35. Flora by Pamela Penney, (top right) "There are two elements that I find critical to my pieces. The first important aspect of my neckpieces is what I term the 'voids.' As I weave, I deliberately distort the warp threads to create open spaces. These empty spaces are as critical to the composition as the actual weaving itself. In this way I more closely associate my needleweaving with traditional lace making techniques than to tapestry weaving. Secondly, my design process is an evolution. By this I mean that although I have an overall concept in mind and I develop an overall shape for the warp, I do not chart out or plan the weaving itself. I let the design come to me as I proceed with the weaving. I put the beads on the warp and change colors as I intuitively feel they are needed. In this way, my neckpieces are balanced from side to side but are always asymmetrical."
36. Victorian Parlor by Patricia K. Jeydel. (left) "This piece contains elements found in my sister's attic: Chinese coins from our grandmother's sewing basket, jet beads from great-grandmother's necklace, and various amber beads. The green glass beads and crystal rondelles had resided for y ears in an old box of buttons, and belonged to these same ladies."
37. Inca Princess by Diane Fitzgerald, (top left)
38. Of Royal Blood by Diane Fitzgerald, (top right)
39. Miss Piggy by Diane Fitzgerald, (left)
40. Anasazi Bird, by Ann Shafer. (top left)"This necklace is a representation of an Anasazi (prehistoric Indians who lived in the American Southwest — direct ancestors of the Pueblo Indians) bird, a thunderbird, common to many Indian tribes. I chose to name it "Anasazi Bird1' to recognize the rich culture the Anasazi Indians left behind in this area. The silver represents Indian jewelry and the blue the fantastic blue sky. Creating necklaces is a change for me — since I usually weave and design clothing — and one which I love."
41. Untitled No. 1 by Barbara W. Saslow. (top right) "The inspiration for my work usually starts with either a color scheme or the beads themselves. It Is not uncommon for me to awaken with colors on my mind, and further ideas come to me during my daily swim. Then I study my ever-growing bead supply (Collecting beads is a disease you know!) and mailorder catalogs. My design usually begins to evolve at this point However, it also could work in reverse! Sometimes I design to express my feelings or moods. For the year and a half that I have been working on these pieces, there is hardly a day that goes by that I am not involved with them in some way."
42. Untitled No. 2 by Barbara W. Saslow. (left)
43. Untitled by Jadine Surette. (top left) "I love antique beads and this needleweaving has been the vehicle for me to integrate the subtleness of silk fibers and the patina of old beads/'
44. Sacred Nymph, After Cranach by Kathleen Betty Williams, (top right) The Sacred Nymph was designed as a homage to Lucas Cranach the Elder, a 14th-century painter. The low-relief porcelain figure was reproduced and painted by Kathleen. Coupled with a distant landscape and birds the result is an imaginative, almost dreamy piece. Along with needleweaving, the piece also includes knotting and wrapping with embroidery threads.
45. Sea Fantasy by Deborah Tweedy, (left) "The integration of beads and fibers satisfies both my passions at once and resolves the frustration created by the limited palette of bead colors. I found this piece to be among the most exciting I have ever created. The colors of 'Sea Fantasy,' are the colors I would like to find under the sea."
46. Egyptian Geometry by Diane Fitzgerald, (top left) "The regularity of Egyptian forms such as the pyramids and their color palette was the starting point for this piece."
47. Untitled by Diane Fitzgerald, (top right) "I often wish I had more experience in painting, which I think would make me freer in approaching necklace design. With practice, it's possible to push oneself to new heights."
48. Monkey Tree by Diane Fitzgerald, (left) "This piece is all about texture. I tried to create the feeling of tree bark using grays, taupes, beiges and black, and wove the piece at random without a pattern. The large black bead is of a carved monkey."
49. Sun Steps and Shadows by Daniele S. Dubois, (top left) "This was my third piece, made in Bethesda, Maryland at the end of November 1989. The leaves had fallen, the cold was setting in and the days were shorter. I longed for the wonderful summer I had just spent in the south of France. Gold beads against black onyx...red and gray...the sun of Provence on a scorched land...a stroll in the narrow streets of the old quarter of Nice on a hot Sunday afternoon...sun, steps and shadows."
50. Africa // by Carroll Gotte. (top right) "I have always been interested in textiles and more recently have discovered the world of beads. The combining of these interests and study of them in other cultures has been the inspiration for my work. The symbols, materials, designs, colors and use within a culture fascinate me. I find excitement in every phase — learning about the culture, selecting the yarns and beads and in the weaving/'
51. A God's Promise by Phyllis Magrab. (left)
52. Pre-Columbian I by Carroll Gotte. (top left)
53. Bedouin 11 by Carroll Gotte. (top right)
54. Pre-Columbian 11 by Carroll Gotte. (left)
55. Waterfall by Sarah Johnson, (top left)
56. Diver's World by Sarah Johnson, (top right)
57. Lepidoptera by Frances Eyster. (left) "The brass flnial is in the shape of a butterfly and its antennae of brass beads lies amidst an ikat-like design also meant to represent the wings of a butterfly."
58. Asian Fantasy by Ileen Shefferman. (top left)
59. All That Jazz by Ileen Shefferman. (top right)
60. Ganges by Gretchen Prewitt. (left)
61. Tapestry Neckpiece with Heart Pendant by Joan Wack. (top left)
62. Inca Kilim by Rebecca Toner, (top right)
63. Summer's Joy by Joyce Collin-Bushell. (left) " 'Summer's Joy' began as an exercise while teaching my first workshop in the technique for my guild members. The experience of leading the workshop became very rewarding as I watched the necklaces taking shape. Six of us wore finished necklaces to our annual general meeting in May!"
64. Untitled No. 1 by Virginia Hudak. (top left) "I design my necklaces to provide that unique, dramatic statement for a particular garment or group of separates. The overall design, the color and shape of the beads and ornaments and the color and texture of the threads are all selected quite simply on the basis of how they complement the intended garments.
"The original design usually changes during execution as the beads and threads evolve into an integrated statement. My work reflects my partiality to flowing lines, antique silver and the colors magenta, turquoise and purple."
65. Untitled No. 3 by V irginia Hudak. (top right)
66. Twenties Angles by Eugenia Nowlin. (left) "Twenties Angles was designed using the Art Nouveau pin in the center as a theme and then working to set it off to best advantage."
67. Song of India by Eugenia Nowlin. (top left) "The discussion of Indian textiles in Helen's class, and a gift of Indian glass beads from a friend who returned from an inspiring trip through India, resulted in this piece."
68. Fertility by Sheila Miller, (top right)
69. African Adornment by Eurla Frederick, (left) Note the use of leather and paper beads.
70. The Egyptian Way by Eurla Frederick, (top left) The unusual closure adds interest to the back of this piece.
71. A Puppet Show by Eurla Frederick, (top right) This pectoral is actually a puppet stage with a metal puppet.
72. Falling Leaves by M. A. Klein (left) "My designs for these neckpieces reflect my graphic arts background and training. They also reflect my love of the Southwest and the time I've spent there."
Ms. Klein, whose main interest is fabric collage tapestry, wrote about several experimental pieces she was beginning. These involved unusual warping patterns, such as radial warp, crisscrossed warp, multiple layers of warps and others. Undaunted by the problems of moving into uncharted territory, she tackles them as they confront her and is learning from each as she proceeds.
74. Untitled by Rose Madri. (top right)
75. Untitled by Pat Norman, (left)
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IN this little text-book the author has tried to combine the trade information which he has gained n his avocation, the study of precious stones, with the scientific knowledge bearing thereon, which his vocation, the teaching of chemistry, has compelled him to master.