Monet`s Garden Bracelet Instructor: Kathleen

Transcription

Monet’s Garden Bracelet (Fall)
with Kathleen Lynam
A LearnToBead.Net Class
Web: www.LearnToBead.net
classes@LearnToBead.net
Monet’s Garden Bracelet
Instructor: Kathleen Lynam
Fall Palette
Intermediate Level
A vibrant garden of seed beads! A unique color blending technique with simple fringe enhances this
square stitched base.
This set of instructions is organized as a series of
Jewelry Design Choices:
MONET'S GARDEN BRACELET
BW2-FR01-Monet's Garden Bracelet (Fall Palette)
SUPPLIES LIST, p. 3
This set of instructions is organized as a series of
Jewelry Design Choices:
I. Planning Your Project, p. 8
IA. Conceptualizing Your Piece, p. 9
IB. Measurements, p. 11
IC. Selecting Materials, p. 13
ID. Sketching a Pattern or Graph, p. 13
IE. Identifying Potential Areas of Weakness within Your Piece, p. 14
IF. Visualizing Your Process, p. 15
IG. Organizing Your Work Space, p. 16
Copyright © 2013 by Kathleen Lynam, LearnToBead.net.
This handout is available for purchase at www.LearnToBead.net or www.LandOfOdds.com, and is intended for personal use only.
Reproduction of this handout by or for any persons other than personal use is strictly prohibited.
Kits, Supplies, Tools available for purchase at www.LandOfOdds.com or www.LearnToBead.net .
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with Kathleen Lynam
II. Beginning Your Project, p. 17
IIA. Basic Steps, p. 17
IIB. Dealing with Contingencies, p. 35
IIC. Finishing Touches, p. 36
III. Summary of Learning Objectives You Have Met
After Accomplishing This Project, p. 36
IV. Next Steps, p. 40
IVA. Suggested Readings, p. 40
What You Will Learn:
- Planning for Color
Blending
- Creating a square
stitch base
- Creative use of fringe
- Embellishing edges
along your square
stitch base
- Adding a button clasp
These Instructions are written from what is called The Design Perspective.
They first guide you through the kinds of choices to be made, when designing this particular piece. This gives
you a sense of how the artist thought through the development of the project. This provides you with a better
understanding and some insights about what kinds of things you would need to consider, when designing a
similar piece, or adding personal touches to this project.
Then step-by-step, easy-to-follow instructions for completing this project are presented.
Prerequisites:
- Orientation To Beads
& Jewelry Findings
- Knowledge of square
stitch
- Knowledge of simple
fringing
Finally, the skills learned by doing this project are summarized.
TimeFrame:
This bracelet takes
about 28 hours to
complete
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with Kathleen Lynam
Supplies To Make a 7" Bracelet:
(In kit, supplies to make up to a 8 1/2" Bracelet plus 16-row Sampler)
Kit and Supplies available for purchase from:
Land of Odds (www.landofodds.com )
LearnToBead.net (www.learntobead.net )
GENERIC ITEM DESCRIPTION
THIS PROJECT
Palette #2. Fall
YOUR PROJECT VARIATIONS
Base:
Size 8/0 Seed Beads, color A, (375
beads or 15 grams)
Miyuki Size 8/0 Seed Beads, 8/0-306,
olive gold luster(color A)
(in kit, 22.5 grams)
Nymo or C-Lon or One-G beading
thread, size D (matching color to the
8/0 seed beads used in the base)
C-Lon beading thread, size D, olive
(in kit, 1 bobbin)
Edge Embellishments
Picot Sides:
Size 15/0 Seed Beads, color C,
(coordinating color to your Size 8/0
seed beads used in your base), (200
beads or 1 gram)
olive gold luster, (color C)
(in kit, 3 grams)
Edge Embellishments
Garden Border:
Miyuki 3.4mm Mini Fringe Drops, color
B, (36 beads or 2 grams)
Miyuki 3.4mm Mini Fringe Drops, DPF42, purple lined topaz, (color B)
(in kit, 4 grams)
Size 11/0 Seed Beads with Matte
Finish, color D, (coordinating color to
your Size 8/0 and 8/0 seed beads used
in your base), (36 beads or 1/2 gram)
TOHO Size 11/0 Seed Beads, 11/0Y111, dual lustered gold/pink, ( color
D)
(in kit, 1.5 grams)
Czech Glass, center-drilled, 5x3mm
flat flower spacer rondelles (in 2 or
more contrasting colors), (36 beads)
flat flower spacer rondelles, amethyst
glow
(in kit, 30 beads)
flat flower spacer rondelles, golden
glow
(in kit, 30 beads)
Nymo or C-Lon or One-G thread, size
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D (matching color to the 8/0 seed
beads used in the base)
(in kit, see above)
FRINGE:
Flower Stalks:
3 matching colors of 11/0 seed beads, varying from lighter to darker (Each stalk will have either 3 darkest, 2 medium and 1
lightest color bead, or 2 darkest, 1 medium and 1 lightest.)
Size 11/0 Seed Beads, darkest color E
(1300 beads or 13 grams)
golden olive luster, (darkest color E)
(in kit, 21 grams)
Size 11/0 Seed Beads, medium color F
(900 beads or 9 grams)
chartreuse olive AB, (medium color F)
(in kit, 16 grams)
Size 11/0 Seed Beads, lightest or
brightest color G (460 beads or 5
grams)
olive luster , (lightest color G)
(in kit, 10 grams)
FRINGE:
Flower Tips:
14 coordinated paired colors each of 8/0 seed beads and 15/0 seed beads
Whether your project is a colorful rainbow or monochromatic, you want 14 distinct colors,
AND, for each paired 8/0 and 15/0 flower tip, you want the same or closely matching colors.
Size 8/0 Seed Beads, color H-8 (46
beads or 1.5 grams)
garnet AB, (color H-8)
(in kit, 3 grams)
Size 8/0 Seed Beads, color I-8 (46
beads or 1.5 grams)
TOHO Size 8/0 Seed Beads, 8/0-90,
metallic amethyst gunmetal, (color I-8)
(in kit, 3 grams)
Size 8/0 Seed Beads, color J-8 (46
beads or 1.5 grams)
TOHO Size 8/0 Seed Beads, 8/0421,gold lustered transparent pink ,
(color J-8)
(in kit, 3 grams)
Size 8/0 Seed Beads, color K-8 (46
beads or 1.5 grams)
TOHO Size 8/0 Seed Beads, 8/0-Y304,
hybrid pepper red picasso, (color K-8)
(in kit, 3 grams)
Size 8/0 Seed Beads, color L-8 (46
beads or 1.5 grams)
TOHO Size 8/0 Seed Beads, 8/02110,silver lined milky topaz, (color L8)
(in kit, 3 grams)
Size 8/0 Seed Beads, color M-8 (46
beads or 1.5 grams)
marbled opaque beige/pink, (color M-
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(in kit, 3 grams)
Size 8/0 Seed Beads, color N-8 (46
beads or 1.5 grams)
silver lined milky pomegranate , (color
N-8)
(in kit, 3 grams)
Size 8/0 Seed Beads, color O-8 (46
beads or 1.5 grams)
silver lined milky nutmeg, (color O-8)
(in kit, 3 grams)
Size 8/0 Seed Beads, color P-8 (46
beads or 1.5 grams)
gilded marble red, (color P-8)
(in kit, 3 grams)
Size 8/0 Seed Beads, color Q-8 (46
beads or 1.5 grams)
marbled opaque light blue/amethyst,
(color Q-8)
(in kit, 3 grams)
inside color light topaz/opaque
lavender lined, (color R-8)
(in kit, 3 grams)
Size 8/0 Seed Beads, color R-8 (46
beads or 1.5 grams)
Size 8/0 Seed Beads, color S-8 (46
beads or 1.5 grams)
TOHO Size 8/0 Seed Beads, 8/0-Y301,
natural picasso, (color S-8)
(in kit, 3 grams)
Size 8/0 Seed Beads, color T-8 (46
beads or 1.5 grams)
transparent amber , (color T-8)
(in kit, 3 grams)
Size 8/0 Seed Beads, color U-8 (46
beads or 1.5 grams)
transparent light amber, (color U-8)
(in kit, 3 grams)
Size 15/0 Seed Beads, color H-15 (46
beads or .5 grams)
Miyuki Size 15/0 Seed Beads, 15/02249, red lined cranberry AB, (color H15)
(in kit, 1.5 grams)
Size 15/0 Seed Beads, color I-15 (46
beads or .5 grams)
cobalt gold luster, (color I-15)
(in kit, 1.5 grams)
Size 15/0 Seed Beads, color J-15 (46
beads or .5 grams)
topaz gold luster, (color J-15)
(in kit, 1.5 grams)
Size 15/0 Seed Beads, color K-15 (46
beads or .5 grams)
gold luster transparent dark red ,
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(color K-15)
(in kit, 1.5 grams)
Size 15/0 Seed Beads, color L-15 (46
beads or .5 grams)
Miyuki Size 15/0 Seed Beads, 15/02238, lined topaz and yellow AB ,
(color L-15)
(in kit, 1.5 grams)
Size 15/0 Seed Beads, color M-15 (46
beads or .5 grams)
lined cinnamon luster , (color M-15)
(in kit, 1.5 grams)
Size 15/0 Seed Beads, color N-15 (46
beads or .5 grams)
Miyuki Size 15/0 Seed Beads, 15/01621, semi-matte transparent salmon ,
(color N-15)
(in kit, 1.5 grams)
Size 15/0 Seed Beads, color O-15 (46
beads or .5 grams)
Miyuki Size 15/0 Seed Beads, 15/01428, wine silver lined, (color O-15)
(in kit, 1.5 grams)
Size 15/0 Seed Beads, color P-15 (46
beads or .5 grams)
rose gold luster , (color P-15)
(in kit, 1.5 grams)
Size 15/0 Seed Beads, color Q-15 (46
beads or .5 grams)
transparent dark smoky amethyst,
(color Q-15)
(in kit, 1.5 grams)
Size 15/0 Seed Beads, color R-15 (46
beads or .5 grams)
Miyuki Size 15/0 Seed Beads, 15/03056, lined purple bronze mix , (color
R-15)
(in kit, 1.5 grams)
Size 15/0 Seed Beads, color S-15 (46
beads or .5 grams)
Miyuki Size 15/0 Seed Beads, 15/01840, black lined topaz AB , (color S15)
(in kit, 1.5 grams)
Size 15/0 Seed Beads, color T-15 (46
beads or .5 grams)
Miyuki Size 15/0 Seed Beads, 15/01887, dark topaz gold luster, (color T15)
(in kit, 1.5 grams)
Size 15/0 Seed Beads, color U-15 (46
beads or .5 grams)
transparent light topaz, (color U-15)
(in kit, 1.5 grams)
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(in kit, see above)
Clasp and Closure:
Size 11/0 Seed Beads, medium color F
(36 beads or .4 grams)
chartreuse olive AB, (medium color F)
(in kit, see above)
NOTE: Use a color that most closely
matches or coordinates with your
square-stitched base.
Button Size 6 (14mm or 5/8") glass
button with shank, to match your color
palette
(or Button Size 8 (18mm or 3/4") glass
palette)
Button Size 6 (14mm or 5/8") glass
palette
(in kit, 1 button)
(in kit, see above)
Additional Supplies:
Size #10 and #12 English Beading
Needle (about 6 of each size)
(in kit,
6ea Size #10 needles,
6ea Size #12 needles)
Bees Wax or Microcrystalline Wax
Scissors, Ruler, Work surface
Chain Nose or Flat Nose Pliers
Bracelet Sizing Cone
Bic lighter or thread zapper
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with Kathleen Lynam
I. PLANNING YOUR PROJECT
Thinking about the types of choices made for this project
The Monet's Garden Bracelet is a fun project that students love. It is for students who have some familiarity with bead weaving. I had been
experimenting with various strategies for blending colors along the length of a bracelet. At about the same time, Beadwork issued a call for project
proposals to be used in a book about what to do with your Bead Stash -- all those small quantities of lots of different colors you have left over. This was
perfect.
[This newer version of my Monet's Garden Bracelet is slightly different than the original version published by Beadwork. This newer version includes a
more elaborated fringing and edging design, and some fuller explanations of color blending and other steps in the project. I also vary my fringe lengths
extending from each base row-- KL].
This bracelet teaches a mathematical approach for organizing several colors within a color blending scheme. Also presented is a simple math formula
for personalizing your bracelet -- that is, varying the width and length to suit your needs. The techniques here are Square Stitch and Fringing.
It is important, I believe, for a contemporary piece of jewelry to have a sense of dimensionality, movement, and a strong use of color.
Color blending with beads is always challenging. It is not like paints, where you can merge and blend colors with ease. Beads are physical objects with
set colors. You can't mush them together, The transition from bead to bead in any piece, requires the eye/brain, when interacting and interpreting colors,
to literally jump a cliff between the inevitable gaps between each bead. You want the viewer to have a satisfying, pleasurable journey as their eye/brain
moves along that line of color-transitioning beads.
In my pieces, I love to draw on nature's inspiration. I gather flowers and plants and bring them into the bead shop to match their colors as closely as I
can. For my Monet's Garden Bracelet, I've developed instructions for both a Spring Palette, as well as a Fall Palette. However, the instructions would be
as useful for a monochromatic palette, such as whites to grays to black, or a Southwest palette, such as turquoise to corals to reds. Use your
imagination --- and use up your bead stash, in the process!
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with Kathleen Lynam
IA. Conceptualizing Your Piece
Ask yourself these questions:
Purpose?
Is this to be for a Woman (6 ½ - 7 ½”) or man (7 ½ - 8 ½”)? Size of wrist? How loosely should it fit -- very loose, somewhat loose, tight?
What is the Context/Setting the bracelet might be worn in?
Sizing?
Given who is wearing the piece, what width should the bracelet be? 1/2", 3/4", 1", more?
Do I want to use an odd number or an even number of beads across this width? or up and down the length?
Materials?
What types and materials of beads do I want to use for the base, for the flower stalks and tips, for the edging? glass, gemstone, metal, mix?
What size(s) or shape(s) of beads do I want to use for the base?
What size(s) or shape(s) of beads do I want to use for the flower stalks and tips, and for the edging?
What kinds of stringing materials do I want to use, and do I want to wax the cord?
What will the clasp assembly look like, and where and how will I attach the clasp? What color should the clasp assembly be?
Design and Color Issues?
For the base, do I want to use the same bead throughout, or do I want to create a pattern? What color(s) should the base beads be? How will the color
of the base related to the flower stalk/tip fringing?
How will the color of the flower (8/0 bead) relate to the color of the flower tip (15/0 bead)?
How will I create a color blending pattern?
How many different colors should I use in my color blending?
Should each color have the same or similar finishes, or not?
What proportions of each color should I use in my color blending?
How rapidly or slowly do I want my color-to-color transitions to be?
Do I want to graduate my colors from lightest to darkest? Or randomly ordered? Or go medium to light to dark back to light and finish with medium?
How do I want to end the color pattern on my bracelet? Do I want each end to have a distinctive color? Or do I want to blend both ends together?
How long do I want to make my flower stalk fringe? Should each stalk be the same height, or should I vary the height from row to row? If I vary the stalk
heights, should I have a set and rigid pattern, or should I vary the heights randomly?
How much color variation do I want to have in my flower stalks?
What dimensions should my flower tips on my fringe have?
How do I want to embellish the edge? How should this embellishment relate to the flower stalk/tips fringing, as well as the clasp assembly on either end?
Wearability?
How easily will the woven beads, once the project is finished, conform to and feel comfortable on the wrist?
For the project we are doing here, I wanted to make a woman's bracelet, about 7" (about 175mm long) (including the clasp) long and about
3/4" (20mm) wide, and which has a comfortable fit on the wrist, but not overly loose. This is a casual piece. The Monet's Garden consists of a
square stitch base and fringe off the base. When you add the fringe and border, it has the effect of arching, thus narrowing the width of, the
base. And when you add the edging, it has the effect of widening the base, and canceling out any narrowing effect that results from adding the
fringe and border.
The color blending formula works more easily if you use an EVEN number of beads across the base (eg, the width). In this project, I use eight
(8) size 8/0 seed beads across. In the base, there are roughly 8-9 rows per inch. So a 7" long bracelet, subtracting the 1/2" added by the clasp
and leaving 6 1/2" of base to construct, would be 58 rows.
I prefer to use the typical squared-roundish seed beads, rather than delicas or other shaped beads, for both the base as well as the flower
stalks and tips. In this composition, these seem more "natural", and less mechanical or machine-made. These also will allow the bracelet as
well as its fringe to flow more freely and easily, -- the delicas lock too easily in place, like constructing a brick wall -- when the bracelet is worn,
again giving a more "natural" feel.
The base is made up of size 8/0 seed beads. We go back and forth through the holes of these beads manytimes over the full course of
making the project. Smaller beads would not have sufficient hole sizes. Larger beads would start to make the project more crafty, and less
artistic.
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For this project we use Japanese seed beads for both the base and the fringe. I would suggest sticking with the Japanese size 8/0 seed beads
for the base, but you can use Czech seed beads for the flower stalks and tips, instead. The more irregular sizes and shapes of the Czech
seed beads will give a very different look to your finished piece -- the fringes will be of slightly different lengths, and there will be some play
with the resulting proportions of each color, perhaps resulting in a more "wild flower" than "cultivated" garden look.
I did not want the tension to be too tight, so I used C-Lon beading thread. [I could as easily have used Nymo or One-G. FireLine, however,
would not have been the right product for this project.] I waxed the thread. I selected a thread color to match the greens in my base and on my
flower stalks. Using the same color thread throughout, which I do here, gives the bracelet a coherency. Another option, however, could have
been to use a darker thread for the base, such as brown or black, and the green thread for the stalks. With this option, I would have added
more visual depth to the piece. Another option could have been to use a lighter green thread along the first 2 columns of the length, a darker
green along the middle 2 columns, and back to the lighter green thread for the final 2 columns (or some variation on this idea). In this case, it
would have looked like I had separate cultivated lengths of flowers along the bracelet, with subtle demarcations.
This is the kind of project where you definitely want the clasp to look as it is an organic extension of your composition. A button clasp that fits
in size, dimension, color and sensibility is the logical choice. I have seen some buttons with images from Beatrix Potter, such as a rabbit, or
garden trowel and shovel, which would also look cute.
My base consists of rows of 8/0 seed beads in the same color. With this piece, the viewer will notice the base color, as the fringe wave back
and forth with wear. I wanted the fringe to have that "artistic" focal / centerpiece effect, not the base, so I keep the base subdued. Of course, I
picked a green color for the base, to create the illusion of a grassy field.
I use size 11/0 seed beads to make the flower stalks and size 8/0 seed beads to make the flower tips. This gives a nice delicate, flowing
sensibility, yet a sufficient stiffness to keep the stalks upright.
This project is about color blending, so I went all out in selecting 14 colors. I could have easily used fewer colors or more colors.
Using the color blending strategy presented for this project, with 14 colors, each color would require 4 rows. So, in a bracelet, the base of
which consists of 58 rows, the maximum number of colors we could use would be 14 (that is, 58 divided by 4, with 2 extra rows). I decided that
when I got to the end with my 14th color, I would blend it with the 1st color, and color an extra row at the beginning and at the end (thus, my
two extra rows), both done in the 1st color. [An alternative for treating the end of the bracelet would be to transition back from color 14 to color
13, and finish off the rows.]
I use a formula discussed below in allocating the proportion of each color, row by row. I played with combinations of different finishes. I was
not satisfied with plain transparent beads -- not enough brightness or dimensionality. Using all one finish, such as an AB finish or luster finish,
was interesting, but too monotonous. It didn't look like "nature". I settled on using primarily transparent luster-finish colors, with some
transparent AB, transparent silver-lined and a couple of metallic and metallic iris finish colors. This mixing of finishes seemed better. These
captured and reflected light in different ways, and drew the eye into the bead differently, thus adding considerable interest. Lastly, I used more
matte finishes in my Fall palette, than in my Spring.
My transitions from color to color are relatively quick. Each transition from one color to the next takes up 2 rows. With 14 colors, thus 4 rows
allocated for each, you would have 2 full color rows and 2 transitional color rows. However, I could have easily come up with a formulastrategy to make the transitions much slower. And I could have come up with a formula-strategy to transition 3 colors at a time, instead of 2.
For this project, I graduated my colors in a way that seeming pleasing to me. The main transition is from reds to purples to golds and topaz's.
My flower stalks are two sizes. For the first and last stalks, four 11/0 seed beads long and then topped with an 8/0 and a 15/0 seed bead as
the flower tips, about 3/8”. For the 2nd through 7th stalks, six 11/0 seed beads long and then topped with an 8/0 and a 15/0 seed bead as the
flower tips, about 1/2". Because I have used Japanese seed beads, the 2 nd thru 7th stalks/tips are the same lengths. I tried a sample going
longer (8 11/0 seed beads plus the 8/0 and 15/0 tip), but this wasn’t appealing to me. Also, I would not have gone much longer, because the
stalks could more likely bend in half, instead of standing more firmly upright. It was important to use 3 color gradations in my flower stalk,
rather than a single color. A sense of "movement" is one of the key beauties of this bracelet. As the bracelet is worn, and the fringe move, I
want the viewer to have a sense of watching flowers blowing in the wind. To maximize this effect, I vary the colors from darkest near the base
to lightest near the flower tip.
For the Fall Palette, I also vary the finishes from luster to color lined, to silver lined, to AB, so that they eye's interaction with any glass bead
will also vary. I want things to feel like that changing of nature during Fall.
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I coordinated the colors of the 8/0 and 15/0 seed beads forming the flower and its tip. In many cases, I found colors that were very similar. In a
couple of cases, to add a bit of variety and surprise, and I used colors with a little more contrast, yet in the same general color family.
I did not want to create a large flower tip on top of my flower stalks. If I had, the flowers would more likely get stuck on each other, and not
move smoothly and freely. The weight of large flower might also make my stalks bend too much and lay flat, and this would ruin the whole
effect. So, I suggest a small flower or flower but with my flower tips.
The edging is critical here. You want to create an illusion of nature. If you left the bare sides of our 8/0 seed bead base showing, you would
break this illusion. This is true, not only for both sides of the piece, but for each end as well. So I have added 15/0 seed beads and little flat
flower rondelles along the garden border, and have continued the fringing all the way out to the edge on both ends of the bracelet.
Color Blending
Your goal is to move from one color to the next, in a satisfying way. You have many different kinds of choices to make, when managing a transition like
this.
After you have chosen which colors you want to use, you need to decide what the color will look like as a "base" color, and what the color might look like
as a "blend" color. With paints, this task is much, much easier, than with beads. It is not easy to blend beads, not least of which is because it is difficult to
find the right colors needed to merge a color from base to blend and back to the base of the next color.
In this project, our strategy is to change the proportions of the base color as we move from one row to the next, until the proportions of the base to the
blend in the first row are in reverse to the proportions to the blend to the base in the last transitional row. [And then, the blend becomes the new base,
etc. along the bracelet.]
Besides varying the proportions, other options of blending that you have as a jewelry artist:
- Varying the brightness and dullness as you move from base to blend, such as finding colors with either more black, more gray, or more white in them
- Graduating the length of your fringes from row to row to create a sense of layering
- Varying the lightness and darkness as you move from base to blend, such as going from red to maroon or from red to pink
When choosing a set of colors, these do not have to match perfectly, but they do need to be coordinated. It is difficult if you vary the finishes of the
beads too much. For example, transparent and transparent AB would not work well together in our scheme. Nor would transparent AB and luster
finishes. Yet transparent AB, silver-lined and metallic colors do work well together, but only when you allow one of the finishes to be predominant.
IB. Measurements
What length and width bracelet do I want to end up with?
What are the widths and lengths of each of the beads I want to use?
How many beads long?
How many beads wide?
How many beads "high" (eg, length of the stalks)? Should all my stalks be the same height, or different heights?
Do I need any definable center points?
How much more length will clasp attachment create?
Will there be any variation in the actual sizes of the beads, from bead to bead?
For this project, I wanted to make a bracelet approximately 7" (175mm) long, which includes the clasp. In this case, the clasp adds 1/2" to the piece, so
that the square-stitched area is about 6 1/2" long. It is important to use an even number of beads to create each base row. In this case, I use 8 beads.
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with Kathleen Lynam
There are approximately 8-9 rows of 8/0 seed beads per inch in the base. For a 6 1/2" long base, you would have approximately 58 rows.
For a 7" base (thus 7 1/2" bracelet), you would have approximately 66-67 rows. For a 6" base (thus 6 1/2" bracelet), you would have approximately 4950 rows.
NOTE: Seed beads with different finishes, such as no finish, AB finish and metalized finish, are actually different sizes. In addition, people with different
controls over their thread tension, will end up with rows that may be looser or tighter than others. Both these factors will vary the actual beads/inch
measurement here. This means, when you are approaching the 58 row mark, you need to measure your base, and see if you need to add the same,
less or more rows, to get to 6 1/2".
The bracelet is 3/4" wide (20mm). Adding fringe and a border pulls up on the bracelet, making it curve, thus reducing its width. Adding edging adds
width, negating the effect of the fringe.
The stalks plus tips are about 1/2". In this project, the first and 7th stalks are shorter than the 2nd, 3rd, 4th, 5th and 6th stalks.
I do not need a definable center point.
NOTE: There are 25mm in an inch. Rulers are marked in inches on one side and millimeters on the other.
MEASUREMENTS
THIS PROJECT
DESCRIPTION
YOUR PROJECT
VARIATIONS
7”
6 ½” or 58 base rows of
8/0 seed beads
1/2"
8 size 8/0 seed beads
across, or 20mm, or ¾”
Even
Length with clasp
Length of Square Stitch
Base
Length Clasp Adds
Width
Odd # or Even # beads
across base
Base Rows Per Inch
Appr. 8 - 9 base rows
per inch
Rows 1 and 7 = 4
11/0’s plus 1 8/0 plus 1
15/0 seed beads
Height of Fringe
Rows 2 thru 6 = 6
11/0’s plus 1 8/0 plus 1
15/0 seed beads
# of flower colors
# of rows per color
# nontransitional
# transitional
# of colors within a stalk
14 colors
4 rows/color
2 nontransitional
2 transitional
3 colors
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IC. Selecting Materials
Types of beads? Glass, metal, other?
Sizes of beads?
Stringing material? beading thread, cable thread?
Clasp? Make my own or use a manufactured clasp?
For this project, I chose glass seed beads, because these are inexpensive, and are available in a lot of colors.
I decided to use 8/0 seed beads for my base. For the stalks, I use 11/0 seed beads and for the flower tips, I use an 8/0 seed bead capped with a 15/0
seed bead. I liked this visually. Architecturally, I felt that the 11/0’s gave sufficient support and stiffness for a “flower stalk”. I felt that the 8/0 tips were
not too weighty for the stalk. I felt that the 8/0 tips also were small enough and round enough, so that they wouldn’t catch on each other when the
bracelet was worn.
Here I use C-Lon beading thread and I wax it. Nymo or ONE-G, but not FireLine, would have been fine. Overall, I would have preferred ONE-G, but Clon had a better color-matched thread. FireLine would have resulted in a piece that would have been much too stiff.
A clasp that feels as a natural, organic part of your piece will always be more satisfying. You might find a pre-made, floral-themed or floral-colored clasp
for one side, and make a loop on the other. I use a button that looks like it could have been a garden ornament.
ID. Sketching a Pattern or Graph
We can begin to make a simple graphed pattern for our piece. In a graphed pattern, you read the pattern from the bottom to the top. Each square in our
graph represents one bead. Otherwise, there are no preset rules here. Our graph and sketch for our project will begin to look like this:
THE BASE
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THE FLOWER STALK AND TIP
We are creating a rectangle for the base (6 1/2" long), that ultimately will have 58 rows that are 8 beads wide.
Off the one bead on one side, we are going to add a beaded loop. Off the other side, we are going to add a button. These create our toggle clasp.
On the top of our piece, we are going to add some fringe embellishment of flower stalks with tips. There will be 7 stalks above each row. For the first
and last stalks, these will be of 4 size 11/0 beads off our base, plus 1 8/0 and 1 15/0 beads on top. For the five middle rows, these stalks will be of 6
size 11/0 beads off our base, plus 1 8/0 and 1 15/0 beads on top.
Up and down the sides of our piece, we will add some picot edging using 15/0 seed beads. Then we will add a 2 nd edging treatment, creating a “Garden
Path” along both bracelet sides, using flat flower rondelles and mini fringe drops.
IE. Identifying Potential Areas of Weakness within Your Piece
Identify potential points of weakness within your piece. These are areas within your piece that you will want to add some extra reinforcement.
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In our project, there are points of weakness at the either end where we attach our clasp components.
Also, at the point of the base of each flower stalk, if the tension is not kept tight as you add each stalk, one by one, the stalks will pull away from the
base, when the bracelet is worn, exposing some thread and adding vulnerability to the integrity of your piece. We want to work all our fringing and
edge embellishing very tightly.
IF. Visualizing Your Process
Holding the piece. I work the piece over my fore-finger. Thus, my finger becomes like
a little easel. I use my thumb as a clamp to hold the developing beadwork in place. I am right-handed,
so use my left hand and fore-finger as my easel, and work the needle and thread
with my right hand.
In which direction do you want to work – away from you/towards you; towards
you/away from you; side to side, clockwise, counterclockwise?
For this piece, I like to work in a counterclockwise direction, and work the beads going
from close to my body towards away from my body. When I get to the end of the row, I
flip the piece, so that I can continue to work counterclockwise, and in a direction away from my body.
Where the thread goes in and where it comes out.
The Square Stitch involves making circles through the holes of two beads. I like to start
each “circle” with the needle coming out the hole of what is to become the first bead in this circle, so the needle is
pointing away from me.
For the fringe, the flower stalks rise up between each pair of beads long the row. Thus, between beads 1 and 2, 2 and 3, 3 and 4, 4 and 5, 5 and 6, 6
and 7 and 7 and 8. You pick up all the beads for the fringe, make a turnaround by coming out the 15/0 tip and returning down through all the beads,
beginning with your 8/0 bead. The 15/0, in effect, is a "stopper bead", and will be sitting horizontally above the 8/0 bead.
Do you want to work from one end to the other, or complete the piece in stages, or
create a series of components, and then attach them together?
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In this example,
You create the basic rectangular frame first.
You add all the fringe (flower stalks and tips)
You embellish the sides of the base, first with 15/0 seed beads.
Then you create a second edging treating, a border with the flat flower rondelles and mini fringe drops lining both sides on top and along the edges.
You add the clasp assembly.
Create a few sample rows with fringes. This gives you a chance to pre-test your ideas and strategies,
before barging in to the full task. This lets your body/mind feel/understand the control you need over the thread's tension.
Lay out piles of each color you want to use, and arrange the colors in the order you prefer.
[In our project here, we've arranged the colors in a way I thought pleasing.]
Set your mantra going.
Organize the “flow” of your work in your mind. Create a pattern and rhythm in your
head, utilizing such things as shapes, sizes, and colors, and noting where thread goes in
and where thread comes out, and whether you are working clock-wise, counter-clockwise
or in a figure 8 motion.
In this example, my mantra for creating the flower stalks for Rows 2-6, went something like this:
“Pick Up
3 dark, 2 medium, 1 light.
And, 1 8/0
And, 1 15/0.
Back down the chute, 8/0 to last dark.
Needle through the next bead in the row.
Pull tight, and tight again. “
IG. Organizing Your Work Space
Get your beads, stringing materials, needles, tools, ruler, wax, work surface, bic lighter or thread zapper, handy pen and paper, and the
like, altogether in one place.
I like to lay out all my beads on a work surface, from colors #1 to colors #14, pairing off my 8/0's and 15/0's.
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II. BEGINNING YOUR PROJECT
IIA. Basic Steps
1. Create Square Stitch Base
2. Add Fringe (Flower Stalks) off top of base
3. Add 3-bead-picot edging on both sides of base
4. Add Garden Border of flat flower rondelles and mini-fringe drops on top of both sides of base
5. Add Button Clasp and Loop
Let's Get Started With The Rectangular Square Stitch Base...
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The Square Stitch is a simple stitch to start. Whenever you begin a Square Stitch piece, first determine how many beads you will need per row. For
our bracelet, there are 8 beads per row.
Cut an arm's to arm's length of thread (about 6'). Put your thread on the needle.
We will be using a single thread. Our ongoing steps to reinforce each row (explained below) will add more stability and strength.
Wax the thread.
Tie on a stop bead at the other end of the thread (opposite end to where the needle is), leaving an 8-10" tail
How To Add A Stop Bead
Add a larger bead, in an obviously-different-color, and pull down towards the end of your thread that does not have the needle on it. Leave
about an 8” tail. Using your needle, go in and out of the bead (thus, make a circle) 2 to 4 times. This should keep the bead fixed in place, but
allow you to move it up and down, if you need to adjust your thread tension, particularly for the first row of beads you put on.
When you have completed your project, you slide the stop bead off. You then thread the tail onto a needle, and weave it back through the
finished piece, in a zig-zag style, snagging a thread-loop and tying a knot, either once or twice on your pathway. Zig-zag into a few more
beads after your last knot, before trimming off your tail.
This rectangle band will be made up of all size 8/0 seed beads. So, pick up eight (8) 8/0 seed beads and bring them down your thread, all the way to
your Stop Bead, leaving an 8" tail.
Now pick up one 8/0 seed bead (this is the beginning of row 2, and we will number it bead #9), and go down through bead #8, then up through the new
bead #9. You are now positioned to pick up bead #10.
Keep Going...
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Now pick up bead #10, and go down through #7, back up to #10, and through #10, ready to add bead #11.
Repeat this process with beads #12, #13, #14, #15 and #16.
When you are finished with #16, we want to add two reinforcing pass-throughs.
Bring your needle up through the entire first row, left to right, coming out bead #8. If you began with a Stop Bead, ignore this bead, when reinforcing your
first row.
Then come up to Row 2, and bring your needle all the way through, right to left, coming out bead #16.
You are now positioned to begin Row 3.
Continue until you have your desired length. For a 7" bracelet, we want a rectangular base 6 1/2" long. With our 8/0 seed beads, this should be around
58 rows. When you get close to the number of rows you have planned, position the strip around a bracelet sizing cone or your wrist, to be sure this is the
desired length. Remember, your clasp will add another 1/2" of length.
Finish off your piece, by snagging a thread loop, tying an overhand knot, zig-zagging through a few rows of beads, snagging another thread loop, tying
another knot, zig-zagging some more, and then trim your thread.
How to SNAG A THREAD-LOOP
You will find thread-loops along each side of the piece, as well as
between each bead. You want to work your needle under the
thread. You DO NOT want your needle to pierce the thread,
because this will cause the thread to fray.
At this point, you can do one of two things.
Anchoring: One thing you can do, after you snag the thread-loop,
is tie an overhand knot around the thread, in order to anchor your
main thread to the piece.
Reversing Direction: Another thing you can do, after you snag the
thread-loop, is double back with your needle and thread, to reverse
direction on the same row.
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[After you have completed this strip, if you have used a stop bead, remove it now, and work the tail back into the piece.]
Your Square Stitch base is done!
EMBELLISHMENT
We are going to do three different embellishments:
1. Adding Fringed Flower Stalks and Tips
2. Adding a simple 3-bead-picot edging on the two sides of the base
3. Adding flat flower rondelles intermittently along the borders on top of either side of the base near the edge
Adding The Fringed Flower Stalks and Tips
Lay out all your beads on your work surface. It works best if you make piles of your three flower stalk beads near each other. Then lay out your
coordinated 8/0 and 15/0 colors so that each member of each pair is next to its mate.
Determining how you want to graduate your colors.
In our instructions today, I graduate colors in a way I found pleasing. You can follow this strategy or change it up as you like.
Determine if you want to transition at the very end of your bracelet, either from (a) your last color back to your first color, or (b) your last color
back to the previous color.
In this project we will transition from the last color (#14) back to the first color (#1). When the bracelet is worn, it will appear that the color blending
strategy continues all the way around the piece.
Using our pattern, and the number of beads in each row of our base, determine how many fringes (thus, flower stalks), you will add per row.
We used 8 beads across.
There will be a fringe between each bead, thus between
1 and 2,
2 and 3,
3 and 4,
4 and 5,
5 and 6,
6 and 7, and
7 and 8,
for a total of 7 fringes per row.
Determine the desired fringe height (thus number and type of beads in each fringe).
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We have used two fringe heights.
For the first and last fringe (6 beads total): 4 11/0 seed beads + 1 8/0 seed bead + 1 15/0 seed bead
For the 2nd, 3rd, 4th, 5th, and 6th fringe (8 beads total): 6 11/0 seed beads + 1 8/0 seed bead + 1 15/0 seed bead
Using our formula, determine how many non-transitional and transitional rows you will use for each color.
We have 58 rows and are using 14 colors.
First we divide the number of rows by the number of colors.
Thus, 58 divided by 14 is 4.14. [We'll drop the information to the right of the decimal point for a second, so we get "4".]
Each color needs 4 rows.
In the instructions for our project today, we want to take 2 rows (of these 4 rows) to make the transition between any two colors.
So, for each color, we will have:
2 nontransitional rows (where all the flower tips in a row are the same color)
2 transitional rows (where the colors of the flower tips will vary across the row)
What If We Have Extra Rows?
Now, we need to figure out, since 58 is not evenly divisible by 14, how many extra rows we will have, and what we want to do about them.
So, multiple the number of colors by the number of rows set aside for each color.
In this case, we will multiply 14 times 4.
This results in 56.
Subtracting 56 from 58 of the rows we need to fill, we have 2 more rows to play with.
In our instructions today, we are going to use 5 rows (3 nontransitional and 2 transitional) for the first color of our project. For the 14th color, we will
transition back to the first color, and add an extra row of the first color at the very end. All the other 12 colors will use 4 rows.
Determine the color patterns for the non-transitional and the transitional rows. This pattern is based on playing with the proportions of the
two colors, as we transition between them. [You might create a table like that below.]
In our instructions today, we use the following patterns:
Where,
S=Same or current color
N=Next new color
Non-Transitional Row:
S|S|S|S|S|S|S
First of two Transitional Rows:
S|N|S|N|S|N|S
Second of two Transitional Rows:
N|N|N|S|N|N|N
NOTE: Keep in mind the transitional rows only affect the colors of the size 8/0's and size 15/0's seed beads in this design.
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ROW
#
PATTERN
COLOR
#
S or
S/N
ROW
#
PATTERN
COLOR
#
S or
S/N
1
SSSSSSS
H
30
SSSSSSS
O
2
SSSSSSS
H
31
SSSSSSS
O
3
SSSSSSS
H
32
SNSNSNS
O/P
4
SNSNSNS
H/I
33
NNNSNNN
O/P
5
NNNSNNN
H/I
34
SSSSSSS
P
6
SSSSSSS
I
35
SSSSSSS
P
7
SSSSSSS
I
36
SNSNSNS
P/Q
8
SNSNSNS
I/J
37
NNNSNNN
P/Q
9
NNNSNNN
I/J
38
SSSSSSS
Q
10
SSSSSSS
J
39
SSSSSSS
Q
11
SSSSSSS
J
40
SNSNSNS
Q/R
12
SNSNSNS
J/K
41
NNNSNNN
Q/R
13
NNNSNNN
J/K
42
SSSSSSS
R
14
SSSSSSS
K
43
SSSSSSS
R
15
SSSSSSS
K
44
SNSNSNS
R/S
16
SNSNSNS
K/L
45
NNNSNNN
R/S
17
NNNSNNN
K/L
46
SSSSSSS
S
18
SSSSSSS
L
47
SSSSSSS
S
19
SSSSSSS
L
48
SNSNSNS
S/T
20
SNSNSNS
L/M
49
NNNSNNN
S/T
21
NNNSNNN
L/M
50
SSSSSSS
T
22
SSSSSSS
M
51
SSSSSSS
T
23
SSSSSSS
M
52
SNSNSNS
T/U
24
SNSNSNS
M/N
53
NNNSNNN
T/U
25
NNNSNNN
M/N
54
SSSSSSS
U
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26
SSSSSSS
N
55
SSSSSSS
U
27
SSSSSSS
N
56
SNSNSNS
U/H
28
SNSNSNS
N/O
57
NNNSNNN
U/H
29
NNNSNNN
N/O
58
SSSSSSS
H
Let's Get Started
We're ready to begin adding the fringe.
Begin with a new thread.
Bring your thread all the way through the first row of 8 beads on your square-stitched strip. Leave a 6" tail. Snag the thread loop between this 1st and the
2nd row. Tie a knot. Snag that loop again. Tie a second knot.
Bring your thread back through the 1st bead of the first row, so that it is exiting between the 1st and 2nd bead on this row.
NOTE: Getting your needle through the next 8/0 bead in the base, to lock in your fringe, can sometimes get awkward.
Some suggestions:
1) Push your needle in at a diagonal angle through the hole of the bead. Don’t try to push it straight through the center of
the hole.
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2) If you are right-handed, and holding the needle in your right hand, use your thumbnail on your left hand to push the next
bead downward, or sideways, so that you can get the needle through the 8/0 bead you need to get through. So if you are
trying to push the needle through the 2nd 8/0 bead in the base from the edge, and it won’t go through, pushing the 3rd 8/0
out of the way, either down, or sideways, sometimes will free up that pathway for your needle.
Add Your First Fringe
This will be a non-transitional row.
Pick up the following:
2 dark green 11/0 seed beads (color E)
1 medium green 11/0 seed bead (color F)
1 light green 11/0 seed bead (color G)
1 8/0 in color 1 of 14 (color H-8)
1 15/0 in color 1 of 14 (color H15)
Now circle back with your needle, through your 8/0 bead. This puts the 15/0 bead on its side, and it serves as a "stop" bead, preventing the other beads
from coming off.
Continue all the way through your light, medium and green beads, and through bead 2 in your base row 1.
PULL TIGHT.
[You will feel the beads lock or click into place.
You want your fringe to stand up tall, and not be too floppy.
You do NOT want to be able to tug on your fringe, and have it pull away from the bracelet base, exposing the thread.
You might want to hold onto the fringe beads, while pulling your thread tightly, to get everything lined up tightly, and so no thread is showing at the base
of your fringe.
Again, Pull Tight, and pull until you feel the beads click or lock or snap into place.
Occasionally, test out how well you are doing this. Pull on your thread a second time. Pull on your fringe and see if there is any slack in your thread
where the base of the fringe meets your square-stitched base.]
Again, you want to PULL TIGHT, not just pull snug.
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Your thread is now exiting between the 2nd and 3rd beads in the first row of your base.
Add Your Second Fringe
We are still creating our first non-transitional row, so all the flower tips on all the fringes in this row will be the same color.
Following a similar pattern as the first fringe, except this time, we will be adding 6 11/0 beads for the stalk.
Pick up the following:
3 dark green 11/0 seed beads (color E)
2 medium green 11/0 seed beads (color F)
1 light green 11/0 seed bead (color G)
1 8/0 in color 1 of 14 (color H-8)
1 15/0 in color 1 of 14 (color H15)
Continue across this row.
Use the 2nd fringe pattern for the 3rd, 4th, 5th and 6th fringes.
Use the 1st fringe patter for the 7th fringe.
You will be exiting the 8th bead in Row 1.
Come up into the first (edge) bead of Row 2 of the base, so that your thread is exiting between this edge bead and the bead next to it (2nd bead from
edge).
Continue to add 7 fringe stalks between each bead of Row 2. This is also a non-transitional row.
Move over to the 3rd row, coming out between the first and second bead in Row 3. This is also a non-transitional row. [Remember we are using 5 rows
for the first color – 3 nontransitional and 2 transitional.]
Add 7 fringe.
Now the next row (Row 4) is our First Transitional Row. The pattern is, starting with our Current or SAME (S) color (H-8/H-15)
S|N|S|N|S|N|S
Our Next (N) color is an 8/0 seed bead (color I-8) and 15/0 seed bead (color I-15)
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And the fifth row is our Second Transitional Row. The pattern is:
N|N|N|S|N|N|N
Continue with this color blending strategy until the end of your bracelet. For the last color, you will be transitioning back to the first color, and adding an
extra nontransition row of the first color for the very last row.
NOTE: While I am adding fringe to each row, it helps me to flatten down the previous fringe, so that I can better see where I am and what i am doing,
while creating the current fringe. Be careful that your fringe doesn't get tangled up with your thread.
Snag a thread loop. Tie a double knot. Take your needle back through that first row of 8/0 beads. Snag the thread loop on the other side, and tie a knot.
Zig-zag your way back through some of the 8/0 beads in the base, and then trim your thread.
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Embellishing The Edges...
We are going to create two types of embellished edges along each side of the bracelet.
1) Simple Side Edging
2) A border of Flower Rondelles and Drops
One critical technique we will use for both edge types is sometimes referred to as a Book-Binding stitch. For the first simple edging, we will catch
thread loops along the edge. In the second border edging, we will weave in and out of each bead along the edge of our base. Picture yourself weaving
a long spiral, and adding beads every-so-often along this spiral.
In the Book-Binding stitch, it is important that
(a) we catch every thread-loop (or edge bead) along the way, even if we do not plan to place a bead at the thread-loop (or edge bead) point, and
(b) as we move our needle/thread from loop to loop, we always follow the same directional pattern, so that the beads we are weaving along this edging
always lay in the same direction
Simple Side Edging
Start with a new thread. Take your needle through the first base row (that is, eight size 8/0 beads). Snag a thread loop. Tie a double knot. You're ready
to begin the side edging. [If you have been using a size #10 English Beading needle up until this point, you may need to switch to the smaller size #12
English Beading needle.]
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Your thread is exiting off the thread loop between Row 1 and Row 2 of your base.
Pick up 3 size 15/0 seed beads (Color C). Coming from the bottom, behind the thread loop, then over the top and in front of the thread loop, again
between Row 1 and Row 2.
Pick up 3 more size 15/0 seed beads (Color C). Head toward the thread loop between the next two base rows -- Row 2 and Row 3. Come from the
bottom, behind the thread loop, then over the top and in front of the thread loop.
Pick up 3 more size 15/0 seed beads (Color C). Head toward the thread loop between the next two base rows – Row 3 and Row 4. Keep up the same
pattern, so your beads all lay in the same direction, as you move up the edge from one end of the bracelet to the other. Come from the bottom, behind
the thread loop, then over the top and in front of the thread loop. Head towards the next thread loop.
Continue, maintaining the same thread looping path, to the end of the base on this first side.
At the very end, between your next to the last Row and the last Row, snag the thread loop, tie a knot. Pick up 3 size 15/0 seed beads (Color C).
Take your thread through the 8 beads on this edge of the base, and out the other side.
You are now ready to add the 3 size 15/0 seed beads (Color C) to this second side. Continue along this side as you did for the first side.
At the end of this second side, add 3 size 15/0 seed beads (Color C), snag a thread loop and tie a knot.
Take your thread back the Row 1 of your base, to come out to the first side. Tie two more knots. Weave through part of your work, and trim the thread.
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Adding Garden Border on top of both sides of base
We are going to add a decorative border along the top edges of our base, and on both sides of the base. Start a new thread. Wax your thread.
NOTE: Sometimes I use the size 10 needles because I need their stiffness to get through the holes; othertimes, I use size 12 needles, because I need
the thinner needles when there is so much thread in the holes which I have to pass through.
Pull your thread through the first 8 8/0 seed beads in your base, leaving an 8" tail.
Snag a thread, and tie a knot.
Come back through the first 8/0 seed bead in the 2nd base Row.
Set your Mantra going:
"Add a piece.
Go diagonally through the next bead and head out.
Over one row, through the first bead and head in.
Add a piece."
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ADD. We're going to add beads along our border in the following order:
1. First color of your flat flower rondelle with an 11/0 stop bead (Color D).
You go up the flower rondelle, through the 11/0, back down through the rondelle, and then weave into the next 8/0 edge bead on the base. Pull tight
and secure.
NOTE: When you pull the working thread through the 8/0 bead outwards towards the 15/0 picot edge, you want your needle to stay above these 15/0
beads. You don't want to go through them. You don't want to go below them.
2. Mini Fringe Drop (Color B)
Weave into the next 8/0 edge bead on the base. Pull tight and secure.
3. Second color of your flat flower rondelle with an 11/0 stop bead (Color D).
Again, you go up the flower rondelle, through the 11/0, back down through the rondelle, and then weave into the next 8/0 edge bead on the base. Pull
tight and secure.
Some critical notes and pointers:
We weave diagonally back and forth, or book-bind, through each first-bead in every row along the outside of our base. If we wanted to add fewer bead
embellishments along this border, we would still need to weave through diagonally back and forth through every 8/0 bead along the outside edge of our
base. If we skip any bead, we will end up with loose embellishments, and embellishments not laying correctly.
It is easy to get your working thread tangled up either into the fringes (flower stalks) or off of the 15/0 3-bead picot edging. Go slow and watch carefully
what you are doing. I find it easiest to use my thumb to hold back the fringes while I work. I try to keep the working thread in front of the piece, that is,
between myself and the piece.
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Last, if you use a flower rondelle that has a finish or effect on one side of the bead, such as when using beads with an AB finish or Vitrail finish, be sure
you add the bead so that this finish is facing up.
Ending Each Side's Garden Border
At the end of the first side, snag a thread loop, and tie a knot.
Bring your working thread through the first Row of 8/0 beads in your base, so that you are coming out the other side.
Snag a thread loop, and tie two knots.
Now you are ready to begin adding your beads for this second side of your Garden Border.
If the first bead on Side 1 (the bead on the other side of where you are about to add a bead to Side 2) was a flower rondelle, then make your first bead
on Side 2 a mini fringe drop.
At the end of the second side, snag a thread loop, and tie a knot.
Weave your thread back through several beads in your base.
Trim your thread.
You can weave any tails back into the base, and trim them off.
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Adding the Button Closure and Loop
Attaching The Button
NOTE: First, examine the back of your button and line it up at the center of the first base row. We are going to make a loop, using 11/0 seed
beads and an 8/0 seed bead, (in our project, the 5th bead), in the first row of our base to attach the button’s shank to the base. We want the
button shank to rest against an 8/0 seed bead in the base. In our instructions, the button sits over the 5th 8/0 seed bead in the base row. If
the shank is much wider than an 8/0 seed bead, we will want to include 2 of these 8/0 base row beads, such as both the 4th and 5th 8/0 seed
bead, as part of our loop, rather than one 8/0 seed bead.
Sometimes the shank’s loop is very narrow. If the loop’s opening is too narrow to slip over the 11/0 seed beads, the button’s shank will
become part of the loop itself, rather than sliding over the loop.
We want our button to lay close to or almost flat against the base. Thus, we keep our loop short – just enough length to allow some
sufficient flexibility and movement in our clasp assembly, so the clasp is easy to get on and off, and won’t put undue pressure on the clasp
or bracelet.
The button included in our kit has a button shank with a narrow loop opening, so the button becomes part of our loop. The shank is wide,
but not too wide, so we center it between the 4th and the 5th 8/0 bead in the base row. We add 2 11/0 seed beads (Color F) when making our
loop.
Start with a new thread and wax your thread.
You will need about 3 feet of thread.
We are attaching the button to the middle of the first base Row of 8/0 beads.
Take your thread through the first 4 beads of this first base Row.
Snag a thread loop between the 4th and 5th 8/0 bead. Tie a double knot.
If your button shank has a large opening that will straddle an 11/0 seed bead, then pick up 3 11/0 seed beads (Color F) and the button.
If your button shank has a smaller opening which will not straddle an 11/0 seed bead, then pick up 1 11/0 seed bead (Color F), then the button, and then
an additional 11/0 seed bead (Color F).
[We add the 11/0 seed beads so that, when the loop goes over the button, it rests on the beads, and not on the threads, so as not to fray the threads.]
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with Kathleen Lynam
Go through the 5th size 8/0 seed beads in base Row 1, towards the fourth bead in this Row. Keep circling with your thread through your loop as many
times as you can, (but at least 3 times).
Snag a thread loop between two 8/0 seed beads in base Row 1. Tie a double knot.
Take your thread through several 8/0 beads in the base, and then trim it.
[NOTE: If you cannot get your needle through the 8/0 bead, then snag a thread loop between two 8/0's, tie knot, and reverse directions to go back
through the 11/0's and button shank.]
Attaching The Loop
We are going to make a loop of size 11/0 seed beads (Color F), and then attach our loop to the 2nd base Row of 8/0 seed beads. We are anchoring the
loop to the 2nd Row, so as to pull back the clasp, when looped, and bring the two ends of the bracelet closer together. This helps give the impression of
the button as a more integral and organic part of our garden.
We want our loop to fit snugly over the button, with little to no resistance, but not too loose or too tight.
There is no scientific formula for doing this.
So what you do is some trial and error practice first.
Make A Test Loop
Cut a piece of thread about 1 yard long. Wax it.
1. String up enough size 11/0 seed beads on your thread to form a circle. Take your needle back through the 1st bead of the circle, and pull the beads
tightly together. Fit this over the button.
[You may have to do this a few times to get the fit you want.]
2. Count your 11/0 beads in your test circle, and add 2 more to the count.
In our project, with the button we provide in our kit, we get a good fit with 27 size 11/0 beads. Our final loop will have 29 beads (27 + 2).
[As you thread and reinforce your loop, it will get smaller than your "test".]
Making and Attaching the Actual Loop
We will be working off the 2nd base Row, rather than the 1st.
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with Kathleen Lynam
Start a new thread (about 1 yard) and wax.
Bring the thread down through Row 1 of the base, snag a loop and tie a knot.
[NOTE: You will be working off the top of your bracelet, not underneath.]
Bring the thread back up the first 4 size 8/0 beads in Row 2.
[NOTE: You may find it easier to go one bead at a time in this second row, until you go through the 4th bead, rather than trying to go through four beads
at once.]
Pick up 25 size 11/0 seed beads (Color F).
Circle around through the 5th 8/0 seed bead, back towards the 4th, in this 2nd base Row. Thus, our 8/0 seed bead in the base becomes part of our
loop.
Keep circling, at least 3 times.
[NOTE: If you cannot get your needle through the 8/0 bead, then snag a thread loop between two 8/0's, tie knot, and reverse directions to go back
through the 11/0's.]
Give It The Once Over...
The fringes at this point will be a bit rigid. Run your fingers through the fringes a few times to loosen them up a bit.
Once your bracelet is done, look it over carefully. Now is the time to get out your thread zapper or lighter. All of those tiny threads that peak out from
between beads will scream sloppy! Zap them all! , Or bring the flame on your lighter close to, but not touching, the threads, so that they shrivel and ball
up.
34
with Kathleen Lynam
IIB. Dealing with Contingencies
1. Running out of thread – Adding Thread -- Finishing Off The End Of Your Thread
When it looks like there is about 12” of thread left, I start to plan to tie it off and begin
another thread, if I am not at the end of my project.
To tie off the old thread, I snag a thread-loop, tie an overhand knot, zig-zag through a few rows of beads, snag
another thread-loop and tie another knot, zig-zag through a few more rows, and trim the
tail of the thread.
To add a new thread, I start back a few rows. I go through 2-3 beads, then snag a thread-loop, tie a knot while
leaving an 8-10” tail, and zig-zag up to where I want the thread to come out, and continue
where I left off.
When I am finished with the project, I put a needle on the tail, and zig-zag
it through some rows of beads, before cutting off the tail.
NEVER cut the thread at the point you have tied a knot.
2. Some areas of your piece feel too loose, or are pulling apart
I snag a thread-loop and tie off a new thread a few rows below where the problem is. I
zig-zag my way up to the problem area, and reinforce it, by weaving around and around
and in and out, and across and back. The more you fill the hole with thread, the tighter
the piece will feel.
3. Your piece is too short or too long
Here you would either bead-weave additional rows on one end, or remove some rows from one end.
If you have already attached your clasp, you will have to cut off the loop end, add or delete rows, and reattach your loop.
4. You accidentally made one of the shorter fringes too long
Here you would take a chain nose pliers and gently crack off the number of 11/0 seed beads you need to end up with. Be careful not to crush these
beads too hard, so they don’t cut your thread. Then anchor a thread nearby, work your way up to this fringe. Go up the fringe and back down.
Anchor your thread into your base, tie a knot, take it through a few more beads, and trim it.
35
with Kathleen Lynam
IIC. Finishing Touches
IIC1. Signature bead or embellishment
I think it is always a good idea to use a signature bead in your projects. This might be a unique
bead added near the beginning or end of the piece, or incorporated within each link, or an
engraved tag added as part of the clasp assembly. You want your signature bead to identify the
piece as your own, but you don’t want your signature bead to compete with or detract from your
piece.
The general structure of this Monet's Garden Bracelet was created by Kathleen Lynam.
Any personalization you might do – choice of beads, choice of patterns, choice of stringing
material, choice of clasp, choice of color scheme, choice of embellishments – are your own
touches, and deserve your signature.
III. Learning Objectives Met
After Accomplishing This Project
LEARNING
OBJECTIVES
BW2-FR01-Monet's Garden Bracelet
BEGINNER
INTERMEDIATE
ADVANCED
TECHNICAL MECHANICS
1. Managing
Thread
Tension
2. Holding Your
Piece To Work
It
INTERMEDIATE
BEGINNER
3. Reading
Simple Pattern,
Figure and/or
Graph
INTERMEDIATE
4. Selecting
Materials
INTERMEDIATE
5. Identifying
Areas of
BEGINNER
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with Kathleen Lynam
Potential
Weakness, and
Strategies for
Dealing With
These
6. Determining
Measurements,
including Width
and Length of
a Piece,
Especially In
Relationship
To Bead Sizes
7. Finishing Off
Threads in
Piece or
Extending by
Adding
Threads
INTERMEDIATE
BEGINNER
UNDERSTANDING CRAFT BASIS OF STITCH
1. Starting the
Stitch
BEGINNER
2.
Implementing
the Basic Stitch
BEGINNER
3. Finishing Off
Your Piece
With A Clasp
Assembly
BEGINNER
4. Creating
Simple Surface
Embellishment
INTERMEDIATE
5. Creating a
Simple Edging
or Fringe
INTERMEDIATE
6. Working
Stitch in Flat
Form
BEGINNER
7. Increasing
and
Decreasing
8. Working
Stitch in
Tubular Form
37
with Kathleen Lynam
9. Working
Stitch To
Create Open
(Negative
Spaces), and
Split Forms
10. Elaborately
Embellishing
the Stitch,
including
Fringes, Edge
Treatments,
Bails, Straps
and
Connectors
INTERMEDIATE
11. Working
Stitch in
Circular Form
12. Working
Stitch in Spiral
Form
13. Working
Stitch in
Diagonal Form
14. Working
Stitch in 3Dimensions
(sculptural)
UNDERSTANDING ART & DESIGN BASIS OF STITCH
1. Learning
Implications
When
Choosing
Different
Sizes/Shapes
of Beads, or
Using Different
Stringing
Materials
BEGINNER
2.
Understanding
Relationship of
this Stitch in
Comparison to
Other Types of
Bead Weaving
Stitches
BEGINNER
38
with Kathleen Lynam
3.
Understanding
How Bead
Asserts Its
Need For
Color, Using
This Stitch
INTERMEDIATE
4. Creating
Your Own
Design with
This Stitch, in
Reference to
Design
Elements and
Jewelry Design
Principles of
Composition
5. Creating
Shapes,
Components
and Forms with
This Stitch, and
Establishing
Themes
6. Building in
Structural
Supports, and
Other Support
Elements, into
the Design
BECOMING BEAD WEAVING ARTIST
1. Developing
A Personal
Style
2. Valuing or
Pricing Your
Work
3. Teaching
Others The
Stitch
4. Promoting
Yourself and
Your Work
5. Advocating
for Jewelry as
"Art" and as
39
with Kathleen Lynam
"Design"
IV. Next Steps
IVA. Suggested Readings:
Creative Bead Weaving, (Carol Wilcox-Wells), Lark Books, 1996
Introduction to Beadwork - Bracelets, (The Beadworkers Guild of England)
Beyond Beading Basics, (Carole Rodgers)
The Complete Guide to Beading Techniques, (Jane Davis), Krause Publications, 2001
Embellished Beadweaving, (Laura McCabe), Lark Books, 2010
ColorWorks, (Deb Menz), Interweave Press, 2004
The Complete Book of Color, (Suzy Chiazzari), Element Books, 1998
The Beader's Color Mixing Directory, (Sandra Wallace), Krause Publications, 2007
Exploring Color, (Nita Leland), North Light Books, 1998
The Beader's Color Palette, (Margie Deeb), Watson-Guptill Publications, 2008
40

Monet`s Garden Bracelet Instructor: Kathleen

Transcription

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