3D BRACELET JIG™ CONETASTIC™

PATENT PENDING This ingenious tool makes beautiful

Create trendy bangle bracelets, wire cones and bead caps
cuff bracelets, and curved components

FLAT COPPER WIRE

Design wire jewelry h
new dimension BRAID
Give your designs a
compelling textured look

The Largest Selection of Craft Wire

and Wire Working Tools

ALUMINUM WIRE
Wire is soft tempered and is ideal
ating wire wrapped designs
WIRE KNITTER TOOL
FINDINGS FORMS Try different stitches to create
various patterns
PATENT PENDING
Use these clever fixed peg jigs COILING GIZMOS
to make your own wire clasps,
ear wires, and connectors
SAW FRAME WITH 36 BLADES PATENTED
Everything you need to start cuttin metal Crank wire to make
sheet, large gauge wire, wood, and plastics coiled springs & beads

WIRE STRAIGHTENER TOOL

Make it easy to straighten wire
that has been worked

To find an Artistic Wire/Beadalon retailer near you, please visit

www.beadalon.com/store_locator.asp ®
25
AmAzing
projects

STEP-BY-STEP
Instructions

PLUS
Bead Class – Wire •
Expert tips and ideas •
Projects for beginners and beyond •
Contents
Projects
6 Bead Place – Bracelet & Earrings
8 The Bead Shack Queensland – Bracelet & Earrings
12 Wishware Beads – Necklace & Earrings
16 Beads n Crystals – Watch
18 Boutique Beads – Necklace
26 Annlee Butler – Lampwork Pendant and Necklace
30 Eureka Beads – Cat Collar
34 Ceramic & Craft Centres – Pendant
38 Bead Shack NSW – Bracelet & Earrings
46 Bead Street – Bracelet & Earrings
50 Bead Co Vic – Bracelet & Earrings
54 Crystal Park ds At The Jetty – Lariat
62 Helen Jackson – Bracelet & Earrings
66 Bead Street - Boys Cuff
68 Helen Everett – necklace
Features
22 Tracy Brown
Practice makes perfect! We catch up with Tracy Brown,
talented lampwork artist, and see what hyer creations
are.
42 Serena Altea
Sarah Ezzy-Dickson finds out that Serena Altea is more
that your average beader. She has a fantastic range of
Tiaras.
58 Danielle Mondo
A part time hobby can quickly become an obsession
70 Trends
Winter is just around teh corner, but before the cold sets
in check out the colours to look for.gift from the heart.
104 Bead Class
This month’s class is Wire worksop
PROJECT

MATERIALS Yummy enough to eat, this donut bracelet and earring

1 card Superstitch Bead
Thread
Big Eye
50cm Bead Magic elastic
7 x 6mm bead caps
3 x 28mm sieves
2 x head pins
2 x earring hooks
BEADS
5 x 30mm Donuts
26 x 6mm Swarovski Pearls
10 x 8mm Swarovski Pearls
2 x 4mm Swarovski Crystals
21 x 2mm Silver filler beads
12g Size 8 Matsuno seed
beads
set combines the use of findings and thread.
BRACELET
STEP ONE
Thread elastic through one side of donut.
STEP TWO
Weave elastic through sieve then through
other side of donut. Thread on a 6mm pearl.
Repeat Step One with another two donuts,
adding a 6mm pearl between each donut.
Put 3 x 8mm pearls aside for Step Three.
Alternate 6mm and 8mm pearls onto elastic,
so elastic can be tied off in the middle at the
back. A dab of glue or clear nail polish will
stop elastic knot from slipping.
STEP FOUR
Bring needle back up sieve between 8mm
and 6mm pearls, add 10 seed beads and go
back down through sieve, three holes along,
forming a half loop. Continue adding seed
beads, going around the sieve until the sieve
is completely filled with seed bead loops; tie
off thread with tail and add a dab of glue to
protect work.

TOOLS
Beading needle
Cutters
Round nose pliers Diagram 1
Beading mat – optional
STEP THREE
Thread needle with double length of bead
Length of finished piece: thread. Tie an anchor bead onto the end of
18cm thread leaving a 10cm tail. Bring needle up
through the middle of the first sieve, add 1 x
8mm pearl, 1 x bead cap and 1 x 2mm silver
bead. Pass needle back through pearl. Anchor
pearl firmly by tying needle thread to the 10cm
tail. Bring needle back up through sieve to the
side of the 8mm pearl, add 1 x 6mm pearl, 1 x
2mm silver bead; pass back through 6mm pearl
as with the 8mm pearl. Continue around in a
circle adding five more 6mm pearls.
Diagram 3
EARRINGS
STEP ONE
Using head pin, slide one 2mm silver bead,
one seed bead; add the first hole of the
donut. As you place the donut on add 1x
4mm crystal, 1 x bead cap, 1 x 8mm pearl,
1 x bead cap, 1 x 4mm crystal, then thread
head pin through top hole of the donut. Add
1 x 2mm silver bead. Turn loop with 1cm of
head pin wire, add to earring hook. Repeat
for second earring.
KITS
Cost of kits: $45.70 (includes thread,
needle and elastic) plus postage.
The Bead Place
Shop 6A/193 Morayfield Road
Morayfield Gardens

Rating Morayfield Qld 4506

Telephone: 07 5499 0744
Fax: 07 5499 0844
Diagram 2 Email: beadplac@bigpond.net.au

6 Creative Beading
The Whole
Donut
PROJECT

MATERIALS A section-by-section bracelet that looks complex but will make

22 x eye pins
5 x jump rings
up quickly. Designed by Jan from The Beadshack Queensland.
Chain approximately 10cm
in length
1 x ‘S’ clasp
DESIGNER’S NOTE
This bracelet is made in three sections, all
BEADS joined together. Use the following steps to
66 x 4mm crystals make your first section, then repeat steps
46 x 6mm crystals twice to complete your three sections.
3 x Swarovski Crystal Sliders
STEP ONE
Using one eye pin, thread on your crystals in
TOOLS sequence: 2 x 4mm crystals, 1 x 6mm crystal,
Chain nose pliers 1 x 4mm crystal, 1 x 6mm crystal, 1 x 4mm
Round nose pliers crystal, 1 x 4mm crystal, 2 x 4 crystals; then
Cutters cut off any excess pin leaving enough to form
a loop at the end of your eye pin.
EARRINGS STEP ONE
MATERIALS Using one eyepin, thread on your crystals in
2 x jump rings sequence: 2 x 4mm crystals, 1 x 4mm crystal,
2 x tube crimps 1 x 6mm crystal, 1 x 4mm crystal, 1 x 6mm
1 pair of earring hooks crystal, 1 x 4mm crystal, 2 x 4mm crystals;
then cut off any excess pin leaving enough to
.5 metre of Tigertail
form a loop at the end of your eye pin.
BEADS STEP TWO
14 x 4mm crystals Repeat Step 1 to form your two outside pins
8 x 6mm crystals for your first section.
2 x Swarovski Crystal Sliders
STEP THREE
Using another eye pin, thread on your crystals
in sequence: 1 x 4mm crystal, 1 x 6mm
crystal, 1 x 4mm crystal, then thread this pin
through one hole of your two hole Swarovski
crystal slider, then continue threading the
same pin with the same sequence of crystals
and forming a loop at the end as in Step 1.
STEP FOUR
Repeat Step 3 to form your two inside pins,
threading the pin through the second hole
STEP FIVE
To complete one section, use an eye pin
and thread it through the four loops you
created at one end of each separate eye pin,
threading your crystals in sequence: 1 x 6mm
crystal, 1 x 4mm crystal, 1 x 6mm crystal and
form a loop at the end as in Step 1. Link this
loop to form one end of your section.
STEP SIX
Repeat this step at the other end to finish one
section of your bracelet.
STEP SEVEN
Repeat Steps 1-6 to complete your three
sections.
STEP EIGHT
To attach three sections together, use an eye
pin and thread 1 x 6mm crystal and form
a loop at other end of pin and attach this
to one corner of two sections to bring them
together.
STEP NINE
Repeat Step 8 another three times to link your
four corners together and bring your three
sections to one piece.
STEP TEN
To add your clasp, join your jump ring to two
corners of your bracelet at one end and join
a length of chain approx 4-5cm in length to
your jump rings. Join your clasp to the centre
of the chain.
STEP ELEVEN
Repeat Step 10 at the other end of your

Rating of your Swarovski crystal slider. You should

now have four eye pins threaded (two pins
joined with a slider and two separate for
the outside).
bracelet, using a jump ring instead of a clasp.
Design note: For a better fit you can bend all
your eye pins slightly to give your eye pins a
nice rounded fit to your wrist.

8 Creative Beading
Slide On By
WIN EARRINGS
STEP ONE
crimp and squeeze the crimp closed to secure
your earring. Design note: Try not to squash
this set! Cut two separate lengths of wire approx the crimp too close to the ring end. This
For details see our 12cm in length each. should resemble a teardrop shape with your
Swarovski slider in the middle.
Beads Glorious Beads
STEP TWO
Competition on pages Using one length of wire, thread on your STEP SEVEN
66 and 67. crystals to one end in sequence: 1 x 4mm Using a jump ring, thread it through the ring
crystal, 1 x 6mm crystal, 1 x 4mm crystal, 1 at the end of the tube crimp and also place
x 6mm crystal, 1 x 4mm crystal, 1 x 6mm an earring hook onto the open jump ring,
crystal, 1 x 4mm crystal. then close the jump ring.

STEP THREE STEP EIGHT

Slide these crystals to the centre of your wire
and bend your wire to bring your two ends of
wire through your Swarovski slider.
STEP FOUR
Thread 1 x 4mm crystal on your two separate
ends after the slider.
STEP FIVE
Thread 1 x 6mm crystal, 1 x 4mm crystal over
the two ends of wire together.
STEP SIX
Cut off any excess wire leaving enough wire
to insert your two ends together into a tube
Repeat Steps 1-7 with your second piece of
wire, and your matching earrings are complete.
Kit available: $32.00. Bracelet (without
pliers). $12.00 Earrings (without pliers).
Pliers $5.95 each or $14.95 set of three.
The Bead Shack Queensland
Shop 159 Sunshine Plaza,
Maroochydore Qld 4558
Shop 3 Robina Super Center,
Robina Qld 4230
Ph: 07 5562 2190 Fax: 07 5562 2196
www.thebeadshack.com.au
Email: info@thebeadshack.com.au

10 Creative Beading
Creative Beading 11
PROJECT

MATERIALS
70cm x 6mm tubular mesh
– Rose
70cm x 6mm tubular mesh
– Dark Blue
70cm x 6mm tubular mesh
– Light Blue
22 x antique brass bead
caps, filigree
6m silver 44x7 strand
clear Tigertail
1 x gold plated lobster clasp
1 x 10mm twisted gold plated
jump ring
1 x 4cm length of gold
plated chain
2 x 4mm natural brass jump
rings
2 x 2mm tube crimps gold
plated
2 x Charlotte ends gold plated
12 x 4mm fold over clasps
gold plated
3 x head pins with stone AB
1m x 24 gauge gold wire
Deep blue water colours, amethyst and rose – both relaxing
and refined – bringing out the essence of her grace.
Designed by Louise Jensen from Wishware Beads.
STEP ONE
Using Tigertail, cut six strands at about 50cm
each. With these, crimp on the sections of
crystals at intervals, referring to the diagram
for direction in regards to the placement of
the beads. Make the strands in the following
colours: Amethyst/pink with the white 8mm bi-
Diagram 2
cones; Montana blue/dark blue with the 8mm
Montana bi-cones; aquamarine/aquamarine
satin with milky white 8mm bi-cones. STEP THREE
Refer to Diagram 1. Using 60cm of each of the three colours of
tubular mesh, twist the end into a ‘needle’
tightly so that it can be threaded through
crystals. Thread crystals on. Once crystals are
positioned, place a spot of glue on each side.
When dried, ruffle the tubular mesh. Turn the
end and attach the fold over clasp by folding
each side over the other. Refer to Diagam 3.

BEADS –
TIGERTAIL
STRANDS
8 x 8mm Swarovski bi-cones
– Milky White Diagram 3

5 x 8mm Swarovski bi-cones STEP FOUR

– Montana Blue
22 x 6mm Swarovski bi-cones
– Aquamarine Satin
8 x 6mm Swarovski bi-cones
– Aquamarine
11 x 6mm Swarovski bi-cones
– Satin Rose
6 x 6mm Swarovski bi-cones
Attach all the strands together and intertwine
Diagram 1 the strands together; intertwine them around
the Tigertail and, once twisted, connect the
STEP TWO lobster clasp onto the end and 4cm segment
Once all the strands have been completed, of chain to the other side. Refer to Diagam 4.
crimp at the end of all the strands, enter
a Charlotte end at the tips. Once all the
three strands are inside, crimp each one
individually and close the two sides of the

Rating Charlotte cup together to hide the ends.

Design note: You may need to use an awl to
make the size of the hole in the Charlotte end
larger in this step. Refer to Diagram 2. Diagram 4

12 Creative Beading
 Lady
of the Loch
– Amethyst AB
40 x 4x1mm pewter daisy
spacers antique gold
BEADS –
TUBULAR MESH
STRANDS
5 x 8mm Swarovski bi-cones
– Aquamarine/Light Azore
3 x 8mm Swarovski bi-cones
– Montana Blue AB
6 x 8mm Swarovski donuts
– Vintage Rose
2 x 6mm Swarovski donuts
– Vintage Rose
2 x 6mm Swarovski bi-cones
– Aquamarine Satin
2 x 6mm Swarovski bi-cones
– Montana Blue
1 x 8mm Swarovski bi-cones
– Black Diamond AB
1x 6mm Swarovski bi-cones
– Rose Satin
1x 8mm Swarovski bi-cones
– Milky White
TOOLS
Super glue or hypo cement
Round nose pliers
Chain nose pliers
Flat nose pliers
Wire cutters
Awl – optional
EARRING
MATERIALS
1 x 14kt gold filled ear wire
10 x pewter spacers antique
gold 4x1mm
2 x Swarovski crystal head
pins with clear AB crystal
BEADS
2 x Swarovski bi-cones
– Aquamarine Satin
2 x 8mm Swarovski donuts
– Vintage Rose
2 x 4.5 Squaredelles –
Gold/Crystal
2 x 4mm Swarovski bi-cones
– Milky White
14 Creative Beading
STEP FIVE
Bend the necklace so that the middle piece
is showing, and using three pieces of 10cm
of mesh, thread two crystals onto each
strand using the same technique as with
Step 3, finishing off with a fold over clasp
on either side of each piece. Using two
pieces (25cm) of 24 gauge wire, create an
eye on the end and then thread the three
strands onto it, twisting it around to create
a coil. Thread on the beads – a milky white
8mm bi-cone accompanied by a filigree
bead cap on each side. Taking a separate
piece of 10cm of wire, twist a small coil Diagram 6
at the top. Separate the two pieces of wire
and then wrap around the centre of the EARRING
necklace. Refer to Diagam 5. STEP ONE
Thread the following beads onto the
Swarovski crystal head pins with pewter
spacers in between: 1 x 8mm donut vintage
rose; 4 x 5mm Squaredelles crystal/gold; 1x
6mm aquamarine satin bi-cone; 1 x 4mm
milky white Swarovski crystal. Cut at about .9
above from the end of the beads; bend the
end into a right angle with your chain nose
pliers and turn with your round nose pliers
into an eye. Attach the ear wire onto this and
then repeat for the other earring.
Diagram 5 Kits: Necklace $58.00, Earrings $12.00
– available in brown and burgundy and
STEP SIX pink/blue tones.
With the tassel end, finish off by using the
Swarovski head pins with the crystals and Wishware Beads – Bunbury
threading on beads as shown in Image 6, Telephone 08 9721 6566
turning the pins over and attaching to the www.wishwarebeads.com.au
end. Refer to Diagam 6. info@wishwarebeads.com.au
PROJECT

MATERIALS A hidden pearl and crystal mesh watch.

1 x watch face
15cm In-Mesh
Designed by Beads ’n Crystals
1 x magnetic clasp
4 x leather ends
4 x jump rings DESIGNER’S NOTE STEP TWO
To open jump rings, hold the jump ring with Repeat Step 1 with the other half of the
flat nose pliers on either side of the join. In-Mesh.
BEADS Next, with one hand, bend jump ring away
2 x 10mm Swarovski Pearls from body while at the same time, with the STEP THREE
2 x 8mm Round Swarovski other hand, bend the other end of the jump Attach a jump ring to each of the leather
Crystals ring towards you. To close jump ring, bend ends. Attach a clasp to the Swarovski crystal
4 x large metal large holed jump ring in the opposite direction. end of the watch band. Attach the pearl ends
beads of the band to the watch face.
4 x small metal large holed
beads STEP ONE KITS: $34.00. Watch faces and findings,
Cut In-Mesh in half. On one half, attach a gold or silver plated. Mesh colours
leather end. Insert a 10mm pearl into the available: Black, White, Blue, Red,
TOOLS tube mesh, slide a large metal bead onto the Burgundy or Lilac. Colour effect will
Flat nose pliers outside of the mesh, slide one 8mm Swarovski vary depending on mesh colour.
crystal into the tube mesh followed by a small
metal bead to the outside of the mesh, next 212 Constance St,
another pearl followed by a large metal bead, Fortitude Valley Brisbane
then followed by a Swarovski crystal. Cut mesh Ph: 07 3257 3665
off to the length required for the watch band,
leaving about 7mm to attach a leather end so
as to seal off the mesh.

Rating
30
16 Creative Beading
Netted P earl
PROJECT

MATERIALS Don’t let the winter make you blue. Use butterflies, flowers
75cm Tigertail
Fold over end crimps
and lampwork beads by Austin Hamilton to make a floral
Crimps fantasy. Created by Boutique Beads.
End covers
20 gauge Artistic wire DESIGNER’S NOTE
2 x silk strings The beads used in my Floral Fantasy are
Clasp vintage Lucite, crystal and silver.

STEP ONE Diagram 2

BEADS FLOWER DANGLES
15 assorted Vintage Lucite Using the 20 gauge wire, cut a piece STEP THREE
Butterflies and Flowers approximately 5cm long, and create a FLOWER LOOP
5 Austin Hamilton head pin by forming a small loop in the String on 5 x small beads followed by
Lampworked Glass focal wire end. Place a small bead on the wire, a 3 x flower dangles from Step One;
beads
flower, followed by 2-4 small beads. When followed by 5 x beads.
130 x 3-6mm beads the dangle is the desired length, create a Make a loop by passing the Tigertail back
wrapped loop with the round nose pliers. through the focal bead, pull to tighten.
TOOLS Create 15 or more of these dangles at
Wire cutters varying lengths. Set aside.
Round nose pliers
Flat nose pliers

Diagram 3
Length of finished piece:
45-50cm Diagram 1 DESIGNER’S NOTE
Be careful not to kink the Tigertail while
STEP TWO threading back through.
STRINGING
Take one end of Tigertail, thread a crimp STEP FOUR
onto the wire followed by an end cover, then Continue on the same as for Step Three but
crimp into place. changing the size of the loop as you go,
String on 10 small beads then one of the adding more beads for a larger loop and less
large focal beads. for a smaller loop.

Rating
40
18 Creative Beading
Floral
Fantasy
 14 beads
3 flower
10 beads
beads 3 flower
and flower
12 beads beads
3 flower and flower
Diagram 4 Diagram 6

STEP FIVE ends creating four strings. Decide on your

When all five loops have been created, crimp desired length.
off the end as for Step Two. Cut the silk and finish of with fold over
crimps, jump rings and desired clasp.
Other optional endings for the silk: You can
create your own ends using the 20 gauge
WIN wire, or simply tie silk strings when you wear
the necklace.
these necklaces!
Diagram 5
For details see our Kits available: $65.00.
Beads Glorious Beads
STEP SIX Boutique Beads
Competition on pages
SILK STRING 179 St Georges Road, Fitzroy North Vic 3068
66 and 67. Cut the silk strings in half, loop through the Phone: 03 9482 4021

20 Creative Beading
Creative Beading 21
Profile
Wild Beads
After trying her hAnd At mAny different CrAfts, rAnging from
PhotogrAPhy to tAssel mAking, trACy Brown of wildlight studios
disCovered the Art of mAking Art glAss BeAds … And (As rePorter
sArAh ezzy-diCkson disCovered) trACy hAsn’t looked BACk sinCe.
In fact, It was whIle tracy was
searching for materials to use in her various
other crafts that she stumbled upon a us-
based art glass bead website, which then
prompted her to attend a two-day glass bead
making workshop in 2004. tracy’s other
craft interests include jewellery making, and
with her new knowledge of glass beads, and
her talented fingers, tracy began creating
masterpieces to revolve around her beads.
tracy says that bead making and jewellery
making are the perfect balance. “the jewellery
and bead making actually feed each other. i
22 Creative Beading
can be inspired to make a piece of jewellery
from a bead that i have made, or be inspired
to make a bead to fit into a jewellery design
i have in mind. it seems to alternate between
the two.”
All of the crafts that tracy has tried her hand
at have had some influence over her bead and
jewellery making, such as photography, which
she says has taught her to use her eyes properly.
“you see things a bit differently when you are
constantly trying to turn them into a picture.”
while she was making tassels, she would
often dye her own threads, which taught her

interesting colour combinations. “i think you
can be taught the basics of how to use colour,
and then you can learn to break the rules.
Colour to me is infinite and shades and tones
can be mixed and changed continuously.”
tracy works from her Queensland home,
in a small studio under her house that she
says is ‘getting a bit too small’! she juggles
this with her other full-time job of being
mum to three children. her bead making
helps her relax, especially when she’s
making frit, orb or spacer beads. however
she warns that you can’t get too relaxed
while making beads. “you use a lot of
concentration, but you do tend to go into
a bit of a meditative state. that can also
be when the real magic happens, when
the glass flows beautifully and the glass
gods are smiling and everything just comes
out great. that is when you come up with
something brilliant, new and awesome!”
in the three years that tracy has been
making beads, she has seen the awareness
of art glass beads grow considerably. tracy
was lucky enough to have a stall at the Bead
& gem show in 2006, and she noticed that
people were actively seeking out her art glass
beads. “People knew what they were looking
for, and looking at – and bought up large. i
think that the magazines have been brilliant
for educating the public about hand-made art
glass and lampwork beads. educating people
about how they’re made, the control needed
to make them and the time it takes to make
Profile
some of them. People are very willing to pay
for something that is unique.”
“it can be
she believes that as her beads often inspire very hard
her to create fabulous jewellery pieces, they to part with
do so for other people as well. “i think that
the beads inspire people to make brilliant some of my
jewellery, and that is part of the lure and beads and
beauty of them. i find my customers are
looking for something a bit different and jewellery. i
unique, and that is what i offer; one-off like them to
miniature works of art.”
her glass inspires her to create, with other
hang around
influences such as art and nature also taking for a while
a big part in the creative process. “i like to sit
down at the torch and let things flow; allowing
before i put
the glass to create a bit of magic. looking at them up on
the different colours and putting them together the website.”
will inspire me. inspiration comes from
everything around us, all of the time. i think
art and craft is about perception and your
interpretation of everything you see and have
seen, and learnt in the past. i’ve taught myself
to be open to the inspiration when it comes,
or to draw or write it down if it’s not at the
best possible time.”
for beginner art glass bead makers out
there, tracy has a word of advice: Practice!
“the secret to becoming a good bead
maker is consistency and being able to repeat
a style or type of bead that you have made
in the past, and get consistent results with
your techniques. this comes with practice
and dedication to the glass. we have a bead
maker’s mantra: P, P, P. Practice, practice,
Creative Beading 23
practice! you can take classes to learn
techniques but you will still need P, P, P!”
tracy says she is constantly learning from
the glass, and will never be bored with it.
“that is something you hear a lot in bead
making and glassblowing circles, the fact that
there is always something else to learn and
make! it’s what challenges you and keeps you
coming back for more.”
her mistakes are more like experiments than
mistakes. “some of my best beads have been
mistakes, or should i say, experiments. if i do
make a mistake, i usually try to turn the bead
into an organic!”
Along with making her own beads, tracy also
offers ‘introduction to bead making’ classes at
her local bead store, the Arttable in Brisbane.
“they’re a lot of fun, and everyone goes home
with a lot of inspiration, and some nice beads to
make something with.”
tracy also teaches through flying Arts
Queensland, an organisation that sends
artists all over rural and remote areas of
Queensland to give people all over the state
the opportunity to learn how to make art
glass beads. tracy says that as it is heavily
subsidised by corporate sponsorship, it
makes it quite affordable. the classes run
throughout the cooler parts of the year,
from April through to october. flying Arts
Queensland has been running programmes
for more than 30 years, and anyone
interested in booking tracy for a weekend
workshop can contact www.flyingarts.org.au
After spending so much dedicated time on
her art, tracy admits: “it can be very hard to
part with some of my beads and jewellery. i
like them to hang around for a while before
i put them up on the website.”
her current favourite beads were born from
an experiment with a new type of glass. “they
are made from nz gaffer glass, which is a
glassblower’s glass that has been pulled into
thin rods that bead makers can use. it has
some gorgeous colours and reacts differently
to the italian glass. some of the colours are
very intense, so i’m having fun experimenting
with it. i actually managed to make them into
a bracelet for myself!”
tracy gets numerous requests from people
wanting copies of beads she’s made in
the past, sometimes in different colour
combinations. some beads can take as little
as five minutes to make, while other more
detailed ones such as floral or multi-dot
patterns can take an hour or more. “they are
very intense and satisfying to make. i find now
that sometimes less is more!”
while creating her jewellery, tracy uses
many other materials as well as her art glass
beads, ranging from various textured fabrics
and resin to Paua shell, glass and wood. “i
love new products and utilising new things if i
think i can make them work with my jewellery.”
these other materials add an incredible
richness to her beads and bring out subtle
colours that you otherwise wouldn’t see as
clearly. her art glass jewellery pieces aren’t just
 Profile

limited to earrings, bracelets and necklaces,
but also include bookmarks, brooches, lavishly
decorated kilt pins and beaded tassels.
tracy is pleased that the number of local
suppliers has increased over the last few years
to cater for the growing popularity of beading
and jewellery making. “i’m very visual, so being
able to see the beads and products in person is
good inspiration. i like to have local suppliers
that i can go and chat to, and see what’s new.
i also like looking at the Australian beading
magazines and going to the Bead & gem
shows for further inspiration.”
she can’t see the popularity or support of
our favourite pastime dying, either. “i don’t
think it will lose its popularity any time soon, “i think
and that’s great! i am also seeing a shift back
to supporting local artists and craftspeople, you can be
and to buying unique hand-made products taught the
rather than buying from the huge influx of
imported jewellery that has flooded the market basics of
in recent years.” how to use
Tracy’s absolutely gorgeous beads and colour, and
jewellery can be seen at
www.wildlightstudios.com where you can
then you
admire her gallery pieces or spend hours can learn
trying to decide which colour of the baroque
beads you think will go nicely with your
to break
new dress, as this particular reporter did. the rules.”

Creative Beading 25
PROJECT

MATERIALS
3 x jump rings
10 x silver eye pins
1 x silver extra long head pin
– supplied with Kimono Girl
French wire – small amount
Nymo D or S long D Beading
thread to match main seed
bead colour
BEADS
1 focal Kimono Girl lampwork
bead
1 hank x 11/0 seed beads
– main colour
3 x 11/0 seed beads strands
– second colour
4 x 4mm Swarovski pearls
4 x 6mm Swarovski pearls
4 x 8mm Swarovski pearls
2 x 10mm Swarovski pearls
TOOLS
Round nose pliers
Wire cutters
Beading needle
Scissors
Bamboo skewer stick
Length of finished piece:
65-70cm
Combining thread work and wire work can be achieved with
the right know-how. This focal lampwork bead project by
Chris Butler with thread and design work created by Annlee
Butler can take you through the steps to success.
Odd or even count circular peyote is
determined by the number of beads placed
in the original circle. It is worth noting that
the circle is called Row 1 and Row 2 in most
peyote patterns. We will use odd count peyote
which does not require a ‘step up’ on each
row, and which has a spiral effect.
STEP ONE
Peyote rope
Design note: For peyote rope to look its best,
the thread work should be tight.
Using 1 metre of beading thread and 9 x
main colour seed beads, tie a tight circle
using a secure knot, leaving a 15cm tail. Slip
the circle of beads onto the stick (Diagram 1).
Diagram 1
Design note: By using the stick in the centre
of the peyote rope while you work, it will help
keep your work tight and neat.
STEP TWO
Hold the tail and stick with you thumb and
fingers. Pick up one seed bead; skip the first
seed bead, go through the second seed bead.
The seed bead should sit on top of the bead
from the circle row. See Diagram 2B. Pick up
one seed bead and skip the next bead and
Diagram 2
STEP THREE
To start Row 4, pick up a seed bead and
place it in the hole between your circle row
and Row 3, going into the first bead you
place on in Step 2 (high bead, of Row 3).
Pick up a seed bead, skip low bead and
go into next high bead. Continue working
placing a seed bead in each low space and
going through each high bead. Continue until
rope measures 45cm. Note: Your work will
grow quickly after the first ten rows as you will
find it easier to hold; keep sliding your rope
down the bamboo skewer so that you are just
working on the last 5cm.
STEP FOUR
After completing 45cm of rope, slide rope
off skewer and go into only the four high
beads, pulling them into a tight circle – this
will close up the end of your rope. Knot and
secure, do not cut thread. Pick up 1 x seed
bead, 1 x 4mm pearl, go through French
wire approximately .5cm, and slip your jump
ring on; go back through the pearl, and seed

Rating go through the next bead from circle row;

repeat two times. Total of four high beads.
You should have two lower beads at the end
of this row (see Diagram 4).
bead. Pull thread slowly – the French wire will
form a ‘U’ on the end of the pearl. Make sure
you have the jump ring in this ‘U’. Complete
other end to match.

26 Creative Beading
 My L ittle
Kimono Girl
 STEP FIVE
Pearls
Using eye pin, thread each of
the 10mm pearls, 8mm pearls,
6mm pearls; cut excess wire
and turn a loop. Join placing
10mm pearl in centre with
8mm each side, 6mm each
side (see Diagram 3).
STEP SIX
Attach one set of joined pearls
to each jump ring in ‘U’ from
Step 4.
STEP SEVEN
Kimono Girl
Using extra long head pin,
place 1 x 4mm pearl, Kimono
bead, 1 x 4mm pearl; slip
jump ring on and turn a
wrapped loop. This will give
extra strength and hold your
Kimono bead firmly.
Diagram 3
STEP EIGHT
Attach each of the 6mm looped pearls to the
jump ring on top of Kimono bead.
STEP NINE
Embellishing cherry blossom
Using approximately 50cm thread, go
through peyote rope work and knot. Pick
up five seed beads in contrast colour, loop
around and go back into second bead, pick
28 Creative Beading
up four beads, go back into one of four,
pick up, repeat, thread back into first bead
(Diagram 4).
If you pinch the work with your fingers and
keep sliding the beads close to peyote as you
work, it is easier to get a nice picot effect.
Diagram 4
STEP TEN
Work as many or as few picots as desired.
Remember to lay your work out with the
Kimono bead face up so that your picots of
cherry blossom will sit to the front of the work.
As each Kimono Girl has a her own
individual look we will not be selling kits,
but a class which will include all items to
complete this project will be run at Terrenas
Treasure on 9 June 2007 at a cost of $145.
Terrenas Treasure
170 Vincent Street, Cessnock
Telephone 02 4990 5560
www.terrenastreasure.com.au
PROJECT

MATERIALS This glittering necklet for your cat will add sparkle to any
2 metres of .05mm clear
beading elastic pet lover’s life. Made with crystals and elastic, the necklet
1 x parrot clasp is suitable for daytime sunbathing in the window or for long
1 x strong jump ring
luxurious evenings spent by the open fire. By Eurekabeads.

BEADS
162 x red 4mm bi-cone
crystals
DESIGNER’S NOTE STEP FOUR
42 x clear 4mm bi-cone Please remember, collars can be dangerous if Still working on the two inside strands, thread
crystals your moggy plays in trees. 1 x 6mm clear AB crystal on one strand;
59 x clear AB 6mm bi-cone thread the second strand through the crystal,
crystals STEP ONE starting from the opposite side. The elastic
2 x large holed metal tube Cut 2 x 1 metre lengths of clear beading will pass through the crystal and cross in the
beads elastic. Thread both through the eye on the middle of the hole.
parrot clasp and pull through to the middle,
so that you have four lengths of elastic and
TOOLS each one is 500mm long.
Scissors or cutters
Clear nail polish
Diagram 4

Length of finished piece:

140mm approximately STEP FIVE
Diagram 1 On each of the two outside lengths of elastic,
thread 1 x red 4mm crystal, 1 x clear 4mm
STEP TWO crystal and then 1 x red 4mm crystal.
Holding the two ends together, thread on
a fat metal tube bead and pull it up to the
parrot clasp.

Diagram 5

Diagram 2 STEP SIX

On each of the two inside strands, thread 1 x
STEP THREE red 4mm crystal.
Thread 1 x red 4mm crystal onto each of the
centre strands of elastic.
Design hint: Hold your parrot clasp in place
while you are working with small piece of
sticky tape.
Diagram 6

Rating STEP SEVEN

On one of the outside strands, thread 1 x
Diagram 3 6mm clear AB crystal. Using the inside strand

30 Creative Beading
Crystal
Kitty
 closest to it, thread through the AB crystal
from the opposite direction. Repeat on the
other two strands.
STEP TWELVE
Continue the pattern, Steps 7 to 11, 17 times.
STEP THIRTEEN
Finish with a set of red, clear, red on the
outside two strands and an AB crystal on the
centre two strands.

Diagram 7

STEP EIGHT
On each of the two inside strands, thread 1 x
red 4mm crystal.
Diagram 12

STEP FOURTEEN
Thread all four strands through a fat tube bead.

Diagram 8

STEP NINE
On the two inside strands, thread 1 x 6mm
clear AB crystal, working from either side and
crossing in the middle of the hole. Diagram 13

STEP FIFTEEN
Using a straight loop knot, tie a strong jump
ring onto the four strands.

Diagram 9

STEP TEN
On each of the two outside strands, thread 1
x red 4mm crystal, 1 x clear 4mm crystal and
1 x red 4mm crystal.
Diagram 14

STEP SIXTEEN
Tie again over the existing knot two more
times, to securely attach, and then coat
Diagram 10 the knot with clear nail polish. If the
jump ring is unsoldered, paint another
STEP ELEVEN dab of nail polish on the join. Give the
On each of the two inside strands, place 1 x nail polish a few moments to set, then cut
red 4mm crystal. the elastic close to the knot. Put it on and
your moggy will think she’s been adopted
by Paris!

All materials available from

Diagram 11 www.eurekabeads.com.au

32 Creative Beading
PROJECT

MATERIALS Add colour and texture to your PMC heart.

PMC syringe
PMC3 16 grams clay
Designed by Senior Teacher Rhonda Winterton.
PMC3 paste
Epoxy resin
Acrylic paint STEP ONE Let this stand for approximately 10 minutes or
Silver chain Begin by creating a copy of the pattern until it becomes a little firm (but not so firm
4 x jump rings provided, placing the pattern under oven that it will not take a pattern).
bake paper and drawing the design onto the
oven bake paper. STEP FOUR
Taking the tulle, put it onto the top of the
TOOLS syringe work and place a piece of glass or a
Placemat flat object on it to slightly flatten the syringe
Tulle (netting) work down and give it a pattern; then let dry.
Textured matt
Heart shape cutter
Badger balm or olive oil
Roller STEP TWO
Palette knife Use the syringe without the fine tip and begin
by extruding a little of the clay out, touching
Playing cards
down onto the pattern to lock the clay to the
Burnishing tool paper. Now, begin to extrude the string of clay STEP FIVE
Stainless steel brush slowly – lifting the syringe from the paper until Coat the work surface and your hands
Sandpaper 1200 you are holding it about one inch above the with balm or olive oil to stop the clay from
paper (applying even pressure to the syringe to sticking.
create a continuous line of clay). The pattern is
made up of four scrolls and four loops. Do one STEP SIX
scroll at a time, then finish by doing the loops Using PMC3 clay, cut off one quarter of the
between each set of scrolls. clay (immediately reseal the rest of the clay
– it will dry out quickly). Place your clay
between two stacks of playing cards, two
cards per stack, and roll the clay out flat.

Design note: If you hold the syringe too close

to the paper, the line will be too thin as well
as smudged … so try to keep the tip away
from the work.

STEP THREE STEP SEVEN

Rating When you have finished the pattern, let it

partly dry for approximately 10 to 15 minutes.
When firm but not completely dry, add
another syringe work onto the top of the first.
Taking the large heart shape cutter, cut out
one shape; then with the middle heart shape
cutter, cut out the middle of the large heart.
You will need to cut off more clay as required.

34 Creative Beading
Queen of
Hearts
 Now make four medium hearts; then, using
the small heart shape cutter to cut out the
middle of each medium heart, let dry.
STEP EIGHT
Using more clay, roll out between your two
stacks of cards, two cards thickness, until the
clay is flat. Using your large and medium
heart cutters, cut out one large heart and four
medium hearts. Let dry.
Design note: With these, you leave the centre
in. With the leftover clay, make three small
hearts and, using a rubber mat, texture the
hearts. Make sure you put a little of the balm
onto the small hearts before placing onto the
mat. With a drill or toothpick, make a hole in
the top of each one so it can be hung.
STEP NINE
Place a little PMC paste onto the full heart;
then place the cut-out heart on the top and
press gently down to join. Do this to all the
hearts and allow them to dry.
STEP TEN
Sand well using sandpaper. If needed, fill
in around the edges of the hearts with the
paste. Allow to dry and sand again until
smooth. This may need to be done a few
times to get a good finish.
STEP ELEVEN
With the filigree work, gently sand (very
gently, the piece is still fragile at this stage).
36 Creative Beading
STEP TWELVE
Put ample paste onto the back of the large
heart and place into the centre of your
scroll work and press gently down to join.
Repeat this step with the medium hearts,
placing them as per picture until all the
hearts are joined. Let dry completely. Gently
sand if needed, and fire the piece as per
manufacturer’s instructions.
STEP THIRTEEN
Smooth the surface of the fired piece (gently
at first so as not to break the filigree) with
a stainless steel wire brush, then with a
burnishing tool to transform the white surface
to a shiny finish. If you have a tumbler, you
can tumble the piece.
STEP FOURTEEN
When the pendant is shiny, place the colour
onto it by the following method. Use epoxy
resin (this is a two part mixture which you will
mix equally together). When mixed, add a
little bit of red acrylic paint into the mixture
and, with a toothpick, place the mixture into
the hearts. Do this slowly so you do not over-
fill. The pendant then has to sit for 24 hours
to set the resin. After allowing to dry, hang
the small heart from the bottom loop by using
a small bit of chain and a jump ring.
Senior Teacher: Rhonda Winterton
Ceramic Art Studio 1
(Home of Silver & Spice Designs)
52 Wecker Road, Mansfield Qld 4122
Telephone 07 3343 7377
Creative Beading 37
PROJECT
MATERIALS
BRACELET
2 x Beadalon crimp covers
1 x Beadalon 5x11mm
magnetic clasp
2 x 2mm French crimps
(optional)
EARRINGS:
2 x Charlotte crimps
2 x 2mm French crimps
2 x 4mm jump rings
2 x Beadalon dapped and
spring ear wires
Fine nylon beading thread
BEADS
100 x 3mm Swarovski crystal
bi-cones
25 x 4mm Swarovski crystal
bi-cones
10 x 6mm Swarovski crystal
pearls
2 x 4mm Swarovski crystal
pearls
TOOLS
Chain nose (flat) pliers
Crimping pliers (optional)
Scissors
Length of finished design:
As desired.
The materials list is sufficient
to make up to extra-large
size, and less beads will be
needed for small sizes.
Rating
38 Creative Beading
This beginner project from Bead Shack has the illusion
of twisting crystals and was designed by Kerry Dove.
DESIGNER’S NOTE
There may be leftover beads, according to
the length of the bracelet and earrings that
you choose to make. This way, you have
enough in the materials list to make small,
medium, large, or extra large.
BRACELET STEP ONE
Measure around your wrist and note down
the finished length you require.
STEP TWO
Cut off 2 x lengths of the fine nylon line at
least 20cm longer than the finished length
you have measured, so that there is room to
tie knots at the ends.
STEP THREE
Thread both strands through your magnetic
clip and tie a strong knot at the beginning of
your bracelet. Give your threads a good yank
to ensure your knot is going to hold. Design
note: Try not to get the knot too close to the
clasp, because you are going to cover the
knots with crimp covers.
ALTERNATIVE METHOD:
FRENCH CRIMPS
Thread both strands through a French
crimp; through one loop of your magnetic
clasp; back through the crimp.
Grasp the crimp lightly with your chain
nose pliers and move it up to about 3mm
from the clasp. Squeeze the crimp flat onto
the threads as hard as you can, with the
chain nose pliers.
Make sure when you squeeze crimps onto
nylon line that you don’t squeeze the crimps
on an angle – otherwise you may cut into
the thread.
STEP FOUR
Take a crimp cover; position it between the nose
of your pliers (either chain nose or crimping
pliers) so that the open part of the pre-opened
crimp cover is facing outwards from the tip
of your pliers. Position the crimp cover over
knot/squeezed crimp and squeeze closed. Trim
off any excess thread. This is a great cosmetic
cover-up for your endings – it looks just like a
4mm silver bead.
STEP FIVE
Thread both of your strands through:
1 x 3mm crystal; 1 x 4mm crystal; 1 x 6mm
pearl; 1 x 4mm crystal.
STEP SIX – THE TWISTED EFFECT
Thread both strands through 1 x 3mm crystal.
Thread onto each separate strand:
1 x 3mm crystal. Thread both strands through
1 x 3mm crystal. Thread again, on each
separate strand, 1 x 3mm crystal.
Thread both strands through 1 x 3mm crystal.
STEP SEVEN
Thread both strands through 1 x4mm crystal;
1 x 6mm pearl; 1 x4mm crystal. Repeat Steps
6 and 7 until bracelet is nearing the required
length. Do not forget to include the clasp in
your total length.
STEP EIGHT
After your final ‘step seven’ of the pattern,
thread on 1 x 3mm crystal.
STEP NINE
To finish off, repeat Steps 3 and 4.
Note: For extra security, you may like to attach
a small safety chain onto each side of the
clasp (not included in kit)
Begin with
a Twist
 EARRINGS
Design tip: If you prefer longer, dangly earrings,
increase your pattern in Step 2 to required
length but make sure you have enough 3mm
crystals left over for both earrings.
STEP ONE
Cut two lengths of nylon line at least
20cm long.
STEP TWO
This step gives the ‘twisted’ effect.
Thread both strands through 1 x 3mm crystal.
Thread onto each separate strand:
1 x 3mm crystal.
Thread both strands through 1 x 3mm crystal.
Thread again, on each separate strand,
1 x 3mm crystal.
Thread both strands through 1 x 3mm crystal.
STEP THREE
Thread onto both strands 1 x 4mm crystal;
1 x 6mm pearl; 1 x 4mm crystal.
STEP FOUR
Repeat Step 2.
STEP FIVE
Thread all four strands through 1 x 4mm
crystal then 1 x 4mm pearl.
STEP SIX
Thread all four strands through the hole
in the hinge of the Charlotte crimp and
then through a French crimp. Squeeze
40 Creative Beading
the French crimp as far down inside the
Charlotte crimp as you can. Trim any excess
off, and then close the Charlotte crimp over
the squeezed crimp.
STEP SEVEN
Open the 4mm jump ring using your chain
nose pliers. Thread jump ring through the
loop of the ear wire as well as the loop on
the Charlotte crimp. Close the jump ring.
STEP EIGHT
Repeat Steps 1 to 7 for your second earring.
COST OF KIT: $32.00 (includes regular
post within Australia). Please allow a
further $2.60 if registered (insured) mail
is required.
KIT COLOURS:
1) Light Rose with Ruby accents and
Rosaline pearls. Silver or Gold.
2) Crystal AB with Golden Shadow accents
and Bronze pearls. Silver or Gold.
3) Light Sapphire with Purple Velvet
accents and White pearls. Silver or Gold.
Bead Shack
Kerry Dove
3/9 Bergin Street, Gerringong NSW 2534
Telephone 02 4234 1197
Also at Shop 12, The Pavilion,
274 Green Street, Ulladulla NSW 2539
www.beadshack.com.au
email info@beadshack.com.au
Creative Beading 41
PROFILE

SMArt
Creations
SERENA ALTEA WAS INSPIRED
TO MAKE A NICHE FOR
HERSELF IN THE JEWELLERY
SCENE BY A BRIDE’S
COMPLAINT ABOUT THE
LACK OF CUSTOM MADE
AND AFFORDABLE TIARAS.
SINCE THEN, SERENA
HAS CREATED A HUGE
RANGE OF TIARAS AND
ACCESSORIES CATERING
FOR EVEN THE PICKIEST
BRIDES. SHE CHATS WITH
SARAH EZZY-DICKSON.

AFTER BEING INVOLVED in costume design
and theatre for many years, Serena decided to
try her hand at making tiaras and, after only
two years of practice, she entered the jewellery
category in the Brisbane Exhibition in 2000.
It was her first year competing, and she was
placed in third place, while in her second year
of competing (in 2001) she was awarded first
place. This moment, Serena says, convinced
her to begin making tiaras for a living.
She has since created many different tiaras,
ranging greatly in complexity and design,
and she showcases them on her website,
www.smacreations.com.au.
Her company, SMA Creations which is based
in Brisbane, was originally created to cover her
hair and make-up profession. While Serena’s
expertise evolved, the name stayed the

42 Creative Beading
same and it now encompasses her jewellery
profession as well. While Serena works as a
sole trader, she also credits her husband with
babysitting their 21-month-old toddler, Sofia,
while she’s busy creating her masterpieces.
Serena and her husband have just bought
their first home so she hasn’t got a dedicated
workspace yet, but she says, “Hopefully in a
few years and after some renovations I’ll have
my own special workroom.” For the moment,
she makes do with a temporary desk and set
of display shelves at the back of the garage.
Depending on the complexity of the design, it
can take up to three hours for Serena to make
a tiara, and she sometimes works for up to 16
hours over a weekend. Her preferred method to
use when making her tiaras is soldering.
“I love to solder, there’s something grounding
about creating something from scratch.”
Serena learnt how to solder by doing a
workshop through a local bead store, which
she says took about two hours (to learn the
basics) and then, “the rest came naturally.”
Her first tiara was of conservative design,
made with basic findings and soldering with a
few diamantes on it. Since then she says her
designs have evolved.
“I think I’ve become more adventurous
and creative. Having a young child who
delights in discovering what we take for
granted has made me look at the everyday
with a new perspective.”
She considers her style a combination of
classic and conservative through to quite
contemporary designs.
She lists her inspirations as theatre and
costume jewellery through to pieces she’s seen
“I love to
in museums and artworks. “I’m a dancer and solder, there’s
performer from way back and have a love of something
anything sparkly and showy but I also love the
jewellery in museums from Ancient Egypt through grounding
to the 17th Century portraits of the aristocracy.” about creating
Serena’s inspirations don’t stop there however,
she also draws from her favourite art period, something
Art Nouveau through to Art Deco, which she from scratch.”
contributes to the designs she came up with for
some of her other pieces of jewellery.
Most of Serena’s tiaras are either gold
or silver plated, even though she says her
favourite metal plating is rose gold. “It’s very
hard to source, a few of my earlier tiaras are
electroplated in rose gold but my supplier
only does basic gold and silver now because
there wasn’t enough demand.” To this, she
adds a variety of Swarovski crystals or Czech
crystals, depending on the design. “My
favourite crystals for jewellery and earrings
are Swarovski because of the clarity and cut,
but I love the Czech crystals because of their
imperfect shape and earthiness.”
Serena has a wide range of designs that
she likes to implement; some are classically
styled tiaras covered in crystals, with similar
structures to crowns from past eras, while
others are quite contemporary and minimalist.
She also does more structured work involving
brass findings and flat-back diamantes which
need lots of soldering and electroplating work
to complete the pieces. Pearls are also used in
some of her more delicate pieces as well.
Creative Beading 43
PROFILE
Serena While her most popular pieces are her
wire worked crystal crown and tiara, she also
sources a makes brooches, necklaces and earrings.
lot of her Serena says she decided to branch out into
jewellery making when the demand for
materials matching sets grew and the jewellery sets
from here in are often made to match the bridal party’s
dresses. She draws especially from the art
Australia and period stretching from Art Nouveau to Art
especially Deco to create elaborate brooches, combining
both her talents of wire working and soldering
from local with Swarovski and Czech crystals to create
suppliers. striking work. Her favourite style of earring
is the chandelier, which typically has crystals
and bugle beads hanging from an intricately
patterned silver or gold centrepiece.
One other particular piece of work that sticks
in Serena’s mind is a pink and yellow wire
worked Swarovski crystal necklace. “The pink
and yellow necklace I had made for a client
for her wedding was a particular challenge as I
hadn’t done a necklace of that intricacy before
and I was ecstatic at how it turned out.”
Her daughter Sofia’s love for anything bright
and colourful has inspired Serena to come up
with new, more playful designs for her earrings
as well. Serena also likes to re-work old pieces
of jewellery, turning them into something new
and unique, and using this technique she
has made several types of hair decoration for
various hairdressing competitions that she has
also entered in the past.
Serena admits she has received some
extravagant requests. She recalls one particular
client who had asked her to create an exact replica
of a US Beauty Queen crown but didn’t want to
spend over $50 on it. “I politely told her that the
diamantes alone would cost approximately $200.
Funnily enough, I never heard back from her.”
There is one particular design that Serena
would like to attempt to make: “One of my
44 Creative Beading
sources of inspiration is a book called ‘Tiara’
by Diana Scarisbrick which was a book I had
to order specially after finding it was sold only
overseas. There is a tiara in there created
in 1931 by Cartier as a stock piece, simply
called the ‘Egyptian Style Tiara’. It was bought
by the Aga Khan for his then wife. It’s a blend
of styles from both of my favourite periods in
history – Art Deco and Ancient Egyptian.”
When she is researching design ideas for
pieces from specific periods, Serena turns to
her mum. “I’m lucky that my mum has a huge
book collection and is mad about history. Like
me, she’s interested in Ancient civilisations as
well as periods from mediaeval times through
to the Roaring Twenties.”
Serena points out that her jewellery designs
aren’t just for weddings, but ideal for everyday
wear as well. She makes custom pieces to
the client’s specifications or can come up
with a design to match an outfit you have
for a special occasion. Her jewellery is quite
popular amongst her regulars, and she says, “I
have a core of regular customers who not only
buy for themselves, but buy for birthday and
Christmas gifts as well.”
In the years that Serena has been involved in
the jewellery scene she has seen a big change,
not only in the increase of suppliers – but she
also says that beading has become just as well
known as knitting or crochet. When she first
began working with beads there were only a
few specialist bead stores in Brisbane, “… but
now they are in almost every major shopping
centre and the number of online suppliers is
enormous.” Serena also sources a lot of her
materials from here in Australia and especially
from local suppliers. “Local suppliers such as
Crystal Park here in Brisbane source the best
from overseas which saves me the leg-work,
but I’m also supporting a local business.”

Serena has dabbled in various other crafty
pastimes, such as cross stitching, and she is also
currently experimenting with organza ribbon
strung with wooden and clay beads to make
necklaces and bracelets which, she says, are
‘definitely a work in progress’. She has studied
web design, too. When you visit her website,
you will not only see many photographs of her
jewellery and tiaras, but you will also see her
handiwork as a web designer.
SMA Creations is listed on various
wedding-planning websites, which allows
PROFILE
Serena to gain exposure interstate, as well
as being available to more local customers.
Her tiaras are available for sale and for hire.
Serena says the reason for this is so she can
cater for the many people who plan their
weddings around a budget, but would still
love to feel the decadence of being able to
wear a hand crafted tiara.
Some of Serena’s designs are featured
on her website www.smacreations.com.au
as are price lists and further information on
her designs.
Creative Beading 45
PROJECT
MATERIALS
30cm flexible beading wire
Toggle clasp
6 x crimps
2 x 50mm eyepins
(for earrings)
46 x 50mm thin headpins
(6 for earrings)
2 x earhooks (for earrings)
BEADS
3 x 20-30mm large
feature beads
12 x 8mm assorted glass
cube beads (2 for Earrings)
26 x 8mm glass round beads
(2 for Earrings)
12 x 8mm round glass pearls
(2 for Earrings)
12 x 8mm glass bicones
5g x 80 or 60 seed beads
TOOLS
Round nose pliers
Chain nose pliers
Side cutters
Length of finished piece:
18-20cm or desired length
Rating
100
46 Creative
Creative Beading
Beading
The smaller wrapped beads spin around the feature beads
like small moons in this design by Bead Street
STEP ONE
Wire wrap 10 each of the glass pearls, glass
cubes, bicones and glass rounds. Some of
the holes of the beads will be larger than the
headpin so use your seed beads as a stopper
to prevent the headpin from sliding through
the bead. The seed beads may also be used
for decorative purposes.
Diagram 1
STEP TWO
Using flexible beading wire thread 1 x large
feature bead, 1 x round glass bead,
1 x each of the four wire wrapped beads,
1 x round glass bead, 1 x each of the four
wire wrapped beads, 1 x round glass bead
then 1 x each of the four wire wrapped
beads, 1 x glass round bead.
STEP THREE
Repeat step 3.
STEP FOUR
Thread on the last large feature bead. On
each end, thread the following beads:
1 glass round bead, 1 x group of four wire
wrapped beads, 1 x glass round bead,
1 x group of four wire wrapped beads,
1 x crimp, 1 x glass round bead, 1 x crimp,
1 x seed bead, 1 x crimp. Thread on
one part of toggle clasp, take the flexible
beading wire back through the three crimps
and the beads in between. Squash
the crimps firmly with the chain
nose pliers.
STEP FIVE
For the final end, thread the second section
of the toggle, feed the flexible beading wire
back through the three crimps and beads
in between. Slide the crimps and beads
slowly down to the previously finished end
so that there aren’t any gaps on the flexible
beading wire, being careful not to strip the
coating off the flexible beading wire. Once
the gaps have been removed, squash the
crimps firmly and trim off any excess flexible
beading wire.
Galaxy
Cluste
 EARRINGS Bead Street
STEP ONE www.beadstreet.com.au
Wire wrap three beads for each earring, attach info@beadstreet.com.au
them to the earring hook by opening the Phillip: 61-63 Dundas Court, ACT 2606
earring hook loop firmly and firmly closing. Phone 02 6282 9441
Design Note: If you wish you can use a bead Belconnen: 10 Walder Street, ACT 2617
on an eyepin to sit between the earhook and Ph:02 6251 0950
the wire wrapped beads. To do this, place the Fyshwick: 8/196-198 Gladstone Street,
bead on the eyepin, form a loop, cut excess ACT 2609
wire and connect to the earhook. Ph: 02 6280 5566

48 Creative Beading
CB1_3

Creative Beading 49
PROJECT
BRACELET Elegance with angles. This right angle weave designed
MATERIALS
4 metres of 6 pound Craft by The Bead Co of Victoria.
Line
1 x 4 row clasp BRACELET
8 x calottes DESIGNER’S NOTES
The stitch used is Right Angle Weave. In this
project, Rows 1, 2 and 3 should be a bit
BEADS looser as Rows 4 and 5 tighten and straighten
7 x 6mm gold Swarovski it. This also makes it a bit shorter then before
pearls
these rows. If in doubt about tension or
14 x 6mm topaz Czech length, leave second end calotte attachment
crystals until the end, using a paper clip to hold.
184 x 4mm peridot Czech With all Craft Line work, tension should not
crystals be too tight as this causes too much strain.
14 x 10x4mm peridot To lengthen, an extra repeat and extra beads
daggers are required. Clasp should have at least 4mm
14 x 10x5mm topaz drops between holes. The one I used was a 1960s
8 x 11o seed beads (any Czech clasp; I removed and replaced stones
colour) with matching topaz crystal stones.
ROW ONE
TOOLS Place an 11o seed bead in centre of 1
Round nose pliers metre of Craft Line and tie an overhand
Wire cutters knot. Thread both ends through the hole in
2 butterfly paper clips the calotte so that the seed bead is sitting in
ball section. Thread on 1 x 4mm crystal and
Clear nail polish or glue
– Araldite/Hypo attach calotte loop to second hole in solid
side of clasp. Repeat again in third clasp
hole. Take one strand from each and place
Length of finished piece: in paper butterfly clip to keep out of the way
17 to 18 cm while working Row 1. Thread 1 x 4mm crystal
on one strand and pass other strand through
it in the opposite direction. Then thread 2 x
4mm on each side, 1 x 6mm pearl on one
side, thread other strand though pearl in
opposite direction, 2 x 4mm on each side,
1 x 4mm then crossover and thread 2 x 4mm
on each side and one pearl then crossover.
Repeat pattern until seven pearls, 2 x 4mm
each side, 1 x 4mm crossover, 1 x 4mm each
Rating
50 Creative Beading
side, then grip two ends in paper clip to hold
while doing Row 2. Each side of Row 1 will
form half of Rows 2 and 3.
ROW TWO
Place size 11 seed bead on centre of 1 metre
of Craft Line and knot as previously; bring
ends through calotte then thread 1 x 4mm on
both strands. Attach calotte loop to an outside
hole on clasp then release one strand from
paper clip to match side of Row 1. Secure
loose strand from Row 1 and Row 2 back
in the paper clip. Thread on 1 x 6mm topaz
crystal on one side then thread other strand in
through opposite direction. On strand nearest
Row 1 thread through the 2 x 4mm of Row
1 then thread 3 x 4mm on other strand and
crossover the strand from Row 1 through the
third one. Pick up 2 x 4mm from Row 1 and
thread 2 x 4mm on other strand then 1 x 6mm
topaz and then crossover strand from Row
1. Repeat pattern until seventh topaz 6mm
crystal. Release strands from paper clip at that
end and thread through last 4mm crystal then
through a calotte with the appropriate loose
thread from Row 1. Thread one size 11 seed
bead on one strand – tie an overhand knot
– put on a dab of clear nail polish; when dry
trim loose ends then close ball of calotte and
attach to correct centre hole of other side of
clasp. Place 1 x 4mm crystal on loose strand
and apply paper clip.
ROW THREE
Repeat Row 2 starting on other side of Row 1
and attach to other side as for Row 2.
ROW FOUR
Thread through first group of 2 x 4mm on
Row 3 then thread on 1 peridot dagger
then through second group of 2 x 4mm and
thread on one topaz drop. Repeat this pattern
until you reach the end, then through last
single 4mm and apply to calotte as previously
and attach to outside hole of clasp.
Many Angles

EARRINGS
MATERIALS
2 x SS30 topaz flat back
diamantes
1 pair 6mm flat pad ear
studs with loop
1 pair butterfly/bullet backs
2 x 50cm head pins
BEADS
2 x 8mm topaz Czech crystals
2 x 6mm gold Swarovski
pearls
2 x 6mm topaz Czech crystals
4 x 4mm peridot Czech
crystals
52 Creative Beading
ROW FIVE
Repeat Row 4 on other side then attach to
other outer side of clasp. See diagram for
placement of calottes on second end.
EARRINGS
STEP ONE
Take one head pin and thread on 1 x 8mm
topaz Czech crystal, 1 x 6mm gold Swarovski
pearl, 1 x 6mm topaz Czech crystal and 2 x
4mm peridot Czech crystal; then
hold firmly and bend remainder
of head pin back to a 90
degree angle. Leave
8mm and cut off extra;
make a loop with
round nose pliers.
Repeat on second
head pin.
STEP TWO
Glue 1 x SS30 topaz flat back diamante onto
1 x 6mm flat pad ear stud with loop; wait
until dry then attach earring drops from Step
1. Place one butterfly/bullet back to the back
of 6mm flat pad ear stud with loop. Repeat
process for second earring.
The Bead Company of Victoria
336 Smith Street
Collingwood Victoria 3066
Phone: 03 94190636
www.beadcovic.com.au
PROJECT

MATERIALS You will enjoy making this beautiful necklace, designed

4.5m x 28 gauge artistic wire
– silver
1.5m x Tigertail
6 x crimps – silver
2 x large jump rings – silver
1 x parrot clasp – silver
BEADS
5gm x Matsuno seed beads
11o SR #633 – blue
5gn x Matsuno seed beads
11o SR #80 – green
5gm x Matsuno seed beads
12o RR – clear AB
6 x 4mm Swarovski bicones
– light sapphire
18 x 4mm Swarovski bicones
– crystal AB
TOOLS
Wire cutters
Flat nose pliers
Length of finished piece:
45-50cm
by Crystal Park, using wire and seed beads.
BLUE PETAL
STEP ONE
Cut 1 x 30cm length of 28 gauge artistic
wire – silver. Thread on 3 x blue seed beads.
Bring all three beads to the middle of the
wire. Thread one end of wire through two of
the three seed beads. Diagram 1.
Diagram 1
STEP TWO
Onto one end of wire, thread another three
seed beads. This time take the other end of
the wire through all three beads. Diagram 2.
STEP SIX
Repeat Step 5 twice more.
STEP SEVEN
Repeat Step 4, Step 3 and then Step 2.
STEP EIGHT
Onto one end of wire, thread two seed
beads. Take the other end of the wire through
both beads. This completes one blue petal.
Do not trim wire.
STEP NINE
Repeat Step 1 through to Step 8 another
seven times to finish up with 8 x blue petals.
Set aside for now.
CLEAR AB PETAL
STEP ONE
Cut 1 x 30cm length of 28 gauge artistic wire
– silver. Thread on 3 x clear AB seed beads.
Bring all three beads to the middle of the
wire. Thread one end of wire through two of
the three seed beads. Diagram 1.

STEP TWO
Repeat technique as for blue petals with each
Diagram 2
row having the following number of beads:
STEP THREE
Onto one end of wire, thread four seed Row 1 and 2 – refer to Step 1;
beads. Take the other end of the wire through Row 3 – three beads;
all four beads. Row 4 – four beads;
Row 5 – five beads;
STEP FOUR Row 6 – five beads;
Onto one end of wire, thread five seed Row 7 – four beads;
beads. Take the other end of the wire through Row 8 – three beads;
all five beads. Row 9 – two beads.
This completes one clear AB petal. Do not

Rating STEP FIVE

Onto one end of wire, thread six seed
beads. Take the other end of the wire
trim wire.

STEP THREE
through all six beads Make another five clear AB petals.

54 Creative Beading
Blue L illy

CRYSTAL STAMEN
STEP ONE
Start with one of the blue petals. Thread
1 x blue crystal bicone onto both ends of
wire. Bring bead down so that it sits roughly
1-1.5cm from base. Fold wire above bead
down towards base – at the bead. Twist wires
together below the crystal. Trim excess wire.
Repeat this for remainder of blue petals.
STEP TWO
Repeat this with the clear AB petals, using
4mm crystal AB bicones.
CONSTRUCTION OF LILY
STEP ONE
Start with the blue petals and 30cm of 28
gauge wire. Line two petals up so that they sit
side by side. Diagram 3. Thread wire through
both, leaving a 5cm tail. Wrap this tail
through existing wires to anchor. Trim. Once
56 Creative Beading
the long piece of wire is through both petals,
add third petal and thread wire through.
Repeat with the remaining five petals.
STEP TWO
Now go back through each of the petals,
with the wire, in a running stitch. This will
strengthen the whole thing.
STEP THREE
Repeat Step 1 with the six clear AB petals. Lay
these petals over the blue ones and attach
with a running stitch through the two layers to
join them together.
Diagram 3
CHAIN
STEP ONE
Cut 60cm length of Tigertail. Thread through
the bead at the tip of the outer blue petal.
Fold Tigertail in half. Add 1 x 4mm crystal AB
bicone and 1 x crimp. Close crimp.
STEP TWO
Onto one end of Tigertail, thread 20 x clear
AB beads. Onto the other end, thread 22
blue beads. Onto both ends, thread 1 x 4mm
crystal AB bicone.
STEP THREE
Repeat Step 2 another four times, leaving the
last bicone off.
STEP FOUR
Thread 1 x crimp. Close crimp. Trim one
length of Tigertail just above the crimp. Now
thread the final bicone and then another
crimp. Thread Tigertail back through the
crimp to form a small loop. Close crimp.
Attach 1 x large jump ring to the loop.
STEP FIVE
Repeat all of the above for the other side of
the chain and add 1 x parrot clasp to the
large jump ring.
Crystal Park
9 Cassia Street Browns Plains Qld
Phone 07 3800 3825
www.crystalpark.com.au
PROFILE

Danielle Mondo
– Mondo Design

MONDO DESIGN BEGAN

AS A PART-TIME HOBBY,
INFLUENCED BY A PASSION
FOR DESIGN AND FRIENDS
WITH A DESIRE FOR
UNIQUE ACCESSORIES
TO ADORN THEMSELVES.
SARAH EZZY-DICKSON
CHATS TO DANIELLE
MONDO, THE OWNER OF
MONDO DESIGN.

DANIELLE MONDO FIRST began making

jewellery around five years ago after
becoming disenchanted with the latest lines in
fashion accessories available on the market.
She started off by teaching herself how to
make dangly earrings, as that was what she
found to be popular at the time. They became
a huge hit amongst her friends who started
placing orders almost immediately, which gave
her the inspiration to start up her own label.
Mondo Design was born, and around three
years ago, Danielle started supplying stores
around Melbourne with her jewellery.
Danielle describes her style as a
combination of contemporary and vintage
styled pieces, which allow her to showcase her

58 Creative Beading

attention to detail. She uses brass and pewter
stampings, semi-precious stones, Czech glass
beads and Swarovski crystal in combination
with modern cameos, diamantes, chains and
carefully selected feature beads to create
pieces that are effortlessly feminine.
Before dedicating her life to her passion,
Danielle worked in a full-time office job that
she became bored with quickly. Having studied
industrial design at university, she decided to
go back to her designing roots part-time for
a few years, and after seeing her workload
increase steadily over those years she took the
plunge and resigned from her job. She says
‘there was no real plan, everything just fell into
place. Overall it’s a great job!’
Even though her workload has increased
significantly in the past few years, Danielle still
works alone from her studio at home. She sits
at a big desk, surrounded by a collection of
containers full of beads and other assorted
charms, crystals and chains. She is also slowly
taking over the billiard room with her finished
pieces on display. Danielle says that working
on her own is becoming more of a struggle
these days, and the only way she manages to
get her orders filled is by ‘working longer hours,
late nights and weekends’. She would consider
taking on other staff to help her out if demand
becomes too much for her, but says, “I’m a bit of
a control freak, and like being on top of things
myself. I would hate the stress of wondering if
someone else was doing it properly!”
As far as inspiration for her work goes,
Danielle says that ‘there’s nothing specific; latest
fashion trends and colours mainly’. Danielle
PROFILE
adds colour to her pieces with semi-precious
stones; her favourites being cherry ‘quartz’,
crystal quartz and turquoise, but she also uses
onyx, green aventurine and rose quartz in
many of her pieces. Her feature beads include
cloisonné beads and Czech glass beads often
surrounded by filigree bead caps.
Many of the necklace designs that Danielle
creates are long, elegant charm necklaces,
with clusters of stampings, charms, crystals
and various beads hanging from differing
lengths of chain. She mixes chains of
varying link shape and size in different
finishes with large jump rings or plated
stampings which are then used to attach
the charms and beads. Each piece has a
theme, be it either colour or a combination
of stampings and with each theme comes
a name. Many of the names are apt
descriptions of the colour scheme that
Danielle has chosen for the piece; such as
‘Sunset’ for gold chain and charms, with
pink hued beads, while others have been
given female names, such as Sarah and
Gloria. “I name some of the pieces after
friends who I know would wear particular
pieces, or if I add a piece to my range that
I have specifically designed for a friend, I
always name it after them.”
Many of the brass and pewter
stampings Danielle uses, she gets plated
herself in one of her three
main finishes – gold,
silver and antique
brass – to ensure
the finish will
CreativeBeading
Creative Beading 37
59
 remain intact and not tarnish. She purchases
these mainly from Australian sources and
is constantly on the lookout for unique and
varied designs … and then Danielle says: “I
try and get as many cute pieces that I like and
see how it all goes together.”
When she’s coming up with ideas, Danielle
tries to keep an even mix of the different
“I name some finishes in all of the styles she makes, and says
that even though the silver finishes are proving
of the pieces to be very popular she favours gold a little bit
after friends more. “I find silver to be a little less interesting
when mixing with colours.”
who I know Danielle says that Bizzarr Beads in Melbourne
would wear was the starting point for her jewellery making
passion, as she got all of the makings for her
particular first pair of earrings from them. She still buys
pieces, or if I some of her Czech glass beads and various
other bits and pieces from them, almost five
add a piece years on. She says the mainstay for designers,
to my range large or small, is having reliable suppliers.
While her beginnings lay with earrings,
that I have Danielle admits that she is making more
specifically necklaces now. “I do still make earrings, but
I’ve been focusing on necklaces lately as they
designed for seem to be more popular at the moment.”
a friend, I While she’s been out and about in Melbourne,
she’s seen a few girls wearing some of her
always name pieces – which Danielle says ‘is really exciting!’
it after them.” One frontier she is yet to conquer (and would
60 Creative Beading
love to see happen sometime soon) is to see
someone famous wearing one of her pieces. “I
haven’t seen anyone famous wearing any of my
jewellery yet, but I would love to!”
It may not be a far-off dream, with more of
Melbourne’s boutique stores jumping on the
Mondo band wagon and stocking Danielle’s
jewellery in store. One major supporter of
Danielle’s work is Tilkah (www.tilkah.com.au)
in Melbourne. She has been supplying
jewellery to them for around two years now,
and they were one of the first to pick up on
her talent when they were only located at their
Highpoint location. They’ve since expanded
into two other locations – Chapel Street and
Chadstone – and each of the three stores
carries a selection of Danielle’s work.
The various styles of jewellery that Danielle
makes don’t always stick to seasonal fashion
patterns. “I design new ranges more often
than every season, but that doesn’t mean it’s
a completely different look, it might just be
different stampings or different colours.”
It is mainly a supply and demand situation
for Danielle as Tilkah is her major stockist.
“I usually have to come up with a new range
every time Tilkah is ready to place a new
order. The more I have, the more they order,
so it puts a bit of pressure on me to come
up with the goods.”
 PROFILE

She doesn’t follow a set schedule for designing either.

“I don’t allocate a time every week,
I just get stuck into it when Tilkah calls me to arrange
a meeting. I try to allow at least a week to come up with
new designs, but there have been times that I’ve only
had four days to get an order done. Initially I struggle a
little, but in the end I usually end up with around 20 new
necklace designs and about 10 new earring designs.”
So far, in terms of jewellery production, Danielle has
been lucky. “No great mishaps yet, touch wood! The
worst so far has been supplies running out, and arriving
the evening before an order is due! This has happened
a few times but the worst one was when I had to stay up
until all hours getting an order ready in time.”
While the excitement of creating a new design can be
all consuming it’s also a wonderfully satisfying feeling
when the project is completed. “It’s a huge relief when
it’s all done! I’m getting towards the end of an order at
the moment and I’m just itching to finish!”

Mondo Design can be found online

at www.mondodesign.net.au Danielle says the
website will be updated soon, with all new
content and showcasing many more of her
Download free!
beautiful creations.
Step by Step instructions
to make these lovely Filigree Earrings.
This project is rated for beginners.
Free from www.MaggieBergman.com.au

PMC & Metalwork classes

in Brunswick, Vic.
- Introduction to PMC
- Dichroic Glass Fusing for Jewellery
- Photo Polymer Plates for design & textures
- Enamelling on PMC
- Metal work classes for beginners
Go to the 'workshops' page on our web site
for up to date class times and subjects

www.MaggieBergman.com.au
Phone: 03 9380 8163
Email: info@maggiebergman.com.au
CreativeBeading
Creative Beading 39
61
PROJECT

BRACELET Beautiful Beads don’t need an elaborate design; they

MATERIALS
55cm tigertail (black) are simply stunning in themselves. This design is by
1 x toggle clasp Helen Jackson from Beads Direct.
2 x crimps

BEADS There are usually 15 beads on each string of through the first crimp, making sure you have
1 string of Austin Hamilton Austin Hamilton lampwork beads. There are two lengths equal. Move crimp up towards
lampwork beads many lovely colour ways, letting you design a toggle leaving a 2mm gap and crimp with flat
Toning glass beads or bracelet set unique to you. Toning beads can nose pliers or crimping pliers.
spacers be matt or transparent. Check out the website
8 x Bali style spacers to see the full range. STEP THREE
2-3mm beads Thread both ends of tigertail through a small
BRACELET bead then separate and put one toning glass
STEP ONE bead on each thread. Thread both threads
TOOLS Using a bead board, arrange lampwork through Bali spacer, lampwork bead, Bali
1 x bead design board beads in a pleasing design. Insert toning spacer, separate through toning glass beads
(optional)
beads or spacers and Bali spacers between and then back together through next Bali
1 x bead mat the lampwork beads. Design note: It may take spacer, lampwork bead, Bali spacer; continue
(recommended) several arrangements until you are satisfied. this pattern until bracelet reaches desired
1 x bead stopper length. Approximately 17 to 18 cm.
Flat nose or crimping pliers STEP TWO
Cutters for tigertail
Thread the tigertail through a crimp, through STEP FOUR
the loop on one side of toggle clasp, back Thread both tigertail threads through small
bead, crimp, second toggle loop, crimp,
and small bead. Pull threads to leave 2mm
Length of finished piece: between crimp and toggle loop. Check length
17 to 18 cm is correct and then crimp. Work should be
firm. Cut any surplus tigertail off.

Rating
62 Creative Beading
Simple
’N ’
Stunning
EARRINGS
MATERIALS
2 x 50-60mm silver plated
eye pins
2 x silver plated ear hooks
BEADS
4 x Austin Hamilton
lampwork beads left over
from bracelet
2 x toning glass beads
6 x Bali style spacers
64 Creative Beading
STEP THREE
Slip the loop of an ear hook on and finish
winding; close the loop.
STEP ONE
Thread 1 x Bali spacer, 1 x lampwork bead, STEP FOUR
1 x Bali spacer, 1 x toning glass bead, 1 x Repeat for second earring in the same way.
lampwork bead, 1 x Bali spacer.
Helen Jackson
STEP TWO Beads Direct
Cut end to 5mm and, with flat nose pliers, Mobile: 0416 005 668
bend 90 degrees away from you. With round PO Box 2227, Wandal, Queensland 4700
nose pliers, gently roll end back towards you www.beadsqld.com
until almost a full loop. Email: helen@beadsqld.com
CB1_3

Creative Beading 65
PROJECT

MATERIALS Make a power statement with this leather cuff by Bead Street
118cm x 1mm wire
50 x leather clamps STEP ONE STEP EIGHT
– 5x5mm open sided Cut 5 x 23.5cm lengths of 1mm wire Repeat steps 4-7 with the other four lengths
4 x 5 hole spacer bars of natural leather.
22.5cm x 4mm natural STEP TWO
braided leather bolo cord Thread on one spacer bar onto all pieces STEP NINE
of wire, placing it 9.5cm from end. Thread next spacer bar.
65cm x 4mm brown braided
leather bolo cord
STEP THREE STEP TEN
Cut 5 x 4.5cm lengths of the natural leather. Cut 10 x 2.5cm and 10 x 3.5cm lengths of
TOOLS brown leather.
Side cutters STEP FOUR
Round nose pliers Place a leather clamp on either end of one STEP ELEVEN
Chain nose pliers piece of the leather but don’t crimp closed Using the 2.5cm lengths repeat the process
– it’s just to stop the ends from fraying. as Steps 4-7 for five pieces; place another
spacer bar on. Repeat this with the remaining
Length of finished piece: STEP FIVE 5 x 2.5cm pieces for the opposite side of the
20-22cm Thread that piece of leather onto the natural leather section.
outermost length of wire.
STEP TWELVE
STEP SIX Now repeat this process with the 3.5cm
Position it so that it is next to the spacer bar, lengths, placing one section of five on each
which should be sitting 9.5cm from the end side of the cuff.
of the wire.
STEP THIRTEEN
STEP SEVEN Once all sections have been crimped into
Once in position, clamp the leather position, trim the ends of the wire so that
clamps closed. there is 7-8mm remaining over the edge of
the leather.

STEP FOURTEEN
Using the round nose pliers, form a loop with
the 7-8mm of wire on each of the 10 wires.

STEP FIFTEEN
Bend the cuff to suit your wrist shape.

Bead Street
www.beadstreet.com.au
info@beadstreet.com.au
Phillip: 61-63 Dundas Court, ACT 2606
Phone 02 6282 9441
Belconnen: 10 Walder Street, ACT 2617

Rating Phone 02 6251 0950

Fyshwick: 8/196-198 Gladstone Street,
ACT 2609
Phone 02 6280 5566

66 Creative Beading
 Leather
Power Cuff
PROJECT

MATERIALS
Craft line 10lb
(approximately 60cm)
2 x oval jump rings
1 pair end closing calottes
1 clasp
BEADS
20 x 6mm Swarovski bicone
drop crystal beads
10 x 5mm Swarovski bicone
crystal beads
Delicas (approximately 1.5g)
TOOLS
Flat nose pliers
Scissors
Length of finished piece:
17cm
Introduce yourself to thread work with this easy cross thread
technique, using Swarovski crystals. The result is not only fun
but beautiful. Designed by Helen Everett.
DESIGNER’S NOTE only five delicas on each strand between
To adjust length, increase or decrease the each bicone.
number of beads added in Step 7.
STEP EIGHT
STEP ONE Repeat Step 3. Hold both strands together
Cut the craft line in half. Hold the two and thread on one delica, and an end closing
ends together with sticky tape or Blu-Tack, calotte. Thread a delica onto one strand and
approximately 15cm from the ends. tie a knot around the delica, so that the delica
sits in the calotte cup. Knot 2-3 times, dab knot
STEP TWO with nail polish, trim the craft line and close the
Thread on one 5mm calotte using flat nose pliers. Use pliers to curl
bicone onto one strand over the end of the calotte into a loop. Open
and sew through the bead a jump ring, attach one half of the clasp to the
with the other strand in calotte and close the jump ring.
the opposite direction so
that the craft line crosses STEP NINE
through the bead. Diagram 1 Remove the tape from the start ends and
repeat to finish the bracelet.
STEP THREE
Thread six delicas onto each strand. Kits available, $34.00.

STEP FOUR Helen Everett

Thread on one 6mm bicone drop onto one Phone 08 9294 2639
strand and sew through the bead with the Web: www.aurorabeads.com.au
other strand in the opposite direction so that Email: heverett@tpg.com.au
the craft line crosses through the bead.

STEP FIVE
Thread one 6mm bicone drop onto each
strand, then repeat Step 4. Keep the tension
tight so that the two central bicone drop
beads are pointing upward and the other
two pointing outward.

STEP SIX
Repeat Step 3, then Step 2, Step 3,
Step 4 and Step 5 until you have five
clusters of bicone drops.

Rating STEP SEVEN

Repeat Step 3 and then Step 2. Repeat
Step 7 twice more, but thread on

68 Creative Beading
 Delicate
Swarovski
AUTUMN TRENDS

Chilly Beads
As the weather turns back into the familiar icy chill of autumn and winter, we are
sometimes forced to layer on more clothes than we’d like to, so it’s only fair to
keep your accessories as visible as they deserve to be. Sarah Ezzy-Dickson uncovers
some beading trends to inspire you to warm up your fingers and get to work.

Mixed textile THE COOLER WEATHER generally brings
darker colours – black, brown and navy
jewellery – however there are variations on your
is a kinetic typical winter theme that are worth giving
approach to consideration to, such as bold red, peacock
blue, fern green and antique sage. Semi-
wearing art. precious stones are popular, and the colder
seasons aren’t any exception. Carnelian will
add a dash of bright colour, from red to
orange, while turquoise looks stunning against
a black outfit when teamed with either gold or
silver. Emerald and jade will satisfy any lust for
green, and either Lapis Lazuli or sodalite will fit
the bill for the perfect winter blues that won’t
make you frown. Large semi-precious nuggets
used individually can make outstanding feature
beads, or smaller nuggets linked together
with thin coiled wire looks quite dainty. The
irregularly shaped semi-precious nuggets give
an earthy feel to a piece of jewellery, while
finely faceted ones tend to look more feminine
and refined.
While resin jewellery has been popular for
a few years now, with thanks to the likes of

70 Creative Beading
Dinosaur Designs, it is enjoying resurgence
in the spotlight with many jewellery designers
creating their own style of resin jewellery. Chunky
pendants made up of layers of bold opaque
colours glazed with glitter, shaped into ice cream
cones and flowers are being seen around the
necks of young and old. Resin jewellery isn’t
limited to designers with studios and specialised
equipment at their disposal … ice-cube trays
make excellent moulds for resin pendants (just
ensure the tray isn’t liable to melt when you pour
the resin into it). Experiment with different sized
round take-away containers placed inside each
other, with resin poured in the well left between
the containers for bangles of varying width and
height. With a bit of sanding, the edges will be
smooth enough to wear.
Big, chunky brass or pewter pendants in
antique brass, gold or silver on long chains
look really effective when worn under a scarf,
and smaller charms and stampings are also
proving to be very popular in accessories.
Fans, dragonflies, leaves and large groups of
circles look great in gold or silver, and filigree
bead caps and beads are also beautiful
additions to clusters of charms on a necklace;
on earrings; or as features on their own.
Vintage themed pieces were becoming
popular towards the end of last year, but with
winter around the corner vintage will be at its
best. Strands of pearls tied with black satin
or silk ribbon are classic pieces that will add
glamour to any old jumper. Cameos attached
to metal cabochon stations, then used as
features for earrings or necklaces, can be made
to really stand out by combining with crystal
drops and ribbon. Lace and ribbon can also
be incorporated into jewellery – try weaving it
through the links in some chain; use leather ends
to turn pieces into chokers; or turn some of your
lace offcuts into textile earrings (to keep the lace
stiff, dip it in liquid starch and then iron).
Mixed textile jewellery is a kinetic approach
to wearing art; it moves with the breeze and
the movement of your body and it is interesting
to touch. There are brilliant types of wool and
thread available on the market, and some
are specially targeted at being used as scrap-
booking decorations, but who’s to say that’s
where it ends? Plaiting several strands of ‘furry’
thread together, with beads scattered along the
strands, makes a simple, eye-catching single
strand necklace. Shorter strands of thread or
wool secured into folding leather ends and hung
from earring hooks would make great matching
earrings. Winding several different textured
threads, wools or leather around a wooden
bangle base can give a very ‘natural’ feeling to
an outfit, which could then be taken further with
a long strand of wood and crocheted beads.
Continuing with the textile jewellery theme,
feathers are also great accessories – worn as
charms in necklaces, as earrings or in hair
accessories, they add a delicate touch to a
thick coat or jacket. To keep your feathers in
good condition when you’re not wearing them,
put them into zip-lock bags – this will also Chunky
keep mischievous kitties out of the equation!
To add a bit of glam to the feathers, a little bit
pendants
of glitter hairspray will add the sparkle, and it made up
will also help to keep the feathers stiff.
Scarves can sometimes get a little boring,
of layers of
but they do come in handy when the wind gets bold opaque
icy. If you’re a knitter, when knitting a scarf colours
try adding a bead every stitch or so. If you’re
not a knitter, stitching beads onto a pre-made glazed
scarf is fairly easy … however you do it, the with glitter,
effect is the same – your own unique scarf!
Other ways to add pizzazz to your woollen shaped into
neckwear are to add beaded tassels to the ice cream
ends, or to make a pretty beaded brooch to
keep a scarf or poncho in place.
cones and
Diamantes add sparkle to everything you flowers are
wear, and many of the big designers have
embraced diamantes to the extreme, creating
being seen
crystal encrusted brooches and earrings around the
that could light your way in the dark. Less is necks of
more a lot of the time though, and just a few
diamante rondels added in between round young and
Czech glass beads can be just as stunning. old.
Creative Beading 71
 Finding special focal beads is always exciting,
and this winter is perfect to showcase your
beauties, even just the bead strung on an
interesting chain can be very effective. Clusters
of beads and charms have been growing in
popularity for months and
these styles of earrings
and necklaces are also
good ways to show off a
matching set of special beads.
Buttons are often quite pretty, and readily
available in sewing and haberdashery shops.
They can be salvaged from deteriorating
clothing and found in antique and bric-
a-brac stores. Some can have faux pearls
and diamantes set in them, while others
are in the shapes of cute animals. However
they come, there’s no excuse to leave
them out of your
accessories!
Necklaces
made up
of brightly
coloured
buttons on top
of different coloured
72 Creative Beading
buttons look striking against black and other
neutral shades, and when linked with jump
rings through the thread holes, make an
altogether different look entirely. Buttons that
have the thread loop at the back can be
used in wire working, and turned into hair
accessories, brooches or bracelets. They
can even be used as they were intended; as
buttons! Instead of using a standard clasp
for a necklace or bracelet cuff, try making a
button loop out of tiger tail and seed beads
and adding a button instead.
In the same vein, buckles make great
accessories too. Used traditionally, you
can incorporate them into beaded belts.
Alternatively, use them as focal points in
necklaces to hang other bits and pieces from,
or several small buckles linked together to
form a chain. They can also be used as a
base to begin wire working from, to create an
interesting frame to be used in jewellery or as
decoration around the home.
Whatever you choose to make your beautiful
beaded masterpieces with, make sure that
they’re on show during the colder seasons, as a
little bit of jewellery can brighten anyone’s day!
Creative Beading 73
BEAD CLASS
Wire
Workshop
CREATING JEWELLERY USING WIRE HAS BEEN DOCUMENTED BACK
THROUGH THE CENTURIES. TODAY THERE IS AN INCREASING NUMBER
OF VARIOUS TYPES OF WIRE THAT CAN BE USED TO CREATE JEWELLERY.
Selecting the right wire for a project will make the
difference between it turning out looking great or having
problems trying to obtain a good finish.
Two things to remember when selecting wire:
1. Pick the right gauge.
– The smaller the gauge number, the thicker the wire
plus the harder it will be to work with. These gauges
will support higher stress levels.
– The higher the gauge number, the thinner the wire.
– The gauge of wire will also have an affect on the type
of wrapping techniques used, which in turn affects the
overall design.
2. The choice of wire used – should it be solid and plated
wire, gold, copper, or base metal? Each of these types
varies in malleability. Softer wires bend easily, yet may lack
strength under stress.
TOOLS
Wire Cutters – If using heavy thick wires, use heavy-duty
cutters and for finer wires use regular jewellery wire cutters.
Chain Nose Pliers – Holding wire.
Round Nose Pliers – Making coils, bending into shapes.
Nylon Jaw Pliers – These pliers have a nylon jaw, which
won’t mark wire when used. Use for straightening kinks or
holding wires when wrapping.
Optional Items
Different sizes of knitting needles/wooden dowels are all
excellent for use in making jump rings, creating coils etc.
Film canisters are great for creating shapes.
74 Creative Beading
SAFETY WHEN WORKING WITH WIRE
As a precaution to prevent eye injuries, the use of Safety
Glasses is HIGHLY RECOMMENDED.
1. Use safety glasses for:
– Cutting wires; and
– Coiling/wrapping long strands of wire.
2. Always cut wires with the flat side of wire cutters facing up,
with the piece being cut facing down away from the body.
3. Use a nail file or metal file to smooth off sharp points
from wire to prevent it sticking into things.
WIRE CONVERSION
In a number of countries the Gauge System is often used,
while here in Australia we use the Metric System. This
can often lead to confusion in trying to convert gauges to
millimetres. There are two systems of Standards recognised
internationally with regard to wire sizes.
MAKING A WIRE WRAPPED EYE
& ‘S’ HOOK CLASP
Wire Wrapped Eye ‘S’ Hook
WIRE WRAPPED EYE
Use 20 gauge (0.32mm) wire.
1. Cut one length of wire 4cm long.
2. Bend approximately .5cm from one end and bend to
create an eye at this end.
WHAT WIRE FOR WHAT PROJECT

GAUGE WIRE THICKNESS BASIC DESCRIPTION GUIDE OF USES

Very thick and heavy, often
Unsupported shapes, lampshades forms, neck wires and bracelet
14 to 16 requiring heavy-duty tools to
bases. Styles requiring a solid framework.
shape the wire.
Medium thick, can hand shape,
Making clasps. Wire wrap larger beads with larger holes. Chain
18 yet also requires tools (regular)
making. Home deco – candle sticks, wine bottles etc.
to assist.
Good general purpose wire. Make head pins, ear wires, wire
20 Medium wire. Use regular tools.
wrapping. Wig Jig work.
If 20g is too thick then this gauge is ideal. Good for wrapping
Medium Thin wire. Use
22 with Austrian Crystals or semi precious gems. Often preferred
regular tools.
for ear wires.
Wire wrapping of smaller crystals, pearls, semi precious gems to
24 Thin wire. Use regular tools.
chain. Wire wrap Gem Trees. Viking knitting.
Very Thin. Finer tip tools, Wire wrapping for hair combs, tiaras, coiling over 20-22g wires.
26
including nylon jaw pliers. Free form work.
Very Very Thin. Finer tip tools, Perfect for weaving, free form wire wrapping using small beads.
28 to 30
including nylon jaw pliers. Use for some types of crocheting, knitting, Viking knitting.
Very Very Thin. Finer tip tools, More suited for crocheting and knitting yet can be included in
32 to 34
including nylon jaw pliers. combination with other wires of more structure.

4. Make a bend at right angles .5cm below the eye.
5.Make another eye at this bend.
6.Now wrap the wire around the gap between the two
eyes.
Wire Wrapped Eye is now complete.
‘S’ HOOK CLASP
Use 20 gauge (0.32mm) wire.
1. Cut one length of wire 4cm long.
2. Mark the centre of the wire.
3. Halfway from the centre, using the thickest part of the
round nose pliers, bend the wire over the pliers to make a
U-shaped bend.
4. Create another U-shaped bend at the other end of the
wire facing the opposite direction.
5. Trim the ends of each U-shape so that they align with
the center markings.
6. At the tips of each U-shape, turn the wire back onto
itself 0.2mm (file off any sharp edges).
7. Gently position each end towards the centre marking so
you have created an ‘S’ shape. Don’t forget to remove any
markings on the wire. Now completed.
MAKING COILS
Decide on what you want to do with the coils. This is up to
the imagination.
• Decoration to add to a chain;
• Use as spaces in a multi-strand necklace;
• Make jump rings.
Adding ‘coils’ sections to a chain for added effect, along
with drops.
1. Note: Drops are completed last after you have added
the coils, hence creating sections on the chain of drops/
coils/drops.
2. Work out the diameter of the chain (3mm) then add
2mm so that the coils will slide up and down on the chain.
Total diameter required to make is 5mm.
3. Use a knitting needle of the coil diameter required.
5mm knitting needle.
4. Now decide on the gauge of wire (22 gauge/.025mm).
5. Decide length of coiling required for adding to the
chain (1-3cm sections).
6. Work in metre lengths of wire to create the coiling
(less likely to end up being kinked and easier to
handle). Or you can choose to wrap straight from
the roll of wire until you have reached the desired
length required.
7. Take one end of the wire, place it on the needle and
hold in place with fingers. Use the other hand to begin

Creative Beading 75
 BROWN & SHARPE STANDARD WIRE
GAUGE INCHES MILLIMETRES GAUGE INCHES MILLIMETRES
14 .064 1.62 14 .080 2.03
16 .050 1.27 16 .064 1.63
18 .040 1.01 18 .048 1.22
20 .032 .81 20 .036 .91
22 .025 .63 22 .028 .71
24 .020 .50 24 .022 .56
26 .015. .38 26 .018 .46
28 .012 .30 28 .015 .38
30 .01 .25 30 .0124 .31
35 .0079 .19 35 .0108 .27
34 .006 .15 34 .0092 .23
Reference: Textile Techniques in Metal by Arline M. Fish

wrapping around the knitting needle with the length of desired lengths and cut with wire cutters. Don’t forget to
wire. Do 6-8 wraps, then push these wraps up close file any sharp edges.
against where you began. Note: This will give you a 10. Now you add the coil sections to your chain, by sliding
uniform coil of wraps. Note: Keeping a medium tension them on.
on the wire will also give uniformity of coils. 11. Make drops onto the chain in sections dividing your
8. Continue to wrap until you have the desired length. added coils.
9. Slide the wrapped coils slowly off the needle to the 12. Completed.

76 Creative Beading
Creative Beading 77
BAsIc InsTrucTIons

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

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

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

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

Nylon jaw pliers: Have two jaws that

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

re Beading
 BAsIc InsTrucTIons

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

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

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

Creative Beading 79
BAsIc InsTrucTIons
BRICK STITCH
After forming ladder to start.
Begin each brick stitch row with 2 beads go under
thread between the second and third bead on the ladder,
go up through the second bead added, then down4.the
first. Come back up the second bead. Continue by adding
one bead and passing the needle under the next loop of
thread on the row below.
CRIMPS
Position crimp and wire in pliers cup shaped hole. This is
usually closest to handle. Squash crimp. Move squashed
crimp to circle shaped hole at front of pliers, with cup
facing sideways like a back to front “C” gently compress
to form a ball. Test to ensure crimp is secure.
STOPPER BEADS
A stopper bead is used to temporarily secure beads
at the start or finish of work, Choose a different
colour bead than your work unless it is to stay in
bead work. Leave approx 10 – 15cm of thread
and go back through bead in the same direction
a couple of times for tension. To remove after work
is finished roll bead in your hand and loosen with
your needle.
80 reative Beading
WRAPPED LOOPS
1. 2.
3. 4.
Using roundnose pliers grip wire above bead press with
fingers to right angle. Place pliers in upright position
and pull wire over top of pliers and back to right to form
neat round loop. The size of your loop will vary on where
you place the pliers on the wire.
So when wrapping a number of loops that you require
the same size, draw a line across your pliers with a ink
marker at the point you wish to wrap at. Move pliers to
hold loop just formed. Pull wire firmly up to bottom of
circle and wrap wire in tight circle motion around wire
above bead, cut and trim excess wire.
LOOP TURNING
AND TRIMING
1. 2.
3. 4.
Cut head or eyepin leaving approx 1 cm of wire above
bead (or as project instruction). Bend to right angle.
Grip tip of wire with roundnose pliers and curl inwards
to bead hole moving slowly place downward pressure to
get a rounded shape that sits directly above bead hole.
OPENING AND
CLOSING JUMPRINGS
To open a jumpring grasp the open ring either side of
the opening with flat or chainnose pliers. Bring one pair
of pliers toward you and push the other away.
To close a jumpring reverse this movement. Apply slight
pressure inwards on rings that are widely opened. Never
pull rings apart outwards as this will distort shape and
weaken jumpring.
FLAT EvEN COUNT PEyOTE
Thread on an even number of beads. This forms 1st and
2nd row. This can be done with any number of beads as
long as it is an even number.
Diagram 1
Pick up 1 bead and thread back through 2nd bead
from needle in opposite direction this is the 3rd row.
Pick up 1 beads and skipping 1 bead go through
next bead. Pick up 1 bead, skip next bead and go
through last bead.
Diagram 2
Next, and all following rows, pick up 1 bead and going
into the first high bead. Pick up 1 bead and go through
next high bead, continue across row to complete.

HOW TO MAKE A LOOP
EyEPIN OR WRAPPED EyEPIN
Cut a section of wire at least 3 cm longer than the bead/s
you wish to use, turn a simple loop on one end, thread
bead/s complete with a simple loop for the second end.
To wrap eyepin cut wire 4 cm longer than the bead/s to
be used, turn a wrapped loop on one end of wire, thread
bead/s, complete with a wrapped loop for the second end,
do not forget to add next link or clasp before completeing.
BRICK STITCH
After forming ladder to start.
Begin each brick stitch row with 2 beads go under
thread between the second and third bead on the
ladder, go up through the second bead added,
then down the first. Come back up the second
bead. Continue by adding one bead and passing
the needle under the next loop of thread on the
row below.
FLATTENED CRIMP
Position crimp gently with chainnose pliers, making sure that
wires are tensioned correctly gently flatten crimp using pliers,
so it remains in alignment with wire in a neat square shape.
Test to ensure crimp is secure before proceeding.
BEAD CONES
Create a wrapped loop as in diagram, on one end of
wire. A “wrapped loop” is better than a loop as this
will stop stringing from slipping out. Place stringing
onto loop, attach using knots or crimps as per your
necklace design.
Slip wire and stringing into cone as high as possible.
Create a second wrapped loop on the top of the cone
using wrapped loop instructions, do not forget to add
clasp if needed before completing wrap.
KNOTS
1.
2.
Square knot: bring left-hand thread over the right-hand
thread and around. Cross right over left and go through
the loop. Spot glue all knots.
Surgeon’s knot: bring left-hand thread over the
right hand thread and around. Form a loop and go
through the loop. Go through again. Move knot to
exact spot you require it before tightening, this knot
is very secure and will not undo easily. Spot glue
all knots.
BAsIc InsTrucTIons
SQUARE STITCH BASICS
String the required number of beads for the first row.
String 1st bead of row 2. Go through the last bead of row 1
in a circular direction going also through 1st bead of row 2.
This bead will sit on top of the last bead of the 1st row.
Diagram 1
Continue picking up 1 bead and in circular direction pick
bead up from row below. Continue until the end of the row.
Diagram 2
At the end of the row simple turn your work over
and complete diagram 1 and diagram 2 for the next
row. It is important to turn your work as this will
give you correct tension and your work will not have
a sideways slope.
At the end of each third row run your thread through the
row below where you finished and the row you are on
now back to the same position.
CHARLOTTES
Thread tiger tail or thread through charlotte hole. Place
a flattened crimp on tiger tail or knot thread so that it
sits in the cup area. Trim excess. Using chain nose pliers
fold cups sections together.
Creative Beading 81
BASIC BEAD GLOSSARY
Beads are three-dimensional objects and are often described in a
combination of two and sometimes three dimensions ie; flat round;
long thin tube.
Barrel
So-called because of its resemblance to a wine
barrel or beer barrel, these oval shaped beads
are generally flat on the ends. They ca n also be
slightly more cylindrical and still be called a barrel.
Cabachon/Cabochon
A cabochon (also spelt cabachon or cabouchon) does not
have a hole, and features a convex top with a flat back. It
is traditionally smooth and not faceted, however, in popular
use, cabachon is also applied to faceted flat backed beads,
ie; a domed cabochon or a faceted cabochon.
Cube
A square with the same width, height and depth.
They can be centre or diagonally drilled.
Drop/Teardrop
Drops are wider at one end, and mostly shaped like
a teardrop or pear. The hole can be through the
length of the center of the bead (vertical drill) or at
the top end (top drilled).
82 Creative Beading
Bicone
A bicone is essentially two cone shapes joined at
the base. Bicones can be long or short, smooth or
faceted. When a bicone is long it is often called
a diamond.
Chaton
A chaton has no hole and is multi-faceted on one
side with a pointed back for gluing into a metal
stamping, or capturing in claws.
Diamond
Diamond beads are shaped like a ‘baseball’
diamond with the hole either along the long axis,
or top drilled.
Drum
A short cylindrical bead which is flat top and
bottom.
Bone
A bone is also called bamboo or hourglass and the
hole is generally drilled on its long axis.
Chips
Chips are small irregular shapes and sizes,
generally shell or semi-precious stone.
Disc
Discs are generally flat-sided with either a rounded
or straight edge, unlike rondelles which are
curve-sided. The hole is across the flat dimension
of the bead.
Flat Square
A flat square has four even sides but is flat. The
hole is through the long axis.
Branch
Generally made from shell, coral and pearl,
branches are characterised by being top drilled and
irregular in shape.
Coin
Coins are flat round beads with the hole through
the long axis.
Donut
A donut bead, as its name suggests looks like its
sweet namesake with a large hole which is side
drilled (the hole is across the flat dimension of
the bead).
Hairpipe
Generally made of bone or horn, hairpipes are
long barrel shaped cylinders with a large hole
and were traditionally braided into the hair of
indigenous peoples.
 BASIC BEAD GLOSSARY
In addition, a feature of the bead is often used to describe its
characteristics ie; hexagonal tube, twisted oval; faceted bicone,
carved barrel.
Irregular
Generally refers to beads with irregular angular cuts
(ie; more like sharp facets, not curves, or twists.
Pillow
A pillow is generally square or slightly rectangular
with two angled sides, so it resembles a pillow.
Rice
Some rice shaped beads look exactly that – a
grain of rice, but rice shaped pearls are similar
to potato except they are more ‘oval’ in shape
than ‘rounded’.
Triangle
A tri-sided flat bead, triangles can be vertical or top
drilled, with square cut or slightly rounded edges.
Melon Nugget Oval
The melon bead is generally round but it can be in As the name suggests nuggets are of a random Ovals are even-diameter egg shaped with rounded
other shapes – it is called Melon because of the shape and size with soft or rounded edges. edges (not flat like barrels). Other types of ovals
grooves along its side. are a flat oval and a faceted oval.
Pony Potato Rectangle
Beads made of glass or plastic, typically slightly oval A potato bead is an irregular shaped round bead, Unlike a cube, a rectangle is a square or
in shape, with a large hole. They are also called crow and resembles its namesake. rectangular shaped bead with uneven dimensions.
beads. The word pony is also used to describe shaped Other types are flat rectangle and faceted rectangle.
acrylic beads with large holes – ie; flower pony, heart
pony, star pony and butterfly pony.
Rondelle/Saucer Round Shield
A rondelle (also called saucer because of it’s Shaped like a ball, rounds have an even diameter. Shields are flat and oval-shaped with angular
resemblance to a flying saucer) is a pillow-shaped, Other types of rounds are flat round and faceted edges, so called because of their resemblance to
rounded bead. It can be faceted or smooth and is round. Smooth round beads are also called druk. ancient Viking shields.
side drilled (the hole is across the flat dimension
of the bead).
When giving dimensions
of a bead it is customary
for the first measurement
to be the axis where the
hole (or aperture) is located,
so for example if a bead is
25mm x 10mm x 6mm, the
hole would run through the
Tube Twist 25mm axis.
A tube has the hole drilled on its long axis and A twist can be a bead of almost any shape that
is also called a cylinder. Other types of tubes are looks like it has been grasped at either end and
hexagonal tubes. twisted in opposite directions. Also sometimes
called a swirl.
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