Cknowledgments

1 sincerely appreciare rhe guidance and leadership from my editor. Mana Turner. Her expert eye and patience were invaluable for the completion of thin book.

I'd also like to thank photographer Kris Kandler for lier suggestion* and quiet expertise in rhe photography of chis book, page designer Jamie Griffin for making the pages come to life, and cover designer Mary I.ou Marshall for a simply "exquisite" look.

Julie Stephani, my acquisition editor, you're a dear friend, and it was so nice to work with you after all these years.>f*v I

I'd further like co thank the conrributing¿refers who senr in amaring work for this book. as well as the manufacturers who generously supplied prodiu r for work, r .

Special honor and rhanks to Jcannerre Cook, one of my first beading instructors many year* ago. Her passion for the beading community, teaching, and body of work is an inspiration. Jeannette s sharing of the sculptural peyote technique has led many, including me. to explore thâ exciting freeform method to off-loom beadwork. Jeannettes work and class schedule can be seen on her Web sire at www.beadyevedwomen.com.

Chapter 1: As You Begin

Chapter 2i It's AU About the Beads 11

Chapter 3s

Knotting Your Tools and Materials 21

Chapter 1: As You Begin

Comfort. Considerations, ami Inspiration.------8

Chapter 2i It's AU About the Beads 11

Chapter 3s

Knotting Your Tools and Materials 21

A Guide for Selecting Wire--------------------------23

Stringing Pn>ducu-----------------------------29

Chapter 4: Wrire Findings 34

Pro;ccu

• Wire "Interview" Necklace--------------.52

Bibliography -Contributing Artists About the Author

5: Scringing Explorations-

j Stringing Material

AS-teofSpac*r Brad Brj Tnvrlcr'» Bracelets 4fkl Variations-.—. I) Strung Necklace and Variations

MolnStrarvd Necklacc

MoJo-Strand Fairy Necklace

6: Stitched Bead Basics.

Challenges: Broken Threads and Beads

Oil-Loom Stfadw

• ?c\ xc Variations: Transforming the Swatch

• Tubular P eyote Stitch

Fringed Party Bracelet-----

• Zipped Peyote Choicer and Variations

Chapter 7: Sculptural Beading - 99

Preparing for Improvisations! Ileadwork--------100

Creating Open Spaces and Texture. ■ ■ ■ ■ 101 Attaching the Beadwork to the Wire Frame -~~.102 Starting an Impeotisarional

Peyote-St itched Piece---102

Projects

• Redside I >e signs Cutf and Variations----114

• Fringed Fantasia Amulet Bag Necklace-117

Resources - 125

Bibliography -Contributing Artists About the Author

ImprovitMtonal 'teadwork. featuring lampwork beaJi it) Krhtan Childf, RtJiidt Designs.

Focal beid by ERie Mac.

introduction

Focal beid by ERie Mac.

For mc. most of the picccs start oft with a loose idea of the bead colors, textures, Techniques, and any other materials. Once I begin working, the beads will seem 10 lead mc in one direction or another through how they are going together and what beads 1 seem to be focused on using. In this book, this process is defined as "improvisational beadwork." Projects completed using this method often look more organic, and more often, they are the projects 1 enjoy the most once they are completed.

I he old adage, "a picture is worth a thousand words." certainly rings true for beadwork. Throughout rhc chapters, there are many close-up photographs of the gallery artists' work. 1 lie goal for these insets is to give you the opj\»rtunity to examine the composition and construction of the beadwork. The intricacy of the workmanship is often innovative, inspiring, and intriguing.

I hope to help you build and expand your skills; find your own voice in your beadwork—to discover your "look"; and, perhaps, challenge you to look at your beadwork differently. There are so many variations, techniques, and possibilities found in beadwork, that you could work wkh the same combination of beads and never make the same project twice. As you become more proficient, T hope you'U begin to experiment, to work with new colors or new textures, and to create pieces that reflect you.

introduction

Since the earliest recorded time» stone, bone, clay, and shells have been strung and worn as adornment. In early times, beadwork often defined a culture and its wealth. In this book, let's define beading as the ict of assembling beads into a wearable decorative embellishment. Beads can be stitched, woven, wired, glued, or embedded. It's tlx influence and experiences of the artist that transforms these—often tiny, sometimes large—beads into a work of art.

One aspect that makes beading so attractive is that the artist can explore and combine nc same materials and achieve many different results, through die influences of technique and composition.

The availability of beads and materials in shops, shows, and on Web sites also make tli.s art more accessible. Finding beads from most every culture is infinitely easier today than ever before. The Internet has widened the availability for finding beads— both the lampwork variety and the semiprecious stones.

ImprovitMtonal 'teadwork. featuring lampwork beaJi it) Krhtan Childf, RtJiidt Designs.

I 've created widi my lands just about all my life. I enjoy experimenting and the discovery of trying out new materials and techniques. 1 am a self-taught header for the most part. I love the portability of workitig with beads, and the ability to work just about anywhere there's a good light. With this in mind, all of the projects in this book arc created using basic, readily available hand-tools, beads, and materials.

Bracelet created with wire, ntd l'<aJt, .uiJ lampwork by

Kri«fd>i ('hiUs, RedsiJe Designs.

Bracelet created with wire, ntd l'<aJt, .uiJ lampwork by

Kri«fd>i ('hiUs, RedsiJe Designs.

Chapter i s you

Learning the basics is the best way to start any new type of craft. In this chapter, you will find many questions to help iumpstart your thought process in deciding what you want to make. Relax and let the creativity begin!

look. I hope you'll consider this book to be a resource you'll turn to again and again for inspiration or explanation of a technique. What you will find are exorcises to stretch your thought process and insights into how to approach creating projects.

Making your own jewelry is a wonderful way to express yourself creatively, to make gifts for friends and family, or even as parr of a home-based business. Jewelry-making c.ui be a very satisfying, portable means of self-expression.

ilic wonderful thing about making your own jewelry is the ability- you'll develop to put your own imprint onto the pieces you make. The tun of creating exquisite jewelry can be tound in the sense of satisfaction when the piece turns out .is you imagined it would. Compliments of friends, family, and even strangers will build your confidence and feelings of accomplishment.

Use this book as a tool to look at jewelry-making in a new way. While there are many projects to try out in this book, you won't find much in the way of bead-by-bead instructions or charts for exactly replicating the jewelry found here. 1 believe it's important for you to find you own voice, to create your own

Each chapter outlines, explains, and conrainsa variety of projects to build your skills in jewelry-nuking from basic identification of beads through construction of projects that combine scringing, wirework, and improvisationd stitching. F.ach of the skill building chapters also contains a gallery section of pieces by sensational bead artists that showcase :he techniques explored in the chapter.

Comfort, Considerations, and Inspiration look. I hope you'll consider this book to be a resource you'll turn to again and again for inspiration or explanation of a technique. What you will find are exorcises to stretch your thought process and insights into how to approach creating projects.

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