JDiane, ,,

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FAVORITE BEADING PROJECTS
Boston Public Library
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FAVORITE BEADING PROJECTS
 Designs from
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FAVORITE BEADING PROJECTS
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LARKAshevilleCRAFTS
 To all my 8tudent8 LARK<£JcRAFTS
An Imprint of Sterling Publishing
far and wide. I Wpe 387 Park Avenue South
New York, NY 10016
your beading brings If you have questions or comments about
you pleasure. this book, please visit: larkcrafts.com

Library of Congress Cataloging-in-Publication Data

Fitzgerald, Diane.
Editor
Diane Fitzgerald's favorite beading projects : designs from stringing to beadweaving / Diane Fitzgerald. — 1st ed.

Nathalie Mornu p. cm.

Includes index.
ISBN 978-1-60059-922-4 (hc-plc : alk. paper)
1. Beadwork. I. Title.
Technical Editor
TT860.F573 2012

Bonnie Brooks 746.5—dc23

2011022951

10 987654321
Editorial Assistants
<Abby I laffelt, First Edition

Dawn Dillingham Published by Lark Crafts

An Imprint of Sterling Publishing Co., Inc.
387 Park Avenue South, New York, NY 10016
Editorial Intern
Text © 2012, Diane Fitzgerald

Virginia M. Rop er Photography © 2012, Lark Crafts, an Imprint of Sterling Publishing Co., Inc., unless otherwise specified
Photos on pages 22-24 and 123 © Diane Fitzgerald
Illustrations © 2012, Lark Crafts, an Imprint of Sterling Publishing Co., Inc., unless otherwise specified
Art Director
Distributed in Canada by Sterling Publishing,

Kathleen Holmes c/o Canadian Manda Group, 165 Dufferin Street

Toronto, Ontario, Canada M6K 3H6

Book and Cover Designer Distributed in the United Kingdom by GMC Distribution Services,
Castle Place, 166 High Street, Lewes, East Sussex, England BN7 1XU
Pamela Norman Distributed in Australia by Capricorn Link (Australia) Pty Ltd.,
P.O. Box 704, Windsor, NSW 2756 Australia
Junior Designer
The written instructions, photographs, designs, patterns, and projects in this volume are intended for the personal
Garol Morse Barnao use of the reader and may be reproduced for that purpose only. Any other use, especially commercial use, is forbidden
under law without written permission of the copyright holder.

Art Intern Every effort has been made to ensure that all the information in this book is accurate. However, due to differing condi¬
tions, tools, and individual skills, the publisher cannot be responsible for any injuries, losses, and other damages that
may result from the use of the information in this book.
Melissa Morrisey
Manufactured in China

Photographer All rights reserved

Lynne Harty ISBN 13: 978-1-60059-922-4

For information about custom editions, special sales, and premium and corporate purchases, please contact the
Illustrator Sterling Special Sales Department at 800-805-5489 or [email protected].

J’aime Allene Submit requests for information about desk and examination copies available to college and university professors to
[email protected]. Our complete policy can be found at www.larkcrafts.com.
Contents
6 Introduction 40 Pussy Willow Necklace
7 Foreword by Jean Campbell 44 Sea Moss Necklace
10 One-to-Many Strand Necklace 50 Majesty Necklace
14 Tie-One-On Necklace 55 Fortune-Teller Beads
18 Shimmering Waves Necklace 60 Apple Blossom Necklace
20 Collage Pin 64 May Basket
26 Yao Necklace 70 Lacy Bracelet
31 Merry Cherries Necklace 75 Midnight Snowflakes
37 Tassel Necklace 80 Art Deco Necklace
88 Diamond Chain Bracelet
92 Button Doll Ornament
96 Zipper Bracelet
101 Braided Garland Necklace
106 Sea Urchin Necklace
110 Hard Candy Bracelet
113 Knotty Necklace
119 Canterbury Necklace

122 Gallery
127 Acknowledgments
127 About the Author
128 Index
 Dear Reader,

When my beadwork odyssey to intermediate level, plus have found in working on and
began some 20 years ago, a gallery of other pieces to completing a piece. Many of
I couldn’t have predicted inspire you. It’s hard to say my fondest memories involve
it would last so long or which of these is my favorite. seeing the look of satisfaction
introduce me to so many Each one elicits special on a student’s face as she held
wonderful people. It has been memories, among them: up a new creation.
a journey like no other.
• teaching the One-to-Many
I hope this book will bring
The inspiration for my Strand Necklace at the Second
you many hours of pleasure.
designs comes from many International Bead Conference;
Increase your satisfaction
sources: historical beadwork, • donating the Zipper Bracelet by making the projects your
classes in color theory, pattern to the Worcestershire own with your favorite colors.
contemporary and vintage Beaders to make as a charity You’ll cherish these jewelry
jewelry, travel, nature, and fund raising project; pieces because they’ll work
geometry. (While I’m not a with everything in your
• giving the whimsical Button
math wizard, I’m not put wardrobe and never go out
Doll to family members
off by it, and I value and use
of style. Add some crystals
at Christmas;
the math I learned in high
and they’ll be sparkly addi¬
school.) Computers have • and wearing the Merry
tions to evening wear. And
helped, too, both to search Cherries Necklace to my grand¬
because they’re your very
for design ideas and to docu¬ son’s wedding.
own creations, they’ll add
ment and share my ideas
When I look back on my to your feelings of pride and
and discoveries.
6 career, what comes to mind self-confidence.
This book presents two dozen the most is how much I’ve
Enjoy your beading!
projects I’ve taught over the learned from students, and
years, ranging from beginner also the pleasure my students
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS
Foreword by jean Campbell
“I’ll call Diane. She’ll know.”
The Scholar
I’ve uttered this phrase many times in Diane had a twenty-year career in public her shop, Beautiful Beads, in Minneapolis.
the years I’ve known Diane Fitzgerald. relations before discovering beading. By 1995, Diane was a contributing editor to
She is the go-to header. A consummate Though she enjoyed needlepoint and Bead&Button magazine, was writing Beads and
maven of the bead world. A talented quilting, when she attended a class on Threads with Helen Banes, founding the Upper
scholar, designer, and teacher. One of the needleweaving with Helen Banes in Midwest Bead Society in Minneapolis, and
cornerstones of modern beading. Lofty 1989, she felt she’d found her creative doing lots of teaching.
accolades, right? But as you page through niche. She immediately immersed herself
these wonderful projects, which she’s in the art, taking classes from some of In person, you can tell Diane’s been captured

taught over the years, I think you’ll feel the greats—Virginia Blakelock, Carol by the bead sirens. For one, she’s usually

the sense of creative strength and design Perrenoud, Horace Goodhue, and Joyce festooned with an elaborate beaded necklace

knowledge for which Diane has rightly Scott. Also in 1989, Diane couldn’t resist of her own design. Her eyes absolutely sparkle

earned these words of praise. purchasing an entire stash of beads from at the mention of a beaderly subject she hasn’t

a fellow header. The acquisition put her encountered before. When I first met Diane,
Diane is the person I call when I have a into the bead business and she opened she was dissecting an old piece of African
question about the history of beadwork, Zulu beadwork to analyze how the stitch
a query about a product, or a teaching was done; she told me at length how amazed
question. Her down-to-earth Midwestern she was at the ingenuity of the maker. That
roots make her approachable and funny, fervor for knowledge leads Diane in dozens
but her quest for knowledge makes her a of directions, whether figuring out an ancient
walking bead encyclopedia. stitch or finding out how a particular bead
was manufactured. For instance, Diane loves

Two-Hole Bead Necklace

Needlewoven Necklace
with Scarab Buckle, 1991
Morroccan Lanterns Necklace, 2009
4
14 X 17 CM
in Black and Copper, 2004 Fiber, vintage scarab buckle,
61 CM LONG
52 CM LONG pressed glass beads; needleweaving Delica beads, vintage nailheads,
Pressed glass beads; netting Nymo D thread, metal chain; peyote stitch
Diane’s start in beading began with a class in
Two-hole beads have long been a collecting needlewoven necklaces taught by Helen Banes, and Sometimes, students help Diane name pieces. In the
niche for Diane. They were popular from the 70s the two later co-authored a how-to book. Diane case of this necklace, a student in England said she’d
through the ’50s, but you can still find stashes of used this technique to make this necklace featuring a seen a picture of Moroccan lanterns in a magazine and
old ones. This style of necklace would have been vintage Egyptian Revival scarab buckle as the central the pendants in this necklace reminded her of them.

popular in the 1940s. motif and vintage glass teardrop pendants as accents.
 two-holed beads. She collects antique ones Lanterns Necklace. The strand is deco¬ the colorful, swirling skirts of Mexican
from 1920s to 1950s Czechoslovakia and rated with ornate beaded pendants that folkloric dancers. To wear a bracelet like
has written several articles about them, evoke something that might hang in a this is to wear the mood and movement
and her love of them led her to dive, head¬ sheik’s tent. of an experience. This bracelet is another
first, into learning about the new Japanese great example of how Diane works
Tila two-hole beads. She embraced this Diane’s work with the Zulu beadwork of “new” just about every time she makes
new product with new techniques and South Africa gave her a rich field from something. She responds to experiences
published projects. which to work. She learned dozens of Zulu first, only depending on her established
beading techniques and used them to style once she has uncovered the mood of
Diane’s ravenous appetite for bead make beautiful and contemporary pieces,
her experience.
knowledge has taken her to 38 countries. like the African Circle Stitch Necklace
She’s written extensively about her quest, and Flowerette Bracelet. By incorporating
bringing readers along on her travels to Austrian crystal and metal-plated beads, Hie Teacher
places from a Marrakech souk to London’s Diane elevated these ancient tribal tech¬
The way Diane shares her knowledge
Portobello Road. Diane has taught about niques to haute couture.
of beads with such gusto is what draws
Egyptian revival jewelry, Zulu girls’ initia¬
so many students to her. Whether it’s
tion ceremonies, and modern American In Diane’s Mexican Fiesta Bracelet, dra¬
through her numerous books, articles,
art glass beads. Among other things, she’s matic netting increases summon to mind
or workshops, she’s a tireless educator,
taught the best way to haggle for Berber
encouraging the joy and creativity that
beads, explained how to identify authentic
comes from beadwork.
Bohemian peacock eye beads, and given us
an inside look at the Miyuki bead factory. In the late 1990s, when I was editor
of Beadwork magazine and Diane a
regular contributor, we had many serious
Hie Designer discussions about elevating the bead com¬
Lucky for us, Diane brings her travel munity’s knowledge overall. I laugh now
discoveries directly back to her design about how we’d argue about the proper
studio. She uses the whole world as her
inspiration. This is clear in her Moroccan

Czechoslovakia was the fountainhead of beads in

the first half of the twentieth century. During this
period, many women made extra money working at
home stringing beads for local factories. They used a
simple machine much like a potter’s wheel. As a large
round tray rotated from the operation of foot pedals,
the stringer would insert several very long threaded
needles into it. Almost instantly, the needles would
be full of beads and the stringer would slip them onto
thread to be measured and tied into hanks. Here,
Mexican Fiesta Bracelet, 1992 Diane tries her hand at bead stringing, but quickly
Diane in 2007, decked out in full kimono regalia
4 X 19.5 X 2.5 CM finds out what skill it takes.
in Tokyo’s famous Takashimaya department store.
Seed beads; netting Photo by Christa Petmskova
Photo by Jeannette Cook
use of words in beading instructions, to look back now and realize that Diane’s Germany. She’s in constant demand
as we both hoped for an easy, universal influence definitely made an impact—the because she encourages her students
beading language. During this time Diane number of headers in the last 15 or so to find their own voices through crea¬
constantly reminded me to cater not only to years has easily tripled. tive play. When teaching a pattern,
advanced beadworkers, but to help out the she comes armed with many examples
Diane continues to act as an enthusiastic
beginners, too. Her influence pushed me to to spark creative confidence in her
teacher through her magazine articles
make sure we helped newcomers learn the students, motivating them to try a
and lectures, whether about designing
basic stitches through special techniques little design work on their own.
beadwork, working with color, or getting
sections and easier projects. It’s interesting
the most out of a beading class. She has
So here, you have 24 of this bead
even taught bead teachers how to be
maven’s favorite class projects. Working
more effective. She wants to share eve¬
through any of these projects might feel
rything she’s learned to boost the whole
like attending a special Diane Fitzgerald
community, exciting us all to become
workshop, but in the comfort of your
more involved.
bead studio. In doing so, you join the
thousands of other students in Diane’s
The crown of Diane’s career, however,
workshops who have enjoyed the knowl¬
has to be her workshops. She has taught
edge, inspiration, and joy she brings to
extensively throughout the United
everything she does.
States, the United Kingdom, Japan, and

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

African Circle Stitch
Necklace, 2006
34 X 13.5 CM

Seed beads, crystals; African circle stitch

When she was invited to teach for Swarovski in Japan,

Diane asked her host what he’d like her to teach. At that Flowerette Bracelet, 2007
time, she had made only a few pieces with crystals. After 23.2 CM LONG
thinking for a moment, her host responded, “I would
Crystals, charlottes, cube beads; Zulu-inspired technique
like you to take the Zulu techniques in your book, Zulu
InspiredBeadwork and make them with crystals.” It was a The beading techniques of the Zulu people of South Africa are among the most intricate in the world.
brilliant ideal This necklace was the result. This popular Zulu pattern takes on an entirely new look when crystals are used instead of seed beads.
 SUPPLIES
Mixed shades of red and turquoise
9° to 15° round or cut seed beads,
approximately 85 g*

200-300 small beads, small stone

The ©ne-to-Many Strand Necklace can have from chips, rondelles, and size 8° or 6° seed
beads, in colors coordinating with the
10 to 20 strands of multicolored seed beadcS, small stone
9° to 15° seed beads

chips, and small beads supported by a single strand of 2 brass round decorative beads, 20 mm

6 red cube beads, 12 x 12 x 10 mm

large bold beads on each side. The texture created by
6 brass ribbed bicone spacers, 6 mm
the multicolored seed beads and small beads contras
2 turquoise glass oval beads, 10 x 25 mm
with the bold large beadcS to make this necklace a striking 2 red glass faceted round beads, 10 mm

2 turquoise glass round beads, 12 mm

piece that will never go out of style. Color mixing with
2 light turquoise glass bicones, 10 mm
seed beads, a process akin to mixing paint, is an
2 turquoise glass round beads, 8 mm
important part of creating this necklace. 10 bronze cubes, 3 mm

Necklace clasp

I Mix your 9° to 15° seed beads

together in a small dish by
Refer to FIGURE 1 as you work
steps 2 through 4. Cut 2 pieces
2 clamshell bead tips

1 Vi yards (1.4 m) of #18 nylon cord or size

11
F or FF nylon bead cord**
adding about half a spoonful at a of size F or FF nylon bead cord,
each 24 inches (61 cm) long. Fold Tape
time and watching how the color
mixture shifts. (Remember—it’s each in half. Place them on the Piece of cardboard, 12 x 18 inches

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

easy to mix beads, but difficult to cardboard so the folded ends are (30.5 x 46 cm)

separate them again, so add small 13% inches (34.5 cm) apart and are Nylon beading thread, size D
amounts each time.) Place your pointing toward each other. Tape Scissors
small beads, stone chips, rondelles, the cord securely to the cardboard.
Size 12 beading needles
or size 6° or 8° seed beads in coordi¬ The strands of seed beads and small
beads will be strung back and forth Microcrystalline wax
nating colors in a dish nearby.
between these 2 loops. Adjust this Disposable lighter
length if you wish. Clear nail polish

Pencil and paper

Small box lid or bottom about 4x4x1

lV/j INCHES inch (10 x 10 x 2.5 cm) deep
(34.5 CM)
*See the Selecting Colors tip box

FIGURE 1
**Sometimes used in upholstery
and called #i8 cord

Dimensions: 26M inches (68 cm) long

 adding new thread
When you run out of thread, add more in the
middle of an existing strand, not near the loops.
Here’s how: Leave the old needle on the thread.
Prepare a second threaded needle as you did in step

3 Thread a beading needle with 3 yards (2.7 m) of

size D nylon thread, bring the ends together, wa*
3. Pass the new needle through the last 4 to 6 beads
just strung so that both needles are exiting the
same bead and in the same direction. Tie the old
well so that the strands adhere to each other like
and new threads together with a square knot. Apply clear nail polish
a single strand, and knot with an overhand knot
to the knot. String more beads onto the new thread. Later, to hide the
(FIGURE 2). Clip the tail 1 mm from the knot and melt old thread, pass through several beads, tie an overhand knot between
the knot slightly with a disposable lighter. (Don’t put the beads, pass through a few more beads, and clip.
the tails in the flame, just near it.) Check to make
sure the knot is secure.

When the length of the strand is exactly long enough to reach

the loop of the second cord, pass the needle through the loop
and back through the last 2 or 3 beads just strung (going in the
opposite direction) as shown in FIGURE 4. Avoid adding a small
bead near the cord loops because it will interfere with the way the
strands hang. Continue going back and forth until you have the

4 Attach the thread to 1 cord loop with a lark’s

head or sales tag knot, as follows: Pass the needle
desired number of strands for your necklace, anywhere from 10
to 20 strands.

through one of the cord loops. Bring the knotted end

of the thread near the cord loop. Separate the strands X-
— n-- - ■ - 7—
between the knot and the cord loop. Pass the needle
between the two strands and pull it so the knot is
next to the bead cord (FIGURE 3).
FIGURE 4

12
6 After the desired number of strands are strung, remove the
tape from the bead cord on one end and string on the 6 to 7
inches (15.2 to 17.8 cm) of large, bold beads on the strands (both
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

strands go through the beads). Bring the 2 ends of the bead cord
through a bead tip. Tie the 2 ends together with a square knot and

5 Put the seed beads in the box lid and slide them
toward one corner. Add seed beads by scooping
apply nail polish to the knot. Clip the excess cord. Squeeze the
2 halves of the bead tip over the knot with pliers to close the tip
(FIGURE 5). Do the same with the cord on the other side. Attach 1
them onto the needle by passing the needle through part of the clasp to each bead tip.
the mound of beads with a slight upward motion
like an airplane taking off. After each needleful—or
about every 1% inches (3 cm) of seed beads—add a
stone chip or a bead that’s larger than the seed beads.

selecting colors FIGURE 5

You can make this necklace in any colors you
like. Study the hues in a favorite photograph, or a
multicolored-print blouse or skirt, and choose your
bead colors to match. Don’t forget the neutrals.
 Variations
Choose large, bold, solid color beads that
will string up to a length of about 6V2 inches
(16.5 cm) for each end of the necklace.
 Create a &ensuou& necklace by tying beack together rather

than dimply .stringing them, and by attaching strands of

beads, also by tying them on. Larger elements with two

holes work well to bring this style together. Dangling cord

ends are part of the design, adding a softness and tendril-like

feel. You may not find elements exactly like those used here,

so be prepared to experiment with your materials in

whatever way necessary. Just “tie one on!”

Tie-©ne-©n
N c la::
SUPPLIES
Conso #18 nylon cord in a color
that works with your beads, or
size FF or FFF nylon bead cord*

Beads for the “backbone,” about 15

5 to 11 flat pieces with 1 large or
2 small holes, such as donuts 1 Begin by laying out the major
components on your work surface,
Join large components with one
of the knots—the overhand
Chips or small beads; other o
dangles (optional) arranging them as you envision them in knot, square knot, or lark’s head >
your necklace. Then sprinkle seed beads, knot (FIGURES l TO 3). Cut a length of
z
Japanese seed beads in colors m
related to your larger beads, size small beads, and chips between them to bead cord about 12 to 15 inches (30
H
6° to 11° with holes large enough see the overall effect. to 38 cm) and apply clear nail polish N
to string on #18 cord, 5 to 10 g c
to the ends to stiffen them. Join m
70
Button, bead, or toggle for >
the clasp O
l/l
1 heavy straight pin or T-pin ~n
>
Clear nail polish <
o
73
Disposable lighter
FIGURE 1 FIGURE 2 H
m
Towel, placemat, or other
CD

work surface m
>
*Sometimes used in upholstery and Q
Z
called #!8 cord
o
~XD
Dimensions: V/sx26 inches (8 x 66 cm) TO
o
m
FIGURE 3 n
CO
 2 components with this thread (FIGURE 4), stringing
seed beads, small beads, and/or chips to cover the
cord. Space the components about 1 to 1% inches
(2.5 to 4 cm) apart. Bring the cord ends together
and tie with an overhand knot. Attach seed beads
and chips or other dangles to the ends of the cord.
Finish the end of the cord with an overhand knot
to prevent the beads from falling off. Melt the end
with a lighter or let it fray.

Add other dangles with a lark’s head knot and

3 finish the ends as above.

4 For the clasp or closure, tie a button, bead, or

toggle to your last component. Finish the ends
as above. For the other side, tie a loop to the last
component and wrap it with the buttonhole stitch
(FIGURE 5).

16

FIGURE 5
DIANE FITZGERALD’S FAVORITE BEADING PROJECTS
* l *
 Thus delicate necklace will bring rave reviews. The chain is

a typical zigzag chain worked back and forth, similar to peyote,

but with a pieot, which is an extra bead on the outer edge of each side.

Add a button at the center to serve as a focal point.

1 Thread the needle with l1/?. yards

(1.4 m) of thread. String 2 A, 1 B, and
through 12 B on one side of the band. Pass
through 4 A to the other side of the band
2 A. Tie these 5 beads into a tight ring, (FIGURE 5). Pull the thread tight so the band

leaving a 4-inch (10 cm) tail (FIGURE 1). curves. Knot between the beads. Continue
passing through 12 B on one side, then
Add 2 A, 1 B, and 2 A. Pass back passing through 4 A to the other side, then
through 2 A in the first 5-bead ring knotting and passing through 12 B again.

SUPPLIES
(FIGURE 2).

Add 1B and 2 A. Pass back through

5 After completing the S-curve band,
align the ends of the 2 bands at one
A, size 11° cylinder beads, 15 g* the last 2 A added in the previous step end and stitch them together. Intertwine
(figure 3). Continue to repeat this step for the the bands so they cross and wrap around
B, size 15° seed beads, 7 g
desired length (figure4). Keep your tension one another and lie flat. Stitch the bands
1 snap, !4 inch (6 mm) in
tight. For an 18-inch (45.5 cm) necklace, together at the intersections, passing
diameter
make 2 strips with 312 picots on each. For through the beads or around the thread if
1 button, 7/a inch (2.2 cm) a longer necklace, each additional 12 beads the bead holes are full.
in diameter
will add approximately % inch (2 cm).
19
Nylon beading thread, size D,
in a color to match the beads 4 Make the S-curve as follows: When
the chain is the desired length, knot
6
Sew 1 side of the snap to each end of
the necklace.
Size 10 or 12 beading needle
Sew the button to the center of the necklace.

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

the thread between the last A and B. Pass

*Or 5 g each of 3 colors close in value

7
and hue. For an interesting variegated
effect that gives wonderful highlights
and shadows, use 3 shades of a single
color of cylinder beads, such as
metallic, silver-lined, and semi-matte
silver-lined or iridescent. Begin with
about 30 cylinder beads of I color,
then make a gradual transition to the
FIGURE 1 FIGURE 2 FIGURE 3 FIGURE 4
second color by mixing 8 to 10 beads
of each color and adding them at
random. Continue with the second
color until there are 8 to 10 beads left,
then mix these with 8 to 10 beads of
the third color, and so on.

Dimensions: 18Xs inches (46 cm) long

FIGURE 5
* 1
 Miriam Ha&keil’s designs were worn by movie ^tarcs, meh acs Lucille Ball,
Myrna Loy, and Joan Crawford. Today, her-pieces are among the
mo^t collectible in costume jewelry and command high-prices at
antique Tows. Much of Haskell’s work features beads attached to a
perforated metal plate and components covered with tiny seed beads.
Accordingly, the pins in this project involve wiring beads to a
foundation. Studying her work, the work of her famous
contemporaries Robert DeMario and Stanley Hagler, and later
designers such as Ian St. Cielar—to name just a few—can provide
inspiration and a starting point for your own creations.

21

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

SUPPLIES
Spool of 28-gauge brass wire
Getting Started
6 large filigree leaves
If you look closely at jewelry designed metal stampings, and charms or
Assortment of components* by Miriam Haskell and others of her buttons, among many others.
1 pin back time period, you’ll notice in many Begin with an idea, a theme, or a
cases that components are layered sketch of what you’d like to make.
Wire cutters
to create a rich and varied collage. Next, go through your beads,
Pencil and paper
Some are only partly exposed and buttons, and findings and gather
Chain-nose pliers seem to peek out from beneath other what you’d like to work with. Your
Dapping block and dapping tool ones, while others nestle within each selection should be based on your

*See page 24 other like a set of Russian dolls. These theme or on a palette of colors,
components may include wheels with or possibly even on shapes. Look
Dimensions: y/sxVA inches
rhinestones, cross-hole petal and leaf for components with holes going
(8x8 cm)
beads wired into rings, metal leaves crosswise rather than lengthwise;
or flower shapes wrapped with seed they’re easier to wire on securely.
beads or tiny pearls, flower beads lay¬ Depending on how elaborate you
ered on beaded flower petals or filigree want your own pin to look, you
 might also round up shank buttons, It may be handy to take a picture with a
pearls, rose montees, memory wire, digital camera so that you can re-create
bead caps, crystal head pins, chain, a favorite composition.
jump rings, charms, filigree compo¬
nents, shells, stones, junk jewelry or
3 Attach the components to the trio
of filigree leaves. The components
broken trinkets, watch parts, single
must be absolutely tight so they don’t
earrings (which can be the starting
move. A wobbly component will have
point for a great pin), and other found
to be reinforced or reworked. Begin by
objects—as well as a digital camera,
cutting several 3- to 4-inch (7.5 to 10
which is useful for recording designs.
cm) lengths of 28-gauge wire (so that
Before you begin to assemble the pin, you you won’t have to stop to cut more wire
should also make several components as you work).
from the beads in your palette so you
Ideally, it’s best to wire each component
won’t have to stop to make an element
to the perforated plate in 2 places, or in
and can easily try out different colors and
other words, to attach the component
shapes as you layer on the beads. Instruc¬
with ware through 2 holes. With the
tions for a variety of components start on
wires exiting the back of the plate, cross
page 24. These instructions explain the
the left wire over the right one, with the
basic steps in creating a collage pin or pen¬
wires crossing at a right angle like a plus
dant on a constructed filigree backing or
sign. At the point where the wires cross,
▲ Instead of making a filigree backing, a perforated plate with a back. Feel free to
grab them with the tip of the chain-nose
you could use commercial findings for a experiment with different backings and
pliers and twist once to the right (FIGURE 1).
collage pin. These include, clockwise from components. The technique is simple, but
Then move the pliers down the wires
top left, a back plate with the pin back your eye for arrangement is what makes
soldered on, a finding that converts a pin the brooch beautiful and unique. closer to the plate and twist to the right
into a pendant, the front of a back plate, again. Make sure the wires still cross
and a perforated plate to which elements
are wired. The perforated plate is inserted
into the front of the back plate, with the
I Wire together 3 filigree leaf shapes.
These will be used for the front of the
at right angles. Don’t simply twist one
wire around the other (FIGURE 2). Repeat

prongs closed around it to hold it in place. pin. Trace the outline of their shape onto
paper. Dap them slightly so that they are
slightly concave (PHOTO 1).

2 Working on the paper tracing,

try out various arrangements of
the components you’ve gathered.

A If you can’t find filigree leaves or a com¬

mercial finding in the size and shape you
want, you can cut your own shape from
perforated brass sheet using metal shears.
FIGURE 1 PHOTO 1
until you’re certain the component is held firmly in place and
the wires are twisted properly. Later, the wires will be clipped
about % inch (1 cm) from the plate and folded toward the plate
(PHOTO 2). For now, leave them uncut because you may wish to
twist these wires together with other wires.

Sometimes the wire breaks and you have to start over. It takes
a bit of practice to become good at this, so be patient until you
gain some experience.

Wire together 3 filigree leaf shapes in a configuration

identical to the one made in step 1. This will be the back of
the pin. Wire a pin back to it (PHOTO 3).

5 Wire the front of the pin to the back of the pin, wrong sides
together (PHOTO 4). Tuck the wire ends between the front and
PHOTO 3

back plates.

Correct: The twist begins with Incorrect: One wire is

a crossed pair, with the wires straight, with the other wire
tightened progressively. twisted around it. The straight

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

wire has no holding power.
FIGURE 2

A A dapping block is a cube of hardwood 2x2x2 inches

(5x5x5 cm) with domed depressions of various sizes on
each side. Use it to shape filigree pieces or perforated brass
PHOTO 2
sheet into a dome shape that will accommodate and hide
the wire used to hold components in place.
 Components
FLOWER PETALS OR LEAVES LEAVES WITH SERRATED EDGES

Petal and leaf sets are quick to make us¬ The vintage metal leaves with serrated String 3 to 4 inches (7.5 to 10 cm)
ing petal-shaped beads with cross holes. edges used in Haskell’s jewelry are hard of size 11° seed beads onto 28-gauge
String between 5 and 7 beads onto a to find, so I have developed a substitute. wire that’s still on the spool. Insert
4-inch (10 cm) length of 28-gauge wire. The leaves allow you to easily introduce the end of the wire into the hole of
Push the beads to the center of the color and shapes to enhance your design the leaf, leaving a 1-inch (2.5 cm) tail.
wire so that all the beads are touch¬ because they have seed beads wrapped Wrap the wire once around the leaf
ing. Cross the wires as close to the around them. stem. Pass 2 beads next to the leaf
beads as possible, then grab the wires edge and bring the wire around the
where they cross with the tip of your Trace the template below onto shrink back and to the front again so that the
chain-nose pliers. Twist several times plastic, then cut the pattern with scis¬ 2 beads are positioned on the front
to tighten. Leave on the wire ends to sors that have notched blades. Punch of the leaf. Continue to add as many
attach the set to the perforated base a Vs-inch (3 mm) hole, then shrink, fol¬ beads as necessary to reach across the
(PHOTO 5). leaf horizontally, then bring the wire
lowing the manufacturer’s instructions
(PHOTO 6). For a metallic look, use a gold around the back. When adding the
These sets can be layered or stacked last row of 1 or 2 beads, wrap the wire
or silver paint pen to color the edge of
with buttons, bead caps, crystal head around the stem, then back to the tip,
the leaves after shrinking them.
pins, or other flat beads, and then at¬ add the beads, then wrap around the
tached to the perforated base. stem again. Clip the wire and twist
BEAD-WRAPPED LEAVES
Sometimes you’ll have just 2 or 3 flower the wire ends together (PHOTO 7).
Leaves with serrated edges can be
petal or leaf beads left. You can use
wrapped with seed beads; the serrated
these to make a partial flower that
edge holds the wire in place. The texture
peeks out from behind a larger flower.
of the seed beads contrasts nicely with
24 the smooth texture of large glass beads
and metal elements.
DIANE FITZGERALD’S FAVORITE BEADING PROJECTS

PHOTO 5 PHOTO 6
Variations
 The Tao are an East African ethnic group living in southern
Malawi. They produce a variety of colorful arte and erafte,
8ueh as wood and soapstone earvingcS, traditional mucsieal
instruments, textiles, pottery, beadwork, and baskets. This
simple band necklace is adapted from a Tao childT necklace.
The project offers a great opportunity to study color
interaction. Four color shades are recommended: dark, me¬
dium, light, and bright. This necklace ks understated and can be
worn easily with simple shirts, turtlenecks, and casual clothes.

SUPPLIES
Is jdaee

DIANE FITZGERALD’S FAVORITE BEADING PROJECTS

A, light color size 11° Japanese
seed beads, 13 g
Square Stitch Section
You can make this design any length, Thread a needle with VA yards
B, medium color size 11°
or even shorten it for a bracelet. The (1.4 m) of thread, single. String on a
Japanese seed beads, 13 g
basic unit of the band (figure 8) is stopper bead, which will be removed
C, dark color size 11° Japanese
made of 4 rows of square stitch fol¬ later, then pass through the bead again
seed beads, 13 g
lowed by 5 single-needle ladder tabs. (FIGURE 1).
D, bright color size 11° Japanese
It may be made with a button and
seed beads, 13 g Row 1: Add 13 A (figure i, blue line).
loop closure at the back or without a
2 buttons, Vs inch (1 cm) closure. The 2 sides of the band are Row 2: Add 1 B. Pass through the last
in diameter, for the closure bead added in the previous row from
joined in the center with a V-shaped
1 accent pendant, button, section of square stitch accented with left to right, then through the new
or large bead (optional) bead (FIGURE l, red line).
a small pendant bead or beads.
Nylon beading thread, size D

Size 12 beading needles

'^0000000000006
Scissors

Dimensions: 24 inches (61 cm) long

FIGURE!
 Add 1 B. Pass through the last 2 beads through fhe beads of the last row of
of the previous row from left to right, square stitch so your thread is exiting
then through the 2 beads of the new the fourth bead from the right (FIGURE 7).

row (FIGURE 2).

Make 4 more tabs. (On the remaining

~x)OQOoooooe9ee
tea \mm)
Work across the row: Add 1 B, and, tabs, skip 3 beads between tabs.)

\LA_/ moving over 1 bead in the previous

On the last tab, do not pass back up
row, pass through 2 beads and then
through the beads to the beginning of
FIGURE 2 through the last 2 beads in the
the tab.
new row.

At the end of the row, remove the

stopper bead and tie the working Join the Tabs to the Next
UDOOOOOOOOOOOO thread to the tail (figure 3). Square Stitch Section
r^ocooooocoo©©© Rows 3 and 4: Turn and work 2 more Turn the work so you’re working right to
rows as you did in Row 2, using C and left. Add 1 bead, pass through the last
FIGURE 3 then D. bead of the last tab, then through the
new bead again.

0000000000000 Single-Needle Add 3 beads. Pass through the last bead of

the next tab from left to right and through
0OG0COCOOOOOO Ladder Tab Section the new bead again (FIGURE 8). Repeat this
CO©©©©©©©©©©©
Make a tab using colors as you wish. step 3 more times.
Row 1: Add 1 bead. Pass through the
Work 10 Square Stitch and Single-Needle
last bead of the previous row from
FIGURE 4 Ladder sections for each side of the
left to right, then through the new
necklace by repeating the instructions
bead (figure 4).
from Row 2 of the Square Stitch Section
Row 2: Add 2 beads. Pass through to this point 10 times.
the single bead added in Row 1, then
through the 2 new beads (FIGURE 5).

Rows 3-8: Add 3 beads. Pass through

Join the Bands
the beads added in the previous After completing the last tab of the

row, then through the 3 new beads second band, continue with the same
FIGURE 5
(FIGURE 6).
thread. Join the tabs of the first band
to a row of square stitch as described
Row 9: Add 2 beads. Pass through the
above. Add 3 beads and begin to join the
beads added in the previous row, then
tabs of the second band.
through the 2 new beads.
Make the finishing triangle, as follows:
Row 10: Add 1 bead. Pass through the
Work square stitch back and forth as
beads added in the previous row, then
described in the Square Stitch Section,
through the new bead.
FIGURE 6
but decrease 1 bead at the beginning and
Pass the thread back and forth through
end of each row until there is only 1 bead
all rows of this tab until you reach the
at the bottom (FIGURE 9).
first bead added in this section. Pass
0000000000000 0000000000000 Add the Pendant
0©6©©0©©€)0©©0 OO0OGOOO0OOOO For a cross-hole pendant, with thread exit¬
©©©©0©©0©0©C5© ©0000000C00©©
ing the tip bead of the triangle, add enough
size 11° seed beads to reach the hole of the
0 0 0 0 0 pendant bead. Pass through the pendant.
m co o© ©o 00
0 000 000 ©00 00© Add the same number of size 11° seed

0 000 000 000 000 beads less one again and pass through the
_ © 000 000 000 000 first size 11° seed bead and then through
©0 000 000 000 000 the triangle tip bead (FIGURE 10).
00 000 000 000 000 For a vertical-hole pendant, pass through
OOP OOP QQp ODD the pendant bead, add 1 size 11° seed bead,
©C Qp QD GO
0 © and pass back through the pendant bead
and the tip bead of the triangle from the
opposite side (FIGURE 11).
FIGURE 7 FIGURE 8
Knot the thread and weave in the tail.

0000000000000 0000000000000
©oooooooooooo 00000©0©0©QQ0
Attach the Closure
©©©©©©©©©000© ©00000000000©
0©000©000©©0© To make the closure, sew 2 buttons to the

© © © © © 0 0 0 6 0 middle row of the left band.

CO 00 00 00 GO 00 00 00 00 00 Sew 2 loops of size 11° seed beads to the

000 COO 000 000 000 too 000 000 000 000 middle row of the right band. Begin and
000 000 000 000 000 000 000 000 000 000 end the loop by going through the same
00© 000 000 000 000 000 000 000 000 000
00© too too 000 000 000 000 000 000 000 bead (figure 12). 29
000 000 COO 000 000 000 000 000 COO 000
©Q© Qgp ©0© ©0© QQP QQp) QQ© QQP QQP QQP
M ©f ©I if 00 QP 00 QO oo op

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

0 0 0 0 0 0 0 0 0 0
©c©©©©©©cc©c©c©ccc©c©ccccc©c
000000000000000000000000
ooooooooooooooocooooo©
0©©€)©©00©©©©©©©©00©0

0000000000000000
©0000000000000 FIGURE 10 FIGURE 11
©©©©©©©©©©§©
0000000000
00000000
000000
0000
0
FIGURE 12
FIGURE 9
30
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

A bracelet requires 5‘g of size 11° Japanese seed beads in each of 4 colors, as well as 2 snaps for the closure.
Work 1 band to the desired length, ending with a square stitch section. Sew snaps to each end of the band.
 Merry (Sherries
Necklace
If you loved the Bakelite cherry necklaces of the
1930s, you’ll want to make thk sparkling version
with bieone crystals and cylinder bead leaver
suspended from a metal chain.

Leaves
Leaves are formed with green cylinder beads 3 Turn and, without adding a bead,
pass through the last bead added
and peyote stitch, working first along 1 side
SUPPLIES of the center spine and then the other. Make (FIGURE 2). You’re now ready to begin
A, dark green opaque size 11° 10 leaves. Row 1.
cylinder beads, 6 g
4 Work back and forth across the spine
B, leaf green opaque size 11°
cylinder beads, 9 g
I With 1% yards (1.4 m) of single Nymo D
thread, tie 1A on the end of the thread
in peyote stitch according to the pat¬
tern. At the end of each row, turn and,
C, semi-matte silver-lined red
(this bead will be left in your work) leaving without adding a bead, pass through
size 11° cylinder beads, 4 g
a 3- to 4-inch (7.5 to 10 cm) tail. To form the last bead added (figure 3). When you
D, 300 light Siam crystal bi¬
the spine, string on 35 more A. Pass back complete Row 10, there will be 7 beads
cones, 5 mm
through the second-to-last bead added, sticking up on one side of the leaf. Pass
18 inches (46 cm) of dark metal forming the tip end (FIGURE 1). the thread through the beads to the
chain with large links

1 dark metal clasp 2 Work peyote stitch toward the opposite

(stem) end, as follows: Add 1A and pass
stem end of the spine.

Row 1: (First row after the spine

15 dark metal split rings, 6 mm worked in peyote stitch) *Stitch 2 B,
through the second bead along the strand,
1 yard (91.5 cm) of black waxed 1 A,* then repeat from * to * 4 more
counting from where your thread exited a bead.
cord, 2 mm times, then 1 B.
Continue to the end of the row. End exiting the
Green Nymo beading thread, Row 2: Stitch 3 B, then stitch *1 A, 2 B*
tied-on A bead. Tie the working thread to the
size D
tail. The spine is now complete (FIGURE 2). 4 times.
Crystal Fireline braided beading
thread, 6 lb.

Scissors

Microcrystalline wax
FIGURE 1
Size 12 beading needles

2 pairs of needle-nose pliers

Disposable lighter

Pledge with Future Finish Floor

Polish (optional)
sWffWff®
Dimensions: 17 inches (43 cm) long FIGURE 2
Row 3: Stitch *2 B, 1 A,* then repeat
from * to * 3 more times, then 2 B.

Row 4: Stitch 1 B, then stitch *1 A, 2 B*,

and repeat from * to * 3 more times.

Row 5: Stitch *2 B, 1 A,* then repeat

from * to * 2 more times, then 3 B.

Row 6: Stitch *2 B, 1 A,* then repeat

from * to * 2 more times, then 2 B.
Attach the split ring as follows: through the beads very slowly to pre¬
Row 7: Stitch *2 B, 1 A* then repeat
Sew the split ring to the stem end vent tangling. Don’t allow the thread
from * to * 2 more times, then 1 B.
bead before beginning the second to get kinks in it. Make sure it pulls
Row 8: Stitch 3 B, then stitch *1 A, 2 B* side of the leaf, stitching through all the way through the beads and
2 times. the stem end bead and the split ring that no loops are formed.
several times. Then continue with the
Row 9: Stitch 8 B.
second side of the leaf. Pass through Prepare the Stems: Cut the waxed
Row 10: Stitch 7 B.
the tied-on bead and exit the second cord into 5 equal pieces, each about
bead from the stem end on the oppo¬ 7 inches (18 cm) long. String 1 split
site side of the spine. Work along the ring onto the center of the cord and
spine on the other side, following the tie a single knot around it. Make an
pattern for Rows 1 to 10. overhand knot l/? inches (4 cm) away
from the center. Clip off the tails,
Weave in the tail threads and clip the leaving Vi inch (6 mm) below the knot.
tails. If you wish to stiffen the leaf, Make sure the knot is tight.
dip it in Pledge with Future Finish
Floor Polish. Lay it flat to dry on Prepare the Thread: Thread a needle
waxed paper. with 3 yards (2.7 m) of Fireline
thread. Bring the ends together. Wax
the thread several times with the

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

Cherries microcrystalline wax so the strands
To make the cherry, we’ll begin by adhere to each other like a single
making a strip with bicones and strand. Knot the ends together with
cylinder beads, then the ends of the an overhand knot. Clip the tails close
strip will be connected to form a to the knot and melt the knot slightly
ring. The top of the ring will be filled with a disposable lighter. Don’t put
in with 5 bicones and cylinder beads, the knot in the flame, just near it. Test
forming a star with 5 rays. Then the the knot by pulling on it to make sure
thread is passed to the bottom side it is secure.
of the ring and finished like the top.
Just before completing the last star In the diagrams on the next couple
center in the bottom, the stem will of pages, new beads and new thread
be inserted so that the knot in the paths are shown with a bold line.
end of the stem is inside the cherry.
I suggest you be very patient as To begin, count 1 pile of 20 bicones,
you make your cherries. Take your and 2 piles of 5 bicones each. Keep
time. Work slowly. Draw the thread tension as tight as possible by pulling
thread in the direction of the stitch.
 triangle weave rule
1 Add 1 D and 1 C 3 times (FIGURE 4).
Triangle beadwork is much like right

FIGURE 4 2 Pass the beads to within 1 inch

(2.5 cm) of the knot. Separate the
angle weave. You can only pass your
needle through the bead directly to
the right or left of the bead your
threads between the beads and the knot. thread is exiting.

Pass the needle between the threads.

Pass back through the first C and D next
to it (FIGURE 5). 6 Repeat steps 3 to 5 three more
FIGURE 5
3 Add 1 C and 1 D twice, then add 1 C.
Pass through the D just exited from
times. Your piece should look like
FIGURE 8. Lay it out in front of you so the
knot is on the lower left and the needle
the opposite end (FIGURE 6, red LINE). is exiting a D on the upper right. Now

4 Continue through the next C and

the next D to the right (FIGURE 6,
look carefully at FIGURE 8. Note that there
are 5 D sitting horizontally across the
top and 4 D sitting horizontally across
RED LINE).
the bottom of the strip. Between these
FIGURE 6
5 Add 1 C and 1 D twice, then add 1 C.
Pass through the D just exited from
horizontal rows of D there are D that
sit diagonally. The ends of the strip will

the opposite end. Continue through the now be joined to form a ring.

next C and D to the right (FIGURE 7).

FIGURE 7

FIGURE 8

FIGURE 9 FIGURE 10
 35

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

7 Add 1 C and pass through the first
diagonal D at the beginning of the
with a C in between. Count out 5 D and
15 C. These will be used for the bottom
FIGURE 13
Strip (FIGURE 9). of the cherry (FIGURE 12).

8 Add 1 C, 1 D, and 1 C. Pass through

the D just exited at the end of the
Add 1 C and 1 D twice (#1 and #2),
_L V then add 1 more C. Pass through
strip (this closes the strip and forms a the D just exited in the ring, the next C,
ring). Then pass through the next C to the and the next D (figure 13).
left and the next D to the left (FIGURE 10).

9 Look at the ring from the top down.

U Add 1 C, 1 D (#3), and 1 C. Pass
through the next bicone on the
Make sure you can identify 5 D along ring toward the bead you exited at the
the rim and that your thread is exiting beginning of this step. Add 1 C and pass
a D from right to left as shown (FIGURE 11). through the D just exited, the next C,
Now we’ll begin to build the bottom of and the next D (FIGURE 14).
the cherry as shown above by adding 5 D
FIGURE 14
 Add 1 C and pass through the next D on the ring. in the center of each set of 5 bicones and pass through the first
Add 1 C, 1 D, and 1 C, and pass through the D C again to tighten. Pass through the next D and into the next
exited from the center toward the outer ring'. Continue ring of 5 C and tighten it in the same way.
through the C, the D in the ring, the C, and the bicone so
After passing through all the 5-bead centers, continue passing
your thread is exiting in the center (FIGURE 15).
through the triangles formed by the D and C in a random

Add 1 C, 1 D, and 1 C. Pass through the fourth bead pattern. Work until all the thread is used up and your cherry is

in the ring from right to left. Add 1 C and continue very firm. Cut the thread near the beads.

through the D exited at the beginning of this step, the If necessary to stiffen the cherry, dip it in Pledge with Future
new C, and the new D (FIGURE 16). Finish Floor Polish and allow to dry on waxed paper.

Congratulations! You’ve made it this far and you’re

on the home stretch now. Exiting the fifth of the Prepare the Chain
new D, add 1 C and pass through the fifth D in the ring.
Carefully open a link at one end of the chain by twisting the
Add 1 C and pass through the first D added for the center.
sides of the link apart with 2 pairs of needle-nose pliers, as fol¬
Add 1 C and pass through the fifth D added for the center.
lows: Rotate 1 side away from you and 1 side toward you. Insert
Then pass through the fifth D in the ring again (figure 17).
one side of the clasp. Close the link. Do the same with the other

Now you’re ready to pass your thread through to the side of the clasp.
other side of the ring and complete the top of the cherry
At the center of the chain, open a link, insert the split ring
in the same way.
on one pair of cherries, and close the link. Open the link
Repeat steps 9 to 14, but before you add the last immediately next to this link and insert the split ring attached
C of step 14, insert the knotted end of the cherry to a leaf. Close the link by reversing the way you opened it. Add
stem into the ring of 5 C. Pull tight and pass through another leaf on the other side of the cherries the same way.
these 5 C again. Move up the chain Vh inches (4 cm) and add another pair of
cherries with a leaf on each side. Repeat, then add the cherries
Despite your best efforts to work with tight ten¬ on the other side of the center.
sion, no doubt your cherry is a little soft. Tighten it
up, as follows: To make it firm, pass through the 5 C

FIGURE 15 FIGURE 16 FIGURE 17

DIANE FITZGERALD'S FAVORITE BEADING PROJECT5
 k t

Tassel
Necklace
Beginners can create an elegant necklace
while learning basic flat-peyote Mitch. A-pair
of -purchased tassels on a rope is embellished
with a peyote strip enhanced with a fringe.

1 Using cylinder beads, make a peyote strip 6 beads

wide and 42 rows long as follows:

Row 1: Thread a needle with 2 yards (1.8 m) of thread,

add a bead, and pass forward through this bead again
to create a stopper bead. String on 6 A (FIGURE 1).
SUPPLIES
38 Pair of 3-inch (7.5 cm) tassels Row 2: Add 1A and, skipping 1 A, pass through the
on a 27-inch (68.5 cm) next A. Repeat 2 times (FIGURE 2). Tie the working
twisted rope* thread to the tail.
A, size 11° cylinder beads, 3 g
Rows 3-42: Repeat Row 2, working back and forth
B, size 15° seed beads, 2 g and adding 3 A per row.
16 pearls, 4 to 5 mm

16 bicone crystals, 3 mm

16 bicone crystals, 4 mm

16 small drop pendant charms

Nymo beading thread, size D

counting rows in peyote stitch
Scissors
In peyote stitch, for Row 1, the beginning row, you’re
Size 10 beading needle
actually adding the beads for the first two rows. For
each additional row, which is offset from the previous
*1 suggest Wright’s 183-9069-112,
which is available in various colors. row, 3 beads are added. Thus, when you count the rows
along one lengthwise edge, count 1, 3, 5, 7, etc., and 2,
Dimensions: 33 inches (84 cm) long 4, 6, 8, etc. along the other side. For this project you
will end with Row 42 (FIGURE 3). FIGURE 3
2 Whip stitch 1 B to the thread, which
connects the beads along one edge of
the peyote strip (FIGURE 4).

3 On the opposite edge, add the fringe

as follows: With thread exiting an
A on the bottom edge, pass the needle
OtlODOO
under the next thread between the
FIGURE 4
next 2 A.

4 Add 4 B, one 3 mm crystal, 1 pearl,

1 B, one 4 mm crystal, and the
0 0 0 0 0 0 ©
pendant drop. Pass back through the
crystal, 1 B, 1 pearl, 1 crystal, and 1 B.
Add 3 B. Pass through the third con¬
necting thread along the strip and back
through the last B *

5 Repeat from * to * along the edge

(FIGURE 5).
o oo o
op qp
0 0

6 Place the peyote strip around the

tassel about Vi inch (1.3 cm) from the
@T BT

top and weave the 2 ends of the peyote #

©
#
O
strip together (FIGURE 6). Stitch the strip
to the tassel.
39
7 Repeat all steps to make the
second tassel. FIGURE 5

DIANE FITZGERALD’S FAVORITE BEADING PROJECTS

 A delicate, lightweight, exquisite, and—best of all—
easy to make necklace! Vaiy the beads at the
tip of each branch for interesting effects.
For example, you might add orange
beads to resemble bittersweet.

SUPPLIES
About 100 small, oval pearls*

A, size 11° cylinder beads Branching Base 41

in 2 or 3 closely related colors, The necklace is constructed of peyote other. Pass the needle through the loop
about 10 g
stitch branches, with each branch on half of the clasp so the knot is near
B, size 15° seed beads, 3 g worked off the previous one. the loop. Separate the strands of thread o
>
35 crystal bicones, 4 mm

Toggle clasp
1 Thread the beading needle with 3
yards (2.7 m) of thread. Bring the
between the clasp and the knot. Pass the
needle between the strands, creating a
z
m
~n
lark’s head knot. Pull tight (FIGURE 1). H
Nylon beading thread, size D N
ends together, knot, clip the tails 1 mm C
Microcrystalline wax Attach the clasp and beginning branch m
from the knot, melt the knot, and wax 73
by stringing 8 A, 1 pearl, and 1B (FIGURE 2). >
Size 12 beading needle the strands so that they adhere to each I-
O
Disposable lighter

*Make sure the holes are large

enough for 4 strands of thread;
these are sometimes referred to as
fat rice pearls.

Dimensions: 1714 inches (44 cm) long

m
n
Ln
 3 Pass back through the pearl and 2 A, then peyote stitch with
A to the toggle clasp. Pass through the loop of the clasp.
Turn and pass forward through 2 A (FIGURE 3).

4 Add 13 A, 1 pearl, and 1 B, and, skipping the B, pass back.

through the pearl and 2 A. Do 5 peyote stitches with A
back down the strand toward the previous branch (FIGURE 4).
End exiting the second bead strung of the 13 A.

FIGURE 3 5 To make the turn to begin a new branch, pass forward

through a “sticking up” A in the previous branch as shown
in FIGURE 5 (the fourth bead of the first branch), then through
the third, fourth, and fifth A in the new branch, so you’re exit¬
ing a “sticking up” bead on the new branch on the side opposite
the previous branch.

6 Begin a new branch by repeating steps 4 and 5. By turning

this way, your thread doesn’t show, the angle of the branch
is smooth, and you reinforce the necklace.

If you wish, vary the length of the branches, but always use an
odd number of A when beginning a new branch.

7 Work until the necklace measures 17 inches (43 cm) or the

desired length, then add the second half of the clasp. Sew
on flowers (see instructions on page 43).

Making the Branches Curve

Here’s the secret: Wax the thread heavily and keep tight ten¬
sion on the branch after the beads are strung by wrapping the
working thread over your forefinger and holding it with your
middle finger. Hold the branch curved on the pad of your fore¬
finger, then add the new beads to the branch with soft tension,
keeping the strand curved as you work.

adding new thread

When you have about 4 inches (10 cm) of thread left,
leave the needle on the thread. Prepare a new thread
as in the first step for this project. Bring the second
needle through 3 or 4 beads so that it comes out of
the same bead in the same direction as the previous
thread. Tie the previous thread and the new thread
together with a square knot. Apply clear nail polish to
the knot. Thread the remaining end of the previous
thread through several beads and clip.
FIGURE 6 FIGURE 7
 Inspired by bittersweet, the extra long
necklace above is made with 3- and 4-mm 43
round orange glass beads. Right: For a
more sparkly necklace, use 75 to 100 4-mm
bicone crystals instead of pearls. About 75

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

are needed for a 17-inch (43 cm) necklace.
Adjust the quantity for a longer necklace.

Flowers
Bicone crystals add a touch of sparkle. Repeat step 2 four more times (FIGURE 7). Sew the
flower to a point where 2 branches meet near the
1 Prepare the thread as described in the first step. Add 5 B
to form a ring. Use the lark’s head knot method to join as
center of the necklace. Knot the thread between beads
and weave in the tail.
described in step 1 to begin the necklace. Pass through the first
B to the left of the knot (FIGURE 6, BLUE LINE).
4 Make 6 more flowers. Sew them to the necklace
as follows: The first flower is in the center of the
Add 1 bicone and 1 B and pass back through the bicone. Pass necklace. Sew the remaining flowers each 2 inches
through the next B in the ring (FIGURE 6, RED LINE). (5 cm) apart.
»'*>>
 Let your pendant inspire your necklace. For my very first Sea
Mow Necklace, my pendant suggested watery depths and
undersea life forms such as moss. In thicS necklace, the seed bead
texture complements the smooth surface of a pendant
with a pleasing contrast that doesn’t overwhelm it.

SUPPLIES

Sea Mo&>
Glass pendant

Size 6° or 8° seed beads for the

backbone strand, about 15 g

11° seed beads in several colors

related to your pendant, 35 to 45 g

Miscellaneous small beads up to 8

mm, stone chips, size 6° or 8° seed
beads, rondelles, etc., 25 to 50 g

Multistrand clasp (3 or 4 holes)

2 yards (1.8 m) of nylon bead cord,

size F
Necklace
The Sea Moss Necklace begins with a “backbone” strand of beads
45

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

that supports a glass pendant. The backbone strand is strung with
Nymo beading thread, size D
size 6° or 8° seed beads that can accommodate a heavier cord, as
2 size 10 beading needles
well as several other strands of thread. (Stone beads aren’t recom¬
Microcrystalline wax mended because their holes are often small.) To this backbone
Disposable lighter strand, 3 or 4 rows of seed bead loops are added, then strands of
seed beads are woven in and out, back and forth, through these
2 pieces of foam board, 9 x 12 x
14 inch (23 cm x 30.5 cm x 6 mm) and loops. These strands may be accented with chips or larger beads.
6 x 12 x 14 inch (15 cm x 30.5 cm x 6 mm) The piece is worked on a template to protect the glass pendant
while working and to assure that the necklace maintains its curved
White tacky glue
shape when completed.
Straight pins

Transparent tape

Clear nail polish

Small box lid for scooping beads,

approximately 4x4x1 inch
(10 x 10 x 2.5 cm)

Cutting blade

Dimensions: 2414 inches (615 cm) long

 Make the Template
Using the 6 x 12-inch (15 x 30.5 cm) piece of foam board, draw and
cut out the template shown using a cutting blade (you may photo¬
copy this page; FIGURE l). This template results in a necklace about
26 inches (66 cm) long. If desired, lengthen or shorten by cutting
the template along the horizontal line and spreading it apart. For
a necklace 2 inches (5 cm) longer, spread the template apart 1 inch
(2.5 cm). Mark the centerline. Glue the template to the second piece
of foam board, centering it on the board IV2 inches (4 cm) from
the top. Use tacky white glue for quick drying. This template may be
reused for other necklaces.

String the Backbone Strand

I Tape your pendant to the template, placing the stringing hole
along the bottom pointed edge of the template. Use straight pins
to position the clasp on the board at the top center line. Bring the 2
ends of the size F cord together and knot the ends together with an
overhand knot (FIGURE 2). The thread is used double. Clip the tail Vie
inch (2 mm) from the knot and melt the knot by placing it near the
base of the disposable lighter flame, but not in it. Important: Check
to see that the knot is secure by pulling the strands apart.

2 Make a harness to guide the cord through the beads by stringing

a beading needle with 6 inches (15 cm) of size D Nymo thread.
Pass this strand through the loop of the bead cord and tie the
thread ends together with a square knot (FIGURE 3).
FIGURE 1
Enlarge 200% 3 Anchor the cord to one half of the clasp using a lark’s head or
sales tag knot (FIGURE 4). Pass the cord through 1 hole of the
clasp nearest the template, then bring the other end through the
loop just formed.

4 String on backbone beads to reach the pendant, pass through

the pendant, and string more backbone beads to reach the
other half of the clasp. Pass through the loop of the clasp nearest
the template and back through the first bead. Tie a half-hitch knot
around the thread and between the beads. Pass through 2 beads and
FIGURE 2
knot again. Bring the thread through 3 more beads and clip. Apply
clear nail polish to all knots.

In a square knot, the left

thread goes over the right
and around it. Then the
right thread goes over the
left and passes through
the loop.
FIGURE 3 FIGURE 4
Loop Rows
To attach thread to the clasp, thread a the pendant hole. Continue stringing
beading needle with 3 to 4 yards (2.7 loops up to the clasp. Pass through the
to 3.7 m) of Nymo thread and bring clasp and then back through 2 or 3 of the
the ends together. (The thread is used beads just strung, going in the opposite
double.) Wax it well so the strands stick direction from the way you were just
together. This is important because it working. Now work around the necklace
keeps the thread from tangling, the in the opposite direction (FIGURE 5).
beads from slipping, and the thread
from showing. Knot the ends together
3 Make 2 or 3 more sets of loops in this
way, going into a different backbone
with an overhand knot. Clip the excess
bead on each round, making smaller or
thread Vw inch (2 mm) from the knot
larger loops as you wish and with the
and melt as described above. Attach the
same or different color. A few silver-lined
thread to the middle hole of the clasp
beads will add sparkle. Transparent beads
using the sales tag knot (FIGURE 4). Give it
will lighten the feel of the piece. As you
a firm tug to make sure it is secure!
string some loops you may wish to begin
adding small beads, chips, or rondelles
within the loop. These give fullness and
String the Beads
1 Beads are strung with the scooping
method. Place a generous amount
texture to the necklace.

of seed beads in the box lid and mound

them up in one corner. Hold the needle
between your thumb and middle finger
and scoop beads from the dish with a
slight upward motion (like an airplane
taking off). Aim your needle for the
middle of the pile where the needle is

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

likely to catch a bead, not along the
bottom where beads are likely to be lying
with their holes vertical. You should be
able to fill a 2-inch (5 cm) beading needle
in 3 or 4 scoops.

String about V/2 inches (4 cm) of

beads and pass through the fourth
or fifth bead from the clasp. Continue
around the backbone strand in this way
until you have a series of loops formed.
When you come to the pendant, pass
the needle through it. Be careful here,
though, to check the size of the hole in
your pendant. If it’s large and the seed
beads might slip through, pass through
The clasp, the backbone strand of beads,
the last backbone bead right before the
the pendant, and one row of loops.
pendant and the first one coming out of
 Intertwine
With 3 or 4 sets of loops in place, begin interweav¬ down. If you only pass back and forth, laying round after
ing, as follows: Continue with the same thread. round on top of each other, you’ll end up with lines of color
After passing through the clasp, pass through the last that meander snakelike across the top of your piece rather
few beads strung, then string on a needleful of beads than an integrated, intertwined appearance. As you string,
and push them all the way to the end of the thread add a small bead or stone chip every few inches.
near the necklace. Randomly weave the thread in and
At the point where a needleful of beads ends, pass your
out of the loops, passing back and forth and up and
needle through whichever bead your needle happens to
be near to anchor the strand. String on more beads, weave in
and out, up and down, and anchor again in the nearest bead.
adding new thread
After completing 3 or 4 rounds this way, your necklace will
After anchoring a needleful of beads and when you have
about 4 inches (10 cm) of thread left, stop and leave the begin to take on a mossy, ropelike appearance. Do as many
needle on the thread. Thread a second beading needle rounds as you wish until you achieve the desired look and
prepared as described above. Bring the second needle size. Be careful not to overpower your pendant, however.
through the last 8 to 10 beads so that it comes out of
When you have 8 to 10 strands interwoven, tie off your
the same bead in the same direction as the first thread.
thread just as you did with the end of the cord on the first
Tie the first thread and the second thread together with
strand of backbone beads.
a square knot. Apply clear nail polish to the knot. Thread
the remaining end of the first thread through nearby
A variety of looks can be achieved by the way your interweav¬
beads and clip the excess.
ing is done. Smaller loops in the beginning result in a tighter,
narrower rope. Large loops result in a less dense, more open look.
DIANE FITZGERALD’S FAVORITE BEADING PROJECTS
 Fit for a queen, thF regal necklace will make
you consider getting a tiara to go with it. Beaded
with triangle weave, it featurecS 13 triangles made
with bieone crystals and 8eed beack. Each triangle k
made separately and then strung with a clasp at each
end. Select a color that looks good on your skin, or
make a longer necklace to wear over a blouse.

SUPPLIES
A, size 11° gold seed beads,
5 g* **

B, 261 purple velvet crystal

bicones, 4 mm**
51
2 gold round metal beads, 3 mm

Lobster-claw clasp and Each triangle is made separately and then strung.
closed ring

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

Triangles
Scissors

Crystal Fireline braided beading 1 Thread the needle with V/2 yards (1.4 m) of thread. Bring the ends together.
Wax well so that the strands adhere to each other like a single strand. Knot
thread, 6 lb.
the ends together with an overhand knot. Clip the tails 1 mm from the knot
Size 12 beading needle
and melt the tails slightly with the lighter. (Don’t put the tails in the flame,
Microcrystalline wax
just near it.) Test the knot by pulling on the strands to make sure it’s secure.
Disposable lighter
2 In the diagrams that follow, the new beads and the new thread path are
shown with a bold line. Make 13 triangles as follows: To begin, count out
Xharlottes or 1-cuts work well.
1 pile of 19 bicones and 28 seed beads.
**For a 20-inch (51 cm) necklace, add 1
g of seed beads and 40 bicones.

Dimensions: 18 inches (46 cm) long

triangle weave rule

Working triangle beadwork is much like right angle weave. You can only
pass your needle through the bead directly to the right or left of the bead
your thread is exiting.
 Row 1:

1 String 1 seed bead and 1 bicone 3 times. these horizontal rows of bicones are 6
bicones sitting diagonally. The needle
2 Pass the beads to within 1 inch (2.5
should be exiting the bicone on the
cm) of the knot. Separate the threads
lower right.
between the beads and the knot. Pass
the needle between the threads. Pull 7 Pass the thread through 1 seed bead, the
tight to form a ring. Pass back through second bicone from the right, and then
the last bicone strung (FIGURE 1). left through the next bicone (FIGURE 4).

3 Add 1 seed bead and 1 bicone twice, Row 2:

plus 1 seed bead. Pass through the
1 Add 1 seed bead and 1 bicone twice,
bicone your thread exited at the begin¬
then add 1 more seed bead. Pass
ning of this step from the opposite end
through the bicone your thread exited
(FIGURE 2).
going from right to left, then continue
4 Continue through the next seed bead through the next seed bead and the
and the next bicone (FIGURE 2). next bicone (FIGURE 5).

5 Add 1 seed bead and 1 bicone twice, 2 Add 1 seed bead and 1 bicone twice,
plus 1 seed bead. Pass through the plus 1 seed bead. Pass through the
bicone your thread exited at the begin¬ bicone your thread exited at the begin¬
ning of this step from the opposite ning of this step, then continue through
end. Continue through the next seed all the new beads added in this step
bead and bicone to the right (FIGURE 3). except the last seed bead. Add 1 seed

6 Repeat steps 3 to 5 once more. Your bead, then pass through the bicone to

piece should now look like FIGURE 4. Lay the left from right to left (FIGURE 6).

it out in front of you so that the knot is 3 Add 1 seed bead, 1 bicone, and 1 seed
on the lower left. Note that there are 3 bead. Pass through the next bicone to
bicones sitting horizontally across the the right. Continue through the next
top and 2 bicones sitting horizontally seed bead, bicone, seed bead, and the
across the bottom of the strip. Between bottom bicone that’s sitting horizon¬
tally (FIGURE 7).
FIGURE 4

FIGURE 5
FIGURE 6
Row 3:

1 Add 1 seed bead and 1 bicone twice,

plus 1 seed bead. Pass back through the
last bicone.

2 Add 1 seed bead, 1 bicone, and 1 seed

bead. Pass through the bicone your thread
exited at the beginning of this step (FIGURE 8).
Weave in the thread and clip it.

Join the Triangles

1 Prepare the thread as described in the
very first step of these instructions.
Pass the needle through one half of the
clasp and push the clasp to within 1 inch
(2.5 cm) of the knot. Separate the strands FIGURE 7 FIGURE 8
between the knot and the clasp, and pass
the needle between the strands.

2 Add one 3 mm round metal bead.

Push it toward the clasp so it covers
the knot.

3 Add 1 bicone and 1 seed bead. Pass

through the 3 bicones and 8 seed beads
across the top of the triangle (FIGURE 9).

4 Add the remaining triangles as follows:

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

Add 1 seed bead, 1 bicone, and 1 seed
bead, and pass through the beads across
the top of the next triangle. Repeat for the
remaining triangles.

5 Add 1 seed bead, 1 bicone, the 3 mm round

bead, and the other half of the clasp. Pass
FIGURE 9
back through the 3 mm bead. Knot the thread
between the beads with a half-hitch knot.
Pass through the next bead and knot again.
Weave in the tail and clip (FIGURE 10).
DIANE FITZGERALD’S FAVORITE BEADING PROJECTS
w£'

Fortune-Teller
BeacF
 Fortune-Teller
Beack
The inner glow of the beaded resin beads reminds
me of a fortune-tellerLs crystal ball. The tiny crystals
in the netting shimmer as the light -passes through
them. To make one, you’ll bead a strip of netting
with pieots on both sides, join the ends, gather the
bottom edge, slip in a resin bead, gather the top
edge, and presto—a beaded bead!

SUPPLIES
FOR EACH BEADED BEAD:

1 orange round resin bead,

19 mm

A, 24 size 11° gold round seed

beads

B, size 15° rose topaz 3-cut seed In each illustration, the new thread and
beads, 2 g beads are shown with a bold outline.

C, 48 crystal jonquil bicones,

56 2.5 mm

Fireline beading thread, 6 lb.

1 Thread a needle with 1% yards (1.4 m)
of thread, and wax it well so that the
FIGURE 1

Microcrystalline wax strands adhere to each other like a single

Size 12 beading needles strand. String 1 A, leaving a 4-inch (10

cm) tail. Pass through the bead again,
Scissors
making a stopper bead (FIGURE 1). This
FOR THE NECKLACE:
bead will be removed later.
2 gold round metal beads, 3 mm

20 gold round metal beads,

5 mm
2 Add 1 C and 3 B, 3 times. Add 1 B.
Pass back through the last 3 B and
the next C. These beads form a picot
1 gold lobster-claw clasp with
soldered ring (FIGURE 2).

18 inches (46 cm)

of beading wire

2 gold crimp tubes

Crimping pliers

*Make 17, or the desired amount.

Dimensions. 16% inches

(42.5 cm) long
3 Add 3 B, 1 C, and 3 B. Pass through the first crystal added
in the previous row (scallop made). Your thread should now be
exiting the C before the stopper bead. Remove the stopper bead
and tie the working thread to the tail with a square knot (FIGURE 3).

4 Add 3 B, 1 C, 3 B, and 1 A. Pass back through the first 3 B

and the C, making a picot (FIGURE 4).

5 Add 3 B, 1 C, and 3 B. Pass forward through the next crystal

in the previous row (figure 5).
FIGURE 4

6 Add 3 B, 1 C, 3 B, and 1 A. Pass back through the 3 B and

the C (FIGURE 6).

FIGURE 5

57

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

 7 Repeat steps 3 through 6 until there are 12 picots on
one side and 11 on the other side and you have just
U Repeat steps 1 through 10 to make a total of 17 beaded
beads, or the desired amount.
completed a picot on the side opposite the knot (FIGURE 7).
To assemble the necklace, string the end of the beading
Lace up the ends to form a tube, as follows: Hold the
wire through a crimp tube, one half of the clasp, and
ending edge and the beginning edge so they’re almost
back through the crimp tube, then flatten the tube using the
next to each other. Add 3 B. Pass through the C on the
crimping pliers. String one 3 mm gold bead and two 5 mm
opposite end of the beadwork. Repeat this step once more.
gold beads. Add 1 beaded bead and one 5 mm gold bead 17
Add 3 B, 1 C, 3 B, and 1 A. Pass back through the 3 B and
times. Add one 5 mm gold bead, one 3 mm gold bead, 1 crimp
the C. Add 3 B. Tie the working thread to the tail with a
tube, and the other half of the clasp. Pass back through the
square knot (figure 8).
crimp tube and 3 or 4 beads. Flatten the crimp tube and trim

9 Pass through the beads to the opposite side so that the

thread is exiting a bead on the tip of the picot. Pass
the beading wire.

through all the tip beads on that side. Pull the thread tight
Adjustments
so that the tip beads are touching and the piece forms a
Resin beads vary in size, so you may need to make some
cup. Pass through all the tip beads 2 more times. Knot the
adjustments. For a smaller or larger interior bead, increase
thread between the beads.
or decrease the number of beads in the picot, the number of
Pass through to the other side of the strip and pass beads between the crystals, or the number of picots on each
through all the tip beads. Place the resin bead in side. After adjusting, continue from step 8.
the cup just formed, with the hole aligned with the hole
in the bottom of the cup. Pull the thread tight to close the
cup. Pass through all the tip beads 2 more times. Knot the
thread and weave in the tails.
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS
Variation
 Flatter your face with the softness of a silk
flower framed with the sparkle of crystals.
Learn to make a csilk flower and a neck ring
with crystals and cylinder beads.

Prepare the Cotton Cord

SUPPLIES
The netted tube is worked over the cotton cord. Attach
FOR THE NETTED CRYSTAL TUBE:
the fold-over end cover to the cotton cord. Fold one side
720 crystal bicones, 4 mm
over the cord and squeeze it with pliers, then fold the
Size 11“ metallic cylinder beads, 9 g second side over and squeeze it with pliers.
24 inches (61 cm) of waxed cotton
cord, 2 mm diameter
Prepare the Thread
2 fold-over end covers

1 lobster-claw clasp and closed ring

1 Thread a needle with 3 yards (2.7 m) of thread, bring
the ends together, wax well so that the strands
61

2 jump rings adhere to each other like a single strand, and knot the
ends together with an overhand knot. (Thread is used

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

Fireline braided beading thread, 6 lb.
double throughout because crystals can be sharp!) Clip
2 size 10 beading needles the tails 1 mm from the knot and melt them slightly
Microcrystalline wax with a lighter. (Don’t put the tails in the flame, just

Lighter near it.) Test the knot by pulling on the strands to

make sure it’s secure.
Flat-nose pliers

Scissors 2 String on 6 cylinder beads. Push the beads to within

1 inch (2.5 cm) of the knot. Separate the strands
FOR THE FLOWER: between the beads and the knot. Pass the needle between FIGURE 2
ZA yard (68.5 cm) of 114-inch (4 cm) the strands, then pass back through the last cylinder
wide ribbon with double-wired edge bead added (FIGURE 1). Insert the cord into the ring of

40 crystal bicones for flower center beads. Pull the thread tight. Pass through the loop on the
and embellishment, 4 mm end of the fold-over end cover and, working clockwise

16 crystal bicones for rope embellish¬ (lefties should work counterclockwise), continue forward
ment, 6 mm through one of the cylinder beads (FIGURE 2).

Size 15“ seed beads, 1 g

Scissors

Dimensions: 18 inches (45.5 cm) long

 3 Add 1 bicone and 2 cylinder beads. Pass
through the second cylinder bead, counting adding new thread s
from where your thread exits a bead (FIGURE 3). When you have about 4 inches (10 cm) of thread left, stop and
Repeat this step two more times (FIGURES 4 AND 5). leave the thread on the needle. Prepare a new thread as described

4 Add 1 bicone and 2 cylinder beads and pass

through the first cylinder bead after the next
earlier. Pass the new thread through 4 or 5 beads on a diagonal so
that it exits the same bead as the old thread. Tie the old thread and
the new thread together with a square knot. Weave the old thread
through 5 or 6 beads and clip.
bicone for desired length.

5 Determine your desired length, usually about

Make the Flower
18 inches (45 cm) minus about % inch (2 cm)
for the clasp. Cut the cotton cord to this length.
I Draw the wire on one side of the ribbon to form a gather. This
gathered edge will form the bottom of the flower. Draw halfway
Add the fold-over end cover to the second end.
on one end, then halfway on the other end.

End the Tube 2 With 1 yd (91.5 cm) of thread in your needle and the end knot¬
ted, bring the right side of the ends of the ribbon together and

1 Continue adding beads until you’ve covered

the cotton cord and the second end cover.
sew a seam Vs inch (3 mm) from the edge with a running stitch.
Leave the wires on the top edge and bottom edge sticking out a

2 Add 1 cylinder bead and pass through the

first cylinder bead after the next bicone 3
little for now. Fold the seam to the inside and sew a second seam
to enclose the raw edge. (This is called a French seam, a seam that

times. Pull tight. Pass through these 3 cylinder encloses the seam allowance on the inside of a sewn item.)

beads again and pass through the loop of the

end cover, then through a cylinder bead. Knot
3 Continue to draw the wire tight along the bottom, forming a
tight gather. Twist the ends together tightly and tuck under the
between the beads twice and pass through sev¬
flower. On the top edge, pull out the wires slightly, twist together,
eral beads. Clip the tails. Attach the lobster-claw
62 clasp to one end and the closed ring to the other
and tuck to the wrong side.

end with jump rings. 4 Fold the gathered ribbon in half with the seam at one end. Sew
along the gathered edge to join the two halves using the overcast¬
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

ing stitch (see box). Sew the flower to the crystal rope. Sew 4 mm
bicone crystals to the center of the flower and a few near the flower
on the rope. Add the 6 mm bicone crystals near the flower along the
rope. Sew these on like adding fringe as follows: with thread anchored
in the flower (or on the rope), add a bicone and a size 15° seed bead and
pass back through the bicone. Pass through the ribbon (or beads) to

FIGURE 3 FIGURE 4 the next place where you will add a bicone (FIGURE 6).

overcast stitch
Also known as whip stitch, the overcast stitch is usually used to
join two edges. With thread anchored in the fabric and holding the
two edges aligned, pass the needle through both edges. Repeat for

FIGURE 6
Variation
 TJm lovely little basket may be filled with tiny gla<ss
flowers and beaded leaver and worn either as a pin or
a^ a pendant on a chain. You’ll learn an unusual Zulu
stitch that ereatecS vertical ridges connected with
horizontal beadcS. Square stitch is used for the handle.

SUPPLIES
A, light brown size 11° Japanese
seed beads, 7 g

B, dark brown size 11° Japanese

seed beads, 7 g
May
Small amounts of green seed
beads or cylinder beads for
the leaves
Basket
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS
Pressed glass flower beads or
buttons or margaritas
The basket flares out at the top with 8 spokes or vertical ridges and a handle
Size 10 or 12 beading needles
at the top. Glass flower beads or buttons can be used to embellish the basket.
Nymo beading thread, size D
The basket may be worked in 1 or 2 colors following the colors in the illustra¬
Pin back, 114 inches (3 cm) long, tions. After you’ve made 1, try a miniature version using size 15° beads.
or chain for making a pendant

Microcrystalline wax

Scissors
Squares and Bridge Beads
The basket is worked from bottom to top. In these directions, the spokes are
Clear nail polish
formed by adding 4 beads to each spoke on every row. These beads are shown
Disposable lighter
in light brown in the illustrations. Squares sit on top of previous squares to
Dimensions: 2Vi inches (6.5 cm) tall form the basket’s spokes (or ribs) and are connected to the previous square
with bridge beads. Be careful—the thread in the squares may twist. If it does,
the rib on the outside of the basket will be distorted. Bridge beads connect the
squares. They’re shown in dark brown in the illustrations (SEE FIGURE 5).
 k'i»» \

Row 1: Thread the needle with 2 yards (1.8 m) of

thread, bring the ends together, wax well so that the
strands adhere to each other like a single strand,
and knot the ends together with an overhand knpt.
(Thread is used double throughout to give firmness
to the basket.) Clip the tails 1 mm from the knot and
FIGURE 1
melt the tails slightly with a lighter. (Don’t put the
tails in the flame, just near it.) Test the knot by pull¬
ing on the strands to make sure it’s secure.

String on 8 A and push them to within 1 inch

(2.5 cm) of the knot. Separate the strands between
the beads and the knot and pass the needle between
the strands (figure 1). Reverse direction and pass back
through 1A bead (FIGURE 2). Caution: Do not let the knot FIGURE 2 FIGURE 3

slip into the bead.

Row 2: Work counterclockwise and keep the tension

tight. 'Add 4 A after each bead on the ring for a
total of 8 sets of 4 beads. Arrange the 4 A beads so
that they he in 2 columns, forming a square (FIGURE

3)* Repeat from * to * 7 more times. After passing

through the last bead in the beginning ring, pass up
through the first 2 beads of the first square. See the
arrow at figure 4.

Row 3: Add 4 A. Pass the thread under the thread

66 between the second and third beads of the square
from the underside toward the center. Add 1 B.
Pass through the corner bead (the second bead
added for the set of 4 A) of the next square of 4 A
beads (FIGURE 5).

Repeat this step 7 more times. At the end of the row,

pass through the next corner bead of the previous row,
then up through the first 2 beads of the square above
(3 beads total, a step up).

Rows 4 and 5: Repeat Row 3, except add 2 B instead

of 1 B between the squares. Hold your piece so that it
begins to form a cup rather than flattening out. Make
sure you’re passing your needle from the outside of
the basket toward the center.
Row 6: Continue to add squares but add bead of the second set of 5 A.
3 B between each square 3 times, and 2 Add 3 A beads and pass through the
B before the next square. corner bead. For this row, extend the
Repeat this step once more. (The places spines only on the 2 center spokes,

where 2 B are added form the sides of the both front and back. At the corners,
basket, and where 3 B are added, these after coming up through the corner
will make the front and back flare out.) bead, pass down through the bead next
to it.
Row 7: Repeat Row 6, being careful to
Add the 2 A for the side, then repeat
place the 3 B above the previous 3 B
this step once to complete the
and the 2 B above the 2 B to continue
second side (FIGURE 6). Knot between
to form the sides and front and back of
2 beads and pass your needle
the basket.
through to 1 of the 2 middle spines
Row 8: Repeat Row 6, adding 4 B above to begin the handle.
the 3 B and 2 B above the 2 B.
4 new beads
Row 9: Repeat Row 6, adding 5 B above
the 4 B and 2 B above the 2 B.
Add the Handle Top 4 beads of spine
Top of basket
The handle is made with square stitch
Row 10: Repeat Row 6, adding 6 B above
and appears as a continuation of the FIGURE 7
the 5 B and 2 B above the 2 B.
front spokes. Pass the thread through
Row 11: Repeat Row 6, adding 7 B above the beads so it is exiting upward through
the 6 B and 2 B above the 2 B. the 2 right beads at the top of one of the
Row 12: Form the scallops along the center front spokes. Add 4 A. Pass down
top of the basket, as follows: Continue through the 2 left beads of the spine,
to add the 4 bead squares with A to then up through the 2 right beads and
extend each of the spokes all around. the 2 just added on the right (FIGURES 7 67
Above the 7 B, add 5 A. Pass through AND 8).

the center bead of the 7 B in the row Repeat this step for 2 inches (5 cm) and

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

below. Add 5 A. Pass through the attach it to the other front spine on the
corner bead. Add only 2 bridge beads same side of the basket (FIGURE 9).
between the spokes along the sides, but
Make a second handle and attach it to
do not add squares.
the spokes on the back side. Sew the
Row 13: Your thread should now be 2 handles together by linking a few
exiting a corner bead after adding 2 beads across the top.
side beads. Pass down through the Note: The handles may also be
bead next to the corner bead. attached front to back instead of
Add 3 A, then pass through the center front to front and back to back.
bead of the first 5 A of the previous row.
Add 3 A and pass through the center

FIGURE 9
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS
 Attach Leaves and Flowers
Anchor thread in the top rim of the basket. Sew
flower beads, buttons, or other embellishments on
the edge of the basket, and make leaves along the
edge of the basket between the flowers.

Leaves: String on 8 green seed beads. Pass back

through the second-to-last seed bead. Add 5 seed
beads. Pass through the first seed bead of the
first 8, going toward the basket rim (figure 10),

Pass through a bead in the rim of the basket and

pass thread to the position where you wish to add
another flower or leaf.

Sew a pin back to one side of the basket if you wish

to use it as a pin. If you wish to use the basket as
either a pin or pendant, sew on a pin back with a
bail attached or pass the chain through the basket
handles to wear it.

FIGURE 10

adding new thread

When you have about 4 inches (10 cm) of thread left, leave
the needle on the thread. Thread a second needle, wax
well, and knot the ends together with an overhand knot.
Clip the tails 1 mm from the knot and melt them with a
disposable lighter. Bring the second needle through 3 or 4
beads so that it exits the same bead in the same direction
as the first thread. Tie the first thread and the second
thread together with a square knot. Apply clear nail polish
to the knot. Thread the remaining end of the first thread
through several beads and clip the excess.
 TJm bracelet with an open filigree look is sure to
generate compliments Enjoy it sparkling
on your wrist whether you’re working at the
computer or out on the town.

SUPPLIES
A, 180 crystal bicones, 4 mm*

B, 600 crystal rounds, 2 mm**

The bracelet begins with the closure loops. With 3 yards (2.8 m) of thread
2 crystal margaritas, 10 mm*** in the needle, bring the ends together and wax well so that the strands
2 head pins, Va inch (2 cm) long adhere to each other like a single strand. The thread is used double.

Fireline braided beading Row 1: Make the closure loops and add the first set of 4 A as follows
thread, 6 lb. (figure l): String 15 B and 1 A. Tie the beads in a ring. Pass back through
the A and the next 4 B.

DIANE FITZGERALD’S FAVORITE BEADING PROJECTS

2 size 12 beading needles
Add 4 B and 4 A. Pass forward through the first A.
Microcrystalline wax
Add 8 B, 1 A, and 11 B. Pass forward through the 4 B before the A.
Round-nose pliers

Scissors

Disposable lighter

Clear nail polish

*May substitute 180 firepolish round

beads, 4 mm FIGURE 1

**May substitute size IV seed

beads, 10 g

***May substitute 2 shank buttons, definitions

14 inch (2 cm) in diameter Pass through: Go forward in the same direction as the last pass; the same
Dimensions: 7/2 inches (19 cm) long general direction as previously.
Length may vary depending on the Pass back through: Go through the specified beads in the opposite
beads used and your tension. direction of the last pass.
Row 2: Add the second and third sets of 4 A as follows (figure 2): Row 4: Add the seventh and eighth sets of 4 A as fol¬
Add 6 B and 4 A. Pass forward through the first A again. lows (FIGURE 5):
Add 2 B. Pass through the third A added in the previous row. Add 2 B and 4 A. Pass through the first of the 4 A again.
Add 2 B and 4 A. Pass forward through the first A again. Add 2 B. Pass through the third A of the middle set of 4 A
Add 6 B. Pass back through the first A added in the first row. in the previous row.
Add 2 B and 4 A. Pass forward through the first A of this
Row 3: Add the fourth, fifth, and sixth sets of 4 A as follows
set of 4 A. Add 2 B. Pass through the third A of the next
(FIGURE 3): Add 12 B and 4 A. Pass forward through the first
A again. set of 4 A in the previous row.

Add 2 B. Pass through the third A in the last set of 4 A in the Row 5: Make a figure eight in the center as follows
previous row. (figure 6): Add 12 B and 4 A. Pass through the first of the
Add 2 B and 4 A. Pass through the first A again. Add 2 B. Pass 4 A again.
through the third A added in the first set of 4 A in the previ¬ Add 6 B. Pass through the third A of the second set of 4 A
ous row. in the previous row.
Add 2 B and 4 A. Pass through the first A again. Add 2 B, 3 A, 2 B, and 4 A. Pass through the first A of the
set of 4 A just added. Add 2 B. Pass through the third A
of the first set of 3 A added in this step. Add 1 A. Pass
Make the Turn through the first A added in this step.
Add 12 B. Pass back through the A in the second loop of Row 1. Add 2 B. Pass through the third A of the first set of 4 A
Then pass through the 6 B upward and the second B in the last in the previous row.
set of 4 B added in the previous row (FIGURE 4). Add 6 B and 4 A. Pass through the first A of these

Continue through the 2 B and the first, second, and third A of 4 A again.

the set of 4 A exited at the beginning of the turn.

Make the Turn
Add 12 B. Pass back through the third A in the nearest loop of the
row with 3 sets of 4 A (Row 3). Continue through the 2 B and the
second A of the set of 4 A in the previous row. Continue through
the 6 B. Pass through the first, second, and third A in the set of 4
A exited at the beginning of this step (figure 7).

Row 6: Add 6 B and 4 A. Pass through the first A again (figure 8).

Add 2 B. Pass through the top A of the center column. Add 2 B

and 4 A. Pass through the first A again.
Add 6 B. Pass through the third A of the first set of 4 A added in
the previous row.
FIGURE 7
Rows 7-14: Repeat Rows 3-6 twice.

Rows 15-16: Repeat Rows 3-4.

Row 17: Add 12 B, 1 A, and 6 B. Pass through the third (top) bead
of the last set of 4 A added (FIGURE 9).

Add 2 B and 4 A. Pass through the first A again.

Add 2 B. Pass through the third (top) A and second (side) A of
the next set of 4 A. Pass through the next 6 B and the next A to
the right.

'

73

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

FIGURE 6

adding new thread

When you have about 4 inches (10 cm) of thread left, leave
the needle on the thread. Thread a second needle, bring
the ends together, and knot the ends together with an
overhand knot. Clip the tails 1 mm from the knot and melt c
with a disposable lighter. Bring the second needle through FIGURE 9
3 or 4 beads so that it exits the same bead in the same
direction as the first thread. Tie the first thread and the
second thread together with a square knot. Apply clear nail
polish to the knot. Thread the remaining end of the first
thread through several beads and clip the excess.
 Turn
Add 12 B, 1 A, and 6 B. Pass through the third
(top) A of the set of 4 A to the left. Continue
through 2 B and up through the second A and the
top A of the top center set of 4 A.

Row 18: This is the last row, where you’ll add but¬
tons (FIGURE 10). Exiting the top center A going to
the left; add 8 B. Pass through the single A added
in the previous row.
Add 4 B, 1 button, and 4 B. Pass through the 4 B
to the right and the center top A of the set of 4 A
in the center.
Add 8 B. Pass through the single A in the loop on
the left.
Add 4 B, 1 button, and 4 B. Pass back through
the fourth bead to the right of the top center
A. Knot the thread and weave in the tails at the
beginning and end of the bracelet.

74
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

adjust length form the button

To lengthen, when adding the buttons or String a margarita onto a head pin. Clip the head
when making loops at the beginning of pin 54 inch (1 cm) from the margarita and bend a
the bracelet, add extra loops of beads as simple loop with the round-nose pliers to form a
shown. To shorten, replace the A beads in shank button. Repeat for the other margarita and
Row 17 with buttons. head pin.
 Midnight Snowflakes
Midnight Snowflakes is a shimmeiy necklace of crystal
snowflakes hanging from a strand of cool bieones.
Make a -pair of snowflakes for earrings, or link
a number of them for a bracelet or necklace.

Snowflakes
Beads are added around the beginning ring in a
counterclockwise fashion. “Pass forward” means
SUPPLIES to continue in the same direction. Each snowflake
A, 290 fuchsia AB crystal is made separately, then strung.
bicones, 3 mm
76
B, 90 fuchsia 2XAB crystal
bicones, 4 mm I With 1 yard (91.5 cm) of thread in your needle,
bring the ends together, wax well so that the
FIGURE 1

C, 10 fuchsia AB size 11°

strands adhere to each other like a single strand,
seed beads
and knot the ends together with an overhand
Crystal Fireline braided beading
knot. Clip the tails 1 mm from the knot and melt
thread, 6 lb.
the ends with a lighter. (Don’t put the tails in the
24 inches (61 cm) of beading wire
flame, just near it.) Test the knot by pulling on the
Microcrystalline wax strands to make sure it’s secure.
2 gold crimp tubes String 6 A and push them to within 1 inch (2.5
FIGURE 2
1 small gold filigree clasp cm) of the knot. Separate the strands between the

Size 12 beading needles beads and the knot and pass the needle between
the strands. Pull tight and pass back through the
Scissors
last bead strung, which is bead #6 (FIGURE 1).
Disposable lighter

Crimping pliers 2 Add 5 A and pass forward through the bead

exited in the first hexagon, bead #6, and then
Dimensions: 1Ax153A inches (3 x 40 cm)
through bead #5 (FIGURE 2).
Note: Each snowflake requires 48 bicone
crystals. Snowflakes may be made
with 3,4, or 5 mm bicone crystals or a
3 Add 4 A (#12 to #15). Continue through bead
#7, #5, and #4 (figure 3).
FIGURE 3

combination of sizes.
4 Add 4 A (#16 to #19). Pass forward through bead
#12, #4, and #3 (FIGURE 4).
snowflake, and 1 C. Add 10 A, 1 C, 1 snowflake, and 1 C, 4
times, then 50 A, a crimp, and the other half of the clasp.
Pass back through the crimp, squeeze the crimp flat, and

5 Add 4 A (#20 to #23) and pass through #16 and #3

(FIGURE 5). Continue through bead #2.
trim the beading wire.

77
6 Add 4 A (#24 to #27) and pass through #23, #2, #5,
#1, and #11 (FIGURE 6).
earrings and pendants

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

7 Add 3 A (#28 to #30). Pass through #24, #1, #11, and
#28 (FIGURE 7).
For earrings or a pendant, add an optional ring on the sixth
corner, as follows: Add 2 bicones and the ring. Pass back through
the last bicone. Add 1 bicone. Pass through the corner bicone
8 Add the snowflake tips: Continue forward through
#29. Add 3 B. Pass forward through the edge bicone
again. Knot the thread and weave in the tail (FIGURE 9).

just exited again. Continue to the center bead of the next

set of 3 bicones along the edge (the next corner point of the
£
hexagon), and add a tip of 3 B. Pass through the edge beads
and add sets of 3 B to each of the next 4 corners (FIGURE 8).
%
Follow all steps to make a total of 5 snowflakes.

String the Necklace

Beginning at one half of the clasp with 24 inches (61
cm) of beading wire and a crimp bead and a crimp bead,
pass back through the crimp bead and flatten it with
the crimping tool or needle-nose pliers. Add 50 A, 1 C, 1
s*
FIGURE 9
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS
 Re-create the excitement of the Roaring Twentiecs, when flappers wore
long blender necklaces over straight ehenme dresses and danced the
Charleston into the wee hours of the morning. A combination of brick
and peyote stitches joins the rings with two different types of links. The
pendant is accented with bold V-shaped lines and drop-shaped bead
dangles. This necklace slips over your head without a clasp. It’s a
show-stopper that’s easy to make and sure to win compliments!

Art Deco
SUPPLIES
Necklace The glass rings are linked with two types of links:
24 glass rings, 14 mm long links and short links. Short links connect sets
M (main color), silver cylinder of 3 rings. Long links connect the sets of 3 to a single
beads, 13 g ring (figure 1).
V short links
A (accent color), black cylinder joining three
beads, 4 g * rings
81
Short Links
3 firepolish drop beads, about
6x9 mm I With x/i yard (45.5 cm) of single thread in the

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

needle, work the following: Add 1 M, 1 A, and 1
Size 12 beading needle
M. Pass back through the first bead going toward the
Nymo beading thread, size D
• long link tail. Position the 3 beads so that they form a T and
Scissors is
knot the thread to the tail (FIGURE 2).
SjjS
Dimensions: 28 inches (71 cm) long,
not including pendant
jag sal
ssss
sail
2 ^Add 1 M and pass through the third bead added
■ in
i the previous step (FIGURE 3).
■ gtoipg -
3 *Add 1A and pass through the previous bead

■ B ■■ - D ■ (FIGURE 4).

■ B-~ Q-
O- C Add 1 M and pass through the previous bead 3 times.’
Q - 0-
A (accent color)

1
: -

FIGURE 1
 4 Repeat from * to * until there are 8 A
beads and 8 M beads alternating across
Then pass back and forth to reinforce the
join. Knot the thread, weave in the tail,
the top row and 16 M beads in the bottom and clip.
row. Your piece should look like FIGURE 5.

5 Work one row of brick stitch as

9 Make another short link and join a
third ring to the first 2 as described
follows: Turn the work so you are in step 8 (FIGURE 10).

working left to right. Add 2 M. Pass the

Make 6 sets of 3 rings.
needle under the first thread bridge
from back to front. Pass back up through
the second bead added (FIGURE 6).
Long Links (make 12)
6 Add 1 M. Pass under the next Long links are made with single-needle
ladder stitch 2 beads wide and brick
thread bridge, then back up through
the bead just added (figure 7). This is 1 stitch (FIGURE 11).

brick stitch.
1 Begin with VA yards (137 cm) of

7 Work 12 more brick stitches with M

across the row. Increase 1 in the last
thread in your needle, single, leaving
a 10-inch (25.5 cm) tail to join the link

loop (FIGURE 8). to the ring later. To work single-needle

8 Joining Two Rings: Bring the 2 ends

of the beaded strip through 2 rings.
ladder, add 4 M and tie the thread to the
tail so the beads form 2 columns parallel
to each other. Pass through 2 beads
Zip the ends together as shown in FIGURE 9. (FIGURE 12).

82
G G G G G G G O
FIGURE 5

o n o o o □ n
ioooG
FIGURE 6

FIGURE 9

I G II G G G G

FIGURE 7

■ '

G G O G Q II G C
i
FIGURE 8 FIGURE 10
2 Add 2 M. Pass through the 2 previ¬
^ . r ■: _ ■

ous beads from left to right, then MMflflf IDIil |) til Hit If I)
through the 2 new beads from right to IIIIIII II I! It JKII ID
left (FIGURE 13).

3 Add 2 M. Pass through the 2 previ¬

ous beads from right to left, then
FIGURE 11

through the 2 new beads from left to

right (FIGURE 14).

4 Continue until you have 12 pairs of

M beads. The next pair will be 2 A,
FIGURE 12

then continue the single-needle ladder

with 9 pairs of M, 1 pair of A, and 1 pair
of M.

5 Continue with brick stitch on the

edge of the ladder. Turn the work so
the thread is exiting the top of the bead
on the left. Add 1 M and 1 A. Pass the |jiP
needle under the second thread bridge f ~ u
from where it is exiting and pass back up
through the second bead added (figure 15).
To make the beads stand straight up,
FIGURE 14
lock the stitch by going down through
the first bead of the 2 added, then up 7*-
through the second bead.
j I i nmmmmmmmmmmm(it i 83
■BiiiHHiiiBHBBraimflini
FIGURE 15

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

 6 Continue across the row with brick
stitch, adding 9 A and 1 M. Turn the 8
Add 11 M with single-needle ladder
(FIGURE 18).

work and work 11 M with brick stitch

as described in step 5 of this section
9 Join one end to a single ring, con¬
tinuing with the single-needle ladder
(FIGURE 16).

7 Pass your needle through to the first

bead on the other side of the single¬
technique and connecting as shown in
FIGURE 19.

1 the other end to a set of 3

needle ladder and complete this side
X rings (FIGURE 20).
with brick stitch following the pattern
above and steps 5 and 6 of this section n Continue to make long links and
join them to single rings and sets
(FIGURE 17). Pass thread through beads so
it is exiting the first of the two beads of 3 rings as described on the picture on

added in step 1 of the Long Links. page 82.

Elf if L O !l 1! . I
MjDDODOODD
B O ii 1 II ■
B El lUE.lt IUEIUE1I.II.1II
FIGURE 16

iltJt 161111118)1 IK IB
BBOBBBBBOB
El B I
(1DK IE If 11 If It II If II IOC IfltlEIKiEilinraU
BBEJBBBE3BBB
fit it 1KII itiiififit in
84
FIGURE 17

til if if if li IE II )OOB
OBEJOOOBBOe
lit nil if if if if if if if ii i) i it it a u « n ?(it .ini s
i if ii it if ii n ii if ii ic if if ii ill
BBOBBBBBBOi 1
miOOBBilOBBB
FIGURE 18

fifiEiiif ills mi if it i
ElfJDEll JIJilElBlJ
mmwmwmmmi -i o n > ieieio
O : B it 11 ifliOIJBl
BOOBBBOBBB
him mi ll itirmoil
FIGURE 19

BBE3BOBBBBB
El 13 ■ f
El O
OBBBBOeOOB

FIGURE 20
DIANE FITZGERALD’S FAVORITE BEADING PROJECTS
 Pendant
The two-sided pendant is made of two Add 1 M, then pass down through the Continue to work back and forth,
pieces joined at the edges. Make the previous bead and up through the new following the pattern in FIGURE 21, and
first side with brick stitch following the bead (FIGURE 26). then make the back following the pat¬
pattern in the diagram in FIGURE 21. Make Repeat the steps in Figures 25 and 26 tern in FIGURE 22.

the second side following the illustra¬

tion in FIGURE 22. (Note that figure 21 is
until there are 8 beads across. Turn the
work so your thread is exiting on the
2 Place the two pieces so the tops and
bottoms are aligned; beginning at
slightly wider than figure 22.) top left.
the top edge, work along the diagonal
Row 2: Add 2 M. Pass the thread from edge, joining the edges with square

1 Thread the needle with 2 yards (2 m)

of single thread. Directions are for
back to front under the loop between
the first and second beads of the
stitch (FIGURE 29). Continue down the
side, joining the edges by zipping them

FIGURE 21. previous row and back up through the together. (The vertical edge beads of the
last bead. This row extends beyond the front will be woven between the vertical
Row 1: Work single-needle ladder 1 bead beginning of the previous row (FIGURE 27). edge beads of the back.) Whip stitch (see
tall by 8 beads wide as follows: String Add 1 M. Pass the thread from back box) across the thread bridges at the
on 2 M and tie them into a loop, to front under the loop between the bottom and continue on the other side
holding the work with the knot at the second and third beads of the previous in a similar manner.
bottom (FIGURE 23). Leave a 4-inch row and back up through the last bead
(10 cm) tail to hang on to, which will be (FIGURE 28).Continue to add 5 more
woven in later.
brick stitches with M across the row.
Pass up through the bead on the right Increase in the last stitch by adding OOOOOOOO
(FIGURE 24).
1 M, passing under the last loop a
(ii it.ic.it ic Hint)
Add 1 M. Pass up through the bead to
lit moot if in i
second time, and then passing back t ii ii it ii ii ii i
the left, then down through the new
up through the bead just added. There n f inooooooii
bead just added (FIGURE 25). should be 9 M across the row.
OKI II DODDD it DO
OOOf 01)00 11 oo
86 OOOfMJOOOf Jf JDOII
■ 'OO ■' OO ' OO'
OO fI f If)
no oo
O OO Of) . I)
OtJOOOf 300001 ID
OO OO OO Of)
DO OOOO OO
OOOi ii OOO II soot)
whip stitch OO: OO ' OO
Also known as overcast stitch, whip stitch is usually used
DO O OOI
OO OO S
to join two edges. With thread anchored in the fabric and m > oo - - oo i o
holding the two edges aligned, pass the needle through O Kill oo o'
both edges. Repeat for desired length. OOOI OO JGO OO
(III I If IIIII I it I
OOO li OOO II ooo
OOO" OO ' ooo
OOOOf ife lilt II I if It If l
001)0 I If IK III
OOOOf I ill ooooo
OOOOOf II noooo
oooooi ooooo
oooooooooo
ooooooooo
oooooooo
FIGURE 21
3 Before closing the top edge, cut out a
rectangle of paper 1 x 1% inches
(2.5 x 4.5 cm). Write your name, date,
and location on it. If you wish, add a
secret message on the back of the paper.
Fold the paper in half and then in half
oeoooooe
Hi loom mono
again. Place it inside the pendant. Whip t if ii. if if ii ii ii in
stitch the top edge closed. I if if 18 II II || l
I I I 1C ii IIII 18 3 8)
4 Attach the pendant to a single ring
OO
on
OOOOO I fill
noon no
that is between 2 long links, using 2 no non no
loops of 8 M beads. Add fringe by attach¬ on nn on
ing a center strand with 15 M, a drop
onooi ? o. i noon
nn i in
bead, and 1 M; make 2 side strands with o no oo o
10 M, a drop bead, and 1 M (FIGURE 30).
n nn nn n
oo i in nn no
on noon nn
on non nn
no tin nn
no n no
nn nn
o ^ oo no [ o
eeeeeeoo n nn nn n
■MiunHMififi oo; ii: ooi dq it til]
n§ if ii it it it in oo noon on
I IE II IK If 18 if I non non non
f I l 18 If IK If IK j I I non ■ oo non
•I I If if ii III i if FIGURE 26
oooo' ^ o ; noon
III) 08100 no t if II If i K II II II 1
on oho on OOOOO' « A ooooo
lit) ' DO Off: ooooo; il ooooo 87
DD ■ I) 1)1) t int inn nnnnn
DO : Off i OOOOOOOOGO
Oil fill OOOOOOOOO
O ^ LIU : OKI' : f 1 1)011008)1)0_

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

ki no on ii FIGURE 27 OOO
on ■ c if it it i " on o
o
o
o
o
o
fin non no o o o
no ■ f» ‘ ML ;
Off : O out o o o
fill' " ■ Off n o o
■ OO' on i o
o
o
o
o
o
o no on n o o o
m on on o o o o

lit
oo i lit inn . on o
no one oo
o
Of® : OO: ^ OOO
ok ik) o non o
f ii If It i 08100 o
S o a

I
noon noon
onooff ooooo
8 IK IK 31 ii ) l II ii if if I
ijnofiooonoi)
0000008)810
eeooeneo
FIGURE 22 FIGURE 29 FIGURE 30
 This csimple yet delightful chain can be made any
length. Although the instructions here are for a
bracelet, you can bead a super-long chain instead
and wear it many different ways as a necklace.

Diamond Chain
1 Thread the needle, bring the ends
together, wax the length of the thread
89
well so that the strands adhere to each other
SUPPLIES like a single strand, knot the ends, and clip

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

A, 88 crystal bicones, 4 mm the tails 1 mm from the knot. Melt the ends
B, size 15° seed beads, 1 g with the lighter. (Don’t put the tails in the
flame, just near it.) Check to see that the
2 round metal beads, 3 mm
knot is secure. Thread is used double because
3 yards (2.7 m) of Fireline
crystals have sharp edges.
beading thread, 6 lb.

Size 12 beading needle Pass the thread through one half of the
clasp to within 1 inch (2.5 cm) of the
Microcrystalline wax
knot. Separate the strands between the
Clasp
clasp and knot. Pass the needle between the
Scissors strands and pull up snug.
Disposable lighter
Add one 3 mm metal bead and 4 A. (Make
Dimensions: T/i inches (19 cm) long sure the knot is tucked inside the 3 mm
bead.) Pass back through the 3 mm bead, the
clasp, and again through the 3 mm bead and
the first A (FIGURE 1).
 4 Add 1 B. Pass through the next A. Repeat this step 2 more
times. Pass through the first and second A (skipping the Bs),
and end exiting the second B (FIGURE 2).

5 Add 4 A. Pass through the B just exited again, turn the piece
over, and pass through the first A (figure 3).
FIGURE 2

Add 1 B. Pass through the next A. Repeat this step 2 more times.
Pass through the first 2 A (skip the Bs). End exiting the second B
(FIGURE 4).

Repeat step 5 for the desired length

On the last repeat of step 5, instead of adding the second B, add

a 3 mm round metal bead and the second half of the clasp. Pass
back through the 3 mm round bead, then complete step 4 (figure 5).
Knot, weave in the thread, and clip the tails.

90

FIGURE 5
 91

DIANE FITZGERALD’S FAVORITE BEADING PROJECTS

• Substitute one of the following
for the A beads to get an entirely
different look:

Cylinder beads, 2 g

120 bicones, 3 mm

96 round firepolish, 3 mm

• Use strands of Diamond Chain

strung between the ends of a
decorative multistrand clasp for a
very fancy bracelet.
k ( > ,
 ThieS cheery little guy will make anyone smile. I eariy
one in my bead kit to keep me company when I’m
traveling. My favorite parts are putting together the
right buttons to shape the hat and drawing
on the face with a happy smile.

button doll
SUPPLIES
54 assorted buttons, Vi to
2/2 inches (1.3 to 6.5 cm)
ornament.
in diameter*
I Set aside the 4 largest buttons:

DIANE FITZGERALD’S FAVORITE BEADING PROJECTS

3 feet (91.5 cm) of 24-gauge
craft wire 3 will be for the hat and 1 for the
bottom of the torso. Cut 2 pieces of
4 wood beads, 8 mm
wire 12 inches (30.5 cm) long, and
1 wood bead, 25 mm
2 pieces 6 inches (15 cm) long.
Red and black markers
Make two legs. As you work steps
10 inches (25.5 cm) of ribbon
2 through 6, refer to figure 1.
14 inch (6 mm) wide
String an 8 mm wood bead—which
Wire cutters
will be one of the Button Doll’s
Ruler feet—onto one of the 12-inch

*All buttons must have holes, rather (30.5 cm) pieces of wire and position
than shanks. If you don’t have a stash it in the center. Picking up 1 button,
of old ones, plastic buttons in bright pass one end of the wire through
colors are available in craft stores.
one button hole and the other end
You can adjust the number and size
through the opposite button hole.
of buttons as you wish.
Add 10 more buttons to create a leg.
Dimensions: 4Va x V/s inches
Set aside and repeat to make the
(12 x 8 cm)
other leg.
FIGURE 1
 3 Make two arms. String an 8 mm
wood bead—which will serve as one
wire of the other arm and leg through
the opposite hole in the button. Add a
of the Button Doll’s hands—onto one of second button in the same manner.
the 6-inch (30.5 cm) pieces of wire and
position it in the center. Picking up 1
6 Push all the buttons down tight, and
twist the wires together a few times.
button, pass one end of the wire through
Pass the wires through the 25 mm wood
one button hole and the other end
bead, then separate your wires again
through the opposite button hole. Add 7
into 2 even sections.
more buttons to create an arm. Set aside
and repeat to make the other arm. 7 You’ll use the last 3 large buttons

4 In this step, you’ll make the torso,

working from the bottom up. Using a
set aside in step 1 to make the hat.
Pass one set of wires through the button
hole of the largest button. Pass the other
2y2-inch (6.5 cm) button—or one of the
set of wires through the opposite hole.
larger buttons set aside in step 1—pass
Repeat to add the 2 other buttons.
both wires from one leg through one
Twist all the wires together, then
button hole, then pass the other leg
wires through the opposite hole. Add 8
more body buttons this way, gradually
8 form a loop. Cut off any extra wire.

decreasing the size of the buttons.

5 Add 2 smaller-size buttons to the

9 Use the markers to draw a face on
the 25 mm wood bead.

Tie the ribbon around the wire

wires to create the neck as follows:
Pass both wire ends of one arm and
10 ends and make a bow.

one leg through a button hole. Pass the

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

tag, you’re it!

For an added touch, you may wish to add a tag
made with shrink plastic with your name, a mes¬
sage, and the date. One Christmas, I made a whole
slew of Button Dolls to give to my family as tree
ornaments. My tag of white opaque shrink plastic
said, “Merry Christmas! Love, Diane 2001." Even if
you don’t make a holiday label, do add the date to
your little doll, so when someone finds this little
figure in an antique store a hundred years from
now, he or she will know just how old it is.
Variations
 Thii elegant bracelet feature.s a
vintage button and h made with two
simple stitehecS—brick cStiteh and cSquare
.stitch—which combine to make strands
resembling sinuous zippers.

SUPPLIES
A, matte navy blue AB size 8°

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

hex beads, 12 g
B, cranberry AB size 8° hex
beads, 10 g
Make a Brick Stitch Triangle
Thread the needle with 3 yards (2.7 m) of
C, bronze AB size 15° seed
thread. Bring the ends together and wax
beads, 3 g
well so that the strands adhere to each
1 button with shank,Vi inch
other like a single strand. The thread is used
(1.3 cm) in diameter
double. Begin with the first 2 rows at the
Nymo nylon thread, size D,
top of the triangle.
or Fireline thread, 6 lb.
Make a brick stitch triangle for one end as
Size 10 beading needle
follows (FIGURE 1).
Scissors
Microcrystalline wax
Dimensions: PA x 7SA inches
(3.5 x 20 cm) 8

FIGURE 1
 Rows 1 and 2: String 3 A. Pass back
through the first bead in the opposite
direction. Tie the thread to the tail,
leaving a 3-inch (7.5 cm) tail to be
woven in later. Make sure the beads
form an inverted T (Rows 1 and 2 are
worked at the same time; (FIGURE 2).

Add 1A and pass through bead #3

(FIGURE 3). Continue across the row
following the pattern in figure 1. You
will be adding 3 A for Row 1 and 4 A for
98
Row 2. Pass through to Row 2, exiting
an end bead. Turn the work so the
thread is exiting from the top left and
you’re working left to right.

Row 3: (Brick Stitch) Add 2 A. Pass the

needle from back to front under the
thread bridge between the first and
second beads of the previous row. Pass
back through the last bead added.
Continue across the row with brick
stitch, following the color pattern in
Figure 1. Increase at the end of the row
by adding 1 extra A in the last thread
bridge, passing under the same thread
bridge as the previous stitch.

Rows 4-8: Continue working brick

stitch following the pattern in FIGURE 1

with increases at the end of each row.

Make the Join the Strands and Make
Square Stitch Strands the Second Triangle
Exiting the last bead in Row 8, add 2 A. Align the ends of the strands and join as
Pass through the second A from the edge shown in FIGURE 5. These beads will become
of the brick stitch triangle, then pass the base row of the second triangle.
forward through the last bead of the
Work with decreasing brick stitch, following
base row and the new bead below it.
the color pattern in FIGURE 1. Decrease 1 bead
Continue Square Stitch: Add 2 A. Pass per row by passing under the second thread
up through the bead next to the one the bridge for the first stitch (FIGURE 6). To make
thread is exiting and add 1 C. Pass down the first 2 beads of the row stand straight,
through the bead next to it and through “lock” the stitch as follows: Pass up through
the first of the 2 new beads (figure 4). the second bead added, down through the first
bead, and then back up through the second
Work the strand for 6% inches (17 cm),
bead. Work until there’s a row of 3 beads.
including the triangle (or until the piece
is % inch [2 cm] less than your wrist Attach a loop of C beads large enough to fit
measurement). Knot the thread between over the button, as shown in FIGURE 7.

the last 2 beads and weave in the tail.

Sew the button to the first triangle between
Next strand: Anchor the thread so it is the first and second rows.
exiting the third bead in Row 8 of the
triangle base and work square stitch
with B and C like the first strand and to
the same length.

Make the next strand with A and C, then

99
one with B and C, then one with A and C.

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

FIGURE 7
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

• Almost any beads

can be used, including
cylinder beads, cubes, or
seed beads.

• The project can be

made all in one color or
with contrasting stripes.

• Add texture by mixing

matte and shiny beads.
 Braided Garland
Necklace
Thk necklace k made of five 5tranck of wire strung with beack.
Each strand ako haf> beack twisted in -place a^ ^hort fringes
spaced every 5A to 1 inch (2 to 2.5 em). The strands are then
loosely braided ming the five-strand method of braiding.
The necklace has an adjustable chain closure.

Color: The Crucial

SUPPLIES
2 accent beads, 12 mm
First Decision
You may find it helpful to select a theme or an
6 beads for the adjustable chain, 4 or 6 mm
idea that you will express in your necklace. For
Five 18-inch (45.5 cm) strands of beads* example, an easy one would be autumn leaves. The
15 yards (13.5 m) of 28-gauge wire color palette will be the autumn golds, reds, and

6 crimps (size 3 with an inner diameter of 1.5 mm) greens. Look for leaves and other beads in these
and 2 clamshell bead tips or 10 crimps, 2 eye pins [V/2 inches colors. It is especially important to have an accent
[4 cm]), and 2 cones approximately Vs to Z inch (1 to 1.3 cm) color—in this palette, red, rusty red, carnelian,
Lobster-claw clasp and 1 closed ring or hook or gold might be the strongest colors. 'Then select
beads that will be highlights and some that will
7 eye pins and 1 head pin, 1 inch (2.5 cm) long, for the adjustable
bead chain closure give you some darker undertones.

Crimp covers to match the findings (optional) Summer or spring flowers could be another
102
Wire cutters appealing theme, and you will find many palettes
of colors that work together. Look in magazines,
Needle-nose pliers
flower books, craft stores that sell flower garland
Round-nose pliers
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

or berry branches, and elsewhere for ideas. If

Crimping tool pastels are your choice, you should select colors
Macrame board or foam core board that relate because they are light rather than
about 9 x 12 x!4 inch (23 x 30.5 x 1.3 cm) vivid. Pale colors tend to blend, so you might want
Straight pins to add a strand of tiny silver or gold accents.

Tape measure or ruler Another palette might be opaque bright beads

Tape for a summer theme. These colors will hold their
own individually and won’t tend to blend. Red and
*These can include any of the following beads: 3 or 4 mm f repolish or round glass
beads up to 4 mm; pearls (check hole size); size 6°, 8° or 110 seed beads; hex beads; or yellow will be the strongest colors, but be sure to
triangle beads. The beads may be all the same, or use 18 inches (45.5 cm) of each of add cobalt blues, deep purples, and greens to set
5 different beads. For each of the 5 strands of beads, you will need approximately them off.
25 to 30 beads, which will be added like short strands of fringe to the wire base
strand (referred to as fringe beads). These beads can be flower beads, leaves, loops Another interesting palette would be more muted
of size 6° or 8° seed beads, petal beads, dagger beads, or whatever you wish. Color whites, grays, and silver. Add a spark to this
is probably more important than shape. palette by including a deep garnet red bead.
Dimensions: 18 inches (45.5 cm) long
Wire Color
Which to choose: gold, silver, or colored to hold the fringe bead in place against As you work, keep the strands sepa¬
wire? There are many colors of wire avail¬ the strand beads. Repeat until there rated and untangled, and use pins
able at craft and bead stores. Remember are 9 inches (23 cm) of strand beads on to hold the braid in place if necessary.
that the wire color will become a part of the first side of the wire. Repeat for the Bring the fringe beads to the front of
the design of your necklace. Gold warms other side of the wire so there’s a total the braid and position them as desired.
your palette, silver cools it, and other of 18 inches (45.5 cm) of strand beads After completing the braiding, add or
colors could add or detract in various and fringe beads, with Vi inch (1.3 cm) of remove strand beads so all strands are
ways. Your wire color can blend or accent. only strand beads on each end. Use tape the same length, then pass all 5 wires
Wire color, like thread color, should be on the ends of the wire to keep the beads through a crimp and flatten the crimp.
the next decision after bead color. on. Leave any extra wire on the end for Avoid removing fringe beads because
now and set aside. the kinks that remain from twisting
make it difficult to get the crimp on, and
Where to Start? Repeat this process for the remaining
the wire may break if you attempt to
Make your first strand with the beads 4 strands of wire.
straighten it.
you feel are the strongest, most impor¬
Position all 5 strands so that the
tant, brightest, or whatever. Then work If you have a special center bead,
"first bead on each strand is next to
your remaining strands to complement begin braiding in the middle of the
the others. Pass all 5 wire ends through
this strand. To see how the beads will braid. Align the centers of all strands
a crimp and push the crimp as close as
look, you may wish to make a few test with the center focal bead and braid one
possible to the beads (figure 2). Flatten
strands without twisting in the fringe side, then the other, reversing the braid¬
the crimp with the crimping tool.
beads and then see how you like the ing pattern for the second half.
effects. Also, if you complete a strand
and later decide not to use it, rather than Braid
taking it apart, you might want to use it
as the beginning of a new necklace.
I Pin the strands to the macrame
board or foam core with straight pins.
103

Beginning with the first strand on the

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

right, pass it over the next strand to
Make the Strands
I Cut the wire into 5 equal lengths,
each 2Yi yards (2.5 m) long. (Some
the left, under the next strand, over the
next strand, and under the last strand.
Arrange the strands after each sequence.
lengths can be 2 yards [2 m] long if
Then repeat the process (FIGURE 3).
smaller fringe beads will be used.)

2 Beginning in the middle of a length

of wire, add 1 fringe bead. Bring the
wire along the back or side of the bead,
cross the wire, and twist it 5 to 8 times
(FIGURE 1). The wire will be exposed on
one side of the fringe bead. Working on
either side of the wire, add about 3A inch
(2 cm) of strand beads and a fringe bead.
Push into place within 14 inch (6 mm) of
the last strand bead, then twist the wire FIGURE 3
 ;

Finish and Add Findings Method Two

Two methods may be used to finish your necklace
(instructions for both appear below). The first runs all
I Pass one wire end through a crimp, then through the loop
on the eye pin, then back through the crimp. Flatten the
the wires through 2 crimps, an accent bead, a crimp, crimp to secure the wire (FIGURE 5). Do this with the remaining
a bead tip, and a third crimp. The second method uses 4 strands.
a cone with each wire crimped to an eye pin that’s
Pass the eye pin through the cone and attach your hook
inserted into the cone.
or lobster-claw clasp to one side and the bead chain to the
other side as described in step 3 of Method 1.
Method One
I Add a second crimp bead and push it into place
against the crimp already in place that joins the
Optional: Cover the crimps with crimp covers.

strands. Flatten the crimp. Make sure your wires are

straight rather than twisted around each other, or the
crimp may not fit over them (FIGURE 4).

2 Add the accent bead to the 5 wires on one side.

Add a crimp and flatten. Pass all strands through
a clamshell bead tip. Add a crimp and flatten. Make FIGURE 4
sure the crimp is positioned parallel to the bead tip
hinge so that it won’t reopen when the bead tip is
closed. Close the bead tip. Repeat the process on the
other side.

On one side, add a jump ring and a lobster claw or

104 hook closure.

4 On the other side, make a chain of eight 4 or

6 mm beads with eye pins and the head pin as
FIGURE 5

follows: Insert the head pin so the plain end protrudes

from the bead hole and clip it so that about % inch (1
cm) remains above the bead. Gripping the head pin just
above the bead with the tip of the round-nose pliers,
bend it at a right angle. Grip the end of the head pin
and bend halfway around, then regrip and bend the
remaining distance to form a loop. Open an eye pin and
connect this unit to it. Close the eye pin. Add a 6 mm
bead to the eye pin and make a loop on the other end as
described for the head pin. Continue with the remaining
four beads. Connect this chain to the bead tip.
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS
 Ring8 of dagger beack> create the look of **piky *>ea urchins
or flowers *>ewn to a cord ba*>e for a comfortable necklace
that lie*> flat around your neck. A template of foam core
board *>ized for your neck h med to sew and shape the
cord base. The base is versatile because it can be
embellished with many other types of beads, such
as large resin beads, glass flowers, or buttons.

Make the Template

The round template is used to create a line on the round template. Round the
necklace that lies just below the collar¬ corners of the base with the cutting
bone (FIGURE 1). Templates are provided blade. Position the round template in
in 3 sizes: I6V2 inches (42 cm), 1714 the center of the base, 114 inches (4 cm)
inches (44 cm), and 18 inches (45.5 from the top edge. The completed tem¬
cm). Enlarge FIGURE! 200%, trace the plate is shown in PHOTO! (next page).
SUPPLIES round template onto the smaller piece The necklace may also be lengthened by
125 to 150 dagger beads, 5 x 16 mm
of foam core board, cut it out with a cutting the round template in half and
7 pearls, 6 mm cutting blade, and glue it to the base gluing down the 2 halves the necessary 107
1 button, Vs inch (1.5 cm) in diameter of the larger foam core board using distance apart. For example, to increase
white glue. Draw a vertical center the overall length by 1 inch (2.5 cm),
114yards (1.1 m) of round cord,

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

14 inch (6 mm) in diameter* place the 2 halves 14 inch (1.3 cm) apart.

Nymo beading thread, size D

4 inches (10 cm) of black ribbon,

Ys inch (1.5 cm) wide

Size 10 beading needle

Microcrystalline wax

Disposable lighter

2 pieces of foam core board, 6 x 6 x

14 inch (15 cm x 15 cm x 6 mm) and 8
x 10 x 14 inch (20.5 cm x 25.5 cm x 6 mm)

Straight pins

Cutting blade

White tacky glue

*/ use Wright’s Basic #186-1173-031.

Dimensions: 1Hx19!4 inches (4 x 49 cm)

enlarge 200%
 Prepare the Cord Base
Begin laying the cord around the template 14 inch (6 mm) from the top center
line as shown in PHOT01 and figure 2. Pass the cord around the template a little
snug but without twisting. Pin it in place. At the top center line on the opposite
side, fold the cord back Zi inch (1.3 cm) past the center line, then continue back
around to meet the beginning end, but this time don’t snug the cord. Fold the end
to meet the beginning of the cord so that it overlaps the center line. Sew the ends
together neatly. Cover the join with ribbon sewed in place. Sew ribbon around the
cord on the buttonhole end also, for symmetry.

Sew the button to the top of the cord, Vi inch (1.3 cm) from the end. Continue
stitching the 2 pieces of cord together in a zigzag pattern as shown. Stitch all
the way through the center of both cords with each stitch, then backstitch to
begin the next stitch. Reinforce the stitching % inch (1.5 cm) from the end for
the buttonhole (FIGURE 2). FIGURE 2

108

With 2 yards (1.8 m) of Nymo thread in your needle,

bring the ends together, wax well so that the strands
adhere to each other like a single strand, knot, clip the
tails, and melt the ends with the lighter. (Don’t put
the tails in the flame, just near it.) Test the knot by
pulling on the strands to make sure it’s secure. String
on the number of dagger beads according to the chart.
Push the beads to within 1 inch (2.5 cm) of the knot,
separate the strands between the beads and the knot,
then pass the needle between the strands. Pass back
through all the beads twice, pulling very tightly, knot,
PHOTO 1
weave in the thread, and clip the tails.
The template with the cord pinned in place, with a vertical center line
drawn and a button waiting to be added.
Make 3 flowers with 13 beads.

Make 2 flowers with 11 beads.

Make 5 flowers with 10 beads.

Make 2 flowers with 9 beads.

Make 2 flowers with 8 beads.

Sew on the Flowers
Anchor the thread so it is exiting the center on the top of the
completed cord base. Sew each flower on separately as follows:
Pass the thread around the thread between the beads, then
through the cord and up to the top again, like overcasting.
Take a stitch after every bead. After working around the
bottom flower layer, add the top flower layer on top of the first
and sew it in place the same way (each flower has 2 layers). Add
the round pearl to the flower center, stitching through it twice
and placing it so the holes are on each side rather than the top.

Arrange the flowers with centers spaced 114 inches (3 cm)

apart, as follows (the numbers indicate the number of daggers
in each flower): Each flower is made of 2 rings of daggers with
the lower ring larger than the top ring. For example, the center
flower would have 13 daggers in the bottom ring and 10 dag¬
gers in the top ring.

number of petals in each flower layer

Bottom layer of daggers: 10 11 13 13 13 11 10

Top layer of daggers: 8 9 10 10 10 9 8

109

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

 Embellish a cord base with almost any kind
of beads, buttons, or charms for the look you
want. This was a favorite type of bracelet
created by Miriam Haskell in the 1930s.

Hard Gandy
I
Bracelet
3 On the foam core board, mark a Sew on the button. Sew the 2 sides
line 1 inch (2.5 cm) longer than of the cord together, zigzagging
your comfortable wrist measure¬ back and forth as shown for the cord
ment. Mark a line Vi inch (1.3 cm) base in the Sea Urchin Necklace (page 111
from the left end of the line for the
106, FIGURE 2). Reinforce the sewing
SUPPLIES buttonhole loop, and a line xh inch
for the buttonhole loop. Sew a piece of
20 inches (51 cm) of round cord* (1.3 cm) from the right end for the
ribbon over the join.

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

14 inch (6 mm) in diameter

Miscellaneous beads, buttons,

seed beads, etc.
button placement.

Pin the cord to the board with the

4 Sew on beads, buttons, or other
embellishments, or even loops
inner part of the fold on each end
1 button, Vi to Yb inch of size 11° seed beads if you wish. If
(1.3 to 1.5 cm) in diameter at the end of the line and cut the ends
you’re adding dagger flowers, sew
near the buttonhole loop. Join the
Nymo beading thread, size D them 1 inch (2.5 cm) apart.
ends by sewing (FIGURE 1).
Size 10 beading needle

2 inches (5 cm) of black ribbon,

Vs inch (1.5 cm) wide

Foam core board, 10 x 6 x 14

inch (25.5 cm x 15 cm x 6 mm) FIGURE 1

Straight pins

*1 use Wright’s Basic #186-1173-031.

Dimensions: 8'A inches (21 cm) long

For a wider bracelet base, begin with 40 inches (101.5 cm) of round
cord and pin 2 pairs of cord to the foam core board template.
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS
 Knotty
Necklace
This lightweight multistrand necklace lets you
explore the possibilities of fiber, with knots to hold
the beads in place. Beaded strands may be finished
with a spiraling knot, braided, or even made into
a single, extra long continuous strand.

SUPPLIES
I Cut 8 pieces of cord, each 114 yards
(1.4 m) long. Make an overhand knot in
2 Work the right side of the cord, as
follows: Tie another knot approxi¬
12 yards (11 m) of nylon cord (Conso the middle of 1 of the cords. String on 1 seed mately 1 inch (2.5 cm) to the right of the
#18*. size FF or FFF bead cord) bead, 1 larger bead, and 1 seed bead, or any first bead. Add 1 seed bead, 1 smaller
2 large accent beads** other arrangement. Make another overhand bead, and 1 seed bead, and knot to hold
knot, placing it so it holds the beads tightly them in place. Continue to alternate
40 beads, 8 to 10 mm
in place against the previous knot. larger beads and smaller beads with
48 beads, 4 to 5 mm, or size 8° seed
seed beads on both sides until you have
beads
3 larger beads and 3 smaller beads on
114 150 to 200 size 11° seed beads
the right side of the cord.
Clasp (optional)
For the left side of the cord, flip the
Scissors

Clear nail polish or watch crystal

3 cord and repeat step 2.

cement

Macrame board or foam core board,

4 Make 8 strands similar to this. Your
beads may be different and you may
8 x 10 x 14 inch (20 x 25 x 1.3 cm) wish to arrange them differently. For
Scissors example, you may wish to begin with

7 T-pins and work surface a small bead in the center instead of a

large one on some strands or you may
Large needle
decide to not place a bead in the center.
*Conso ft18 cord is a smooth, heavy nylon
cord found in fabric and upholstery
placing and tightening
an overhand knot
5 Lay out all strands with their
center points aligned. Gather all
shops. FF and FFF bead cord is similar
To make an overhand knot, hold the cord
and is available in bead stores. Both the strands together and knot the ends
in your left hand. Pass one end of the cord
come in a variety of colors. together on one side, Vi to 1 inch (1.3
over the cord in your hand, forming a loop.
Pass the end of the cord through the loop. to 2.5 cm) from the last beads. Repeat
**The holes should be large enough to
To control the placement of an overhand for the other side. Coat the ends with
pass 8 strands of bead cord through,
knot so it’s tight against a bead, make the
or if necessary, only 4 strands clear nail polish and allow them to dry
knot, then place a pin in the loop before
before stringing.
‘tightening. Push the pin next to the bead,
Dimensions: 2314 inches (60 cm) long then pull on the end of the cord (FIGURE 1).
 Finish
Option 1: Braid the Ends
Braid the 8 strands into a 4-strand
braid 10 to 12 inches (25.5 to 30.5 cm)
long on each side.

The braid is done in a 2-step process,

first working from the left, then from
the right. With the knot in the strands

A
pinned to the macrame board, fan the
8 strands out in front of you so you
have 4 pairs, and consider each pair as
1 strand (figure 2).

1 Beginning on the left, pass the

outermost strand (#1), under #2 and
#3, then back over #3 toward the left
(FIGURE 3). (This is the left side step of
2 3 4 the braid.)

2
y
FIGURE 2
Counting from the right, pass the
outermost strand on the right
under #2 and #3 and back over #3

A
(FIGURE 4).

3 Repeat steps 1 and 2 on both sides

of the necklace until V/i to 2 inches 115
(4 to 5 cm) of cords remain. Finish the
ends by knotting all strands of the

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

braid into a single overhand knot, leav¬
ing about I/2 inches (4 cm) unbraided.
Finish the ends with a smaller bead,
FIGURE 3 then a seed bead and an overhand knot.
Dab the knot with clear nail polish or
watch crystal cement. To secure the
necklace, tie it around your neck with a
square knot.

String all 8 strands on 1 side through 1 of the accent

beads. Tie all strands into an overhand knot placed
next to the accent bead. Repeat for the other side.
If all the strands won’t fit into your accent bead,
saturate the knot with glue (watch crystal cement
works well) or clear nail polish, let dry, then clip off 4
of the strands above the knot. String the remaining
FIGURE 4
strands through the accent bead and knot again.
Option 2: Spiraling Half-Knots
This simple macrame knot is quick to do once you
get the hang of it. The same knot is worked for the
length desired, then a clasp is added.

After you’ve completed the multistrand portion

and knotted the strands together (with or without
the accent bead), begin the half-knots. Pin the work
to a macrame or foam core board. Loosely tie 6 of
the cords together near the end (these will be your
base cords) and leave 2 of the cords free. These will FIGURE 6
FIGURE 5
be your knotting cords. Position 1 of the knotting
cords to the left of the base cords and 1 to the right.

Optional: For a thicker spiral, use only 4 cords for the

base cords and 2 cords for each of the left and right
knotting cords instead ofl for each.

Pass the left cord over the base cords (FIGURE 5).

Pass the right cord over the left cord and behind
the base cords (FIGURE 6).
FIGURE 7

3 Pass the right cord over the left cord again, then
through the loop to exit behind the left cord
tip
(FIGURE 7). Pull tight, and repeat for desired length.
Keep the knotting pinned to the board in several places. When
pulling to tighten the knot, make sure the base cords are straight
and pull on the left and right cords at right angles to the base cords.
When the knotting is within Vi inch (1.3 cm) of the desired finished
length, usually 4 to 6 inches (10 to 15 cm), bring the base cords
through 1 side of the clasp and fold them back. Continuing with the
left and right cords, continue knotting to the clasp. Place a dot of
glue (watch crystal cement is recommended) on the last few knots.
Weave in the left and right cords with a large needle and dip all ends
close to the knotting.
 Variation
SUPPLIES
45 to 50 larger beads, 6 to 10 mm

100 seed beads

4 yards (3.7 m) of nylon cord, size FF, FFF, or #18

Variation: Continuous
Loop Knotty Necklace
This necklace can be worn in a number of
ways—looped twice around your neck;
looped three times around your neck; folded
in half and in half again and twisted and
secured around your neck with a ring clo¬
sure; or folded in half three times and worn
as a bracelet with a ring closure.

Knot the cord with an overhand knot (FIGURE 1)

6 inches (15 cm) from the end. Add 1 seed
bead, 1 larger bead, and 1 seed bead. Knot
the cord again so the knot holds the beads
tight against the previous knot. Place the
next knot 1 to VA inches (2.5 to 4 cm) along
the cord, depending on the size of your larger
beads. Each unit of knot, seed bead, larger
bead, seed bead, and knot should be about
VA inches (4 cm) long. Continue to add these
units until the string measures 72 to 84
inches (1.8 to 2.1 m). Knot the ends together
with a square knot, pass both strands
through the last bead, do the first half of a
square knot, then pass the ends around the
cord and do a complete square knot. Saturate
the knot with glue. Clip the ends. (After
passing the ends through the last bead, you
could also glue the ends in place with watch
crystal cement.)
DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

118
i* i *
 Canterbury Necklace
In Renaissance Europe and again in Victorian England, a
type of necklace known as a eareanet, or jeweled collar, was
all the rage. My eareanet design is made of small, square
tabular pieces that are strung together. They re made with
peyote stitch, to which trimmings are added. The fun part of
this necklace is collecting the embellishments! Tiny buttons,
margaritas, ehatons, nailheads, flat pressed leaf or flower
beads, or beaded shapes may be used. The tabular
pieces may also be strung as a bracelet.

Bead a Tab
Each tab is made with flat peyote, so Row 1: String on 12 cylinder beads
this is a great project for beginners (FIGURE 1).

learning the stitch. Tabs are % x % inch

Row 2: Add 1 cylinder bead and pass
(1.5 x 1.5 cm). Each tab is 12 beads
through the third bead from the needle
wide and 40 rows long, and there are
end going toward the stopper bead
120 23 tabs in the pictured necklace. In
(FIGURE 2).
the illustrations below, new beads are
SUPPLIES Continue to work across the row, adding
shown with a bold outline. Work with
Size 11° light bronze metallic cylinder 1 bead, skipping the next bead, and
medium to soft tension so it’s easier to
beads, 30 g
passing through the second bead from
sew on embellishments later.
Embellishments* where your thread exited a bead. You’ll
24 rondelles, 4 mm be adding 6 beads across the row

Nymo beading thread, size D, to Even-Count Flat (FIGURE 3). Remove the stopper bead and
tie the working thread to the tail.
match the cylinder beads Peyote Stitch
Microcrystalline wax Thread the needle with 1 yard (91.5 Row 3: Add 1 cylinder bead and pass

cm) of thread and wax it well. String through the last bead added in the
Size 10 beading needle
on a stopper bead and pass through previous row.
28 inches (71 cm) of beading wire
this bead again in the same direction Continue to work across the row, adding
2 crimp beads
as the first pass. This bead will be 1 bead, skipping the next bead, and
Clasp removed later. passing through the second bead from
Crimping pliers where your thread exited a bead. You’ll
add 6 beads across the row (FIGURE 4).
*Rose montees, tiny buttons, flat beads, nail-
heads, leaves, flowers, margaritas, ehatons, etc.

Dimensions: 173A inches (45 cm) long

 Rows 4-20: Continue working rows back and forth as you
did for Rows 2 and 3.

After working a few rows, weave the beginning end of the

thread through several beads and clip the tail. FIGURE 3

How to Count Rows

When adding the beads for Row 1, you are actually adding
the first 2 rows of beads.
FIGURE 4
To count the number of rows, count the beads along the
right edge: 1, 3, 5, 7, etc., and on the left edge: 2, 4, 6, 8, etc.
(FIGURE 5). 'o-ogoSoSoSoSoi
B§s§B§BgB§B|
Form the Tab agcgsSsgsSEi
To form the tab, join the beginning edge to the last row, Row
igogBSQgBSBi
40. This process is called zipping because you’re joining the
i§ggggg|BSi
edges, which are like the teeth of a zipper (FIGURE 6).

Fold the strip so the edges are aligned, with “up” beads on
one end fitting between the “up” beads on the other end.
iliiiiil
After zipping the edges together, you have a tube that will
be flattened.
!§gl8§g§8p§
To form a channel for the beading wire, pass through to the ®3bSbBbBbHb8
13BBa|0DaoQo
edge and stitch the edges of the tube together on both the
siB§B§B§0§si 121
left and the right edges, 3 beads from the fold (FIGURE 7).

To sew your element to the flattened tube, position the

®§°§s§b§s|bI
element on the flat side and stitch through the beads or
igggggssgssl

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

between the beads to anchor the element.
FIGURE 5

Finish
Embellish the tab as desired.

Make as many tabs as you wish. Since you’ll string the tabs
onto beading wire, you can make the necklace longer or
shorter to suit your taste.

To assemble the necklace, string on a crimp and one half of

the clasp, then pass back through the crimp and flatten it
with crimping pliers. String on 1 rondelle and then alternate 0000000000
tabs and rondelles, ending with a rondelle. Add the second 0000000000
crimp and the second half of the clasp, then pass back FIGURE 7
through the crimp and flatten it. If you wish, string the tabs
as you make them; this allows you to begin wearing the
necklace as soon as you complete the first tab.
122

Shaped Tila Bead

Necklace, 2010
PENDANT, 16.5 X 13 CM

TILA BEADS, DROP PENDANTS,

CHAIN; SQUARE STITCH

Ibis is a shaped necklace made with

the new Tila beads from Miyuki Co.
of Japan. The beads are 5 x 5-mm
squares with two holes and they
make a fabulous fabric of beads. The
shape of the design was inspired
by an earlier design that I made
for my book Beads and Threads: A
New Technique for Fiber Jewelry,
co-authored with Helen Banes.
 Amazon Feather
Necklace, 2005
38 X 61 CM

MIYUKI DELICA BEADS, FEATHERS,

LEATHER; BRICK STITCHED, GLUED

The brightly colored feathers of Ama¬

zon featherwork and the geometric
patterns in their weaving inspired this
broad collar. The black and white seed
bead panels provide a sharp contrast 123
in shape, color, and scale to the orange
and green dyed feathers. The piece was
made for a beading group challenge

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

focusing on large collar neck pieces.

Amazon Feather
Cuff, 1995
6.5 X 21 X 1.5 CM

DELICA BEADS, FEATHERS,

SEEDS; PEYOTE STITCH

This cuff, with its cluster of

seedpods and fluffy feathers placed
against a background of spiral
diamonds, was also inspired by
native South American featherwork.
 Personal Symbols
Necklace, 2005
62 X 2.5 CM

CYLINDER BEADS; DIAGONAL

BRICK STITCH

Shapes, lines, and bright colors come

together in this design, which is
worked without a pattern.

124

Bead Pal Necklace, 2010

63 CM LONG

SEED BEADS; OFF-LOOM BEADING STITCH

This was a project cooked up one evening by Steph-

ney Hornblow and me. We decided it would be fun if
12 British headers and 12 American headers paired
up and did a “hands across the water” project. We
each made 12 beads for our bead pal and 12 for
ourselves. Any beads could be used, but colors were
limited to cream, copper, and black so the necklace
would look unified when strung.
 Tulip Pouch
Necklace, 2001
24 X 15 CM

BEADS, CHARMS, FABRIC; NETTING

Victorians often carried small, netted

pouches to hold their coins or keys.
The pouch shape and use of netting in¬
spired this version, which can be worn

DIANE FITZGERALD’S FAVORITE BEADING PROJECTS

as a pendant necklace. It’s accented
with American art glass beads.

Egyptian
Motif Peyote
Bracelet, 2002
6 X 20.5 CM

DELICAS, SCARAB BEAD;

PEYOTE STITCH

Occasionally, I offer an extended

class on a special theme in the Twin
Cities area. In one of these classes,
we looked to ancient Egyptian
designs for our inspiration. I collect
1920s Egyptian Revival costume
jewelry, which seems to incorporate
an endless variety of pressed glass
beads and pendants.
 Rose Garden
Necklace, 2000
PENDANT, 7 X 15 X 1.5 CM

SEED BEADS; PEYOTE STITCH, NETTING

Beaded flowers—with thread instead of

wire—are one of my passions, and these
flowers are one of the many designs I
created for my book The Beaded Garden.

126

Tongue Bead Chain, 1999

51 CM LONG

SEED BEADS, PRESSED GLASS

TWO-HOLE BEADS; NETTING

This is an unusual chain made with oval

two-hole beads and “tongue” beads
re-created from a necklace a friend was
repairing. Surprisingly, the same beadweav¬
ing techniques used with regular beads can
be used to connect two-hole beads.
Acknowledgments
Writing a book and bringing it
through to publication is, in many
ways, like giving birth to a child;
you experience both the enjoyment
of creation and the pain of delivery.
But it’s like bringing a child into
the world in other ways as well. An
author is never sure what the new
“child” will be like, its strengths and
weaknesses, how it will be received,
whether it will be liked or not,
famous or infamous. Another impor¬
tant similarity is that one rarely does
it alone. In the case of this book,
many along the way helped. First, my
students across the country who for
the last 20 years took my classes and
worked through the instructions to
create beautiful beadwork, suggested
ways of saying things, and found the
inevitable errors. To all of you, my
heartfelt thanks.

Next, my thanks go to Bonnie

Brooks, the technical editor, and
PHOTO BY MICHAEL MALLOY
J’aime Allene, the illustrator; the
staff of Lark Jewelry & Beading who
127
make the books they publish so spec¬
tacular, including Kathleen Holmes, About the Author

DIANE FITZGERALD'S FAVORITE BEADING PROJECTS

the art director; Carol Morse Barnao,
junior designer; Melissa Morrisey, In a beading career spanning more than 20 years, Diane
art intern; and Abby Haffelt, whose Fitzgerald has studied both historical and contemporary
meticulous attention to detail helped beadwork and applied what she’s learned to teaching across
so much. Thanks, too, to Lynne the United States and internationally. Diane is the recipi¬
Harty, the photographer, and Pamela ent of the 2011 Spun Gold Award from the Textile Center
Norman, the book and cover designer. of Minnesota, a recognition based on significant contribu¬
Most of all, I wish to thank Nathalie tions to the field of fiber art. She’s also a 2012 Designer
Mornu, my trusted editor, for her of the Year for Beadwork magazine and a Swarovski
attention to detail, her respect of my Ambassador. She has written 10 other books and numerous
wishes, and her most pleasant atti¬ magazine articles.
tude throughout the process. I could
Diane believes sharing our creations makes them all the
not imagine a better editor.
more meaningful and satisfying. She encourages you to
Of course, my dear hubby deserves a write her with any questions and, if you wish, to send
little credit too, for all the times he’s her images of your finished pieces. Email her at
patient with me when I’m tense as a [email protected].
deadline looms.
 Index
Ball, Lucille, 21 Sales tag, 12
Banes, Helen, 7 Spiraling half, 116
Blakelock, Virginia, 7 Square, 15, 46
Bracelets, 30, 70, 74, 89, 91, 96,
Ladder stitch. See Single-needle
100,110,112
ladder stitch
Braiding, 102-103,114-115
Loy, Myrna, 21
Brick stitch, 81, 97-98
Brooches, 20, 22, 25, 35, 64, 68
Macrame, 116
Buttonhole stitch, 16 Single-needle ladder stitch, 86
Square stitch, 27-28, 65, 97, 99
Necklaces, 10,13,14,16,17,18, 25,
Campbell, Jean, 7 St. Gielar, Ian, 21
128 Crawford, Joan, 21
26, 31, 37,40, 43, 45, 48, 49, 50, 54,
Stringing, 11,14, 93,102-103,
55, 59, 60, 63, 75, 78, 79,80,85,101,
114-115,120
DeMario, Robert, 21 105,106,109,113,117,118,119
Netting stitch, 56, 61
Tassel, 37
French seam, 62
Ornaments, 92, 95 Thread, adding new, 12, 42, 48, 62,
Goodhue, Horace, 7 Overhand knot, 114 69, 73
Triangle weave, 34, 51
Hagler, Stanley, 21 Pendants, 64
Haskell, Miriam, 21, 111 Perrenoud, Carol, 7 Whip stitch, 86
Peyote stitch, 32, 38-39, 41-42, Wired designs, 92,101
Knots
81,120
Lark’s head, 12 Zigzag chain, 19
Overhand, 12,114 Scott, Joyce, 7 Zulu stitch, 65
k (
JEWELRY I DESIGN

Diane, ,,
Fitzsjerald
0
FAVORITE
b BEADING PROJECTS

When I began my beadwork odyssey,

little did I know it would last more than
20 years. It has been a journey like no
other. Here, for your enjoyment, are my
favorite beading creations:

Hard Candy Bracelet

One-to-Many Strand Necklace
Tie-One-On Necklace
Shimmering Waves Necklace
Collage Pin
Yao Necklace
Merry Cherries Necklace
Pussy Willow Necklace
Sea Moss Necklace
Braided Garland Necklace
Diamond Chain Bracelet
Majesty Necklace
Tassel Necklace
May Basket
Fortune-Teller Beads
Sea Urchin Necklace
Apple Blossom Necklace
Zipper Bracelet
Lacy Bracelet
Midnight Snowflakes
Art Deco Necklace
Knotty Necklace
Button Doll Ornament
Canterbury Necklace

DIANE FITZGERALD teaches across the United States and internationally. She is a ISBN 978-1-60059-922-4
2012 Designer of the Year for Beadwork magazine and a Swarovski Ambassador. 5 2 7 9 5

Diane is the author of 10 other books, including Diane Fitzgerald’s Shaped Beadwork.

781600 599224

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