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Beading Instructions For Bead Weaving.

Curtesy of: Beading instructions http://www.jewelry-and-polymerclay-tutorial-heaven.com/Beading-instructions.html#ixzz1c7wcyOz3
Under Creative Commons License: Attribution

About the beading instructions:
Bead weaving is an ancient craft, done by people for thousands of years. Ancient methods are still used today to create amazing jewelry, all around the world. The beauty of beads woven together make us stunned and in awe.

Because man has been beading for so long, lots of different beading techniques have developed. But they all have one thing in common: They are hand made.

Each bead woven piece is made by hand with needle and thread, and they are all unique. Whether they all are made with love and devotion remains unknown, but today thousands of people enjoy the art of bead weaving. And unbelievably stunning and intricate jewelry are created in the homes of people devoted to this fantastic art of beading stitches.

Basic Peyote Beadweaving Instructions

How to Count Rows
In flat or tubular Peyote, rows are counted on the diagonal (red outlines) from the lower left or right-hand corner of the pattern. The first row is the very bottom most row, the second is only halfway up, the third sits directly on top of your first row (blue beads).

STEP 1: Threading the Needle and
Adding Your Stop Bead.
Thread your needle with one arms length of thread. Pull it almost half way through the needle. String a SINGLE bead, slide it to within 2 inches of the end of your thread, run the needle through it twice to create a STOP bead.

STEP 2: Stringing Your First Row
This is the total number of beads across/around your amulet. (Should be noted on the pattern). Which is actually your first two rows of the pattern (RED beads). No matter how many times or how long you’ve beaded, the first through third rows is ALWAYS the slowest, have patience and count twice before going on to the third row!

STEP 3: Sew Beads into a Circle
& Slide Onto the Form
Run your needle through all the beads again, going the same direction as you added them, to form the circle. SKIP the stop bead, you will cut this off after the first few rows. This will create the “lock” so that they will not unstring themselves later, no knots necessary!

Next slip your beads over your form matching it up to the pattern. And yes, it will be a straight line, the up and down pattern begins on your third row.

NOTE: If creating an amulet bag, there should be at least a 3 - 4 bead gap after snugging it up to your form. This space disappears as you do your third row, you need this space to keep your piece soft and flexible. For sculptural pieces you want it to be tight to hold its form.

STEP 4: Starting Row Three
Look at the bottom right hand corner of your pattern. If the first bead shown is the lowest on the pattern (RED bead), sew through the first TWO beads, then add your first third row bead, go through a bead, add a bead etc. Make sure you snug it up and it sits ON TOP of the first row bead nice and flat not twisted.

If the pattern shows the first bead in the right hand corner is half way up the bead to its left (RED bead), sew through THREE beads, then add your first third row bead.

Step 5: Moving Up to the Next Row
Once you have completed a full row (RED bead) is the last bead of Row 3, you need to STEP-UP (RED line) to your next row by sewing through the Row 2 and Row 3 beads (GREEN beads). Once you have completed at least Row 3, you can cut the stop bead off so that it doesn’t get in the way and tangle while you add more rows.
REMEMBER: Each time you complete a row you must STEP-UP to the next row.

Ending & Beginning a Thread
It’s always best to end on a completed row, that way you can start again from either side. Weave the thread through the beads at least halfway across to “lock” it in place. If your row ends close to the seam, sew down one row and weave in the opposite direction so that you don’t cross the seam of the fold. Cut off the left over.

Start the new thread a couple of rows down from the top edge on the opposite side you finished on. Work from the center towards the corner you want to start your next row on, again don’t cross over the seam of the fold before beginning the new row.

NOTE: If doing a sculptural piece which will not be flattened, it doesn’t matter where you begin and end.

Closing the Bottom of an Amulet
For an amulet piece, the bottom is closed simply by first folding the piece in half along the side seams as shown on the pattern. Start a new thread, working from the center of the bottom towards the side. You will notice the bottom beads are offset like a zipper, simply sew through alternating beads to close the seam.

Flat Beadweaving
Many times this is used in addition to peyote in the round. Especially for flaps and adding an angled or somewhat freeform addition to your amulet. The most difficult part (which isn’t all that difficult once you’ve done it) is figuring out the turnaround to go up to the next row. Here are a couple of basic ways a row ends, and how to move up a row.

ONE: When your last bead on the row is one bead in from the edge (BLUE bead). Lock it in by going through the last bead, then add the first bead of the new row (RED bead) and go through the last bead you added. Hold these beads lightly as you draw the thread through, this will keep the thread from pulling the row out of shape and keep the row snug.

TWO: When your row ends on an up bead (BLUE bead), you will need to secure it in place first. Go through bead below it #1, then through one more down #2, go up one bead #3 and back through #1 and up through the last row bead and add the first bead of the next row (RED bead).

Branch Fringe
This is a simple and fun way to add more fullness to your fringe.

Simply add a new thread and come out where you want to start the fringe. String the first strand (BLUE thread), as you come back up, choose where to go out the side in-between the beads (RED thread), add a short string of beads, turn and go back into the main strand at the same spot you came out of the main strand, continue back up.

Add as many “branches” as you’d like for the fullness you wish to get. It’s great to hang lots of decorative beads at the end of each “branch”. You can even branch off each branch!

More Tips
For a nice central form to use for your tubular peyote try a 2-liter pop bottle. Cut off the top and the bottom, trim the edges smooth, then split down the side and roll to any size you need. You can also use smaller 1-liter pop bottles for smaller designs. I like these better than toilet paper rolls because they hold better tension and don’t squish as easy.

Save the bottoms of the 1-liter pop bottles and trim to 1/2” high. These make great portable, disposable bead trays. Be careful though, they are easy to knock over. Try putting a piece of tape underneath to stick them down.

How seed beads are made

Curtesy of: Seed beads http://www.jewelry-and-polymerclay-tutorial-heaven.com/Seed-beads.html#ixzz1c7xy2FJs
Under Creative Commons License: Attribution

Seed beads are made of drawn glass. The process of making them involves making canes, chopping the cane into pieces and heat polishing the pieces into beads.

First compressed air is blown into molten glass. The air will form the hole in the beads. The molten glass is then stretched and lasers measure the diameter of the drawn glass cane, to get the correct size. The cane is cut into yard long lengths and tied into bunches by hand.

The cane bunches are then put onto a vibrating platform which slides them down to be cut in the correct sizes. They are then sent to heat processing to be rounded and smoothed. The Bugle beads are not processed longer than this, hence the sharp ends.

The beads are mixed with a clay like compound to coat their surface, and they are heated in a kiln and the beads are rotated to prevent them from sticking together and have their holes closed. They are then cleaned, sorted through a quality control, strung and/or bagged.

Some facts on beadweaving

NativeTech: Native American Technology and Art

Bead Weaving Techniques and Analysis

Beads are perhaps one of the earliest forms of Native American art. Beads are by their nature, intended to be strung on cord and various techniques have developed and evolved over the millennia in the eastern Woodlands. Some methods of stringing beads are similar to those used in textile and basket weaving. Beadweaving shares many technical traits with woven mats and twined baskets, and it may have developed alongside these other industries.

Woven Beadwork consists of two things: beads and string. The string used can range from animal proteins such as twisted sinew or hide thong to twisted cord from numerous plants, bark and roots. Twisted cordage needed to be made from otherwise short fibers for beadweaving, as it requires a string long enough to go through a great length of beads. Dogbane stalks, basswood bark and cedar bark or roots are commonly made into cord for beadweaving. Though European threads were available during early contact, Natives continued to use their own cordage, which was also deemed of superior quality by Europeans.

double strand warpless [wire-weave]
In weaving, as opposed to knotting or looping strings around each other, the bead represents an alternate way to secure strings together. Without the beads, loomwork would fall apart! The earliest forms of weaving by Natives of North America were probably hand-held ‘finger-woven’ techniques, developed from simple forms of braiding in which one end of a length of strings is anchored. The free end of the lengths are held in the hands and interwoven by taking the elements from the outer edges and bringing them to the center. There is no separate warp or weft with hand-held methods of ‘finger-weaving’, as the outer warps are each in turn then used as wefts as the work progresses.

Wire-weave ring, 20th century
The simplest and perhaps the earliest form of beadweaving is hand-held, using techniques similar to braiding. This technique is often refered to as ‘wire-work’. Ironically, though ‘wire-work’ is perhaps the first type of woven beadwork, the term comes from a 20th century type of beadwork using glass seed beads on thin wire to make rings and other commercial jewelry.

Penobscot and Wampanoag Bias Weave Wampum Collars
Building on the same principles in ‘wire-work’, bias-weaving was used to produce many wampum collars in the Northeast during the 17th and 18th centuries. Bias-weaving beadwork techniques are nearly identical to those used for Native-made textiles such as basswood burden straps and yarn belts and garters in 17th century New England.

Bias Weave Warp turns to Weft.
When archaeologists or ethnotechnologists are analyzing fragments of very old beadwork, they must be very careful to observe the selvedges of woven fragments. Being unaware of ‘false fringe’ effects produced by broken warps and missing rows of beadwork can lead to erroneous interpretations of beadwork techniques.

European contact introduced metal tools, enabling the Native production of smaller shell beads, and also made available a flood of glass trade beads and iron needles. Native Americans developed ways to weave larger pieces of beadwork using smaller tools and supplies. It is more practical to anchor both ends of the long strings, the warp, and to use a separate element, a weft, to secure on the beads. Separating the strings in two weaving elements, warp and weft, required the use of a loom. The bow loom is the most elemental form of free-standing loom (meaning no part of the work is attached to the weaver).

Eastern Great Lakes Garter Drop
Using a bow loom, beads can be individually strung on a doubled weft, which is parted and passed around each warp string, paired again and passed through a bead, and so on. This technique is called ‘double-strand square-weave’. The weave is ’square’ because it progresses across each row to the next column, in a square direction.

Huron/Jesuit Wampum Belt Agreement

Diagram of Twined Mat
The technique has parallels with Native American twined mats and baskets. The weft makes a pattern of X’s on the outer warps of the beadwork, showing how each weft crosses it mate as it moves to string on the next row of beads.

Double Weft Square Weave
It is possible, though not time-effective to do double-strand square-weave without the use of a loom, by anchoring one end of the beadwork as in bias-weaving. Double-strand square-weave does not absolutely require the use of a needle, as the beads for each row can be placed on the doubled thread on at a time.

Narragansett Twined Bag
Because of the similarities of double-strand square-weave to bias-weaving, and because it doesn’t require a needle, it was probably the first technique of loomed beadwork used by Natives of the Eastern Forests for the large wampum belts in the 1600’s.

Single strand (weft) Square Weave
Another beadwork technique for the loom, commonly used today by many Native Americans, is ’single-strand square weave’. With this technique, a single weft is used that passes through the same row of beads twice, before progressing to the next row. Because weft cannot secure the beads on either side of the warp one at a time, a needle must be used to get the weft through back through the entire row of beads. This method of beadwork has obviously been used for a long time, as wampum belts from the 1600’s through the 1800’s also use the ’single-strand square-weave’ technique.

Seneca Wampum Belt
For each of the basic hand-held and loomwork methods, there are innumerable variations. An infinite number of effects can be achieved by wrapping or varying the number of warps, or by changing the way the weft goes around the warp. On a very local level, as the degree an intensity of European contact varied from area to area, there appears to be a chronological sequence from hand-woven multi-strand beadwork to needle-loomed single-strand beadwork, coming full circle back to a revival of hand-woven ‘wire work’ in this century.

My new Beaded Necklace with fimo Rose, Elegant Pink and Black, Beadwork with Pearls

Just finished this Beaded Necklace with fimo Rose. This is a fun one to make, easy and an eye catcher.

Online course on how to make this beautiful piece will come really soon. Don’t forget to check back!

beaded necklace

Seed Beads

Curtesy of: Seed beads http://www.jewelry-and-polymerclay-tutorial-heaven.com/Seed-beads.html#ixzz1c7xjmtDq
Under Creative Commons License: Attribution

Seed beads have been around for almost 500 years. They are the most versatile beads ever invented, and are used for jewelry, clothing, purses, sculpture, textile and so much more. They are very popular because of their sizes, finishes, shapes and, price. They have found their way into all cultures and traditional costumes. Even here in Norway we use seed bead embroidery in one of our traditional costumes, the Hardanger bunad.

Highly treasured among bead weavers, they are used to make stunning jewelry and bead embroidered collars and bracelets. These wonderful beads are made of glass. Naturally they would belong on the page about Glass beads, but because they are so special, I found that they deserved their own page. As you will see further down the page, there are lots and lots of different types, sizes and finishes to choose among. But before we get to that, lets take a look at their history.

History of seed beads:
Seed beads were first made in Italy for use in beaded purses, but were mainly used as trade beads, especially by the french fur traders who used them to trade seed beads for pelts. Because of this, these tiny beads soon found their way into the native Americans bead works and also in African tribes. They used the beads and developed several beading techniques that we use today, like Brick stitch, Peyote stitch and African helix.

The Italians began to make seed beads in the 15th century, but seed beads are found in graves in Egypt, and also in Nigeria and Spain, dating 4000 years back. So these small cuties are a pretty old invention.

The mass production of seed beads started in Italy. Murano in Italy was a prominent producer in the 19th century, but no longer make seed beads today. Italy still produces them in Venice, but in smaller scale. Their beads are cut by hand, and the length of the beads are therefor uneven.

Today there are four major seed bead producers, Preciosa Ornela in the Czech republic (former Bohemia), Miyuki, Toho and Matsuno in Japan. You can also get seed beads from China (Ming tree), India and Taiwan, but they are of lesser quality and are less uniform in size, hole and finish.

When I began beading, I found it difficult to sort out the different brands of seed beads. When Czech seed beads were mentioned, both Jablonex and Preciosa came up, or just plain Czech seed beads. In 2009 Jablonex group in the Czech republic sold the glass and seed bead production to Preciosa Ornela. So Preciosa is now the right and only name of Czech seed beads.

The Italians did not only produce the traditional round little bead, the Rocaille, but began producing bugle beads in the end of the 15th century in Venice. It took Bohemia a couple of hundred years before they followed their competitors and started producing bugle beads first in the 18th century. However Preciosa Ornela is the largest producer of seed beads in the world today.

The Japanese production is quite young, starting with Matsuno who was established in 1935 and Miyuki following up in 1949. However what they lack in experience they have gained in quality. Japanese seed beads are today’s most uniform beads when it comes to size, color, hole and finish.

So, what kind of seed beads are there? Let’s take a look.

Rocailles Rocailles:
These are the traditional round beads, that most people think of as seed beads, and they are made by all four producers. They come in a huge variety of sizes and finishes, and are immensely popular among the beading people of the world.

You find them in all cultures, in ancient graves and in museums, in traditional costumes, high fashion clothing and so much more. They have been used for decorations and for trading for hundreds (or actually thousands if we count in the Egyptians) of years.

Today they are used in all kinds of beading techniques, and is the main bead type in bead weaving, bead embroidery and loom work.

When it comes to brands, the Japanese ones are the most uniform beads and will give you the most even result in your bead weaving or bead embroidery. The Czech comes next, and are also beads of high quality and can be used for all kinds of beading.

seed beaded ring and bracelet You can get very cheap seed beads from China, India and Taiwan. These vary hugely in size, finish and hole. (Some of the beads actually don’t have a hole.) However, they are very nice to use if you want a more ruffled appearance, or if you are practicing a new technique. They mostly have very nice colors, and since they also are cheap, use them for projects where uniformity is of no necessity.

If you buy Czech beads, they normally come in hanks. Each hank contain approximately 12 strands of 20 inches. The length and number of strands may wary from the different sized beads though. They are sold on hanks from the producer, but are often repackaged and sold in grams.

Japanese beads are sold per gram weight.

You can get Rocailles with both round and square holes.

Looks like Rocailles, but have one side cut, which gives these beads a more lively appearance. They add a little sparkle to your bead work.

2-cut beads:
These beads have two facets to make them sparkle. The cuts are made randomly.

3-cut beads:
Have three random cuts.

Hex cut:
This is a six sided bead. The facets or cuts gives the beads a more flashing appearance than the ones with rounded and even sides.

Delica and Dynamites seed beads Cylinder beads:
Delicas made by Miyuki are the most uniform beads you can get. On the picture to the left, you see two cylinder beads next to a regular Rocaille of the same size. Cylinder beads have thin sides and large holes and give a beautiful, but strict appearance when used for bead weaving or bead embroidery. Because of their shape, they make a stiffer bead weaving result than the Rocailles and are perfect for detailed bead work. You can get these fabulous beads in a wide specter of color and finishes. They are somehow more expensive than other seed beads, but are definitively worth the price.

Toho Treasure is another cylinder bead that resembles Miyukis Delicas.

Toho also have hex cut cylinder beads.

Bugle beads Bugle beads
Bugle beads are tube beads of various length. You can get them plain or twisted, and even two-cut and hexagon cut. The quality varies depending on where they are produced. The Czech bugle beads are not polished after cutting, and have therefor sharp and uneven ends, that easily cut the beading thread if you are not careful. The Japanese are polished and have clean endings.

It may be worth the extra price to get the Japanese bugle beads. I find that constantly having to start over when the thread has been cut on a sharp bugle, can be quite depressing.

Bugle beads vary from 3 mm to 25 mm. You can get them with the same finishes as Rocailles, and with round or square holes. You can even get bugle beads from horn.

triangle seed beads Triangle beads:
These beads are…yes, triangle shaped. They come in three sizes and are produced mainly in Japan. These cute beads have triangle shaped holes, which ensures that the beads will lay correctly in your design.

Cube beads
you can get cube beads in three sizes. The cube beads made by Toho have diamond shaped holes, that allows the beads to lay correctly in your design.

cube beads Drop beads:
These beads are drop shaped, and are also called fringe beads. They have the hole in the center of the bead, and come in four sizes.

drop/fringe beads Magatama beads
These are drop beads as well, but instead of having the hole in the center they have the hole off center, something that makes them look like curved beads. They come in two sizes from Miyuki and Toho and are similar to the drop beads, only they are larger, wider and broader in shape.

Long Magatama beads resemble a dagger or the spear shaped Czech glass bead, but the holes in the Magatamas are on a slant so that they lean in one direction when strung.

These are double drop shaped beads that are meant to resemble butterflies (farfalla means butterfly in Italian and is also a popular shape for pasta). They were launched for the first time in 2005 by Preciosa. They vary slightly in shape and size.

These are new beads from Matsuno and they are peanut shaped with a hole in the middle. They are similar to the Czech Farfalle beads.

Seed beads come in a huge variety of finishes, so you have piles of beads to choose among. It can be a bit overwhelming, because there are so many finishes, and new ones are developed all the time. There are however some that are common from all four producers. When it comes to sizes and finishes, a bead with a finish will be slightly larger than one without one.
Anyway here is a list of the most common finishes.

Color lined: Color coat applied inside the bead.

Transparent: Glass is see through.

Translucent: Can see diffused light through the bead.

Opaque: Solid color throughout the bead.

Matte: Matte finish.

Silver lined: Silvery coating applied inside the bead.

Copper lined: Copper coating applied inside the bead.

Bronze lined: Bronze coating applied inside the bead.

Luster or Luster: A transparent pearl effect applied to the surface of the bead.

AB (Aurora Borealis): Rainbow effect applied to the surface of the bead.

Metallic: Iris coating or bronze luster glazed, gunmetal, iris bronze.

Gold luster: Gold luster glazed.

Ceylon: Luster coating or inside coloring of opalescent beads.

Dyed color: Color on the surface.

Galvanized: Silver plating on the surface.

Silky luster: Silky color with satin finish.

Special plating: 24KT gold, Palladium, Nickle etc. Inside gold, inside copper, dyed.

Frost: Matte, frosted beads. Frost rainbow, matte bronze, matte gold luster.

The durability of the finishes may vary. Some finishes will wear off by use, others may color skin or clothes when worn, and should be rinsed before use. I have experienced that seedbeads with silky luster have sharper edges than other seed beads and may cut your thread, much like bugle beads. They also crack easier than other seed beads. You can find more information on that on the producers web sites.



Toho: http://www.tohobeads.net


You can get seed beads in several sizes, from the tiniest little bead to a rather large one in comparison. Seed beads are measured in Aught, which is how many beads per inch. How many millimeters each Aught size is varies slightly from brand to brand.

Three Ways To Start Brick Stitch

Curtesy of: Brick stitch tutorial http://www.jewelry-and-polymerclay-tutorial-heaven.com/Brick-stitch.html#ixzz1c7wxHrRr
Under Creative Commons License: Attribution

Brick stitch is also known as Comanche or Cheyenne stitch after the native American people. It got its name from the resemblance to brick walls, as you will see in a moment.

This off-loom stitch resembles Peyote stitch, and sometimes it can be difficult to determine which is which. If you see the two next to each other, Brick stitch is looking exactly like Peyote if you hold it sideways and vice versa.

This easy and beautiful bead weaving technique is used widely around the world today, and has been used for generations by African tribes and native Americans like Comanche, Cheyenne as mentioned above. There are some indications that Brick stitch also may have been used during the Victorian ages in Europe, although it looks as if it never got as popular as woven or embroidered bead work.

There are three ways to do the base row for Brick stitch. Use the one you prefer or the one that fits best with your project. This tutorial will show you how to do them.
Are you ready to begin? OK here we go!

Method one: Single-Needle Ladder:
Thread a needle with a comfortable length of thread and wax it well if it needs waxing. With this method you work from left to right.
Step 1:
String on two beads and tie the two ends together with a knot, leaving a 5cm tail. Go back up bead number 2.

Step 2:
Add a bead (bead 3), go through bead 2 one more time and then back down through bead 3.

Step 3:
coming out bead 3, add a new bead (bead 4). Go back down through bead 3 one more time and up bead 4.

Step 4:
Continue like this until you have the length you want. Make sure you are exiting through the top of the last bead in the row.
You are now ready to start on row 2

Method two: Back Stitch:

Step 1:
Thread the needle with a comfortable length of thread and wax it well. Wrap the tail around your left forefinger a couple of times.

Since this way of starting will give you a base row that goes three beads high. the number of beads that fills the length of your first row, must be multiplied by three. So string on, let’s say 12 beads.

Step 2:
Go through beads 7-9 again. Pull tight so the two stacks lie next to each other.

Step 3:
Go through beads 4-6 and pull tight so the three stacks lie next to each other. Continue in this way until all the beads are stacked like you see in the last graph.

You are now ready to start on row 2

Method Three: Double-Row Base:

Step 1:
This method is similar to Peyote stitch, and is very efficient, as you do two rows at the same time.

Thread your needle with a comfortable length and wax it well. String on three beads and go back down the first bead. Position the beads so that they form a T and tie a knot with the working thread and the tail.

Step 2:
Add one bead and go back up the right bead in the top row.

Step 3:
Add a bead and go down through the right bead in the bottom row. Continue adding beads like this until you reach the desired length.

cloth art dolls

i just finished these two cloth dolls. I found it fun to make compared with the clay dolls. Less work I guess. I still don’t have a name for these two dolls. Any suggestions?
art dolls cloth

Lady in a swing art doll

I experimented with fabric and gesso with this art doll.
swing doll

Tearese art doll

I saw a picture somewhere of a lady in a tea cup and decided to try my own tea cup art doll. she is one of my favorites. My friend finds her face scary.
tea cup art doll

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