Figure 3

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Sticks

[1 ] Cut eight or more pieces of 14-gauge electrical wire of various lengths between 2Vi in. (6.4 cm) and 8% in. (22.2 cm). These wires will form the cores of the sticks.

[2] On a comfortable length of Firclinc, pick up an 11" seed bead, a I0V or 1 lv triangle bead, two 1 l°s, a triangle, and an 11', leaving a 12-m. (30 cm) tail. Sew through all six beads again, so they sit in two stacks (figure 1. a-b).

[3] Pick up an 114, a triangle, and an 11*, and sew through the last three beads of the previous stitch and the three new beads again (b-c). Continue in ladder stitch (Basics, p. 87) until you have six stacks of beads, then form the beads into a ring by sewing through the first stack and the last stack twice.

[4] Begin working tubular herringbone stitch (Basics): Pick up an 1 lv, a triangle, two 1 l°s, a triangle, and an 11®, and sew down through the next stack of three beads, and up through the following stack of three (figure 2). Repeat around the ring, and step up by sewing through the first three beads added in the first stitch.

[5] Slide the end of a wire piece from step 1 into the ring, and continue work ing in tubular herringbone, following the established pattern, until the bcadwork covcrs the entire wire, ending and adding thread (Basics) as needed.

[6] Exit any end 1 Is, and pick up an 11". Sew down through the end bead directly across from the one your thread exited (figure 3. a-b), and up through an adjacent end bead. Sew through the 11" you just added, and down through the opposite end bead (b-c). Repeat once more to secure the 11" in the center of the ring (c-d) so the 14-gauge wire cannot slide past it, and exit up out of an end head.

[7] Work a round of tubular herringbone, bur pick up three 1 l&s instead of two in the centcr of the first stirch to form a picot (figure 4, a-b). To work the next round, sew through the first stitch of the previous round without adding any new beads, and pick up three beads ro form a picot in the center of the next stitch (b-c). Repeat once more to add a picot to the centcr of the third stitch (c-d), and sew through the bcadwork as necessary to stabilize the forked ends.

[8] Thread a needle on the tail, and repeat steps 6 and 7 on the other end of the stick. Do nor end the rhreads.

[9] Repeat steps 2-8 with the remaining wires.

materials necklace 22 in. (56 cm)

• 36-42 in. (.9-1.1 m) 14-gauge insulated eJectrical wire

• heavy-gauge wire cutters

EDITOR'S NOTE: I used 16-gauge craft wire instead of 14-gauge insulated electrical wire. The results were comparable, but the shiny surface of the craft wire does show through the beadwork a bit more. - Lesley

Assembly

[1] Lay your sticks in the shape of a necklace, taking care to place the sticks at the front so that a fork between two sticks will fir into a fork at the opposite end to clasp the necklace (photo a). Note where you want to connect the sticks to each other.

Jewelry designer

Bead artist

Nikki Thorttburg-Lamgan grew up in North Carolina, in the US., where arts ami crafts are a part of everyday life. After receiving a li.A. in sculpture, sl)e experimented with pottery, welding, painting, drawing, pouring metals, and stained glass, hut still hadn't found her artistic passion. In 2001, she took a head-making class at the Sawtooth Center in Winston-Salem, N.C. Once the teacher lit the torch, that was it — Nikki was a glass artist. She received a regional artist grant from Qitawba County Council for the Arts, and was able to start her own business. Head making combines all the aspects of art that Nikki loves: color, creativity, fire, and instant gratification. Visit Nikki's Web site, thornhurgbeadstudio.com, to see more of her work.

Sally Shore began her artistic career as a graphic designer in the late 1960s. In 1991, she began weaving with ribbons, and first incorporated beads into her designs in 2001. Suzanne Golden's "They're alive" article in Bcad&Button magazine (October 2002) was the catalyst for her interest in bead weaving. Participating in the Convergence competition with Nikki Thornhurg-I¿wigan pushed her to work beyond her favorite techniques and come up with new ivays to incorporate art beads into her work. You can sec more of Sally's designs on her Web site, nbhonweaver.net, or contact her via e mail at [email protected] or telephone at (516) 647-5052.

[2] Sntch the branches together using a ladder stitch thread path (photo b). Retrace the thread path several times. The connection needs to be tight enough that the thread isn't visible and the connection feels secure, but flexible enough so that the picccs can move a little. Repeat at all connection points, checking the lit and alignment of the clasp picccs as you go.

(3] Arrange the necklace in a circle, using a neck form if desired (photo c), and determine where to place the art-glass beads. Exit the beadwork at the point where you'd like to add a bead, and pick up an art bead, a 6° or 8° seed bead, and three 15° seed beads. Sew-back through the 6V or 8® and art bead, and into the beadwork. If your art bead wobbles, add a 6V or 8" before the art bead (photo d). Repeat to add art beads as desired. End all the threads, o

The different sizes and arrangements of the sticks leave plenty of room for creative interpretation.

DESIGNER'S NOTE:

Mixing two similar colors of matte seed beads, such as matte brown and matte gray iris, gives the "bark" an exotic, mottled look.

BASICS www.BeadAndButton.com

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