rings then add the two in two section to this open ring hefore closing it. Weave the second apen ring through, besice the First anddoseit [5] Fold back the end tworringsas betare, then pass the'T pin through the twa folded beck rings, as n step 4. Open two more ings and thread them, one ata time, along tne path ofthe’ pin, closing egch ring once it Isin place. Tis completes one Byzantine[6] Following the steps above, make 18. fayzantine weave sections. You will nged 12 for the Romanoy weave elements and sixto link them ragather around the glass bal. (71 To create acrystal link, thread a length af sterling silver wire through one Smm crystal, then create loop at eithes end of the bead. using round: nose pliers ard trim off the excess wire, Set aside two Byzantine sections, one Smm crystal linkand two 68 | veww:beadsetemagazine.com.au ‘open Ginn rings, to create one Romanoy ‘weave element. {8} Tocomplete one Romanov weave section, thread an apen jump ring through the toptwo rirgsof one dyzantine weave section so they st side-by-side onthe ring, Thread the same jump ring theaugh the top fing af ane Simm bese stalin, then through the top two ings ofa second syzantine weave soaion, then dose the ink Repeat this step to create sic Romanov weave sections and set them aside. [9] On the 18 tink length of chain, eur the lastink on the side ofthe link and use this ‘oper’ link to join the ends together, to create acele. Thread 12, 5mm crystals and ‘Sx6mm crystals, onto ahead pin each ‘Attach one Smm crystal drop to one en of eachof the six three-link chain lengths ancl attach a 6mm crystal drop to eneend of leach of the six, seven-link chain enats, {20} Using the 3.25mm jum rings, link the six Romanov and the six Byzantine sections together to forma circle. Attach one smm ‘crystal drop to the lower edge of the six Byzantine sections. passing ajump ring throug the ma central rings an the ewer ledge end the loop of the crystal drop, then cose the ring, 124] You wll now jen the pieces of chain at the top of the ornament and ling therm wo ‘the Romanov and yzantine weave circ. Join a Four link length of chain to every third link ofthe circle created in step 9, using a 3.25mm jump ring, This chain has na crystal drop. You will ave added sx pieces of chain ance you have campletedwo ee © [22] joln the top of each of the long remaining crystal érops wo the bott ring of each Romanov weave sec the Jumprrings, thtee-lin length of ehabn with » Sem crystal drop. The ring joining these drops to zhe top Gircling chain will pass through the two free, urge 9, using the whole cree Working your Way around the cree, join the bottom tink ot ea these chains tothe top large ring at a tunus2c Hinks Romanov element, Tothe top citcleof chain and between the chains just attached a OR net ie Did you know you have 20 Australian Artists in your compute: Latta click? O®% ae Visit... GIS AL n eae eee ain yew beadseticmagazine.com.au 69nVADEIBEADS how the head | journey he gan There are so many fabulous bead varieties — apart from the colours, shapes, stones and styles, there is also the option of vintage, modern, real or imitation. These humble adornments that so many of us adore have an intriguing past that only adds to their appeal. Here, SUSAN STORM BLOOM shares the history of beads, delving back into the times where it all began. Js. beads, beads! cseems thar a gir can never have encugh of eadlly avaliable, inexensive and funky commocity Sutch weave them, thread them, wrap them, wind them and best of, ail—wear them, They are everywhere..on necks, wrists, earlobes; on clothes, curtains and keyrings. They are possibly tie mast covered Souvenir, easly able to remember the place oftheir purchase. {You might thraw out last year's hancbag, shoes and even your Favourite cast but try to throw eval that broken strand of beads 4nd you will know you will have more luck shedding winter's excess wetghe in a morning WHAT'S THE APPEAL? On the surface beads are just small, colourrul, portable, perforated objects, easly strung and used as adornments. Made of lass, precious and semi precious stones or metal. they are comparatively affordable and readily availble. They have graced every strata of seclety throughout histary. They have been the cone of bitter divorces, helaed conquer empires and established economies. They are pawerful tools of social status and fashion trends, Hold any old bead in your hand and worde- at its life story. tcould have been washed up from the oceans, dropped from tree or hewn 72 | wemw.beadse temagazine.com.au from rock blasted from the ground, carved from horn an bone or created in fety furnaces, Who made it, wore It, loved i, pledged it prayed or mourned with it, celebrated with it? What ives were played with, over apile of the tiny, mighty bead? ‘THE HISTORY OF BEADS For along time iewas thought the earliest heads, and therefore thele useas adornments, were 35,000 years old, Acalletion of 41 pes-sized beads, discovered in a South African cave, punctured in Ue sare place and showing signs of wear as if they had been stiung ‘together, were dated ac 75,000 years old, Recently archeologists ‘iseaveree 100,000 year old shelsin israeland Algeria tat were ‘actually decorat ve beads. So hold onto grandma's beads ~ For Future <2icheclogists might one day puzzle aver the structure of man made erystal Far mote Interesting than something eye-catching to string arounc your neck, beads made of shells and recth were worn by early man 28 talismans to invoke protection against the forces of nature and the wild elements. Also made of stone, ceramic, ivory, wo0d, seeds, plant and cnimal resins, and clay the early beads invoked protection ‘and wellbeing, deciared power and wealth and signifed social status. Then, the mighty bea became the First currency, a valuabletool used for trade and barter, moving around the ealy Gvlised World as explorers discovered new lands. Seads put the new world ‘on ts economic feet. Beads were favoured trade items with Indian, Middle Eastern and European merchants and shipments of beads began ativing in, African the fourth century AD, Arab traces on camels managed topenetrate the interior, while indians and Europeans were confined ‘to.coastal trading pests unt the mice of the nineteenth century, Using African middlemen to mave the beads inland along the trade routes. rade became a Focal point for organising Ruman affaes, and huge, flourishing empires grew from small markets. Wealth accumulated as ram materials were exchanged for finished produc, For several hundred years, sub Saharan Attica struggled between the European powers for control ofits people, riches and land. Beads pleyed an important role, as they are the most common feature of Afican adornment anc were tmparted Into the continent from, bbofore the Christian era. Some early Soman style aye beads have also been found at the archeological site of Djenne, dating from 3001 to 20040. While many of these beacs go into museums, Is Still possible to buy them fram specialist head galleries and Incorporate them into your own jewellery The quest for African gold. Ivory and spices brought European explorers to west aftica in the Afteenth century, acon with items to barter. When Vasco a Gama sailed from Portugal acoune the southern tip of Afvica in 1498, as the firstof the European explorers twinfltrave the highly lucrative Muslim trading route, Kewas glass beads from Europe thac he used to barter with, Africans began to replace thelr use of local organic materials like shells, roots, seeds and bone. strung with palm Fibres or giraffe hair into their body decorations and household adornenents, For 00 years after that, the Dutch, nash, French, Belaian and Germans brought milions of Venetian, Dutch and Bohemian glass beads to Africa for trade. incoming beads had a huge impact on Atican history as they were bartered for myriad supylies, trom gold toincense and, between the 1500s anc! 1867, a handful of beads could also buy human cargo-slaves. So many beass were traded through Africa, ts part myth and part truth that Africa covered with beads, Millions of white beads thougheto appease the gods and ensure safe passage on the Lakes, waters, and old beads are still washed up 0 the coasts and shores of africa, wore thrown into WHAT IS A TRADE BEAD? While beads have been used for trade since recor term Trade Reads cames from the heya history. the af the ade periad, from yew beadset.cmagazine.com.au B*the mid! 1800s tothe 1900s, when the Venetians dominated the ‘market and produced the majority of beads sold at chat time, Inthe 1900s loheria got ina the glass bead making act ant Fantastic numbers of beads inal shapes, mouldings, colours and designs ruled the market. Trade beads were ‘rediscovered’ during the 19605 when they started thelr travels again, leaving Afrka for Europe, erttan ana America, anc were made more pepular by the hippie movement, feads—new and old have become a hot intresc in the past few years. While te supply of mass-roduced beads areavallable on te, she avalablity of good Trade Beads 1s ewinaling, Traders risk their ives to travel deeper and deeper into Africa to Source these beads, and many varieties available ust afew years ago inate. every interne Of course, old beads, battered, cracked, and wom, are more expensive than new beads, Buclike arivorks, coins and stamps, they tell a wonderful history, they are relatively easy to get hold of ~anci Ue wil increase in value, Inaneta when itisgetting more difficult to be unigue, to standout from the cow, ca rake a cfference, dare ro wear beads tha inc of mmyzn, misadventure and mayhem, Wear beads that nave travellac more miles than mast reople'sfetimes wonder who owned them before youd and who willoun them when youhave passed them on, © By Susan Storm-Bloom Allo the beads Featured in this article were provided by Mayagems. yew beadsetemagazine.com.au | 75LEVEL OF DIFFICULTY ©¢€ 78 | www.beadse temagazine.com.au Cc Be swept away by this funky ‘boho’ design. Whether your style is classic or eclectic, this simple beaded bangle is so easy to create and by altering the colour and shape of the beads, you can achieve a whole new look. DESIGNER SEMGO GRAFTS PTY LTD TOOLS © Tape MATERIALS 1 packet A Touch of las Crackle Beads Mix peach © I packet A Touch of Glass Snape/Covor Bead Mix oeach 1 packet A Touch of Glass Switl METHOD Bead peach [8] Tape one end of tree 305mm lengthsof packet PreceusAcenisgald metal | cotd 0 the work surface, so that each plece 26mm x mm 3-hole spacer isparll This wil revert the beads skng € afe& Jevely 91.Sem Osmmdesr of. Tread the other enc ot each place stretch cord through one of the holes i one spacebar bracelet ircumterenc:jocat EW 11h : ‘Come and vist our NEV. 1 floor premise |} Randomly twreaa besds onto the cord Until the length of beads measures 4cm: Then thresd on the next space bar. Repeat ‘eps one to Four until there are Four space bars and four sections of beads, [3] fend the fist soace bar tie gether dheerdtof ent tecest ortusing’a | ouble kot Shy ste trecod tighten the krot, then cut oft any excess. © SN ane epee es ur range of beading books and i Sree eee ABB special issue magazines will keep es Rae Poa Decor ere ers eee ne ed cee ert end www.beadworx.com.au ine at nw bohemiabeads.com.au 80 | www.beadse temagazine.com.auLEVEL OF DIFFICULTY Ce EN een Ral a an § <8 + This stunning design will make a la: : easier than you may think. Combining sparkling swarovski beads with velvet highlights and a chic feature pendant, it will dress up any outfit for a stylishly elegant touch. DESIGNER BEADS VENUE TOOLS © Flatinase pliers © Round-nose piers © Curers MATERIALS Main pendane piece 2, 8mmight slam b-cones, 2,6mmilight sian bi-cones mm light siam b-cones 3.4mm siambi-cones 6. 6mm siambi-cones 2, 6mmlight sian round beads ‘15mm slam tear drop iwith ball 4, 4mm jet rondelles spacers Acrimps 2, 165mm suede tube 2, 280mm tiger rit Clasp Splicring head pins. 1oeye pins 82 | wmw.beadse temagazine.com.au 1g impact — and itis, METHOD The chain drops [1] Thread one m7 light siam bi-cone onto ahead pin then following the instructions on page 88 2s guide. turn asmaljoop.on the top ofthe bead using ound-nase plies. Repeat this process for another 8mm light, slam ot conesand two 6mm tight slam bi-cones. [2] Thread one 4mm light siam bi-cone onto aneye pin andl turn a stall loop on top, as in step |. Repest this pracess with the other four 4mim ight sam bi-cone anc five 4mm Siam Beeones84 | www:beadsetemagazine.com.au (31 To create the chains, carefully open the |00p of one ofthe fist sideways links and hang the link of the next bead through that link. Close the loop sideways again. Using this technique, make the following chain combinations: two, Simm light iam bi-cones, connecting with one Amin fight sam D1 cone and one 4mm siam b}-cone: ‘ne9, Grim light siam bi-canes connecting with one 4mm light siam bi-cone and one 4imim siam bi-cone; and one 15mm siam teat drop, connecting with one amm light sam bi-cone an one 4rmm slam bi-cane, This should result a total of five drop chains, Attaching the chain drops [4 Gently open the loapion the ropof the chain with the 15mm siam tear érop on the atom, and artach to the centre 1o0p of the main piece Using the chains with the smn ight siam i-cones an the narrom, gently open the top loop and attach these chains either side of the centre chain Hang the remaining two chains on the end loops af rhe main piece. The necklace straps {5} Thread one clasp, one crime, one émm siam bi-cone and one spacer onto a 280mm length of tiger tal, Make a smal oop around the clasp, then passe tiger til back through thecrimp. Thread on one mm siam biccone and one spacer with a tail of about 3mm, Squeeze the crimp, {6} Onto the tiger tal, thread an the vetver tube, one spacer, one Gmm ti-cone. one 4rsim jet rondeli, one Gmim round bezd, one 4mm jet rondelle, one 6mm bi-cone, ycer and one crimp. Pass the tige through the loop of the main piece then back through the erimp, spacer, 6mm bi-cone, 4mm et rondelie and mm round bead, Pull tight to close the gaps without creating too much tension then squeeze the crimp closed. Repeat for the other side sing she spitring instead of the clasp. ©Bote ee Beads etc... magazine brings you: Beautiful photography Step by step instructions ora easels) eae Me Re toeec ena Ari Challenge Poe elie se ORDER NOW! Beads etc... magazine subscription Cnet eeeens en ae EL Cee eg Peo eee eee eee ee ae ata eeteeaetesd Callus: Fax ue Puc) “iestbe Living tac, PO Box 4s, 02 9555 9322 02 9555 6188 Rozelle NSW 2039, Australia Award a aTe] lagazines ingmedia com.Bead Basics JUMP RINGS 1) Using two pass of chain-nose or ‘tat-nooe pliers, hold tho jump ring altuor sida of the join, PLAIN LOOP OR EYE 1) Using flat or chain-nose pliets bend the head pin or ire ata night angle sbout ‘em Fin) from che end. PLAIN LOOP ON A BEAD A] Bend the bead pin or wis ate night angle st the enc of the bead. 2 Open the jump ring by bringing ‘one pair ot pliors tawards you and one als away 12) Using round-nose pliers, tun your hacia hell turn away from you. Grasp the end of te ‘yee and turn tba bal a bar, [2 Measure tem @hin) from the bend and cat the vere 88 | www:beadsétemagazine.com.au Your step-by-step reference to the most commonly used techniques in beading projects. ous action with tho two 9et : 4 14) Close the loop by turning further if necessary. ef plats, (9) Turn the plies Malf turn away from you, grasa the ‘wore again and roll the write to form a once g 14] Continue by rolling the wine until you nave a ete lover the centre of the bead. (9) Grasp the end of the vice ane roll the wire into a half circleWRAPPED LOOP ex SE [1] Using tat or chesn-nese pers bene [2] Use round-nose phersto grasp [a] Repesition the pliers so the bottom: the head pin or wite ata right angle the wnte atthe bend, chon using your Jar io in the euve, then ning tne ‘about dom (1M4in) fiom the ond, Angors, buing tho chars ond of tho wiro ‘up and over the top, 1 Toru & ight angle to the swe, |4) Reposition the pliers across tho Joop and hold it firmly, then wrap the short wite a ‘aw times. ind the stem > [5] Tem he oxeene wire using wite cutters, thon prose the cut end clos to the wraps with chain-nose pliers to eaten FLATTENED CRIMP (1) Stcing a ecimp bead and a clasp [2] Use chain-nose pets to Matter 1S) Pat added etiength, sting a seed on flexible beading wire then take the crimp ‘Tag the clasp to check the bead anc another cramp over the wire the wire hac thsough the cmp besd stiength of the erimp: fit sides along ‘and tall snc flotten the bottom loving a 2em (2in) zat tho wo, opoeition it then faston ogatn, tn the samo wey, LEATHER ENDS bed case [1] Using clea dying vat glue, glue (2] Fuld and squoeve one site of te (8) Fold and squoeae se ouer si of the ond ofthe lea, eaters ot cord cit ene ever the leather ead using dhe cximp end over in the seme wey. inside the crimp end fiae-nose pies: vem beadsetemagazine.com.au | 89Crystal Flair F- Cffcia Sporsor of beadincforum.com.au| Visit our online store tor convenient shopping vith easy shopping cart and check aut Become a Crystal Flair member for free and receive 5% OFF all retail orders. ‘A Dosigner Discount program offors soleciod goods up to 50% OFF retail Email Yvonne: info@erystalfiair.com.au Phone: 08 9187 1888 Fax: 08 9187 1888, PO Box 99 Wickham WA 6720 Pe a meee www.therockshop.net doys y204 ay ren beadsetiemagazine.com.au orbeads ..... Issue 20, November 2008 MANAGING EDITOR Casey iitson Quilts SUBEDITOR Kay as a ctectine CREATIVE PHOTOGRAPHY Jim Sith Jol Coleman Weddifigs EXPRESSIONS STYLIST Kin Deven PRODUCTION MANAGER attleen Lite DESIGN TEAM LEADER fen figen’ eG Li vepaper EDITORIAL DESIGNER Jo artn ADVERTISING MANAGER aie How coPyRiGHT NOTICE ADVERTISING AND SUBSCRIPTION __Tenexrmsoon te ont mabe com: syste rrr het Alnor and ep oe ls Ena ny pte cad ee pies Got te ENQUIRIES " {eaznaiehapats smc ht no copeah ote anes een Uh con eA Sate infoeatething saci. com a {ng sta nea te awe ea i Cg ete eh ea Th ens eses59%22 {ech praca hve er cher ema andhaetoen peer ah Here aguante eeeehl mre Gc yey Sa mented sl Tm Gat PUBLISHER Pebach Segue inte ane Gnttata to ct oe f e sbloes Cioi Tavay Meda Py adit erat at ocuy esr sox eoretcete sree pot ans A nomauan soled he PRINTED BY KL Prnt-Sngnece sey pl popolitantoaenerasy leit ore Puaustico ay ‘Sms ang Maca Py Et AMA 81207 ue oece en Sepa vette Py Lt ABN gH BEB (COMPETITION TERMS AND CONDITIONS Presteyetoanycarpation es allacsqeanseo! al condshne al ety ainy the nce sey cpa Wal tse of Ace sept ul nose pet tr eos an eae ats ako ‘asyomcteseponss,soiced cpanis and ogensos acid yl Cas pean ANOLIY wILOA ect eh it ae com: sien the ated qr ha crest. nae el 503 ela ther unis se ot nce Fy 28 Noveao: 208 ues tated therwse entice tnd bead the mies mmsctten mare c/- Unadeote macenne, (Uae CAs ane MEL 250, Aramnanyhy anal aur ono szoyamucvevgmia sau Al quousa hold Ze dtd 8 [atts Reaves PO ex OH, Reve NOW 208, Ania WRoteto: wer arsveiegrcas bm au DismenpuNaRS Cv eg Media y Li pom 05855522 eters ND rine There wb omc Pty, threes 208 Th wine be fy mal tage on ‘tedgn scion ra sn nacoeepencono Wil be mira! nk ries le awa on ts ct cttrant whenennliabe the zackoge mst inchie tmnt co the ent te en ors erxedag snares nara skims onset pron erst of Bernt i be ote toa (biatnae Thectabererny tossed hore pocotionl meving eed pint pape unbatherioe tiated by te eters yas done wish to mone enyinbomaten aicltedie tha oes cely abo a ce (xsyourecny my TT ze cea Yeu tom on fot BREE A HOC Fas VY ED POO Gren Lina Pio ea tes) eth Amati Th 1800451140, si ne@ouemceoieo em ‘thine fenestra om the cmp chosing New Zana sen a Gaten rewsegensy rsoor Nat Withrow: person ya dealoay be zai We ca seniyos ember abut nl ‘wi ¢49e26<000 empcunonspocucter ce fur to ranctavoconzets cal Vetd ‘kd arog Al gases myo¥ed 6 ‘omni Neto Prvey inp Ws do et ll dia oat oa TI, youd nano ms eal i: cyst nang owmmrtaeen printer en is Rona valli @rseetleeraft em ne tae senses bees sapeeee + s8|wwubeadsetemagucneconau WWW.Deadsetcmagazine.com.au