2

PROJECTS FOR
BEGINNERS
AND BEYOND

EASY-TO-FOLLOW
INSTRUCTIONS

PLUS
History of Swarovski t
Expert tips and tricks t

FULL OF TIPS AND TECHNIQUES

Contents
Projects
8 Beadworx – necklace/bracelet
14 Cosmic Beads – watchband
16 Wigwam – necklace
26 Adelaide Beads – ring
28 Bizzarr Beads – bracelet
34 Fire and Ice – earrings
36 Terenas Treasures – necklace
40 Crystal Park – suncatcher, bracelet and bag tag
48 Bead World – necklace
52 Designers In Residence – bracelet
60 Wildlight Studios – necklace and bracelet
64 Bead Needs – watchband
66 Bead Dazzled – bracelet
68 Pam Kennard – bracelet
72 Sacha Harris – Necklace
Features
20 Wendy Bergamin
Wendy was busy making Beargamin Bears when
the beading bug bit a few years ago. She now has
a home-based studio where she makes beautiful
lampwork beads. Antoinette Webster talks to Wendy
about her leap into beading.

56 The History of Swarovski

Discover the wondrous history behind the most
famous cut crystal in the world – Swarovski.

Regular Features
6 Gallery
44 What’s New
74 Basic Bead Techniques
80 Glossary
82 Next Issue
Bead Gallery

Crystal Park
Necklace

Loving Designs
Necklace

Crystal Park
Loving Designs
Necklace
Necklace

Creative Beading asked beaders from

beadingforum.com.au to send us their
designs. Each issue we will publish a few
select pieces. For more information log
onto www.woodlandspublishing.com.au

12 Creative
6 Creative Beading
Beading
 The ArTTable*
The ArTTable*
Necklace
Bracelet

* Made by Dina Goebel, director of the ArTTable

in collaboration with L eeza Silverman.

Crystal Park
Necklace

Proudly supported by

Creative Beading 13
PROJECT

MATERIALS This versatile bracelet becomes a necklace – then

2 x12-14mm Toggle (Gold/
Rose Design) back to a bracelet whenever your heart desires!
70 x 50mm Head Pin (Gold)
14 x 4x6mm Oval Jump
Rings (Gold)
9 x Charms (Dragonfly, Leaf
& Hummingbird) (J)
25 x Bead Caps to suit 8- DESIGNER’S NOTE STEP 4
12mm beads (Gold) (K) Please note if you only intend on making this Try the bracelet on to ensure it is the right
60cm 6.5mm Belcher Chain piece into a necklace measure your front piece length and comfortable prior to continuing.
(Gold) of chain about 21cm or 24 full chain links. Hint: Each bead will be added to the chain
using a large ‘wrapped loop’ (See ‘wrapped
BRACELET loop instructions’ on a head pin. Make sure
BEADS STEP ONE to add the bead on the chain to hang in the
9 x Faceted Round Measure and cut length of chain to suit your same direction.
Crystal (Red) (A) wrist, this bracelet is 18cm in length but will
7 x12mm Round Lampwork vary from person to person. Remember to DESIGNER’S NOTE
(Red/Gold Swirl) (B) account for the toggle clasp and rings which You can either thread randomly (set out your
8 x 8mm Oval Cloisonne will add another 1.3cm. beads first) or follow instructions to ensure no
(Red) (C) same bead sits together.
9 x 6mm Lt Siam Swarovski STEP TWO
Crystal (D) Open jump ring (use two pairs of pliers, and STEP FIVE
9 x 8mm Rose Metal Bead (E) open against each other, not away from cut). Add 8mm crystal bead (A), create a wrapped
3 x 4mm Lt Siam Swarovski Thread one end of toggle clasp and one end loop onto the chain (refer to ‘wrapped loop
Crystal (F) of the chain. Close the jump ring. instructions’) and place on the first ‘up’ link in
the chain. ** diagram **
1 x 20mm Silverfoil Heart
(Fire Opal) (G) STEP THREE
Now open another jump ring and thread STEP SIX
9 x 10 or 12mm Silverfoil
Round (Fire Opal) (H) on other end of toggle and the other end of Add bead 8mm oval cloisonné (C) to the
chain, close jump ring second ‘up’ link in the chain.
5 x 12mm Silverfoil Coin
Bead (Fire Opal) (I)
2 x 8mm Round Mysterious
Bead (Red) (L)
5 x10-12mm tumbled Coral
Beads (M)

TOOLS
Cutters
Round Nose Pliers
Flat Nose Pliers
Bead Mat (Optional)

Rating
8 Creative Beading
 Sweetheart
Wrapped Chain
NECKLACE STEP SEVEN STEP THIRTEEN
MATERIALS Add bead cap (K), then 12mm silverfoil bead Before continuing forward, you will need to
2m Tigertail (H) to the third ‘up’ link on the chain fill in the one or two chain links behind the
Sterling silver Catch or charm (step TWELVE).
Fob catch STEP EIGHT
9 x Crimp beads Add 6mm swarovski crystal (D) then a 8mm metal STEP FOURTEEN
bead (E)to the fourth ‘up’ link on the chain. Add bead cap (K), then 12mm lampwork
bead (B) behind the charm, then 6mm
BEADS STEP NINE Swarovski crystal (D) then a 8mm metal bead
Art Glass Feature Bead Add bead cap (K), then 12mm lampwork (E) behind the lampwork bead if necessary on
6 – 8 x 2g x seed beads bead (B) to the fifth ‘up’ link on the chain the ‘down’ chain link.
different colours, shapes &
sizes (total 16g approx) STEP TEN STEP FIFTEEN
16-20 x 6mm Swarovski Now open a jump ring and thread charm (J) Add 8mm crystal bead (A), continuing
Pearls in 2 colours onto the sixth ‘up’ link on the chain and close forward from the charm on the next ‘down’
16-20 x 4mm Swarovski jump ring. link of the chain.
Pearls in 2 colours
16-20 x 6mm various STEP ELEVEN STEP SIXTEEN
coloured Czech glass beads Repeat steps 5-10 (5 beads, 1 charm, 5 Add bead 8mm oval cloisonné (C) to the
16-20 x 4mm various beads, 1 charm, etc) until you have reached second ‘down’ link in the chain.
coloured Czech glass beads the end of chain.
1 x 8mm Czech glass Rondels STEP SEVENTEEN
DESIGNER’S NOTE Add bead cap (K), then 12mm silverfoil bead
Once you have reached the end of chain, (H) to the next ‘down’ link on the chain
TOOLS return to end of chain where you had started
Crimping pliers and you will now start adding bead to the STEP EIGHTEEN
Wire cutters adjacent ‘Down’ link of the chain. Add 10mm tumbled coral bead (M) to the
next ‘down’ link on the chain.
STEP TWELVE
Add a charm (J) to the left, adjacent to the STEP NINETEEN
third bead (H) on the ‘down’ link of the chain. Add bead cap (K), then 12mm silverfoil coin
This is the starting point. bead (I) to the next ‘down’ link on the chain

10 Creative Beading
STEP TWENTY bracelet chain from the right side. Close the
Now open a jump ring and thread charm (J) jump ring.
onto the sixth ‘up’ link on the chain and close
jump ring. STEP THREE
Now open another jump ring and thread one
STEP TWENTY ONE end of chain to approx the 8th ‘up’ link on the
Repeat steps 15-20 (5 beads, 1 charm, 5 completed bracelet chain from the left side.
beads, 1 charm, etc) until you have reached Close the jump ring
the end of chain.
You have now finished the bracelet. Please DESIGNER’S NOTE
continue reading if you will be doing the You can make the front piece of chain (the
optional necklace. ‘V’) longer or shorter to suit your taste.

NECKLACE STEP FOUR

STEP ONE Start by adding a bead cap, 4mm Swarovski
Measure a second piece of chain to suit crystal (F) 20mm silverfoil heart (G), metal
your required length (approx 18-20cm) and bead (E) & 6mm Swarovski crystal (D) to a
repeat steps 2 and 3 to attach another toggle. 76mm headpin, and wrap to the centre link of
You can then attach this chain to the end the chain. Workings outward from the centre
attachments of the bracelet. (heart – ‘G’) add the following to both sides of
Making a ‘Wrapped Loop’ Instructions the heart on the ‘up’ link of the chain.
Leaving a slight space (approx 2mm), place
your chain nose at the base of the bead, bend
the head pin 90 degree angle away from you.
Using your round nose pliers, grab the wire
about 1cm from the bend and roll the wire
back toward you to form a partly complete
circle on the wire. We need to create a large
loop “pocket” for the 6.5mm chain to sit in.
Now slip chain into loop ‘pocket’ created.
Place the end of the round nose pliers into
the loop, just above the chain (to hold the
chain in place and help it from not falling in
your way when you create the wrap). Using
your thumb, wrap the bend on the head pin
and continue to wrap wire around itself tightly,
to secure the wire firmly to the bead. Cut
excess off.

NECKLACE – PART 2 – OPTIONAL

“V” & HEART
STEP ONE
Measure & cut length of chain approx
(10 full links).

STEP TWO
Open jump ring and thread one end of chain
to approx the 8th ‘up’ link on the completed
 STEP ELEVEN
Add 8mm glass bead (L) to the next ‘down’
link on the chain

STEP TWELVE
Add bead cap (K), then 12mm silverfoil bead
(H) to the next ‘down’ link on the chain

STEP THIRTEEN
Add 8mm cloisonné oval bead (C) to the next
‘down’ link on the chain

Now working from the heart still on the

‘down’ links of the chain: -

STEP FOURTEEN
Add 8mm crystal bead (A) to the next ‘down’
link on the chain
STEP FIVE
Add 6mm Swarovski crystal bead (D), then STEP FIFTEEN
metal bead (E), on the next ‘up’ link of the Add bead cap (K), then 12mm lampwork
chain, on both sides of the heart bead to the next ‘down’ link on the chain

STEP SIX STEP SIXTEEN

Add bead 10mm tumbled coral (M) to the Add 8mm glass bead (L) to the next ‘down’
next ‘up’ link of the chain, on both sides of the link on the chain
heart
STEP SEVENTEEN
STEP SEVEN Add bead cap (K), then 12mm silverfoil bead
Open a jumpring, and attach a charm (J) to (H) to the next ‘down’ link on the chain
the next ‘up’ link of the chain, on both sides of
the heart. STEP EIGHTEEN
Add 8mm crystal bead (A) to the next ‘down’
STEP EIGHT link on the chain. HINT – Remember you
Add 8mm glass bead (L) to the next ‘up’ link can add more or add less beads than the
of the chain, on both sides of the heart. Now instructions, this is up to you.
working back towards the heart on the ‘down’
links of the chain, add the following to both Designed by Michelle Whittaker
sides of the chain. Beadworx
Address: Shop 19 Harbour Town
STEP NINE Shopping Centre,
Add 8mm crystal bead (A) to the next ‘down’ Corner Gold Coast Highway & Oxley
link on the chain Drive,
Biggera Waters, Qld
STEP TEN Ph: (07) 5563 7544
Add 12mm silverfoil coin (I) to the next ‘down’ Fax: (07) 5563 7588
link on the chain Email: beadworx@bigpond.net.au

12 Creative Beading
PROJECT

MATERIALS Marcasite is alwa ys a timeless classic. This watch

1 x Geneva marcasite watch
face from Cosmic Beads is a wonderful start to any day.
36 x sterling silver rondel
spacers
1 x Thai silver 3 hole spacer STEP ONE STEP SIX
bar Thread a length of short tiger tail approx Attach each side of the tiger tail to the toggle
1 x sterling silver toggle 20cm through the bottom watch loop loop and firmly crimp, threading a little extra
2 x strands of tiger tail and centre the watch in the middle of the tiger tail through the last rondel. Cut the
strand. Thread on three pink opal rondels on excess tiger tail off as close to the bead as
4 x crimps
either side with spacers between them. possible.

STEP TWO Cosmic Beads

BEADS Attach each side of the tiger tail to the Ph: (08) 9397 6260
42 x pink opal rondels toggle bar and firmly crimp, threading a little Mobile: 0438 251 098
extra tiger tail through the last rondel. HINT Email: jo@cosmicbeads.com.au
– Please note the tiger tail won’t go back Website: www.cosmicbeads.com.au
TOOLS through the spacers as the hole is too
Long nose pliers or small. Cut the excess tiger tail off as close to
crimping pliers the bead as possible.

STEP THREEE
Thread a length of longer tiger tail approx
30cm through the top watch loop and
centre the watch in the middle of the
strand. Thread on 8 pink opal rondels with
spacers between them.

STEP FOUR
Thread on the 3 hole spacer, using just the
two outside holes.

STEP FIVE
KITS Thread on another 8 pink opal rondels with
Kits are available spacers between them and measure against
for $49.00 your wrist. Add more rondels and spacers if
including GST. you need to.

Rating
14 Creative Beading
P ink Opal
Marcasite
PROJECT

MATERIALS Using your semi precious stone and seed beads this
Nymo thread
looping necklace is a step up for those of you who love
stranding but feel confined by simple single strands
BEADS
Approx 15g x size 9 seed
beads STEP ONE
Fresh water pearls This Necklace is done in double thread, so
Semi precious stones for an eight strand 50cm necklace thread the
A small amount of amber needle with 9m of thread (8m for necklace,
1m for finishing off both ends). Tie a reef knot
Approx 125g x mixed beads making sure that the knot is not at the end.
in various shapes and sizes,
ranging from 4mm to 8mm See diagram 1.
in all shades of green,
rondels, tubes, facetted
crystals and a small amount
of silver spacers. Diagram 2

Diagram 1
STEP THREE
TOOLS STEP TWO Thread needle through the stopper bead,
Beading needle Button hole one seed bead as a stopper making a large loop. Flatten loop so both
bead, by threading the bead till almost at sides touch, giving the impression of having
the end, then thread through the loop at the two strands. Thread needle through the
end, then continue to thread seed beads until further most bead then pull tight. If you
work measures one metre. Randomly thread have done this properly, this will create 4
bead mix occasionally threading some more strands. Repeat again on the other 2 loops.
seed beads until complete work measures 4 You should now have eight strands. See
metres. See Diagram 2. Diagram 3.

Rating Diagram 3

16 Creative Beading
Green with
Envy
 STEP FOUR the beaded toggle). Thread though the ninth
To create first half of the beaded toggle and bead from the original button hole bead
loop type clasp, thread 8 seed beads, one where you started. Thread on another 8 seed
8mm bead and then 6 seed beads. Thread beads and thread through one of the strands
back through the top of the 8mm bead and and tie off in the same manner as you did for
repeat till 8mm bead is covered. Put on 1 the other side. See Diagram 5.
seed bead and go back through to the top
of the 8mm bead to cap off the ball, you are DESIGNER’S NOTE
now heading in the opposite direction that This also looks good in multi coloured seed
you started. Put on 8 more seed beads and beads with the odd 8mm bead randomly
thread back through 1 of the strands about dotted about.
1 ½ cm. Tie a knot around the same strand.
Repeat knotting about 5 times. Cut the last of
the thread and tie another reef knot with knot
at one side. See Diagram 4.

Diagram 5

Diagram 4 Materials can be purchased at your local

bead shop; expected cost of this necklace
STEP FIVE is approximately $45 to $50
We will now create the second half of the
clasp the loop. Using thread start at other Wigwam Beadery
end, button hole one of the seed beads on Shop 1
1 of the strands and then through the peek 16 Bideford St
of each loop. Thread on 8 seed beads, a Torquay QLD
further 28 seed beads (this is the loop for PH: (07) 4194 6292

18 Creative Beading
PROFILE – WENDY BERGAMIN

From Bears
to Beads
WENDY WAS BUSY MAKING BEARGAMIN BEARS WHEN THE BEADING
BUG BIT A FEW YEARS AGO. SHE NOW HAS A HOME-BASED
STUDIO WHERE SHE MAKES BEAUTIFUL LAMPWORK BEADS.
ANTOINETTE WEBSTER TALKS TO WENDY ABOUT HER LEAP INTO BEADING.

WENDY BERGAMIN LIVES IN

Victoria with her husband and two
sons. She taught secondary school
arts and crafts for 13 years before
she took long service leave and
had her first son, when she started
working from home. She now has
two sons, a thriving bead and bear-
making business and “absolutely no
regrets about the decisions made
regarding working from home”.

HOW DID YOU MAKE

THE LEAP FROM BEARS
TO BEADS?
I thought that I would be able to
make little fishes and other beads to
put around the necks of the mohair
bears that I make. I also thought it
would be interesting as it was very
far removed from the sewing types of
crafts which I had been doing since I
gave up teaching.
At the moment the beads seem to
have taken over but I haven’t given
my bears up. I have always felt that
if I didn’t feel like making something
that it was pointless to push myself as

20 Creative Beading
 WENDY BERGAMIN – PROFILE

“I do like
making
encased
flower beads
but I suppose
my favourites
would have
to be the
bright multi
coloured
beads and
‘evil eye’
beads.
The bright
it never looked as good as something that I arts” course several years later majoring in hot colours
did want to make. glass, which further piqued my interest.
I am in my comfort zone making bears but In late 2003, I received a brochure in
make me
because the glass can have some unforeseen the mail which advertised for bead making feel happy.”
reactions when you mix colours then I find the
spontaneity of this very fascinating.
Have you noticed any similarities between
the bear world and the beading community in
Australia?
I have already met a lot of nice people in
the bead world. The bear and bead worlds
are quite similar and although I am meeting
a lot of new people in the bead world (having
known the bear-makers for years), I find that
there are a lot of parallels in their outlooks
and behaviour.
I enjoy making beads and bears and I try
to put my best efforts into whatever I do –but
I still find it amusing to see how many people
take themselves a bit too seriously. I think the
word ‘artist’ is bandied around far too much.

HOW DID YOU GET STARTED IN

LAMPWORKING?
When I did tertiary studies there weren’t
any hot glass areas of study, so I went to
teacher’s college at Melbourne and majored
in ceramics. My younger sister did a “fine

Creative Beading 21
PROFILE – WENDY BERGAMIN

classes with Pauline Delaney, so I rang and

booked to do the class which started in
January of 2004.
After I completed one set of four night
classes with Pauline I realized that my beads
weren’t going to look great straight off. I also
realised that this wasn’t going to be one of
those cheap crafts where you could just buy a
few bits and pieces and get to work!
I hadn’t seen a hot head burner (or
worked on one) but I had been told that they
were noisy and cooler to work with than a
Propane/oxygen torch which was the type
I had used with Pauline. When I looked at
the cost of buying the equipment compared
to the cost of doing a workshop, I decided
that I had better book in to do another
workshop with Pauline … then another …
then another…
At this stage I had decided that I was
probably going to set up a studio at home, but
then I saw that the first “Bead and Gem Show”
was being held in Sydney and that there were
going to be workshops in bead-making there.
I booked two days of workshops with Peter
Minson. Peter talked about a lot of the health
and safety aspects of working from home
and this made me feel more confident about
buying all of the equipment.
In February of this year I did a two day
workshop with Corina Tettinger who lives
in the US. She has published “Passing the
Flame” and several other booklets about
lampworking and I find the precision of her
work and the way she sets out her books to
be very helpful.

22 Creative Beading
 WENDY BERGAMIN – PROFILE

HOW WOULD YOU DESCRIBE

YOUR STYLE?
I don’t find that I am drawn to one type of
beading style or decoration. I like to use all of
the glass colour palette rather than settling on
a few colours. The beads are quite often ‘one
off’ as I find that I am moving along and
trying new techniques, so I rarely go back and
repeat any.
I do like making encased flower beads but
I suppose my favourites would have to be the
bright multi coloured beads and ‘evil eye’
beads. The bright colours make me
feel happy.
Some of the necklaces I have seen that
incorporate my beads have been wonderful.
It is interesting to see how various people
use different colour combinations and types
of beads. I like the work which doesn’t ‘play
safe’ but has unexpected combinations.
Two Australian bead makers whose work
I really like are Marie Claude Chapman
and Carol Marando. I think that their work
is in a class of its own. I would like to try
some sculptural work like Wendy Tobler’s
Carousel Horse Heads –but that will require
a lot more technical ability before I even
contemplate that.

WORKING FROM HOME, HOW DO

YOU MANAGE YOUR TIME?
I am very lucky that my husband and sons
don’t have high expectations regarding
dustless surfaces. My main priorities are
that the clothes are washed, the bills are
paid, the kitchen is relatively tidy and dinner

Creative Beading 23
PROFILE – WENDY BERGAMIN

HOW DO YOU MARKET

YOUR BEADS?
I started my website four years ago. I have
always worked on the website myself as I like
to update it as soon as possible when I have
new beads/bears to put on there. Setting up
the web site was a big learning curve but a
very satisfying experience.
I haven’t really changed my way of
marketing my beads (or bears) since I started.
I am a strong believer in going to shows and
advertising in magazines to raise the profile
of my products. Unfortunately this also eats
into the amount of money I make, which
sometimes makes me feel a bit resentful about
people who don’t advertise or support shows
– but who charge prices which would reflect
these expenses!

HOW DO YOU SEE THE BEADING

SCENE IN AUSTRALIA?
I think we have a lot of untapped, unrecognised
talent in the women in Australia. But it is up to
is cooked every night and that there is individuals to decide for themselves whether they
“I think we good food in the house. want their profiles raised.
have a lot of I must admit that my circle of friends has I think writing about various craftspeople
shrunk as I spend more time working and in magazines is a great help. Others can
untapped, I don’t ‘do coffee’. I tend to use the shows read these profiles and see similarities in
unrecognised as a time to catch up with people. Working their own lives and think: “Hey, if they can
talent in the from home does tend to make you a bit of a
recluse. Or maybe it is being a recluse that
do it then so can I.”
I don’t think anyone should think for one
women in makes it easy for me to work from home? moment that it is easy. It does take a lot of
Australia. In some ways it would be easier to have a hard work and let’s face it –no one is going to
job which went from 9 to 5 and then finished become a millionaire making beads. It does
But it is up each day. Sometimes, if I am on a roll with help if you are doing something that you like
to individuals an idea, it is hard to switch off and come and that’s exactly what I am doing.
back inside. It is also very hard to stop at the I think that everyone should try at least
to decide for weekends or to not go back to work after one class in bead-making as it would show
themselves dinner, especially if I have a show coming up. them how much time, effort, practice and
I find that with bead-making, as with patience goes into making each of those
whether bear-making, you have to have a lot of self- little works of art.
they want discipline. There is no definite work time, so
it can be tempting to spend the day talking Check out Wendy’s gorgeous
their profiles to friends on the phone and never actually beads at shows and online at
raised.” settling down to work. www.beargaminbears.com

24 Creative Beading
PROJECT

MATERIALS This stunning ring will dance across your finger. It

Ring shank with loops
was created by Karin Smith from Adelaide Beads
16 x 25mm Head Pins

BEADS
Selected beads for your ring STEP ONE
16 x 6mm and 8mm beads Thread each bead with a head pin, cut head
pin leaving 1cm of pin longer than the bead.
See Diagram 1.
TOOLS
Cutters
Round nose pliers
Diagram 2

STEP THREE
Leave the loop open to thread it on the ring
shank, then close the loop. Do this until all
Diagram 1
your beads are used. See Diagram 3.
STEP TWO
With the 1cm head pin longer than the bead,
fold the pin in half to form a loop.
See Diagram 2.

Diagram 3

Adelaide Beads
Ph: (08) 8365 0215

Rating 160 Glynburn Rd

Tranmere SA 5073
Email: adelaidebeads.com
Website: www.adelaidebeads.com

26 Creative Beading
Dancing
Rings
PROJECT

MATERIALS This stunning red jasper bracelet has been

5 x 63mm Headpins
designed by Bizzarr Beads
57 x 22mm Headpins 5 x
4mm Jumprings
22 x 9mm Jumprings
1 x Chain End
1 x Parrot Clasp STEP ONE six sections of the part A pattern, and five
Thread each bead onto a headpin and create sections of each B, C and D pattern. When
BEADS a loop at the top using round nose pliers. it comes to connecting your bracelet, it
16 x 6mm light-shade round The five large glass beads will need to be will literally be connected according to this
facetted glass beads
placed on a 63mm headpin; all other beads pattern – A, B, C, D, A, B, C, D etc.
10 x 6mm dark-shade round can be threaded onto a 22mm headpin. See Once you have created links on all
facetted glass beads Diagram 1. your beads, you can begin to attach them
5 x 10mm round facetted Open a 4mm jumpring and attach to the to jumprings according to the patterns
glass beads hole at the top of a metal dagger, then close outlined below.
6 x large oval facetted the jumpring. Repeat for all metal daggers.
glass beads Hint – To open the jumpring, hold onto it PART A
10 x small oval facetted near the join with your pliers. (Flat/Chain Open a 9mm jumpring using the technique
glass beads nose are usually best, but round nose pliers described in the ‘Hint’ above. Attach one
10 x pinched oval glass can also be used). With your other set of 6mm light-shade round facetted glass bead
beads pliers, open the jumpring by pulling one side and one large oval facetted glass bead.
5 x large glass beads of the jumpring towards you, while moving the You can simply thread your linked beads onto
5 x metal daggers other in the opposite direction. Use one pair the jumpring – there is no need to open your
of pliers to hold the jumpring while attaching links when attaching the beads to the open
TOOLS the components. jumpring. Close jumpring. Repeat six times.
Chain (flat) nose pliers To close the jumpring, use the technique
Round Nose Pliers described above in the opposite way. Push the PART B
Cutters sides of the jumpring in together to ensure the Open a 9mm jumpring and attach beads in
ring is completely closed. the following order, a 6mm light-shade round
facetted glass bead, a 6mm dark-shade round
facetted glass bead, a pinched oval glass bead
and a small oval facetted glass bead then close
the jumpring. Repeat five times. See Diagram 2.

Diagram 1

Rating STEP TWO

This bracelet is comprised of four separate
jumpring patterns, which we have labelled
parts A, B, C and D. You will need to create Diagram 2

28 Creative Beading
Colour
Me Red
Re
 PART C
Open a 9mm jumpring and attach a 10mm
KITS round facetted glass bead and a large glass
bead, then close the jumpring. Repeat five times.
Kits are available
for $39.95. Beads PART D
can vary from the Open a 9mm jumpring and attach beads in
original but will still the following order, a 6mm light-shade round
be perfectly suited. facetted glass bead, a metal dagger with a
Findings colours 4mm jumpring attached, a 6mm dark-shade
– Rhodium, Black, round facetted glass bead, a pinched oval Diagram 4
Gold, Silver, Bronze glass bead, a small oval facetted glass bead
and Antique. then close the jumpring. Repeat five times. side is between the 6mm dark-shade facet
Please specify See Diagram 3. and the pinched oval bead.
colour of beads
and findings when STEP FOUR
ordering. Open the 9mm jumpring of one part C
section and attach it to the part B jumpring
in the same way as you attached part A
– in the middle of the part B pattern. Hint
– The middle of this opposite side is between
the 6mm light-shade facet and the small
oval facet. Your part C jumpring should be
sitting opposite your part A jumpring, with 2
beads now falling to each side of the part B
section. Doing this ensures beads are evenly
Diagram 3
staggered along both sides of your bracelet.
While your part C jumpring is still open,
attach one part D section to it. Part C should
STEP THREE be attached to the middle of the part D bead
Once you have finished creating all the pattern. Hint – the middle of this side is
WIN separate sections, you can connect the between the 6mm dark-shade facet and the
this bracelet! bracelet together. pinched bead. Close jumpring.
Starting at the end of the bracelet, open the
For details see our 9mm jumpring of one part A section and attach STEP FIVE
Beads Glorious a chain end, ensuring you place it on the right- You have now completed one section of the
Beads Competition hand side of the beads. See Daigram 4. bracelet – parts A, B, C and D are linked
While the jumpring is still open, attach this together. Complete the bracelet by joining the
on pages 66 to the middle of one part B section, then remaining sections together according to the
and 67. close the jumpring. Hint – The middle of this same pattern.

52
30 Creative Beading
 Open the 9mm jumpring from your next
part A section and attach it to the middle of
the part D bead pattern. Hint – the middle of
this side is between the 6mm light-shade facet
and the small oval facet. The jumpring from
part A should now sit directly opposite the
part C jumpring, with two beads from the part
D bead pattern falling on either side. Close
the jumpring. Continue bracelet pattern until Diagram 1
all parts are joined.
Bizzarr Beads
STEP SIX 550 City Road
To finish your bracelet, open your last 9mm South Melbourne Victoria 3205
jumpring and attach a clasp. You can then Ph: (03) 9645 9458
connect this jumpring to the last section of Email: info@bizzarrbeads.com.au
your bracelet. See Diagram 5. Website – www.bizzarrbeads.com.au

CB1_3

Creative Beading 31
PROJECT

MATERIALS Designed by Natalie Gill, this necklace is great

8 nickel crimps
1 x 10mm nickel parrot clasp
for beginner beads and will add a special
50cm black tiger tail touch to any jewellery collection

BEADS
2 x 4cm double drilled
rectangles STEP ONE STEP TWO
7 x top horizontal drilled String one red teardrop so it lies in the Thread one side of a double drilled
teardrops centre of the tiger tail, string one black rectangle with the tiger tail to your left,
32 x 4mm black faceted round either side. then thread the other hole with the tiger tail
rounds to your right. Place one black round
8 x 2mm red, silver lined on either side.
seed beads
12 x 3mm red, silver lined STEP THREE
seed beads Repeat step 2.
6 x 4mm red, silver lined
seed beads STEP FOUR
Alternate between 4mm
seed bead, black round,
TOOLS teardrop until you have
Round nose pliers used 3 teardrops on
Side cutters either side.

STEP FIVE
Alternate between 3mm seed bead
and black rounds until you have used 6 x
3mm seed beads on either side. Crimp
to secure.

STEP SIX
Leave a gap of 10.5cm and crimp both
sides of the tiger tail separately.
Thread on 2 x 2mm seed beads,
1 black round, 2 x 2mm seed beads, 2
crimps and your parrot clasp. Allowing
room for your clasp to have some
movement, secure both crimps on trim
off excess.

R g
STEP SEVEN
Repeat for the other side, except instead of
the clasp on this side just leave a loop for the
clasp to catch.

32 Creative Beading
Primitive
Flair
PROJECT

MATERIALS These gorgeous earrings have been designed by

2 x sterling silver ear hooks
Tara Sinclair of Fire and Ice Concepts and are
4 x sterling silver eye pins
– 50mm perfect for beginner beaders.

BEADS
2 x faceted rectangle DESIGNER’S TIP another round quartz bead and one
smoky quartz beads – If you want each earring to be exact, hammer sterling silver bead onto it. Bend pin at
15mm x 12mm
two nails into a piece of scrap wood and bend right angle. Zig zag the rest of the pin
2 x faceted smoky quartz eye pin gently around each nail. Otherwise into desired shape. (See tip)
barrel beads – 6mm
use a marker pen and ruler to get the same
4 x round faceted quartz measurements and bend with round nose pliers. STEP FOUR
beads – 6mm
ently flatten the zig zag portion of the pin
2 x sterling silver beads STEP ONE using a hammer on a hard surface. Using
– 2.5mm
Place faceted rectangle bead onto the eye two hammers is ideal (like an anvil). Note:
pin. Bend the pin at a right angle to bead Four or five taps should achieve the desired
and trim to approximately 1cm above effect. Over flattening will curl and mark the
TOOLS bead. Using round nose pliers make an surface of the pin.
Hammer x 2 eye loop.
STEP FIVE
STEP TWO Repeat the above steps to make the 2nd
Open the loop on ear hook, and place earring.

KITS rectangle section (above) onto it – close

the loop. Fire and Ice Concepts
Kits can be 35 Main Street
purchased for STEP THREE Upwey Victoria 3158.
$8.50 plus Take another eye pin, thread the round Ph: (03) 9754 1077
postage. quartz bead, barrel smoky quartz bead, Website: wwwfireandiceconcepts.com.au

Rating
34 Creative Beading
L ightning
Bolt
PROJECT

MATERIALS A P’perfect belt for jeans and dressy casual look that
8 x 2.5m of 1mm p’leather
cord total of 20m you can braid up in an afternoon
1.5m x chain
12-14 x head pins
12-14 x filigree balls The finished length of this belt is 1m – 1.1m STEP THREE
(not including tassel lengths of 40cm) it can Set aside 28 beads for tassel ends. Turn and
2 x O rings large be worn on the hips or waist as desired. stick or pin short end of your work. Working
on the long section; on 4 of the strands place
DESIGNER’S NOTES a bead and knot randomly so that there is a
BEADS You will learn to braid four strands into a bead approx every 2-5cm on at least 1 of the
4 x 30 beads from Indian round rope in this project. Practice with plain strands at any given spot on the braid when it
bead mix (total 120) string how to braid the four strands prior to is grouped together. Hint – The aim here is to
1.5–2mm length
starting and you will master your project a lot have beads spread along the strands as you
1 x 30mm Foil bead easier. You will also find it easier if you have braid without having to thread them on as you
24-28 x size 6 seed beads a foam board you can pin your work to as work. Use all the beads but make sure you
you braid. Alternately sticky tape your project leave the last 45-50cm without beads. See
approx 100-125mm from the edge of a table Diagram 2.
and work over the edge. Knot Bead
2-5cm
Tassel end
STEP ONE
Lay out all the 8 strands of p’leather, tie one
large over handed knot with the 8 strands of 2.1m
p’leather 40 cm from one of the ends.
Diagram 2

STEP TWO STEP FOUR

Stick or pin down the long section and work Take 1 strand with beads and 1 strand
on the 40 cm end. Divide the 8 strands into 2 without beads and hold them together, treat
groups of 4 strands and braid each group till these 2 strands as if they are 1 strand for the
it is approx 3cm – 3.5cm. Join the 2 groups braiding section; you will now have 4 lots
together and tie another large overhanded of strands. Commence braiding as per the
knot with all 8 strands. You have created instructions for braiding. As you work, slide
a button hole for the foil bead that will be the beads up or down as you please. Hint – It
placed on the other end. See Diagram 1. takes a bit of patience to keep the work tight
and neat but is worth the effort. Don’t worry
2.1m 40cm too much if there seems to be gaps in your
work as you will be winding the chain around
these sections

2 groups of 4 strand braids

3-3.5cm Knot

Rating
Diagram 1 Four Strand Braid

36 Creative Beading
P erfectly
Cool
 STEP FIVE STEP SIX
When you have reached the desired Place large O ring next to the knot on
length, or approx 45 cm from the end inside edge of the button hole and attach
of the p’leather tie all the strands into an the chain. Wrap the chain around the
overhanded knot. Take 2 strands of p’leather braided section of belt wrapping it into
and string on the large foil bead, with the and between the beads. At the end of the
remaining 6 strands divide them into 2 braiding section place the O ring next to
groups of 3 strands. See Diagram 3. the knot and attach the wrapped end of
chain. Trim off any excess.

STEP SEVEN
Thread 1 filigree ball and 2 size 6 seed
beads on to the head pin, (12-14 times)
now laying out your belt and place at
approx the same spacing your pin heads
Diagram 3
on the chain and wrap loosely so they
move freely.

Do a simple 3 strand plait until they measure STEP EIGHT

approx 3cm to each group; place 1 on each Now randomly place your remaining
side of the foil bead. Join all 8 strands with beads on the tassel, end with a small tight
an overhanded knot. Your foil bead should knot under the last bead. Also place a
fit tightly through the button hole you made small dab of nail polish to seal the knot
WIN on the other end. under the bead. Hint – On a few tassels
this belt! you can place more than 1 bead to brake
up the tassel end.
For details see our
Beads Glorious Terrenas Treasures
Beads Competition 170 Vincent St
Cessnock NSW
on pages 66 Ph – (02) 4990 5560
Three strand braid
and 67. www.terrenastreasure.com.au

64
38 Creative Beading
CB1_3

Creative Beading 39
 ROJE T

BEADED Use the same technique of a beaded bead to

BAG TAG create this lovely little trio
MATERIALS
1 x Tibetan Silver Filigree
Bead Cap
1 x Large Parrot Clasp
– Silver BEADED BAG TAG thread the needle through the top bead of the
2 x Crimps – Silver STEP ONE first four and through the first two beads of
15cm Tiger Tail BEADED BEAD. the second three just added. See Diagram 2.
Thread a beading needle with 1m of beading
1 x Head Pin – Silver
thread. Put needle in middle so that you are
1mm Beading Thread and stitching with two threads. This will make
Beading Needle
the ball stronger. Thread 4 x 4mm Czech
Fire Glass beads on and leave a 10cm tail.
Continuing in the same direction, take the
BEADS needle through all 4 beads again. Tie the tail
12 x 4mm Czech Fire Glass and working thread in a double knot. See
Beads – Peridot AB
Diagram 1.
12 x 4mm Czech Fire Glass
Beads – Lt.Amethyst AB Diagram 2
2 x 6mm Swarovski Bicones
– Chrysolite STEP THREE
2 x 6mm Swarovski Bicones Repeat Step 2 one more time, with another 3 x
– Lilac/Violet 4mm Czech Fire Glass Beads. See Diagram 3.
2 x 6mm Swarovski Bicones
– Crystal AB
2 x 8mm Swarovski Pearls
– Mauve
2 x 4mm Swarovski Pearls Diagram 1
– Mauve
1 x 12mm Swarovski Pearl
– Mauve STEP TWO
Thread on another 3 x 4mm Czech Fire Glass
Beads, and continuing in the same direction, Diagram 3
TOOLS
Flat Nose Pliers, Round Nose
Pliers, Wire Cutters
PVA or Beading Glue

Rating
40 Creative Beading
 Three’s
Company
WIN
this Bracelet and
suncatcher!
For details see our
Beads Glorious
Beads Competition
on pages 66
and 67.

BEADED BEAD STEP FOUR BEADED BEAD BRACELET

BRACELET Thread 1 x 4mm Czech Fire Glass Bead, STEP ONE
MATERIALS and thread the needle down from the top BEADED BEADS
20cm Tiger Tail to the bottom of bead A. Thread another Thread a beading needle with 1m of beading
2 x Silver crimps 4mm Czech Fire Glass Bead onto the thread. Put needle in middle so that you are
1 x Toggle needle and thread the needle from the stitching with two threads. This will make
bottom to the top of bead marked B. This the ball stronger. Thread 4 x 4mm Czech
4 – 8 Small Jump Rings
– Silver will create the 4 sides of you ball. Always Fire Glass beads on and leave a 10cm tail.
remember to keep your threads firm Continuing in the same direction, take the
3m of beading thread – a
neutral colour to match as you are working. Continue weaving needle through all 4 beads again. Tie the
thread through beads until the ball starts tail and working thread in a double knot.
to feel firm. End weaving next to the Diagram 1
BEADS 10cm tail that was left, tie a double knot.
24 x 4mm Czech Fire Glass Put a spot of glue on the knot and when it STEP TWO
– Rose AB is dry, trim ends. Repeat Steps 1 to 4 to Thread on another 3 x 4mm Czech Fire Glass
24 x 4mm Czech Fire Glass create the other beaded bead. Beads, and continuing in the same direction,
– Peridot AB thread the needle through the top bead of the
24 x 4mm Czech Fire Glass STEP FIVE first four and through the first 2 beads of the
– Lt. Amethyst AB DANGLING PEARL. second 3 just added. Diagram 2
7 x 6mm Czech Fire Glass AB Onto a head pin thread 1 x 12mm Pearl
2 x Swarovski 6mm Bicone – 1 x Tibetan Silver Bead Cap and 1 x 6mm STEP 3
each of Chrysolite, Lilac/ Bicone. Create a wrapped loop at the top. Repeat Step 2 one more time, with another 3
Violet, Lt. Peach Refer to WRAPPED LOOP instructions. x 4mm Czech Fire Glass Beads. Diagram 3
12 x Tibetan Silver Daisey
Spacers STEP SIX STEP FOUR
CONSTRUCTING THE BAG TAG. Thread 1 x 4mm Czech Fire Glass Bead,
Onto the Tiger Tail thread 1 x crimp and and thread the needle down from the top
TOOLS the Dangling Pearl. Thread end of tiger to the bottom of bead A. Thread another
Flat Nose Pliers
tail back up through the crimp and using 4mm Czech Fire Glass Bead onto the needle
Wire Cutters flat nose pliers close the crimp. Refer and thread the needle from the bottom to
Beading Needle or Big Eye to Diagram 45 for threading order and the top of bead marked B. This will create
Needle finish off with another crimp and Parrot the 4 sides of you ball. Always remember to
PVA or Beading Glue Clasp at the other end. keep your threads firm as you are working.

42 Creative Beading
Continue weaving thread through beads until Glass Bead onto the needle and thread the
the ball starts to feel firm. End weaving next to needle from the bottom to the top of bead
the 10cm tail that was left, tie a double knot. marked B. This will create the 4 sides of you
Put a spot of glue on the knot and when it is ball. Always remember to keep your threads
dry, trim ends. Repeat Steps 1 to 4 to create firm as you are working. Continue weaving
the other 5 beaded beads – So that in all thread through beads until the ball starts to
there are 2 of each colour. feel firm. End weaving next to the 10cm tail
that was left, tie a double knot. Put a spot
STEP FIVE of glue on the knot and when it is dry, trim
CONSTRUCTION ends. Repeat Steps 1 to 4 to create the other
Onto the length of Tiger Tail, thread a crimp. 2 beaded beads, so that there are three
Form a secure loop by threading the Tiger Tail altogether
back through the crimp and crimping it. Refer
to Diagram 4 for threading order and create STEP 5
another loop at the other end with another CONSTRUCTION
crimp, when all beads are threaded on. Attach Onto the length of Tiger Tail, thread a crimp,
2 x Jump Rings and Toggle to one end and then the 20mm Sphere. Take the short end of
other 2 Jump Ring and the other half of the the TT back through the crimp to form a loop BEADED BEAD
toggle to the other. For extra length add more and close the crimp. Refer to Diagram 4 for SUNCATCHER
Jump Rings threading order. When this is complete thread MATERIALS
a crimp – 6mm Bicone Crystal AB and another 30cm Tiger Tail
BEADED BEAD SUNCATCHER crimp. To form the hanging loop, thread the 2 x Silver crimps
STEP ONE TT back through all three and close the crimp.
2m of beading thread –
BEADED BEADS Trim excess. a neutral colour to match
Thread a beading needle with 1m of beading
thread. Put needle in middle so that you are WRAPPED LOOPS
stitching with two threads. This will make Grey dots indicate position of round nose pliers.
BEADS
the ball stronger. Thread 4 x 4mm Czech 12 x 4mm Czech Fire Glass
– Rose AB
Fire Glass beads on and leave a 10cm tail.
Continuing in the same direction, take the 12 x 4mm Czech Fire Glass
needle through all 4 beads again. Tie the – Peridot AB
tail and working thread in a double knot. 12 x 4mm Czech Fire Glass
Diagram 1 Step 2 – Lt. Amethyst AB
– Make a 3 x 6mm Swarovski Bicone
STEP TWO P shape – Crystal AB
Step 1 – Make
Thread on another 3 x 4mm Czech Fire Glass an L shape 2 x Swarovski 6mm Bicone
Beads, and continuing in the same direction, each of Chrysolite, Lilac/
Violet, Lt. Peach
thread the needle through the top bead of the
first four and through the first 2 beads of the 4 x 8mm Swarovski Pearl
second 3 just added. Diagram 2 – Mauve
1 x 20mm Sphere
STEP THREE Step 4 – Wrap
Repeat Step 2 one more time, with another 3 x remaining wire
4mm Czech Fire Glass Beads. Diagram 3 Step 3 – Make around the shaft to TOOLS
an O shape the bead. Trim. Flat Nose Pliers
STEP FOUR Wire Cutters
1 x 4mm Czech Fire Glass Bead, and thread Crystal Park Beading Needle or Big Eye
the needle down from the top to the bottom Ph: Cath on (07) 3800 3825 Needle
of bead A. Thread another 4mm Czech Fire www.crystalpark.com.au PVA or Beading Glue

Creative Beading 43
WHAT’S NEW

ADELAIDE BEADS
For embellishments, beautiful Czech flowers glass
beads with a hole in the centre, these are 16mm
and come in mixed colours of 10.

New face beads in metal

Just arrived are cute black and bronze are
8mm lady bugs in red, great on an earring, charm
orange, teal, dusty pin k bracelet or brooch.
and transparent red.

Delightful Czech fire

polished leaves 16mm
with a hole through the
top, bag of 10 cams in
mixed shades of green.

New to Adelaide Beads are these

fun rings with 8 loops or 10
loops. Add your beads, crystals
for the evening and pearls for the
elegant look or just put on your
favourite bead colours.

Adelaide Beads (08) 8365 0215 Website: www.adelaidebeads.com

JENNI BLAIN
44 Creative Beading
 WHAT’S NEW

TREASURE ISLAND
Large heart feature
pieces – nickel free &
large glass foil hearts
with stripes

Lava lumps and

large glass two
Treasure Island tone chunks
Ph: (03) 5255 2027
Email: beadsit@optus.com.au
www.treasureislandbeads.com.au

VENETIAN IMPORTS

Venetian Imports
www.italianshop.com.au
WHAT’S NEW

Metallic Glass Beads

BEAD WORLD With a reflective finish, (the same as
Mysterious or Miracle beads) these
iridescent metallic glass beads are
really unique. They combine well
with clear glass, crystals and cats
eyes. The subtle colouring mixes
particularly well with pinks, greens
and browns. Available at
www.beadworld.com.au

Good Quality Budget Foils -try

these great budget foil beads
in a variety of shapes, sizes
and colours. Available at www.
beadworld.com.au

These premium Acrylic Beads are of great

quality with a finish that looks almost like
glass. They come in flat ovals, chips, cubes
and diamantes. They are an economical
alternative to glass and are ideal to reduce
weight whilst maintaining a quality finish.
Available at www.beadworld.com.au

Bead World
Ph: (07) 5519 9999
Fax: (07) 5519 9444
Website: www.beadworld.com.au

46 Creative Beading
 WHAT’S NEW

336 Smith Street, Collingwood 3066

BEAD STREET Ph: (03) 9419 0636 Fax: (03) 9416 3993
Email: info@beadstreet.com.au
Website: www.beadstreet.com.au

Clear and easy to follow

this beginners DVD
carefully takes you through
13 different beading
techniques. RRP $9.95ea

Frosted Cats Eye Strands – available in 4mm, 6mm,

8mm, 10mm and 12mm rounds as well as chips. A
large range of gorgeous colours. Wholesale and Retail
prices available.

Sequins available in a large range of sizes, shapes and

colours. Wholesale and Retail prices available.

UNITED GLASS The BeadPen

Give your lamp worked beads a chance to shine! The beadpen is an innovative
concept that accentuates the incredible beauty of handcrafted glass beads.
A distinctive writing instrument transformed into a precious keepsake.
Available in stain/shiny gold, black, gunmetal and a stunning variety of
contemporary colours. The Beadpen is constructed entirely of metal and
balanced perfectly after the addition of lamp work beads.

Now available from your local United Glass Studio

www.unitedglass.com.au

Creative Beading 47
PROJECT

MATERIALS This simple elegant design uses a combination of

Approx 44 normal Crimps
metallic glass cubes and rectangles, and smoke
2 x Charlotte Crimps
1 x 10mm or 13mm Parrot brown glass and is designed by Bead World.
Clasp
1 x Extension Chain
Approx 120cm of Tiger Tail DESIGNER’S TIP – With this design it is better to lay the
(depending upon length
required) You could also use bronze coloured tiger tail, three strands out flat on your bead mat
black crimps, charlotte crimps, parrot clasp and thread all the beads first, so you can
and extension chain for greater effect. move them around until you are happy
BEADS with the position of all the beads before
Approx 21 Feature Beads STEP ONE you begin crimping.
(use more or less depending Cut three lengths of tiger tail to your desired
upon length required)
length, plus approximately 5cm extra so you STEP TWO
Approx 42 size 8 Seed Beads can adjust the position of your beads once Starting with the first strand, thread a feature
(2 for each feature bead)
the final design is complete. bead and place it in the centre. Thread a
Hint – In this design the lengths have been complementary seed bead and then crimp
cut nearly the same so that the three strands each side. Hint – Use black crimps which will
TOOLS blend together, however, you can cut them in visually disappear.
Wire cutters three staggered lengths so they hang apart. Then, alternatively on each side, thread
Flat Nose Pliers We have also placed our beads so that another crimp, seed bead, feature bead, seed
Bead Mat or Board when the piece hangs, they are clustered bead, then a crimp. Complete the sequence,
together. Again, you can stagger the allowing between 4-5cm between each bead
placement of the beads if preferred so the sequence. Finish the beads approx 6-10cm
piece will look ‘fuller’ when worn. from each end.

Rating
48 Creative Beading
Precious
Metal
STEP THREE cut the ends so they are all even and feed
Using alternate feature beads, thread the a charlotte crimp over the end of the three
other two strands in the same way. wires, then crimp all three wires together with
one crimp.
STEP FOUR Slide the charlotte crimp up over the
Once all threading is complete, lay the crimped wire ends and fold the cup so it
design out flat on your bead mat and arrange captures the crimped ends. Do this for
your bead sequences into their final position. both ends.

STEP FIVE STEP SEVEN

Starting at the centre, hold the bead Using your flat nosed pliers to close, attach
sequence firmly together and, using your your charlotte crimp on one end to a parrot
flat nose pliers or crimping tool, begin clasp and on the other end to an extension
to flatten the crimps to hold the bead chain.
sequences in place.
Once the first strand is completely Bead World
crimped, complete the other two strands, Ph – (07)5534 1333 for enquiries
keeping an eye on where the beads are www.beadworld.com.au
sitting in relation to the beads on the
other strand/s.

STEP SIX
Once all crimping is complete, hold the three
strands up together and move the strands
around until they are sitting the way you want.
Then, holding the three strands together
PROJECT

MATERIALS This stunning bracelet designed by Ann Lloyd has a

Fireline 6lb
perfect combination of new season Swarovski colours
Clasp

BEADS STEP ONE STEP FOUR

70 x 4mm Bicone Crystals MAKING THE CLUSTERS CLUSTER CENTERS
size C4 Thread needle with a length of fire line about Take a new length of thread, and weave
40 x 3mm Bicone Crystals 80 cm. Pick up one crystal C4, one seed through the centre round of crystals. Pick
size C3 bead SB1, repeat five times making a total of up one R6 and weave to the other side,
3 x 6mm Round crystals six of each bead. Tie into a firm circle leaving repeat for the remaining two. Weave your
size R6 a 10 cm tail of fire line. ends knot and hide. Hint – You can use a
Size 11 Delicas SB 1 pearl for the centre
Size 15 Seed beads SB2 STEP TWO This completes one cluster. Repeat to make
Pick up one SB1, one C4, one SB1, one C4, two more.
one SB1, thread through the nearest C4 and
TOOLS the next SB, repeat five times forming six V STEP FIVE
Beading needle shapes around your circle Join the clusters by weaving the thread
through the crystal and join at two points
STEP THREE by attaching the SB2 to each other. Weave
Pick up one C3, one SB2, pass the thread thread and tie off, hide the thread.
back thru the C3, and thru the C4 from
the first round, repeat 11 times, making a
total of 12.

Rating
52 Creative Beading
Crystal
Flame
 loop. Wrap the remaining wire around the
loop being careful to secure the shorter
end of the wire by wrapping it once
around the base of the loop.

STEP EIGHT
Cut a 3cm length of wire and make a 90
degree bend for a wrapped loop 20mm from
one end. Attach the last link of the 4cm piece
of chain to the loop, wrap and trim the wire.
Slip on a bronze FWP and trim the remaining
wire to within 3mm of the pearl. Bend the wire
over itself with the flat nosed pliers and crimp.
Repeat with the remaining 15 bronze FWPs,
spacing them evenly along the length of the
WIN STEP SIX
With the clasp closed, place the necklace on
chain. Repeat with 5 smoky quartz discs and
4 cream FWPs, filling in any gaps to create
this bracelet! a flat surface. Find the centre of the chain an even shape.
For details see our and thread the chain through the link. Pull
Beads Glorious the clasp end of the chain through the loop Designers in Residence Website
formed with the chain and pull tight. This is www.designersinresidence.com
Beads Competition called a Ring Hitch knot.
on pages 66
and 67. STEP SEVEN
Create a loop with another 5cm length of wire
and slip on the link, wrapping the excess around
the loop. Instead of threading a pearl, leave the
wire bare. Bend the wire 2mm from the end of
the wrapped wire. Create another wrapped loop,
threading on the 4cm piece of chain.

ALTERNATIVE LINK:
Make your own link by wrapping an 8cm
piece of wire around a utensil handle
or ring mandrel. Holding the wire firmly,
make a 90 degree bend in both ends of
the wire where they meet. Clip 1 end,
leaving a 2mm tail. 2mm from the bend
on the longer end of the wire, make
another 90 degree bend and create a

32
54 Creative Beading
 FEATURE

THE HISTORY OF
Swarovski
DISCOVER THE WONDROUS HISTORY BEHIND THE MOST
FAMOUS CUT CRYSTAL IN THE WORLD –SWAROVSKI.
NADIA CRIGHTON REPORTS.

CRYSTAL IS FAMOUS FOR its hypnotising process quicker and more accurate than any
beauty and has been sculpted, polished and manual practise before.
designed into jewellery and fine art for many In 1895 Daniel travelled to the Austrian
years. Swarovski, synonymous with quality and town of Tyrol and, alongside his brother-in-law
style, have been the leaders and innovators of Franz Weis and Armand Kosmannstill, founded
cut crystal for over 100 years. the family business.

THE BEGINNINGS OF A NAME A MAN OF VISION

Courtesy of D. Swarovski & Co

Daniel Swarovski was born in 1862 in Nadia caught up with Bernadette Larcher,
Jablonec, Bohemia, a town north of Prague Head of International PR Swarovski, to chat
in today’s Czech Republic. Considering
Jabolnec’s long history of cutting and
polishing stone for the jewellery industry, and
Daniel’s father owning and running a small
crystal cutting factory, it’s not surprising that
as a young boy, Daniel dreamt of cutting and
Above: Bernadette
Larcher, Head of creating beautiful pieces from crystal.
International PR. He loved to watch his father work and was so
inspired that he later completed an apprenticeship
Right: Create your Style alongside him and other crystal cutters.
with Swarovski pieces After visiting many shows and being dazzled
from the US Design by the crystals cutters, Daniel soon dreamt
Contest 2005 Cultural
of creating a way to revolutionise the crystal
Fusion. Design by
Katherine Song, Toronto. cutting world forever. So he set out to cut
crystal to precise perfection in a way never
done before.
Courtesy of D. Swarovski & Co

Working day and night to secure his

vision, Daniel was ready to etch his name
in the history books. In 1892 he registered
a patent machine, which for the first time,
possible to cut and polish crystal
fection. This machine also made the

56 Creative Beading
 FEATURE

about the company’s interesting history, and

to find out how it has grown from strength to
strength over the years.
Ms Larcher speaks of Daniel’s work very
highly and regards him as an extremely
inspirational man, who is still motivating the
work and ethics of the company nearly 60
years after his passing.
“Daniel was certainly inspired growing up
in Jablonec but he was a man of vision,”
Ms Larcher says. “He even went to Paris in
1880 to make contact with top jewellers. He
realized his dream by founding the company
in Austria and he was always committed to
excellence, innovation and staying one step
ahead of his competitors.”
A natural entrepreneur, Daniel wanted
to ensure his designs and creations would
continue to grow and inspire. So he became
a creative partner and supplier to the world’s
great couture houses and his fine work
spread across the globe.
Elsa Schiaparelli, a well known artist and
fashion designer, came to Wattens in the
1930’s to learn about how crystal was made
and its use in jewellery.
“Coco Chanel was always intrigued with
crystal as a creative medium and in the
use of costume jewellery for decorative
purposes and in the 1950’s Christian Dior
and Swarovski collaborated to produce
Aurora Borealis crystal,” Ms Larcher
smiles, adding that even today, many of
the world’s top luminaries of the modern
Courtesy of Crystallized with Swarovski issue 5
Photography Jon Compson/Stylist Karl Plewka

runway like Vivien Westwood and Karl

Lagerfeld come to Wattens to experience
crystal. “Being a reliable partner of the
creative world, Swarovski continues to
provide them with inspiration to realize
their crystalline fantasies.”
Ms Larcher also points out that not
only does Swarovski continue its creative
partnerships with top designers it also
exercises its own design skills through
the collections ‘Daniel Swarovski’ and
‘Swarovski’ – jewellery, fashion and home CRYSTAL CULTURE
accessories. With the company focussed on In 1913 the completion of the production
the ever-changing world, Daniel’s work will plant allowed the Swarovski Company to
surely provide support for the next generation produce their own crystal, meaning they
of top designers. could move into their next phase of business.
FEATURE

Europe, however, was heading into a time of

“Swarovski great unrest with World War I starting in 1914
is a private and not ending until four years later (1918).
company and During the War, Daniel struggled to find
owned 100 materials and cutting tools for his work, so in
light of this he strived to develop his own. By
percent by 1917 he had produced dressing and grinding
approximately tools which were registered under the brand
60 family name Tyrolit.
members,” With war fresh in the people’s minds
there was much need to restore the beauty
Ms Larcher and preservation of days gone by. The arts,
says. In fact, fine jewellery and music allowed war-torn
the current regions to return to their joys they once
management knew and loved.
“Cultural speaking, Swarovski the

Courtesy of Crystallized with Swarovski issue 5

includes the company was born into an epoch
fourth and fifth of amazing diversity of thought and
generation with interchange between the arts, science and
all being direct natural science called ‘Mitteleuropa’*,” Ms
Larcher explains. “The company continues
descendants to live by this rich cultural heritage.”
of the founder
himself. They
are also the
shareholders of
the company. A FAMILY HEIRLOOM
The most fascinating aspect surrounding
Swarovski, apart from the magnificent
pieces of fine jewellery and sculptures, is its
continuing growth. From humble beginnings to
an amazing family empire, Daniel Swarovski’s
love and dedication to the world of crystal has
inspired generations of crystal enthusiasts.
“Swarovski is a private company and
owned 100 percent by approximately 60
family members,” Ms Larcher says. In fact,
Courtesy of Crystalized with Swarovski issue 5

the current management includes the fourth

and fifth generation with all being direct
descendants of the founder himself. They are
also the shareholders of the company.

A RICH HERITAGE
“We understand crystal as a creative material
in its own right and as a phenomenon
beyond just that material,” Ms Larcher states.
“Our historical legitimacy lies in cut crystal

58 Creative Beading
 FEATURE

and jewellery, both of which draw on our rich

cultural heritage.”
The company proudly calls their products
‘Jewels of Fantasy’ and strives to accentuate
beauty, joy and cultural reflection. “We adhere
to the principles and values of our founder
in our everyday working lives. To us, as a
family-run company, sustainable growth is
equally important as generating profits and we
reinvest this yield into ensuring our continued
existence. Our employees appreciate and
enjoy the benefits of this sustainability.” Ms
Larcher adds.
She is also quick to note that the spirit of
Daniel Swarovski is as alive today as it was when
the company founder was running the company.
“Swarovski enjoys success because the company
respects the vision of its founder and lives by
his motto ‘always improve on what is already
good’,” she continues. “His vision is our vision.
He would be proud of the company, its products
and the fact that we remember and honour him
by following his principles.”

LOOKING TO THE FUTURE

Ms Larcher says –“Giuseppe di Lampedusa
(The Leopard) said, ‘If we want things to
stay as they are, things will have to change’.
Swarovski is in the situation of being the
market leader, but that does not mean we
can be complacent. Instead it drives us
forward to seek out new challenges. Change
itself remains an ongoing challenge that will
require all our energy and enthusiasm. We
will continue to honour our founder Daniel
Swarovski and to ‘take what is good and to
make it even better’.”
*During World War I a term known as
‘Mitteleuropa’ developed. This was a German
term meaning Central Europe. Outside
Germany the concept of ‘Mitteleuropa’ may
be known for the policy of the Central Powers
during World War I which caused the creation
of buffer states in Central Europe that were
Courtesy Swarovski

liberated from imperial Russia. For many

industries and companies the development
of ‘Mitteleuropa’ allowed many sectors of the
community to integrate like never before.

Creative Beading 59
PROJECT

BRACELET Nothing will warm up your winter woolies like a

MATERIALS beautiful art glass tassel and bracelet
90cm Tigertail
Bali silver Fob catch
2 x crimp beads

STEP ONE STEP SEVEN

BEADS Cut the tigertail into 3 x 30cm lengths Repeat steps 4 to 6 twice more Hint – for a
Art Glass Lentil Feature larger bracelet add an extra section here
Bead STEP TWO
12 x Freshwater pearls Attach the tigertail strands to one end of the STEP EIGHT
18 x 4mm Swarovski crystal Fob catch and crimp into place Thread on 1 x end cap, the Art Glass Lentil
bicones Bead and the other end cap.
18 x size 8 or size 9 seed STEP THREE
beads Next thread the 3 strands of tigertail through STEP NINE
8 x 4mm sterling silver 1 x silver bead Now thread on a silver bead and repeat
round beads the pattern to look the same as the first side
2 x bali silver end caps STEP FOUR already completed
Take the 2 outer strands and thread on 1 x
seed bead, 1 x freshwater pearl and 1 x 4mm STEP TEN
TOOLS swarovski crystal Add the crimp bead to the 3 strands
Crimping pliers and the other end of the Fob catch.
Wire cutters STEP FIVE Thread the tigertail back through
On the centre strand thread on 1 x seed the crimp bead, adjust and
bead and 1 x 4mm crystal then crimp.

STEP SIX STEP ELEVEN

Thread all 3 strands through a silver bead Trim the ends

Rating
60 Creative Beading
Art Glass
Jewellery
 STEP ONE STEP SIX
Cut the Tiger tail into 4x 50cm lengths. Now thread the 4 strands through the Art
Glass Bead; this will cover the crimp bead.
STEP TWO
Put 1 x crimp bead and 1 x seed bead and STEP SEVEN
then another crimp bead on the end of 2 of the Thread the 8mm rondelle through the 4
Tigertail lengths. Thread through one end of the strands and hold firm.
catch or Fob and then back through the crimp
and seed beads. Flatten the crimps to secure the STEP EIGHT
wire. Repeat this for the other side of the catch. Take one strand and add a 4mm or
6mm bead and then some seed beads.
STEP THREE You can continue the pattern in the
Begin to thread the beads onto one side of the main part of the necklace here or
tiger tail starting with a 4mm Swarovski pearl or change the pattern slightly and have
4mm Czech glass bead. Now thread on 6-8 of the larger beads at the bottom of the
NECKLACE the seed beads and then a Swarovski pearl or tassel section.
MATERIALS Czech glass bead. Continue alternating seed
2m Tigertail and 4 and 6mm beads until you have completed DESIGNER’S TIP
Sterling silver Catch or approx 20-30cm (or desired length) from the Another alternative is to put a drop bead
Fob catch Clasp. Carefully set this strand to one side and on the bottom of the tassel. If using this
9 x Crimp beads take up the next strand on that side. Thread the alternative you will need to put the crimp
beads as with the first strand but you will need to bead on before the drop bead and then
stagger them slightly so that the 6mm and 4mm thread the tiger tail back through the drop
BEADS beads are not on the same level in the 2 strands. bead and some of the other beads and
Art Glass Feature Bead You can do this by starting with less or more seed then flatten the crimp bead and trim any
6 – 8 x 2g x seed beads beads at the beginning of the pattern. Repeat this excess tiger tail.
different colours, shapes & pattern for the other 2 strands.
sizes (total 16g approx) STEP NINE
16-20 x 6mm Swarovski STEP FOUR When you have the tassel the desired length
Pearls in 2 colours Take the 2 strands on the left and gently twist put a crimp bead on the bottom. Check
16-20 x 4mm Swarovski them around each other, repeat this with the the tension again and crimp the bead. Trim
Pearls in 2 colours other 2 strands and then bring all 4 strands the excess Tigertail. Repeat with the other 3
16-20 x 6mm various together. Carefully thread them all through a strands and your necklace is complete.
coloured Czech glass beads crimp bead, while maintaining the slight twist.
16-20 x 4mm various DESIGNER’S TIP
coloured Czech glass beads STEP FIVE For variation to the necklace you can use
1 x 8mm Czech glass Rondels Once you have these strands sitting where you Swarovski crystals and freshwater pearls
would like them, flatten the crimp bead.

TOOLS DESIGNER’S TIP Wildlight Studios

Crimping pliers Check the bead placement and tension before wildlightstudio@optusnet.com.au
Wire cutters crimping at this stage. www.wildlightstudios.com

62 Creative Beading
PROJECT

MATERIALS This lamp work watch band has been designed by Bead Needs
100cm Stretch Floss/Cord
1 x Watch Face

BEADS
Assorted Lampwork Beads
(approx 52 beads, 8-10mm) DESIGNER’S NOTE
As watches are worn so regularly it can be
a good idea to use two strands of cord for
TOOLS added strength.
Scissors
Glue STEP ONE
1 x Needle Cut three lengths of stretch cord twice the
size of your wrist, allowing extra to work with Diagram 1
(usually 5-10cm).
STEP THREE
STEP TWO On the long end of the cord, thread enough
Thread your first cord through the top of the beads to go around your wrist once (approx
watch. Situate the face about one quarter the 13 beads) before going through the base of
way along the stretch cord. the watch face.

Diagram 2

STEP FOUR
Place approx 6-7 beads on either side of
the two empty strands. Holding the ends
together, check the fit of the band making
sure both sides are even.

STEP FIVE
Tie with a half knot and trim your ends within
5-10mm. (Making the knot around the nose
of a pair of round nose pliers will make it
easy to slide the knot down close to beads).
Glue the knot and slip into a bead to hide it.

Rating STEP 6
1. For a chunkier look, more strands can be
added by repeating steps 1 to 5

64 Creative Beading
Watch Band
PROJECT

MATERIALS Inspired by nature and her natural beauty this

Approx 40mm of .38mm
tigertail Mother of Pearl Shell Bracelet has been designed
2 x charlotte crimps by Gina from Beadazzled.
(bead-tips)
2 x crimps
1 x s/s parrot clasp
1 x s/s jump-ring or
split ring STEP ONE the mop chip, silver freshwater pearl and the
With the wire cutters cut a piece of tigertail turquoise nugget.
that wraps comfortably twice around your Next separate each piece of tigertail and
BEADS wrist and allow at least 10mm extra. Cut the thread a silver freshwater pearl on to each,
3 x op nuggets tigertail in half. followed with a green pearl, the mop chip
8 x Pale green freshwater and lastly another silver pearl.
pearls STEP TWO
8 x Silver-colour Holding the two pieces of tigertail evenly STEP FOUR
freshwater pearls together, thread them through the charlotte Holding both tigertails together thread
6 x Mop chip beads crimp hole, add one crimp and crimp down through the turquoise nugget. Then again
with the flat-nose pliers. Fold the charlotte separate each tigertail and continue the
crimp over to hide the crimp. Attach the pattern, a silver freshwater, a pale green, a
TOOLS parrot clasp to the open hook of the charlotte mop chip, another silver freshwater. Again
Flat-nose pliers crimp and gently press closed. holding both tigertails thread them together
Wire cutters through the last turquoise nugget.
STEP THREE
Begin threading the pearls onto both strands STEP FIVE
of tigertail. First the pale green pearl, then With both tigertails together thread the
remaining beads in sequence;
pale green pearl, mop chip and lastly
the remaining green pearl. Now thread the
charlotte crimp.

STEP SIX
Holding onto both tigertails, hold the bracelet
up to ensure that all the beads settle nicely in
place and to ensure there are no undesirable
gaps between the beads. Add the crimp
and crimp with the flat-nose pliers inside
the charlotte crimp. With the pliers gently
fold over the charlotte crimp to cover the
crimp. Put the jump-ring or split ring into the
charlotte crimp hook and gently bend over.
Voila a natural beauty!!!

Rating Beadazzled
Shop 1 / 4 Rowling St
Casuarina NT 0811
Ph: (08) 8928 0989

66 Creative Beading
 Natural
Beginnings
PROJECT

MATERIALS Featuring three howlite nuggets, this bracelet is

1 x Sterling silver toggle
clasp designed by Pam Kenward and perfect for
30cm (12”) x Sterling silver intermediate beaders
0.7mm (approx 22 gauge)
round wire
6 x 3mm Sterling crimp
covers
STEP ONE
Approx 84 to 100 x Sterling Centre a nugget on a 90 mm length of
silver 1mm (approx 18
gauge) jump rings - with wire. At one end, bend the wire at a 90
3.5mm inside diameter degree angle – 3mm from the nugget. Form
a loop around the round nose pliers with
the wire tail, about halfway up the pliers.
BEADS Mark the pliers with a permanent pen at
3 x Gemstone nuggets (this this point, and use this as a guideline to
bracelet uses white howlite)
ensure subsequent loops are a uniform size.
Tip – the hole diameters Slide the toggle ring part of the clasp along Diagram 2
vary in nuggets. Ensure the wire tail and into the loop. To complete
you select nuggets that can
accommodate 0.7mm wire the wrapped loop; grip the loop with the STEP THREE
chain nose pliers and wrap the wire tail Make another wrapped loop on the other
around the neck once to secure and then side of the nugget and conceal it with a crimp
TOOLS cut the wire. See Diagram 1. It may look a cover as before. See Diagram 3.
Wire cutters little messy but don’t worry as this will be
Round nose pliers corrected in the next step!
Flat nose pliers
Chain nose pliers

Diagram 3

STEP FOUR
Join the remaining two nuggets to the first
Diagram 1
using the previous wire wrapping techniques.

STEP TWO STEP FIVE

Open a crimp cover. Carefully position it To close an open jump ring, the correct
on the neck of the wire between the loop technique is to grasp the open ring – either
and the nugget. Support it from underneath side of the opening with flat or chain nose

Ratin with your finger and with the chain nose

pliers in your other hand; gently squeeze
the crimp cover closed to hide the wire
pliers. Slightly turn one wrist towards your
body and turn the other wrist away from
your body – allow the ends of the ring to
wrap. See Diagram 2. meet. See Diagram 4. To open a closed

68 Creative Beading
Howzat!
 ring, reverse that action – never pull the ring forefinger and push them slightly forward.
WIN apart in opposite directions as it will distort
the shape.
The middle set of rings will now be at the end
of the chain. See Diagram 6.
this bracelet !
For details see our
Beads Glorious
Beads Competition
on pages 58
and 59.

Diagram 4 Diagram 6

Connect two jump rings to the loop at the Push these apart slightly to access the
end of the third nugget and then add two black rings and connect two new rings,
more pairs of rings to form a 2 in 2 chain. one at a time through the black pair.
See Diagram 5. In the diagrams, the last set See Diagram 7. This will lock the design
of rings is shown in black for clarity. in place.

Diagram 5 Diagram 7

STEP SIX STEP SEVEN

Fold back the last set of (black) rings, Add on two more pairs of rings to the chain.
to position them each side and slightly Repeat Steps 6 and 7 until the bracelet is the
overlapping the first pair of rings – then desired length and connect the Toggle Bar
hold them firmly between your thumb and with two rings.

70 Creative Beading
PROJECT

MATERIALS Designed by Sacha Harris and made from red jasper,

49 strand (0.19inc) diameter
Soft Flex this necklace is easier to make than it looks. Great
4 x crimps for beginners looking for a challenge
2 x charlotte crimps
1 x hook clasp

DESIGNER’S NOTE STEP FOUR

I made this necklace for a beautiful lady called Repeat steps 2 and 3, adding a Bali silver
BEADS Kyra – I chose red jasper and labradorite for bead approximately every 18 beads. Keep
Silver set labradorite their healing properties and their beautiful adjusting the chips so your necklace is even.
pendant
earthy tones. You can choose whichever Continue this 2 times.
6 x 8mm Bali silver beads gemstones you like for a different look.
2 x 25cm strands of 6- STEP FIVE
8mm red jasper gemstone STEP ONE Thread another 12 chips onto all 4 strands
chips (extra is allowed to Take Soft Flex and cut into 2 strands. One for the last segment.
ensure you get the right
combination of chips) strand must be 73cm, the other 77cm.
Thread your focal pendant onto the 2 strands STEP SIX
and place it in the middle. Put your necklace on a flat surface to check
that the strands do not curve outwards
TOOLS STEP TWO too much between the Bali silver beads. If
Cutters Add jasper chips to each stand, on each side needed, adjust the beads on each side. Note
Flat nose pliers of the pendant; this necklace uses about 18 – different combinations of chips may work
Round nose pliers chips on each segment. Sort your beads to better than others.
ensure the segments are equal lengths.
STEP SEVEN
STEP THREE Thread the strands through a charlotte
Thread the 2 strands through 1 x Bali silver crimp and add 2 x crimp beads. Take the 2
bead. Do this again on the other side of the strands and thread them through the crimps.
pendant. The outside strand will be slightly Flatten both crimps with flat nose pliers.
longer as it sits around the internal strand. If desired add a dab of Superglue or liquid
cement. Repeat on other side.
Hint – while getting ready to crimp the second
side take care not to pull the strands too tight
as this will cause the chips to squash together
and have no room to move. Leave about 1-
2mm gap between the beads and the crimp.
Close the charlotte crimps and curl the
loops of the crimps closed with your pointy
nose pliers.

STEP EIGHT
Finally thread a jump ring on to each
charlotte crimp loop and attach the hook end
of your clasp to one jump ring and the clasp
tag to the other jump ring. Close the jump
rings with your pliers.
Jasper
Dreams
BASIC INSTRUCTIONS

Basics and
‘all that o er stuff ’
you need to kno … eventually
by Annlee Butler

I AM ALWAYS AMAZED at how many talented beaders As a general rule, if it’s ‘cheaper’ it is because the
and wire workers we have in Australia. Again this year our quality is not as good or as consistent as a comparable
Inspiration Beading book is filled with projects to fuel your more ‘expensive’ item. If your project does not require
creativity. The diagrams and techniques described here will uniform beads or you do not use wire tools very often,
provide you with a general guide to complete the projects try to get the best you can in quality for the price you are
in this book and have been developed by trial and error willing to pay.
over many years of beading and teaching. Sometimes it is
the smallest things that can make your beading time more TOOLS
enjoyable – like being able to thread a beading needle first The most important thing … make sure your tools are
go, or rolling neat loops, or being confident that your knots comfortable to hold. I like my tool handles to come past
will not come undone. Even if you are an experienced beader the end of my thumb muscle. I once turned 700 eye pins
I hope that this information is helpful to you. in one day and used a shorter handled pair of tools. The
Price verses Quality: Remember, the same is true bruise in the palm of my hand was a spectacular blue and
in beading as in all aspects of product purchasing. black for a week.

These are the tools I would recommend as a general kit:

Chain nose pliers: These pliers are Wire cutters: Come in two forms – flush Round nose pliers: Have two round
available straight or bent and have cutters or side cutters. Flush cutters are cone shaped jaws and are used for
a flat surface in the middle and a useful for cutting straight lines and side second steps in forming loops.
rounded outside edge. They are cutters form a point on the wire end …
ideal for opening and closing jump a lot of cutters have both these cuts.
rings, pulling a needle through Look closely – if one side is straight and
beadwork, and are the first step in the other forms a 90 degree angle, you
forming any loops. See diagrams. will be able to use both by just turning
the tool to the side you wish to use.
Round nose pliers

Nylon jaw pliers: Have two jaws that

Chain nose pliers are made of nylon and are used for
tensioning wire or work that requires
special care to leave no marks.
Crimping pliers: Have two
shaped holes specifically designed
Wire cutters
to achieve a folded crimp.
Cutter for memory wire: Memory
C
wire will ruin your good cutters
so I recommend you purchase an
inexpensive pair from a hardware
Nylon jaw pliers
Crimping pliers store.

74 Creative Beading
 BASIC INSTRUCTIONS

THREADS as Hypo-cement, E6000 and just plain clear nail polish

Silimides: C-lon, S-lon, and Nymo have a one way for spotting knots.
warp. What does that mean? Just like materials, if it is
threaded the wrong way to the warp it will be difficult to OTHER TOOLS
use; it will constantly spiral into a knotted mess. If you Beading needles: Come in a variety of sizes and lengths.
are not sure if your thread has a warp or not, thread it As a general rule, if you are working with size 11 to size 6
as if it does and you can’t go wrong. beads, a size 12 will pass easily through a couple of times
with thread. If you are working with size 15 beads, a size
To make sure you thread correctly: Pull 10cm of thread 13 is more comfortable but will bend much quicker; keep
off the bobbin and thread your needle on this 10cm; now a few on hand and think about changing sizes while you
pull off the rest of the thread of the bobbin and cut the work if you find a size 13 slower to work with.
thread. This is a good practice to get into. If you have
to answer the telephone, you will know which end is the Fine pointed scissors: A fine pointed pair of scissors
correct working end as your needle will already be on. such as patchworkers or embroiderers use are really great
– they usually have a cover and the small pointed ends
Fireline: Use this thread if you are working with crystals allow you to get tight up to the bead work to trim thread.
or bugles. I definitely recommend it for strength and
durability. Awl, for pearl knots and others: This small device allows
you slip your knot into place before tightening. I have found
Glues: Please do not use superglues, they crack and the best awl is an extra large paper clip – pull one end of the
will break threads and knots when they crack. The best paper clip wire straight, the remaining bent section is a good
glues are ones that are safe to wear on the skin, such finger-holding size and the wire diameter is perfect.

Beads in a gram
How many per HOW MANY BEADS?
Types of bead gram approx How many is enough? Stupid question … never enough.
15 seed 290 I once made a lamp shade fringe with size 11 seed beads,
The metallic style and not really knowing how many beads I needed to make
Cylinder seed 190 to 220 * are heavier so it, I purchased two kilograms of the main colour and 500
there will be fewer grams of the other colours combined. Now, how many
11 seed 110 should I have bought?
8 seed 38
6 seed 15 There were 525 drops of 15cm each, so using the chart
How many beads strung per linear measure below I could have calculated this way:
1cm = 7 beads. 15cm x 7 beads = 105 beads per drop.
Type of bead How many per cm For you inch
people 105 beads x 525 drops = 55,125 beads.
15 seed 9 24 55,125 beads divided by 110 beads per gram = 501.1
grams. Just a little less than the 2.5 kilograms I bought.
Cylinder seed 7 20
11 seed 7 18
To get a square area, multiply width by height. So, if I had a
8 seed 5 13 loom amulet bag that was 5 x 6 cm for one side, I would go:
6 seed 4 10 5 x 6 cm = 30cm
How many beads per square area 30 cm x 2 sides = 60
Type of bead Per square cm Per square inch
15 seed 54 330 Using cylinder beads:
Cylinder seed 42 285 60 x 42 = 2520 beads divided by 200 average
12.6 grams needed – so I would most likely purchase 15 grams.
11 seed 35 216
8 seed 20 108
By the way, I am still using up the rest of the leftover two
6 seed 12 70 kilograms of beads I bought for the lamp.

Creative Beading 75
BASIC INSTRUCTIONS

BRICK STITCH WRAPPED LOOPS OPENING AND

CLOSING JUMPRINGS

1. 2.

After forming ladder to start.

Begin each brick stitch row with 2 beads go under To open a jumpring grasp the open ring either side of
thread between the second and third bead on the ladder, the opening with flat or chainnose pliers. Bring one pair
go up through the second bead added, then down4.the 3. 4. of pliers toward you and push the other away.
first. Come back up the second bead. Continue by adding To close a jumpring reverse this movement. Apply slight
one bead and passing the needle under the next loop of Using roundnose pliers grip wire above bead press with pressure inwards on rings that are widely opened. Never
thread on the row below. fingers to right angle. Place pliers in upright position pull rings apart outwards as this will distort shape and
and pull wire over top of pliers and back to right to form weaken jumpring.
neat round loop. The size of your loop will vary on where
CRIMPS you place the pliers on the wire.
So when wrapping a number of loops that you require FLAT EVEN COUNT PEYOTE
the same size, draw a line across your pliers with a ink
marker at the point you wish to wrap at. Move pliers to Thread on an even number of beads. This forms 1st and
hold loop just formed. Pull wire firmly up to bottom of 2nd row. This can be done with any number of beads as
circle and wrap wire in tight circle motion around wire long as it is an even number.
above bead, cut and trim excess wire.

LOOP TURNING Diagram 1

AND TRIMING

Position crimp and wire in pliers cup shaped hole. This is Pick up 1 bead and thread back through 2nd bead
usually closest to handle. Squash crimp. Move squashed from needle in opposite direction this is the 3rd row.
crimp to circle shaped hole at front of pliers, with cup Pick up 1 beads and skipping 1 bead go through
facing sideways like a back to front “C” gently compress 1. 2. next bead. Pick up 1 bead, skip next bead and go
to form a ball. Test to ensure crimp is secure. through last bead.

STOPPER BEADS

A stopper bead is used to temporarily secure beads 3. 4.

at the start or finish of work, Choose a different
colour bead than your work unless it is to stay in
Diagram 2
bead work. Leave approx 10 – 15cm of thread Cut head or eyepin leaving approx 1 cm of wire above
and go back through bead in the same direction bead (or as project instruction). Bend to right angle.
a couple of times for tension. To remove after work Grip tip of wire with roundnose pliers and curl inwards Next, and all following rows, pick up 1 bead and going
is finished roll bead in your hand and loosen with to bead hole moving slowly place downward pressure to into the first high bead. Pick up 1 bead and go through
your needle. get a rounded shape that sits directly above bead hole. next high bead, continue across row to complete.

76 Creative Beading
 BASIC INSTRUCTIONS

HOW TO MAKE A LOOP BEAD CONES SQUARE STITCH BASICS

EYEPIN OR WRAPPED EYEPIN
String the required number of beads for the first row.
String 1st bead of row 2. Go through the last bead of row 1
in a circular direction going also through 1st bead of row 2.
This bead will sit on top of the last bead of the 1st row.

Cut a section of wire at least 3 cm longer than the bead/s

you wish to use, turn a simple loop on one end, thread Diagram 1
bead/s complete with a simple loop for the second end.
To wrap eyepin cut wire 4 cm longer than the bead/s to Continue picking up 1 bead and in circular direction pick
be used, turn a wrapped loop on one end of wire, thread bead up from row below. Continue until the end of the row.
bead/s, complete with a wrapped loop for the second end, Create a wrapped loop as in diagram, on one end of
do not forget to add next link or clasp before completeing. wire. A “wrapped loop” is better than a loop as this
will stop stringing from slipping out. Place stringing
onto loop, attach using knots or crimps as per your
BRICK STITCH necklace design.
Slip wire and stringing into cone as high as possible. Diagram 2
Create a second wrapped loop on the top of the cone
using wrapped loop instructions, do not forget to add At the end of the row simple turn your work over
clasp if needed before completing wrap. and complete diagram 1 and diagram 2 for the next
row. It is important to turn your work as this will
give you correct tension and your work will not have
KNOTS a sideways slope.

After forming ladder to start.

Begin each brick stitch row with 2 beads go under 1.
thread between the second and third bead on the
ladder, go up through the second bead added,
then down the first. Come back up the second
bead. Continue by adding one bead and passing At the end of each third row run your thread through the
the needle under the next loop of thread on the row below where you finished and the row you are on
2.
row below. now back to the same position.
Square knot: bring left-hand thread over the right-hand
thread and around. Cross right over left and go through
FLATTENED CRIMP the loop. Spot glue all knots. CHARLOTTES

Surgeon’s knot: bring left-hand thread over the

right hand thread and around. Form a loop and go
Position crimp gently with chainnose pliers, making sure that through the loop. Go through again. Move knot to Thread tiger tail or thread through charlotte hole. Place
wires are tensioned correctly gently flatten crimp using pliers, exact spot you require it before tightening, this knot a flattened crimp on tiger tail or knot thread so that it
so it remains in alignment with wire in a neat square shape. is very secure and will not undo easily. Spot glue sits in the cup area. Trim excess. Using chain nose pliers
Test to ensure crimp is secure before proceeding. all knots. fold cups sections together.

Creative Beading 77
BASIC INSTRUCTIONS

WIRE GUARD COIL ENDS FRENCH WIRE

1. Double the end of your cord. (Optional: add a dab

of glue.)

French Wire has many names it is also known as bullion

or gimp, it is a fine coil of wire that was mainly used
in the past for protecting silk while stringing pearls
2. Twist the cord slightly as you push it all the way into but is now being used on other wires and threads as a
the coil end. Since cord width varies, so does the ease protector, it has no strength to hold, so you still need to
of this step. add a crimp or a knot, while it is fiddley to use, as it will
These are a fairly new invention and are great to quickly unravel to look just like a fine piece of wire, it is
use with Tigertail and crimp finishing. They are ‘U’ 3. Using a regular pair of jewellery pliers, crimp down well worth the effort to give work a professional finish.
shaped with a channel that the Tigertail threads the last half coil, securing the coil end. To use: cut a small section with very sharp cutters,
through and are added into the clasp loop to stop thread a crimp or a seed beads to hide knot on to work,
wear on the Tigertail. To use, thread a crimp, thread string French wire onto threading material, and finding
Tigertail through the left side channel, hook through being used, pass back through crimp or bead and pull
the clasp loop, thread Tigertail through clasp loop, gently until French wire is firm in a loop through finding.
take Tigertail back down the right side channel and A word of caution you only get one go at this process
through crimp. Lastly, fold or flatten crimp. tension gently before crimping or knotting.
 BASIC INSTRUCTIONS

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Creative Beading 79
BASIC BEAD GLOSSARY
Beads are three-dimensional objects and are often described in a
combination of two and sometimes three dimensions ie; flat round;
long thin tube.

Barrel Bicone Bone Branch

So-called because of its resemblance to a wine A bicone is essentially two cone shapes joined at A bone is also called bamboo or hourglass and the Generally made from shell, coral and pearl,
barrel or beer barrel, these oval shaped beads the base. Bicones can be long or short, smooth or hole is generally drilled on its long axis. branches are characterised by being top drilled and
are generally flat on the ends. They ca n also be faceted. When a bicone is long it is often called irregular in shape.
slightly more cylindrical and still be called a barrel. a diamond.

Cabachon/Cabochon Chaton Chips Coin

A cabochon (also spelt cabachon or cabouchon) does not A chaton has no hole and is multi-faceted on one Chips are small irregular shapes and sizes, Coins are flat round beads with the hole through
have a hole, and features a convex top with a flat back. It side with a pointed back for gluing into a metal generally shell or semi-precious stone. the long axis.
is traditionally smooth and not faceted, however, in popular stamping, or capturing in claws.
use, cabachon is also applied to faceted flat backed beads,
ie; a domed cabochon or a faceted cabochon.

Cube Diamond Disc Donut

A square with the same width, height and depth. Diamond beads are shaped like a ‘baseball’ Discs are generally flat-sided with either a rounded A donut bead, as its name suggests looks like its
They can be centre or diagonally drilled. diamond with the hole either along the long axis, or straight edge, unlike rondelles which are sweet namesake with a large hole which is side
or top drilled. curve-sided. The hole is across the flat dimension drilled (the hole is across the flat dimension of
of the bead. the bead).

Drop/Teardrop Drum Flat Square Hairpipe

Drops are wider at one end, and mostly shaped like A short cylindrical bead which is flat top and A flat square has four even sides but is flat. The Generally made of bone or horn, hairpipes are
a teardrop or pear. The hole can be through the bottom. hole is through the long axis. long barrel shaped cylinders with a large hole
length of the center of the bead (vertical drill) or at and were traditionally braided into the hair of
the top end (top drilled). indigenous peoples.

80 Creative Beading
 BASIC BEAD GLOSSARY
In addition, a feature of the bead is often used to describe its
characteristics ie; hexagonal tube, twisted oval; faceted bicone,
carved barrel.

Irregular Melon Nugget Oval

Generally refers to beads with irregular angular cuts The melon bead is generally round but it can be in As the name suggests nuggets are of a random Ovals are even-diameter egg shaped with rounded
(ie; more like sharp facets, not curves, or twists. other shapes – it is called Melon because of the shape and size with soft or rounded edges. edges (not flat like barrels). Other types of ovals
grooves along its side. are a flat oval and a faceted oval.

Pillow Pony Potato Rectangle

A pillow is generally square or slightly rectangular Beads made of glass or plastic, typically slightly oval A potato bead is an irregular shaped round bead, Unlike a cube, a rectangle is a square or
with two angled sides, so it resembles a pillow. in shape, with a large hole. They are also called crow and resembles its namesake. rectangular shaped bead with uneven dimensions.
beads. The word pony is also used to describe shaped Other types are flat rectangle and faceted rectangle.
acrylic beads with large holes – ie; flower pony, heart
pony, star pony and butterfly pony.

Rice Rondelle/Saucer Round Shield

Some rice shaped beads look exactly that – a A rondelle (also called saucer because of it’s Shaped like a ball, rounds have an even diameter. Shields are flat and oval-shaped with angular
grain of rice, but rice shaped pearls are similar resemblance to a flying saucer) is a pillow-shaped, Other types of rounds are flat round and faceted edges, so called because of their resemblance to
to potato except they are more ‘oval’ in shape rounded bead. It can be faceted or smooth and is round. Smooth round beads are also called druk. ancient Viking shields.
than ‘rounded’. side drilled (the hole is across the flat dimension
of the bead).
When giving dimensions
of a bead it is customary
for the first measurement
to be the axis where the
hole (or aperture) is located,
so for example if a bead is
25mm x 10mm x 6mm, the
hole would run through the
Triangle Tube Twist 25mm axis.
A tri-sided flat bead, triangles can be vertical or top A tube has the hole drilled on its long axis and A twist can be a bead of almost any shape that
drilled, with square cut or slightly rounded edges. is also called a cylinder. Other types of tubes are looks like it has been grasped at either end and
hexagonal tubes. twisted in opposite directions. Also sometimes
called a swirl.

Creative Beading 81
 PUBLISHER
Simon Mullen

Next Issue
Email: simon@sunpbl.com.au

EDITOR
Loiuse Almaney
Email: admin@sunpbl.com.au

With more projects for beginner to CREATIVE DIRECTOR

Eliza Davies
advanced beaders, plenty of great
giveaways, more profiles and latest GRAPHIC DESIGN
Hayley Jagger, Tara Mullen
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Creative Beading is out soon! ADVERTISING ENQUIRIES
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82 Creative Beading
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