Ask Anna

Beaded clasps

Anna Draeger — Fri, 11 May 2012 15:02:00 GMT

Q:

How do you decide what clasp to use when you are designing a piece of jewelry? Do you think of it at the same time as the design? Is it an afterthought? Do you get to the end and think, "Now what am I going to do?" So really — to buy a clasp or to make a clasp — that is the question.

A:

Luckily, I've got some answers. Sometimes it's difficult to finish off a design with a clasp worthy of being included in our beadwork. Many times I'll come up with a really good idea for a bracelet or necklace, and then I'll get stuck. With so many products on the market, a trip to the bead store usually yields a clasp that will do the trick. But what if it doesn't? When I'm looking to create a really well-thought-out piece of jewelry, the clasp cannot be an afterthought. In fact, sometimes it is a good place to start. One way to get the job done is to ask yourself, "How do I want this piece to end?" because really that's as important as getting started. So over the next three Ask Anna posts, I'll cover a few ways to tackle beaded clasps, starting with toggle clasps here, moving on to mastering the multistrand next month, and then "buttoning things up" later this summer.

Talking toggles

Toggle clasps are a classic closure that consist of a ring and a bar. There are plenty of metal toggles out there, but when you want to make a beaded toggle, it's important to incorporate the beads and stitches used in the main design. If you are making a multistrand necklace, a beaded toggle can serve as both the clasp and a focal. Below is a toggle clasp made with peyote stitch. After you get the hang of the basics, start to modify this technique to work your own toggles. Then look to the next few posts to get more ideas on for clasp options.

Typically, peyote toggle rings start with a ring of beads, say 15/0 seed beads, centered on a length of thread. The first round is worked in tubular peyote stitch using those same size beads. Then, as you continue in circular peyote, you increase bead sizes in each subsequent round. This produces a donut-shaped ring, worked from the center hole to the outer edge. Mmmm...doughnuts. Anyway, this technique works well because you can determine the center hole size from the start. But you also need to take into consideration the size of the bar. If you make the center hole of the toggle ring too small, the bar won't fit through, or if the bar is too short or too long it will not work well either. The toggle ring can be attached directly to the main piece of jewelry, but the bar needs to be suspended away from the jewelry so that the bar can be maneuvered through the ring. On to the ring:

Peyote toggle ring

1. On 1 yd. (.9 m) of thread, center 36 15/0 seed beads. This number of beads will yield a ring with a center diameter of approximately 1/2 in. (1.3 cm). To make a larger ring, pick up more beads, but to make things easy on yourself, make sure to pick up an even number of beads that is divisible by four. (This is extremely helpful if you want to incorporate a pattern into your ring.) Sew through the first bead again to form the ring. You may find it helpful to put the ring over a pen or dowel as you work the first few rounds.

2. Work one round of tubular peyote stitch using 15/0s, and step up through the first 15/0 picked up in this round.

3. With the same thread, work two rounds using 11/0 cylinder beads (like Delica beads or Toho Treasures) off of the edge your thread is exiting. Step up through the first cylinder picked up in each round. Repeat this step with the other thread, but make sure to step up through the nearest up-bead 15/0 before picking up the first cylinder.

4. With one thread, work a round of 11/0 seed beads, and then repeat with the other thread.

5. With one thread, work a round of 11/0 seed beads, zip up the last two rounds, and end the threads.

Peyote toggle bar

1. On 18 in. (46 cm) of thread, pick up 20 or 21 11/0 cylinders, leaving a 6-in. (15 cm) tail. This number of 11/0 cylinders means the toggle bar will extend past the inside diameter of the toggle ring.

2. Working in even- or odd-count flat peyote (depending on whether you picked up an even or odd number of cylinders in step 1), work two rows with 11/0 seed beads, two rows with 11/0 cylinder beads, and two rows with 11/0 seed beads.

3. Zip up the end rows, and end the threads.

More ideas for a basic peyote toggle clasp:

• I used three different colors in the toggle ring above and two colors in the toggle bar, but you could use all one color, like a metallic finish, to unify the look or mimic a metallic clasp if desired.

• The bead sizes I used snug up nicely to create a small toggle clasp that would be a great size for most bracelet or necklace designs. To change the size of the toggle ring, pick up a different number of beads in the
initial ring of beads, remembering to adjust the number of beads picked up for the first rows of the toggle bar.

• If you want to embellish the ends of the toggle bar, omit a few beads from the initial number of beads picked up for the first rows, and then add a 3–4 mm accent bead to each end by sewing through the center of the completed tube, picking up an accent bead and a 15/0, skipping the 15/0, and sewing back through the accent bead and tube. Repeat to add an accent to the other end of the tube.

• To embellish the toggle ring, exit an 11/0 along the outer edge of the completed ring, and pick up an accent bead and a 15/0. Skip the 15/0, sew back through the accent bead, and then sew through the next 11/0 along the outer edge of the toggle ring. Repeat to complete the embellishment, leaving one 11/0 along the edge open for a place to attach the jewelry.

• Experiment with different colors to create patterns like short stripes running through the clasp in the opposite direction from the sample shown, or try spiral patterns.

• Bump up the starting size of the beads in the toggle ring to graduate up to an accent bead in the last round. For example, start with a ring of 11/0 seed beads, then switch to 10/0 cylinder beads, and use 8/0 seed beads for the last round along both edges. For the very last round before zipping up the edges, use 3 mm Czech glass or crystal pearls to create a fancy outer edge.

I hope you have lots of fun creating your own custom beaded toggle clasps, and please feel free to post a photo if you do! If you have an idea or question, post it as well, and look to my next post for more beaded clasps.

Happy beading!

Anna

Branched fringe techniques

Anna Draeger — Tue, 03 Jan 2012 15:58:00 GMT

In the February issue of Bead&Button magazine, I covered some beaded edging techniques in Bead Soup, p. 11.
The techniques described in the magazine were very basic, but there are many variations that can be created
after learning those basics. One of my favorite variations of simple fringe technique is branched fringe, which
provides a full edge of beadwork using the simplest form and seed beads, a look of foliage if you
incorporate seed bead leaves, or a glamorous lush piece if you include crystal or pearls in the fringe and make
multiple branches on a longer base. On about 12–24 in. (30–61 cm) of thread, try out each type of branched
fringe to get the hang of it, and then spruce up the edge of a strip of peyote, or you can even use them between
beads on a single strand of beads. Make sure to check out our Online Beading Basics or Videos if you need
any help with techniques like adding or ending thread or other stitching basics.

Basic branched fringe:

1. Pick up six seed beads, leaving a short tail. Skip the last seed bead picked up,
and sew back through the next two seed beads (Figure 1).

2. Pick up three seed beads, skip the last seed bead picked up, sew through the next two seed beads,
and then sew through the first three seed beads picked up in step 1 (Figure 2).

Any size seed beads will work for this fringe, but 11/0s or 8/0s would be good to practice with.
You can dress up this basic branched fringe by using multiple colors or sizes of seed beads
or by using small drop beads (sometimes called "fringe beads") at the ends of each branch.

Foliage branched fringe:

This fringe is similar to basic branched fringe, but you start with a longer initial branch and incorporate
leaves into the branches for a nature-inspired look.

1. Pick up 12 seed beads, leaving a short tail. Skip the last seed bead picked up, and then sew back
through the next seed bead (Figure 3).

2. Pick up six seed beads, skip six seed beads on the initial branch, and sew through the next three
seed beads (Figure 4).

3. Make a second leaf: Pick up nine seed beads, skip the last seed bead picked up, and sew back
through the next seed bead. Pick up six seed beads, skip six seed beads on the new leaf, and
sew through the next seed bead. Sew through the first seed bead picked up in the initial branch
(Figure 5).

You can make smaller or larger leaves by changing the initial number of seed beads picked up,
increasing or decreasing the number of seed beads for each side of the leaf. Try using one color for
the "branch" and another color (or multiple colors) for the leaves.

Fancy fringe:

1. Pick up 17 seed beads, a crystal, pearl, or other accent bead, and a seed bead, leaving a short tail.
Skip the last seed bead, and sew back through the accent bead and the next three seed beads. Make
a second fringe: Pick up three seed beads, an accent bead, and a seed bead. Skip the last seed bead,
and sew back through the accent bead, the next three seed beads, and the next two seed beads on the
initial branch (Figure 6).

2. Make a short fringe: Pick up three seed beads, an accent bead, and a seed bead. Skip the last seed
bead, and sew back through the accent bead, the next three seed beads, and the next two seed beads on
the initial branch (Figure 7).

3. Continue making short fringe until you sew through the first two seed beads picked up in the initial
branch (Figure 8).

Change the degree of glamor by how many crystals, pearls, or even small gemstones added to each
fringe. Change the length of each initial fringe and the lengths of each branch off of the initial fringe
to add interest.

Have fun trying out these techniques, and please don't hesitate to contact me using the link below with
questions about fringe, edge techniques, or anything else beady!

Take care,
Anna

Free candy cane charm

Anna Draeger — Thu, 01 Dec 2011 20:04:00 GMT

Q: I would like to make Christmas earrings that look like candy canes. Not a flat design but tubular peyote.
I can't figure out how to make the bend for the top of the cane. I've tried using 15/0s to make the curve
(I am using Delica cylinder beads), but that doesn't seem to work. Using decreases doesn't seem to work either. Do you have any ideas? – Linda Chambers

A: That is a good question, Linda, and after thinking about it for awhile, I think tubular herringbone stitch would work better than tubular peyote. The nature of the stitch allows the tube to be more flexible, and if you work in twisted tubular herringbone, achieving the stripy pattern is simple. What I came up with is a small candy cane
1 1/4 in. (3.2 cm) long using 15/0 seed beads. This size would work well for just about anything: earrings, ornaments, gift embellishments, a pendant, or even charms for a bold holiday bracelet.

Here's what you'll need:

Approximately 1 g each of 15/0 seed beads in 2 colors: red and white
Fireline 6 lb. test
2 4 mm soldered rings
pair of earring findings

Here is how I made the candy cane shown:

Ladder base

On 2 yd. (1.8 m) of Fireline, pick up a red (A) and a white (B) 15/0 seed bead. You'll work the first round in ladder stitch. Since the ladder round will look different than the herringbone rounds, I remove the thread path through the ladder later (in step 4). If you wish to do the same, the crossweave or alternate method for ladder stitch works best, but you can use whatever method you are most comfortable with. Using your chosen method, make a ladder six beads long, alternating As and Bs and leaving a 12-in. (30 cm) tail. Form the beads into a ring by sewing through the first and last beads again.

Round 1

Exiting an A, work a round of accelerated tubular herringbone as follows:

Pick up two As and two Bs. Sew down through the next B in the ladder and up through the next A.
Repeat this stitch twice to complete the round, but for the last stitch, step up through three As in the next column.

Round 2

Work a round of accelerated twisted tubular herringbone as follows:

Pick up two As and two Bs, sew down through the next B in the previous round and up through two As in the next column.
Repeat this stitch twice to complete the round, but for the last stitch, step up through four As in the next column.
This is the first round of twisted tubular herringbone, but the twist won't be well defined until you finish a few more rounds.

Rounds 3–10

Work a round of accelerated twisted tubular herringbone as follows:

Pick up two As and two Bs, sew down through the next B in the previous round and up through the last three As in the next column.
Repeat this stitch twice to complete the round, but for the last stitch, step up through the last five As in the next column.
Repeat this step seven times. You should have 21 beads in each column, including the beads in the ladder round.
Speaking of the ladder round, this is where I remove the thread path through the ladder.
Using a beading awl or thick needle, pull the tail through the beads in the ladder until the stacks are free.
It will look like a single B is sitting at the bottom of each stack.
Remove the beads from the ladder and the first round of herringbone.
Using the tail, work a herringbone thread path through the last few rounds to close up the end stacks.
Work an A and a B at the end of any stack that looks short to make the end of the cane even.
Retrace the thread path through the last few rounds, and end the tail.

Round 11

Using the working thread, begin the curve, pulling tight after each stitch and each time you step up.

Work a round of accelerated twisted tubular herringbone as follows:

Pick up two As and two Bs, and sew down through the next B in the previous round and up through the last three As in the next column.
Repeat this stitch once.
Work a stitch with one A and one B instead of two, and step up through the last six As instead of five.

Rounds 12–16

Pick up two As and two Bs, and sew down through the next B in the previous round and up through the last three As in the next column.
Pick up two As and two Bs, and sew down through the next B in the previous round and up through the last two As in the next column.
Work the last stitch in the round with one A and one B instead of two As and two Bs, stepping up through six As.
Repeat this step four times.

Round 17

Pick up one A and one B, and sew down through the next B in the previous round and up through the last three As in the next column.
Pick up two As and two Bs, and sew down through the next B in the previous round and up through the last A in the next column.
Pick up two As and two Bs, sew down through the next B in the previous round, and step up through the last six As in the next column.

Round 18

Pick up one A and one B, and sew down through the next B in the previous round and up through the last four As in the next column.
Pick up two As and two Bs, and sew down through the next B in the previous round and up through the last two A in the next column.
Pick up two As and two Bs, sew down through the next B in the previous round, and step up through the last six As in the next column.

Rounds 19–22

Pick up one A and one B, and sew down through the next B in the previous round and up through four As in the next column.
Pick up two As and two Bs, and sew down through the next B in the previous round and up through two A in the next column.
Pick up two As and two Bs, sew down through the next B in the previous round and step up through five As in the next column.
Repeat this step three times.

Round 23

Pick up two As and two Bs, sew down through the next B in the previous round and up through the last five As in the next column.
Pick up one A and one B, sew down through the next B in the previous round and up through the last three As in the next column.
Work the last stitch in the round with two As and two Bs, and step up through the last five As in the next column.

Round 24

Pick up two As and two Bs, and sew down through the next B in the previous round and up through the last five As in the next column.
Pick up one A and one B, and sew down through the next B in the previous round and up through the last four As in the next column.
Work the last stitch in the round with two As and two Bs, and step up through the last six As in the next column.

Round 25

Pick up two As and two Bs, and sew down through the next B in the previous round and up through the last four As in the next column.
Pick up one A and one B, and sew down through the next B in the previous round and up through the last five As in the next column.
Work the last stitch in the round with two As and two Bs, and step up through the last six As in the next column.

Round 26

Pick up two As and two Bs, and sew down through the next B in the previous round and up through the last five As in the next column.
Pick up one A and one B, and sew down through the next B in the previous round and up through the last six As in the next column.
Work the last stitch in the round with two As and two Bs, and step up through the last six As in the next column.

Round 27

Pick up two As and two Bs, and sew down through the next B in the previous round and up through the last four As in the next column.
Pick up one A and one B, and sew down through the next B in the previous round and up through the last six As in the next column.
Work the last stitch in the round with two As and two Bs, and step up through five As in the next column.

Round 28

Work a decrease round of two stitches:

Pick up two As and two Bs, and sew down through the next B in the previous round and up through the last five As in the next column.
Pick up one A and one B, and sew down through the next B in the previous round and up through the last six As in the next column.

Round 29

Pick up one A, and sew down through the next B in the previous round and up through the last five As in the next column.
Pick up one A, and sew down through the next B in the previous round and up through the last four As in the next column.
Work the last stitch in the round with two As and two Bs, and step up through the last five As in the next column.

Round 30

Pick up a B, and sew through the last four As in the next column.
Repeat twice, and then sew through the last 10 Bs in the next column, working back toward the other end of the cane.

Finishing

Skip the next two stripes of As and Bs, and sew through a corresponding A in the following stripe to help the cane keep its rounded shape.
Continue through the next several As in the stripe, or if your beadwork is loose, you can sew through all the stripes to snug up the beads.
Exit a bead at the top of the cane, pick up a soldered jump ring, and sew through a bead in the adjacent stripe.
Retrace the thread path through the join, and then end the working thread.
Open the loop of an earring finding, and attach it to the soldered jump ring. (Or use a jump ring to attach the soldered ring to a chain or other finding.)
Make a second earring.

I hope this helps!

As always, feel free to contact me with questions.

Bonus project from the October issue: Flower ring

Anna Draeger — Fri, 21 Oct 2011 17:02:00 GMT

In the Bead Soup section of the December 2011 issue of Bead&Button, I wrote about using individual components from jewelry designs to suit your personal taste, then I made a ring using the techniques from two different articles to illustrate. This flower ring is the result of combining the diagonal peyote stitch technique used in Carole Horn's "Neptune's garden" bracelet (p. 48) and variations of the bezeled rivoli and peyote leaves from Lauren Miller's "Fire flower" necklace (p. 62). Here is what I did to change the projects and create my ring:

Diagonal peyote band

1. I worked the diagonal peyote technique the same as for Carole's bracelet, but in step 1 of "Base" I used 11/0 cylinder beads and 15/0 seed beads instead of 8/0 and 11/0 seed beads. I picked up eight 11/0s and a 15/0 to start the first row.

2. In step 2, I worked three stitches with 11/0s, then made an increase turn.

3. In step 3, I worked three stitches with 11/0s, then made a decrease turn.

4. Repeat steps 2 and 3, but when the strip of beadwork is the desired length, you must join the two end rows to form a ring. To do this, end after step 3 (a–b), and instead of picking up three new 11/0s as in step 2, sew through the end three 11/0s from the other end of the strip (b–c). Then pick up a 15/0, and sew through the last 11/0 stitch in the end row (c–d). This will align the two end rows, but you must retrace the thread path to secure the join, then end the threads.

Rivoli bezel

1. I made my baby bezeled rivoli the same way as Lauren's, but in step 1 of "Rivoli bezel" I used 11/0 seed beads instead of cylinder beads and I only used 20 11/0s to make the initial ring. To surround the 8 mm rivoli, I ended up with these beads in order from the front of the bezel to the back: one round of 13/0 Charlottes, one round of 15/0 seed beads, four rounds of 11/0 seed beads, and one round of 15/0 seed beads.

2. I worked four rounds of picot embellishments instead of two, but in step 2 of "Picots" I used five 11/0 cylinder beads in each stitch instead of an E, three Bs, and an E. Repeat steps 1 and 2 instead of working any rounds of petals. I saved the working thread to attach the bezel to the ring band.

3. Using 12–18 in. (30–46 cm) of thread, I made two of each size petal, leaving the working thread to attach the petals to the band.

4. I attached the bezel to the ring base, then arranged the leaves around it and stitched them in place. End all the working threads.

10 tips for terrific tension

Anna Draeger — Fri, 16 Sep 2011 14:21:00 GMT

I receive a lot of questions through Ask Anna about stitching tension, so I've compiled a list of the most common problems people have encountered and posted some of the advice I've given. Take a look to see if any of them sound familiar, and hopefully they will help you get the desired stitching tension as you work.

1. Get a grip! Literally. Picking up your beadwork can greatly improve your stitching tension. Holding the beads in the stitch you just added and the working thread where it exits the last bead will prevent the stitch from loosening up as you add the next stitch. Only let go of the working thread once the next stitch is completed, and then only to move your grasp down to the next stitch. You don't have to maintain a death grip on your beads — in fact DON'T, or you'll end up with stiff fingers and perhaps painful muscles. Use just a gentle grasp to keep things from shifting around while you work. And don't forget to take breaks to stretch out your fingers and back!

2. Don't skimp on stitching, reinforcing, or ending and adding thread. The more intricate the project, the more time it takes, which for many beaders is a good thing! This is what we do, what we love to do. But make sure you take the time to reinforce a row or round if it is loose or uneven; otherwise, all your time is wasted because you'll end up with a piece of beadwork that doesn't look very good. One of the most common complaints I hear in class is how people hate ending and adding thread, so they start with a ridiculous length for each project and usually get themselves (and everything in their path) caught up in it as they work. It is much better to work with manageable lengths, I'd say about 2 yd. (1.8 m) at a time, and cope with regularly ending and adding thread. But if you are just determined to work with double that length or more, work from the middle of the thread, if possible containing the remainder of the thread by wrapping it up on a bobbin or small piece of cardboard.

3. To create even tension for right-angle weave stitches, reinforce each row or round once it is completed (below, right). I like to do this instead of only reinforcing each stitch because the thread path of right-angle weave produces two threads on one side of each stitch and one thread on the other (below, left). No matter how many times you retrace the stitch, there will still be more thread paths on one side than the other. Only zigzagging back through the row (or round) will correct this.

4. To create good tension as you start a strip of flat even-count peyote stitch, work a row as usual, but when the working thread and tail are on the same side of the beadwork, place your thumbnail next to the edge beads and slide it up toward the beads as you pull the working thread and tail in the opposite direction. This will snug up the beads in the first three rows, and as you repeat this for the next several pairs of rows, you will start out with tight, even tension. To use this technique with flat odd-count peyote stitch, snug up the beadwork as described, but do so before adding the last bead in the odd-count turn row. Once you add that last bead, the thread will be facing the wrong direction to snug up the previous row. For even- or odd-count stitches, once you get past the first several rows, only pull on the working thread as you snug up the row just completed; the tail will no longer help as you continue working, but remember to snug up the tail before ending it or adding a clasp on this end of the beadwork.

5. When working with any stitch in the round, it can be a great help to begin the first few rows working around a dowel or pencil. Once you get those first rounds done, it should be easier to maintain even stitches. To make a specific form to work around, wrap a wide strip of paper around a dowel or pencil until you reach the desired diameter, or use cardstock to make a form from scratch. Tape the edge of the paper to hold it in place as you work. I find it helpful to work with a 4–5-in. (10–13 cm) form; any longer and your thread will most likely get caught as you work the stitches around it.

6. Double it up: Working with doubled thread can help maintain stitching tension because it fills up the holes of the beads, but it can be a pain to work with if it gets knotted or you have to remove stitches. I recommend working with doubled thread only if you already have command of the stitch. If you are just learning a stitch, stick with a single thread, but you can try using a thicker thread. If the project calls for 6 lb. Fireline, try using 8 lb. instead. Working with a thicker thread usually means working with a needle with a larger eye, so make sure that the holes in the beads will accommodate the needle and thread, or you may end up breaking beads. To use the smallest needle possible, flatten the end of the thread by pinching it with a pair of chainnose or flatnose pliers before feeding it through the eye.

7. Speaking of thread, working with the correct thread will improve your tension by providing the proper strength for the beads you are using. If you are using beads that may have sharp edges along the holes, such as crystals or bugle beads, use a strong fray-resistant thread like Fireline, Power Pro, or WildFire. These threads were adopted from the fishing section of outdoor sporting stores. They hold up well, and as you pull each stitch tight, they resist breaking so you don't have to be as cautious as you would with a nylon thread. You'll get a feel for how hard you can pull with each type of bead by keeping track of how and when you break thread as you work. Adjust your tension or choice of thread as needed.

8. Conditioning your thread with either microcrystalline or beeswax adds a tacky coating to your thread of choice, allowing it to stick to itself, holding each stitch in place better than if you didn't use any wax. Also, if you use doubled thread, waxing both strands together will help them act as a single thread, reducing the possibility of tangles or knots. It also helps to pull your thread through the beads nice and slow while taking up the slack. This way, the thread can't be pulled so fast through the beads that it ends up wrapping around itself, resulting in a knot or a clump that won't fit through the hole. Pulling slowly allows some of those knots to work themselves out before they become a true knot, bringing your beading to a screeching halt.

9. It may not be more difficult to maintain good tension if you use misshapen or broken beads, but these beads will cause all sorts of other trouble. Even if your stitching tension is perfect, your work won't reflect it if a misshapen bead makes a stitch look uneven. Cull your beads to remove any "bad" beads; work with only the highest quality materials to produce the most professional finished product.

10. Beads might not be "bad" and still cause trouble. Some stitches just work better with certain beads. If you are having a difficult time maintaining tension with a certain stitch, try out another type bead before abandoning it all together. For example, if you are working on a strip of herringbone stitch and you just can't get the stitches to lay the way you want, try using a smaller bead. Oftentimes, herringbone stitch works out well with smaller beads because they nestle next to each other better and disguise the thread path that is sometimes very apparent in herringbone pieces. Also, with herringbone stitch it really helps to "place" the pair of beads in each stitch before moving on to the next. Because of the angled way the beads sit, they don't always want to be pulled right into place the first time. Use your needle or a beading awl to align the holes of the beads if needed before pulling the stitch all the way through, leave a tiny little loop in the thread, then place one bead on either side of the loop and gently pinch the beads between your thumb and forefinger before pulling the thread the rest of the way through.

Hopefully some of these tips will help with any tension troubles you may be having. All of the stitches have little quirks that usually get worked out as you become more comfortable with each one. If there are specific problems that you continue to run into, please let me know!

Free instructions: Two stitched beaded end caps

Anna Draeger — Thu, 25 Aug 2011 21:49:00 GMT

The October 2011 issue of Bead&Button magazine gives six great tips for finishing the ends of a beaded rope in the Bead Soup section on p. 10. One of the tips mentions beaded end caps, which are an excellent way to cover up an unattractive end of a stitched tube or create a neat termination to a multistrand necklace or bracelet. I came up with these beaded end caps just playing around with some leftover beads. One is worked predominantly in tubular herringbone stitch, while the other is all tubular peyote stitch.

Herringbone stitch end cap

1. On 1 yd. (.9 m) of Fireline, pick up four 11/0 cylinder beads. Tie the beads into a ring with a square knot, leaving a 6-in. (15 cm) tail. Sew through the next 11/0 in the ring.

2. Pick up two color A 15/0 seed beads, and sew through the next 11/0 in the ring. Repeat around the ring, and step up through the first A added in this round.

3. Work one round of tubular herringbone stitch using As, and step up through the first A added in this round.

4. Work an increase stitch: Pick up two As, and sew through the next A in the previous round. Pick up a color B 15/0 seed bead, and sew up through the next A in the previous round. Repeat this step to complete the round, and step up through the first A added in this round.

5. Pick up two As, and sew through two As in the next column and the adjacent B. Pick up three Bs, and sew through the B your thread exited at the start of this stitch and the two adjacent As in the next column. Repeat this step to complete the round, and step up through the first A added in this round.

6. Pick up an A, and sew through the next A in the previous round, the three Bs added in the last step, and the next A in the previous round. Repeat to complete the round, and sew through the first A added in this round.

7. Pick up three As, and sew through the center B added in step 5. Pick up three As, and sew through the next A in the previous round. Repeat to complete the round. Retrace the thread path to reinforce the beadwork, then end the working thread and tail.

Peyote stitch end cap

1. On 1 yd. (.9 m) of Fireline, pick up 20 11/0 cylinder beads. Sew through the first bead to form a ring, leaving a 6-in. (15 cm) tail. Sew through the next cylinder.

2. Work the following rounds of tubular peyote using the indicated beads, stepping up after completing each round:

Rounds 2–4: Work three rounds using 15/0 seed beads.

Rounds 5 and 6: Work two rounds with cylinders.

Rounds 7–9: Work three rounds with 11/0 seed beads.

Rounds 10 and 11: Work two rounds with cylinders.

Rounds 12 and 13: Work two rounds with 15/0s.

3. Work a decrease round: Work one stitch with a 15/0, then sew through the next three 15/0s. Repeat around, decreasing the number of beads in this round to five. Step up through the first A added in this round.

4. Work a round using 15/0s.

5. Sew through the last round added to pull the beads into a tight ring. If too much thread shows, work another round of 15/0s or remove this row and use 11/0s instead of 15/0s.

6. Retrace the thread path, and end the working thread and tail.

I hope you enjoy these end caps. If you have any questions with these or anything else beady, just let me know. Use the form on the main Ask Anna page, or email me at anna@beadandbutton.com.

How can I include buttons with shanks in my embroidery designs?

Anna Draeger — Fri, 29 Jul 2011 14:32:00 GMT

I have some spectacular buttons I'd love to peyote stitch around to make a beaded bezel. I then want to incorporate them into bead embroidery on Lacy’s Stiff Stuff. But how would I accommodate the button shank? It protrudes so far out the back that it’s hard to get the button to lie flat on my backing! Thanks for your help! – Melissa Phillips, New Mexico

Thanks for your question, Melissa. I know lots of people who want to include buttons in their beadwork but don't want to alter or ruin the button by removing the shank. If you use the button as a clasp, the shank is actually helpful; but when it comes to bead embroidery, the shank can get in the way. Some shanks are short enough that if you stitch them right to the beading foundation, it may curve gently around the back of the button without skewing the rest of the beadwork or harming the button. It also may help to use a softer backing, like Ultrasuede, rather than Lacy's Stiff Stuff beading foundation.

Here are a few other suggestions:

• Extend the beaded bezel from the outer edge with increase peyote stitch rounds or netting to build up the height of the beadwork. Then, stitch the outer rounds of this extended beadwork to your backing, enclosing and hiding the button shank while adding texture and depth to your piece. This technique would work well with pointed-back crystals, like rivolis or dentelles, or any other unusual components without a flat back. The components may sit higher than normal on the foundation, but you can incorporate some other tall components throughout your project as desired, creating a piece rich with texture.

• You could cut a hole in the Lacy's Stiff Stuff to let some of the shank “sink” into the backing a bit. You’ll probably be covering the beading foundation with fabric or Ultrasuede anyway, right? That would hide the hole. If necessary, you could use a thicker beading foundation to accommodate the height of the shank.

• Construct a “doughnut” with beading foundation: Using more than one layer if necessary (glue or stitch all the layers together first), create a spot for the button to sit so the shank is protected in the center. You could hide the sides of the doughnut with a ring of larger accent beads or the above idea of extending the stitching out. Or, once your button is attached to the backing, stitch a ring of beaded backstitch with seed beads around the base of the doughnut, then begin tubular peyote around the doughnut to hide it, continuing in peyote until your beadwork is just barely taller than the height of the button, then switch to a smaller seed bead to snug up the last round or two to the button.

• One option to consider is to embroider a layer of beads on your beading foundation, and as you get closer to the spot you want to include your button in the design, increase the size of the beads until they are equal to the height of the shank. Leave a small area to stitch the button in place, and the button can just sit on top of the beadwork. This would be helpful if the button isn't very large or if you don't want to cover any of the detail on the button by beading a bezel around it.

If you'd like to see some embroidery techniques in action, check out this video. I hope these suggestions are helpful, and if anyone else has any thoughts about this, please feel free to post them here!

More Honeycomb Bangle tips

Anna Draeger — Thu, 23 Jun 2011 17:59:00 GMT

I saw lots of ladies walking around the 2011 Bead&Button Show wearing Cynthia Rutledge's Honeycomb Bangle, a project we featured in the April 2011 issue of Bead&Button. I also saw several ladies wearing a whole stack of bangles, and even a ring! This is such a stunning piece, everyone who sees the ones I made can't help but to pick them up.

Cynthia Rutledge, several readers, and our staff have come up with several places to purchase the rondelles used in this design, along with a design option. In this edition of Ask Anna, I've compiled links to our Resource Guide for sources for the rondelles and additional tips from Cynthia, a link to a forum conversation about this design, as well as instructions for making a bracelet with a clasp instead of a bangle. I hope all of you find it helpful!

Design option:

You can use this technique to make a bracelet instead of a bangle. Start the peyote base as usual, making it the desired length, minus the length of your clasp. You still need to use multiples of four for the base because you want to end up with the same number of cylinder beads on each end of the beadwork. Work rows of peyote instead of rounds, then work the rows of netting with 15/0s, pearls, and 11/0s. String the number of rondelles needed on beading wire, and attach Bead Stoppers to the ends of the wire. Work the row of 15/0s across the rondelles, and end the thread. String a crimp bead and half of the clasp on one end of the wire, go back through the crimp bead, and crimp it. Trim the excess wire, and cover the crimp with a crimp cover if desired. Repeat on the other end.

If you have further questions or tips about this bracelet, please don't hesitate to post them here!

What can I do with leftover wire and beading wire?

Anna Draeger — Wed, 01 Jun 2011 13:33:00 GMT

Recycle, recycle, recycle... I was making some earrings for a class last week when I realized that I was being so wasteful! I have been saving bits of beading wire for a very long time now: Whenever I was left with a 5-in. (13 cm) piece of beading wire at the end of a spool, or overestimated how much I'd need for a project, I'd make a loop with the wire and wrap one end around the other a few times to hold it in place. Then, I'd throw it in a little bag with about 25 other ringlets of colorful beading wire. Until now, that bag was just something I'd move from one place to the next, but I decided to make some earrings (left) to use up the scraps.

After I found them (because I've been moving the bag around forever, it was hiding on me), I strung a few top-drilled crystals and some beads on one of the shorter scraps, then I crossed the ends through two crimp beads. I repeated this with two more leftover pieces, each one slightly longer than the previous one, crossing the wire ends through the same two crimps as the first loop. Leaving a little space between the two crimps, I crimped the crimp beads, and covered them with crimp covers. To finish up, I opened a loop of an earring finding, and attached it between the two crimp covers. So easy and so quick!

Besides using up those scraps of beading wire, this project is also a great way to use leftover beads from your last project. Go ahead and use this technique to make a matching pair of earrings for that fabulous necklace or bracelet you just finished, but be warned...it's so fun, you may want to make 10 more pairs.

You can save scraps of gauged wire, too. I save scraps in empty bead tubes, marking the tube if it is sterling. Sterling scraps can be recycled, but you can also use short scraps to make cute corkscrew earrings or dangles. First try to find two scraps that are about the same length, then make them the same length by trimming them with your wire cutters. Working both pieces at the same time, make a plain loop on one end of both wires. Coil the wires around your roundnose pliers, and end with another plain loop. Open the loops on one end of the wires to attach briolettes or top-drilled crystals, then open the loops on the other ends to attach earring findings.

Have fun, and if you have tips on other recycling projects, please fill us in!

How do I graph an increasing and decreasing flat peyote stitch pattern?

Anna Draeger — Fri, 29 Apr 2011 01:49:00 GMT

In the June 2011 issue of Bead&Button magazine, I did a Stitch Workshop (p. 22) that included how to make a butterfly using increasing and decreasing rows of odd- and even-count peyote stitch. After making the butterfly, you may want to make your own shaped pattern, but where do you begin? Follow these steps to get started:

• Practice the basics: The best way to get going is by graphing a basic shape. Once you get the hang of graphing simple shapes, more complicated designs or even photos can be used.

• Choose your beads: Using larger seed beads like 8/0 or 10/0 cylinder beads in a single color will be the easiest way to get the hang of making shapes. Once you feel comfortable with a single color, try incorporating stripes or other repeating patterns. Once you have that down pat, more intricate color schemes can be incorporated as well as smaller beads if you wish.

• Graph your design: To begin graphing your own design, print out our free graph paper. For an example, we'll make a simple diamond shape. The easiest way to graph a shape is to start with the longest row and decrease to the sides. Start graphing the beads for the first two rows of the diamond using the same color. They are numbered 1/2 in the illustration below. Then graph the following rows, using one color for each row and numbering each row. Numbering each row is especially helpful for increase rows since the beads added in the increase stitch occupy more than one row.

Row 3: Graph the third row (odd-count peyote stitch) in the next color.

Row 4: Graph the first decrease row in the next color.

Rows 5–9: Graph the remaining decrease rows on one side of the diamond shape, each in a different color.

Rows 10–15: Graph the remaining decrease rows on the other side of the first two rows, each in a different color.

• Stitch the diamond shape: On 18-in. (46 cm) of thread, center the beads for the first two rows. Work a row of odd-count peyote. Work rows 4–9 in decrease peyote by working an even-count decrease or a mid-row decrease at both ends of each row. If you're unfamiliar with these terms, make sure to see my Stitch Workshop in the June issue, and check out my video about increasing and decreasing along the edges of a peyote strip. Once you've finished the first half of the diamond, use the tail to stitch rows 10–15 to complete the second half.

When you start graphing more complicated shapes, count the beads picked up for increase stitches as part of the row just completed. This will make it easier when you are reading a graph to identify the beads to pick up in each row, and how many beads to pick up per stitch. Below I made an "E" as part of a bracelet I'm making with my sons' names.

Rows 1–5: Work in odd-count peyote stitch.

Row 6: Work one stitch.

Row 7–11: Work a decrease row, then four rows of odd-count peyote stitch.

Row 12: Work an increase row. Note that all the beads added in the increase stitch (seven beads) are considered row 12.

Rows 13–15: Work three rows of odd-count peyote.

Row 16: Work one stitch.

Rows 17–21: Work a decrease row, then work four rows of odd-count peyote.

Row 22: Work an increase row. Note that all the beads added in the increase stitch (seven beads) are considered row 22.

Rows 23–25: Work three rows of odd-count peyote stitch.

Some letters of the alphabet are more tricky than this, but you can also make sections of your pattern and then stitch them together. For instance, in the pattern above, you could stitch three odd-count strips following rows 1–5, then attach the strips with short rows as in rows 6–10.

Now try graphing your own design, and feel free to contact me with any questions!

How do I incorporate a metal clasp into my beaded design?

Anna Draeger — Fri, 01 Apr 2011 15:30:00 GMT

There are many choices when it comes to clasps, but really nice clasps usually carry a really nice price tag, so base-metal clasps may be your only alternative. But slapping an inexpensive metal clasp on a bracelet that took 30 hours to stitch just doesn't make any sense, and it also diminishes the look of the quality of your work.

Although I like to make beaded clasps to tie in the colors, extend the design of the piece, and give it a more finished look, sometimes it is necessary to use a metal clasp, and they are typically stronger than a stitched clasp. So if metal is your choice, consider dressing them up with the following ideas:

• Add dangles to a toggle clasp: On a head pin, string a few of the beads used in your beadwork, then make the first half of a wrapped loop. Attach the loop to the toggle ring, and complete the wraps. Repeat to add several dangles, but make sure the toggle bar can still fit through the ring.

You can also use wire to make your own bead-embellished clasps:

• Make a toggle ring with 22-20-gauge wire: Cut about 6 in. (15 cm) of wire, and wrap it around a marker or dowel until the wire crosses. Use one wire end to make a wrapped loop next to the crossed wire. Slide beads on the other wire end until they cover the ring, then wrap the remaining wire over or above the wraps from the wrapped loop. Trim any excess wire.

• To make a toggle bar: Cut about 3 in. (7.6 cm) of wire, and wrap it around a small dowel or roundnose pliers until the wires cross. Twist the wires at the cross once. String several beads on each wire end, then make a plain loop on each end. Make dangles as described above, open the loop on each end of the toggle bar, and attach the dangles.

In addition, you can stitch sections of tubular herringbone or peyote stitch to fit around a wire toggle ring:

To make a herringbone toggle ring: Make a ladder four beads long with a 15/0, a 15/0, an 11/0, and an 11/0, then join them into a ring. Work two 15/0s per stitch off of the 15/0s in the ladder, and two 11/0s off of the 11/0s. Work rounds until the tube is long enough to cover the toggle ring. The difference in bead sizes will help the tube curve around the ring.

To make a peyote toggle ring: Pick up enough 15/0s to match the circumference of the inside of the wire toggle ring, and tie the beads into a ring. Work a few rounds of tubular peyote starting with 15/0s, then switch to 11/0s. Alternate adding rounds along each edge, checking often to make sure the beadwork wraps around the ring from the inside out. Switch to 8/0s if needed for the outer round, and zip up the end rounds when the two edges meet.

Try these out, and you may find yourself designing jewelry around your clasps instead of the other way around!

How do I design a leaf using peyote stitch?

Anna Draeger — Tue, 01 Mar 2011 16:13:00 GMT

The actual question I received from Lynne Irelan was about designing a holly leaf, but this technique should work with any type of leaf. Some shapes will lend themselves better to flat peyote stitch and others may work better with square stitch or brick stitch. If a shape just won't work in a particular stitch, give a different stitch a try!

• First, go to our website home page and download some free peyote stitch graph paper.

• Next, find a photo of your desired leaf, place it on the graph paper, trace the leaf (you can also sketch the leaf freehand), then fill in the graph with colored pencils. Since St. Patrick's day is just around the corner, I thought I'd try my hand at sketching out a clover leaf, and incorporating it into an earring.

Depending on the size of beads you use, you may have some adjusting to do. It is best to make one to see how the beads you are using work, and then tweak the rows and stitches as needed. You'll most likely be using even and odd-count turns as well as increases or decreases at the beginning and end of the rows to create the edge of the leaf, so having a good working knowledge of peyote stitch is very helpful. If you need a bit of practice in this area, look for the June 2011 issue of Bead&Button, available May 1, 2011. Stitch workshop will be all about working those pesky turns, showing you how to shape your flat peyote stitch beadwork.

Thinking back to the holly leaf, I bet if you used larger beads like 8/0 or 11/0 seed beads down the middle of the leaf, then switch to 11/0s or 15/0s near the edges, it would give your leaf the natural curvy look of holly leaves.

For a peek at some fun poison ivy leaves, check out Linda Frechen's Leafy Inspirations bracelet from our August 2007 issue.

Finally, I designed a piece for the Bead&Button Favorites special issue that will be available in June, 2011, that has peyote components, including two cute leaves – be sure to check it out when the issue hits the newsstand.

I'd love to see photos of any leaves you have made in the past or any you may try using this technique. Feel free to post them!

How do I add a clasp to a St. Petersburg chain?

Anna Draeger — Fri, 21 Jan 2011 22:21:00 GMT

You may have seen the St. Petersburg chain in the June 2009 issue of Bead&Button or in the Beader's Handbook 2. Either way, many of you have asked this question over and over. Here are a few ways to add a clasp to a St. Petersburg chain.

If you are not familiar with this technique, order either magazines listed above, or check out our video. The Beader's Handbook 2 is now available as a digital version as well!

I recommend using 8/0 seed beads for the body of the chain and 11/0 seed beads for the end of the row turns. I will refer to these sizes for the clasp options below.

After you master the St. Petersburg chain, you'll want to add a clasp to make a necklace or bracelet in one of the two following ways:

All-stitched clasp:

• Exit the end row of 8/0s, and pick up an 11/0 and either a small button, marguerite lochrose (8 mm shown), disk, or a round bead, then pick up an 11/0. Sew back through the clasp bead and the first 11/0 just picked up, and continue on through the last few 8/0s in the last row. Retrace the thread path to reinforce the clasp, then end the thread.

• On the other end of the stitched chain, exit the end row of 8/0s, and pick up enough seed beads (16 for an 8 mm marguerite) to make a loop around the clasp bead. Sew back through the first 11/0 picked up, then retrace the thread path, and end the thread.

Jump ring clasp attachment:

• Exiting an end 8/0 in the last row, pick up a soldered jump ring, and sew back through the last row of 8/0s. Retrace the thread path to reinforce the join, then end the thread.

• Open a jump ring, and attach a clasp and the soldered ring. Close the jump ring.

• Repeat on the other end of the stitched chain.

You can make an all-stitched clasp for a double row of St. Petersburg chain too:

• On the "pointed end" of the bracelet, exit a bead connecting the two rows on the top surface of the bracelet. Sew a button to the top of the bracelet (12 mm Swarovski sew-on button shown). Retrace the thread path to secure the button, and end the thread.

• On the "V end" of the bracelet, exit the last row of 8/0s on one side of the bracelet. Pick up enough seed beads to loop around the button (about 13 11/0s for the 12 mm button), and sew through the end row of 8/0s on the other side of the bracelet. Retrace the thread path, and end the thread.

If you are interested in more elaborate projects using St. Petersburg, check out our projects tab on our home page. Search for St. Petersburg chain under the style/stitch box, and refine your search further by choosing what kind of project/type you are looking for, the skill level, and the media/technique you'd like to use. We have a bunch of projects available for free to registered users (and registration is free, too!), even more for subscribers, and individual articles for sale if you like to hand-pick the projects you'd like to do.

Does anyone else have a method of attaching a clasp to a St. Petersburg chain that you'd like to share with us? Please post a photo below!

Tips and tricks for odd-count peyote

Anna Draeger — Wed, 29 Dec 2010 15:20:00 GMT

Some stitches have the ability to scare people away; maybe all of them do under some circumstances. I've seen people who have stitched in even-count peyote stitch for years unravel over odd-count peyote stitch. On the other hand, I've seen people who have never done any peyote stitching understand odd-count right away. Nonetheless, the first few rows of peyote stitch are tricky. The beads twist around and don't stay where you want them to. When you add an odd-count turn at the end of the row, it compounds the difficulty even more. Still, I do think it is helpful to understand the basics of peyote before starting odd-count peyote, so it may be helpful to check out our Online Basics or watch a video before you give it a whirl.

Once you've reviewed the techniques, grab some beads. If you are just getting started, I suggest 10/0 or 8/0 cylinder beads, #10 beading needles, and some 6 lb. Fireline or your favorite beading thread. The larger size and cylindrical shape of the beads make them easier to work with. Work with about 18 in. (46 cm) of thread, and attach a stop bead at the end. You'll just be making small samples, so you don't need to leave a tail or work with long lengths of thread unless specified.

Compared to even-count peyote, odd-count peyote requires you to add the last bead in odd-numbered rows in a different manner than all the other beads.

To begin, pick up seven beads. These seven beads will shift to make up the first two rows as you add the third row. The odd-numbered rows have five beads per row, and an odd-count turn is used as the last bead in the row is added. The even-numbered rows have four beads per row, and an even-count turn is used as the first bead of the next odd-numbered row is added. As you stitch the third row, you'll see that this is the same way to start even-count peyote. Pick up a bead, skip the last bead of the nine, and, working back toward the tail, then sew through the next bead. Pick up a bead, skip a bead, and sew through the next bead. Repeat once. Now you have a spot to add one more bead, but no bead to sew through in the previous row. To remedy this, you must use one of the following odd-count turns:

First odd-count turn:

This is considered the traditional way. Sew through the remaining bead. Pick up a bead, and working away from the tail, sew back through the next bead in the second row and the next bead in the first row. Sew through the adjacent bead in the third row back toward the tail, the bead in the second row, and the bead the tail is exiting. Sew through the last bead added (the last bead in the third row). Now you are ready to work the next even-numbered row. You can work this turn at the end of each odd-numbered row, but your beads become packed with thread and can cause the strip of peyote to curve because your tension is affected by sewing through the three edge rows more than once each time you turn.

Here are a few alternate ways to make the first cumbersome turn described above:

• When you are ready to add the last bead in the odd-numbered row, pick up a bead, and, working away from the tail, sew back through the remaining bead in the previous row. Yep, that's it. Now, flip your beadwork so that your working thread is facing your dominant hand. It is a little strange that the tail will be exiting the second edge bead instead of the first, but you will most likely sew through the last edge bead with the tail to attach the clasp anyway. Your working thread is in position to start the next row.

• If you must exit the last bead added in the third row due to a pattern, sew back through the last bead added in the third row. The thread will be exiting the bead in the wrong direction. To fix this, sew around the tail between the stop bead and the edge bead in the first row and back through the last bead in the third row.

• Another quick way to add that last bead in the third row is to pick up a bead and simply tie the working thread and tail together using a square knot, and sew back through the last bead in the third row. You are now ready to stitch the next row.

• I like to use the following technique if I have a long strip of peyote to make and want to work from the center of the length of thread. Thread a needle on both ends of the thread, and center two beads. Put the two needles together, and with both needles, pick up a single bead. Slide the bead down the length of the doubled thread, next to the first two beads. Position the first two beads so they sit side by side with the holes parallel, and the single bead is stacked and centered next to the two. Separate the needles, and with each needle, pick up a bead. Put the needles together, and with both needles, pick up a single bead. Slide all the beads down the length of the thread, stacking the new set next to the previous set. Repeat. Separate the needles, and with each needle, pick up a bead. Using one needle, sew back through the bead on the other needle. Repeat with the other needle. This completes the first three rows. Wind one of the threads up, and work with the other thread until you run out, then switch to the remaining thread.

Okay, practice the ways to work the first turn when using flat peyote stitch. After that, you can work simplified turns. The following is considered the traditional way to make subsequent odd-count turns:

• To add the last bead in the row, pick up a bead, sew under the thread bridge between the two previous edge beads, and back through the last bead added. This is quick and easy, but in my book, it isn't the ideal way to make the turn because the threads on the odd-count edge are doubled — actually they are tripled because two threads are added to the existing bridge of thread each time the bead is added. The other edge will only have one thread between the edge beads. As you may know, I really like symmetry in my designs, and I also like to minimize the amount of thread that shows along the edge of peyote strips. So ... I've compiled a few ideas for you if you feel the same.

Alternate subsequent odd-count turns:

• I've used this technique for a long time and have heard other bead artists refer to it as well. You essentially "put off" adding the last bead in the row, which causes previous rows to have to "catch up" to the current rows. To work this method, instead of picking up a bead and sewing back through the previous edge bead, you sew through the previous edge bead first, then pick up a bead, and sew back through the last bead in the previous row (figure 1). This completes the odd-numbered row, but your thread is coming out of the middle of two beads. Sew through the next bead in the odd-count row, work two stitches to the end of the new even-count row, but as you can see once you reach the end of the row, the first stitch of this even-numbered row is missing (figure 2). Work two stitches in the new odd-count row. Now you have to fill in the missing bead by sewing through the next bead in the previous odd-count row, picking up a bead and sewing through the next bead (the previous edge bead, figure 3). This changes the turn along this edge into an even-count turn. Work two stitches, completing the odd-count row. Your thread is coming out in the middle of nowhere again, so sew through the next bead in the odd-count row, and continue in peyote. This technique practically eliminates the odd-count turn, but it is quite tricky unless you are very comfortable with peyote stitch. The number of stitches you add in each row changes with this technique, and after every few rows your thread ends up exiting the edge bead of an odd-count row in the wrong direction. When that happens, you simply sew under the thread bridge and back through the last edge bead, which starts the cycle over, keeping you on your toes! I do not recommend using this technique with a complicated pattern.

• I found another way that simplifies the process described above, and although I'm sure other people have thought of this, when the idea came to me, I felt pretty clever. *When you are ready to add the last bead in the odd-count row, sew through the previous edge bead. Pick up a bead, and sew through the first bead in the previous even-numbered row. This completes the new odd-numbered row, but again, the thread isn't where you want it to be to start the next row. You can use this to your advantage by picking up a bead and sewing through the bead your thread just exited (the first bead in the previous even-numbered row) and the next bead in the newest odd-count row (figure 5). Snug up the thread and position the newest bead between the last two stitches in the previous row. This new bead is the first bead in the new even-numbered row. Complete the even-numbered row (figure 6), and work the first three stitches in the new odd-count row. Repeat from the * for all subsequent rows.

There are many other variations that will work, but these will get you started, and hopefully will take any fear you may have of working with odd-count peyote stitch. If anyone else has any other tips to help your fellow beaders, please post them here.

Holiday cheer!

Anna Draeger — Wed, 01 Dec 2010 18:55:00 GMT

There are so many great projects for the holidays, so why not check out the patterns available like the Stitched stocking by Collette Hunt, our free online project for December. Interested in more holiday projects? Just go to the Projects tab above and search "holiday." A whole bunch of patterns come up that would make great gifts.

As a thank you to all our readers, I'm sharing these two patterns with you. Go to Online Basics to learn about Brick stitch and Square stitch, or go to our Videos page to view demonstrations. After giving these two little cuties a try, download our free graph paper to design few patterns of your own. I can see making a whole holiday charm bracelet or just an adorable pair of earrings. Dress up a gift tag or greeting card with a handmade charm.

To make the tree, thread a needle on about 1 yard of thread, and leave a 10-in. (25 cm) tail. Work the bottom row of the tree first in ladder stitch, then work in decreasing brick stitch for the next three rows. Increase for the next row, then decrease the last four rows. With your thread exiting one of the two beads in the last row, pick up a bead and a soldered ring, and sew back through the bead and the adjacent bead in the last row. Retrace the thread path, and end the thread (Online Basics). Using the tail, make the stump of the tree by adding two beads to the center of the first row. You could use green and brown 11/0 cylinder beads for the tree, and if desired, decorate your tree with assorted 15/0 seed beads.

When working the present pattern, use about 1 yard of thread, leaving a short tail. Once the square stitch pattern is complete, make a bunch of loops of small seed beads for a bow, including a soldered jump ring in one of the loops. End the working thread and tail. Red and green 11/0 cylinder beads would work well with 15/0 seed beads for the bow.

I'd love to see any other cute patterns you come up with!