Color your way to

Soutache & Bead Embroidery

creativity!
Learn new techniques for creating jewelry
with soutache and bead embroidery.
Author Amee K. Sweet-McNamara
offers her take on this braided material with
colorful earrings, bracelets, pendants, and
more. Her specialized techniques, learned
through years of working with soutache,
make it easy for beginners to create pieces

Soutache
bursting with colorful style.

Inside you’ll find:

° 18 detailed projects for beginners to & Bead

Embroidery
intermediate stitchers, each demonstrating
a new technique or design idea

° A thorough Basics section with techniques for

working with soutache
“Every piece I make kindles a little
spark, another idea, a new concept ° A beautiful gallery of the author’s work to
jostling against a dozen others all inspire your own creativity
clamoring to be developed. So, Once you begin working with soutache and
whether you are a bead enthusiast, bead embroidery, you’ll never want to stop!
fiber artist, or jewelry maker, I am
confident that this technique will
ignite your imagination as well, and
you too will become fascinated,
hooked, and ensnared.”

Sweet-McNamara
–Amee

www.KalmbachBooks.com
From the publisher of Bead&Button,
Bead Style, and Art Jewelry magazines

67507 U.S. $21.99

ISBN 978-0-87116-750-7
52199
CAN $22.99
Amee K. Sweet-McNamara
9 780871 167507 0 64465 16750 0

BKS-67507-CV_1,4.indd 1 9/27/13 3:07 PM

 Soutache
& Bead
Embroidery
Amee K. Sweet-McNamara

BKS-67507-FM.indd 1 9/27/13 3:08 PM

 This book is dedicated to my mother, Donna.

Though I have long since come to understand that her particular brand of poise,
patience, and strength is something to which I have not the faintest hope of
ever aspiring, she nevertheless inspires me. And so, I continue—with lurching,
graceless tenacity—to try.

Kalmbach Books
21027 Crossroads Circle
Waukesha, Wisconsin 53186
www.Kalmbach.com/Books

© 2014 Amee K. Sweet-McNamara

All rights reserved. Except for brief excerpts for review, this book may not be reproduced in part or in whole
by electronic means or otherwise without written permission of the publisher.

Numbered step-by-step photos and gallery images by the author. All other photography © 2014 Kalmbach
Books except where otherwise noted.

The jewelry designs in Soutache & Bead Embroidery are the copyrighted property of the author, and they may
not be taught or sold without permission. Please use them for your education and personal enjoyment only.

Published in 2014
18 17 16 15 14 1 2 3 4 5

Manufactured in the United States of America

ISBN: 978-0-87116-750-7
EISBN: 978-1-62700-088-8

Editor: Erica Swanson

Art Director: Lisa Bergman
Technical Editor: Jane Danley Cruz
Layout Designer: Tom Ford
Photographer: James Forbes

Publisher's Cataloging-in-Publication Data

Sweet-McNamara, Amee K.
Soutache & bead embroidery / Amee K. Sweet-McNamara.

p. : col. ill. ; cm.

Issued also as an ebook.

ISBN: 978-0-87116-750-7

1. Bead embroidery—Handbooks, manuals, etc. 2. Braid—Handbooks, manuals, etc. 3. Jewelry mak-

ing—Handbooks, manuals, etc. 4. Beadwork—Handbooks, manuals, etc. I. Title. II. Title: Soutache and bead
embroidery

TT860 .S94 2014

745.594/2

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 CONTENTS
Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

The Basics
Supplies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Chapter 1: Creating Basic Shapes

Princess Earrings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Koalas on Parade Bracelet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
VIP Pin or Pendant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Triple-Swirl Necklace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Arabesque Earrings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
Pinwheel Bracelet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Chapter 2: Adding Elements

Suspended Stone Necklace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Shebangin’ Shield Necklace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Sparrow’s Nest Earrings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
Bulletproof Bracelet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Bead-Me-Darkly Necklace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Full-Dress Thistle Earrings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Chapter 3: Layers and Light

Beaded Lariat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Nouveau Blues Earrings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
Rose Window Choker. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
Lady Josephine Bracelet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Blissful Abundance Necklace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
Chain, Chain, Chain Necklace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84

Author’s Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

Resources and Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94
About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

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 Foreword
By deciding to purchase this book, you have placed explained that she never told me because
yourself in the very capable hands of Amee K. she wanted me to make the color my own without
Sweet-McNamara. When I think of Amee, I’m feeling as if I had copied her.
reminded of a song from “A Chorus Line,” “I Can Amee had become fascinated with bead
Do That.” As a juried member of the League of embroidery. She started to create elaborate bead-
New Hampshire Craftsmen, an accomplished ed and fringed neckpieces. The first one she made,
painter, designer, writer, photographer, teacher, “Koala Face,” uses polymer clay and seed beads.
techno whiz, and cook, there is nothing that Amee The scale is quite large, but you can see it reflected
is not able to do. Readers and students of her in her smaller scaled, highly detailed soutache and
classes will be impressed by her patient attention bead embroidery of today. I wanted to combine
to detail, a hallmark of her teaching style. my love of found objects like telephone wire, paint
We met when my husband and I were house- swatches, and vintage buttons with Amee’s love
hunting in December of 2002. Our search led us of textiles and ornamentation, so we started a
to look at the Victorian neighboring Amee and creative back-and-forth. I’d give her a broken ear-
her husband’s home. When she saw us coming up ring and she’d make it into the center-piece of a
the walkway, she popped her head out the door, soutache embroidered component, which I would
introduced herself, and asked us in for tea. When use as an element in a piece of jewelry I designed.
we entered their home, we were embraced by She die-cut and stitched a button onto the paint
color. Rooms were painted in warm rich hues—one swatch I had given her. Anything I threw Amee’s
a deep saturated blue with touches of lime green, way, like the heroine in Rumpelstiltskin, she’d spin
another, a golden orange yellow, another, a martini into gold.
olive green, and yet another, a ruby slipper red. There has always been the excitement that goes
The palette was bold, fearless, and inviting—just back and forth between us as we build and create
like Amee herself. our jewelry. “Can I come over and show you what
As we sat around the table, we began the I made?” “I got this great idea and I want you to
relationship that would grow and evolve into the see it!” “Could you use these vintage pink pearl
friendship and artistic collaboration we enjoy today. cabs I found?” “I’m at a sticking point with this
At the time, Amee and her husband had taken up design; could you take a look at it and tell me
skydiving. (In hindsight, she could have easily called what it needs?“ "You usually go for earthy and
her business “Amee Jumps from Airplanes.”) monochromatic. You know what will really make it
We talked about our work, hers as a kitchen and pop? Semolina!”
bath designer, and mine as a jeweler who uses Amee will say she considers me to be her
“upcycled” elements. As a fiber artist, Amee had mentor and that she was motivated to create
a studio filled with fabric where she made woven her own jewelry business after seeing mine.
hats and purses from ribbon and trim. She gave Although I’ve shared my knowledge, experience,
me a “Welcome, Neighbor” hat and purse she had and materials with her, the truth is that we mentor
made. I reciprocated with a necklace I had made each other. Our friendship and collaborations use
from an antique chandelier crystal. the language of color, texture, and design. She
When we bought the house next door, I went has inspired me by finding her own voice as an
about selecting paint colors. Knowing I could rely artist, her commitment to excellence, her gratitude,
on Amee’s decisive and unerring eye, I asked her her nonstop creativity, and her drive to constantly
to help me to decide between the darker or lighter develop and refine her craft.
versions of a color from a Benjamin Moore paint
swatch I had picked for the kitchen. “That one, Victoria Tane, Nashua, NH
Semolina,” she said, with no hesitation. A few January, 2013
years later, we were having dinner at her house
and I commented that I had always meant to ask
what that golden orange yellow color in her dining
room was. She paused then said, “Semolina.” She

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 Introduction
For over 5,000 years, beads have been used to can’t quite remember how to do something,
create art and adornment. Beads themselves you can quickly take a peek back at the
come in an endless variety of materials, shapes, Basic Techniques section, which is arranged
sizes, and colors, and have been strung, woven, alphabetically for easy reference.
loomed, knitted and embroidered into everything Do you have to follow the instructions precisely?
from jewelry to place mats to key chains. And No, of course not! What if you have a slightly
based on the huge number of craft books currently different bead? What if you want to use alternate
available—each taking traditional techniques one colors? I encourage you to play! Experiment!
step further with a new stitch, pattern, or project— Color outside the lines! Run with scissors! For
it would seem that people’s curiosity and hunger me, beadwork is a joy. I simply want to share my
for new ways of creating with these oddly addictive knowledge and ideas with you in a way that will
particles of glass, shell, wood, and stone is inspire you to develop your own techniques that
equally infinite. resonate with your own artistic voice and illuminate
But what if there was a brand-new way of the Spirit of the Maker within you.
working with beads? A craft that was fundamen-
tally simple to learn and required no expensive
equipment or materials but which—like so many
beading techniques—was virtually unlimited in its
creative possibilities?
While simply a very new way of working with
very old materials, the results of soutache and
bead embroidery—curving, organic shapes and
rich textural combinations—absolutely demand
further exploration. Personally, I find that every
piece I make kindles a little spark, another idea,
another concept jostling against a dozen others all
clamoring to be developed. So, whether you are a
bead enthusiast, fiber artist, or jewelry maker, I
am confident that this technique will ignite your
imagination as well and you too will become
fascinated, hooked, and ensnared.
There are 18 projects in this book and—while
I encourage you to work on the projects you find
most exciting—it is important to understand that
the chapters and projects therein are laid out
to teach a new skill in each project and provide
greater challenges as you go. In Chapter 1, the
projects are more broken down with a greater
level of detail. In Chapter 2, the projects get more
challenging and the instructions are written with
the assumption that you’ve already mastered
much of Chapter 1. Chapter 3 provides even
more exciting projects, and the instructions will
be focused on the newest techniques.
Can you skip around in this book? Of course
you can! Just be prepared for the fact that you
may need to backtrack now and again to pick up
something you may have missed. Common tech-
niques are called out in boldface type so, if you

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 SUPPLIES

Soutache or metallized fibers (like Lurex), or any drape but, in general, it is slightly
Soutache is braid made up of fine combination thereof, and it is widely narrower, thinner, and more tightly
fibers wrapped figure-eight style available in both 1⁄8" and 1⁄4". In this braided. These qualities allow for
around two core cords. Also com- book, I use the 1⁄8" variety, and even more delicate, detailed work
monly referred to as Russia braid, within this seemingly narrow world, incorporating smaller beads.
soutache is one of the basic elements there are many variations of width,
used in passementerie—the French thickness, sheen, and drape. These Metallic: Metallics can be smooth
art of textile embellishment. This craft are very general categories: or textured and can add tremendous
includes tassel-making, upholstery sparkle to a piece. Remember to
enhancements such as gimp and Imported: Frequently made in wriggle or twist your needle if you
fringe, as well as clothing decoration, Thailand, imported soutache is usually encounter resistance when using
such as the swirling braids seen on made of polyester and is shiny, thick, metallic soutache, since forcing your
band and military uniforms. Soutache and wide. The fibers are loosely braid- needle through will break the fine
can be made of silk, polyester, rayon, ed, so it frays more at the cut ends, metallic fibers and cause burrs.
and it is susceptible to snagging. Its
beefier dimensions, however, make it The ”rib” of the soutache refers to
Before you begin, you’ll need
easier for a beginner to manipulate, the indented line running the length
a list of materials and tools,
and it works better with larger beads. of both sides of the braid. The ”grain”
along with a discussion of basic
soutache and bead embroidery Remember to cut your imported refers to the direction in which the
techniques. You can also refer soutache pieces extra-long to avoid fibers of the braid are oriented.
back to these pages when you having to fight with frayed ends.
need a refresher as you work on BeadSmith brand jewelry soutache:
the projects. Domestic: Domestic soutache runs This product is the first line of
the gamut in terms of sheen and soutache developed especially for

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 jewelry-makers, with much attention inside the soutache as you work, but often get caught in or slide through
paid to consistency of width, thick- larger versions of these shapes can the opening.
ness, and drape. Using this brand of be stitched to a foundation and
domestic soutache eliminates a lot of incorporated much like a cabochon. Headpins and eye pins: Use these for
headaches. The braid is very tight, so Shapes with a concave edge, like adding dangles to finished work.
there is less fraying, and the finished crescent, dogbone, kidney, or
work has a wonderful density that is bamboo shapes, do not work well. Toggles and clasps: Closures for
less apt to snag. The color selection your necklaces and soft bracelets are
includes solids, stripes, and metallics, Ear wires: Choose ear wires on which available in a wide variety of sizes,
all designed to work together. the “loop” part of the ear wire is in styles, and finishes. Choose findings
the same plane as the “hook” part. that enhance your finished work.
Other Materials This will allow the finished earring to
Beads: Beads may or may not serve hang perpendicular to the ear wire, Crimp tubes and covers: I like
as a focal point, but they always act and a little twist with a pair of pliers crimp tubes (instead of crimp beads)
as a support or armature for the can gently angle the work slightly because they have more surface
soutache. You’ll use all kinds of beads toward the front. (If the earring loop contact with the beading wire, giv-
in your work, including seed beads hangs parallel to the ear wire hook, ing the finished work more security.
in sizes ranging from 150 to 60 and a earrings will often stick out too much Check the label on your beading
selection of 3–8mm round, oval, cube, on the wearer’s head and/or get wire for the recommended size crimp
and bicone shapes. Barrels, teardrops, caught behind her jaw.) tube. Crimp covers that are 3mm hide
and double-cones that are 5–12mm the crimp for a professional finish.
work well, too. Flat beads like lentils, Jump rings: I use 6mm soldered
diamonds, and marquise shapes can jump rings almost exclusively. You Cuff blanks: Brass cuff blanks
be tricky, since they often spin around can use cut jump rings, but stitches come in a variety of shapes and sizes.

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 SUPPLIES

Think of the surface of the cuff as a Clothespins: Spring-loaded clothes- fusible webbing to bond my fabric to
canvas, and select the size that will pins are a great way to hold things in a beading foundation. This eliminates
best fit the work. place while gluing. the possibility of bleed-through from
glue and adds no bulk.
Beading foundation: My two Darning needle: I use darning
favorite beading foundations are needles for adjusting the final shape Glue: I really only use one kind
Lacy’s Stiff Stuff and Nicole’s Bead of a piece, for poking errant strands of glue: api brand Crafter’s Pick
Backing. Lacy’s is slightly lighter of beading wire or thread into place, washable fabric glue. It is nontoxic,
and more flexible, and can be dyed and even for getting glue exactly water-soluble, and behaves like the
or colored with a permanent marker. where I want it. Because they’re made good old-fashioned white glue we
Nicole’s is a bit heavier and is of steel, they can easily be wiped or all used in school. Unlike some of the
available in an assortment of rich, scraped clean. heavy-duty jewelry glues, it remains
vibrant colors. flexible after it dries so you can still
Drafter’s inking template: Inking run a needle through it. After about
Beading wire: For stringing, I templates allow you to trace basic two weeks, it's fully cured and can
recommend a 49-strand wire, such shapes such as circles, squares, and actually be hand-washed with soap
as Beadalon or Accuflex. Choose the ellipses quickly and accurately. You and water (an important feature for
size that offers the degree of drape can find them at most large office finished work that is essentially
that is appropriate for your project— supply stores. a textile).
thicker wire (.018) for larger pieces
with heavy beads, thinner wire (.024) Fusible webbing: When I want to Thread: Use a good-quality beading
for lighter work with small beads. bring Ultrasuede or another fabric to thread and select a color that coor-
the forefront, I use Mistyfuse brand dinates with your design, since it will
show on the back of the work. I like

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 Nymo brand thread, size B, and I Needles: I use size #10 long beading Scissors: Use one pair of large, fabric-
typically work with a 36" length. needles for pretty much everything. If cutting scissors and a smaller pair of
I’m working with tiny 150 seed beads, craft or embroidery scissors, which
Ultrasuede: For my backing, I use I might switch to a size #12. have very sharp points designed for
Ultrasuede Soft, the medium-weight cutting into small corners. A good
version of the product. It’s available in Pliers: Crimping pliers are used to pair of cuticle scissors can give you
a fabulous rainbow of colors that will flatten and fold crimp tubes; be sure great control when trimming the
enhance your design. to use the right-sized pliers for the backing from negative spaces.
tubes you’re using. Keep at least two
Tools pairs of flatnose pliers on hand. They Working space: A bead blanket is
Flush cutters: Use these for cutting can be used to tug a needle through inexpensive and keeps your beads
headpins down to size and snipping a resistant spot or open and close from rolling around. Cut it down to
away those pesky little ends of findings without marring them. Use the size of a cookie sheet.
beading wire. looping pliers to make centered loops
in dangles and bead-chain links. You
Iron: Use a regular household steam can use roundnose pliers, but if you
iron to bond your fabrics together. want to make a lot of bead chain, I
really recommend purchasing a pair
Markers: Use Sharpie-brand of bail-making or 6-in-1 looping pliers.
permanent makers to dye Lacy’s Stiff The noses of these types of pliers
Stuff without the mess. Just color are non-tapered, cylindrical shapes,
the piece you need with a color- allowing you to select a loop size
coordinated marker and wait a minute and get exactly the same size loop
or so to make sure it's dry. every time.

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 TECHN IQ
As you are working through the projects,
basic techniques will be noted in boldface
type. Most will quickly become second
nature to you, but you can return to this
section for a quick recap, if necessary.
1 Techniques are listed in alphabetical order
for easy reference as you work.

Add a jump ring

Working from the back of the work,
sew through two outermost braids where
2 you want your finding to be attached
(photo 1). Pick up a 6mm jump ring and
make three or four whip stitches to secure
GR AINTATION
ORIEN the jump ring behind the edge of the work
(photo 2). Bury the thread in the back of
the work, and trim.

3 Align and stack

Orient each length of soutache so the
grain of the braid is pointed in the
same direction (photo 3). Stack the
soutache, one piece on top of the other,
from bottom to top. Hold from the outer
4 edges to keep the stack aligned (photo 4).

Apply backing
Apply a dab of glue to the back of the
work. Use your finger, a darning needle,
or a toothpick to spread glue just to the
edges of the work (photo 5). Use glue
5 sparingly over the beads so it does not
ooze through to the front of the work.
Place the glued shape on the wrong side
of a piece of Ultrasuede, and let dry
completely (photo 6).

6 Backstitch
One of the basic stitches used in bead
embroidery, backstitch is used to lay down
a line of two beads at a time, often in a
curving path.
A. Sew up from the bottom of the beading
foundation. Pick up two beads (photo 7).
7 Sew down through the beading founda-
tion just barely beyond the end of the
second bead (photo 8).
B. Sew back up through the beading foun-
dation so the thread is exiting just behind
the second bead (photo 9). Sew through
8 the second bead, and pick up two beads.

10

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N IQUES C. Sew down through the beading
foundation just barely beyond the end of
the fourth bead (photo 10). Sew back up
through the beading foundation so the
thread is exiting just behind the fourth
bead. Sew through the fourth bead 9
(photo 11), and pick up two more beads.
D. Continue the pattern of sewing up
through the last bead added, picking up
two beads, and sewing down through the
beading foundation.
10
Bead chain
Bead chain is made of links, which are
created by stringing a bead on a headpin
and finishing each end with a centered
loop. The links are then joined to form
a chain.
A. String the desired bead or beads on a 11
headpin and make a centered loop at the
end (photo 12).
B. Slide the bead(s) toward the loop. Use
flatnose pliers to make a 90° bend just
above the bead(s).
C. Use flush cutters to cut the headpin 12
approximately 3⁄8" away from the bend
(photo 13). Use 6-in-1 looping, roundnose,
or bail-making pliers to curve the end of
the headpin into a centered loop.
D. Use two pairs of pliers to open one of
the loops. Insert the open end of the loop
through the closed loop of another link. 13
Close the loop (photo 14).
E. Repeat the previous steps until the
chain reaches the desired length.

Brick stitch
There are a number of different 14
edge beading techniques, some more
decorative than others. Brick stitch is one
of the most versatile, since the exposed
holes of the edge beads allow you to join
multiple components together.
A. Prepare the thread and bury the knot.
B. With the thread exiting the rib of the 15
outermost layer of soutache, pick up two
seed beads (photo 15).
C. Sew through the rib of the soutache
(approximately one bead's-width away
from where the thread last exited), and
sew diagonally out through the back of the

11

BKS-67507-01.indd 11 9/27/13 3:09 PM

 Ultrasuede very close to the edge
(photo 16).
D. Sew up through the second bead so the
needle exits between the last and the first
bead (photo 17).
E. Pick up another bead, and sew down
through the rib of soutache (about half a
bead's width away from the edge of the
last bead), and sew through the Ultrasuede
very close to the edge (photo 18). Sew
back up through the last bead (photo 19).
16 F. Repeat step E until you reach the
first bead. After you’ve added five or six
beads, you will begin to see that the beads
“stand up” with their holes facing outward
(photo 20).
G. Sew down through the first bead
17 (photo 21), and sew through the soutache
and the Ultrasuede. Sew back up through
the first bead, and sew down through the
second bead, soutache, and Ultrasuede
(photo 22). Bury the thread.

Bury the knot

18 From the front of the work, sew through
one of the larger beads and through
the soutache (photo 23) so the thread is
exiting the desired location. The knot will
be buried inside the bead or between the
bead and the inner braid of soutache.
19

MORE TECHNIQUES
Arabesque shape – p. 34
20 Asymmetrical split – p. 34
Buckle shape – p. 70
Concentric layers – p. 37
Curved ladder – p. 59
Eskimo slipper shape – p. 19
Halo shape – p. 49
Harp shape – p. 25
21 Koala face shape – p. 22
Ladder – p. 27
Layering components – p. 28
Lily shape – p. 30
Lollipop shape – p. 20
Open loops – p. 64
Negative space – p. 66
22 Rhinestone chain – p. 58
Parallelogram shape – p. 55
Soutache-wrapped strap – 82
Thread-wrapped strap – p. 74
Wrap a cabochon (with beads) – p. 45
Wrap a large bead (with soutache
only) – p. 42
23

12

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 Bury the thread
Slide the needle underneath three or four
of the whip stitches created by the edge
beading (photo 24), and trim the thread.
There is no need to knot the thread.

Centered loop
Use flatnose pliers to make a 90° bend
approximately 3⁄8" away from the end
of a headpin (photo 25). Use flatnose
pliers to hold the base of the headpin.
Use 6-in-1, rosary, roundnose, or bail- 24
making pliers to curve the end of the
headpin into a loop (photo 26).

Cover the crimp

Use flatnose pliers to close a crimp cover
over a crimp bead or tube (photo 27). 25

Create a bridge
Bridges usually appear at joins and are
decorative additions to the work.
A. Adjacent to any join, sew from the back
of the work to the front so that the thread
is exiting the innermost braid between the 26
bead and the join (photos 28).
B. Pick up one small, one slightly larger
bead, and another small bead. (This may
mean an 110, an 80, and an 110, or a 150,
an 110, and a 150, depending on the scale
of the work.) 27
C. Stitch down through the front of the
work at the corresponding point on the
opposite side of the join (photo 29).
D. Sew back up through the work so the
thread is exiting the innermost braid near
and closer to the join. Sew through the
middle bead (photo 30). 28
E. Stitch down through the front of the
work at the corresponding point on the
opposite side of the join. This second
stitch secures the bridge to the work and
creates a slight curve (photo 31).
29

ABOUT BRAID
The fine fibers of soutache braid give
it two almost magical properties: First,
it behaves almost like felt; stitches
are easily anchored inside the fibers 30
so, there is rarely a need to knot the
thread before trimming it. Second, the
fibers will open up or part, allowing
stitches made carefully on the front
of the work to sink into the braid and
essentially disappear.
31

13

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 Crimping
A. Position the crimp bead in the hole
of the crimping pliers that is closest to
the handle. Holding the wires apart,
squeeze the tool to compress the crimp
bead, making sure one wire is on each side
of the dent (photo 32).
B. Place the crimp bead in the front hole
of the tool, and position it so the dent is
facing outward. Squeeze the tool to fold
the crimp in half (photo 33). Tug on the
32 wires to make sure the crimp is secure.
C. Close a crimp cover over the crimp
bead by gently squeezing with the pliers
(photo 34).

Dangles
33 Slide bead(s) onto a headpin. Bend the
top of the headpin 90°. Cut the headpin
3⁄8" from the bend (photo 35). Use looping

pliers to bend the end of the headpin into

a centered loop (photo 36).

Edge beading
34 (See brick stitch.)

End the stack

Holding the work between your thumb
and forefinger, pull the stack behind the
work. Secure with tacking stitches (photo
35 37). Turn the work over and whip stitch
through and over all of the braids in the
stack (photo 38). Repeat three or four
times (this will keep tail ends of the braid
from fraying after they are trimmed). Trim
the ends of the braid (photo 39).

36 End the thread

Staying on the back of the work, sew
through a more layered area two or three
times. Cut the thread (photo 40). There is
no need to knot the thread.

37 Ladders
A ladder is any succession of beads
stitched between two separated stacks;
each stitch connecting the two stacks
holds one bead. These connections
become the “rungs” of the ladder. A
ladder can be straight or curved,
38 graduated or even, closed or open,
connected or independent.
A. From the outside of the stacked pair,
sew through the stack.
B. Pick up the desired bead. Sew through
the second stack from the outside to the
39 inside (photo 41).

14

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 C. Make one shaping stitch so the needle
is exiting half a bead's width away from
the edge of the last bead (photo 42). Sew
through the stack.
D. Pick up the desired bead. Sew
through the first stack from the inside
to the outside.
E. Repeat steps A–D as needed
(photo 43).

Prepare thread
Cut 36" of thread. Thread a needle, pulling 40
approximately 9" through the eye of the
needle. Tie an overhand knot on the other
end of the thread (photo 44). Tie another
knot directly on top of the first to double
the size of the knot (photo 45). Trim the
tail close to the knot. 41

TO BEAD
OR NOT TO BEAD
As the craft of soutache and bead
embroidery becomes more widely
known, many talented artists are 42
coming to the forefront, each with his
or her own distinctive patterns and
techniques. There are many ways of
tackling soutache, and one question
comes up quite often: Is edge beading
really necessary? 43
The short answer is “no.” There are
many artists who simply glue on a
backing. There are some who glue on
the backing and whip-stitch around
the edges. As a bead embroiderer
from way back, edge beading was my
natural go-to finishing technique— 44
and after trying other techniques, I
remain committed to edge beading.
No glue is forever, and nothing makes
me sadder than seeing beautiful work
that is falling apart. An adhesive is
a great placeholder, but stitching is
the mechanical connection required
45
to ensure longevity. Edge beading
makes a beautiful finished edge that
can easily be embellished, hides the
outermost shaping stitches, protects
the edges from wear and snags, allows
components to be strung together,
and secures jump rings deeply into the
work. For me, the benefits of strength
and durability far outweigh the expedi-
ency of other finishing methods.

I am a staunch, stubborn, steadfast

member of Team “To Bead.”

15

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 Shaping stitches
A variation on the running stitch, shaping
stitches coax the soutache into the curve
and hold it there. Shaping stitches should
be longer on the outside of the curve—
about ¼–3⁄8"—and shorter inside the curve
(about 1⁄16"). Shaping stitches are always
taken through the “ribs” of the soutache,
meaning that the needle is driven up
through the stack where the fibers of each
braid come together in a v. The stack
46 should be held in alignment so the needle
passes through all the ribs in the stack.
After completing several stitches, you
will be able to feel when the soutache is
correctly aligned because the needle slips
through the ribs more easily than it will
47 through the sides of the braids.
A. Holding the stack in the desired curve
and working from right to left, sew down
through the stack about ¼" to the left
(photo 46). (This counts as one shaping
stitch.)
B. Sew up through the stack about 1⁄16"
48 to the left (photo 47). (This counts as the
second shaping stitch.)
C. Repeat steps A and B as needed. A
shaping stitch is one stitch, irrespective
of length or whether it is inside or outside
the curve.
49
Tacking stitches
Sew from the back of the work through
the front of the work (photo 48). Sew
back down through all the layers as close
as possible to the point where the thread
exited (photo 49). Repeat this step two
50 more times, making each tacking stitch at
a slightly different location.

Trace a path
Sometimes you’ll need to get from
one area of the work to another without
51 pulling the work across the back or cutting
and re-knotting the thread. Simply sew
through the front of the work. Keep
stitches inconspicuous by burying them
in the soutache stacks and/or going
through the holes of larger beads until
the thread is exiting the desired location.

16

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 Training
While most of the process photos in this
book are shown with the work lying flat
on a surface, in truth, you will usually hold
the work in both hands. Training refers to
the practice of repeatedly stroking and
curving the loose strands of soutache
into the desired curve as you use shaping
stitches to gently secure them into place.

Trim the backing

After glue has dried completely, trim the 52
Ultrasuede. Be sure to trim the Ultrasuede
from behind the exposed portions of
jump rings (photo 50). Do not over-trim;
soutache should not be visible from the
back of the work. It is OK if a thin outline
of Ultrasuede is visible from the front of 53
the work.

Two-sided join
A. Separate the stacks of braids where
they meet, and pinch together the inner-
most braids of both stacks (photo 51).
B. If the thread is exiting between the 54
two innermost braids, sew through one
braid only from the inside to the outside
(photo 52). (If the thread is exiting outside
of the two innermost braids, sew through
both innermost braids.)
C. Sew back through both innermost 55
braids (photo 53).
D. Sew back through both inner braids and
the adjacent outer stack (photo 54).
E. Sew back through the outer stack, the
innermost braids, and the second outer
stack (photo 55). The braids have now
become one large stack. 56
F. Keeping the thread close to the bead,
retrace the thread path two or three times
until the join looks clean (photo 56).

Whip stitches
On the back of the work, sew through 57
the ribs of the stack, pushing the needle
away from you (photo 57). Pull the thread
toward you, and repeat (photo 58). Repeat
as necessary to bind the braids of the
stack together.

58

17

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 1
CREATING
BASIC
SHAPES Like most craft and art forms, soutache and bead
embroidery uses some basic shapes over and over
again. As you work through this chapter, you will master
these shapes and learn to recognize them. Even the most
elaborate necklaces or bracelets usually start with one
of these core concepts, so it’s helpful to be able to spot
them in a piece.

The names (Eskimo slippers, koala faces, harps...) are

simply what I call them. Over the years, as I worked
on different projects, I often did collaborative work with
my friend, Victoria Tane. I’d make little components that
she would then incorporate into her fantastic, eclectic
“Upcycled Jewelry.” She’d call me and say, “Hey, can you
make me a couple of those little three-bead puppies…
the ones that look like little koala faces?"

And that’s how it all began...

BKS-67507-02.indd 18 9/27/13 3:17 PM

 Basic Shape: The Eskimo Slipper

Princess
earrings

Tools
size 10 beading needle
scissors
flush cutters
flatnose pliers
looping pliers

Materials
½ yd. 1⁄8" imported soutache in each of 3 colors
(mint, chartreuse, and mauve)
2 12x8mm teardrop beads (vitrail fire-polished)
2 6mm glass pearls (Czech, fuchsia)
2 4mm druk beads (Czech, silver)
2 4mm bicone crystals (Swarovski, palace
green opal) The first basic shape is the “lollipop,“ but the lollipop
is not a finished shape—its stacks still need to be
110 seed beads
• 4g color A (transparent rainbow lime green)
ended in some way to complete a component. The
• 1g color B (apricot ceylon) “Eskimo slipper“ is the first possible finished shape
4 150 seed beads (coral-lined crystal lustre)
you can make after having completed a lollipop.
4 6mm soldered jump rings (silver plate)
Work your way through the instructions for these
pair of ear wires (silver) delicate and sparkling earrings, and you’ll learn how
2 2" 21-gauge headpins (nickel) to make both the lollipop, which you will use as a
Nymo thread, size B (rosy mauve) nucleus for many other shapes and projects, and the
2½x3" piece of Ultrasuede (glaze) Eskimo slipper, a wonderfully versatile shape that can
washable fabric glue be embellished in dozens of ways.

19

BKS-67507-02.indd 19 9/27/13 3:17 PM

 (Note that the Eskimo slipper is
an asymmetrical shape. It may take
a few tries to get a pair that are
true mirrors.)

Start with a lollipop shape

A. Prepare the thread. Cut one 8"
piece of soutache in each of three
colors. Align and stack in this order:
1 mint, chartreuse, and mauve. Locate
the center of the stack, and sew
through the stack from inside to
outside, keeping the ribs aligned
(photo 1). Working from right to
left, make three shaping stitches
2 (photo 2).
B. Pick up a 6mm bead, and sew up
through the center of the stack near
the knot (photo 3). Working from left
to right, make three shaping stitches
(photos 4, 5).
3
C. Sew through the 6mm and stack
(photo 6). Retrace the thread path.
D. Make a two-sided join (photo 7).
This shape (formed when a single
bead is wrapped and the stacks
come together in a two-sided join) is
4
referred to as a “lollipop.”
E. With the thread exiting the left
side of the join, pick up a 4mm bead
(photo 8). Training the large stack to
the left, sew through the stack where
5 the hole of the bead naturally meets
the stack (photo 9).
F. Working from right to left and
training the stack as you go, make
three or four shaping stitches
(photos 10, 11). End the stack.
6 G. Using a 150 seed bead, a color A
110 seed bead, and a 150, create a
bridge over the join (photo 12).
H. Add jump rings at the top
and bottom edges of the work
(photo 13).
7 I. Repeat steps A–H (training the
stack to the right in step F) to make
a mirror image of the first earring.
J. Apply backing to both compo-
nents. Let dry completely. Trim
the backing on both components,
8
cutting the backing away from the
exposed portions of the jump rings
(photos 14, 15).

20

BKS-67507-02.indd 20 9/27/13 3:17 PM

 K. Use color B size 110 seed beads
to edge-bead both components
(photo 16).

Assembly
A. String a teardrop bead and 4mm
bicone on a headpin (photo 17).
Make a centered loop above
the beads.
B. Connect the loop to a jump ring 10
at the bottom of the component
(photo 18). Repeat to embellish a
second earring.
C. Attach an ear wire to the jump ring
at the top of the component.
D. Repeat steps A–C to assemble the 11
second earring.

12

13

Delicate, airy soutache is

perfect for creating substantial-
but-lightweight earrings. 14

For some of the larger pieces

in this book, you'll embellish
with heavier stones, beads, and
cabochons. But in this smaller,
beginner piece, you'll find plenty 15
of colorful style that won't wear
you down!

16

17

18

21

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 Basic Shape: The Koala Face
Bonus Skill: Strung-Bead Connections

Koalas on Parade
bracelet

Tools
size 10 beading needle
scissors
flush cutters
flatnose pliers
looping pliers

Materials
1 yd. 1⁄8" imported soutache in each of three
colors (light yellow, reef gold, and dark taupe)
8 6mm druk beads (Czech, cream)
The “koala face“ is the second finished
16 4mm glass pearls (cocoa)
shape you can make after completing a
10 4mm faceted round beads (Czech
fire-polished, gold) lollipop. These symmetrical shapes can be
26 80 seed beads used alone, joined with other shapes, or
3g 110 seed beads (gold-lined antique white opal)
connected together to make something
2 6mm soldered jump rings, brass oxide
as elaborate as a necklace. This bracelet
2 2" 21-gauge headpins, brass oxide gives you the chance to practice making
6mm magnetic clasp (gold-plated) consistent, symmetrical shapes. When you
Nymo thread, size B (gold yellow) have six even components, edge-bead
3x3" piece of Ultrasuede (gold medal) them, string them together, and—voila!—
washable fabric glue koalas on parade!

22

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 Start with a lollipop
A. Prepare the thread. Cut one
6" piece of soutache in each of the
three colors. Align and stack in this
order: dark taupe, reef gold, and
light yellow.
B. Locate the center of the stack. Sew
up through the stack, keeping the
ribs aligned. Use shaping stitches to 1
make a lollipop around a 6mm bead
(see p. 20) (photo 1).
C. Separate the stack into two equal
stacks. With the thread exiting to the
right of the join, pick up a 4mm glass 2
pearl. Sew through the stack where
the hole of bead naturally meets the
stack (photo 2).
D. Working from left to right, make
four shaping stitches (photo 3). Pull
the stack behind the work and end 3
the stack (photo 4).
E. Trace a path so the thread is
exiting to the left side of the join
(photo 5). Use a 4mm and shaping
stitches to make a mirror image on 4
the left side of the join (photo 6).
F. Use a 110 seed bead, an 80 seed
bead, and an 110 to create a bridge
at the join (photo 7).
G. Repeat steps A–F five times to 5
make a total of six components
(photo 8).
H. Add jump rings to two of the six
components. On one component,
the jump ring should sit between the 6
“ears,” and on the other, it should sit
below the 6mm bead (photo 9).
I. Apply backing to all six compo-
nents. Allow to dry completely. Trim
the backing from all six components.
Be sure to cut the backing away from 7
the exposed jump rings.

23

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 J. Edge-bead all six components
using 110s (photo 10). Bury
the thread.
K. Prepare the thread. Start
connecting the components using
strung-bead connections; bury the
knot in one of the components that
does not have a jump ring so the
10 thread exits the edge beading at the
top left as shown (photo 11).
L. Pick up an 110, an 80, a 4mm
faceted bead, an 80, and an 110. Sew
through the edge beading of the
11 component that has the jump ring
attached below the 6mm bead at
the top right as shown (photo 12).
Retrace the thread path twice so
there are three passes of thread
through the beads.
12 M. Trace a path through the front of
the component so the thread is exit-
ing the edge beading at the bottom
right as shown (photo 13). Pick up
an 110, an 80, a 4mm faceted bead,
13 an 80, and an 110. Sew through the
first component at the bottom left as
shown (photo 14). Retrace the thread
path twice.
N. Trace a path to the bottom right as
14 shown (photo 15). Continue making
strung-bead connections between
components, ending with another
jump ring component. (You may find
that for some connections, it’s easier
15 to make four passes of thread so you
end up closer to your next exit point.)
O. String a 4mm pearl, a 6mm druk,
and a 4mm pearl on a headpin. Make
a centered loop at the end. Slide
the beads to the loop, trim the head
16 from the headpin, and make a second
centered loop to create a link. Repeat
to make a second link (photo 16).
P. Attach a link to one half of the
magnetic clasp. Repeat with the
17 other link and other half of the clasp
(photo 17). (I find that it’s easier to
attach the links to the closed clasp
and then pull the clasp apart.)
Q. Attach one half of the link-and-
clasp assembly to a jump ring on
18
one end of the bracelet (photo 18).
Repeat with the other half of the clasp
and the other end of the bracelet.

24

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 Basic Shape: The Harp
Bonus Skill: Layered Connections

VIP
pin or pendant
Tools
size 10 beading needle
scissors
flush cutters
flatnose pliers
looping pliers
fine-point permanent marker

Materials
1 yd. 1⁄8" imported soutache in each of three
colors (dijon, rust, and willow)
2 9x6mm glass pearl teardrops (gold)
The “harp” is the next naturally occurring
2 7x5mm glass pearl teardrops (gold)
symmetrical shape. Harps make great medium-
6mm druk bead (Czech, gold antique)
sized earrings, and they can be used in groups
2 6mm crystal bicones (Swarovski, olivine)
4mm druk beads
or with embellishment to create much larger
• 2 color A (green iris)
statement pieces. What sets harps apart from
• 2 color B (matte gold) the shapes in previous projects is the addition
4 60 seed beads (jonquil clear-lined papaya)
of “ladders.” A ladder is simply a row of beads
stitched between two stacks. Ladders can be
80 seed beads
curved, straight, parallel, graduated, open, or
• 8 color C triangle (forest green-lined topaz)
• 1 color D (olive metal matte)
closed. Getting your ladders smooth requires
careful attention to thread tension. Bear this
1g 110 seed beads (sparkly green-lined pale
amber round) in mind as you’re creating the outer curves of
6mm soldered jump ring (brass oxide) this piece: Use only enough tension to pull the
2" 21-gauge headpin (brass oxide) stack into the desired curve. It is not important
1¼" pin back that the stack be pulled tight to the beads in
vertical brooch converter the ladder. Once you see the curve you want,
Nymo thread, size B (olive) stop pulling!
3x3" piece of Ultrasuede (fern)
washable fabric glue

25

BKS-67507-02.indd 25 9/27/13 3:18 PM

 Component 1
A. Prepare the thread. Cut one 6"
piece of soutache in each of three
colors. Align and stack in this order:
willow, rust, and dijon.
B. Locate the center of the stack.
Sew up through the stack, keeping
the ribs aligned. Use shaping stitches
to make a lollipop around a 9x6mm
1 teardrop bead (see p. 20) (photo 1).
C. Use shaping stitches to secure the
stack to about an inch below the join
(photo 2). Trim the thread.
D. Repeat steps A–C twice, substitut-
ing the 7x5mm teardrop, to complete
2 a total of three lollipops, two smaller
than the first.
E. Prepare the thread. Position one
of the smaller lollipops to the right
of the larger one. Sew through
both large stacks beneath the joins
3
(photo 3).
F. Sew through the stacks again,
about ½" further down the stack. Sew
through the stack again so the thread
is exiting to the left of the join on the
larger lollipop. Position the second
4
small lollipop to the left of the larger
one. Sew through the join (photo 4).
G. Sew back through the entire
large stack. Retrace the thread path
several times, adding tension until
5 the lollipops begin to fan out slightly
(photo 5).
H. Use shaping stitches to secure
the ends of the large stack about ½"
below the joins. Retrace the thread
path several times to secure the
6 thread. Trim the thread.
I. Trim the loose ends of stack
about ¾" below the joins. Set the
component aside.

Component 2 (harp shape)

7 A. Prepare the thread. Cut four 12"
pieces of soutache: one of dijon,
two of rust, and one of willow. Align
and stack in this order: willow, two
rusts, and dijon. Locate the center of
the stack. Sew up through the stack,
8
keeping the ribs aligned (photo 6).
B. Use shaping stitches to make a
lollipop around a 6mm bead (see
p. 20) (photo 7).
C. Rotate the work so the 6mm is
closest to you. Separate the large
9
stack into two equal stacks, and train

26

BKS-67507-02.indd 26 9/27/13 3:18 PM

 the right stack into the desired curve
(the thread should be exiting to the
right of the join).
D. Pick up a 4mm color A bead, and
sew through the stack where the hole
of the bead naturally meets the stack
(photo 8).

Begin making a ladder

A. Working from left to right, make 10
one large shaping stitch. Pick up a
60 seed bead, and sew through the
stack, wrapping the center 6mm bead
(photo 9).
B. Working from left to right, make
one small shaping stitch so the thread 11
is exiting the stack approximately
half the width of an 80 seed bead
away from the 60 (photo 10). Pick up
a color C size 80 triangle seed bead,
and sew through the outer stack
12
(photo 11).
C. Adjusting the length of the stitches
for the size of the beads, work as in
step B to add three more color C
beads to the ladder (photo 12).
D. Trace a path through the 6mm, and
13
work so the thread is exiting to the
left of the join. Working from right to
left, make a mirror image on this side
of the component (photo 13).
E. Sew through the stack, wrapping
the center 6mm (photo 14). Pick up a 14
6mm crystal bicone, and sew through
the left stack (photo 15).
F. Retrace the thread path through
the left stack, and sew through the
right stack. Retrace the thread path
through the right stack. Sew through 15
the bicone and the stack wrapping
the 6mm (photo 16). Retrace the
thread path through the stack and
the bicone.
G. Make a two-sided join below the
bicone (photo 17). 16
H. Rotate the work so the 4mm beads
are closest to you. Separate the large
stack into two equal stacks, and train
the right stack into the desired curve
(the thread should be exiting to the
17
right of the join).
I. Pick up a 4mm color B, and sew
through the stack where the hole of
bead naturally meets the stack (photo
18). Working from left to right, make
four shaping stitches.
18
J. Pull the stack behind the work. Use

27

BKS-67507-02.indd 27 9/27/13 3:18 PM

 tacking stitches and whip stitches to
end the stack.
K. Sew from the back of work so the
thread is exiting to the left of the last
join. Working from right to left, work
as in steps I and J to create a mirror
image (photo 19).
L. Using an 110 seed bead, a color
D 80 seed bead, and an 110, create
19 a bridge at the join over the 6mm
(photo 20).
M. Add a jump ring between the two
color B beads (photo 21).

Assembly
20 A. Position Component 1 behind
Component 2 between the two
A beads (photo 22). Use tacking
stitches to secure Component 1 to
Component 2 (photo 23).
B. On the back of the work, position
21
the pin back so the hinge is closest
to the teardrop end of the work.
Stitch the pin back to the work, being
careful not to sew it through to the
front (photo 24).
C. Fold a piece of Ultrasuede in half,
22
wrong side out. Position the fold
along the pin back, and use a fine-
tip permanent marker to mark the
locations of the hinge and clasp. Snip
small openings at the marks. Be sure
23 to snip vertically for the hinge and
horizontally for the clasp. Test-fit the
Ultrasuede over the work to be sure
that openings slide all the way over
the hinge and clasp.
D. Apply glue to the back of the
24 work. Spread thinly. Avoid getting
glue on the hinge or clasp.
E. Refit the Ultrasuede, wrong side
down, over the pin back. Let dry
completely. Trim the backing. Be sure
to trim the Ultrasuede away from the
25 exposed portion of jump rings.
F. Edge-bead the work using 110s
(photo 25).
G. String a 9x6mm teardrop bead, a
60 seed bead, a bicone crystal, and
a 60 on the headpin. Make a dangle.
26
Connect the dangle to the jump ring
(photo 26).
H. To wear the pin as a pendant, open
a pin-back, slide the brooch converter
over the pin, and close the pin back.

28

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 Basic Shape: The Lily
Bonus Skill: Picot Edge beading

TRIPLE-SWIRL
necklace
Tools
size 10 beading needle
scissors
flush cutters
flatnose pliers
crimping pliers

Materials
1yd. 1⁄8" imported soutache
in each of four colors (pewter,
copen, light turquoise, and orange)
3 9x6mm glass pearl teardrop (silver)
9 6mm druk bead (hot pink)
10 4mm druk beads (red)
8 6°ˉ seed beads (Czech, purple metallic)
8°ˉ seed beads
• 2g color A (dove gray opal)
• 2g color B (medium lilac opal)
• 1g color C (dark yellow opaque)
3 6mm crystal bicone (Swarovski, Montana AB)
3g 11°ˉ seed beads (mint green)
1g 15°ˉ seed beads (Montana blue-lined
crystal AB)
4 6mm soldered jump ring (silver)
2 2" 21-gauge headpin (silver)
4x4" Ultrasuede (silver pearl) The “lily” is really just a harp taken a few steps further.
Nymo thread, size B (sterling) As you make this necklace, focus on symmetry; the
2 ft. 49-strand beading wire lily itself needs to be very balanced, and the Eskimo
4 crimp tubes (silver) slippers at the top of the piece should be almost
4 crimp covers (silver) perfect mirrors of one another.
toggle clasp
washable fabric glue

29

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 Center component, part 1 (lily)
A. Prepare the thread. Cut one
18" piece of soutache in each of
four colors. Align and stack in this
order: copen, light turquoise, orange,
and pewter.
B. Locate the center of the stack.
Sew up through the stack, keeping
the ribs aligned. Use shaping stitches
1 to make a lollipop around a 9x6mm
teardrop bead (p. 20) (photos 1, 2).
C. Using a 6mm bead, a 4mm bead, a
60 seed bead, a color A 80 seed bead,
a color B 80 seed bead, and a color
C 80 seed bead to make two ladders
2 connected by a 6mm bicone crystal,
continue working as in the harp
(p. 26) until you complete the second
join (photos 3, 4, 5).
D. Rotate the work so the 6mms are
closest to you. Separate the large
3
stack into two equal stacks (photo 6).
The thread should now be exiting to
the right of the join.
E. Pick up a 4mm and sew through
the stack where the hole of bead
naturally meets the stack (photo 7).
4
Using a 60, an A, and an 110 seed
bead, make a graduated ladder
between the loose stack and the stack
of the previously built ladder. Close
the ladder by stitching the two stacks
5 together (photo 8).
F. Pick up a 4mm, and sew through
the stack where the hole of bead
naturally meets the stack. Make four
shaping stitches, wrap the bead,
bringing the stack behind the work
6 (photo 9), and end the stack.
G. Pull the thread across the back of
the work and sew through the stack
near the join so the thread is exit-
ing to the left of the join (photo 10).
Work as in steps E–G to make a mirror
7 image on the other side of the join
(photo 11).
H. Use an 110, a C, and an 110 to
create a bridge at the join under the
teardrop (photo 12). End the thread.

8
Center component, part 2
A. Cut eight 6" pieces of soutache,
two in each of four colors. Align and
stack in this order: pewter, orange,
light turquoise, two copen, light
turquoise, orange, pewter. Locate the
center of the stack. Sew up through

30

BKS-67507-02.indd 30 9/27/13 3:19 PM

 the stack, keeping the ribs aligned.
B. Use shaping stitches to make
a lollipop around a 6mm (p. 20)
(photos 13, 14). (Note: This is a larger
stack, so you may need more shaping
stitches to bring the stack smoothly
around the center bead.)
C. Use an 110, a C, and an 110 to
create a bridge at the join under the
6mm. Trim the large stack (photo 15). 9
D. Place Part 2 behind Part 1 as
shown (photo 16). Use tacking
stitches to secure; end the thread.

Side components (Eskimo slippers)

A. Cut one 8" piece of soutache in 10
each of four colors. Align and stack
in this order: copen, light turquoise,
orange, and pewter. Locate the
center of the stack. Sew up through
the stack, keeping the ribs aligned.
11
B. Use shaping stitches to make a
lollipop around a 4mm (p. 20)
(photo 17).
C. Using a 6mm, continue as in the
Eskimo slipper (p. 19) (photo 18, p.
32). (Note: Because the stack is larger
12
and the bead sizes are reversed, the
resulting shape is rounder and fatter
than previous Eskimo slippers. Adjust
the length and/or number of shaping
stitches to fit the larger overall shape.)
D. Use an 110, a C, and an 110 to 13
create a bridge at the join under the
4mm. End the thread.
E. Add a jump ring above the 4mm
(photo 19, p. 32).
F. Working as in steps A–E, make
another Eskimo slipper a mirror image 14
of the first.

Finishing components
A. Apply backing to all three
components. Let dry completely. Trim
the backing from the components, 15
including the exposed jump rings.
B. Edge-bead all three components.
If desired, add picot edge beading.
C. Bury the knot in the face of the
work. Pick up two 110s, hold the work
16
face down, and, working from left to
right, sew on a diagonal through
the rib of the soutache and the
Ultrasuede two bead widths away
from where the thread last exited
(photo 20, p. 32). Sew back through
17
the second bead.

31

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 D. Pick up a 150 and an 110. Sew on
a diagonal through the rib of the
soutache and the Ultrasuede one
bead width away from where the
thread last exited (photo 21). Sew
back through the last 110.
E. Pick up an 110, and sew on a diago-
nal through the rib of the soutache
and the Ultrasuede one bead width
18 away from where the thread last ex-
ited. Sew back through the last bead.
F. Repeat steps D and E until the
edge beading is complete. Notice
that the 150s “stand up” on top of the
110s, forming a decorative picot. Bury
19 the thread.
G. Use this picot edge beading
technique on all three components.

Assembly
A. Bury the knot in the face of the
20
center component so the thread is
exiting the edge beading at the top
left. Pick up an 110, a B, and an 110.
Sew through the edge beading of the
left side component as shown (photo
22). Retrace the thread path twice.
21
B. Trace a path through the side
component so the thread is exiting
the edge beading where shown.
Pick up an 110, a B, and an 110, and
sew through the edge beading of
22 the center component (photo 23).
Retrace the thread path twice. Bury
the thread.
C. Work as in steps A and B to attach
the right side component.
D. Cut 12" of beading wire. Loop the
23 beading wire through the jump ring.
String a crimp tube over both ends
of the beading wire. Crimp the crimp
tube (photo 24). Close a crimp cover
over the crimp tube (photo 25). Re-
peat on the other side component.
24 E. String the remaining beads on the
beading wire to the desired length.
Use crimps to attach a jump ring to
each end. Finish with crimp covers.
F. Use two 6mms and two headpins
to make two bead chain links. Attach
25
each link to a jump ring on one end
of the strung beads. Repeat on the
other side.
G. Attach the loop on the other side
of the link to one half of a toggle
clasp. Repeat on the other side.

32

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 Basic shape: Asymmetrical Split
Bonus Skill: Using Striped Soutache

Arabesque
earrings
Tools
size 10 beading needle
scissors
flush cutters
flatnose pliers

Materials
1 yd. 1⁄8" imported soutache in each of two colors
(charcoal and pewter)
2 yd. 1⁄8" imported soutache (black)
1 yd. 1⁄8" domestic soutache (black-and-white
stripe)
2 10mm faceted glass round beads (smoke gray)
6mm beads
• 2 color A (Czech, silver gray)
• 2 color B (Czech, fire-polished, jet)
• 2 color C (cat’s eye, black)
4mm beads This will be the last basic shape that starts with the
• 2 color D (Czech, fire-polished, hematite) lollipop. It’s not really even a shape—it’s more of a
• 2 color E (Czech, silver gray) concept. Up until now, every time you’ve made a join,
2 60 seed beads (black matte) you’ve then separated the large stack into two equal
80 seed beads stacks. But what if you separated them into unequal
• 8 color F (jet matte) stacks? The result is an asymmetrical shape that is
• 4 color G (gilt-lined, soft gray opal) reminiscent of arabesque design motifs.
1g 110 seed beads (black diamond, silver-lined)
4 6mm soldered jump ring (silver-plated) If you don’t have striped soutache, don’t worry—just
2 2" 21-gauge headpin (silver) use what you’ve got on hand. But at some point, try
2 filigree bead caps (silver-plated) working with some two-tone soutache. Its tiny pattern
pair of ear wires adds a whole new level of detail to the work.
Nymo thread, size B (black)
washable fabric glue

33

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 Start with a lollipop
A. Prepare the thread. Cut five 12"
pieces of soutache: two of black and
one each of pewter, charcoal, and
black-and-white stripe. Align and
stack in this order: charcoal, black,
stripe, black, pewter (for best results,
the stripe should be sandwiched
between the solid soutache).
B. Locate the center of the stack. Sew
1 up through the stack, keeping the
ribs aligned. Use shaping stitches to
make a lollipop around the 6mm color
A bead (p. 20) (photo 1).
C. Rotate the work so the A is closest
to you. Separate the stack into two
unequal stacks, with four braids
2 curving to the left and six braids
curving to the right (photo 2). The
thread should be exiting to the right
of the join.
D. Pick up a 6mm color B bead, and
sew through the stack where the hole
3 of bead naturally meets the stack. Use
shaping stitches to wrap the bead.
End the stack (photo 3).
E. Pull the thread across the back of
the work, and sew through the join so
the thread is exiting to the left of the
join. Pick up a 6mm color C bead, and
4 sew through the stack where the hole
of the bead naturally meets the stack
(photo 4).
F. Working from right to left, make
one large shaping stitch (photo 5).
(Note: Think about where you want
5 your needle to exit the stack. The
next bead is going to be a 4mm
bead, so where should the thread
exit so the 4mm will fit comfortably
next to the 6mm?)
G. Pick up a 4mm color D bead.
Sew through the stack, wrapping
6 the center A. Continue creating a
ladder using one 60 seed bead and
four color F 80 seed beads (photos
6, 7). Retrace the thread path through
the last F twice.
7

34

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 H. Pick up a 4mm color E bead, and
sew through the stack where the hole
of the bead naturally meets the stack
(photo 8). Make four shaping stitches,
wrapping the stack around the E. End
the stack (photo 9).
I. Use a 110 seed bead, a color G 80
seed bead, and an 110 to create a
bridge at the join over the center
6mm (photo 10).
J. Add jump rings at the top and 9
bottom joins (photos 11, 12).
K. Make a second earring, reversing
the apportionment of braids in step
C so that four braids curve to the
right and six braids curve to the left.
Continue working to make a mirror
image of the first piece. 10

Finishing
A. Apply backing (photo 13). Let dry
completely, and trim the backing.
B. Edge-bead both components with
110s (photo 14). 11
C. String a 10mm bead, a bead cap,
and a G on a headpin. Create a
centered loop above the G. Repeat
to complete a total of two dangles
(photo 15).
D. Attach the loop of an ear wire to
the top of one component. Attach 12
the loop of a dangle to the bottom
of the component. Repeat for the
second earring.

13

14

15

35

BKS-67507-02.indd 35 9/27/13 3:20 PM

 Basic Shapes: spirals and pinwheels
Bonus Skill: Embellished Edge beading

Pinwheel bracelet

Tools
size 10 beading needle
scissors

Materials
2 yd. 1⁄8" imported soutache in each of four
colors (chartreuse, delphinium, garden
rose, and rust)
6mm druk beads
• 4 color A (Czech, matte copper)
I love beads—and I love soutache. Most often, I like my
• 1 color B (antique gold)
work to represent a balanced interplay between the two.
4mm glass pearls
But occasionally, I’ll look down at a handful of soutache
• 8 color C (olivine)
colors together and just fall completely in love with the
• 9 color D (burgundy)
material all over again. Concentric layers of soutache are a
10 80 seed beads (jonquil clear-lined
papaya) great way to let the braid have a little time to itself in the
12 100 hex-cut cylinder beads (metallic
spotlight, and that’s what this piece is all about.
rainbow gold/violet)
2g 110 seed beads (dark bronze) This project is also an introduction to organic design. Rath-
.5g 150 seed beads (silver-lined smoky er than having a concrete pattern or final outcome in mind,
topaz) begin creating from the heart, letting your eye tell you what
6mm magnetic clasp (gold plate) to add. Once you've created a focal point, begin creating
Nymo thread, size B (gold yellow, light other small components to enhance it and complete the
purple, red, olive)
3 3x4" pieces of Ultrasuede (brass, fuchsia,
piece. If you are ever stymied by stitcher’s block, gather the
and fern) materials you love, and simply begin with no end-game in
washable fabric glue sight. The results will surprise you.

36

BKS-67507-02.indd 36 9/27/13 3:20 PM

 Circles
A. Prepare the thread. Cut a 10" piece of
chartreuse soutache. Fold one end of the
soutache length on a 90° angle 2" from
the end.
B. Pinch the soutache just below the fold,
and sew through the fold (photo 1). Pinch
the fold a little tighter, and sew through
the fold again in same direction as before. 1
C. Rotate the fold 180°. Sew through
the fold and the newly wrapped layer
of soutache (photo 2). Rotate the work
180°. Retrace the thread path through the
work, including the newly wrapped layer 2
of soutache (photo 3).
D. Continue rotating the work and sewing
back through to wrap and connect layers
until the work is about five or six layers
across. Turn the fold 180°. Sew through
the fold and the newly wrapped layer of 3
soutache (photo 4).
E. Turn the work over so the short end
of the soutache is sticking up (this is the
back of the work). Sew through the
outer layer on a diagonal, exiting the 4
back of the work (photo 5).
F. Rotate the work 90° (this rotation wraps
a bit more length of soutache around the
core). Sew through the outer layer on a di-
agonal, exiting the back of work (photo 6). 5
G. Continue rotating the work and
stitching on the diagonal, building up the
diameter of the circle until you reach the
desired size (mine is 3⁄4"), exiting the back
of the work (photo 7). 6
H. Pull the loose end over the back of
the work. Use tacking stitches to secure
the loose end to the back of the work.
Repeat for the short end of soutache.
Trim the ends.
7
Spirals
A. Prepare the thread. Cut a 10" piece
of delphinium soutache. Sew through
the soutache about 1½" from one end.
Working from right to left, make one
shaping stitch.
B. Pick up a color B 6mm bead. Sew
through the braid approximately 3⁄8" to
the right of where the thread last exited.
C. Pull the soutache around one side
of the bead. Retrace the thread path
through the braid, bead, and braid
(photo 8, p. 38).
D. Wrap the long end of the braid over
the short end. Sew through the braid,
bead, and both layers of braid.

37

BKS-67507-02.indd 37 9/27/13 3:20 PM

 E. Rotate the work 180°, letting the
longer end of the braid wrap the
work. Retrace the thread path through
the braid, bead, and braid (photo 9).
Rotate the work 180°, letting the longer
end of the braid wrap the work. Retrace
the thread path through the braid,
bead, and braid.
F. Turn the work over so the short
8 end of soutache is sticking up (on the
back). Sew through the outer layer on a
diagonal, exiting the back (photo 10).
G. Rotate the work 90° (this wraps a bit
more soutache around the core). Sew
through the outer layer on a diagonal,
9 exiting the back of the work.
H. Continue working and finish as in
step H of “Circles.”

Pinwheels
A. Prepare the thread. Cut two 10"
10
pieces of soutache, one each of
delphinium and rust. Align and stack
in that order. Sew through the stack
about 1½" from one end.
B. Fold the stack over the knot. Sew
through both stacks close to the fold
11
(photo 11). Retrace the thread path.
C. Wrap the short end of the stack
behind the long end. Sew through the
fold (photo 12).
D. Rotate the work 180°, letting the
12 long end of the stack wrap over the
fold. Sew through the stack and the
fold (photo 13). Rotate the work 180°,
letting the long end of the stack wrap
around the work. Sew through the work.
E. Continue working as in steps D–G
13 of “Circles” until the circle is 2" in
diameter. To end the stack, secure the
inner braid first and then the outer
braid (photos 14, 15). Trim the ends.

Arrange the bracelet components

14 A. Make 10–15 circles, spirals, and
pinwheels in multiple colors and sizes.
B. Measure loosely around your wrist,
and add an inch. This is the finished
length of your bracelet. Arrange the
shapes in a pleasing composition
15
(photo 16).
C. Use tacking stitches to layer and
connect shapes (photo 17) to create
one large and two small components (I
also left one circle, spiral, or pinwheel
unconnected). Use whip stitches to
16
attach a magnetic clasp half to the left

38

BKS-67507-02.indd 38 9/27/13 3:20 PM

 end of the left small component and the
other to the right end of the right small
component.
D. Apply backing. Use a different color
Ultrasuede on each component. Press
the large component over a small
cylinder (I used a candle jar) (photo 18).
Let dry completely, and trim.
E. Edge-bead all components using
110 seed beads. 17

Embellished edge beading

A. Bury the knot in the face of the
work. The thread should exit the edge
beading where you wish to embellish.
B. Pick up a 150 seed bead, a 100 hex 18
bead, and a 150. Push the beads down
to the edge beads, and sew back
through the hex bead.
C. Pick up a 150, and sew down through
the next edge bead (photo 19). Sew up
19
through the following edge bead.
D. Repeat steps B and C until the
desired area is embellished.
E. On a new component, follow steps
A–C, substituting 4mm glass pearls for
the hex bead. Alternate pearl colors, if
20
desired (photo 20).

Assembly
A. Bury the knot in the face of the large
component. Exit the edge beading at
the top right, and pick up an 80 seed 21
bead, a color A 6mm bead, and an
80 (photo 21). Sew through the edge
beading of the right-hand component at
the desired location (photo 22). Retrace
the thread path twice.
B. Trace a path to the next desired 22
connection point so the thread is exiting
the edge beading. Pick up an 110, a
4mm, and an 110. Sew through the edge
beading of the center component where
desired (photo 23). Retrace the thread
path twice. Bury the thread. 23
C. Measure the work. Make another
component, if needed.
D. Continue making connections as in
steps A and B. Embellish other areas of
edge beading as desired.
24
E. Make a swag (a longer connection)
(photo 24): Bury the knot in the face
of the work so the thread is exiting the
edge beading. Pick up a series of beads.
Sew through the edge beading at the
desired location, and retrace the thread
path twice. Bury the thread.

39

BKS-67507-02.indd 39 9/27/13 3:20 PM

 2
ADDING
ELEMENTS
Once you’ve mastered the basic shapes, the natural
question arises: “Cool. Now what?”

Well, there are many wonderful things in the beading

world that are simply begging to take their turn with
soutache and bead embroidery. Flat beads, cabochons,
rhinestone chain—the list is long. The projects in this
chapter are designed to dramatically expand your abilities.
Because you’ve completed basic shapes in Chapter 1,
you’ll see that the instructions are written in a more
simplified fashion; instead of 12 written steps designed
to teach you how to create a lollipop, the instructions will
now read simply, “Make a lollipop.”

Don’t worry – you can always go back if you need a

refresher on something.

So go on…

Play with the new elements…

BKS-67507-03.indd 40 9/27/13 3:21 PM

 Concentration: Working with Large, Flat Beads
Bonus Skill: Working with Metallic Braid

Suspended
Stone necklace
Tools
size 10 beading needle
scissors
flush cutters
flatnose pliers
looping pliers
permanent marker (purple)

Materials
10" 1⁄8" imported soutache in each of five colors
(purple, scarlet, antique, metallic bronze, and
willow)
40x30mm flat top-drilled teardrop pendant
(purple crazy lace agate)
25x18mm flat oval bead (purple crazy lace agate)
4 9x6mm glass pearl teardrops (bronze)
8x20mm treated quartz drop
4 6mm round beads (bronze)
80 seed beads
• 13 color A (olive metal matte)
• 8 color B (opaque frosted, red pepper)
1g 110 seed beads (topaz silver-lined)
2 6mm soldered jump ring (copper oxide)
4 2" 21-gauge headpin (copper oxide)
12" chain (antique copper)
toggle clasp (antique copper)
You now know how to wrap a small, round bead, but
Nymo thread, size B (dark purple) what if you want to wrap a larger bead? A larger bead
Fireline, size D (crystal) will want to spin within the frame of soutache, which
11⁄2x2" foundation makes it difficult to get a nice, clean join. This project
2x21⁄2" Ultrasuede (scoundrel) will explain how to overcome that obstacle.
washable fabric glue

41

BKS-67507-03.indd 41 9/27/13 3:21 PM

 Center component
A. Color one side of the beading
foundation with a permanent marker
(don’t worry about getting all the way
to the edges or getting your color
perfectly even—this is just to take the
edge off the white).
B. Apply a small dab of glue to one
side of the 25x18mm flat bead, and
glue it to the center of the beading
foundation. Let dry completely.
C. Cut five 10" pieces of soutache,
1 one in each of all five colors.
D. Prepare the thread. Sew up
through the beading foundation close
to the hole of bead (photo 1). Sew
through the bead. Sew down through
the beading foundation close to the
hole of the bead. Retrace the thread
2 path several times, keeping the
thread close to the bead.
E. Trim around the bead. Be careful
not to cut the threads. Keep a thin
margin of beading foundation around
the bead.
F. Working from the back, sew on a
diagonal through the beading founda-
3
tion so the thread is exiting the edge
of the beading foundation at the
center of one of the long sides of
the bead (photo 2). Sew through
the center of the purple length of
soutache at the rib.
G. Working from right to left, use
4 shaping stitches to attach the single
length of soutache to the edge of the
beading foundation. Stop when you
reach the point opposite the starting
point (photo 3).
H. Sew back up through the start-
ing point. Working from left to right,
5 attach soutache to the other side of
the beading foundation. Sew back up
through the starting point (photo 4).
I. Align and stack the remaining
four pieces of soutache in this order:
scarlet, antique, metallic bronze, and
willow. Locate the center of the stack.
6 Sew through the center of the stack.
Working first from right to left, use
shaping stitches to attach the stack
to the work.
J. Sew back up through the
starting point. Attach a stack on the
opposite side.
K. Make a two-sided join where the
7
stacks meet (photo 5).

42

BKS-67507-03.indd 42 9/27/13 3:21 PM

 L. Separate the large stack into two
equal stacks. Pick up a 6mm bead,
and sew through the stack on one
side of the join where the hole of the
bead naturally meets the stack. Wrap
the bead, and end the stack. Repeat
on the other side of the join with
another 6mm (photo 6).
M. Use an 110 seed bead, a color A
80 seed bead, and an 110 to create a
bridge over the join. Add jump rings
at the top left and right (photo 7).
N. Apply backing, trim backing, 8
and edge-bead with 110s. Bury the
thread.

Add swags
A. Using a 30" piece of Fireline, bury
the knot in front of the work so the
thread is exiting the edge beading at 9
the bottom left corner (photo 8).
B. Pick up eight 110s, an A, a
40x30mm flat teardrop, an A, and
eight 110s. Sew up through the edge
beading at the corresponding right
corner of the work (photo 9). Retrace
the thread path.
10
C. Trace a path so the thread is
exiting the edge beading one bead
to the left of the edge bead from
step A. Pick up three 110s, an A, an
110, a 9x6mm teardrop, an 110, a B,
an 110, an A, a 6x20mm quartz drop,
an A, an 110, a B, an 110, a 9x6mm
teardrop, an 110, an A, and three 110s. 11
Sew through the edge beading one
bead to the right of the edge bead
from step B (photo 10). Retrace the
thread path, and bury the thread.
D. Make four bead chain links as
shown (photo 11).
E. Attach a loop on each of the longer 12
links to a jump ring on the center
component. Attach 6" of chain to the
other end of each longer link (photo
12). Attach short links to the other
ends of the chains. Attach half of a
toggle clasp to each remaining short
link loop (photo 13). 13

43

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 Concentration: Working with Cabochons
Bonus Skill: Working with domestic soutache

Shebangin’ Shield
necklace
Tools
size 10 beading needle
scissors
flush cutters
crimping pliers
flatnose pliers
looping pliers

Materials
1 yd. 1⁄8" domestic
soutache in each of
three colors (merlot,
ivy, and ruby glint)
polymer clay pieces
• 55x45mm shield-
shaped cabochon
• 2 45x35mm shield-shaped cabochons
• 4 10mm lentil-shaped beads
5 14x14 mm puffed square beads (elephant skin
jasper)

9 8x6mm fire-polished, faceted oval beads
(Czech, bronze)
10 6mm druk beads (antique gold)
4 4mm druk beads (matte gold)
80 seed beads
• 50 color A (permanent-finish saffron)
• 90 color B (topaz, silver-lined)
11g 110 seed beads (matte gold)
2g 150 seed beads (transparent rainbow smoky As if there weren’t enough beautiful beads to choose
topaz) from out there, life has to go and throw us cabochons,
7 6mm soldered jump ring (brass oxide) those delightful little flat-backed nuggets of loveliness
5 2" 21-gauge headpin (brass oxide) that—alas and alack—have no hole. Not to worry! In
4 #2 crimp tubes (gold-plated) this project, you’ll learn how to create a peyote stitch
4 4mm crimp covers (brass oxide) bezel around a cabochon, which you can then treat
toggle clasp (brass oxide)
just like any large, flat bead. For this piece, I used
24" .018" 49-strand beading wire
shield-shaped polymer clay cabochons made by artist
2x4" piece of beading foundation (Nicole’s Bead-
backing, Beadwright, Orangey Orange) Ann Dillon. Due to its light weight, polymer clay is
3x5" piece of Ultrasuede (brass) a natural fit for working with soutache, and Ann’s
Nymo thread, size B (burgundy) pieces, with their intricate patterning and organic
washable fabric glue textures, need little more than a soutache frame.

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 Creating peyote stitch bezels
A. Glue cabochons onto a piece
of beading foundation. Let dry com-
pletely. Trim the beading foundation
away from the cabochons, leaving
a 1⁄8" margin of beading foundation
around each cabochon (photo 1).
B. Row 1: Prepare the thread. Sew
up through the beading foundation
close to one of the cabochons. Using
backstitch, surround the cabochon
with a row of 110 seed beads (photo
2). (Note: You must have an even 1
number of beads surrounding the
cabochon. If you get to end of the
row and there’s only room for one
more, leave a gap. It will disappear
as the peyote stitch fills in.) Step up
through the first bead in this row.
C. Row 2: Pick up an 110. Skip the 2
next bead in the previous row, and
sew through the following bead
(photo 3). Pick up an 110, skip the
next bead in the previous row, and
sew through the following bead
(photo 4). Repeat this stitch to
complete the round. Step up through
3
the first bead in this row.
D. Row 3: Pick up an 110, and sew
through the next bead in row 2
(photo 5). Repeat this stitch to
complete the round (photo 6). Step
up through the first bead added in
this row.
E. Rows 4 and 5: Work as in step D 4
to add two more rows, substituting
150 seed beads for 110s (photos 6,
7). Sew down between the peyote
stitch bezel and the cabochon, and
through the beading foundation. End
the thread.
5

Up until now, every project

has been made with imported
soutache, which is a little thicker
than domestic because it's more
loosely braided. Domestic braid is
thinner and more tightly braided,
6
making it a better fit for use in
smaller thicknesses that are less
susceptible to snagging and
fraying. I worked with BeadSmith
to develop an extensive line of
domestic 1⁄8" soutache. It is won-
derfully consistent and its density
allows for greater thread tension.
7

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 F. Trim the beading foundation close
to the bezel. Be careful not to cut any
threads (photos 8, 9).
G. Cut three 10" pieces of soutache,
one in each of merlot, ivy, and ruby
glint. Align and stack in that order.
Apply the soutache to the edge of
the beading foundation (see p. 42)
(photo 10).
H. Rotate the work. With the thread
8 exiting to the right of the join, pick
up a 6mm druk bead, and sew
through the stack where the hole of
the bead naturally meets the stack.
Use shaping stitches to wrap the
bead. End the stack (photo 11).
I. Pull the thread across the back
9 of work, and add a 6mm on the
opposite side of the join. Use shaping
stitches to wrap the bead. End the
stack. Add a jump ring above the join
(photo 12).
J. Repeat steps B–I to capture the
10 other two cabochons. Add a jump
ring to the outside upper corner
of each of the smaller cabochon
components (photo 13).
K. Apply backing and edge-bead
(photo 14).

11 Assembly
A. Prepare the thread. Bury
the knot: Sew through the bezel
and soutache stack of the largest
cabochon. The thread should be
exiting the edge beading of the
12 component at the upper left corner
(photo 15).
B. Pick up a color A 80 seed bead.
Sew through the edge beading of the
left-hand cabochon at the upper right
corner (photos 16, 17). Retrace the
thread path twice.
13 C. Trace a path so the thread is
exiting the edge beading of the
left-hand component two beads
away from the last connection.
Pick up a 4mm bead and sew
through the center component at
14
the corresponding point (photos 18,
19). Bury the thread.

15

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 D. Work as in steps A–C to attach the
right-hand component.
E. Cut a 24" piece of beading wire in
half. Use crimps and crimping pliers to
attach a 12" piece of beading wire to
each of the two upper jump rings. Use
flatnose pliers to press crimp covers
over the crimps.
F. Use two headpins, two faceted oval
beads, and four As to make two bead
chain links as shown (photo 20). Use 16
three headpins, three oval beads,
three puffed square beads, and nine
As to make three dangles as shown
(photo 21).
G. String the remaining beads on
beading wire in the desired pattern.
End with jump rings, using crimps 17
and crimp covers to secure the strung
beads (photo 22). Attach a faceted
oval bead chain link to each of the
jump rings. Add half of toggle clasp
to each bead chain link (photo 23).
I. Add each of the three puffed 18
square dangles to the bottom of each
cabochon component.

19

Metallic braid can add a lot of

bling for your buck. Metallic 20
soutache comes in two types:
smooth and textured. I find the
textured soutache much easier to
work with; there are more open
spaces for my needle to work its
way through the braid, and the
textured weave results in more
21
twinkle. The trick to working
with metallic braid is patience.
The metallic fibers are usually a
type of metallized plastic, which
can easily snap, resulting in little
cowlicks sticking up all over your
work (not a good look). If your 22
needle encounters resistance
as you are sewing through the
stack, fight the urge to just punch
through. Rather, twist and wiggle
your needle slowly. Your needle
will find its way around the metal-
lized fiber and out the other side.
23

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 Concentration: Bringing Ultrasuede to the Forefront
Bonus Skills: Adding a Halo, Incorporating Earring posts

Sparrow’s
Nest earrings
Tools
drafter’s ellipse inking template
permanent marker pen
size 10 beading needle
scissors
flush cutters
flatnose pliers
looping pliers

Materials
1 yd. 1⁄8" domestic soutache in each of five colors
(ivy, ivy-and-celery stripe, mint, textured
copper, and sage)
2 7x5mm fire-polished teardrop beads
(crystal gold)
Much of what I love about soutache and bead
6 freshwater potato pearls (3 each of sand and
antique gold) embroidery is wrapped up in the tactile qualities
6 4mm glass pearls (olivine) of the materials. The soutache itself, with its drape
50 100 hex-cut cylinder beads (metallic rainbow and sheen, is compelling to me. And, of course, I
gold/violet) love the beads. But along the way, I developed an
1g 110 seed beads (metallic copper) appreciation for other materials, including Ultrasuede.
50 150 seed beads (silver-lined smoky topaz) With its rainbow of saturated colors and soft, velvety
2 6mm soldered jump rings (oxidized copper) texture, it does not always need to be relegated to
2 2" 21-gauge headpins (brass oxide) the back of my work. Try this simple technique to
2 10mm flat-pad earring posts (stainless steel) make Ultrasuede a focal point in a piece.
pair of earring nuts (yellow)
Nymo thread, size B (olive) A “halo” is a new stack connected to a secured stack
2x4" piece of Ultrasuede in each of two colors
(Fern and Topiary)
by means of a ladder. This is one of the many ways
2x4" piece of Mistyfuse fabric bond to increase the size of your work, as well as add more
2x4" piece of Lacy’s Stiff Stuff color and texture.
washable fabric glue

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 Begin the component
A. Stack Mistyfuse on the wrong
side of the fern Ultrasuede. Stack
the beading foundation on the Misty-
fuse. Following the manufacturer’s
instructions, bond the beading foun-
dation to the Ultrasuede using a
hot iron (photo 1). (Be sure that no
Mistyfuse is sticking out of the stack,
since it will stick to the iron and burn).
B. Use the drafter’s template, use 1
a permanent marker to trace two
¾x1" ellipses onto the beading
foundation side of your fabric stack
(photo 2). Carefully cut out the
elliptical shapes, making sure the
curves are smooth—any jagged
edges will be seen on the front of the 2
work. (You can reserve the remaining
fabric stack for another project.)
C. Cut six 8" pieces of soutache: two
of ivy and one each of ivy-and-celery
stripe, mint, textured copper, and
sage. Beginning with a piece of ivy, 3
apply soutache to the edge of the
beading foundation (photos 3, 4).
D. Add the striped soutache and the
second piece of ivy. Create a two-
sided join under the ellipse (photo 5).
E. Separate the stack into two equal
stacks. Add and wrap 4mm glass 4
pearls in each stack. End the stacks
(photo 6).

Add a halo
A. Working on the back, sew up
through the edge of the beading 5
foundation and stack at the center
top. Pick up a hex bead. Align and
stack the three remaining pieces of
soutache in this order: mint, textured
copper, and sage. Locate the center
of the new stack, and sew through the
stack (photo 7). 6
B. Working from right to left, sew
through the new stack one hex bead
width away from where the thread
last exited. Pick up a hex bead, and
sew through the secured stack. Sew
7
back up through the secured stack
one bead width away from where the
thread last exited (photo 8).
C. Continue this halo pattern using
hex beads, stopping one bead width
from the 4mm. Work the last
8

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 stitch with an 110 seed bead. End the
stack behind the work (photo 9).
D. Pull the thread across the back
of the work and sew through the
secured stack, hex bead, and new
stack at the top center of the work.
Working in the opposite direction,
make a mirror image on the other
side (photo 10).
E. Using a 150 seed bead, an 110, and
9 a 150, create a bridge over the join
(photo 11).
F. Sew up from the back of the work
through the Ultrasuede just above the
bridge. Pick up a freshwater pearl,
and sew down through the work. Sew
through the pearl again to secure.
10 G. Repeat step F twice to add two
more pearls (photo 12).
H. Sew up between the three
pearls. Pick up seven 150s. Sew over
the area where the two pearls are
touching. Repeat this step twice as
11 shown (photo 13).
I. Embellish the areas around the
pearls with 110s as desired. Add a
jump ring under the join (photo 14).

Assembly
A. Push an earring post through
12 the wrong side of a 2x2" piece of
Ultrasuede. Apply backing, and glue
the work to the wrong side of the
Ultrasuede. Make sure the disk of the
earring post is completely covered
by the work and is positioned near
13 the top (photo 15). Allow to dry
completely, and trim the Ultrasuede.
B. Edge-bead using 110s.
C. Repeat to make a second earring.
D. Create two bead dangles as shown
(photo 16). Attach a dangle to a jump
ring on each earring.
14

15 The lightweight nature of

soutache jewelry makes it ideal
for large, dramatic earrings. Learn
how to apply a post finding
(instead of a French hook), and
you can max out the available
soutache space between your
earlobe and your shoulder!
16

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 Concentration: Applying Components to a Cuff
Bonus Skill: Branch stitching

BulletProof
bracelet
Tools
size 10 beading needle
scissors
flatnose pliers

Materials
1 yd. 1⁄8" domestic soutache in each of four colors
(blue, royal, navy, and gunmetal textured
metallic)
45x27mm cabochon (labradorite, irregular shape)
2 12x8mm polished teardrop glass beads
(purple iris fire)
6 3x10mm daggers (frosted light sapphire)
4 6mm fire-polished round (blue iris fire)
4 6mm glass pearls (Montana)
12 4mm druk beads (matte silver)
6 4mm fire-polished round (hematite)
2 4mm bicone crystals (Swarovski, Montana AB)
5 4mm glass pearls (Swarovski, dark purple)
9 3.4mm drop Japanese seed beads (matte When I was a kid, I prayed every night that I would
transparent capri blue AB)
4 #3 (1⁄4") bugle beads (opaque powder blue)
be magically transformed into Wonder Woman. I
mean, really, the girl had it goin’ on: the killer boots,
8 60 seed beads (opaque cobalt)
the invisible plane, and those rockin’ bullet-deflecting
80 seed beads
bracelets. And though I have long since stopped
• 34 color A (jet matte)
wishing for a comic-book makeover, my fascination
• 40 color B (Montana silver-lined)
with the big, chunky cuffs remains. I own lots, and
110 seed beads
when I wear one (or four), I really do feel like I could
• 7g color C (silver-lined gray matte)
save the world.
• 2g color D (gunmetal)
60 150 seed beads (Montana blue-lined
crystal AB) Give your soft, silky soutache that bold geometric
2"-wide dapped (domed) brass cuff form by applying it to a brass cuff blank.
Nymo thread, size B (dark purple)
2 3x8" pieces of Ultrasuede (executive gray and
stone gray)
washable fabric glue

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 Prepare the cuff blank
A. Wash the cuff blank thoroughly
with soap and warm water. Let dry.
Open the blank as far as it will go.
B. Apply a quarter-sized dollop of
glue to the outside of the blank.
Spread a thin, even layer over the
blank. Let dry for 1 minute.
C. Stretch the piece of executive gray
Ultrasuede over the outside of the
blank. Smooth the fabric with your
fingers, and then let dry completely
1 (don’t worry if the Ultrasuede gaps a
bit along the outside edges—this will
get smoothed out later).
D. Apply a thin layer of glue to the
inside of the blank. Let dry for 1
minute. Lay the stone gray piece of
Ultrasuede into the cuff blank. Press
2 and smooth the Ultrasuede onto the
blank (photo 1). Let dry completely.
E. Trim the Ultrasuede very close to
the edge of the blank (photo 2).
F. Prepare the thread. Sew up
through the top layer of Ultrasuede
near the edge of the blank. Pick up
two color C 110 seed beads, and sew
3
up through both layers of Ultrasuede
approximately two bead widths from
where the thread last exited (photo
3). Sew through the last bead.
G. Pick up an 110, sew through both
layers of Ultrasuede (photo 4), and
then sew through the last bead again.
4 Repeat this step all the way around
the cuff (photo 5). Bury the thread.

Center component
A. Glue the cabochon to the beading
foundation. Let dry completely.
B. Using color C 110 and 150 seed
5 beads, secure the cabochon to the
beading foundation with a peyote
stitch bezel as in the Shebangin'
Shield Necklace (p. 45) (photo 6).
(Note: if your cabochon is tall, you
may need more rows of 110s.)
C. Trim the beading foundation from
6 the cabochon. Try to make your
cutting line as smooth as possible.
D. Cut eight 10" pieces of soutache,
two each of all four colors. Beginning
with the blue soutache, apply it to
one half of the edge of the beading
foundation (p. 42). Apply the other
piece of blue to the other half. The
joins should be across from each

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 other diagonally (photo 7).
E. Align and stack three pieces of
soutache in this order: royal, gunmetal
textured metallic, and navy. Apply the
stack to one side of the cabochon.
Repeat with the remaining three
pieces on the other side (photo 8).
F. Split the large stacks asymmetri-
cally, with five braids to the left and
three braids to the right. Add a 6mm
pearl outside the larger stack, wrap
it, and end the stack. Repeat on the
other side with a small stack and a 7
4mm druk bead. Repeat with the
braids on the opposite side of the
cabochon (photo 9), making sure the
large stacks are on opposite sides of
the join.
G. Using a C, a color B 80 seed bead
and a C, create a bridge at the join. 8
Repeat at the other join (photo 10).

Side components
To make two arabesque shapes,
follow the simplified instructions
below or refer to p. 34 (photo 11).
A. Cut four 10" pieces of soutache in
9
each of all four colors. Align and stack
in this order: navy, royal, gunmetal,
and blue.
B. Make a lollipop around a 12x8mm
faceted teardrop.
C. Split the large stack asymmetrically,
with five braids to the left and three
braids to the right. On the left side 10
of the join, add and wrap a 6mm
fire-polished bead. End the stack.
On the right side of the join, begin a
graduated, curved, open ladder. Use
the following beads in this order; a
6mm pearl, a 4mm fire-polished bead,
a 4mm druk, a 60 seed bead, a color 11
A 80 seed bead, and three Bs.
D. On the opposite side of the
stack, add and wrap a 4mm pearl.
End the stack.
E. Repeat steps A–D to make an
identical (not a mirror) component.
12
Edge beading
Use Cs to edge-bead all three com-
ponents without backing (photo 12).

Assembly
A. Apply glue to the back of the
center component. Position the
component on the center top of the

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 blank (photo 13). If the edges want
to “lift,“ use clothespins to secure the
component until the glue dries.
B. Apply side components in the
same manner (photo 14). Let the
components dry completely.

Branch stitching
A. Prepare the thread. Bury the
knot by sewing through a 4mm bead
near the edge of the center compo-
nent. Sew through the stack and out
13 through one of the edge beads.
B. Pick up four or five 110 seed beads.
Test-fit the line of beads to see where
they naturally meet the edge beading
of the cuff blank. Sew through that
edge bead (photo 15).
C. Sew through the adjacent
14 edge bead. Sew down through the
Ultrasuede and back up through
the edge bead (stitching through
the Ultrasuede secures the thread).
Sew through the first edge bead
and partway through the line of 110s
(photo 16).
D. Pick up a line of beads. Begin
15
incorporating some of the other
beads in various shapes and sizes.
Test-fit to the edge, and then sew
through the edge beading of the
prepared cuff (photo 17).
E. Repeat steps B–D, bringing
branches of beads out to the edge of
16 the cuff. (Slide your needle under the
Ultrasuede just beyond the first large
bead. This secures that longer line of
beads tightly to the surface so it won’t
snag when worn. Do this as needed.)
F. Continue branch-stitching, making
random angles and patterns. Keep
17 returning to the center and side
components, since branch stitching
secures the components to the cuff.

Adjustments
Bend the cuff blank back into a curve
to fit your wrist. Bending the cuff may
18 expose the foundation. To cover the
gap: Prepare the thread. Bury the
knot in the face of the center com-
ponent. Pick up four or five 110s, and
sew through the beading foundation.
Trace a path back to the last bead.
Sew through the last bead, and add
more beads as necessary (photo 18).
Repeat on the other side.

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 Concentration: Parallelograms

Tools Bead-Me-
Darkly
size 10 beading needle
scissors
flush cutters

necklace
flatnose pliers
looping pliers

Materials
1 yd. 1⁄8" domestic soutache in each of two
colors (black and gunmetal textured
metallic)
4 18x18mm rounded-triangular faceted
beads (onyx)
5 8mm crown rosebud beads (hematite)
10 6mm Czech glass beads (silver gray)
3 12x8mm fire-polished teardrops (jet)
9 #3 (1⁄4") bugle beads (hematite)
3 80 seed beads (gilt-lined soft gray opal)
One of my favorite super-secret techniques is
2g 110 seed beads (hematite)
using bugle beads to make small “parallelograms.“
7" bead chain (silver/clear/gray beads)*
Depending on how they are joined to the work, these
6 6mm soldered jump rings (gunmetal)
19 2" 21-gauge headpins (gunmetal)
small forms not only add a contrasting geometric
toggle clasp (black finish) texture to the otherwise curvaceous world of soutache
Nymo thread, size B (black) jewelry, but they can also evoke natural images such
2x2" piece of Ultrasuede (black) as leaves, flower buds, and birds’ heads.
washable fabric glue
If you like your accessories a bit on the subtle side,
*If you don’t have pre-made bead chain, use the soutache to make tiny individual components,
you can simply make your own by using
more beads and headpins to make as
and then treat each component like a bead. Pack
many links as you like. visual interest into the smallest space possible.

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 Make the component
A. Prepare the thread. Cut one 8"
piece of soutache in each of both
colors. Align and stack in this order:
gumetal textured metallic and black.
Locate the center of the stack, and
sew up through the stack at the rib.
Fold the stack in half over the knot
(photo 1). Sew up through both
stacks, and sew back down through
1 both stacks (photo 2).
B. Repeat the stitch, adding a
slight thread tension so the fold
closes tightly.
C. Separate the large stack into
two equal stacks. Sew up through the
bottom stack only, very close to the
2 fold (photo 3). Pick up a bugle bead,
and sew through the upper stack
where the hole of the bead naturally
meets the stack. Sew back down
through the upper stack, the bugle,
and the lower stack (photo 4).
3 D. Working from right to left, sew up
through the lower stack one bead
width away from where the thread last
exited. Pick up a bugle, and sew up
through the upper stack (photo 5).
Sew down through the upper stack,
the first bead, and the lower stack
4 (photo 6).
E. Working from right to left, sew up
through the lower stack two bead
widths away from where the thread
last exited. Pick up a bugle, and sew
through the upper stack. Sew down
5 through the upper stack, the second
bugle, and the lower stack.
F. Sew up through the lower stack,
the third bugle, and the upper stack.
Bring the lower stack up to the
upper stack, and sew through both
stacks (photo 7). Retrace the thread
6 path twice.
G. Working from right to left, make
four shaping stitches through the
large stack, curving the stack as you
work (photo 8).
7

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 H. Pick up an 8mm bead, and sew
through the join. Retrace the thread
path through the join, the 8mm,
and the stack. Working from right
to left, make four shaping stitches,
wrapping the 8mm (photos 9, 10).
End the stack.
I. Add jump rings, one at each end of
the component (photo 11).
J. Apply backing, and trim backing.
Edge-bead using 110 seed beads 9
(photo 12).
K. Repeat steps A–J twice to make a
total of three components.

Assembly
A. Use headpins and beads to make
bead chain links: Make four links 10
using rounded-triangular faceted
beads. Make two links using 8mm
beads. Make 10 links using 6mm
beads (photo 13).
B. Use headpins, teardrops, and 60s
to make three dangles (photo 14). 11
C. Connect components, links,
and dangles as shown (photo 15).
Connect the bead chain to the last
two links in the assembly. Add
6mm links to the end of the bead
chain. Add a toggle half to each link
(photo 16). 12

13

14

15

16

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 Concentration: Incorporating Rhinestone Chain
Bonus Skill: Frayed Fringe

Full-Dress Thistle
earrings
Tools
size 10 beading needle
scissors
flatnose pliers

Materials
1 yd. 1⁄8" domestic soutache in each of five colors
(limelight, green, mint, lilac, and lavender)
2 10x14mm flat oval beads (dyed imperial jasper,
green)
2 8x12mm teardrop glass beads (vitrail
fire-polished)
4 2mm round beads (green, cat’s eye)
4 60 seed beads (gilt-lined, olive gray opal)
80 seed beads
• 2 color A (jonquil color-lined papaya)
• 2 color B (dark green opaque luster)
110 seed beads I use a lot of abstract shapes in my work, but I
• 1g color C (sage green pearl) love to make figurative pieces, too. Soutache, of
• .5g color D (amethyst color-lined
magenta AB)
course, just cries out to be made into flower shapes.
• 12 color E (silver-lined olivine color-lined Thistles are one of my garden favorites. They’re
pink matte) tenacious tenants, however, and are often viewed
8 150 seed beads (Montana blue-lined crystal AB) more as a spiky weed than as a wonderful, structural
5" 2mm (14ss) rhinestone chain contrast to a sea of flowers. To emphasize my thistles’
(crystal/gold-plate) significance, I’ve added some rhinestone chain. Learn
2 6mm soldered jump rings (brass oxide)
the trick to getting the chain to lie flat on your work,
pair of French hook ear wires
and get ready to blingify an entire garden of blooms.
Nymo thread, size B (Sterling)
1x3" beading foundation (Beadwright, Nicole's
BeadBacking, chartreuse shine) Frayed fringe is one of my favorite techniques. It
4x2" piece of Ultrasuede (fresh lime) makes perfect thistle-fluff, but think of all the other
washable fabric glue ways you could use it.

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 Center
A. Prepare the thread. Secure a flat
oval bead to a 2x2" piece of beading
foundation (see p. 42).
B. Cut a 2½" piece of rhinestone
chain. Fit it around the oval (photo 1).
Position the chain so the end of the
chain lines up with the narrow end of
the oval. Sew up through the beading
foundation near the oval, between it
and the rhinestone chain (photo 2). 1
C. Stitch over the connection be-
tween the first two rhinestones in
the chain, sewing down through the
foundation as close to the chain as
possible. Sew back up between the
oval and chain at the next connec-
tion, and continue stitching the chain 2
down. (Don’t stretch the chain; let the
rhinestones sit fairly close together.)
D. Use flush cutters to clip off any ex-
cess rhinestones, and trim the founda-
tion (photo 3). Don’t cut the threads,
and keep your cutting line smooth. 3
E. Cut three 8" pieces of soutache,
one each of limelight, green, and
mint. Align and stack in that order.
Apply the stack to the edge of the
beading foundation (p. 42). Make a
two-sided join at the center bottom
of the work. 4
F. Divide the stack in half. On either
side of the join, add and wrap a 2mm
bead. End the stacks (photo 4).

Leaves and thistle down

A. Prepare the thread. Cut three 4" 5
pieces of soutache, one each of lime-
light, green, and mint. Align and stack
in that order. Locate the center of the
stack, and sew up through the bottom.
B. Fold the stack over the knot, and
sew up through the fold close to the
knot. Retrace the thread path three 6
times to tighten the fold (photo 5).
C. Separate into two equal stacks.
Sew up through the bottom stack.
Pick up a color E 110 seed bead, and
sew through the top stack (photo 6).
7
D. Begin creating a ladder between
the two stacks, but make each top
stitch longer than the bottom stitch—
work your needle on an angle relative
to the line of the stacks. This makes
the ladder curve slightly (photo 7).
E. After the third bead, sew the two
8
stacks together. Trim the ends close

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 to the work. Place the leaf shape
behind the center, and secure it using
tacking stitches (photo 8, p. 59).
F. Repeat steps A–E to make a mirror
image on the other side.
G. Prepare the thread. Cut four 6"
pieces of soutache, two each of lilac
and lavender. Fold one piece almost
in half so it forms a narrow v shape.
Position it behind the center, and se-
9 cure it in place using tacking stitches.
H. Repeat step G, alternating colors
and fanning the pieces across the top
of the work. Add a jump ring at the
top of the work, positioned behind
the join (photo 9). End the thread.
I. Apply backing, and trim the
10 backing. Be careful behind the top
of the work—follow the outline of
the center shape as if the vs were not
there (photos 10, 11).

Finishing
11 A. Prepare the thread. Bury the
thread in the front of the work by
sewing through the 2mm and the
stack. The thread should be exiting
just to the right of the vs.
B. Edge-bead using color C 110 seed
beads (photo 12). When you reach
12 the v pieces, switch to color D 110
seed beads. When you reach the Cs,
turn the work over and continue edge-
beading with Ds across the top back.
C. Return to the front, and exit the
first D. Pick up two Ds and a 150. Sew
13 back down through the Ds, making
a tiny fringe (photo 13). Make three
more fringes across the top.
D. Trace a path to the bottom of the
work so the thread exits the center
bottom edge bead. Pick up a color
A 80 seed bead, a color B0 80 seed
14 bead, two 60s, a teardrop bead, and a
C. Sew back up through the teardrop,
60s, Bs, As, and edge bead (photo
14). Bury the thread.
E. Lay the work on a flat surface. Press
the point of a darning needle into
15
the rib of one of the vs, and drag the
needle toward the end to unravel
the braid (photo 15). Repeat several
times for all the vs, moving farther up
the braid as you go.
F. Trim the top of your thistle as
desired (photo 16). Add an ear wire,
16
and repeat to make a second earring.

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 3
LAYERS
AND
LIGHT
Having mastered the basics, as well as incorporating
various elements, one is inclined to go—well—a little nuts.
Absolutely massive pieces of jewelry may seem to grow
almost magically beneath your fingers, and chances are, you
will fall in love with each and every one of them. As time
goes on, however, you may notice a certain “heaviness” to
the work. In spite of its actual light weight, soutache and
bead embroidery can easily obtain significant visual mass.

This chapter introduces techniques that you can use to

break up the volume of your work, adding depth-enhancing
textures and allowing light to penetrate negative spaces
and translucent elements.

Bead toward the light.

BKS-67507-04.indd 61 10/1/13 2:12 PM

 Concentration: Creating open loops

Beaded
lariat
Materials
1½ yd. 1⁄8" domestic soutache, in each of four colors
(royal, purple, cadet, and willow)
12x25mm marquise-shaped bead
12x17mm teardrop crystal (green AB)
4–8 6mm flat round wooden beads (navy)
4–8 6mm Czech glass round beads (frosted)
4–8 6mm Czech fire-polished beads
20–30 6mm bugle beads (green)
4–8 4mm glass pearls (lavender)
6–8 4mm bicone crystals (Swarovski, palace green opal)
60 seed beads
• 30–40 color E (blueberry)
• 30–40 color F (purple metallic)
• 30–40 color G (green luster)
80 seed beads
• 40–50 color C (gilt-lined grass green)
• 40–50 color D (414 opaque cobalt)
110 seed beads
• 6g color A (durocoat mint green metallic)
Tools
• 6g color B (cobalt clear-lined white) size 10 beading needle
scissors
.5g 150 seed beads (matte metallic patina iris)
flush cutters
30–40 “interest beads,” such as cubes and barrels (these will
be used for the cord parts of the lariat so, make sure they crimping pliers
fit through the open loops) flatnose pliers
2 crimp beads
2 crimp covers (brass oxide) By now, you’ve probably begun to realize how
2 6mm soldered jump rings (brass oxide) sensitive soutache can be; change the thread
6 2" 21-gauge headpins (brass oxide)
tension, and you change the shape. Change
Nymo thread, size B (royal blue)
the height of a bead, and you change the
2 yd. .018" 49-strand beading wire
shape. And while these nuances can cause
5x4" piece of Ultrasuede (jazz blue)
2x2" piece of beading foundation (Nicole’s BeadBacking,
you a lot of grief in the beginning, under-
chartreuse shine) standing how to manipulate this sensitivity
washable fabric glue opens up all kinds of new opportunities.

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 Component 1
A. Prepare the thread. Sew the
marquise-shaped bead onto the
beading foundation. The hole of my
bead runs horizontally across the top,
so I added a dab of glue to keep it
from lifting up later on.
B. Sew up from the bottom of the
beading foundation near the point
of the bead. Using backstitch,
alternate between colors C and D 80
seed beads to follow the curve of the
marquise bead for one edge of the 1
bead (photo 1).
C. Sew up from the bottom of the
beading foundation about half the
width of a 60 seed bead away from
the last 80, and pick up a color F 60
seed bead and a color A 110 seed
bead. Sew down through the 60 and 2
the foundation. Retrace the thread
path through the foundation, the 60,
the 110, and back through the 60 and
the foundation to stabilize the beads
and keep them flat.
D. Using alternating colors E and F 60
seed beads, repeat step C, following
3
the curve of the remaining side of the
marquise (photo 2).
E. Trim the beading foundation from
around the work, being careful not to
cut the stitches.
F. Cut four 18" pieces of soutache,
one of each color. Beginning with
the royal, attach the soutache to the 4
beading foundation (p. 42) (photo 3).
G. Align and stack the remaining
three pieces of soutache in the follow-
ing order: purple, cadet, and willow.
Starting from the top of the marquise
shape and stitching from the back
of the work, use shaping stitches to 5
secure the stack to the first piece
of soutache and the edge of the
beading foundation.
H. Make a two-sided join (photo 4).
Using an A, a bicone crystal, and an
A, create a bridge over the join.
I. Begin stitching your first open 6
loop: Straighten the soutache ends,
and sew through the ribs of all eight
pieces to create one large stack.
Begin training the stack into a curve;
use your fingers to shape the stack
just slightly before each shaping stitch
(photo 5).
J. Keep making shaping stitches,

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 pulling the stack into the desired
curve before each stitch, until the
curved stack is the proper diameter to
tuck behind the marquise (photo 6,
p. 63). End the stack.
K. Cut three 18" pieces of soutache,
one of each color. Align and stack in
this order: royal, cadet, and purple.
Locate the center of the stack and,
using three bugle beads, make a
parallelogram (p. 55) (photo 7).
L. Begin making an independent,
7 curved ladder: Separate the stack,
and sew down through the top stack.
Pick up an A, and sew through the
bottom stack. Sew back up through
the bottom stack, pick up another A,
and sew through the top stack.
M. Continue making a curved
8 ladder. Each stitch across the top
stack should be slightly longer than
the stitch going across the bottom of
the stack. This will pull the ladder
into a curve. When the curved ladder
has become long enough so that
the last bead is about even with the
beginning of the tip of the parallelo-
9
gram (photo 8), test-fit on the first
component. The beading of the
ladder should run behind the mar-
quise shape, and the tip of the
parallelogram should rest on the
open loop (photo 9).
N. If you are happy with the fit, use
10 three or four shaping stitches to sew
the two stacks of the ladder into one
large stack. Fit the two components
together again, and use tacking
stitches to secure the second
component behind the first.
O. On the back of the work, make a
11 few more shaping stitches in the six-
layer stack until the needle is exiting
where the stack is extending beyond
the marquise shape.
P. Working from the front and
beginning just where the six-layer
stack has begun to “appear” from
12 behind the marquise, use four color G
60 seed beads, seven color C 80 seed
beads, and thee color A 110 seed
beads to make a closed, graduated
ladder between the six-layer stack
and the open loop (photo 10). After
the last A, connect the stack to the
closed loop.
13
Q. Pick up a 6mm Czech round bead,

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 and sew through the stack where the
stack naturally meets the hole of
the bead. Use shaping stitches to
continue wrapping the bead. End
the stack, and then end the thread
(photo 11).
R. Prepare the thread. Use tacking
stitches to secure the parallelogram
to the open loop where the two
meet (photo 12).

Component 2
A. Cut three 18" pieces of soutache, 14
one of each color (cadet, purple, and
willow). Align and stack. Locate the
center of the stack, and use a 4mm
glass pearl to make a lollipop
(photo 13).
B. Use three bugle beads to create a
parallelogram (photo 14). 15
C. Separate the large stack into
two equal stacks. With the thread
exiting left of the join, pick up a 6mm
fire-polished bead, and sew through
the left stack where the hole of the
bead naturally meets the stack. Use
shaping stitches to wrap the bead,
16
and end the stack.
D. With the thread exiting the
soutache to the right of the join,
pick up a 6mm wooden bead, and
sew through the first two pieces of
soutache in the stack only where the
hole of the bead naturally meets the
stack (photo 15). Wrap the bead, 17
and end the stack. Trace a path so
the thread is exiting the outer layer of
soutache, wrapping the wooden bead
near the join.
E. Cut a 6" piece of royal soutache.
Sew through the third piece of
soutache (the loose one) in the right- 18
hand stack and the new 6" piece
about 2" from the end (photo 16).
Beginning with a color A 110 seed
bead and continuing with alternating
colors C and D 80 seed beads, create
a curved ladder between the loose
stack and the stack wrapping the 19
wooden bead (photo 17). End
the stack.

Finishing the components

A. Apply the backing, let dry
completely, and trim (photo 18).
(Don't trim the backing from the
20
negative spaces yet.)

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 B. Edge-bead both components
using color B 110 seed beads
(photo 19, p. 65). Bury the thread.
C. Use a darning needle to gently
make a hole in the middle of one of
the negative spaces. Using the small
hole as a starting point, carefully trim
away the backing from the negative
space with small scissors (photo 20,
p. 65). Don't trim away too much
and expose the soutache from
the back. Repeat for the second
21 negative space.
D. Edge-bead the negative spaces
using Bs. Bury the thread.

Connecting components
A. Prepare the thread. Bury the knot
in Component 2, and sew through the
22 edge-beading so the thread is exiting
at the bottom of the wooden bead.
B. Pick up a color C 80 seed bead,
a 4mm glass pearl, and a C, and
sew through Component 1 where
indicated (photo 21). Retrace the
thread path twice.
C. Trace a path so the thread is
23
exiting Component 1. Pick up a color
A 110 seed bead, a color D 80 seed
bead, a color F 60 seed bead, a 6mm
Czech round frosted bead, an F, a D,
and an A, and sew through the edge
beading of Component 2 (photo 22).
Retrace the thread path twice. Bury
24 the thread.

Embellished edge beading

(optional)
A. Prepare the thread. Bury the knot
in Component 2 so the thread is
exiting the edge beading as shown
25 (photo 23). Pick up three 150 seed
beads, and sew through the edge
bead and the stack to the right of the
first (photo 24).
B. Sew through the stack and the
edge bead to the right of the last.
C. Pick up three 150s, and sew down
26 through the next edge bead and
stack. Repeat as desired (photo 25).
Bury the thread.
D. Prepare the thread. Bury the knot
in Component 1 so the thread is
exiting the edge beading where
indicated (photo 26). Pick up a 150, a
color E 60 seed bead, and an A. Sew
27

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 back through the E and pick up a 150
(photos 27, 28).
E. Sew through the edge bead and
the stack to the right of the first, and
then sew through the stack and
edge bead to the right of the last
(photo 29).
F. Repeat steps D and E as many
times as desired, alternating the color
of the 60. Bury the thread.

Add cords
A. Poke one end of 2-yd. piece of 28
beading wire through the edge
beading at the top of Component 2.
Poke the other end of the beading
wire through the adjacent edge bead
(photo 30).
B. On one of the two strands, begin
stringing the remaining beads in a 29
semi-random pattern (photo 31) (I
used 10–15 110 seed beads, a couple
of larger interest beads, 10–15 more
110s, and so on). When you have
about 3" of beading wire left, string a
crimp tube and a jump ring.
C. Thread the beading wire back
30
through the crimp tube and the
last three or four strung beads. Pull
the beading wire snug. Use crimping
pliers to crimp the crimp tube, and
press a crimp cover over the crimp
(photo 32). Trim any excess
beading wire.
D. Repeat steps B and C for the 31
second strand.

Make dangles
A. Use seed beads and interest beads
to make six dangles of varying lengths
(photo 33). Hang three dangles from
each of the two jump rings. 32
B. To wear the necklace, thread both
cords through the front of the work.

33

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 Concentration: Adding Secondary Pieces of Soutache
Bonus Skill: Working with Bead Caps

Nouveau
Blues
earrings

Tools
size 10 beading needle
scissors
flatnose pliers There are many different ways to add layers to your
work to increase the level of interest and complexity.
The simplest, layering components, was explored in
the ”VIP Pin or Pendant” (p. 28), when you attached
Materials
the second part of a center component behind the
2 yd. 1⁄8" domestic soutache in each of four colors
(peacock, duck, medium blue, and rainbow first. Halos (ladders that are created between an exist-
metallic) ing, secured stack and a new, entirely separate stack,
2 17x8mm spindle beads (opaque aqua) forming a new curve of beads and soutache) were
10 6mm druk beads (ivory)
incorporated in the ”Sparrow’s Nest Earrings” (p. 49).
4 60 seed beads (gilt-lined antique white opal) “Buckles” are curved ladders made completely
80 seed beads separate from the existing work and then wrapped
• 32 color A (hex, light jonquil-lined aqua) over a portion of the design. You will use all three
• 16 color B (gilt-lined antique white opal) techniques in these elegantly elaborate earrings.
110 seed beads
• 4 color C (permanent galvanized Bead caps—wondrous little findings that fit over
silver matte)
the top of a bead—can enhance your work beautifully.
• 2g color D (color-lined capri)
6 5x5mm bead caps (silver finish)
First, if you have mostly round beads, bead caps
2 6mm soldered jump rings (silver finish)
basically double the number of shapes available to
2 French hook ear wires (silver) you. After all, what is a teardrop shape but a sphere
4x4" piece of Ultrasuede (jazz blue) with a cone on one end? Furthermore, the addition of
2x2" piece of beading foundation (optional) the caps allows you to quickly and easily incorporate
Nymo thread, size B (turquoise) yet another element or texture into your work, adding
washable fabric glue to the visual richness of your finished piece.

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 Part 1
A. Prepare the thread. Cut one
8" piece of soutache in each color.
Align and stack in this order:
peacock, rainbow metallic, medium
blue, and duck.
B. Make a lollipop around a spindle
bead (photo 1). I made my lollipop
without any beading foundation, but 1
these beads are large. You can use
the technique taught in the “Sus-
pended Stone Necklace“ (see p. 42).
C. Use shaping stitches to secure the
large stack together to a length of 2
about ¾" beyond the join (photo 2).
D. Trace a path so the thread is
exiting the stack, wrapping the
spindle on the end opposite the join.
Pick up an 80 hex bead.
E. Cut two 8" pieces of medium blue 3
soutache. Align and stack. Locate the
center of the stack, and sew through
the center. Working from right to left
and using hex beads, begin making a
halo (see p. 49) around the work until 4
you have a total of eight hex beads
incorporated (photo 3). Add a color C
size 110 seed bead to the halo.
F. Sew the working stack to the
secured stack (photo 4). Retrace the 5
thread path.
G. Pick up a 6mm bead. Sew through
the stack where the hole of the bead
naturally meets the stack. Wrap the
6mm and end the stack (photo 5). 6
H. Trace a path back to the first
hex. Use seven more hexes, a C, and
a 6mm bead to complete a mirror
image on the opposite side of the
work (photo 6).
7
Part 2
A. Cut three 4" pieces of soutache,
one each of duck, rainbow metallic,
and peacock. Align and stack in that
order. Prepare the thread. 8
B. Locate the center of the stack.
Sew up through the stack at the rib.
Working from right to left, make five
shaping stitches. Pick up a bead cap
and a 6mm (photo 7). Sew through
9
the stack near the knot (photo 8).
C. Continue working just as you
would for a lollipop, treating the bead
cap and bead assembly as one bead.
D. Repeat steps A–C twice to make
10
a total of three lollipops (photo 9).

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 Place two lollipops side by side,
and sew through the joins (photo 10,
p. 69). Retrace the thread path twice,
adding tension to close.
E. Sew through the join of the third
lollipop (photo 11). Sew back through
all three joins twice, adding tension to
close the connections. Sew through
11 the large stack three times about ¾"
beyond the join to secure it (photo
12). Trim the ends.
F. Position Part 2 behind Part 1 and se-
cure with tacking stitches (photo 13).
12
Part 3 (the buckle)
A. Cut four 8" pieces of soutache,
two each of peacock and duck.
Align and stack a piece of peacock
and duck. Sew up through the stack
13 approximately 1½" from the right end
of the stack. Sew back down through
the stack and pick up a C (photo 14).
B. Align and stack a piece of peacock
and duck. Sew down through the
14 stack about 1½" from the right end
of the stack. Sew up through the bot-
tom stack one bead width away from
where the thread last exited. Pick
up a color B 80 seed bead, and sew
15 through the upper stack (photo 15).
C. Continue making a ladder between
the two stacks, curving the soutache
as you work. Notice that the stitches
on top of the ladder (photo 16) are
16 longer than the stitches below it
(photo 17); the stitches appear to
go in on an angle. The longer the up-
per stitch is in comparison to the lower
stitch, the more dramatic the curve.
D. Continue until you have
17 incorporated eight 80s and another
110. Trim the ends.
E. Position the halo over the top of
the work, with the trimmed ends
tucked behind the 6mms. Use tacking
18 stitches to secure (photo 18).
F. Trace a path so the thread is exiting
the side of the large stack above the
buckle. Split the large stack in half.
Add and wrap a 60 on each side of
the split. End the stacks (photo 19).
19
G. Add a jump ring at the split.
H. Apply the backing and trim.
Edge-bead with color D 110 seed
beads (photo 20).
I. Make a second earring. Add an
20
earring finding to each jump ring.

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 Concentration: Veining in open spaces
Bonus Skill: Thread-wrapped Straps

Rose
Window
choker
Tools
size 10 beading needle (or darning needle)
size 12 beading needle
scissors
flush cutters
flatnose pliers

Materials
2 yd. 1⁄8" domestic soutache in each of three
colors (dark lilac, poinsettia, and goldenrod)
4 yd. 1⁄8" domestic soutache (pansy)
5 5x12mm briolettes (red with violet AB finish)
(teardrop shaped beads will work fine for this
project too) The challenge of the pendant for this
5 4mm bicone crystals (Swarovski, ruby AB) choker lies in trying to make five long,
80 seed beads curved ladders as close to identical as
• 4g color A (hybrid luster opaque Picasso) possible. The fun, however, of weaving
• 17 color B (opaque curry) them one over the other to make this
3g 110 seed beads (light amethyst color-lined Celtic-knot inspired piece will make
magenta) it well worth your effort. As added
.5g 150 (Montana blue-lined crystal AB) incentive, you will then be able to fill
2 6mm soldered jump rings (gunmetal) your window with fine veining and
6 2" 21-gauge headpins (black) Swarovski crystals—like leading and
toggle clasp (black finish) stained glass!
4x4" piece of Ultrasuede (scoundrel)
Nymo thread, size B (royal blue)
washable fabric glue

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 Component 1
A. Prepare the thread. Cut four 12"
pieces of soutache, one of each color.
Align and stack in this order: pansy,
poinsettia, goldenrod, and dark lilac.
Locate the center of the stack. Sew
up through the stack 1" to the right of
the center. Working from right to left,
make five shaping stitches.
B. Sew through the briolette. Wrap
1 the secured stack around the wide
end of the briolette, and sew through
the stack where the hole of bead
naturally meets the stack. Retrace the
thread path to secure (photo 1). (If
you are using a teardrop bead, treat it
2 as you would to make a lollipop.)
C. Do not make a two-sided join.
Rather, sew through one stack, pick
up a color A 80 seed bead, and sew
through the opposite stack (photo 2).
D. Make a curved ladder using 26
As (photo 3). (Try to keep your
3 curve as smooth as possible. The
opening should be roughly the size of
a quarter.)
E. Repeat steps A–D four times to
create a total of five elements. Try
to make your elements as alike
4 as possible.
F. Bury the knot in the front of the
work, allowing the thread to exit to
the right side of the briolette. Pick
up a color B 80 seed bead, and sew
through the left side of the next
element (photos 4, 5). Sew under
5 the briolette and out of the stack on
the opposite side.
G. Repeat step F until all five
elements are strung together.
H. Pick up a B. Sew through the left
side of the first element (photo 6);
6
the elements should now lie in a
loose circle. Carefully pull the tail of
each element out from the back and
insert it into the loop of the element
to its left (photo 7). The elements
should now appear to be woven
together.
7
I. Use tacking stitches to secure
each tail behind the briolette of the
second element to the left (photo 8).
J. Use tacking stitches to secure
each place where one loop crosses
another (photo 9, 10). Working from
the back, carefully trim away each tail
end. Be sure that no tail ends show

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 through the hole at the center of
the work.
K. Apply backing, let dry completely,
and trim. Edge-bead using 110 seed
beads (photo 11).
L. Use a darning needle to punch a
hole through each opening. Insert
the point of a small scissors into each
hole, and carefully snip the backing
away from the opening (photo 12).
Edge-bead inside each opening 8
using 110s.
M. Cut two 24" pieces of soutache
in pansy. Fold one piece in half, and
insert the folded end through one of
the top openings (photo 13). Pass
the soutache ends through the loop,
and pull through to make a lark’s 9
head knot (photo 14). Repeat on the
other side.

Veining
A. Prepare the thread. Bury the
knot in the front of the work so the 10
thread is exiting the edge beading
inside one of the openings. Pick up
three 150s, a 4mm bicone, and three
or four 150s. Sew across the opening
and into the edge beading on the
other side (photo 15, p. 74). Retrace
the thread path so the thread is 11
exiting the edge beading where the
veining is connected, and sew just
past the bicone (photo 16, p. 74).
B. Pick up two or three more 150s,
and sew through the edge beading
in a different spot (photo 17, p. 74). 12
Continue making randomly placed
connections so the lines of beads in
the opening resemble the veining on
a leaf or the wing of an insect.
C. Repeat steps A and B for all
openings.
13

14

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 Finishing
Think about how long you want your
necklace straps to be. I wanted my
finished necklace to be a choker, so
I made each strap (with the toggle)
about 8" long. I also like to have some
adjustability in my pieces, so of that
8", approximately 2" is bead chain
that I can shorten or lengthen as
15 desired. That leaves me with 6".
A. Prepare the thread. On one of
the strand pairs (coming off the lark’s
head knot), string a jump ring until
it is 6" away from the pendant. Fold
the stack over the jump ring. Using
16 a contrasting color of thread, sew
up through the large stack about ¾"
away from the jump ring. Working
from right to left, make two or three
shaping stitches to secure the large
stack together for a length of about
17
¾" away from the knot (photo 18).
B. Begin wrapping the thread tightly
around the stack, covering the
stitched-together area (photo 19).
Periodically, sew through the wrap
to secure the thread, and keep
18
wrapping.
C. Trim the loose ends of the stack,
and wrap and stitch to cover the cut
ends (photo 20).
D. Repeat steps A–C for the other
19 strand pair.
E. Use six headpins, six bicones, and
12 Bs to make six bead chain links
as shown (photo 21). Connect two
three-link bead chains, and connect
half of a toggle clasp on each end
20 (photo 22).
F. Attach the bead chain assemblies
to the jump rings on each strand pair.

21

22

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 Concentration: Capturing a Crystal
Bonus Skill: Using Lac Jewelry Elements

Lady Josephine
bracelet
Tools
size 10 beading needle
scissors
flush cutters
flatnose pliers
looping pliers

Materials
2 yd. 1⁄8" domestic soutache in each of four colors
(marine, ivy, cream, and textured matte gold)
40x25mm chandelier crystal (green)
10x17mm Lac Jewelry element (turquoise
and gold)
10x12mm Lac Jewelry element (turquoise
and gold)
2 6mm glass pearls (cream)
2 4mm bicone crystals (Swarovski, indicolite AB)
4 4mm glass pearls (cream)
2 3mm glass pearls (cream)
2 60 seed beads (metallic antique gold matte)
60 80 seed beads (metallic gold)
30 100 hex beads (metallic rainbow gold/violet)
110 seed beads
• 2g color A (metallic antique gold matte) Chandelier crystals—whether vintage
• 1g color B (rainbow light topaz/sea foam or mint—beckon to me with an almost
lined)
2 6mm soldered jump rings (antique brass)
irresistible siren call. I simply cannot leave
6 2" 21-gauge headpins (brass)
them on thrift shop or flea market tables.
6mm magnetic clasp (gold-plate) I have drawers full of them, but I inevitably
Nymo thread, size B (turquoise) buy more that go home to live amongst
2x3" piece of beading foundation (Beadwright, their sparkling brethren, waiting for their
Nicoles BeadBacking, powder blue) turn to glitter once again. The pocket bail
4x4" piece of Ultrasuede (fern) technique described in this project is perfect
washable fabric glue
for glittering goodies, but it can be
Lac Jewelry components are wax-filled, foil, and employed in any type of jewelry to bring
enamel beads. light and translucence to a piece.

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 Component
A. Use pliers to carefully disassemble
the Lac jewelry element and chande-
lier crystal, if needed (photo 1).
B. Prepare the thread. Sew the larger
Lac element to the beading founda-
tion. Use 80 seed beads to surround
the element with backstitch, and then
surround the work with color B 110
1 seed beads (photo 2).
C. Repeat step B for the smaller Lac
element, and trim away the beading
foundation for both.
D. Cut four 12" pieces of soutache,
one of each color. Align and stack in
2 this order: marine, cream, textured
matte gold, and ivy. Apply the stack
to the edge of the beading founda-
tion and the larger Lac element (see
p. 42) (photo 3).
E. Separate the large stack. Follow-
3
ing the layout in photo 4, use a 6mm
bead, a 4mm bead, a 60 seed bead,
two 80s, and three color A 110s to
make a ladder on each side of the
join. Add a 3mm glass pearl, wrap,
and end each stack (photo 4).
4
F. Use an A, a 4mm bicone, and an
A to create a bridge at the join
(photo 5).
G. Cut two 8" pieces of soutache, one
each of marine and cream. Align and
5 stack in that order. Apply the stack to
the edge of the beading foundation
and the small Lac element. Separate
the stack at the join. Add a 4mm on
either side of the join, wrap, and end
the stacks (photo 6). Use an A, a
6 bicone and an A to create a bridge at
the join.
H. Cut two 8" pieces of soutache,
one each of textured matte gold
and ivy. Using hex beads, create a
halo around the work (p. 49). Pull the
7 stacks behind the work and end the
stacks (photo 7).

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 Braided loops
A. Prepare the thread. Cut three
12" pieces of soutache, one each of
marine, textured matte gold, and ivy.
Align and stack in that order. Sew
through the stack 1" from the end.
Sew through the stack three or four
times at the same location to secure
(photo 8).
B. Braid the three pieces of soutache 10
together (photo 9). Sew the ends
together to secure.
C. String two jump rings on the
braid. Locate the center of the braid.
Sew through the braid ¼" to the right
of the center. Wrap with thread, 11
sewing through the wrap periodically
to secure. Repeat ¼" to the left of the
center (photo 10).
D. Keeping one jump ring to the right
and the other to the left, cut the braid
12
in half. Fold each braid assembly in
half (photo 11).
E. Position one braid assembly
behind one of the Lac components,
and use tacking stitches to secure
(photo 12). Repeat with the second
13
braid assembly and component.
F. Apply backing to each compo-
nent, but only apply glue to the half
of each component that is closest to
the braided loop (photo 13). Trim
the backing. 14
G. Fit the hole-end of the chandelier
crystal in the pocket formed between
the work and the Ultrasuede of the
smaller component (photo 14).
Sew through the crystal’s hole and use
tacking stitches to secure it to 15
the work.
H. Add a dab of glue to the back
of the crystal and the underside of
the Ultrasuede (photo 15). Let dry
completely.
I. Use As to edge-bead the 16
component. Edge-bead the back
of the work behind the braid assem-
bly and crystal (photo 16), and edge-
bead the second component, leaving
the lower portion open (photo 17).
17
Test-fit the wide end of the crystal in
the pocket formed between the work

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 and the Ultrasuede of the second
component (photo 18). Edge-bead
the work (the front of the pocket)
separately from the Ultrasuede (the
back of the pocket) (photo 19).
J. Put a small dab of glue inside the
pocket. Set the large end of the
crystal into the pocket and let dry
completely (photo 20). Trace a path
18 so the thread is exiting the edge
beading where shown (photo 21).
K. Pick up three As, an 80, a 4mm, an
80, and six As. Sew through the other
component where shown (photo 22).
Sew down through the adjacent
19 edge bead, pick up the same series
of beads, and sew through the lower
component where shown (photo 23).
L. Use two headpins, two 4mm pearls,
and four 80s to create two bead links
as shown (photo 24). Attach each link
20
to half of a magnetic clasp (make
additional links with crystals and
seed beads, if desired, for length)
(photo 25).
M. Attach the loops on opposite
ends of the links to the jump rings
21
on the bracelet.

22

23

24

25

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 Concentration: Designing with Multiple Techniques
Bonus Skill: Soutache-Wrapped straps

Blissful
ABUNDANCE
necklace
Materials
18 ⁄ " imported soutache
• 3 yd. in each of three colors (charcoal, sable, and garden
rose)
• 1 yd. metallic bronze
• 12" scrap soutache, any color
3" rhinestone chain (pink with gold plate)
10x10mm window glass bead (lavender/pink) with
Picasso edges
8mm rice-shaped freshwater pearl (dusty rose)
3 9x6mm teardrop-shaped glass pearls (cocoa)
10x6mm fire-polished flat teardrop glass bead (violet)
2 6mm glass pearls (rose)
6mm glass pearl (burgundy)
3 6mm faceted fire-polished beads (hematite)
4 assorted 6mm coordinating beads (crystal, glass, bicones,
crow beads)
4mm faceted fire-polished bead (hematite)
2 4mm glass pearls (rose)
2 7x3mm wood disks (pink)
#3 (1⁄4") bugle beads
• 3 color E (lavender gray)
• 3 color F (metallic purple)
60 seed beads
• 7–10 color A (pink metallic) TOOLS
• 3–5 color B (gilt-lined medium lilac opal) • size 10 beading needle
• scissors
80 seed beads
• flush cutters
• 30 color C (raspberry bronze)
• flatnose pliers
• 30 color D (gilt-lined antique purple opal)
• looping pliers
3g 110 seed beads (silver-lined champagne)
• permanent marker (purple)
8 6mm soldered jump rings (antique brass)
12 2" 21-gauge headpins (antique brass)
toggle clasp (antique brass) Incorporating multiple techniques into a single piece increases
Nymo thread, size B (burgundy) the perception of complexity and detail and adds to the level
5x5" piece of Ultrasuede (violine) of interest. If you’ve been making pieces that look too much
2½x2½" piece of beading foundation alike, try this exercise and create something that uses as many
washable fabric glue different techniques as you know.

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 Component 1
A. Prepare the thread. Use a
permanent marker to color the square
of beading foundation.
B. Secure a square bead to the
beading foundation (p. 42). Using
color C 80 seed beads, surround the
flat bead with backstitch (photo 1).
Surround the Cs with rhinestone
1 chain (p. 58) (photo 2). End the
thread, and trim away the beading
foundation.
C. Cut four 15" pieces of soutache,
one of each color. Working from the
back, apply garden rose soutache to
2 the edge of the beading foundation
(p. 42) (photo 3).
D. Align and stack the remaining
three 15" pieces of soutache in
this order: charcoal, sable, and
metallic bronze. Apply to the edge of
3
the work.
E. Using an 110 seed bead, a color D
80 seed bead, and an 110, create a
bridge at the join.
F. Begin an asymmetrical split:
Rotate the work and separate the
4
strands into two stacks, moving the
two innermost strands to the right.
The thread should be exiting to the
right of the join. Add a 6mm hematite
bead (photo 4). Wrap and end
5 the stack.
G. Trace a path so the thread is
exiting to the left of the join. Begin-
ning with a 6mm bead (photo 5) and
progressing to a 4mm bead, seven
60 color A seed beads, a D, and five
6 110s, create an open, graduated
ladder with the left-hand stack. End
the stack (photo 6). Add and wrap a
4mm bead.
H. Trace a path so the thread is
exiting the top of the stack wrapping
7 the 6mm hematite bead (photo 7).
Pick up a D.
I. Cut three 6" pieces of soutache, two
of sable and one of garden rose. Align
and stack in that order. Locate the
center of the stack, and sew through
8
the stack at the rib.
J. Working first from left to right, use
Ds to make a halo (p. 49) around the
stack surrounding the 6mm
(photos 8, 9). End the stack. Pull
the thread across the back of the
9
work, and complete the halo in the

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 opposite direction.
K. Cut three 4" pieces of soutache,
one in each of metallic bronze,
charcoal, and sable. Align and stack
in that order. Sew through the stack.
Wrap a 9mm teardrop bead to
make a lollipop (photo 10). Trim the
soutache ends. Repeat this step to
make another lollipop.
L. Position one lollipop behind 10
the work and use tacking stitches
to secure. Repeat with the second
lollipop (photo 11).
M. Cut two 8" pieces of soutache, one
of metallic bronze and one of garden
rose. Align and stack in that order. 11
Use three color E bugle beads to
make a parallelogram (p. 55) (photos
12, 13).
N. Use shaping stitches to secure the
four-strand stack into the open loop
12
(p. 63) (photo 14).
O. Repeat steps M and N, substitut-
ing charcoal soutache for the garden
rose and using color F bugle beads.
Position the open loops behind and
over the work as shown. Use tacking
13
stitches to secure. Trim. Add jump
rings as shown (photo 15).

Component 2
A. Cut four 6" pieces of soutache, one
of each color. Align and stack in this 14
order: garden rose, charcoal, sable,
and metallic bronze. Using a teardrop-
shaped pearl as the center, a wood
disk, and a freshwater pearl, make
a koala face (p. 22) with an
asymmetrical split. 15
B. Use two 110s and Ds to create a
bridge at the join. Add a jump ring at
the upper right corner of the teardrop
(photo 16).

Finishing 16
A. Apply backing to both
components. Trim the backing.
B. Edge-bead using 110s.

Make soutache-wrapped straps

with open-weave beading 17

A. Cut two pieces of soutache (one

each of sable and charcoal) four times
longer than the desired strap length.
Align and stack in that order. Slide
four 6mm jump rings onto the stack
(photo 17).

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 B. Separate the jump rings so there
are two on both ends of the stack
(photo 18). Cut the stack in half.
C. Slide one jump ring toward one
end of one stack. Fold the stack over
the jump ring, and sew to secure it
about 1" away from the jump ring.
Fold the other end of the stack over
the second jump ring. Sew the second
end of the stack to meet the first end
18 (photo 19). (Dab glue on the ends, if
desired.)
D. Cut a 15" length of garden rose
soutache. Sew over the join, leaving
a 2" tail on one side (photo 20). Use
thread to gently wrap the 2" section
of the stack. Keep the thickness
19 around the join as even as possible.
Sew through the stack to secure.
E. Cut a 12" length of scrap soutache,
and fold it in half. (This is a working
loop, and it will not be incorporated
into the project permanently.) Lay the
20 soutache along the side join with the
loop pointed toward the jump ring in
the smaller fold (photo 21). Grasp
the stack and working loop in one
hand. Begin to wrap the stack and
the working loop with the longer end
of the contrasting length of soutache
21 (photo 22).
F. Finish wrapping (about 9–10 wraps),
and thread the remaining length of
contrasting soutache through the
working loop (photo 23). Keeping a
firm grasp on the wrapped section,
22 pull the working loop through the
wrap (photo 24). Trim both ends of
the wrap.
G. Prepare the thread. Sew through
the wrap near the jump ring, and pick
up 16 110s. Wrap the strand of beads
around the end of the soutache-
23 wrapped section. Sew through the
first 110 (photo 25). Sew through the
soutache to secure the position of the
beaded ring (photo 26).
H. Sew through any bead in the
ring. Pick up seven 110s, and sew
24
through the fourth bead from the
first (photo 27). Repeat three times
(photo 28).
I. Sew through the first four beads of
the first loop so the thread is exiting
the center bead. Pick up seven 110s,
and sew through the center bead
25
of the adjacent loop (photo 29).

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 Continue this pattern around to
complete the round.
J. Exit the center bead of the first
loop created in the previous step.
Pick up seven 110s, and sew through
the center 110s in the next loop.
Continue this pattern around to
complete the round.
K. Sew through the beads to exit the
center bead in the first loop created
in the previous step. Pick up three 26
110s, and sew through the next center
110 in the following loop. Repeat
to complete the second circle of
110s around the wrapped soutache
(photo 30).
L. Sew through the soutache base
in several places to secure, and trim 27
the thread.
M. Repeat steps A–L to create a
second strap.

Assembly
A. Prepare the thread. Sew 28
Components 1 and 2 together as
shown (photo 31). Use spacer beads
to adjust the fit. Be sure to retrace
the thread path at least twice for
each connection.
B. Use headpins and the remaining
beads to make a dangle and eight 29
or nine bead chain links. Connect
the links, and attach the dangle and
bead chain to jump rings. Add half of
a clasp to each link at the top of the
soutache-wrapped straps (photo 32).
30

31

Keep your color palette

consistent, and your work will 32
look unified. At this point, you
should be taking off a bit. I’ve
given you materials, but don’t fret
if you don’t have exactly what’s
on the list; use what you’ve got
and allow your design eye to
direct your decisions.

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 Concentration: Creating Articulating Links
Bonus Skill: Controlling Curves

Chain,
Chain,
Chain
Tools
size 10 beading needle
scissors
flush cutters
necklace
flatnose pliers
looping pliers
permanent marker (aqua)

Materials
18 ⁄ " domestic soutache
• 2 yd. in each of four colors (tyrol, sage, duck, and ivy)
• 4 yd. (textured metallic matte gold)
7 10mm coin beads (cocoa pearl)
6 8x5mm fire-polished, faceted barrel-shaped beads (red AB)
27 #3 (1⁄4") bugle beads (red)
60 seed beads
• 6 color A (matte antique gold)
• 6 color B (silver-lined red)
Large breastplate or bib-style necklaces can
7g 80 seed beads (metallic gold)
be dramatic and eye-catching. Learning to
4g 110 seed beads (metallic pearl sage)
create soutache pieces that move and bend
15" 2mm (6.5ss) Swarovski crystal rhinestone chain (silk with
gold plate) like more traditional, linked jewelry, however,
7 6mm soldered jump rings (antique brass) is a worthy challenge. This piece is made of
11 2" 21-gauge headpins (antique brass) individual, connected links resulting in an
toggle clasp (antique brass) elegant necklace that drapes beautifully and
Nymo thread, size B (turquoise) moves with the wearer.
5x5" piece of Ultrasuede (verde)
4½x2" piece of beading foundation
washable fabric glue

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 This lesson delves deeper into the
secrets of making ladders with a
consistent curve. Learn to control
your curves, and your design
possibilities grow exponentially.

Make larger links

A. Prepare the thread. Prepare the 1
beading foundation by coloring it with
a permanent marker.
B. Glue one of the 10mm coin beads
onto the beading foundation. Let dry
completely. Secure the coin to the
foundation by sewing up through the 2
foundation, through the bead, and
down through the foundation three
or four times (photo 1). Keep the
stitches close to the bead.
C. Wrap the coin with a length of
3
rhinestone chain (p. 58). Trim the
beading foundation, being careful not
to cut the stitches (photo 2).
D. Cut three 10" pieces of soutache,
one each of sage, metallic matte gold,
and tyrol. Beginning with the sage,
4
followed by the metallic and the tyrol,
secure a stack around the beading
foundation (p. 42) (photos 3, 4).
(Hint: Let the open place in the rhine-
stone chain become the top part of
the lollipop shape—this spot will be 5
hidden at the end of the project.)
E. Secure an 80 seed bead between
the two stacks where they meet
below the center bead (photo 5).
Retrace the thread path.
F. Turn the work over. Working from 6
the back, begin creating a curved
ladder between the two stacks: Sew
up through the bottom stack, pick up
an 80, and sew through the top stack
(photo 6). To create a consistent,
smooth curve, increase the stitch 7
length on the upper stack so the
needle exits the bottom of the upper
stack one and a half beads width
away from the side of the previous
bead. After picking up the 80, the
8
needle should enter the bottom stack
half a bead width away from the side
of the previous bead.
G. Sewing back up through the
bottom stack, use the half a bead
width measurement again. Pick up an
80, and sew through the upper

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 stack so the needle enters the stack
one and a half bead widths away
from the side of the previous bead
(photo 7, p. 85). Continue in this pat-
tern, paying careful attention to the
needle exit and insertion positions,
until you have 16 beads incorporated
into the ladder (photo 8, p. 85).
H. Sew the stacks together at the
end of the ladder. Trim the stacks.
9 Use tacking stitches to secure the
end of the ladder behind the work
(photo 9).
I. Cut three 8" pieces of soutache
from the same colors, one of each
color. Align and stack the pieces in
the same order as the stack surround-
10 ing the coin bead. Locate the center
of the stack, and sew up through the
stack. Using three bugle beads, begin
making a parallelogram (see p. 56)
(photo 10). At the point where you
would normally join the two stacks
11 near the top of the work, secure an 80
between the two stacks (photo 11).
J. Working from the front, begin
creating a curved ladder between
the two stacks. Use the same spacing
described in steps E–G until you have
eight beads incorporated into the
12 curve (photo 12).
K. Continue making the ladder,
incorporating eight more beads,
but flatten the curve by changing
the stitch length on the upper
curve to three-fourths bead width
13 (photo 13). Sew the stacks together
and trim (photo 14).
L. Position the parallelogram behind
the first component so the parallelo-
gram appears to be a natural exten-
sion of the first component’s curved
ladder. Use tacking stitches to secure
14 the second component behind the
first (photo 15).
M. Cut a 1¼x1¼" piece of Ultra-
suede. Apply a dab of glue to the
center back of the work only. Use your
finger or a toothpick to spread glue
15
thinly across the back (don’t let the
glue get on the ladders) (photo 16).
N. Apply the backing. Let dry
completely, and then trim the
backing. Under the ladders, follow
the shape of the round center.
16

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 O. Edge-bead. Where the Ultrasuede
edge passes under the ladders, edge-
bead the edge of the Ultrasuede only
(photo 17). Bury the thread.
P. Using ivy, textured matte gold, and
duck soutache, repeat steps A–O.
Add a jump ring at the bottom of the
link, and then continue to follow steps
A–O (photo 18).
Q. Push the parallelogram of link 1
through the left-hand loop of link 2 17
(photo 19). Use tacking stitches to
secure the tip of the parallelogram
of link 1 over the stack, wrapping the
center of the link (photo 20). Make
the tacking stitches on the back of
the work very small, and they will
disappear into the Ultrasuede. 18
R. Alternating between the two color
combinations of soutache, make
and connect five more links. Add
jump rings to links 3, 4, 5, and 6 only
(photo 21).
19
Make smaller links
A. Cut six 8" pieces of soutache, two
each of ivy, textured matte gold, and
duck. Using three bugle beads and
16 80s each, make two identical
parallelograms with curved ladders
(photo 22). 20
B. Flip the right one over to make a
mirrored pair.
C. Add a jump ring behind the
“beak” of each parallelogram
(photo 23). Use tacking stitches to
secure the ladder of the right-hand 21
smaller link behind the parallelogram.
D. Apply a dab of glue behind only
the parallelogram that has its ladder
secured behind it. Use your fingertip
or a toothpick to spread the glue so it
covers the back of the parallelogram
portion of the smaller link only. 22
E. Apply the backing, and let dry
completely. Trim the backing.
Edge-bead using 110s (photo 24).

23

24

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 F. Push the parallelogram of link 7
through the loop of the right-hand
smaller link (photo 25). Use tacking
stitches to secure the parallelogram
of link 7 over the stack wrapping the
coin bead of the same link.
G. Push the left-hand smaller link
through the back of the left-hand
loop of link 1 (photo 26). Use
tacking stitches to secure the ladder
25 of the left-hand smaller link behind
the parallelogram. Apply backing and
edge-bead as in steps D and E.

Finishing
A. Using five headpins, five faceted
beads, five color A 60 seed beads,
26 and five 80s, make five dangles
(photo 27). Attach a loop on one
dangle to the jump ring on link 2
(photo 28). Attach the remaining
four dangles to the other links.
B. Using six headpins and six
27 color B 60s, make six bead chain
links (photo 29). Make two chains
with three bead chain links each
(photo 30).
C. Attach half of a clasp to the end
of each chain. Attach the bead chain/
clasp assemblies to the jump
28 rings and ends of the linked work
(photo 31).

29

30

31

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 AUTHOR’S GALLERY

”Cleopatra’s Cavalry” cuff bracelet, 2010

”Blossom Pendant for Anu” necklace, 2013

”Ebb & Flow” necklace, 2010

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 ”My Heart’s Labyrinth” necklace, 2013

”In Living Color” soft cuff, 2013

”Dangerous Liaisons” necklace, 2013

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 ”Bollywood Wedding” earrings, 2012

”Breakfast at Tiffany’s” earrings, 2013

”Roses Released from the Tapestry” necklace, 2013 Bead Dreams Finalist

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 ”Raiment for Anu” necklace, 2013

”Something Blue” necklace, 2012

”Zeal” cuff, 2012

”Night at the Opera” earrings, 2012

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 ”Caribbean Queen” necklace, 2013 (polymer clay cabochons, beads, and toggle by Ann Dillon)

”Caryn’s Fifi Necklace” 2012

”Mirth” cuff, 2011

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 Resources Acknowledgments
Beads, findings, supplies, soutache, and Mae Rockland-Tupa and Victoria Tane: You
Ultrasuede are the generous beacons who shed your
Amee Runs with Scissors brilliant light on the fact that within the most
488 Hanover St. Apt. 1 Manchester, NH 03104 successful of craftswomen, the soul of the artist
603-759-0083, ameerunswithscissors.com and the brain of the business woman must be
inextricably linked.
Beads, findings, and supplies Caryn, my heart’s sister: You are ever my
Ann Dillon (polymer clay beads and cabochons) model for femininity without fragility.
anndillon.com Julia Gerlach, editor of Bead&Button
magazine: Thank you for finding me.
Cherry Tree Beads (wholesale) Jane Cruz, associate editor of Bead&Button:
95 Thompson St. Unit 125, Asheville, NC 28803 Thank you for your patience and unflagging
828-505-2328, order@cherrytreebeads.com enthusiasm.
Dianne Wheeler, editor-in-chief of
Designer’s Findings Kalmbach Books: Thank you for granting
P.O. Box 1433 Brookfield, WI 53008 me, fairy-godmother-style, this most precious
262.574.1324, designersfindings@wi.rr.com of opportunities.
Erica Swanson, associate editor of Kalmbach
Fusion Beads Books: Thank you for your professionalism,
3830 Stone Way N Seattle, WA 98103 perseverance, and positivity.
888-781-3559, fusionbeads.com Tom Ford, art director, and James Forbes,
photographer: ”Clean,” I said. ”Bright,” I said.
Margola (wholesale) ”Exciting,” I said. You listened. You responded.
232 South Van Brunt St. Englewood, NJ 07631 And then you made it better than anything I
201-816-9500, margola.com ever imagined.

Whimbeads
121 E. Cotati Ave. Cotati, CA US 94931
800-232-111, whimbeads.com

Thaya Collections LLC (owner, Thaya Salamacha;

Lac Jewelry) thayasa@hotmail.com

Soutache
BeadSmith/Helby Import Co. (wholesale only)
37 Hayward Ave. Carteret, NJ 07008
732-969-5300, info@helby.com

Ultrasuede
Field’s Fabrics
3975 Lake Michigan Drive NW
Grand Rapids, MI 49534
800.678.5872, fieldsfabrics.com

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 About the Author
When people ask me, “Why is your art business
called Amee Runs with Scissors?” I usually just
laugh and say, “Because it sounds a whole lot
sexier than ’Amee Eats Paste.’”
You see, my creative spirit seems to be about
as predictable as a sugared-up six-year-old. But I
have come to trust this wild-eyed, slightly-manic
inner child because she might just whisper
something really inspiring like, “Hey! Let’s put
some Ultrasuede in the Sizzix machine!”
I have worked as professional interior
designer for over 25 years but, in my thirties, I
went back to school to pursue a degree in fine
art. Somewhere along the way, I discovered
soutache and bead embroidery. I am a proud
member of the League of New Hampshire
Craftsmen and have been fortunate enough to
have had my work published on the cover of
Bead&Button magazine. I work out of my
home in southern New Hampshire, making one-
of-a-kind pieces of wearable-art textile-jewelry.
I write, sell soutache and bead embroidery
supplies, and teach classes out of my studio
and at venues across the country.
Photo by Photography by Nylora, Concord, NH

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